1.     Contents

12 Angry Men

1950s FASHION and CLOTHING

1984 2

1984 3

1984 4

1984 By George Orwell

1984 BY GOERGE ORWELL

1984

20000 Leagues Under the Sea

2001 A Metaphorical Odyssey

28 days later paper

2pac Shakurs life

3 Movies Reviewed

32 second Macbeth

6 months later

7 Stages of Grieving

a brief history of led zeppeln and its musical impact

A Brief History of Ledd Zeppelin and ITs Musical Impact

A Clockwork Orange Essay

a clockwork orange

A Comparison and Contrast In Both As Worn By Hester and Dimm

a critical look at Ibsens doll house

A Day in the Life of a Gnome 2

A Day in the Life of a Gnome

A Developmental Study of Alex in Kubrick

A developmental study of Alex in the Stanley Kubrick producti

A developmental study of Alex in the Stanley Kubrick production of A Clockwork Orange using modern psy

A discription of feng shui and how it can be used

A DOLLS HOUSE

A Fictional Story

A History of Antiracism Films

A Jest of God

A Look At Savage Garden

A Man for All Seasons by Robert Bolt On Mores Moral Dilemma

a Man With A Dream

A Medical Experience

A Metaphorical Odyssey

A Nightmare On Elm Street

A Pageantry of Costumes

a representation of the true meaning of tragedy

A review of Glory

A review of the play Violet

A Risen Hell Capturing memorable moments

A Rock Concert Essay

A Rock Concert

A Seperate Peace

A Slice of life

A Stay at the Holiday Inn

A STRANGER IS WATCHING

A streetcar named desire

A Thematic Analysis of Psycho

A World Without Engineers

A Zipper for Pee

A Zipper for PeeWee

Aaron Copland

ABC Book

About the movie entitled The Hurricane

Acting Taken To Another Level

Adam De La Halle and Ars Antiqua Time Period

Adam De La Halle and the Ars Antiqua Time Period

Adam Sandler

Adios Cordera primo distante de 1984

Advantages of Commericals

African American Influence on Music

African Literature

Ah Woe Is Me

Albrecht Durer Leonardo of the North 1410

Albrecht Durer vs Brett Whiteley 1238

Alexander Calder 347

Alfred Hitchcock Analysis

Alfred Hitchcock and his contribution to Hollywood

Alfred Hitchcock at 100

Alfred Hitchcock Biography Essay

Alfred Hitchcock Comparison of 4 movies

Alfred Hitchcock life

Alfred Hitchcock Master Of Suspense

Alfred Hitchcock What made him so great

Alfred Hitchcock

Alien 3

All My Sons

All Quiet on the Western Front

All Quite on the Western Front

American Beauty

American Comedy and The Great Depression

American Dream

AMISTAD

An Alaysis of the Final Scenes of Alfred Hictcocks NOTORIOUS

An analysis of the MAyor of Casterbridge

An Analysis Of The Video

An anylsis of Grapes of Wrath

An argumentative essay on Roger Moore

An event that changed my life

Analysis of The Astronomers Wife by Kay Boyle

Analysis of the Final Scenes of Alfred Hitchcock

Ancient Greek Theatre

Andrew Warhola196

Andrew Wyeth 1504

Andy Warhol The Life and Art of the Prince of Pop 1775

Animal Farm 2

Animal Farm 6

Animal Farm Comparison

Animal Farm Essay 5

Animal Farm Essay

Animal Farm

Animal Instinct

Animatio1

Animation Essay

Animation

Annie Hall

Another Reservoir Dogs

Antigone or Creon the protagonist

Antigone Summary of the Greek play Antigone and why its titled after her

Apocalypse Now and Heart of Darkness

appalachian music

Appalachian Musicians And Singers and The Songs They Write

April Morning Essay

archetypes in a rose for emily

Archetypes In the Lion King

Are celebrities to blame

Are You Experienced

Aristotles Beliefs 691

Arnold Schwarzenegger

Arnold Swarzenneger

Art 100 visual art piece of paleolithic era

Art Deco Studio Concept Basic Concept for Interior Design Ideas in a small space

Art Spiegelman 1445

Artists that commit suicide 222

As I Lay Dying

At the Height of His Career

Audio Format Wars Essay

Audio Format Wars

Auguste Rodin 1750

Aul Cezanne 597

Bach

Balance Dicusses Symmetrical and Asymmetrical balances as well as Imbalance

Barney vs Sesame Street The Ultamate Educational Battle

Bartleby The Failure

Baz luhrman

Beatlemania in the 60s

Beatles and rock music

Beatles Influence in the studio

Beatles The 2438

Beethove

Beethoven

Beethovens Ninth Symphony

Beowulf 2

Beowulf Short Story

beowulf

Bernadette

Berthe Morisot 767

Bessie Smith

Beware of Television Essay

Beware of Television

Beyond the Hori

Biggie Smalls Notorious BIG 680

Billy BuddWas Captain Vere Right

biography of Alfred Hitchcock

Birth of a Nation Art or Propaganda

Birth of A Nation

blood lactate and training to improve threshold

Blood Violence and Gore as Entertainment

Blood

Blues Music And Its Influence On Integration

Bobs World

Book Brief Mary Shelleys Frankenstein

Book Report on novel UhOh by Robert Fulghum

Book review 2

Book Review The Day of the Jackal

Book Review

Bowling for Columbine

Braveheart 5

Braveheart Essay

Braveheart

Britney Spears 525

Bruce Lee

Bryon s Childe Harold s Pilgrimage

Bull Durham

BullDurham 5

BullDurham

byron

C SPAN the Cable TV channel

Camelot Merlin

Camila Essay

Camila

Camille Claudel 2901

Can Manufactured Bands Ever be Classified as

Can Media Inspire Violent Crimes Essay

can media inspire violent crimes

Canticle For Leibowitz

Capra is No Fascist

Capras Effect

Captain Corellis Mandolin

Carl Orffs philosophies in Music Education

Carl Sandburg 454

Carl Sandburg Accomplishments 2453

Casablanca

Catcher in the Rye

Cathedrals of the 12th Century

Caves

CENSORSHIP WHO GIVES A FK

Censorship

Ceremony

Character Analysis for The Portable Phonograph

Character Sketch of John Proctor

Characterization of Uncle Henry

Charles Foster Kane Who Was he

Charlies Angels

Children and Television Essay

CHildren and Television

Children TV and Violence Essay

Children TV and Violence

Chronic Swamp Murders

Citizen Kane Charles Foster Kane

Citizen Kane

Civil Disobdience Right or Responsiblity

Claude Oscar Monet 395

Claude Oscar Monet Life Of 434

Clear Vision in King Lear

Clockwork Orange And The Age Of Mechanical Reproduction

Close Encounters of the Third Kind 5

Close Encounters of the Third Kind

Collection of Works Original

Comedy techniques which were explained by Rowan Atkinson

Coming To America Essay

coming to America

Commentary of the play Amadeus

Communication Between Men and Women

Communist politics in china and films relationship

Compare abd Contrast Stanley from A Street Car Named Desire a

Compare and Contrast Stanley from A Street Car Named Desire

Comparing and Contrasting The Lottery and The Ones Who Wal

Comparing And Contrasting The Two Videos Of Romeo and Juliet

comparing hollywood and bollywood

Comparing Oedipus and Othello

Comparing two documentaries One day in September and Nanook of the north

Comparison between Osar Romero and Oscar Schindler

Comparison Between Piano Concert by Barbara Wieman and Sacramento Chamber

comparison between two guitars

Comparison of the Met and Guggenheim Museum New York

CONCERT PAPER 3

concusion

Conflict in Successful Drama

Confused Letmein

Conquest

Consumer Appeal Essay

Consumer Appeal

Cool Hand Luke

Coparison Between Two Guitars

Covers techniques from pyrotechnics to digital composites

Coyote And Don Maclean

Crabbing

Creative couples 1875

Creative Writing The Man who Stepped into

Creative Writing

Crime Films

Crime Scene

Critical essay on the Great Gatsby

Critique of Romeo and Juliet the Movie

Critique of Romeo and Juliet

Critique Of The Cabinet of Dr

CSPAN the American cable TV channel

Cubism was one of the strongest art movements in the 20th century

Culture from Adam Sandlers What The Hell Happened To me

Cyrano De Bergerac

Dante

Darius Milhaud

David Blaine

David Fincher

David Selznick

David Selznick and Since You Went Away

Day the World Turned Black

Dead Man Walking 2

Dead Man Walking 5

Dead Man Walking Essay

Dead Man Walking Indepth

Dead man walking

Dead Poet s Society Significant Experiences

Dead Poets Society 5

Dead Poets Society Essay

Dead Poets Society

Dead Poets SocietySignificant experiences

Deadlock

Death Cload

Death of a Character

Death of a Salesman by Arthur Miller

Death of a Salesman

Death of the Superstars Essay

Death of the Superstars

Defense Statement

Den store gevindst

DeStijl 2272

Development of Art Throughout History

Devolpment of Desire

Diamond In The Rough

Diary of HatchetBy Gary Paulsen

Dicks Androids and Scotts Replicants Essay

Dicks Androids and Scotts Replicants

Dinner with bill gates

Discusses characters in The crucible

Diversity in films

DNT Rudolph Diesel Inventor of the diesel engine

Do the Right Thing

Does McMurphy transfer his individualistic spirit into that o

Donatello 634

Donnie Brasco Essay

Donnie Brasco

Dorko the story

Dorthea Lange 1300

Dr Jekyll and Mr Hyde

Dr Seuss Political Cartoons 1198

Dracula and Frankenstien

Duke Ellington Essay

duke ellington

Dune Essay

Dune

Durham Cathedral

Early History of the Pipe Organ Essay

Early History of the Pipe Organ

Early Influences on Hucleberry Finn

Early Japanese Films

East Of eden

Ed Gein

Edna The Awakwening

Ednas Character

Education In The Media A Look At October Sky

Edvard Munc 755

Effect of the Market on Construction of Music Manufactured B

El Greco 946

ELECTRONIC MUSIC

Elia Kazan the American immigrant and director

elliot ness Maisonscene analysis

Elvis Presley 1273

Enfluening OF Music

English3 txt Makeup your own title

Eric Clapton Essay

Eric Clapton

Erik Satie

Ernest Hemingway 1526

Escape from the Desert Island

Escher 610

Essay on Mystery

Ethan Frome 2

Ethan Frome

Eveline A Character Analysis

Everything Ends

Evil and Primitivism in Man

Ralph was never comfortable with primitivism, but Jack rather enjoyed it.  Ralph thinks to himselEvil of Isolation On The Scarlet Letter

Evita Essay

Evita

Evolution of Media Violence Essay

Evolution of Media Violence

Existentialism in Eugene Lonescos

Explain the role of a concept of the American Dream plays in act 1 of Millers Death of a Salesman

Expository Essay

Fahrenheit 451 2

Fahrenheit 451

Falling Down

Falling Into The Hot Trap

Falstaff and King Lear

families portraid in Roddy Doyles books

Fantasy In Cairo

Farenheit 451

Fast Eddie

Fear of Public Speaking

Femininity and Buffy

Fifth BusinessSearch for Self Identity

Fight Club

Film Analysis

Film Review

Film Score Music Essay

Film Score Music

film term paper

Finding Courage To Die

First Knight and Oxbow Incident

Flaweless Heroes

Flawless Heroes

Fleeing my Dentist

Flesh and the Devil Clarence Brown technical devices and cinematic movements of 1920s in the construct

For The Love Of The Game

Forbidden Planet Comparison to Shakespeare

Forbidden Planet Comparison to Shakespeares The Tempest

Forces of Corruption in The Great Gatsby

Framing Techniques used in The Searchers

Francisco de Goya 1630

Frank Auerbach 384

Frank DeCosta 646

frankenstein 2

Frankenstein by Mary Shelly

Frankenstein Essay

Frankenstein

Franz Josef Haydn

Franz Marc 402

Freddie Prinze Jr

Friday

Funeral

Gangs of New York

Gangsta Rap

Garry Winogrand 1557

Gatsbys Dream

Gema 1996

Georg Wilhelm Friedrich Hegel 703

George Bizek

George Frederic Handel

George Lucas And His Influence

George Lucas and Movies

Georgia OKeeffe 808

Gettysburg

Girls and Their Gangs

Gladiator

Glory A Review

Glory

Godfather

Good VS Evil In Huckleberry Finn

Goodfellas

Grandpa

Grapes of Wrath 2

Grapes of Wrath and Of Mice and Men Character Study

Grapes Of Wrath Awakening Of Tom Joad

grapes of wrath

Graphic arts advertising

Grateful Dead

Great Gatsby Essay

Great Gatsby

Great Quotes by the characters in To Kill a Mockingbird

great rock musicians their achievements and effect on music

Great Rock Musicians

Grecian Urn

Greenhouse

Greg Graffin Essay

greg graffin

Grendel

gullivers travels 2

Gullivers Travels

Gustave Callebotte 419

Hamlet review

Hamley was not looney toones

Harriet The Spy Essay

Harrison Bergeron

Harry Potter And The Prisoner Of Askaban

Hawthornes Pride of Intellect

HDTV Essay

HDTV

Heart Of Darkness And Apocolypse Now

Helene Blavatsky 1353

Hello My Name Is Orson Welles Essay

Hello My Name is Orson Welles

Henrik Ibsen 4080

Heros Epic

History and Origins of the Ducimer

History of chinese cinema

History of Jazz and Classical Music

History of Pete Dalberg Family

History of Rock and Roll Essay

History of rock and roll

History On Amazing Grace

Hitchcock and Poe

Hitchcocks Motifs An in depth reading of Vertigo

Hitchcocks ROPE

Hitler Rise to Power 1957

Holden Caufield

HOOKED ON EBONICS

Horror Movies

Houdini 1111

How activists and graphic designers can work together

How Biff shows Irresponsiblility in The Death of a Sailsman

How do TV shows reflect american culture

How does Hitchcock use cinematography to manipulate the emotions of his audience

How M Butterfly Uses The Art Of Illusion To Foster Stereotypes Among Its Main Characters

How Phreaks Anarchist the KKK and SWP compare to Big Broth

How Technology Has Hurt Us Essay

How Technology Has Hurt Us

How Technology Hurts Us

How The Beatles Changed Rock Music

How the use of the diary form narrative is beneficial to the

How to create a paper airplane

how to listen to music not just hear it

How to Listen to Music

How to Make a no Sew Blanket

How to make a pinata

How to write a screenplay

How World War I and World War II influence fashion

HR Giger 582

Huck Finn

Huck Finns Use of the Tall Tale

Hucks Struggle Between Morals

Human Flaws of Orgon in Tartuffee

Human Intent and the Aftermath of It

I am a Rock

I Didn t Do It How The Simpsons Affects Kids

Jim Reardon, ProI didnt do it

Reardon, ProIf At First You Dont Succeed

Image est il dangereux ou utile

Imagery In Jane Eyre

Impressionism 1615

Impressions of Television Essay

Impressions of television

In An Oldsters Mind

In Cold Blood Movie Review

In Short

In The Heat Of The Night

In what ways and to what effect did the British cinema of the second world war mobilize support for th

Industrial Music Essay

Industrial Music

Influence of Music

Instrumental History of the Drums Essay

Instrumental History Of the Drums

Instruments Of The Orchestra

Intellegence

Interview with Julie Taymor about Frida movie

Invitation

Is Huck finn too mature

Its in his mouth

Jackson Pollock 717

James Bond

James Earl Jones

Jan van Eyck 1706

Jane Alexander 1183

Jane Crawford finds out about living for herself

Janies Great Identity Search

Janies Struggle To Find Her Voice

Japanese Street Fashion

Jarassic Park

Jazz and Classical Music Essay

Jazz and Classical Music

JAZZ

Jean Basquait 1644

Jean Luc Godard

Jean Michel Basquiat 644

Jems Journal

Jerry Garcia and The Grateful Dead

Jerry Garcia and the rest of The Grateful Dead

Jerry Maguire 5

Jerry Maguire Essay

Jerry Maguire

Jimi Hendrix 2

Jimi Hendrix Essay

Jimi Hendrix paper

Jimi Hendrix

Jimmy Smits

Joels Dream

JOHANN SEBASTIAN BAC1

Johann Sebastian Bac2

Johann Sebastian Bac3

Johann Sebastian Bach 600

Johann Sebastian Bach Essay

Johann Sebastian Bach

John Ford & Frank Capra a study of there movies

John Ford and Frank Capra

John Huston the Dead

John Keats

John Lenno1

John Lennon 2

John Lennon Essay

John Lennon

John Woo

Johnny Depp

Jonathan Larson

Journal

Joy Luck Club 2324

Juan Gris 1044

Jude the Obscure

Judgement

Judy Garland

Juicy

Jules Verne Essay

Jules Verne

Julia Kristeva 664

Julia Roberts

Jurassic Par1

jurassic Park 2

Jurassic Park 5

Jurassic Park Essay

Jurassic Park

Kate Chopin 1201

Kate Chopins The Awakening

Katharine Hepburn 2

Kathe Kollwitz 557

Kathrine Hepburn

Katshushika Hokusai 2503

Ken Unsworth 290

KGJFKJV

kid in closet

King lear act and scene summary

King Lear Theme of Blindness

King Lear

King of Hollywood 1080

Kings Short Stories

Korn

Kurt Cobai1

Kurt Cobain 225

Kurt Cobain again

Kurt Cobain Essay

Kurt Cobain Historic Accounts

Kurt Cobain

kurt kobain

Laura mulveys article visual pleasure and narrative cinema

Le Cafard et Bob

Le Fusil

leo tolstoy reberth by deathDeath of Ivan Ilyich

Leonard Bernstein Essay

Leonard Bernstein

Leonardo da Vinci 3754

Leonardo Da Vinci a man before his time 1194

Leonardo Da Vinci Life Of 642

Leonardo Da Vinci one of the greatest artists pertold in history 815

Leonardo Da Vinci The Genius 1086

Leonardo Da Vincis Life 688

Leonardo DaVinchi A Summary Of 209

Leontyne Price her accomplishments

Les Mis‚rables

Les Miserables

Libertine or Liberal the real truth regarding Bill Clinton

Life as a Fashion Designer

Life Of Aaron Copland

life of alfred hitchcock and all his works

Life of Leorando Da Vinci 1209

Life s Too Short

Lifes Too Short

Lion In Winter

Listening Report Nat King Cole

Listening to Women Being a Man Lessons in Freedom and Love

LO System

Lobito

Lonely

Looking for Alibrandi by Melina Marchette

Lord of the Flies 2

Lord of the Flies 3

Lord of the Flies 4

Lord of the Flies

Louis Armstrong

Love Has Nothing To Do With It

Lucas king of film 5

Lucas King of Film Essay

Lucas king of film

Ludwig Mies 2160

Ludwig Mies Van der Rohen 659

Ludwig Van Beethoven 2

Ludwig van Beethoven

LylJC

Macbeth  Independence and Failure

Macbeth 5

MacBeth Analysis of Fear

MacBeth Attitude Changes

MacBeth Character Changes

Macbeth Essay

Macbeth Independence and Failure

Macbeth Tragedy or Satire

Macbeth

MacbethAristotelian Trajedy

MACHIAVELLIS VIEW OF HUMAN NATURE

Madonna Essay

Madonna

man in a bathtub

Man Ray 906

Man with The Movie Camera

Marilyn Monroe THE START

Marilyn Monroe

Marilyns life and her influence through the years

Mark Twains Masterpiece The Adventures of Huckleberry Finn

Marlene Dietrichs significance as a movie star

Martain Scorseses Film Career

Martin Johnson Heade 906

Martin Scorsese

Math vs Music

Mathematician and the Musician

Matilda Essay

Matilda

Matrix Revolutions

Matt Groening 566

Mayor of Casterbridge Chapter 2 5

Mel Gibson vs Kenneth Branaugh as Hamlet

Melville

Merchant of Venice 5

Merchant of Venice

Merlin

Metallica Essay

Metallica

Method acting 2

Method Acting

Michael Griefs RENT

Michael J Fox

Michelangel Vinci 927

Michelangelo 2454

Michelangelo Accomplishments 699

Michelangelo Bounarroti 1355

MILES DAVIS

mind body weekness

Mindwalk Essay

Mindwalk

Minstrels

Modern Music Composition

Moholy Nagy made photography manifestly modern 913

Monets painting of the Japanese bridge 682

Morality and Gatsby

Mosquito Coast

Motifs involved in the play King Lear by Shakespeare

Movie All Quiet on the Western Front

Movie Dead Poet s Society The Dead Poet That Killed

Movie Glory

Movie Life Like The Great Gatsby

Movie One Flew Over the Cuckoo s Nest

Movie Philadelphia

Movie review of A time to Kill

Movie Review of Jerry Maguire Essay

Movie Review of Jerry Maguire

Movie review of Yentl

Movie Review on Seven

Movie Review Sense and Sensibility

Movie Review The Color Purple

Movie Review The Mirror Has Two Faces

Movie Review Yentl

Movie Review

Movie The Fan

Movie The Firm

Movie The Grapes Of Wrath The people and the Depression

Movie The Last Emperor

Movie The Mission

Movie The Paper Chase

Movie Tucker Preston Tucker

Movie Twelve Angry Men

Movie Villains

Movie What s Eating Gilbert Grape

Movie Wolfgang Amadeus Mozart

Movies A Thematic Analysis of Alfred Hitchcock s

Movies Heros

Mozart 2

Mozart Essay

Mozart Wolfgang Amadeus

Mozart

MP3

Music Analogy

Music And Censorship Essay

Music and Censorship

Music Censorshi1

Music Censorship Essay

Music Censorship

Music In The United States

Music In Video Games Essay

Music in Video Games

Music of the middle ages

Music that is Romantic

My Golden Age

Mythic Heros

Mythological Heroes

Nat King Cole

National Geographic Mysteries Underground

National TV Turn Off Week A Dumb Idea

National TV Turnoff Week What a Dumb Idea

Native American folk lore art specifically dreamcatchers

Native American Mascots should not be used

Natural Law Essay

Natural Law

Negative Aspects of Rap Music 936

Neil Jordan

Web ReNeil Young in Halifax Essay

Neil Young in Halifax

Nell Essay

Nell

Neolithic Park

New Orleans Jazz Band

Nick in the Great Gatsby

Niki de St Phalle 1576

Since years the dust has settled. The "Nanas" became a symbol for the work of Nicki de St. Phalle and Hannover is proud to have these symbols integrated and respected. Lately there has been an exhibition in Hanover about the whole history oNinties Love Story

Nirvana Essay

NIRVANA

Nirvana1

No Future

No More Laughing for Paddy

No Sex

Norma Jeane Marilyn Monroe

Norman Rockwell 751

Nosferatu

Odysseus is not a Hero

Odysseus

of Mice & Men John Stienbeck overview

Of Mice and Men 2

Of Mice and Men 5

Of Mice and Men A Comprehensive Comparision of the novel and

Of Mice and Men Essay

of mice and men

Old Man By the Sea

On Experiencing Verdis Aida

On The Waterfront

Once And Future King Analytical Paper

One Flew Over the Cuckoos Nest

One Sick Christmas

One strange trip

opiate of the masses

Opinion on Movie Villians

Oppression

orange

Origins and History of The Dulcimer

Orsen Welles

Orson Welles

Oscar History

Oscar Howe 984

Oscar Romero

Othello 5

Othello Battle of Good vs Evil

Othello Change of Characters

Othello Character Analysis

Othello

Our Journey to Earth

Outdoors Or TV

Pablo Picasso 1087

Pablo Ruiz y Picasso 868

Pablo Ruiz y Picasso Career 977

Paralells in My Brilliant Career Essay

Paralells in My Brilliant Career

Paul Gauguin 743

PAUL MCCARTNEY is he really six feet under

Paul McCartney Six Feet Under

Paul Simon I Am A Rock

Pay It Forward

Pearl Jam Everclear and No Doubt

Pearl Prequel

Pen Pals

Percussion

Personal Essay

PERSONAL LOVE FOR FILMS

Pharaohs of Ancient Egypt 573

Philadelphia

Picasso 1853

Picasso life from birth to death 964

Picassos background and life experiences 904

Pick a historical related film and analyse its historical accuracy

Piero Della Francesca 360

Piet Mondrian 993

Planet of the Apes

Platoon

Play response Pirandellos 6 Char in Search of an Author

Playground of the Gods

Playstation

Pleasantville and American Acceptance What does the changing in Pleasantville represent in American so

Plot summary of Ralph Ellisons Invisible Man

Poes Cask of Amontillado

poet and the society 2006

point of view using evidence including artists and their works 603

Positraction

Postmodernist Ideas

Powder Essay

Powder

Powder1

Power of One Essay

Power of One

Prejudice In Maycomb

Pretty Woman Vs Pillow Talk

Pride and Predjuce in South Pacific 5

Pride and Predjuce in South Pacific

Problems with a happy ending

Problems With Music In Research

Progression of Music From the 1940 s To the Present

Progression of music in america since the 1940s

Psycho By Alfred Hitcock

Psycho Essay

Psycho

Pulp Fiction 5

Pulp Fiction Essay

Pulp Fiction

Pygmalion

Quentin Tarantino

Quest for Love

Racing Along Walls

Raisin in the SunWalter Younger

Ralph Vaughan Williams Symphony No 5

Ralph Vaughan Williams

Rashomon and Blowup

Ray Bradburys Something Wicked This Way Comes

raymond carver

Reader Response to Canterbury Tales

Realism In The Great Gatsby

Rebbecca Essay

Relations between the Kingdoms of Gondor and Arnor

Released From the Grip of What He Carried Freedom From His C

Religion in Jane Eyre

Religion is the Opiate of the Masses

Rembrandt and Bernini 2852

Rembrandt van Rign 1864

Rembrandt Van Rijn 874

Remember the Titans

Renaissance Artists 1306

Renaissance Man

Rene Magritte 384

Renoir 573

RENT Musical

Report on New Orleans Jazz Band

Representation of Men in Australian Films

Reservoir Dogs

Response to Why I Hate The Celestine Prophecy

Revenge of the nerds movie review

Review of Gyorgi Ligeti

Review of Gyorgi Ligetis Danse Macarbei

Review of Sublime video

Review Of Three Movies

Review Thomas Cahills How the Irish Saved Civilization

Rhonda Goes Fishing by Pete Putnam

Richard III Tragedy in Isolation

Richard III

Rime of The Ancient Mariner

Robert Schumann Essay

Robert Schumann

Rock And Roll

Rock v Pop Music of the 1970 s v Music of the 1990 s

Rock

Rocky IV

Rogers and Hammerstein

Romantic Music

Romeo and Juliet An E Ticket Ride

Romeo Juliet An E Ticket Ride

Ronaldo was born on the 22nd of September of 1976 in Bento Ribeiro

Roseanne and The Kiss

Roswell Incident

Roswell

Rush Hour 2

safe place for kids

Salvador Dali 558

Salvador Dalis Life 642

Salvador Felipe Jacinto Dali 848

Salvatore Ferragamo and Vivienne Westwood 1427

salvidor dali the greatest artist 1110

Sam Shepards Fool For Love

Santiago as a Hemmingway Code Hero in The Old Man and The Sea

SASA SOUTH ASIAN STUDENT ASSOCIATION

Satie Erik

Saving Private Ryan Movie Critique

Schindlers List Essay

Sean Penn

Seinfel1

Seinfel2

Seinfeld 2

Seinfeld 5

Seinfeld Essay

Seinfeld

Sense and Sensibility Movie review

Seperate Peace essay

Settings of Jane Eyre

Seurat 597

Shakespeare In Love

Shakespeare plays Twelfth night Romeo & Juliet 615

Shape and Form

Shasta Mcnasty

she is dead

Ship s Main Engine Lube Oil System

Shirley Temple Black Hollywood s Youngest Star

shirley temple

Shoot the teacher

Short essay on Marilyn Monroe

Short paper on George Lucas

Short Story Essay

OShort Story

Shot Change creates a new perspective

Should Section 28 Be Repealed

sidome

Similarities of Two Famous Tales of Love Essay

Similarities of Two Famous Tales of Love

Singing in the Rain

Sir Baldric and thhe Evil Threshmit

Six Hours of Television Essay

Six Hours of Television

Ska Music

SKA!

SKA

Sleepless in Seattle Essay

Sleepless in Seattle

Slingblade

Societies Scapegoat Essay

Societies Scapegoat

South African Directors Manie van Rensburg Katinka Heyns Jans Rautenbach Ross Devenish Bibliography

South African Directors

SPAWN

Speaks of Marilyn Monroe

Special Effects Essay

Special Effects

Spellbound By Alfred Hitchcock

Spellbound

Spielberg as a contemporary director

St Marks vs Notre Dame

Stairway To Heaven

Stand By Me

STAR TREK THE NEXT GENERATION

Star Trek

Star Wars and The Matrix in relation to the Heros Quest

Star Wars Essay

Star Wars Trilogy

Star Wars

Steve Madden

Steven Spielberg 2

Steven Spielberg 5

Steven Spielberg Essay

Steven spielberg life

Steven Spielberg

Stone Temple Pilots Essay

Stone Temple Pilots

Story Manifest Function

Stranger On A Train Essay

The questions that I asked to myselStranger on a Train

The questions that I asked to myselStranger

Streamline Design in America

Streinbeck & Characterization

Stuck In The Middle

student 2

Student

Successes & Failures of Lieutenant Hornblower from C S Fores

Sudden

Suicide in Chinatown

summary and commentary on the first three scenes in Act III of Macbeth

Summer of the Monkeys

Superstition

Survey On Music

Sustainability

Sweeney Todd

Swifts Real Argument 2

Swifts Real Argument

Symbol Use Within Two Short Stories

Symbolic Space French Enlightenment Architecture and Its Legacy by Richard A Etlin

Symbolism in Camus The Plague

Symbolism in Huckleberry Finn

Symbolism in The Glass Menagerie

Symbollism in The Scarlett Letter

Tales of the City Book Report

Tales of the City

Talk Show Trash Essay

talk show trash

Tamed Shrews and Twelfth Nights The Role of Women In Sh~12D

taoism action vs inaction

Taoism

technology spontaneously approaching humanity with the passag

Technology Spontaneously Approaching Humanity With the Passage of Time

technology

Televised Violence is Here to Stay Essay

Televised Violence is Here to Stay

Television and Commercialism Essay

Television and Commercialism

Television and The Internet Essay

Television and the Internet

Television Censorship Essay

Television Censorship

Television Shows Reflect American Culture

Television Soaps

Television Violence and Its Effect on Children Essay

Television Violence and its effect on Children

Television What A Waste Of Time

Television What A Waste of Timme

Television

Telivision

Term Paper on Aaron Copland

The 3 Horizontally Enhanced Pigs

The Accidental Death of an Anarchist

The Advancement Of Science In Brave New World

The Advantage of Commercials

The Adventures of Huckelberry Finn Critique

The American Dream

The appeal of Socialism

The Apprenticeship of Duddy Kravitz

The art of PRINTMAKING and how it is done in other countries

The Awakening Essay

The Awakening

The basic tenets of Realism and Naturalism

The Beach

The Beatle1

The Beatle2

The Beatle3

The Beatles 2

The Beatles 3

The beatles and how they changed music

The Beatles Essay

The beatles paper

the beatles

The Bell Jar

The Big Scoop

The Black Cat

The Blair Witch Project

The Book Report on The Power and The Glory by Graham Greene

The Breakdown of Community Ray Oldenburg Ishmael Reed

The British cinema renewed itself tardily no doubt by orthodox commercial procedures

The Cabinet of Dr Caligari

the cask of amontillado

The Catcher and The Rye

The Catcher In the Rye discuss why holden is a phony as the

The Catcher in the Rye

The Chamber A Look into the Novel and Film

The Chamber

The changes in the narratots view of sonny

The Character of MacBeth

The Character of MacBeth1

The Chase

The Chicken

The Classical period

The Club

The Color Purple

The comparison and explanation of Gothic architecture and romanesque architecture

The Competitors

The Consumer and the Gimmick

The consumer and the gimmik

THE COUNT OF MONTE CRISTO

The Crash

The Crime Film

THE CRUCIBLE ACT FOUR

The crucible The characters

The Crucible

The Cultural Construction of Gender and Representation of Ide

The Dark House

The Dead Poet that Kill Himself A Response to Dead Poets S

The Development of Irony In The Necklace

The Direct and Indirect Impact of Rhetoric

the directand indirectimpact of rhetoric on The Color Purple

The Diviners How does Morags past influence Piques life

The Doors Biography

The Drainpipe

THE DRIVE

The Early Evolution of Motion Picutres

The elements of design line colour tone shape space

The Empty pillow

The events leading up to the International Style of architecture being used in America

The Evil of Fear

The Fall Of The Smurfs

THE FAN

The Farce of Heroism An opinion paper on heroism

The Fear of Science

The Firm

The First Movie Stars Florence Lawrence Mary Pickford Douglas Fairbanks and Charlie Chaplin

The ghost and me

The gift of the magi a continuation

The Gift

The Giver

The Glass Menagerie by Tennessee Williams the characters relation to the past

The Glass Menagerie

The Godfather a Comparison

The Godfather Essay

The Godfather

The Good Earth 2

The good earth 3

The Good Earth

The Good the Bad and the Ugly

The Grapes Of Wrath The people and the Depression

The Grateful Dead Essay

The Grateful Dead

The Great Gastby

The Great Gatsby 3

The Great Gatsby 5

The Great Gatsby Essay

The Great Gatsby The Question of Nick Carraways Integrity

The Great Gatsby

The growth of Charlie Chaplins fame

The Hidden Life of Dogs

The High Waymen

The History of Greek Theater

The History Of Jazz Essay

The History of Jazz

The Hitch Hikers Guide To The Galaxy

The Hobbit 2

the hobbit

The HotZone

The Hunchback Of Notre Dame

The Ideals of Instrumental Music

The Ideals of Insturmental Music

The Impact Of Television Essay

The Impact of Television

The Inferno

The Inn from Hell

THE IR

The James Bond Phenomenon

The Juror

The Labours of Mendevolin

The Last Emperor

The Last Of The Mohicans Essay

The last of the Mohicans

The last wave by peter weir 5

the last wave by peter weir

The Last Wave

The Life and Hard Times of Grantly Marshall

The Lord of the Flies

The Lost World 2

The Lost World

The Man Who Stepped into Yesterday

THe Matrix

The Meaning of Chow Yun

the metamorphosis

The Millers Tale

the Ministers Black Veil

The Minstrel

The Mirror Has Two Faces A Movie Review

The Mirror of Time and Memory

The Mission

The Moderation of Roseanne

The Monkeys Paw

The most dangerous game

The movements of Post Impressionism Cubism Surrealism and Dadaism

The Nightmare

The Number One Hit man

The Odysseus movie review

the odyssey and the pearl

The Old

The Orderly World of Mr Appleby

The Origination Of Punk Rock

The Outsiders 2

The Outsiders

the Paper Chase

The Pardoners TaleChacers Use of Irony to Criticize the Ch

The pathetic life of Walter Mitty

The Pearl 2

The Pearl 3

the pearl 4

The Pearl

The Person Behind The Mask

The Pit and The Pendulm

The Pitiful Prufrock

The Power Of On1

The Power of One Essay

The Power of One

The Power of the Feminine in Macbeth

The Present

The Prodigy

The Quest

The Real Sucker

The realities of Historical Movies and how they are not truly historical or love triangles

The Red Death vs AIDS

The Rolling Stones Essay

The Rolling Stones

the romantic composer Georges Bizet

The Roots of Blues Music Essay

The Roots of Blues Music

The Satire of Johnathan Swift Revealed

The Saxophone

The Scaffolds Power

The Scarlet Ibis

The Scarlet Letter 2

The Scarlet Letter

The Search

The Shawhsank Redemption 5

The Shawhsank Redemption

The Shawshank Redemptio1

The Shawshank Redemption Essay

the shawshank redemption

The Shining

The Short Happy Life of Francis Macomber

The Silence of The Lambs 5

The Silence of The Lambs Essay

The Silence of The Lambs

The Simpsons Essay

The Simpsons

The SimpsonsGeneral Speech Outline Format

The Singing School An American Tradition

The Singing School

The Soul of Jean Valjean

The Story of the Little Pigs Three

The Subjectivity of the Character Safie in Frankenstein

The Subtle Humor of Jane Austen

The Success of Michael Crichton

The Success of Michael Crichtons Novels in the Media Industr

The Symbolism of the Setting in Hills Like White Elephants

The Tale of Me and Summer Reading

The TempestBringing it all Together

The Theme of Londons To build a fire

The Theme of Prejudice in To Kill A Mocking Bird

The Time Machine

The Tragedy of Oedipus the King 2

The Tragedy of Oedipus the King

The Tragedy of One Man Speaks of Arthur Millers Death of a Salesman

The Transcendence of frogs and ourangatangs

The Transformation of John Proctor

The Trip to Halawa Valley

The Truman Show

The TV Generation

The Unforgetable Man

The Untouchables

The use of clothing in the novel Their Eyes Were Watching Go

The Use of Setting in Tim OBriens The Story of the Song Tr

The V chipwaste of governments time and money

The Verve Pipe

The vervepipe

The Wave

The Way It Really Was Essay

The way it really was

The western

The Wind in His Sail

The Witching Hour

The World According to Garp Movie Report

The World of Uncle Tom and Company

the writing styles of 2 prominent british science fiction aut

The Yellow Wallpaper A womans struggle

The Yellow Wallpaper What The Hell

The Yellow Wallpaper

the yellow wallpapera journey into insanity

The Zen Rock Garden

Their Common Enemy

Thematic Analysis of Psycho

They All Carried Ghosts

They Are Similar Antz

They Cant be the Same

Things fall apart

This is a profile essay that wil portray the emotions of a lost one while also giving you a sense of r

Thoughts On Pocahontas

Tim Holmes 575

To Be Shakespeare or not To Be Shakespeare That is the ques

To Be Shakespeare

To build A fire 2

To Build a Fire

To Kill A Mocking Bird 2

To Kill a Mocking Bird

To Kill a Mockingbird 2

To Kill a Mockingbird 3

To Kill A Mockingbird Courage

To kill a Mockingbird

To Listen Or Not To Listen

Tom Sawyer

Toulmin model

Tracking TV Programs Essay

tracking tv programs

Tracy Moffat

Tragic Heroes Willy Lomans Fall

trainspotting

Transformation Into Adulthood

Transformers Essay

Transformers

Tribute Article Johnny Depp

True Romance

Tucker The Man And His Dream

Tupac Amaru Shakur

Tupac Dead or Alive 1910

TV Shows and Real Life Essay

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TV Violence 2

TV Violence and Children

TV Violence Children

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TV Violence Impossible To Get Rid of Violence on Television

TV Violence

Twelfth Night Analysis of Fools

Twelve angry Men

Twister Essay

twister

Ty Coob

Under Age Drinking

Underage Drinking

Unexpected Horizons

UnferthBeowulf Grendel

Unhappy Meal

Unintentional Findings

USING STATISTICAL EVALUATION FOR FUND PURCHASING

UtopiaSir Thomas More

Van Gogh 585

Vendetta

Viewer Response The Graduate

Vincent Van Gogh 1049

Vincent van Gogh 3194

Vincent Van Gogh 464

Vincent van Gogh The Life Of 213

Vincent van Goghs Life 659

Vincent Willem Van Gogh 419

violence and corruption in a clockwork orange

Violence in television

Violence in the Media Essay

Violence in the Media

Violence on Televisio1

Violence on Television

Violence on the Tube Essay

Violence on the Tube

Violence on TV

violence

Vision

Vitro Fertilisation 598

Walt Disney 1087

WALT DISNEY 5

Walt Disney Essay

Walt Disney Man of the Century 1994

WALT DISNEY

Waterlily

Wes Anderson

West Side Story

Westerns

What extent has Marlowe employed the principles of variation and contrast to sustain the attention of

What Goes Around Comes Around

What impact has technology had on architecture of the 20th century

What is Graphic Design

What is love

What Makes Those XMen So Darn Great

What To Do Terrorism and the Media Essay

What to do Terrorism and the Media

Whats eating Gilbert Grape

Whats Love Got to do With It

When I was a Kid

White Fang

Whos in the Wall

Winslow Homer 1359

Womens Images in Managment of Grief and A Pair of Tickets

Woodstock

Writings of Nathaniel Hawthorne

Wrongfully Convicted

You Will Always Remember Your First Time

Young Goodman Brown and Rappacinis Daughter

2.      12 Angry Men

The movie Twelve Angry Men  begins with an eighteen year old boy from the ghetto who is on trial for the murder of his abusive father.   A jury of twelve men are locked in the deliberation room to decide the fate of the young boy.  All evidence is against the boy and a guilty verdict would  send him to die in the electric chair.  The judge informs the jurors that they are faced with a grave decision and that the court would not entertain any acts of mercy for the boy if found guilty.

Even before the deliberation talks begin it is apparent most of the men are certain the boy is guilty. However, when the initial poll is taken Juror #8 (Henry Fonda) registers a shocking not guilty vote.  Immediately the room is in uproar.  The rest of the jury resents the inconvenient of his decision.  After questioning his sanity they hastily decide to humor the juror #8 (Henry Fonda) by agreeing to discuss the trial for one hour.  Eventually, as the talks proceed juror #8 slowly undermines their confidence by saying that the murder weapon is widely available to anyone, and that the testimony of the key witness is suspect.  Gradually they are won over by his arguments and even the most narrow minded of his fellow jurors hesitantly agrees with him.  Their verdict is now a solid not guilty.

Arriving at a unanimous not guilty verdict does not come easily. The jury encounters many difficulties in learning to communicate and deal with each other.  What seems to be a decisive guilty verdict as deliberations begin slowly becomes a questionable not sure.  Although the movie deals with issues relating to the process of effective communication this paper will focus of two reasons why they encounter difficulties and how they overcome them. First, we will apply the Johari grid theory and see how it applies to their situation.  Then, we will see how each individual's frame of reference and prejudices effect their perception which cause difficulties in the communication process.

If we analyze the Johari grid of each juror we see a large hidden area in the case of all of the men.  Take into consideration, referred to by juror numbers only they do not even have the benefit of knowing their names. These men have never talked before.  Each of them come from different situations with individual and unique experiences.  The public area consists solely of the shared information provided during the trial. Their hidden area is immense resulting in an equally large blind area. The public, hidden and blind areas are relatively the same for each juror before beginning the deliberation. It is the size of the unconscious area that will differ more among the men. We will see how the contents of the unconscious area will largely effect the decision making process of some of the jurors. Because the information contained in the unconscious area is unrecognized it is often the most difficult to overcome.

Henry Fonda's (Juror #8) interpersonal style would be classified as open-receptive.  He levels with the others by openly admitting that he does not know if the boy killed his father and solicits feedback in order to make an accurate decision.  He says "I just don't think we should send a boy off to die without at least talking about it first."  The example he set encourages the others to level and be open to receive feedback. The movie illustrates the process of leveling and soliciting feedback which can make all the difference.

The character with the largest hidden window is the boy on trial. Realizing this, Henry Fonda (Juror #8) tries to put himself in the boys shoes to gain a better understanding of his situation. "The poor boy has been beaten on the head once a day every day since he was five years old!" and "I think if I were the boy I'd get myself a better lawyer... He didn't stand a chance in there."  In this case one can only speculate as to the contents of the boys hidden area.  The important factor is his desire to comprehend the boys feelings.

One man in particular, Juror #3 (Lee J. Cobb) has a sizable unconscious area. He has a troubled relationship with his own son that preoccupies his thoughts.  This is eluded to in a conversation between  juror #7 (Jack Warden)and himself. Looking at a picture of him and his son he says "haven't' seen him in two years, kids, you work your heart out..." then he abruptly stops. The broken relationship with his son preoccupies his thoughts as several times throughout the movie he is found staring at the picture. His interpersonal style would be classified as a blabbermouth. He is neither open or receptive. He has his opinion and loves to share it.  The net result is a large blind area. He is unwilling or unable to level with the others and is also unreceptive to any feedback.  Most likely the extent of these feelings and the effect it has on his perceptions is unconscious to him. Eventually, he finds himself the only one maintaining a vote of guilty. He feels his sense of reality is in question and it threatens him. This puts him on the defensive. He bursts accusing the others of being crazy. This emotional eruption changes from bitter anger to sad understanding. His defenses start to crumble as his unconscious emotions become visible to him. By recognizing his unconscious emotions essentially what he has done is level with himself.  Once he did this he realized the anger and frustration with regards to his son has been misdirected toward the accused. With a new understanding of himself he is able to change his vote to not guilty.

Another issue dealt with in the movie is prejudice.  Prejudice is defined as premature judgment or bias.  In a trial situation Jurors are asked to only consider the evidence presented to them. Individual biases are not expected to effect the decision making process.  Unfortunately, leaving our prejudices outside the court room door is near impossible.  As the movie demonstrates prejudice can distort our views and greatly effects our ability to make accurate assessment's.

Strong prejudice is displayed by Juror #10 (Ed Begley) as he bursts into a rage while referring to people from the ghetto,  "Look you know these people lie, it's born in them...they don't need any real reason to kill someone...they get drunk all the time, all of them, and bang! someone's lying in the gutter...nobody's blaming them, for that's their nature, violent"  he even goes on by saying "their no good, not a one of thems anygood."  It is doubtful Ed Begley could see past his prejudice in order to hear the evidence in the trial. His guilty vote is cast as soon as he learns about the boys disadvantaged life in the slums. While most of the men are aware of the stigma attached to people from the ghetto they are willing to try to put the stereotype aside. His outburst has caused quite a disturbance in the room. This disturbance serves two purposes. First, it provides the "not guilty" defenders with an understanding that his prejudice is the reason for his opposition. It is always easier to overcome an objection if you know what it is.  Having this knowledge allows for a more productive communication there by convincing him that he should change his vote.  Secondly, it allows him to vent his frustrations. In doing so, he realizes the power of his emotions which forces him to step back and take a look at what he really feels.  The look on his face shows he has a realization. For the first time he understands his prejudices have effected his perceptions.  This new understanding of himself enables him to think more clearly and objectively.

It is interesting that the most damning evidence is the testimony provided by an eyewitness to the murder who is also a member of the boys slum community. Yet the boy, a product of the same community is an assumed liar. Henry Fonda (Juror #8) points out the double standard to the others when he says "she's on of them too?"  Juror #3 (Jack Klugman) responds to the negative comments by informing them that he too is from the ghetto. "Listen" he says "I've lived in a slum all my life, I've played in back yards that were filled with garbage, maybe you can still smell it on me."  Another gentlemen tells him "lets not be so sensitive, he didn't mean you."  Pointing out these double standards undermine the confidence of the jurors who's votes stemmed from pre judging.

Every man has the right to a fair trial, most would love the right to this jury.  As the movie closes the not guilty verdict is handed down. It is not known if the boy is guilty or innocent, that will forever remain in his hidden area.  Henry Fonda (Juror #8) entered the trial with an open mind, he managed to convince the others to do the same.  The movie illustrates that everything is not what it appears to be. Being aware of this is the first step to better understanding.

3.      1950s FASHION and CLOTHING

The post war baby boom was at it's height during this time. The decade's fashion was heavily influenced by the birth of rock and roll and the abundance of teenagers in the later half of the decade.

Teens

In America grease made a very big impact on the clothing for young adults and teenagers.

The 1950's stereotype and style.

1. The cashmere sweater.

2. Poodle skirt.

3. Rolled up t-shirt sleeve (black or white t-shirt good).

4. Pedal pushers (gold is good).

5. Black leather jacket--the collar must be turned up to be "hep."

6. The scarf.

7. 1950's gym wear.

Flamboyant and Feminine - Women's Fashions of the 1950s

Silhouette Soft but wide shoulders, corseted waist, and full hips were hallmarks of 50s wear, but silhouettes were more varied. On these outlines, women wore a trim bodice and very full knee-length skirt, or a fitted short, boxy jacket or blouse with a pencil-straight skirt. One style that hid all the rest, literally, was the cocoon-like sacque dress and coat, which fitted the shoulders and bloomed at the waist and hips.

Common Designs

One- and two-piece dresses with small-collared, fitted blouses and full, pleated knee-length skirts

More casual dresses with tied shoulder straps or halter straps, boned bodices and the quintessential circle skirt

Similarly fitted eveningwear that had a heart-shaped opaque strapless bodice with a sheer silk or nylon over bodice, usually sleeveless or long-sleeved

Prom night evening gowns of pastel nylon tulle, usually bedecked with yards of tulle trims, ruffles, and velvet bows

Long-sleeved button-up sweaters with a plain, ribbed neck, often beaded or appliquéd

Fabrics Available Natural fibres (linen, cotton, wool, silk), rayon, acetate, nylon, modacrylic, acrylic, polyester, and spandex. For daytime, the most common fabrics were in naturals, rayon, nylon, poly-cotton blends, and sometimes acrylic and acetate; sweaters were wool (cashmere for status) or acrylic knit. Brocades, satin, velveteen, taffeta, nylon net, tulle, and chiffon in both natural and synthetic fabrics were reserved for evening. Materials were usually light- to medium weight, and sheer fabrics were common, but not usually as the main material of a garment (except in tulle evening gowns and some day dresses).

Popular Colours and Prints Day and casual wear saw neutral solids and floral prints, along with dazzling western and peasant-styled clothing, sometimes hand-painted onto circle skirts or scarves. Futuristic prints of all types appeared in bright, abstract designs apropos of the atomic era. Also, dark tone-on-tone abstracts in brown, grey or navy were popular winter prints.

For evening, both solids and classic floral brocades were common; the effect of overlaying contrasting sheer chiffon or net on a flesh-coloured under dress was daringly popular. Colours in the evening were now both subtle and bold, as peacock blues and hot pinks became acceptable.

Trims and Detailing The most obvious trim of daywear is the beading of sweaters and occasional extravagance on detailing circle skirts. Circle skirts and novelty garments were sometimes incredibly ornate, with appliqué, rickrack, screen-printing, sequins, or glitter. A very common feature on 50s dolman-sleeved dresses is the small, non-functional, diamond-shaped underarm panel. Flutter hems, which were curved evenly up and down, and scalloped edges appeared occasionally in full-skirted day and evening dress. Most evening detail appeared in sculpted pleats and necklines, or toned-down rhinestones and cord`, which added style without being cumbersome or uncomfortable.

Hemlines Day and Night Daywear hems fell to the knee or a little below it. Evening gowns could be floor-length, but the cocktail dress also flourished at knee and upper-calf length.

The full skirts needed support to look good and nylon was used extensively to create bouffant net petticoats or paper nylon petticoats. Several petticoats often of varying styles were worn to get just the right look. Each petticoat was stiffened in some way either by conventional starch or a strong sugar solution. Eventually a hoop crinoline petticoat was developed and it had channelled tapes which were threaded with nylon boning in imitation of whale bone petticoats. A single net petticoat worn over it softened the look of the rigid boning

4.      1984 2

I think that today's society is a "half version" of George Owell's novel, 1984, in some ways it is similar and in others, uniquely different. The closest we come today to a "Big Brother" is the mob. The people are also controlled by watchful security cameras and subliminal messages. However, something in life today is very different from that of 1984, it is the people. In the words of the famous lyricist, "Power to the

People."

In analyzing "Big Brother," there are similarities between it and the mob. The Mafia is a crime

family that can see everything, there is no going against the mob or else someone is going to die. The Mafia is so widespread that it has operatives all over keeping an eye out for cops or law enforcement, this is the Mafia's "telescreens" (Orwell 6). Another startling similarity between the mob and "Big Brother" is the Mafia's strange way of making someone disappear or "vaporize" (Orwell   ). Almost unknowingly a person's identity can be changed, altered, or deleted.

Authorities use security and surveillance cameras to observe criminal activities or possibly every

day activities. Too much surveillance liberties are given to police or FBI. By using hi-tech cameras which

can actually document a person's life. Unknowingly, there may be a cute little camera installed in the bedroom.

Another way that today's society controls the masses is subliminal messages. Illegal now,

subliminal messages were widely used in the entertainment business, especially during the fifties. An example

is that movie makers would add a split-second commercial add for popcorn and soda during a movie.

Customers would actually be manipulated into buying these products. Even though, this kind of

brainwashing is illegal, it is still very hard to detect, who's to say that we are not bombarded by subliminal

messages just by watching commercials on television. This is too risky, to think that a person's actions and emotions can be swayed by someone else's perversion's. Again, this is very similar to 1984.

Of all the things there are today that would make it impossible for there to be an inner or outer

party, as in 1984,  is that there is each other. No matter how hard our government tries, they cannot reach everyone. Contrary to 1984, where they do get everyone, I feel that was extreme and unlikely. I find it highly unlikely that a form of government can find a way to get the whole world to follow them. 1984 is not a reality, strength lies in numbers.

In conclusion, life in the nineties, is a very resilient time. In this time, there is a substantial amount

of restriction of the public, much of which is for law and order. A lot of this day and age may resemble George Orwell's 1984. It is nothing but a facade of government mixing with technology at a dangerous level. There's nothing to fear because 1984 is far-fetched and an anti-socialists nightmare.

5.      1984 3

George Orwell-1984

Introduction- This story takes place in a state called Oceania. The main characters introduced are Winston Smith who is a worker on one of the four branches of government on Oceania. This four branches are "The Ministry of Truth" where they falsificate or remove all past documents such as books, newspapers, magazines, records, tapes and anything containing information about the past and are rewritten with the "accurate" meaning of whatever the Government (known as "Big Brother") wants it to be. All past records are erased and everyone must believe what the new ones say or else they are caught by the Thought Police. The Thought Police are a group of modern people who are like the police of our time except that this police can see you every single second of your life through special devices that look like T.V.'s called Telescreens. This Telescreens are placed in the houses of people, outside buildings, parks, walls, anywhere they could be put and are always turned on. The Telescreens are constantly giving you information of the wars won and also telling you what to do and always watching every movement you do, no expressions are admitted in Oceania other than hatred or the one "Big Brother" tells you to. The second branch is called "The Ministry of Love" where people were punished, tortured and were taught to hate each other. The third branch is called "The Ministry of Plenty" where economic affairs were handled, they decided who got how much of something almost always being too little of a ration. The last branch is called "The Ministry of Peace" which handled all the war affairs such as where the next bomb they launched would hit and who they needed to destroy next. Big Brother had a slogan that read "WAR IS PEACE", "FREEDOM IS SLAVERY" and "IGNORANCE IS STRENGTH". Winston worked in the Ministry of truth where he's job was to rewrite the news on the newspaper called Times. Another character is O'Brien who helps Winston love Big Brother for Winston hated Big Brother. Julia is the girl that falls in love (which is a very big crime) with Winston. Katharine is Winston's wife though he hasn't seen her for three years. Eastasia and Eurasia are the two other states fighting for power with Oceania. The proles are the only people who are not controlled so much by Big Brother, they act as we do and can have their own believes, thoughts, feelings or anything they feel like. Emmanuel Goldstein is the boss of an underground brotherhood that wants to destroy Big Brother.

Conflict- There are uncountable conflicts on this novel but the main one is the struggle of Winston to disobey Big Brother and try to rebel against it and destroy it trying to bring back the original past of mankind.

Climax- The climax of this story is when Winston and Julia join this secret brotherhood commanded by Emmanuel Goldstein who's sole purpose is to destroy Big Brother by opening the eyes of people by a secret book that didn't have a name, it was just called "the book" which contained the beliefs of Emmanuel as to what Big Brother was doing.

Falling Action- The falling action here is when after Winston and Julia have sex in their own little hiding place which was a room who they rented from Mr. Charrington (who was really O'Brien in disguise) in a place where the proles lived, the Thought Police, commanded by O'Brien catch them and takes them to the Ministry of love where they are punished, humiliated and are made to confess everything and anything that they ever knew while being tortured by O'Brien. Winston betrays everything he loved by punishment and is made to betray everyone and everything he believed in by facing his greatest terror which is rats.

Conclusion- The conclusion is that after a few months or years of rehabilitation, Winston is taught to obey Big Brother and love him even though his mind tells him otherwise and he also has to learn how to control his mind to suit whatever Big Brother says is true or not such as 2+2 being 5 and not 4, and he knew it was 5 because Big Brother said so and there was no proof of it being incorrect. After he gets rehabilitated they send him off out of the Ministry of love and is killed by a bullet that enters his head and finally at the end he knows that he now loved Big Brother even though Big Brother had killed him for he never betrayed Big Brother after his rehabilitation.

6.      1984 4

In George Orwell's 1984, the Party, the government of Oceania, has many slogans.  One of the sayings is "Big Brother Is Watching You".  Despite the fact that the slogan is only mentioned a few times throughout the novel, it embodies the government that Orwell has created.

We first learn of the slogan when the setting is described on the first page of the book.  Orwell depicts, in explicit detail, the sights, sounds, and smells of Oceania.  When illustrating the hallways of Victory Mansions, Winston Smith's and other members of the Party's apartment complex, Orwell writes:

On each landing, opposite the lift shaft, the poster with the                                    enormous face gazed from the wall.  It was one of those pictures                            which are so contrived that the eyes follow you about when you                                             move.  Big Brother Is Watching You, the caption beneath it ran                              (5).

This poster shows Big Brother as having a face.  Big Brother was not an individual person so he did not have a "face".  The face, however, gives Big Brother a human quality.  By doing so, the government puts itself on the same level of humanity as the citizens that it governs.  The people are supposed to feel more comfortable with a ruling party that is just like them.  The billboard is also found on every landing and every streetcorner.  The overbearing number of posters is a way for the Party to continuously remind its citizens of its presence and ingrain the message into the people's conscience and subconscience minds.

"Big Brother" is another name for the Party.  It's an ironic choice of words for the Party's second name.  First, the notion of a "big brother" connotes a child's big brother.  One thinks of comfort and protection, fun and trouble, and love and other feelings when thinking of a brother.  One of the Party's goals is to rid Oceania of these emotions.  Second, the brother is part of the family unit.  The Party is trying to destroy the family and the feelings associated with it (Kalechofsky 114).

The phrase "Big Brother Is Watching You" is the Party's way of showing its control over the citizens of Oceania.  The Party displays its power over both the history of the world and over the citizens of Oceania's everyday life in many different ways.

"Who controls the past," Orwell writes, "controls the future: who controls the present controls the past'" (23).  The Party shows its authority over humanity by changing the past, present, and future.  It changes all documents in order to fit their needs.  For instance, if the Party says that something never happened, then it never happened.  All evidence of the event is destroyed.  Oceania is continuously at war with either Eurasia or Eastasia.  When the Party decides to start fighting with Eastasia and be allies with Eurasia, after years of fighting with Eurasia, all signs of a war with Eurasia are wiped out within a week.  The documents are all falsified in the Records department.  This is where Winston works.  It's ironic that all of the nation's records are changed in the Records department and that this department is in the Ministry of Truth.  In this department, facts are rearranged, erased, added, and rewritten in order to revise and "correct" history.  There are, however, reminders of the past.  Some of these reminders are the smell of real coffee, the thought of good beer, real sugar, a children's history textbook, and various objects in Mr.  Charrington's "ordinary" shop and room.  Winston buys a diary with paper that hasn't been manufactured in nearly forty years and an "archaic" pen.  In the secret room, there is a painting of a church.  Churches and religion are a thing of the past.  There is also an old armchair and a big bed in the room.  Their softness prompts Winston to think of the past.  Winston is the only person who remembers the past and that there was a different kind of life in the antiquity.  He tries to save it for himself and for the future by writing a diary.  It helps clarify and put his thoughts in order.  He knows that he will be caught and that future generations will never see the diary.  Nevertheless, he still feels the need to write it for that small possibility that they will read it.  The Party uses their power so much that the changes that they're making are getting out of hand.  As Orwell writes, "The past was dead, the future unimaginable" (25).

Oceania's government controls where everyone lives.  The division of the people into three classes, the members of the Inner Party, the members of the Party, and the Proles, is on account of a definite hierarchy in the economic standard of living (Freedman 100).  Membership in the Party and in the Inner Party is not hereditary.  Members of the Inner Party live in large, luxurious mansions.  They have everything that they want and need, including the freedom to turn off their telescreens when and if they want to.  Other members of the Party live in the Victory Mansions.  They are not taken care of and smell of boiled cabbage and sweat.  The Proles live in a run down ghetto type of area.  By dictating where everyone lives, the Party also determines what class the person is a member of.

The Party governs everyone's daily schedule.  Members of the Party are all woken up at the same time by a voice from the telescreen.  An exercise instructor on the screen leads the people in stretches and exercises, called the Physical Jerks.  After dressing, etc., the adults go to work while the children go to school.  Lunch is in the middle of the day.  There are periodic two minute hates to arouse the people's anger and excitement.  After work, there are social gatherings at the community centers and then everyone returns home and goes to sleep.  Any change in a person's regular routine is viewed as suspicious.  For this reason, Winston is nervous about skipping going to the center one evening and meeting Julia instead.

The Party regulates the languages used in Oceania. There are two common dialects used, Oldspeak and Newspeak.  Oldspeak is the vernacular that we know and use in the United States today.  Newspeak is the language that the Party creates.  It is the only idiom with a vocabulary that decreases in size as time goes on.  The Party wants to have a language that is so small that it'll be impossible to think poorly of the Party.  (This is known as thoughtcrime in Newspeak.)  Furthermore, all poetry and songs originate from the Party.  There are two significant songs that are repeated throughout the novel.  One of them is:

They sye that time 'eals all things,

They sye you can always forget:

But the smiles an' the tears across the years

They twist my 'eartstrings yet! (117, 180)

It is sung by a "red-armed woman" while "marching to and for between the washtub and the line".  The woman is a Prole.  The second song is:

Under the spreading chestnut tree

I sold you and you sold me:

There lie they, and here lie we

Under the spreading chestnut tree. (66, 241)

This tune is played over the telescreen.  First of all, songs are produced, mainly for the Proles, by a versificator.  This is an ironic choice of a word to name this machine.  A versificator is a machine.  It has no feelings.  The name, versificator, comes from the word versicle.  A versicle is a verse that is chanted by a priest and responded to by his congregation.  This is a prayer with a lot of emotion.  Second, the songs, despite being mechanically produced, have an emotional feminine undertone (Weatherly 82).  This side is related to the mother figure of the family unit that the Party is trying to destroy.

The government exerts its sovereignty over marriage.  All marriages are arranged by either the state or by the parents of those involved.  The purpose for marriage is to legalize the union of a man and a woman in order to produce children to serve the state.  From the time that these offspring are very young, they are trained as spies.  Many children, such as Parsons' kids, turn their parents in to the Thought Police.  Neither the parents nor the children are supposed to have any love for one another.  There is no love in the world.  "Love" is only used for propaganda.  Adultery is forbidden to the people.  However, they have never been exposed to its existence.  Therefore, they don't even know what it is.  As a result, forbidding it is an unnecessary extreme.

The Party has ways of controlling the thoughts of the people.  Winston believes that the Party can control everything except for your thoughts.  He says that "nothing was your own except the few cubic centimeters inside your skull".  In the end of the novel, however, Winston learns that he is wrong.  He realizes that the government has the ability to even penetrate your mind.  One of the ways it they controls your thoughts is with the two minute hate.  Even if at first you know what you're doing, you get caught up in all of the commotion and get excited and angered too.  The Thought Police enforce the desired train of thought.  Nobody knows who or where they are, what they look like, or when they'll arrest someone.  Even children, like Parsons' kids, can be part of the Thought Police without their own parents knowing.  The Thought Police use methods such as torture and force to comprehend one's thoughts.  They use these same methods to compel one to accept the things that the Party says and writes even if you do not believe in them.  No matter how little you give credence to what the Party says in the beginning, you eventually come to accept everything.  Winston comes to believe that two plus two equals five.  He also learns to consider the following statements as true:                                          WAR IS PEACE

FREEDOM IS SLAVERY

IGNORANCE IS STRENGTH (7,17, 26, 87, 152, 166)

Everyone is under constant surveillance.  There are telescreens in the houses and other buildings of every Party and Inner Party member.  The following exert displays some of the telescreens' power:

Any sound that Winston made, above the level of a very low                                  whisper, would be picked up by it; moreover, so long as he                                                                    remained within the field of vision which the metal plaque                                                                      commanded, he could be seen as well as heard.  There was of                                                  course no way of knowing whether you were being watched at any                        given moment......  You had to live- did live, from habit that                                               became instinct- in the assumption that every sound you made was                        overheard, and, except in darkness, every movement scrutinized                                          (6-7).

The Proles didn't have telescreens in their houses or edifice

7.      1984 By George Orwell

1984

-George Orwell

Summary  Chapter 1 and 2

We are introduced to Winston Smith the main character of the story.

Works at Ministry of truth.  Ministry of truth is one of four government

buildings in destroyed London, the main city of Airstrip One, a province of

Oceania.  Year is 1984 and three contries are at war, Oceania, Eurasia and

Eastasia.  Oceania is run by the party whose leader is Big Brother.

Winston is sick of his life in the ruined city and decides to keep a diary.

This is against the law in Oceania.  He felt his feelings begin to hate

Emmanuel Goldstein, leader of the enemy party.  He also spots O'Brien, a

party leader whose eyes he see's a bit of political sympthy.  See's young

girl who he dislikes.  He feels it is only a matter of time before his

though crimes are detected.  A knock at the door he thinks is police.  Mrs.

Parsons, his neighbor is at the door and asked him to unclog a sink.  He

does it but smells sweat all over the apartment.  Mrs. Parsons is a

follower of party doctrine and a fellow employee at the ministry.  The

children are members of Spies, a youth that encourages spying and telling

on traitors, including parents.  Winston is revolted.  He returns home and

writes a couple more minutes before going back to work.  He remenbers a

dream where O'Brien tole him he would meet him in a place wher there is no

darkness.  He washes his hands and hides the diary

Reaction

Major ideas, conflicts and themes are introduced.  We are shown how the

earth has changed, into 3 main contenients.  we are also introduced to the

main character and how he fits into the new world.  Also we are shown how

the computer age has taken over peoples minds.  The language is easy to

understand, it has not really changed much over time.  Seems like nothing

left after nuclear war, just ruins remaining.  We are introduced to Tom

Parsons which Winston is contrasted with.  The city is very drab.

Quotes

"Big brother is watching you, the caption beneath it said"

"Thoughtcrime was not a thing that could be concealed for ever."

1984

-George Orwell

Summary Chapter 3,4 and 5

Waking from dreams, he remembers his mother and sister, and can barely

remember their disappearence and feels responsible for there deaths.  He

has another dream where he is in the perfect countryside with the girl he

had noticed eariler.  He dreamed she stripped for him.  This time he is

woken up by the telescreen, telling him to do his exercises.  He thinks

about how much power the Party has over all information.  Begins work at

the ministry of truth.  His job is to correct printed articles in line with

the Party's orders.  The Ministry and records department jobs are to

rewrite history to make the party look good.  They get a break because of

the 2 minute hate.  When he gets back he replaces a speech by Big Brother

with invented history.  Makes up story about a man named Ogilvy.  The

article had become contrary to the present party policy. It is replaced as

though is never existed. Winston meets Syme, a philologist, for lunch.

Syme explains parts about Newspeak.  They are joined by Parsons.  Winston

thinks of the fate that each co-worker will recieve.  Syme will be

vapourized because he is to smart, where Parsons is dull enough to escape

vapourization.  He is the only one who has not been taken over by the

propaganda that is always being brodcast.  He notices the same girl from

the other day starring at him and thinks it is the thought police.

Reaction

The Golden country that he dreams about is definatly a release or a

freedom from the the drabness of London.  Also from the party. We are

introduced to the fact that he has no mother or father or sisters or

brothers anymore because they were taken by the party. He is realizing that

he is rebelling against the party and he understands that he is at risk.

Winston is in search of the truth and is concerned because of the party's

ability to change history. We find that he likes his work even though it is

for the party and against morals.  He is introduced to the girl that will

play a big part in the book most likely.

Quotes

"People in the Records Department did not talk readily about there jobs."

"Winstons greatest pleasure in life was his work"

1984

-George Orwell

Summary Chapter 6,7 and 8

He records in his diary and encounter a couple of years ago with a

prostiture mad up to look young, but was really and old woman. This menory

of the encounter causes him to think of the policy regarding sex and

marriage which the party has enforced.  Thsi causes him to theink of his

miserable life with his wife Katherine, that he has not seen in eleven

years.  Winston resents the intrusinon of the Party into the sex lives of

its members.  Also realizes the discouragement of sexual enjoyment, that

makes any love affair with a party member impossible.  Writing down the

incident does not help him.  He makes another entry in his diary, this one

concerning the proles.  He feels they are the only group that might

overthrough the party, but they are unaware of it. There is no way of

finding the truth about the past but he does think that present life is

worse than the past. He remembers a photo that came into his possession

trying to change the pastbut he destroyed it.  He plans to stay free. After

work one evening, he wonders into the prole end of London, and ends up near

the store where he bought the diary.  Follows man into pub and plans to ask

him about revolution but man is incoherent.  He leaves the pub and wanders.

He ends up outside the little antique shop and decides to buy a glass

paperweight.  Mr. Charrington shows him a room upstairs and Winston dreams

of renting it.  He notices a dark haired girl following himand he is sure

it is the thought police and he will be arrested.

Reaction

We discover that people have a bond when it comes to sexuallity that the

party connot control.  Even thought the party rejects sexual relationships

between its members.  Sexual experience is no longer allowed in the society

and Winston longs for one.  He confesses in his Diary about his last

expereince but it  does not help.  We find he has faith in the proles and

there ability to revolt.  It is hard to set up a revolt with the thought

police detecting every thought.  Winston reaches a crises with the thought

police.

Quotes

"Winston reached down and cautiously scratched his varicose ulcer"

"Not a word could ever be proved or disproved"

1984

-George Orwell

Summary Part 2, Chapter 1,2 and 3

At work he runs into the dark haired girl again, in the hallway. She

falls and while he is lifting her up she slips him a note.  He reads it at

his desk and is amazed to find that it simple states, I love you.  Eager

and excited to meat with her, he has to wait 7 days until they eat together

in the cafeteria.  They decide to meet in Victory square.  When meeting

there, they arrange another meeting next sunday afternoon.  At the

designated meeting place, in the countryside outside London, he finally

learns her name.  Julia explains that she considers herself rebelious to

the party.  She has had sex with many other non-members.  Suddenly he walks

into the scene exactly like his dreem.  She removes her clothes and they

have sex.  He belives that sexual desire may be the force that destroys the

party. Following there secret meeting they meet each othe occasionally.

Julie arranges the meetings.  They go a month without seeing each other but

whenever they can before and after.  She belives that she must pretend to

cooperate with the party and in secret break the rules whenever possible.

Winston thinks that rebellion is the best answer.  They discuss past girl

and boyfriends and how the party controls them.

Reaction

He is ready for the Julia but is worried about a possible trap. His

negative approach to life and his sexual fustration make him ready anyhow.

Once he commits to her he connot go back and he is committing though

crimes. This may be the beginning of the end. He was happy to find that she

was not a virgin and had previous affairs.  His idea of revolt is changed

and he now is enjoying being corrupted.  Julia takes charge of the

relationship, showing her aggressivness.  She does not believe in Winstons

ideas on rebellion and thinks that differently.

Quotes

"A sense of helplessness took hold of Winston"

"Between you and me, the antique trade's just about finished"

1984

-George Orwell

Summary Chapter 4,5,6 and 7

Winston does rent the room above the antique show and realizes the

foolishness of what he and Julia are doing.  She brings him coffee and real

sugar and real old-fashioned make-up.  Julie tries to remember an old

nursry rhyme, while Winston immagines that he  and Julia and the room

itself were all closed in like the paperweight. Many preperations for the

upcoming hate week keep Winston, Julia and the others very busy.  Winston

discovers that his friend Syme has dissappeared and all records of him have

been altered. Meanwhile, Parsons is still busy and happy in the

preperations for hate week.  He was right about them.  Because of the

increased work load he and Julia do not meet as much but in the room above

the antique shop they look at things from the past and other forbidden

things.  They discuss the hopelessness of there private rebellion and that

it cannot go on forever.  He is dissappointed that Julie does not reject

propaganda from the partyand her theroy that the party sends bombs on

itself.  One day at work O'Brien gives Winston his address and asked him to

stop by so tha he can lend him an advance copy of the Newspeak dictionary.

Winstonthinks this is a conspiracy against the party and is excited but,

thinks it will end in touture and death.  Winston dreams of his mother

again and the hunger and awful conditions there were before the

disappearence. He feals bad for asking for rationed food and stealing his

sisters choclate.  When he came back they were gone. Winston tries to tell

her but she is tired.  He is glad him and her have there own feeling toward

each other.

Reaction

He rents room above the antique shop showing his independence and his

plunge into the end.  He wishes the room could be closed in like the

paperweight.  We find out how different the two main characters are.  The

state does not care what kind of person you you are.  Julia understanding

of the party is much better that Winston although she is nieve to many

things that the party does. Winston defines his rebellion in three steps,

first the thought then the word(Diary) then the act(Julia).  O'Brien seems

to be a good man, also in rebellion.  His mother was like him.

Quotes

"The timy interior of the shop ws in fact uncomfortably full, but

there was almost nothing in it of the slightest value"

"A sharp cry of pain was wrung out of her"

1984

-George Orwell

Summary chapter 8,9 and 10

Winston takes Julia to the O'Briens apartment.  He wonderes is O'Brien

is also a rebel because he finds him in front of the telescreen, hard at

work.  Over toast he explains to Winston what is required of the secret

rebel brotherhood.  They except the terms of the menbership except that

they will never see each other ever again.  O'Brien promises to be given a

copy of Emmanuel Goldstein's book, secretly in the future.  After a long

week, of sorting through millions of documents, changing them to prove that

the Party's decision that Easstasia, and not Eurasia, was the enemy that

they have been fighting all along.  He rushes home to read the copy of the

book.  He reads while lying back and relaxing.  Julia falls asleep when he

tries to read her sections of it.  When they awake from there sleep they

start talking, but a voice issues from behind the picture on the wall.  It

is a hidden telescreen which instructs them not to move.  They are rushed

by armed guards.  The Thought Police had been observing them all along.

Winston and Julia are violently seperated.  Mr. Charrington enters the room

without his disquise, looking much younger.  He is a menber of the thought

police.

Reaction

Winston thinks of O'Brein as a strong, unexcitable man.  He is dedicated

and wholeheartyu to the brotherhood.  Winston joins the brotherhood and

tells about his dreams.  We understand about hate week a little more.

Winston reads the book that is given to him by O'Brien.  Winston and Julia

get arrested.  They find out that O'Brien was the enemy.  There was a sorta

feeling that O'Brien was the bad guy, and they would get cought sonner or

later.

Quotes

"He was a bit early"

"The lane widened, and in a minute he came to the footpath she had told him

of"

1984

-George Orwell

Summary Part 3 Chapter 1 and 2

Winston is being held prisoner in a large, crowded cell at the Ministry

of Love.  Ampleforth and Parsons are both prisoners also. Parsons was tured

in by his own daughter for thoughtcrime. He feels increased discomfort and

room 101 is continually mentioned by several prisoners.  O'Brien enters the

cell with a guard and Winston now realized he has been betrayed by him.

O'Brein is a member of the Inner Party.  O'Brien orders the guard to strike

Winston who feels a great deal of pain on his elbow. Winston is tortured

both physically and mentally for an unknown length of time.  He keeps

getting interrogated with beations and questions until he confesses to many

crimes.  O'Brien reveals that he has been watching Winston for seven years.

O'Brein wants total rehab. from Winston.  O'Brien explains why the party

can never be defeated.  He has been informed that Julia quite easily

betrayed him and has now been released  totally rehabilitated.  Winstons

questions about room 101 is not answered.

Reaction

Finally he is caught by the thought police, which was inevidable since

the beginning.  He realizes that he has been betrayed by Julia and O'Brien.

But he says he would never betray her.  All time is lost while he is in

jail.  We is going to be rehabilitated and is taken to the dreded 101 for

more mind games. Winston does not crack, except that O'Brien gets him to

believe is a little crasy.

Quotes

"Listen the more men you have had the more I love you"

"We can come here once again"

1984

-George Orwell

Summary Chapter 3 and 4

O'Brien tells Winston th esecond stage of his rehab. is about to begin-

understanding the why in party.  He also tells winston that he wrote

sections of Goldstiens book.  He says the Party rules for the sake of

power, and power alone.  The proles will never revolt. O'Brein questions

him further and punishes him when he does not answer correctly.  Winston

says he is morally superior to the Party, but O'Brien has a tape of the

conversation  about what Winston was willing to do to join the brotherhood.

Winston thinks that the party will be defeated by a noble man, but O'Brien

shows Winston himself in the mirror.  Winston weeps looking at his own aged

and ghastly body.  He conforts himself by thinking about how he never

betrayed Julia.  Winstons health is improving, and he is trying to accept

the rightness of the party.  He examines the past events and realilizes the

party was in control the whole time.  He realizes also that he party can

make anything right if is wants to. He has to practice doublethinking.  He

wakes up from a troubled sleep, calling Julia's name.  O'Brien enters his

room and Winston confesses that he still hates Big Brother.  He is sent to

room 101.

Reaction

He had also looked to O'Brien for sanity and stength and kindness but

now he sees what he really is a power-hungry guy who likes infliction of

pain.  He finds out he has been watched for 7 years. After being broken or

cracked he still has the fact that he has not turned against Julia.  They

completely destroyed Winston and he has now entered the party.

Quotes

"Have you heard the rumours of the existance of the brotherhood."

"The brotherhood cannot be wiped out because it is not an orgainization

in the ordinary sense"

"He was tired, but not sleepy any longer"

1984

-George Orwell

Summary Chapter 5 and 6

The torture room is brightly lit, room 101.  O'Brien says that the room

contains the worst thing in the world.  It turns out to be rats in a cage

which can be strapped over his face.  Winston yells and screems and is

overcome by the horror and the terror.  He screams that this punnishment

should be given to Julia and not him. O'Brien spares his life.  Winston is

then released.  He is sitting under a tree at the Chestnut Tree Cafe.  He

drinks very heavily now.  He remembers meeting Julia and how they talked

about how they betrayed each other.  The party would not allow them to see

each other, but neither felt anything anymore.  He remembers a game of his

childhood but then it is pushed out by the broadcast that comes on the

telescreen.  Eurasia is once again the enemy.  His heart fills with love

for Big Brother.

Reaction

The party knows the worse nightmare of each person and is ble to use

that against them.  It worked on Winston.  Finnally he gives in and the

party has won. Quotes "He did not attempt to kiss her, nor did they speek"

"He loved Big Brother"

8.      1984 BY GOERGE ORWELL

1984

BY GEORGE ORWELL

THE BOOK 1984 BY GEORGE ORWELL IS ABOUT A MAN

NAMED WINSTON SMITH.  HE LIVES IN THE COUNTRY OF

OCEANIA. IN THIS COUNTRY EVERY THING IS

CONTROLLED BY A PARTY NAMED THE BIG BROTHER.

THIS PARTY CONTROLLS EVERY THING FROM FOOD

RATIONS TO WHAT PEOPLE CAN THINK. THEY EVEN

HAVE TELLASCREANS EVERY WHERE SO THEY CAN

WATCH PEOPLE AT ALL TIMES.

WINSTON WORKS IN NEWSPEAK. NEWSPEAK IS WERE

THEY EVENT SIMPILAR WORDS SO THEY CAN

ELEMINATE OTHER WORDS TO MAKE THE LANGUAGE

SIMPILIAR.

WINSTON LIVES A PRETTY NORMAL LIVE UNTILL HE

JOINS A UNDERGROUND PARTY CALLED THE

BROTHERHOOD. HE JOINS THIS BECAUSE HE DOES NOT

BELIEVE IN WHAT THE BIG BROTHER IS DOING AND HE

THINKS IT IS WRONG. THE BROTHERHOOD IS AGAINST

THE BIG BROTHER AND IS TRYING TO END ITS POWER.

IN THIS PARTY THEY TELL WINSTON EVERY THING THE

BIG BROTHER IS NOT TELLING THEM  THINGS  LIKE WHO

OCEANIA IS REALLY AT WAR WITH AND EVERY THING

THAT THE BIG BROTHER HAD BEEN LYING TO THEM

ABOUT.

IN THIS PARTY WINSTON MEETS A GIRL NAMED JULIA.

OVER A PERIOD OF TIME THEY FALL IN LOVE. THEY

HAVE SEX FOR A LONG TIME BUT HAVING SEX IS

ILLEGAL IN OCEANIA. SO THEY HAVE TO HIDE.THEY

FIND A SPOT IN THE FORREST WHERE NO ONE KNOWS

ABOUT SO THEY WONT GET CAUGHT.

AFTER A FEW MONTHS THEY FIND A BETTER SPOT THAT

THEY RENTED FROM A FREIND. THEY USED THIS PLACE

FOR A FEW MONTHS. UNTILL ONE NIGHT WHEN THEY

FELL A SLEEP AND IN THE MORNING THEY WOKE UP TO

THE  POLICE TAKING THE TO JAIL.

THEY TAKE THEM TO A PLACE WHERE THEY ARE

QUESTIONED AND INNTERRIAGATED UNTILL THEY

BREAK DOWN AND CONFESS. THEY ARE TAKING THERE

AND TORRTURED AND BRAIN WASHED UNTILL THEY

BELIVE WHAT THE PARTY TELLS THEM. THEY USED

THE THING WINSTON WAS MOST AFRAID OF AND THATS

RATS. SEEING THE RATS MADE HIM YELL OUT DONT

HURT ME HURT JULIA.THEN THEY LET HIM GO BECAUSE

THEY MADE HIM THINK EVERY THING THEY TOLD HIM.

THESE ARE THE SAME TECHNIQUES THAT THE

GERMANS USED CALL PROPAGANDA. THEY USED THESE

TECHNIQUES TO BRAIN WASH THE PEOPLE AND TELL

THEM WHAT TO THINK.

I THINK THE THEME OF THE BOOK IS TO NEVER TRUST

ANYBODY BECAUSE IN THE END OF THE BOOK

WINSTON YELLS OUT HURT JULIA NOT ME. JULIA

TRUSTED HIM AND HE TOLD ON HER.

1984

BY GEORGE ORWELL

THE BOOK 1984 BY GEORGE ORWELL IS ABOUT A MAN

NAMED WINSTON SMITH.  HE LIVES IN THE COUNTRY OF

OCEANIA. IN THIS COUNTRY EVERY THING IS

CONTROLLED BY A PARTY NAMED THE BIG BROTHER.

THIS PARTY CONTROLLS EVERY THING FROM FOOD

RATIONS TO WHAT PEOPLE CAN THINK. THEY EVEN

HAVE TELLASCREANS EVERY WHERE SO THEY CAN

WATCH PEOPLE AT ALL TIMES.

WINSTON WORKS IN NEWSPEAK. NEWSPEAK IS WERE

THEY EVENT SIMPILAR WORDS SO THEY CAN

ELEMINATE OTHER WORDS TO MAKE THE LANGUAGE

SIMPILIAR.

WINSTON LIVES A PRETTY NORMAL LIVE UNTILL HE

JOINS A UNDERGROUND PARTY CALLED THE

BROTHERHOOD. HE JOINS THIS BECAUSE HE DOES NOT

BELIEVE IN WHAT THE BIG BROTHER IS DOING AND HE

THINKS IT IS WRONG. THE BROTHERHOOD IS AGAINST

THE BIG BROTHER AND IS TRYING TO END ITS POWER.

IN THIS PARTY THEY TELL WINSTON EVERY THING THE

BIG BROTHER IS NOT TELLING THEM  THINGS  LIKE WHO

OCEANIA IS REALLY AT WAR WITH AND EVERY THING

THAT THE BIG BROTHER HAD BEEN LYING TO THEM

ABOUT.

IN THIS PARTY WINSTON MEETS A GIRL NAMED JULIA.

OVER A PERIOD OF TIME THEY FALL IN LOVE. THEY

HAVE SEX FOR A LONG TIME BUT HAVING SEX IS

ILLEGAL IN OCEANIA. SO THEY HAVE TO HIDE.THEY

FIND A SPOT IN THE FORREST WHERE NO ONE KNOWS

ABOUT SO THEY WONT GET CAUGHT.

AFTER A FEW MONTHS THEY FIND A BETTER SPOT THAT

THEY RENTED FROM A FREIND. THEY USED THIS PLACE

FOR A FEW MONTHS. UNTILL ONE NIGHT WHEN THEY

FELL A SLEEP AND IN THE MORNING THEY WOKE UP TO

THE  POLICE TAKING THE TO JAIL.

THEY TAKE THEM TO A PLACE WHERE THEY ARE

QUESTIONED AND INNTERRIAGATED UNTILL THEY

BREAK DOWN AND CONFESS. THEY ARE TAKING THERE

AND TORRTURED AND BRAIN WASHED UNTILL THEY

BELIVE WHAT THE PARTY TELLS THEM. THEY USED

THE THING WINSTON WAS MOST AFRAID OF AND THATS

RATS. SEEING THE RATS MADE HIM YELL OUT DONT

HURT ME HURT JULIA.THEN THEY LET HIM GO BECAUSE

THEY MADE HIM THINK EVERY THING THEY TOLD HIM.

THESE ARE THE SAME TECHNIQUES THAT THE

GERMANS USED CALL PROPAGANDA. THEY USED THESE

TECHNIQUES TO BRAIN WASH THE PEOPLE AND TELL

THEM WHAT TO THINK.

I THINK THE THEME OF THE BOOK IS TO NEVER TRUST

ANYBODY BECAUSE IN THE END OF THE BOOK

WINSTON YELLS OUT HURT JULIA NOT ME. JULIA

TRUSTED HIM AND HE TOLD ON HER.

1984

BY GEORGE ORWELL

THE BOOK 1984 BY GEORGE ORWELL IS ABOUT A MAN

NAMED WINSTON SMITH.  HE LIVES IN THE COUNTRY OF

OCEANIA. IN THIS COUNTRY EVERY THING IS

CONTROLLED BY A PARTY NAMED THE BIG BROTHER.

THIS PARTY CONTROLLS EVERY THING FROM FOOD

RATIONS TO WHAT PEOPLE CAN THINK. THEY EVEN

HAVE TELLASCREANS EVERY WHERE SO THEY CAN

WATCH PEOPLE AT ALL TIMES.

WINSTON WORKS IN NEWSPEAK. NEWSPEAK IS WERE

THEY EVENT SIMPILAR WORDS SO THEY CAN

ELEMINATE OTHER WORDS TO MAKE THE LANGUAGE

SIMPILIAR.

WINSTON LIVES A PRETTY NORMAL LIVE UNTILL HE

JOINS A UNDERGROUND PARTY CALLED THE

BROTHERHOOD. HE JOINS THIS BECAUSE HE DOES NOT

BELIEVE IN WHAT THE BIG BROTHER IS DOING AND HE

THINKS IT IS WRONG. THE BROTHERHOOD IS AGAINST

THE BIG BROTHER AND IS TRYING TO END ITS POWER.

IN THIS PARTY THEY TELL WINSTON EVERY THING THE

BIG BROTHER IS NOT TELLING THEM  THINGS  LIKE WHO

OCEANIA IS REALLY AT WAR WITH AND EVERY THING

THAT THE BIG BROTHER HAD BEEN LYING TO THEM

ABOUT.

IN THIS PARTY WINSTON MEETS A GIRL NAMED JULIA.

OVER A PERIOD OF TIME THEY FALL IN LOVE. THEY

HAVE SEX FOR A LONG TIME BUT HAVING SEX IS

ILLEGAL IN OCEANIA. SO THEY HAVE TO HIDE.THEY

FIND A SPOT IN THE FORREST WHERE NO ONE KNOWS

ABOUT SO THEY WONT GET CAUGHT.

AFTER A FEW MONTHS THEY FIND A BETTER SPOT THAT

THEY RENTED FROM A FREIND. THEY USED THIS PLACE

FOR A FEW MONTHS. UNTILL ONE NIGHT WHEN THEY

FELL A SLEEP AND IN THE MORNING THEY WOKE UP TO

THE  POLICE TAKING THE TO JAIL.

THEY TAKE THEM TO A PLACE WHERE THEY ARE

QUESTIONED AND INNTERRIAGATED UNTILL THEY

BREAK DOWN AND CONFESS. THEY ARE TAKING THERE

AND TORRTURED AND BRAIN WASHED UNTILL THEY

BELIVE WHAT THE PARTY TELLS THEM. THEY USED

THE THING WINSTON WAS MOST AFRAID OF AND THATS

RATS. SEEING THE RATS MADE HIM YELL OUT DONT

HURT ME HURT JULIA.THEN THEY LET HIM GO BECAUSE

THEY MADE HIM THINK EVERY THING THEY TOLD HIM.

THESE ARE THE SAME TECHNIQUES THAT THE

GERMANS USED CALL PROPAGANDA. THEY USED THESE

TECHNIQUES TO BRAIN WASH THE PEOPLE AND TELL

THEM WHAT TO THINK.

I THINK THE THEME OF THE BOOK IS TO NEVER TRUST

ANYBODY BECAUSE IN THE END OF THE BOOK

WINSTON YELLS OUT HURT JULIA NOT ME. JULIA

TRUSTED HIM AND HE TOLD ON HER.

1984

BY GEORGE ORWELL

THE BOOK 1984 BY GEORGE ORWELL IS ABOUT A MAN

NAMED WINSTON SMITH.  HE LIVES IN THE COUNTRY OF

OCEANIA. IN THIS COUNTRY EVERY THING IS

CONTROLLED BY A PARTY NAMED THE BIG BROTHER.

THIS PARTY CONTROLLS EVERY THING FROM FOOD

RATIONS TO WHAT PEOPLE CAN THINK. THEY EVEN

HAVE TELLASCREANS EVERY WHERE SO THEY CAN

WATCH PEOPLE AT ALL TIMES.

WINSTON WORKS IN NEWSPEAK. NEWSPEAK IS WERE

THEY EVENT SIMPILAR WORDS SO THEY CAN

ELEMINATE OTHER WORDS TO MAKE THE LANGUAGE

SIMPILIAR.

WINSTON LIVES A PRETTY NORMAL LIVE UNTILL HE

JOINS A UNDERGROUND PARTY CALLED THE

BROTHERHOOD. HE JOINS THIS BECAUSE HE DOES NOT

BELIEVE IN WHAT THE BIG BROTHER IS DOING AND HE

THINKS IT IS WRONG. THE BROTHERHOOD IS AGAINST

THE BIG BROTHER AND IS TRYING TO END ITS POWER.

IN THIS PARTY THEY TELL WINSTON EVERY THING THE

BIG BROTHER IS NOT TELLING THEM  THINGS  LIKE WHO

OCEANIA IS REALLY AT WAR WITH AND EVERY THING

THAT THE BIG BROTHER HAD BEEN LYING TO THEM

ABOUT.

IN THIS PARTY WINSTON MEETS A GIRL NAMED JULIA.

OVER A PERIOD OF TIME THEY FALL IN LOVE. THEY

HAVE SEX FOR A LONG TIME BUT HAVING SEX IS

ILLEGAL IN OCEANIA. SO THEY HAVE TO HIDE.THEY

FIND A SPOT IN THE FORREST WHERE NO ONE KNOWS

ABOUT SO THEY WONT GET CAUGHT.

AFTER A FEW MONTHS THEY FIND A BETTER SPOT THAT

THEY RENTED FROM A FREIND. THEY USED THIS PLACE

FOR A FEW MONTHS. UNTILL ONE NIGHT WHEN THEY

FELL A SLEEP AND IN THE MORNING THEY WOKE UP TO

THE  POLICE TAKING THE TO JAIL.

THEY TAKE THEM TO A PLACE WHERE THEY ARE

QUESTIONED AND INNTERRIAGATED UNTILL THEY

BREAK DOWN AND CONFESS. THEY ARE TAKING THERE

AND TORRTURED AND BRAIN WASHED UNTILL THEY

BELIVE WHAT THE PARTY TELLS THEM. THEY USED

THE THING WINSTON WAS MOST AFRAID OF AND THATS

RATS. SEEING THE RATS MADE HIM YELL OUT DONT

HURT ME HURT JULIA.THEN THEY LET HIM GO BECAUSE

THEY MADE HIM THINK EVERY THING THEY TOLD HIM.

THESE ARE THE SAME TECHNIQUES THAT THE

GERMANS USED CALL PROPAGANDA. THEY USED THESE

TECHNIQUES TO BRAIN WASH THE PEOPLE AND TELL

THEM WHAT TO THINK.

I THINK THE THEME OF THE BOOK IS TO NEVER TRUST

ANYBODY BECAUSE IN THE END OF THE BOOK

WINSTON YELLS OUT HURT JULIA NOT ME. JULIA

TRUSTED HIM AND HE TOLD ON HER.

1984

BY GEORGE ORWELL

THE BOOK 1984 BY GEORGE ORWELL IS ABOUT A MAN

NAMED WINSTON SMITH.  HE LIVES IN THE COUNTRY OF

OCEANIA. IN THIS COUNTRY EVERY THING IS

CONTROLLED BY A PARTY NAMED THE BIG BROTHER.

THIS PARTY CONTROLLS EVERY THING FROM FOOD

RATIONS TO WHAT PEOPLE CAN THINK. THEY EVEN

HAVE TELLASCREANS EVERY WHERE SO THEY CAN

WATCH PEOPLE AT ALL TIMES.

WINSTON WORKS IN NEWSPEAK. NEWSPEAK IS WERE

THEY EVENT SIMPILAR WORDS SO THEY CAN

ELEMINATE OTHER WORDS TO MAKE THE LANGUAGE

SIMPILIAR.

WINSTON LIVES A PRETTY NORMAL LIVE UNTILL HE

JOINS A UNDERGROUND PARTY CALLED THE

BROTHERHOOD. HE JOINS THIS BECAUSE HE DOES NOT

BELIEVE IN WHAT THE BIG BROTHER IS DOING AND HE

THINKS IT IS WRONG. THE BROTHERHOOD IS AGAINST

THE BIG BROTHER AND IS TRYING TO END ITS POWER.

IN THIS PARTY THEY TELL WINSTON EVERY THING THE

BIG BROTHER IS NOT TELLING THEM  THINGS  LIKE WHO

OCEANIA IS REALLY AT WAR WITH AND EVERY THING

THAT THE BIG BROTHER HAD BEEN LYING TO THEM

ABOUT.

IN THIS PARTY WINSTON MEETS A GIRL NAMED JULIA.

OVER A PERIOD OF TIME THEY FALL IN LOVE. THEY

HAVE SEX FOR A LONG TIME BUT HAVING SEX IS

ILLEGAL IN OCEANIA. SO THEY HAVE TO HIDE.THEY

FIND A SPOT IN THE FORREST WHERE NO ONE KNOWS

ABOUT

9.      1984

The novel Nineteen Eighty-Four by George Orwell is an American classic which explores the human mind when it comes to power, corruption, control, and the ultimate utopian society.  Orwell indirectly proposes that power given to the government will ultimately become corrupt and they will attempt to force all to conform to their one set standard.  He also sets forth the idea that the corrupted government will attempt to destroy any and all mental and physical opposition to their beliefs, thus eliminating any opportunity for achieving an utopian society.

The novel shows how the government attempts to control the minds and bodies of it citizens, such as Winston Smith who does not subscribe to their beliefs, through a variety of methods.  The first obvious example arises with the large posters with the caption of "Big Brother is Watching You" (page 5).  These are the first pieces of evidence that the government is watching over its people.  Shortly afterwards we learn of the "Thought Police", who "snoop in on conversations, always watching your every move, controlling the minds and thoughts of the people." (page 6).  To the corrupted government, physical control is not good enough, however.  The only way to completely eliminate physical opposition is to first eliminate any mental opposition.  The government is trying to control our minds, as it says "thought crime does not entail death; thought crime is death." (page 27).  Later in the novel the government tries even more drastic methods of control.  Big Brother's predictions in the Times are changed.  The government is lying about production figures (pages 35-37).  Even later in the novel, Syme's name was left out on the Chess Committee list.  He then essentially vanishes as though he had never truly existed (page 122).  Though the methods and activities of the government seem rather extreme in Orwell's novel, they may not be entirely too false. "Nineteen Eighty-Four is to the disorders of the twentieth century what Leviathan was to those of the seventeenth." (Crick, 1980).  In the novel, Winston Smith talks about the people not being human.  He says that "the only thing that can keep you human is to not allow the government to get inside you." (page 137).  The corruption is not the only issue which Orwell presents, both directly and indirectly.  He warns that absolute power in the hands of any government can lead to the deprival of basic freedoms and liberties for the people.  Though he uses the Soviet Union as the basis of the novel's example, he sets the story in England to show that any absolute power, whether in a Communist state or a Democratic one, can result in an autocratic and overbearing rule.  When government lies become truths, and nobody will oppose, anything can simply become a fact.  Through the control of the mind and body the government attempts, any hopes of achieving an utopian society are dashed.  The peoples' minds are essentially not theirs' anymore.  The government tells them how to think.  Conformity and this unilateral thinking throughout the entire population can have disastrous results. Orwell also tells us it has become a "world of monstrous machines and terrifying weapons.  Warriors fighting, triumphing, persecuting... 3 million people all with the same face." (page 64).

George Orwell was born in India and brought up with the British upper class beliefs of superiority over the lower castes and in general class pride.  A theme very prevalent in his novels, Nineteen Eighty-Four certainly no exception, is this separation in the classes.  The masses are disregarded by the Party.  This is a theme which is "fundamental to the novel, but not demonstrated as fully as the devastation of language and the elimination of the past." (Kazin, 1984).  Kazin also states in his essay that:

"Orwell thought the problem of domination by class or caste or race or                    political machine more atrocious than ever.  It demands solution.  Because   he was from the upper middle class and knew from his own prejudices just             how unreal the lower classes can be to upper-class radicals, a central                        theme in all his work is the separateness and loneliness  of the upper-class          observer, like his beloved Swift among the oppressed Irish."

(Kazin, 1984).

This feeling of superiority somewhat provokes and leads to the aforementioned corruption of absolute power.  As the saying goes, "absolute power corrupts absolutely."  It is not even so much that the rulers want to become corrupt, but they cannot grasp the idea of an absolute rule.  They, as Kazin stated, cannot comprehend the differentiation within the system, and thus become corrupt.  This ultimately prevents achieving an utopian society where the upper class people want to oppress and the lower class want to rebel.

Orwell had strong anti-totalitarianism points of view and greatly satires Socialism, even though he still insisted he was a Socialist in its pure form, in this novel and in Animal Farm. Many consider that Nineteen Eighty-Four is actually an extension of Animal Farm.  In Animal Farm, Orwell

"left out one element which occurs in all his other works of fiction, the                   individual rebel caught up in the machinery of the caste system.  Not until                     Nineteen Eighty-Four did he elaborate on the rebel's role in an Animal                Farm carried to its monstrously logical conclusion."

(Woodcock, 1966).

The two books primary connection is through the use of the totalitarian society and the rebel, and as stated some believe Nineteen Eighty-Four to simply be an extension of Animal Farm.  Nineteen Eighty-Four, however, brings everything to an even more extreme but even scarier is the fact that is more realistic, such as in a Nazi Germany environment.  Nineteen Eighty-Four is considered to have great pessimistic undertones, Orwell's prophecy if you will.  It is also not known whether it was intended as a "last words", though it was his final work, as he collapsed and was bed-ridden for two years before he died.  He did marry several months before his death saying it gave him new reason to live.  Orwell's creation of Winston Smith shows a character who is:

"in struggle against the system, occasionally against himself, but rarely                    against other people.  One thinks of Orwell's having thrown his characters         into a circular machine and then noting their struggle against the machine,          their attempts to escape it or compromise themselves with it."

(Karl, 1972).

Orwell writes more about the struggle as a piece of advice than anything else.

This novel was widely considered prophetic, a warning of what could be to come if we did not take care.  Orwell's method was to introduce the questions, not propose solutions.  Most likely he did not have the solution, but it was his "solution" to help bring about the awareness of the existing problem.

The corrupt government is trying to control the minds of their subjects, which in turn translates to control of their body.  Orwell warns that absolute power in the hands of any government can deprive people of all basic freedoms.  There are similar references in another of Orwell's novels, Animal Farm, supporting the ideas of corruption and an unattainable utopian society which were presented here in Nineteen Eighty-Four.  With this novel, Orwell also introduced the genre of the dystopic novel into the world of literature.

10.  20000 Leagues Under the Sea

20,000 LEAGUES UNDER THE SEA

by Jules Verne

The news spread worldwide about a serpent-like creature.  Supposedly,  part of the whale family has been ramming ships and sinking them with ease.  The large ship named the Abraham Lincoln was sent out to find and kill this  beast.  An attack of  the monster left Professor Aronnax  and his long time sidekick Conseil thrown overboard.  Ned Land, master harpooner was thrown overboard as well.  An iron-plated submarine saved their lives.  When taken aboard the submarine they were treated with hostility.  With an introduction to Captain Nemo they became passengers aboard the Nautilus.  They were astonished by the Nautilus on how  it could dive down to the ocean depths to see all that the sea had to offer.  Professor Aronnax  and Conseil found the ocean depths to be a  new world!

Many life and death experiences made Ned Land feel uneasy about his new  life aboard the

Nautilus.  He was determined to escape.  Captain Nemo took them to many exquisite places.  They

experienced hunting and searching for pearls, VigLo Bay, a hollowed out volcano, and the underwater city of Atlantis.  Captain Nemo took them to the South Pole, where no man had been before and Captain Nemo was the first to go there.  They almost died leaving the Great Ice Barrier.  Then they fought with giant squid.  Captain Nemo seemed to be seeking revenge on ships from his own country.  He used the powerful  Nautilus as a weapon to sink many ships.  After 10 months of being aboard they completed their

underwater exploration covering 20,000 leagues under the sea.  A   Maelstrom hit the Nautilus and Professor Aronnax, Conseil and Ned Land, already in the dinghy ready to escape, were thrown from the submarine.  They floated to safety and returned to their homeland. The mystery  remains.  Nobody knows what happened to the Nautilus and its infamous Captain Nemo.

11.  2001 A Metaphorical Odyssey

2001: A Metaphorical Odyssey

Myths are created for the purpose of conveying a message with an interesting medium with which to do so.  Many cultures use myths to teach their young about the past.  Through time, however, these myths become impractical due to discovery.  This is when a new myth must be introduced to take the place of the obsolete one.  Stanley Kubrick shaped 2001: A Space Odyssey as a new myth to crack the archaic view of space, by using a hero, a dilemma, and a new revelation to fuel his cause.

Every myth has a character that breaks the mold of the ordinary.  In Homer's The Odyssey, Odysseus is the character that broke the mold of the other mortals.  He displayed character traits that superseded those of his crew mates.  Much in the same fashion, Bowman breaks the mold of the astronauts aboard the Discovery.  He and Poole are share duties aboard the Discovery, but he demonstrates a higher level of thinking by sensing and interpreting what is happening before him.  He is the one that realizes exactly what HAL is doing, and he puts a stop to it.  He sees problems, analyzes them, and then proceeds to diffuse the cause in the most efficient manner possible.  He uses his character traits of intelligence, persistence, and adroitness to overcome the dilemmas put in front of him.  By using his intelligence, he realizes that HAL has figured him out, and he must find a way to get back into the discovery in order to survive.  In using persistence, Bowman does not give up when it seems that HAL has won the battle.  Instead he takes the rough way in, and he then disables HAL.  Bowman shows how adroit he is with dilemmas by handling the entire HAL situation with calm and intelligence.

While on the mission, Bowman is faced with many dilemmas.  The first dilemma, is that he is in the dark about the purpose of the mission.  He has only been supplied with the vital information that he will need to perform routine operations until the site of the mission is reached.  HAL is responsible for informing him when the place has been reached and  time is right to complete the  mission.  He decides that he must do what he can without actually knowing the exact purpose of the mission.  The next dilemma is that HAL has been reacting to his instincts in a negative manner.  He realizes that Bowman and Poole are having doubts about the mission.  Bowman decides that he must hide his emotions and plans from HAL in order to proceed successfully.  HAL, on the other hand, figures out that Bowman and Poole are planning to unplug him by reading their lips while they are conversing in the pod, and finds a way to get them where he can control them.  He fakes a failure in the communications satellite dish, and Poole goes out to repair it, never to return. After Poole is disposed of, Bowman finally realizes that HAL has turned on him.  This is the ultimate dilemma that Bowman must face.  He is locked out of the Discovery, and he must find a way to get back in and disable HAL before he dies, and the mission is unsalvageable.  He finally succeeds in re-entering the Discovery and disabling HAL as the ship nears Jupiter and the pre-recorded message plays on the video screen.  His decision to unplug HAL and run the mission solo is the deciding factor in the new revelation that he encounters.

With the approaching of the climax of the movie, Bowman realizes that the mission was far beyond the comprehension of any human being.  He realizes why the mission had been kept confidential even to him, as a pre-recorded message gives him a debriefing of the purpose of the mission.  The ever present question of whether or not there are other intelligent beings in the universe is answered as Bowman enters the stargate.  As he descends into the stargate, the many colors and patterns show that he is proceeding into a realm that is a paradox of powers.    When Bowman sees that he is being protected from forces that are far beyond the control of any mortal, he knows that these other beings are far superior to humans.  With his experiences, the enlightened Bowman returns to earth realizing that society dwindling.

Using Bowman as a hero that faces dilemmas to reach the target moment, Stanley Kubrick uses 2001: A Space Odyssey as a new myth to replace the old myths about space.  This redefined what people thought about space.  This myth has carried over into the 20th century, and still will proceed into the 21st century.  It shows how new myths can replace old myths and shatter the very foundation the human mentality.  For when an archaic belief is suddenly replaced with a new one, it is often a reaction to wonder why the old one was wrong.  This often leads to further exploration and discovery in that area.  As discovery progresses, the myths change concurrently.  This also exemplifies how important myths are to a culture or race of beings.  Without myths, there would be no efficient way of communicating the beliefs and philosophies of the time.

12.  28 days later paper

Brian Bass

Essay Writing

4.21.04

Ceci Cravens

Countdown for the Apocalypse:

Philosophy in 28 Days Later

"Whoever fights monsters should see to it that in the process he doesn't become one".

- Friedrich Nietzsche (1844-1900)

From George Orwell's Animal Farm to Walt Disney's adaptation of Alice in Wonderland (1951), social allegories in literature and film have been used as ways to interpret political, economic and social tribulations in the world.  Defined by Webster's New World Dictionary, an allegory is:

The representation of abstract ideas or principles by characters, figures, or events in narrative, dramatic, or pictorial form (Agnes 17).

Social allegories seem simplistic at a glance.  They generally deal with topics and issues that have been discussed repeatedly (such as time, individualism and survival), and then branch off into multi-layered, ambiguous symbolism. They can range in tone from sarcastic and satirical to sinister and sorrowful.  Many film genres today can be used as social allegories: the Western allegorically represents Vietnam War; but of all the filmic allegories represented in contemporary cinema, the zombie film as social allegory is perhaps the most pervasive and striking.  28 Days Later, directed by Danny Boyle (Trainspotting), and written by Alex Garland (The Beach), is an interesting cocktail of a social allegory and a rage-driven, zombie infested horror picture.  Executive producer Greg Caplan aimed to market this film for the box office for horror-loving film junkies as well as the intellectual film enthusiast.  From the combined efforts of Boyle, Garland, and Caplan, comes a film that pleases not only the eye, but the mind as well.

The zombie film has been around since the early introduction of the horror genre from the Hollywood studios.  Films like White Zombie (1932) and I Walked with a Zombie (1943) paved the way for the zombie genre, but in 1968 George A. Romero's Night of the Living Dead really transformed the look and ideology of the zombie film genre.  With a low budget and a grainy film stock, Romero's film depicted a zombie filled city that seemed more believable than the works of his predecessors.  After Night of the Living Dead, many films emulated that style, but the zombie film slowly became less and less popular after the late 70s.  It wasn't until recently that Danny Boyle and Alex Garland decided to reinvent the zombie genre with their haunting, symbolic film.  28 Days Later is a contemporary social allegory (the end of the world) that incorporates the philosophies of Nihilism, Existentialism and Darwinism.

One critic writes:

A hybrid of a George A. Romero genre thriller via Kubrickian morality tale with a turgid taste of black humor mix into a highly intoxicating cocktail of lurid emotionally fused melodrama. A rare treat: horror movie and social fable intertwined (IMDb).

In the film, a group of animal rights activists break into a lab to liberate animals.  Unfortunately they also release a blood-born virus that induces a zombie-like rage within 10 to 20 seconds of contact.

Within Twenty-eight days, all of Britain has succumbed to the rage-virus.  "28 Days Later could best be described as the thinking man's zombie movie" (IMDb). It is a postmodern, semi-nihilistic take on the genre. No longer are the zombies created from toxic waste that we settled for in the past, these zombies are the by-product of scientific experimentation on our society.

The establishing shot in the film begins with scenes of police brutality, global warfare, rioting, nuclear explosions, and supreme anarchy.  The shot zooms out to show that these images are coming from a television in an animal experimentation lab. These heavy images are symbolic of how humans treat each other.  It is, essentially, survival of the fittest.  We are weeding each other out until there is no more existence.

From there the world is overtaken rapidly by the virus that transforms people into mindless zombies whose only intention is to kill.  The depiction of the zombies is completely original.  Some of the aesthetics of the zombie must be credited to George A. Romero's Night of the Living Dead, but instead of the zombies walking slowly and grunting, these horrific creatures are running and spitting vile blood from their insides.  One drop of the "infected" blood into a survivor's bloodstream, and it is all over.

When the protagonist Jim (Cillian Murphy), a young courier, wakes up in an empty hospital, he walks around the hauntingly quiet streets of London.  Here the director shows images of emptiness, desolation and sorrow that strike hard at the audience.  He shockingly comes to the realization that humanity has been lost.   Jim decides to visit his parents' house, only to find them lying dead in their bed together.  At this point, Jim begins to cry and complain about how his parents died in such an awful way.  In response, one of his fellow survivors tells Jim how his family was eaten alive at a subway station.  Jim then drops his mouth and apologizes.  Money, love, and time especially; as Jim finds out are elements that all modern human beings adopt to use as a way to live our lives.  In a post-apocalyptic world, none of these things are important.  Dr. Alan Pratt, a professor at Embry-Riddle University, writes in the Internet Encyclopedia of Philosophy about the concept of time.  He states:

Time is not present in general relativity, and that a temporal variable is probably not a fundamental part of the universe (Pratt).

The theory of time being irrelevant is essentially nihilistic in nature.  28 Days Later deals with nihilist theory in many scenes.  In one scene in particular, an army soldier tries to explain to Jim about time and humanity.  He says:

If you think about it, humans have only been around for a blink of an eye.  So when we all die out, that is a turn back to normality (Garland 89).

If one were to take a step back and realize the ephemeral existence of humankind in terms of time, one can see how the post-apocalyptic world that is created in 28 Days Later is a filmic interpretation of a social allegory.  For centuries, dating back to Socrates, humans have always questioned the significance of time and what the film's writer, Alex Garland, is stating is purely another example of a social allegory.

Later in the film, the survivors or the "uninfected" find brief salvation when they encounter a military base.  There, they eat dinner with a commanding officer who, in a stern tone, tries to make sense of all the madness that has occurred.  He says:

You know what I see?  I see people killing people; and I saw

that the day before yesterday and the day before that and all of my life.  It's just people killing people (Garland 95).

In this speech, the message of Darwinism appears.  What the officer is saying is simply, we are all zombies who kill and destroy.  Throughout history there has always been conflict, death and destruction, and even in a post-apocalyptic society, we are still killing.  So what makes humans now any different from a zombie who eats flesh?  Dr. Walter J. Veith, a Zoologist, writes:

Living organisms, such as humans ... survive the process because they are fitter, and they are fitter because they survive... (Veith 249).

What Dr. Veith is saying is essentially, the stronger or fitter one is, the more likely one is to survive. In 28 Days Later, the "uninfected" are fighting for survival, and the only way to ensure safety is to kill.  One look at our world today and it is evident, we are fundamentally doing the same thing; killing by whatever means necessary.  The term "survival of the fittest" was coined by Biologist Charles Darwin, but the concept of humans killing humans for survival has been represented in literature since before.  Survival is a frequently discussed concept in social allegories, and in 28 Days Later, survival is one of many underlying themes.

28 Days Later at its very core questions human existence, which is primarily an Existentialist thought.  The film asks its audience, "What is the point of living if all we do is kill and destroy one another?"  Another film relevant to this same philosophy is Larry and Andy Wachowski's The Matrix.  In this film, Agent Smith (a machine that hunts humans) explains to the protagonist, Neo, how his robotic world views the human species.  He says:

...as a species, human beings define their reality through suffering and misery...The perfect world was a dream that your primitive cerebrum kept trying to wake up from.  Which is why the Matrix was redesigned to this: the peak of your civilization (Wachowski 156).

Agent Smith is saying that the only way humans know how to live is through "suffering and misery."  Even if we knew how to live in a perfect society, it wouldn't happen because human beings are flawed animals that ultimately are alive for their own survival.

Right now, we are living at the peak of civilization.  Never before in history have we been so pampered and reliant on materials and objects that will "improve," but eventually complicate our life.  Just as the stock market crashed in 1929, once we reach our peak in social, economic and political evolution, the only way to go is down.  Matt Savinar, a graduate of the University of California at Davis, makes an interesting analogy to human existence.  He writes:

Bacteria in a Petri dish will grow exponentially until they run out of resources, at which point their population will crash. Only one generation prior to the crash, the bacteria will have used up half the resources available to them. To the bacteria, there will be no hint of a problem until they starve to death. Before that happens, the bacteria will begin cannibalizing each other in last-ditch efforts to survive (Savinar 112).

But humans are smarter than bacteria, right? You would think so, but the facts seem to indicate otherwise. The first commercial oil well was drilled in 1859. At that time, the world's population was about 1 billion. Less than 150 years later, our population has exploded to 6.4 billion. In that time, it has been projected that we have used up half the world's recoverable oil. Of the half that's left, most will be very expensive to extract. If the experts are correct, we are less than one generation away from a crash. Yet to most of us, there appears to be no hint of a problem. If we are one generation away from our demise, then we are as clueless as bacteria in a Petri dish.

Questioning existence and the importance of humankind in relation to the universe are both topics discussed in social allegories.  This idea is a theme in The Matrix , as well as 28 Days Later.   On the first day of realizing that the world as he knew it was over, Jim asks a survivor about the status of the British government:

JIM

Where is the government?

STEVE

There is no government, everybody's dead!

JIM

What do you mean there is no government?  There is always a government! (Garland 32).

Having been so dependent on the structure of Democracy, it is impossible for Jim to fathom a life of disorder.  When society fails, the basic human instincts become more relevant.  In order to survive, Jim must fight, eat, and find shelter.  Essentially, he has become his own government- a rudimentary idea of anarchy.

In the social allegory Animal Farm, George Orwell questions the necessity of governmental institutions and corrupt regimes.  In 28 Days Later, Garland's pivotal characters question the legitimacy of government and the vague obligations of the military.  The query of government and politics is again another form of a social allegory.

28 Days Later is simple and powerful. It was made on eight million dollars (fifteen times less than Pirates of the Caribbean's one hundred twenty five million dollar budget). What 28 Days Later lacks in effects, it makes up for with a mind- altering story and excellent acting. There are a few arm-chair gripping, jumpy moments but it is the intellect and intricacy of this movie that make it so powerful. The set design is unique and creative.  In fact, for a whole day, the cast and crew had to block off many popular sections of London to create a desolate, disturbing vision of a post-apocalyptic England.  The acting is top notch and the lighting, for their very limited budget, is used to perfectly accent a wonderfully dark story.

If you were to rent 28 Days Later at the movie store, you would find it under the horror section; but this movie is way more than a simple horror film.  It is a social allegory reflecting aspects of our society combined with a unique zombie plot.  From the writing, directing, acting to the cinematography, all the elements that help distinguish this film are made to open the eyes of the masses in order to realize if we, as a society, do not choose to change the way we live our lives, then supreme devastation may arise.

28 Days Later is a clear warning sign for the past, present and future.  In Victorian Literature, H.G Wells, "the father of science fiction" (The Time Machine, The Island of Dr. Moreau), warned the world that scientific experimentation would eventually lead to a societal collapse.  In that same mentality, director Danny Boyle and writer Alex Garland are trying to explain to the masses, through a zombie film, that if we do not change the way we all behave towards each other, then who knows?  Maybe a zombie will be coming after us.

1

13.  2pac Shakurs life

Tupac (Two-pahk) Amur Shakur, commonly known as 2pac, led a violent life. He died on September 13, 1996. He was a gangsta rapper/Aspiring actor. Tupac was a big figure in the rap community, always doing what he wanted and not caring what others thought of him. His life symbolized what a lot of people have gone through, through his music and movies he showed us how hard life can be.

Tupac was born in Brooklyn, NY in 1971. His family and he moved to Baltimore, Maryland early in his life. He took Performing Arts classes at his school; his teachers said he looked promising. He never finished school. He dropped out and moved to a small town outside Oakland, CA ("Associated"), however he did go to college and finish his high school credits.

All his life he was raised by his mom, with his sister. He always led a violent life; April 5, 1993, he assaulted a fellow rapper with a baseball bat. October 31, 1993, he was charged with shooting two off duty police officers. The charges were later dropped. November 19, 1993, he was convicted of sexual assault ("Death").

In November 1994, Tupac himself was shot during an attempted robbery outside a music studio in New York. Tupac did, however, mention this; "Thug life to me is dead. If it's real, let somebody else represent it because I'm tired of it." Shakur told Vibe Magazine. "I represented it too much. I was Thug Life"("Associated").

Tupac had a very promising career. His first album "2pacallyps Now" was very successful. Not too late after that his movie "Juice" was released in 1992. He released two more albums titled "Strictly for my Niggaz" and "Me against the world" and two more movies "Poetic Justice" (1993) and "Above the Rim"(1994). His last album, "All Eyes on Me" sold over 6 million copies and was the first double CD for rap music. ("Thuglife")("Associated")

4:03 p.m. PDT, Friday, September 13, Tupac died of respiratory failure and cardio-pulmonary arrest at University Medical Center, Las Vegas(Payne). He died of bullet wounds to the abdomen and chest at the young age of 25 ("Unofficial"). "Shakur was shot four times in the chest and abdomen. Police believe he was the target." He lingered in a coma before he died. So far police have no suspects. All they are saying is that the people were in a white cadillac, not from Las Vegas where he was shot ("Associated").

I believe that Tupac although he lived a violent life, mostly tried to keep others away from the life he had lived. He died after going farther than a lot of people would have gotten in their entire life. Some believe that Tupac's death was faked but I do not know which to believe. This man was great at what he did, rap, and movies and that is what I admire him for.

"Associated Press Life." http://www.stallion.jsums.edu/~awi10997/Tupac/life.htm  (19 September 1996).

"The Death of Tupac." http://www.stallion.jsums.edu/~awi10997/Tupac/death.htm  (19 September 1996).

Payne, Barbara.   "Tupac Shakurr Has Died." http://www.cpnet.com/shakur.htm  (17 September 1996).

"Thuglife Central: Unofficial 2pac Homepage." http://www.miu.com/Rap/Tupac.htm/  (17 September 1996).

14.  3 Movies Reviewed

English 11

5 December 1996

Trainspotting

Trainspotting is a drop-dead look at a dead-end lifestyle. Set among the junkies and thugs of Edinburgh's slums and made by (director Danny Boyle, writer John Hodge, producer Andrew Macdonald) that created "Shallow Grave," "Trainspotting" caused a sensation in Britain, where it took in more money than any U.K. film except "Four Weddings and a Funeral" and ignited strong controversy over its attitude toward heroin. Mark Renton (Ewan McGregor), the film's narrator, unleashes an overpowering verbal torrent that gets things off to an aggressive start.

"Choose life," Renton insists in voice-over as store detectives chase after him for shoplifting. "Choose a job. Choose a career. Choose a family. Choose a [beep] big television, choose washing machines, cars, compact disc players and electrical tin openers. Choose good health, low cholesterol and dental insurance. Choose fixed-income mortgage repayments. Choose a starter home. Choose your friends. . . . "But why would I want to do a thing like that? I chose not to choose life: I chose something else. And the reasons? There are no reasons. Who needs reasons when you've got heroin?" It is very difficult to resist the film's great energy.

"Trainspotting's" subject matter is raw and raunchy, including AIDS, overdoses

and violence as well as obscene situations described in unprintable language. This is a film that makes you laugh of things that can in no way be described as funny. How is this possible? In the film's signature scene, where Renton, in search of some lost opium suppositories, dives head-first into "the filthiest toilet in Scotland" and emerges in a sublime and spacious undersea world. And despite Renton's celebrated saying on the pleasures of heroin, boasting, "Take the best orgasm you ever had, multiply it by a thousand and you're still nowhere near it," "Trainspotting" is only interested in drugs because its characters are. Most feeble of the characters is the glasses-wearing Spud (Ewen Bremner). Most devious is Sick Boy (Jonny Lee Miller), who knows all there is to know about Sean Connery. Most innocent is Tommy (Kevin McKidd), whose insistence on telling the truth no matter what is viewed as a fatal weakness. And most dangerous is the beer-drinking, heroin-hating psychopath Begbie (Robert Carlyle)..

Some of the funniest parts include Renton's sudden passion for the mysterious Diane (Kelly Macdonald) and Tommy's attempt to get the boys interested in the outdoors, which leads to Renton's "I hate being Scottish" tirade, which ends: "Some people hate the English, but I don't. They're just wankers. We, on the other hand, are colonized by wankers. We can't even  pick a decent culture to be colonized by."

Cast: Ewan McGregor, Ewen Bremmer, Robert Carlyle, Jonny Lee Miller

Credits: Directed by Danny Boyle, written by John Hodge, from the novel by Irvine Welsh.

Ferris Bueller's Day Off

One of the all-time greatest comedies, this movie tells the tale of a smart Chicago teenager (Matthew Broderick), who ditches school with his girlfriend (Mia Sara) and his neurotic best friend (Alan Ruck), so they can spend a day in the windy city. It also turns out that Broderick wants to build his buddy Ruck's self-esteem, a task that turns out to be a more difficult than he imagined. As if this wasn't enough, Broderick's sister (Jennifer Grey) and his principal (a hilariously funny Jeffery Jones), truly believe he's playing hookey and they both want to nail him in the act. Talk about a dilemma.

This is a fine teenage comedy, with well-rounded, intelligent characters, giving Broderick a great starring role. Some of the best scenes are formed around Bueller's ability to gleefully manipulate everybody and everything around him. Those side-splitting, thigh-slapping scenes have to be seen to be believed. Of course, he gets a little help from his friends (Sara and Ruck)..

The cinematography is good, with many pans and close ups in tight situation's making things even more intense and funny. If there was ever a film to put on your "What-to-rent" list, this is it.

Jurassic Park

An amazing film adaptation of the best-selling novel by Michael Crichton, that revolutionized special effects in movies the way Star Wars and 2001: A Space Odyssey did. The story concerns a tropical island, that is the home to living Dinosaurs, brought back by way of DNA. The billionaire (Richard Attenborugh), who owns the island, invites two paleontologists (Sam Neill and LauraDern), a mathematician (Jeff Goldblum) and his grandkids (Ariana Richards and Joseph Mazzello) to the island, unaware that anything can go wrong. Something does! In a major way! A power failure allows the dinosaurs to escape from their cages and roam the park, causing destruction and chaos.

Magnificent direction by the master of film fantasy Steven Spielberg, as well as amazing digital effects, make this a captivating, roller coaster ride, with plenty of suspense and astonishment to go along. True, the story isn't really close to the book version, but why quibble. The actors work well together within some well set up scenes. Still, someone else should have been chosen for the part of the mathematician other than Goldblum. He is completely unconvincing in his role, and doesn't really fit in that well. Other than that, the film is practically flawless with excellent music, cinematography , and some of the greatest special effects I have ever seen.

15.  32 second Macbeth

The 32-second Macbeth", a condensed version of the play Macbeth by the Folger Shakespeare Library, is twenty one quotes of some of the most important quotes in Macbeth.  Although many of these quotes are necessary to understand parts within Macbeth and to convey important elements of the play, many of these quotes are unnecessary in my eyes, and some things that I feel are extremely important to the story have been left out altogether!  To me, in order to get a better feel for the story of Macbeth, some of the twenty quotes many need to be kept, some need to be removed, and then replaced by another, more important quote.

A majority of the quotes stated in the "32-Second Macbeth" are extremely important to play, and should be kept a part of the twenty one quotes.  Quote 1, I feel, is important because it is one of the major themes of the play.  The witches state this quote in the very beginning of the play, which first of all gives and eerie, menacing tone for the play that is basically kept throughout the play.  Also, Quote 1 is important because as I mentioned earlier, it tells a major theme of the play, that not everything is what they seem (exp: Lady Macbeth and Macbeth?s original characters.)  The next quote I think is important I Quote 4, spoken by Macbeth, almost saying the same thing the witches said in Quote 1.  Although the day weather wise is actually a pleasant day weather wise, it is "foul" because earlier he had fought in a battle and killed a traitor, and although he does not know it, he is about to meet the witches and hear their three prophecies, which lead to almost all of the evil in the play.  Quote 5 is another significant quote because it states the most important of the three original prophecies given to Macbeth by the witches.  The first prophecy, "Thane of Glamis", is not important because he is already Thane of Glamis, and then the second prophecy, "Thane of Cawdor", is more important but still not needed because one he becomes Thane of Cawdor, that title is not important to Macbeth.  But the third of the witches? prophecies, Quote 5, is extremely vital because it can be argued that this is the reason for most of Macbeth?s horrible actions, that this prophecy led him to do things in order to fulfill it.  The next important quote is Quote 6, spoken by Macbeth, saying fate will decide whether or not he will become king, which some people may argue (including myself) is the reason behind everything Macbeth does (fate).  Quote 7 is another quote I feel should be kept in the "32-Second Macbeth" because it gives you an important first impression of Lady Macbeth.  At this point, she has heard of the witches? prophecies, and has come up with the idea of killing Duncan to insure Macbeth?s gaining of the throne.  It shows how incredibly evil Lady Macbeth initially was, calling upon spirits to "make her a man" to help her kill the king Duncan.  This is important also because it once again refers to Quote 1, that not all things are what they seem.  Even though Lady Macbeth is a woman, she is the exact opposite of what a woman in her time would be like and she is extremely masculine.  The next quote, Quote 9, is also spoken by Lady Macbeth, and is once again showing her manliness, having to basically push Macbeth into killing Duncan.  I feel Quote 12 is the next most significant quote.  It is spoken by Banquo, when he is being killed by the three murderers hired by Macbeth to kill him and his son Fleance.  I think it is essential that this quote is kept because it is the beginning of Macbeth?s insanity for power.  Also, it tells you that Banquo dies, but not his son Fleance, which gives one of the witches? prophecies for Banquo (that his sons will become king) a chance to be fulfilled.  Quote 13 is another needed quote because  it shows the beginning of change for Macbeth, and a small theme in the play.  Lady Macbeth is telling Macbeth to calm down, and to forget about everything and just enjoy the fact that he is king, showing she is becoming more feminine where as Macbeth is the opposite, becoming more masculine and saying he must do all this.  And like I said, this is small theme in the play that all these horrible things just lead to more horrible things, that it is just a vicious cycle.  Finally, I think the last four quotes in the original "32-Second Macbeth" are also important and should be kept.  Quote 18, said by Macbeth, is comparing life to a candle, brief and almost unimportant, after Lady Macbeth has killed herself.  Quote 19 is spoken by Macduff to Macbeth in their final fight, urging him to fight him even though Macbeth knows he will lose because of the witches? apparitions, and then Macbeth responds with Quote 20, showing the old Macbeth, someone brave and fighting squarely.  And then the final quote, Quote 21, is important because it shows that the king is now Malcolm, and that all the evil Macbeth did is not over.

Although a majority of the quotes in the "32-Second Macbeth" are beneficial quotes to understand Macbeth and express elements of the play, many are also not needed.  First of all, Quotes 2 and 3 are not needed because I don?t think the reader needs to know of the "bloody man" that Duncan speaks of in Quote 2 and I think that a better quote could be found then Quote 3 that talks about the witches and Macbeth?s first encounter.  Quote 8 is also an unnecessary quote to me because I think that first of all, a better quote can be fund to talk about Macbeth?s thoughts before the murder of Duncan and also, I don?t think it conveys Macbeth?s true feelings about him and Lady Macbeth?s plan to kill Duncan.  Another unneeded quote is Quote 10, because I think it does not give a clear picture of what is going on in Macbeth?s mind at the time, and I don?t think the reader would understand this quote without physically seeing it done by an actor.  Quote 11 can also be removed in my opinion because it only shows Lady Macbeth?s thoughts after the murder of Duncan, even thought it wasn?t even her who killed Duncan!  To me, I think the author of this condensed version of the play should  put in a quote spoken by Macbeth after the murder, since he is actually the one who goes through with the murder.  Quote 14 is the next quote I think can be removed because even though it is an extremely well known quote in Macbeth, sued in many other stories, I don?t think it is an important excerpt from the witches in that scene.  The next two quotes, Quote 15 and 16, in my opinion, can be removed because I think if someone was to read this 32-second Macbeth, they would not understand what was going on during those quotes or their importance in the play.  And finally, the last quote I feel can be removed is Quote 17, which is spoken by Lady Macbeth.  Even though she speaks while she was sleeping and it shows the change she has undergone from being the masculine character to the feminine one, unable to bear all the things her and Macbeth have done, I think another quote could replace it the more adequately shows her insanity and change.

Lastly, in order to keep the "32-Second Macbeth" lose to 32 seconds and more importantly, to show key parts in the play or to replace parts I took out, there are many quotes that should be added.  After Quote 1, I think the quote spoken by Duncan, "What he hath lost, noble Macbeth hath won" should be put in because it tells the reader that Macbeth has gained the title of Thane of Cawdor, and that at one point Macbeth was a good guy.  Next, after Quote 5, I think that this quote, "Thou shalt get kings, though thou be none", should be put in.  I feel this quote is important because in the original "32-Second Macbeth", it mentions the prophecies given to Macbeth by the witches, but it does not talk about any of the prophecies that Banquo received.  Also, I think this quote is important because it gives insight into the reason as to why Macbeth tries to kill Banquo and his son Fleance later in the play.  The, after Quote 7, I think an important quote that should be added is, "This castle hath a pleasant seat", said by Duncan.  I feel this is a vital quote to add because it refers back to Quote 1 and irony to the play, because as an audience we know that in going to the castle, Duncan is going to be killed.  Even thought it may seem like a pleasant and a safe place, we know as an audience it is actually not.  Next, I have picked a quote to replace Quote 8 of the original "32-Second Macbeth", that I think better shows Macbeth?s thoughts before the murder of Duncan, and how he does not want to kill him at all and is having second thoughts: "He?s here in double trust".  I think this quote is also good to replace Quote 8 because it fits better with Quote 9, where Lady Macbeth is encouraging Macbeth to murder Duncan, than the original Quote 8 did I think.  Another quote I would like to replace would be Quote 10, showing that Duncan has been killed.  I chose to substitute that quote with this one, "?Macbeth does murder sleep!?", spoken by Macbeth after hearing it said by someone in the castle in their sleep.  I think this quote is a better quote than the initial Quote 10 because is not only tells the reader that Duncan has indeed been murdered, but also the state Macbeth is in after the murder (Macbeth is almost hysterical, and heard "voices" saying that he is a murderer in other?s sleep).  I also think Quote 11 should be replaced to better show Lady Macbeth?s  reaction after the murder of Duncan.  The quote I chose to replace it is spoken by Lady Macbeth after she must put the daggers back in the guard?s possession to frame them because Macbeth forgot to: "I shame to wear a heart so white".  Finally, I think Quotes 14-17 should be replaced from the original "32-Second Macbeth" because I do not feel they sufficiently get across what is going on during those parts in the play.  Instead of Quote 14, I think the actual three apparitions should be put there, "Beware Macduff!?Laugh to scorn the power of man!?Great Birnam Wood to High Dunsiane Hall shall come against him!", because not only does Macbeth become obsessed with these prophecies throughout the rest of the play, but also because they tell how Macduff was able to murder Macbeth, even thought Macbeth thought was basically invincible (they were equivocal statements).  Quote 15 can then be replaced by a quote spoken by a messenger to Macduff?s family, basically telling them that they will be murdered soon if they do not leave (which I think is easier to understand  than Quote 15): "Be not found here; hence, with your little ones".  The next quote I want to replace, Quote 16, is referring to Macduff and Malcolm?s encounter, and talking about their land of Scotland and what Macbeth has done to it.  In my opinion, the author of the "32-Second Macbeth" focused on the wrong part of this scene.  To me, it is more important that Macduff and Malcolm have deiced to form an alliance and kill Macbeth, "Malcolm: Let?s make us medicines of our great revenge, to cure this deadly grief", than the fact that they are upset at Macbeth.  Lastly, I think that Quote 17 also does not give an excellent picture of Lady Macbeth at the end of the play.  To me, it does not show that Lady Macbeth is in fact going insane and that is the reason for killing herself.  I chose to replace Quote 17 with a quote spoken by the doctor, describing Lady Macbeth in the end, "Unnatural deeds to breed unnatural troubles", because it states Lady Macbeth  is in fact going insane, why she is going insane, and the reason for killing herself.

The "32-Second Macbeth" is all in all a superb resource for looking at the most important elements of the play Macbeth in about 32 seconds.  Although some quotes do need to be removed, replaced, or added, it is a great piece and I thoroughly enjoyed it!

16.  6 months later

6 Months Later

Now that Lennie is out of the way, I guess that I can actually do something with my life. But, It's been 6 months since leaving the farm and I still don't have a job. Oh, here's a sign. A mentally handicapped hospital needs an attendant. I can do that, and it pays well too. $150 a month. "At that rate, I'll be able to get that land soon enough. Ain't that right," I asked Candy? "We sure are," he replied with enthusiasm. As we stepped into the complex, the first thing I saw was the reception desk with a young, pretty, receptionist sitting behind the desk, polishing her nails. Lennie would have enjoyed watching her I pondered. She asked us what we wanted, and I told her that we were just here to find out 'bout the job. After getting a quick overview and job description, I was ready to work right away. Candy was also lucky enough to get hired as a nurse for $100 a month. I stepped into the bedroom and I saw about 25 kids sitting around a middle-aged man, listening to a story. As I stepped in, the story teller stepped over to me and told me what I had to do. Educate them and talk to them. That was it. I was getting paid $150 just to teach a group of handicapped kids. I sat down next to the story teller, Bob, and I looked around and carefully observed them. As I did this, I could see Lennie's face flashing in my mind. What was happening to me. Why couldn't he just leave me alone. I survived through my first day of work, reluctantly. The hospital also provided housing. That night, I had the most horrible dream of my life. I could see Lennie petting hundreds of rabbits, one at a time. But he was crying and screaming in rage. The rabbits were dying. "George, why do they die? Don't let them die George, please. Can I still tend the rabbits? I know I done a bad thing," exclaimed Lennie. I got up, screaming. "Lennie, please leave me alone, please," I asked. It was silent. Nobody was awake.            I looked like a complete nut with all those kids, including Candy, staring at me. Candy just went back to sleep. He was the only one that could understand the pain that I was going through. This happened to me several nights after the first nightmare. Each one would consist of rabbits, lots of them, and Lennie. After a while, they just told me to leave because they thought that the kids were already tortured with their own handicaps. Candy wanted to stay, so I told him that I would come back for him when I gathered enough money. After one day alone, I had done a lot of thinking. Mostly about Lennie and the others, but one thing I thought a lot about was the things Lennie said. "I could go off to the mountains and find a cave, you know. And I wouldn't eat any ketchup," he would say. Now that I think about it and know what it feels like to be alone, I am glad that Lennie stayed with me the whole time, till death had separated the two of us. I also realize that he always obeyed me and tried really hard to help me. He tried so hard to keep those pups alive, and yet they died. He was such a hard worker, worked harder than any of us. I also realize that we couldn't do some of the things that he could do. Such as understanding a person more deeply than any of us. He knew more about myself than I did. And he always kept up to a task, like trying to be able to remember. He could never do that. He would have taken good care of those rabbits. If only he had a chance. He could prove to me, to everybody else, and most importantly himself, that he was capable of doing something right. Sure he killed Curly's wife, but she sure as hell was a bitch. She probably didn't deserve to die, but Lennie didn't know any better? He probably thinks that she's still alive, stupid boy. Wait a minute. I'll ask for one more chance at the hospital, and then Candy and I could get ready to leave after just one month. I guess I'll start to walk back the ten miles it took to get here. I know, I'll get a wife, and invite people to stay at my new ranch. And Candy could invite people too. It would be great. But why am I so happy?? I just killed my best friend; he was so helpless. Maybe he's better off know, but I will never know. All that I can think about now is what Lennie said to me just before he died. "George, can I still tend the..... the rab-bits."

17.  7 Stages of Grieving

Today, most White Australians are sensitive and distinctively aware of the social and cultural issues related to Aborigines. This must be credited to playwrights such as Jack Davis and Wesley Enoch&Deborah Mailman as they reveal the brutal discrimination, abuse to Australia's Indigenous people and their sacred culture through their pieces No Sugar and 7 Stages of Grieving. Both plays utilise the theatrical techniques of Western theatre in conjunction with their tradition way of story telling to convey themes of struggle, prejudice and the destruction of Aboriginal culture. First wave playwright, Jack Davis writes the lives of the Millimurra family in their struggle to survive the Depression early in the 20th century No Sugar, while 7 Stages of Grieving focuses on the lives of the modern generation of Australian Aboriginal. This time gap will reflect the changing cultural, social and political issues in Australia.

No Sugar was written in a period when the majority of Australians were completely unaware of their situation and became influential along with other texts such as My Place by Sally Moran, which also discloses the reality of Aboriginal people. No Sugar is the second play in a trilogy called " The First Born", which traces the history of the Aborigines in Western Australia from the first White settlement, or in their perspective, invasion, in 1928 to the lives of urban Aboriginals today. The first play Kulluck (Home) shows the destruction of the Nyoongah people as a community and the social and economic oppression they suffered with the arrival of Europeans. Davis wrote this play in 1979 as an angry response to the celebration of Western Australia's 150th anniversary of White 'settlement'. No Sugar was written just two years before the national celebration of the Bicentenary and depicts the lives of post-tribal or pre-urbanised Aborigines people who were caught between assimilation and segregation. In the last play The Dreamers illustrates Aboriginal people today, their nostalgic longing for what is lost as well as their acceptance that it will not return. Being the middle of a trilogy, the characters in No Sugar are also caught in the middle of the process of transformation. The resultant of this process is assimilating into the white society; however, it is merely a replacement term for a second-class citizenship. In the 1970's and 80's, Jack Davis' plays facilitated the raising Black consciousness among the White Australians.

No Sugar is a realist play based on real people. Jack Davis used the technique of the documentary theatre of Agitprop which uses real historic events to recount history. This is done dramatically in speeches and newspaper articles and the narrative of characters who remembers the past. To a White audience this may seem to be too political but for a Black audience, this element is vital in the essence that the truth is finally being told in their point of view. This play is also written in an episodic form, a technique adopted from western Brecht theatre and contains a continuous storyline with coherent connections between each episode. This allows Davis to present his ideas with a series of unresolved conflicts and problems, which when put together, gives us a whole picture of suffering in Aborigines life in this period.

The episodic structure is enhanced by the use of juxtaposition and contradiction on stage between scenes and within scenes. For example, the dual action in Perth and Northam in Act I scene ii where Neville the administrator dictates his letter to the minister regarding reducing rations is counterpoised by the effects this has on Gran and Milly when they arrive at the police station to pick up their ration but only to find that soap has been removed. The sergeant's ironic suggestion that  "they could buy one [soap]" when he should clearly acknowledge the fact that Aboriginals were not allowed to be payed in money at the time portrays the Aborigine's struggle to survive under the social and economic restriction placed upon them. Further irony is also evident in the extract of a newspaper article from the opening scene. " The pageant presented a picture of Western Australia's present condition of hopeful optimistic prosperity, and gave some ideas if what men mean when they talk about the soul of the nation." This contrasts to the Millimurra's appalling living conditions established also in the first scene. Having not enough clothes for David to wear a clean shirt everyday and the allowed expenditure of two pence to buy an apple for lunch confirms the falseness in the government's pompous reports. In scene ii, the entrance of a white, unemployed Frank Brown shows another victim of the "optimistic prosperity" of the state.

The uses of physical forces and abuse against the Aborigines is dramatically symbolised by Neal's beating of Mary. Lights blacks out just as we are told by the stage directions that " Neal raises the cat-o'-nine-tails". " A scream" follows and confirms our predictions of a heavy beating. This use of lighting suggests that physical abuses had been hidden away from most people at the time.

The central symbol and also from which the title of this play derives from, is sugar. Sugar is sweet and usually brings joy. Thus the title NO Sugar suggests that Aborigines experiences no joy. Sugar can also be interpreted deathly in its seductiveness. This has Christian connotations where sugar, ironically named 'humbugs' is sent to seduce children into attending Sunday school.

Jack Davis tends to use stereotyped characters to represent social or human traits. Each White Australian character represents one aspect of the white society that caused the destruction of Aboriginal tribal life. Augustus Neville symbolises the government "protector of Fisheries, Forestry, Wildlife and Aborigines." From his speech to the Historic Society, it can be seen that he is a man full of grand theories but who stands revealed as the sterile representative of the naked and blind power in the last Act as he threatens (unaware of the hideous irony) " no more privileges." Matron represents a 'softer' face of White power. The scientific superiority is one of the 'supposedly' benefits brought the native Australians. Being a medical professional, Matron does care about those she is in charge with but cannot accept that the uncivility of Aboriginal culture can look after themselves. Billy the black tracker is one of the characters in the novel who have assimilated into the White society. To a traditional Aborigine, he is a betrayer of his own cultural heritage. Joel dismissed his existence by describing him as "nothing". However as he recalls the destruction of his cultural tribe in Act II scene vi, the audience can see that he still understands the unforgivable things the White people has caused to him. " Big mob politjman, and big mob from stations, and shoot 'em everybody, mens, kooris (women), little yumbah (children)." This reinforces the spiritual connection Aboriginal people had with each other during times of adversity.

The names of significant black characters holds religious connotation and serves the purpose of catching the audience's attentions. Mary (the blessed virgin) is associated with a convicted black criminal Joseph and is an illegitimately pregnant unmarried mother. When the white audience see this on stage which does not fit in the conventional connotations, they are forced to question the political and social issues associated.

The use of songs as an Aboriginal traditional way of communication is incorporated into this play. The first song ' shout of praise' reveals Aborigines' appreciation for the natural beauty and sustenance provided by the land. The second song is a hymn turned into a song of protest. The third is sang by Gran and is a lament and cry for compassion. These songs move its audience from anger to understanding and finally, hope.

Setting and properties echoes the difference of power between White Australians and the natives. In Act IV scene v, the opening stage directions report that the dominating Whites are seated on a raised "dais" above the blacks. Furthermore, Billy and Bluey are dress in "absurdly ill-fitted uniforms".

At the end of the novel, though the Millimurra family celebrates the birth of Mary and Joseph's baby, it does not bring a resolution to all the conflicts. The unresolved ending invites the audience and readers to thin about the problems raised.

Lighting is important in this play in indicating to the audience a shift of shadow. This is particularly being carefully planned in sections such as Act I scene ii where the lighting needs to shift from Frank and the Sergeant to the entrance of Miss Dunn. Suitable lighting is also vital to ensure an appropriate mood. Because the play is episodically structured, flexible and simple staging is recommended to ensure fast transition between scenes.

7 Stages of Grieving is similar to No Sugar in the sense that it shares the purpose and the use of theatrical devices as a medium to propagate their ideas. It is written by second wave Aboriginal playwrights Wesley Enoch and Deborah Mailman who considerably experienced less unfortunate incidence and prejudice than Jack Davis. However, following the death of his grandmother in the early 1990's, Enoch experienced the whole sense of grief and the sense of spiritual connection the gathering of the community. This triggered Enoch's idea of creating a script investigating the theme of grief. In 1995, 7 Stages of Grieving became a national premiere and it wasn't long before embarking on an international journey.

This play is written in a non-realist style, exploring the grieving process in Aboriginal history as well as criticisms of recent social, economic and political issues. There are twenty-four short scenes, combined to form a collage. The solo actor who is recognised as " the women" performs a series of monologues disclosing the history of the Australian Indigenous people from " genocide to " reconciliation". The use of projections and alienation hints a strong Brechtian influence.

In scene two Sobbing¸ the words associative of grief and loss projected on the walls is reinforced by the crescending cries of the women. The crying reaches its peak when the word "desolate" is projected on, followed by " nothing... I feel Nothing." At this stage, the cry "subsides". This sort of simultaneous use of visual and aural devices appears throughout the play and is one of the key achievers in this masterpiece. The last projection not only demonstrated a change of attitudes since White invasion, dramatises the magnitude of the grieving that it reached to the extend of loss of emotions.

The burning of eucalyptus leaves and singing "a song for the spirits" in scene three Purification reminisces Aborigine's cultural heritage and their close connection with land and spirits. In Scene four Story of Father, references to people such as Pauline Hanson provide the evidence for the continuous updating process of this play.

Scene eight Family Gallery is inextricably linked to scene 5 Photograph by the running motif, the "suitcase". In the earlier scene, the women struggles to cope with the death of a family member and decides to heal by pushing their memories of them "into the shadow", or symbolically locking the photos away in the suitcase. In scene eight, the audience would recognise that the projection of the photos are those taken out of the suitcase. This suggests that the only way to heal the wound is to face the things that caused the wound and also serves as an advice for many those who "push [their past] into the shadow" and turn to alcohol, etc. In scene 13 Aunt Grace, the "suitcase" reappears again symbolic of the hidden Aboriginal history. Though Aunt Grace married a white European, she returns home carrying the suitcase and "throws the content all over" Nana's grave. This emphasis again the close spiritual bond between all Aboriginal people no matter where they went and settled in.

Black Skin Girl of scene 9 reminds the audience Aboriginal children's assimilation was not out of their own will. This is supported by her desperate "attempts to evade the [alphabet] letters" on her dress which represented white civilisation and forces and the Aboriginal song " Bului guli mie [black skin girl] Naia gigi Warunguldud [I will be strong always]."

Scene 12 Murri gets a dress is "delivered in the style of stand up comedy", which is another western theatrical technique. This monologue satirises the discrimination of Blacks even when entering a shop. They will receive a "special treatment" in the form of stares and whispers, " keep an eye on the black one."

In scene 15, the opening stage directions " the women stands strong" immediately establish her strength. The repetition of "grief" and "grieving" creates a link to the title of this play, suggesting that just because they are "grieving" does not mean "we're not fighting".

The following scene Bargaining is a single sentence criticises the White's abuse of their sacred land. " What is it worth?" the women asks after hammering a "for sale" post into the grave. For the native Australians, land was priceless but the white settlers abuse it for money and materialism.

The truth about the Stolen Generation is revealed in scene 17 Home Stay using piles of red earth sand as analogies for an Aboriginal tribe. " You always have to marry your own skin." Out of the eight piles of sand formed, they are either "your brother", "your cousin", "your grandparents" and so forth. Thus even when one child was forcibly taken away from this tribe, the social effects is detrimental as shown by the women's destruction of the sand piles.

Scene 21 and 22 brings elements of sarcasm and bitterness in though " Wreck-Con-Silly-Nation", which is further reinforced by projection usage. The packing of " the word Reconciliation" and "locks it inside the suitcase is a gesture of the worthlessness of this word to them because "what's the use in having a word if we don't think and talk about it?" This scene ends with "the women places the suitcase down at the feet of the audience", pleading the audience to take serious thought to this word and the actions involved with it.

The last scene Walking across Bridge depicts Aborigine's mixed emotions to this real event. The numerous "pauses" suggests their dazed responses to the huge " sorry across the sky." However, a hint of bitterness is detected by the last sentence " I guess we can't go back now," which suggests that the Aborigines would rather prefer to live their tradition way of life.

It can be seen this No Sugar and 7 Stages of Grieving explores the lives of Aborigine's during different times. Their portrayal of different themes through different theatrical styles reflects a changed and will be continuously changing artistic, cultural, social and political issues and interests in the 1980's, 90's and 2000. Ultimately, their shared purpose of telling real stories about Aboriginal life have succeeded in giving their group of people a significant voice history that will remain forever clear in the sympathetic hearts of most white Australians

18.  a brief history of led zeppeln and its musical impact

Tell someone to name a band from the 1960s and '70s and you could probably listen to a dozen answers before hearing the same one twice.  The overwhelming amount of talent squeezed into these two decades has produced some of the most popular, most powerful, and in some cases, the most bizarre music ever. Led Zeppelin, The Beatles, Jimi Hendrix, The Rolling Stones, The Yardbirds, Janis Joplin, Bob Dylan, Elvis Presley, Queen, Aerosmith, Crosby, Stills, Nash & Young, The Eagles.... All were from this era that seemed to glorify music as no other time period did, or ever will.

The amount of evolution of music that occurred in this time period is amazing as well.  The mainstream went from listening to songs like Bill Haley and the Comet's "Rock Around The Clock," to The Beatles' frightening "Revolution 9."

While these two examples may seem completely different, they are not as distant as one might think.  Nearly all music from the '60s and '70s was bred from its earlier ancestors.  Music has been constantly evolving, and during the two decades in question, it underwent a radical change like never before.

The New Yardbirds

In early 1968 the music group The Yardbirds was in shambles.  Their last, and half-put --together album "Little Games" was a total flop and the band had to struggle to have the release of the album in the UK stopped.  On March 30, the group allowed a taping of their concert in Madison Square Garden to be considered for a live album to be released later.  They easily convinced their record contractor, Epic Records, to ditch the project.  The lead guitarist of The Yardbirds, Jeff Beck, had suffered from a mental breakdown a few years earlier and could no longer handle the pressure of touring.  The band members, Keith Relf, Chris Dreja, Jim McCarty, and Jimmy Page decided to throw in the towel and let the band collapse.  Playing wasn't the same rush it used to be, and it just wasn't fun anymore.  Each member elected to follow their own projects.  Dreja planned a career in photography, McCarty and Relf intended on starting bands of their own.  Lead guitarist, Jimmy Page was given legal rights to the band's name, songs, and albums.  However, along with the rights that Page was given, were 10 tour dates that still needed to be honored in Scandinavia.  Page needed to construct a new band in a matter of two months time.

In July '68, Page met ex-session guitarist and phenomenal arranger John Paul Jones (b. John Baldwin, June 3, 1946, Sidcup, Kent).  Willingly joined in on bass.  19-year old vocalist, Robert Plant (b. August 20, 1948, West Bromwich, W. Midlands.) is asked to perform with The New Yardbirds. Plant accepts and leaves his homeland in the Midlands with only his subway fair in his pocket.  The last link to the chain was John Bonham (b. May 20, 1948, Bromwich) on drums.

The band finished their ten date tour of Scandinavia with some unexpected success.  Everywhere they went people were asking how a band like this could go unnoticed.  The unique blend of blues-influenced rock, and guitar-riff based songs blew their audience away.

On October 15, 1968, Led Zeppelin, made up of Page, Plant, Jones and Bonham, made it's official debut at Surrey University.  The group began touring the US, backing up such headliners as Vanilla Fudge, and The MC5 shortly thereafter.  Instantaneous recognition followed.  The groups popularity was soaring.  On January 31, '69, Led Zeppelin opened for Iron Butterfly, then one of the world's biggest bands.  Led Zeppelin received such a resounding approval from the audience, that Doug Ingle, lead singer for Iron Butterfly decided to scrap the show.  Reason being are that Iron Butterfly was afraid that they can't produce such an effect on their crowd... in their own concert...in which they are headlining.

Led Zeppelin soon became a headliner in their own right.  Within eight months of their official debut, Led Zeppelin were at the top of the bill at the Playhouse Theater in London, and the Pop Proms at the Royal Albert Hall in London.  On October 17, '69, a year and two days from the bands conception, Led Zeppelin played in Carnegie Hall, ending a ban on rock groups at the concert hall, originally caused by the Rolling Stones in 1965.  While playing in Denmark, Eva von Zeppelin, relative of the designer of the airship, Ferdinand von Zeppelin, threatened to sue the band if they used the name in the country.  Led Zeppelin played under the alias The Nobs.

The first album Led Zeppelin climbed to #10 in the US and to #6 in the UK.  Album two, entitled Led Zeppelin 2, moved up to #1 in both the US and the UK, staying on the charts for 98 in the States and an astounding 138 weeks in Britain.

Six straight #1 albums in either the US or the UK.  Countless sellout concerts.  Records for box office drawings.  Records for attendance.  51,000 tickets for 3 shows Earls Court, London sell out in less than two hours. International fame. No other group had ever become so popular in such a small period of time. Led Zeppelin was revolutionizing music as they went.  While most bands were shunned from playing a song different from it sounds on the record, Led Zeppelin was free to roam in their music.  It wasn't unusual to hear a song that would be half-an-hour long, as opposed to its counterpart on the album, which was only five minutes long.  These lengthy jam sessions diguised as concerts gave way to new ground being touched musically.  Led Zeppelin introduced the world to the music of black artists such as Muddy Watters, Otis Rush, Otis Redding, and Willie Dixon.  Pieces of songs from the 1930s were being worked into their own music, as in their covers of Dixon's You Need Love, and Rush's Can't Quit You, and it was working.  The blues riffs incorporated into their own music later influenced bands heavily, and opened doors to new tastes in music for the predominately American audience.  The most significant thing about Led Zeppelin's music today, is that it doesn't sound dated.  The music seems similar to music today.  The lasting impression of their music is obvious, and can be heard in any Rock band of today.

Unfortunately, the machine that was Led Zeppelin came to a screeching halt on the morning of September 25,  1980.  When band members decided to go into Bonham's bedroom to pull a prank on him in his sleep, Bonham was found dead.  After a night of heavy drinking, Bonham had turned the wrong way in his sleep, and asphyxiated himself upon his own vomit.  A statement was released on December 4, 1980, stating that the band could not go on in its present state.  After 11 incredible years, the band could not function with "the loss of our dear friend."  Led Zeppelin had owned the 70s, and they were going to finish their reign quietly, and let the throne open to the next "supergroup."  As suddenly as Led Zeppelin began, it had ended even more so.  The giant had fallen.

"As it was, then again it will be,

Though the course may change sometimes,

Rivers always reach the sea."

-Ten Years Gone

Led Zeppelin

19.  A Brief History of Ledd Zeppelin and ITs Musical Impact

A Brief History of Ledd Zeppelin and ITs Musical Impact

Tell someone to name a band from the 1960s and '70s and you could

probably listen to a dozen answers before hearing the same one twice.  The

overwhelming amount of talent squeezed into these two decades has produced some

of the most popular, most powerful, and in some cases, the most bizarre music

ever. Led Zeppelin, The Beatles, Jimi Hendrix, The Rolling Stones, The Yardbirds,

Janis Joplin, Bob Dylan, Elvis Presley, Queen, Aerosmith, Crosby, Stills, Nash &

Young, The Eagles.... All were from this era that seemed to glorify music as no

other time period did, or ever will.

The amount of evolution of music that occurred in this time period is

amazing as well.  The mainstream went from listening to songs like Bill Haley

and the Comet's "Rock Around The Clock," to The Beatles' frightening "Revolution

9."

While these two examples may seem completely different, they are not as

distant as one might think.  Nearly all music from the '60s and '70s was bred

from its earlier ancestors.  Music has been constantly evolving, and during the

two decades in question, it underwent a radical change like never before.

The New Yardbirds

In early 1968 the music group The Yardbirds was in shambles.  Their last,

and half-put --together album "Little Games" was a total flop and the band had

to struggle to have the release of the album in the UK stopped.  On March 30,

the group allowed a taping of their concert in Madison Square Garden to be

considered for a live album to be released later.  They easily convinced their

record contractor, Epic Records, to ditch the project.  The lead guitarist of

The Yardbirds, Jeff Beck, had suffered from a mental breakdown a few years

earlier and could no longer handle the pressure of touring.  The band members,

Keith Relf, Chris Dreja, Jim McCarty, and Jimmy Page decided to throw in the

towel and let the band collapse.  Playing wasn't the same rush it used to be,

and it just wasn't fun anymore.  Each member elected to follow their own

projects.  Dreja planned a career in photography, McCarty and Relf intended on

starting bands of their own.  Lead guitarist, Jimmy Page was given legal rights

to the band's name, songs, and albums.  However, along with the rights that Page

was given, were 10 tour dates that still needed to be honored in Scandinavia.

Page needed to construct a new band in a matter of two months time.

In July '68, Page met ex-session guitarist and phenomenal arranger John

Paul Jones (b. John Baldwin, June 3, 1946, Sidcup, Kent).  Willingly joined in

on bass.  19-year old vocalist, Robert Plant (b. August 20, 1948, West Bromwich,

W. Midlands.) is asked to perform with The New Yardbirds. Plant accepts and

leaves his homeland in the Midlands with only his subway fair in his pocket.

The last link to the chain was John Bonham (b. May 20, 1948, Bromwich) on drums.

The band finished their ten date tour of Scandinavia with some

unexpected success.  Everywhere they went people were asking how a band like

this could go unnoticed.  The unique blend of blues-influenced rock, and guitar-

riff based songs blew their audience away.

On October 15, 1968, Led Zeppelin, made up of Page, Plant, Jones and

Bonham, made it's official debut at Surrey University.  The group began touring

the US, backing up such headliners as Vanilla Fudge, and The MC5 shortly

thereafter.  Instantaneous recognition followed.  The groups popularity was

soaring.  On January 31, '69, Led Zeppelin opened for Iron Butterfly, then one

of the world's biggest bands.  Led Zeppelin received such a resounding approval

from the audience, that Doug Ingle, lead singer for Iron Butterfly decided to

scrap the show.  Reason being are that Iron Butterfly was afraid that they can't

produce such an effect on their crowd... in their own concert...in which they

are headlining.

Led Zeppelin soon became a headliner in their own right.  Within eight

months of their official debut, Led Zeppelin were at the top of the bill at the

Playhouse Theater in London, and the Pop Proms at the Royal Albert Hall in

London.  On October 17, '69, a year and two days from the bands conception, Led

Zeppelin played in Carnegie Hall, ending a ban on rock groups at the concert

hall, originally caused by the Rolling Stones in 1965.  While playing in Denmark,

Eva von Zeppelin, relative of the designer of the airship, Ferdinand von

Zeppelin, threatened to sue the band if they used the name in the country.  Led

Zeppelin played under the alias The Nobs.

The first album Led Zeppelin climbed to #10 in the US and to #6 in the

UK.  Album two, entitled Led Zeppelin 2, moved up to #1 in both the US and the

UK, staying on the charts for 98 in the States and an astounding 138 weeks in

Britain.

Six straight #1 albums in either the US or the UK.  Countless sellout

concerts.  Records for box office drawings.  Records for attendance.  51,000

tickets for 3 shows Earls Court, London sell out in less than two hours.

International fame. No other group had ever become so popular in such a small

period of time. Led Zeppelin was revolutionizing music as they went.  While most

bands were shunned from playing a song different from it sounds on the record,

Led Zeppelin was free to roam in their music.  It wasn't unusual to hear a song

that would be half-an-hour long, as opposed to its counterpart on the album,

which was only five minutes long.  These lengthy jam sessions diguised as

concerts gave way to new ground being touched musically.  Led Zeppelin

introduced the world to the music of black artists such as Muddy Watters, Otis

Rush, Otis Redding, and Willie Dixon.  Pieces of songs from the 1930s were being

worked into their own music, as in their covers of Dixon's You Need Love, and

Rush's Can't Quit You, and it was working.  The blues riffs incorporated into

their own music later influenced bands heavily, and opened doors to new tastes

in music for the predominately American audience.  The most significant thing

about Led Zeppelin's music today, is that it doesn't sound dated.  The music

seems similar to music today.  The lasting impression of their music is obvious,

and can be heard in any Rock band of today.

Unfortunately, the machine that was Led Zeppelin came to a screeching

halt on the morning of September 25,  1980.  When band members decided to go

into Bonham's bedroom to pull a prank on him in his sleep, Bonham was found dead.

After a night of heavy drinking, Bonham had turned the wrong way in his sleep,

and asphyxiated himself upon his own vomit.  A statement was released on

December 4, 1980, stating that the band could not go on in its present state.

After 11 incredible years, the band could not function with "the loss of our

dear friend."  Led Zeppelin had owned the 70s, and they were going to finish

their reign quietly, and let the throne open to the next "supergroup."  As

suddenly as Led Zeppelin began, it had ended even more so.  The giant had fallen.

.

"As it was, then again it will be,

Though the course may change sometimes,

Rivers always reach the sea."

-Ten Years Gone

Led Zeppelin

20.  A Clockwork Orange Essay

A Clockwork Orange: Good Riddance to Bad Rubbish

A Clockwork Orange received critical acclaim, made more than thirty

million dollars at the box office, and was nominated for various awards; however,

this esteemed film was outlawed from the nation of Great Britain in order to

curb its immoral content from permeating society.  Before all the controversy

began, A Clockwork Orange was a novel, written mostly in Russian, by Anthony

Burgess.  Stanley Kubrick is known to critics as a film maker who probes the

dark side of human psyche.  Kubrick has also directed films such as Dr.

Strangelove, The Shining, and Full Metal Jacket.  In each of these movies the

audience delves into the evil side of the main character. Great Britain had this

film removed from theaters across the country because the government justly

illustrated there was a connection between the movie's graphic violence and an

increased crime rate.

In Clockwork . . . , there are unquestionably  violent and graphic

actions. Multiple beatings, a rape, and a murder are performed by the lead

characters. These crimes are drug induced.  Before going out, the gang goes to

the "milk bar" for some "milk plus" which is riddled with amphetamines.  The

first violent act came not more than ten minutes into the movie.  It was when

the boys, led by Alex, beat a helpless wino that asked them for some change. The

gang then strode away as if nothing occurred.  They struck him repeatedly with

canes and they kicked him a few times to the job.  Next, the boys went to see a

rival gang.  This other group was in the middle of raping a woman when Alex and

Company came in and intervened.  They proceeded to beat the other gang members

to a pulp.  Then, they went to the house of a writer, to burglarize it.  While

there, they brutalized the writer and his wife.  Alex raped the wife in front of

the writer and then started to sing "Sing'n in the Rain" as he pummeled the old

man.  Alex's final act of violence came at the house of a rich health spa owner.

The gang went there with the intent of robbing the place, but the woman who

lived there was alert to the scheme and called the police.  She attacked Alex

and he defended himself with a sculpture of male genitalia.  The fight ended

when Alex crammed the statue in the mouth of the victim, and killed her.  These

were some of the more graphic scenes, which aided Britain's decision to ban the

film.

Incidents from this film triggered an onslaught of violent crimes across

the country of Great Britain.  Numerous copycat crimes were reported which

mimicked to exact detail the grotesque murder and rape scenes found in Clockwork.

The most notable copycat crime was in Britain where a woman was raped and beaten

by a group of thugs who sang "Sing'n in the Rain" as they carried out their

ruthless act of violence.  When questioned by police, one of the thugs commented,

"I got the idea to beat this b**** from a movie I saw." The movie turned out to

be none other than Clockwork....

Stanley Kubrick has also been responsible for additional films that are

bleak, pessimistic, and sometimes terrifying.  Not only is this his style, but

it is also his means of conveying a very sublime personal message.  Kubrick

believes that contemporary society is a very tragic and violent place.  This

message comes across very clearly in Clockwork Orange.  It is through this film

that Kubrick explores the nature of violent crime and in doing so brilliantly

satirizes the deterioration of society and its values.

Although Kubrick's message may be sincere, his methods exploit the

intentions of video imagery and demean his viewing audience.  Films of this

nature have an incredible power to induce its viewers into committing violent

actions.  This theory is not ingenuous and has been supported by many prominent

members of the psychological community.  For this reason, I believe the film

needs to be formally banned.  Although it played to sellout crowds in London for

nearly a year, it introduced weak moral standards and a glorification of

violence to the public. This film was best received by the college aged youths

of Great Britain. This is a very impressionable time in the life of a person and

could influence them into justifying violence and the abuse of women.  The

British government made the right decision in banning the movie and protecting

the ailing moral standards of Great Britain.

As stated previously, many scholars believe that  A Clockwork Orange

was responsible for a wave of copycat crimes and an increase in the crime rate.

This theory can be supported by the fact that in the viewing area where

Clockwork was shown there was a dramatic increase in crimes directly related to

scenes from the movie.  Even if the percentage of the increase in crime was

minuscule, this does not underscore the value in banning the film.  Does not

saving just one life justify banning the content of this heinous video?  I

wholeheartedly believe the answer to this question is yes. Human life is worth

much more than one man's sarcastic dissertation on violent crime.

What will be next--a young girl brutally raped and killed, an innocent

child tortured by ruthless villains, and old man shot down in cold blood?  One

would think a society as educated as ours would recognize the danger in

glorifying these films of violence and gore.  Our children have a hard enough

time determining right from wrong.  Movies such as Clockwork... only add to the

moral decay of our society.  If society is to work toward the esteemed goal of

building a kinder, gentler nation, censorship must play a key role in our

dauntless journey.

21.  a clockwork orange

A Clockwork Orange

The freedom of choice and the rehabilitating form of corrections encase the realm of A Clockwork Orange, by Anthony Burgess.  It produces the question about man's free will and the ability to choose one's destiny, good or evil.

"If he can only perform good or only perform evil, then he is a clockwork           orange-meaning that he has the appearance of an organism lovely with colour and juice but is in fact only a clockwork toy to be wound up by God or the Devil or State"(Burgess ix).

Burgess expresses the idea that man can not be completely good or evil and must have both in order to create a moral choice.  The book deals upon reforming a criminal with only good morals and conditioning an automated response to "evil."  Burgess enforces the idea of the medical model of corrections, in terms of rehabilitating an offender, which is up to the individual.  That one should determine the cause and then find an exclusive treatment to resolve that individual's  case, then apply it.  This is the case with the character Alex, a juvenile delinquent  introduced into prisonization then conditioned by governmental moral standards.  This lack of personal moral choice imposed upon Alex creates conflicting situations in which he has no control over.  This is apparent when trying to readjust into society.   As conflicts arise within the spectrum of criminal justice the main focus is revolved around the corrections aspect of reforming the criminal element.

Within the confines of the seventies Londoner.  The character, Alex is created as the ultimate juvenile delinquent leading a small gang.  Living within his own world the use of old Londoner language and attire reflect the non-conformity with society.  Let loose within a large metropolitan, Alex is engulfed in the affairs of several criminal practices, from rape to aggravated assault.  As a juvenile delinquent, Alex is finally caught and seen as an adult offender.  Like all offenders he promotes his innocence and sets blame upon  his companions.  "Where are the others? Where are my stinking traitorous droogs? One of my cursed grahzny bratties chained me on the glazzies. Get them before they  get away. It was their idea, brothers. They like forced me to do it"(Burgess 74).

Betrayed by his cohorts Alex is beaten by local officials and confesses to all the crimes.  As a point to retribution a sergeant states, "Violence makes violence"(Burgess 80) and proceeds to through Alex back into the cell.  All the while Alex detests the treatment and conditions of the local jail, " So I was kicked and punched and bullied off to the cells and put in with  about ten or twelve other plennies, a lot of them drunk"(Burgess 81).  Unlike the fair treatment of most juveniles Alex was finally getting the taste of adult corrections, being held in a drunk tank along with other felons.  Faced with the reality of prison life, Alex is introduced to prisonization by the same system which incarcerated him.  Showing him one must be tough and violent to survive within the penal system.

The term prisonization refers to the effect when an offender is subjected to the culture, morals, rules, and values of a penal institution. Then this is inscribed into his or her own behavior and deems them fit as a norm.   This is the case involving Alex when he must prove his worth in a correctional institution by beating a fellow inmate.

"If we can't have sleep let's have some education, our new friend here had better be taught  a lesson ...I fisted him all over, dancing about with my boots on though unlaced, and then I tripped him and he went crash crash on the floor.  I gave him a real horror show kick on the gulliver"(Burgess 102).

Although being brutal deems fit for Alex, he realizes that only repentance and good behavior in the eyes of the officials can release him from the jaws of justices.    So in order to be viewed as a reforming criminal Alex turns to religion.  As the prison minister clearly states,

"Is it going to be in and out of institutions like this, though more in than out for most of you, or are you going to attend to the Divine Word and realize the punishment  that await the unrepentant sinner in the next world, as well as in this?"(Burgess 90)

and the main focus for reforming is in the hands of God and individual

moral choice.   Through religion Alex soon becomes a model prisoner, externally,

yet internally still willing to do anything to get out.  This also included experimental rehabilitation methods done by the state.

Being a juvenile in an adult prison one would have the urgency to be released as quickly as possible.  When the word got out of a new experimental reforming process and a chance for early release, it immediately caught Alex's attention. To be chosen, this meant constant pressuring and questioning to the officials, plus showing that he is trying to reform.  " You've been very helpful and, I consider, shown a genuine desire to reform.  You will, if you continue this manner, earn your remission with no trouble at all"(Burgess 94).  However Alex's intent on reforming was not a religious aspect but the quickest.  He finally realizes a new way to get out and questions the proceedings. "I don't know what it's called, I said, All I know is that it gets you out quickly and makes sure you don't get in again"(Burgess 95).   However the minister has doubts about the medical treatment techniques involved in forcing a person to be morally better.   He brings up the question of what makes a real moral person. "I must confess I share those doubts.  The question is whether such a technique can really make a man good.  Goodness comes from within, 6655321.  Goodness is something chosen.  When a man cannot choose he ceases to be a man"(Burgess 95).  This does not deter Alex from the thought of early release but only intensifies his desires.  With his determination and pure will Alex is finally permitted to be experimented on for rehabilitation.

With an early release in site Alex's willingness overshadows any curiosities of the treatment. Transferred from a state prison to a private facility insures his release from incarceration.  "In a little over a fortnight you will be out again in the big free world, no longer a number"(Burgess 108).  With the increase in population comes an increase crime, this has also brought on encouraging new rehabilitating techniques to corrections.  Stated by one government official the importance of reforming in corrections rather than retribution.

"The government cannot be concerned any longer with out moded  penalogical theories.  Cram criminals together and see what happens. You get concentrated criminality, crime in the midst of punishment . . . Kill the criminal reflex, that's all"(Burgess 105,106).

The rehabilitating technique used upon Alex is that of responsive conditioning with the use of drugs and visual aids.  Conditioning is the implementation of either teaching or forcing one to feel or think a certain way when given a decision.  Alex is therefore forced to feel and think negative responses when shown evil sites or thoughts.  Yet the an error had occurred when the state was conditioning "good" into him.  The use of classical music along with the treatment conditioned Alex to respond to that as well.

As Alex detested the use of music, he states the cruelty  of the technique, "But it's not fair on the music. It's not fair I should feel ill when I'm slooshying lovely Ludwig van and G.F. Handel and others"(Burgess 133).  Yet the state feels the use of music is only an enhancement to the treatment, "It's a useful emotional heightener, that's all I know"(Burgess 131).  As the treatment ends the sick feeling is only increased when Alex is confronted with any "evil."  With this conditioning set in place Alex is finally released into society and deemed healthy, pure of all morals.

The readjustment into society's values seems to be  the main question.  Was the implementation of conditioning a person to strictly good morals proper and humane?  As the title suggests one can not be purely good or evil to be a man.  One must have both in order to create humanistic choice.  If not, the creation would be that of a robot like person incapable of feeling or self awareness.  As Alex is released into the world as the states' example of a "healthy" person, he is tested by all extremes. One test was  the incapability to defend himself against the smallest attacks on his character.  Another error the state had provided is the use of music in the treatment of Alex.  Not only does he feel physically sick when he thinks or looks at violence but also when he hears classical music.  "It was that these doctors bratchnies had so fixed things that any music that was like for the emotions would make me just sick like viddying or wanting to do violence"(Burgess 161).   Within the conditioning techniques of repulsing him to violence, the state had also forced him to hate music.   The use of this correctional treatment failed due to the implementations on morality of human choice.  Is it better to have a criminal make human choices, good or bad, or a purely good person not capable of making any choices.  As most opinions state, criminals should all be locked up or dealt with in some harsh manner.  There are also those who believe that offenders are diseased by some element and can and/or should be cured.  As far as corrections is concerned, society can not lock up every offender and can not come up with plausible means of curing the criminal element. With the rise in population there will always be a  rise in crime. However this does seem to be the present trend, 5.3 million people were on probation, in jail, in prison, or on parole in 1995 (B.J.S. 1).   As seen in Alex's case the corrections techniques to cure the element did not work.  Perhaps the best means was to incarcerate him for his term and let him pay his debt to society.  The only correct method of corrections is that of self correcting ones.

22.  A Comparison and Contrast In Both As Worn By Hester and Dimm

A Comparison and Contrast In Both A's

Worn By Hester and Dimmesdale

The two A's worn in the novel by both Hester and Dimmesdale are dramatically

different, yet they are born and made by the same identical sins.  These letters are also

differentiated by the infinitely changing emotional state and physical well being of the

character, the towns views of morality and  natural order, and the affecting environment.

The two sins of most importance in the novel and that serve the greatest beneficiality in the

appearance of the A's are--of course-- adultery and hypocrisy.

The separation in the appearance of both of the A's begins with each characters

own personal interpretation of the extremity of their sins.  Where Hester's A is beautiful

and artistically done ("fantastically embroidered and illuminated upon her bosom; pg.37)

her interpretation of the extremity of her sins is one of self composure and nonchalantness.

She views her sins solely as a "violation in the natural order" of the environment and

therefore cannot even perceive her sin as being evil except through outside brainwashing.

While Dimmesdale's personal interpretation as to the extremity of his own sins is a

"violation of God's law," which is the law that he is totally dedicated to and supported by.

Dimmesdale's interpretation of his sin is much more severe than Hester's, it is a breach and

direct contradiction of his own self consciousness and physical existence.  Therefore the

appearance of his A, even though it is never directly described in the novel, must be raw,

jagged, and brutally crooked (...a ghastly rapture; pg.95).  Maybe Dimmesdale's self torture

is so horrifying or inconceivable that it is either indescribable, (...too mighty to be

expressed only by the eye of his figure; pg.95), or best left up to the reader's imagination.

Unlike Hester, Dimmesdale, because of self interpretation, cannot in any way conceive his

sins of being anything but evil.

Although the appearance of the A's are proportional to the interpretation by each

character; also the appearance of the A's is directly correlated between the consequences

each character receives because of their sins, both Hester's and Dimmesdale's punishment

is introduced through a new character and some sort of isolation.  The new character's are

a form of abstract contrasting where each new character is an extension of the sinner's "A"

itself.  Where as Chillingworth is a doubled extension of Dimmesdale's consciousness;

Pearl is a contrast to Hester's creativity, patience, and composure.  Dimmesdale's

punishment through Chillingworth is one of mental bombardment and spiritual torture

which supports the theory that Dimmesdale's A must be horrifically putrid and

indescribable.  Pearl's punishment towards Hester is one of irritation that attempts to

counter balance Hester's everlasting patience and composure.  Because Hester does not let

her irritation get to her and remains constantly tranquil, the A that she wears (ie. the

extension of the A she bears) is as beautiful and natural as she is.

So the A's worn in the novel, even though from the same origin, are the exact

antithesis of each other separated by personal interpretation and individual consequences.

Where one character's beauty and open mindedness to her crime and punishment makes

her A and her punishment (Pearl) natural and beautiful.  While the other character's torture

and self hatred of himself and his crime make the burden that he carries much more heavy.

Dimmesdale's A and the extension to his A (Chillingworth) are ugly, and brutal.

23.  a critical look at Ibsens doll house

english

interpretation of Ibsen's "A Doll's House"

"A Doll's House" is classified under the "second phase" of Henrik

Ibsen's career.  It was during this period which he made the transition

from mythical and historical dramas to plays dealing with social problems.

It was the first in a series investigating the tensions of family life.

Written during the Victorian era, the controversial play featuring a female

protagonist seeking individuality stirred up more controversy than any of

his other works.  In contrast to many dramas of Scandinavia in that time

which depicted the role of women as the comforter, helper, and supporter of

man, "A Doll's House" introduced woman as having her own purposes and

goals.  The heroine, Nora Helmer, progresses during the course of the play

eventually to realize that she must discontinue the role of a doll and seek

out her individuality.

David Thomas describes the initial image of Nora as that of a doll

wife who  revels in the thought of luxuries that can now be afforded, who

is become with flirtation, and engages in childlike acts of disobedience

(259).  This inferior role from which Nora progressed is extremely

important.  Ibsen in his "A Doll's House" depicts the role of women as

subordinate in order to emphasize the need to reform their role in society.

Definite characteristics of the women's subordinate role in a

relationship are emphasized through Nora's contradicting actions.  Her

infatuation with luxuries such as expensive Christmas gifts contradicts her

resourcefulness in scrounging and buying cheap clothing; her defiance of

Torvald by eating forbidden Macaroons contradicts the submission of her

opinions, including the decision of which dance outfit to wear, to her

husband; and Nora's flirtatious nature contradicts her devotion to her

husband.  These occurrences emphasize the facets  of a relationship in

which women play a dependent role:  finance, power, and love.  Ibsen

attracts our attention to these examples to highlight the overall

subordinate role that a woman plays compared to that of her husband.  The

two sides of Nora contrast each other greatly and accentuate the fact that

she is lacking in independence of will.

The mere fact that Nora's well-intentioned action is considered

illegal reflects woman's subordinate position in society; but it is her

actions that provide the insight to this position.  It can be suggested

that women have the power to choose which rules to follow at home, but not

in the business world, thus again indicating her subordinateness.  Nora

does not at first realize that the rules outside the household apply to

her.  This is evident in Nora's meeting with Krogstad regarding her

borrowed money.  In her opinion it was no crime for a woman to do

everything possible to save her husband's life.  She also believes that her

act will be overlooked because of her desperate situation.  She fails to

see that the law does not take into account the motivation behind her

forgery.  Marianne Sturman submits that this meeting with Krogstad was her

first confrontation with the reality of a "lawful society" and she deals

with it by attempting to distract herself with her Christmas decorations

(16).  Thus her first encounter with rules outside of her "doll's house"

results in the realization of her naivety and inexperience with the real

world due to her subordinate role in society.

The character of Nora is not only important in describing to role

of women, but also in emphasizing the impact of this role on a woman.

Nora's child-like manner, evident through her minor acts of disobedience

and lack of responsibility compiled with her lack of sophistication further

emphasize the subordinate role of woman.  By the end of the play this is

evident as she eventually sees herself as an ignorant person, and unfit

mother, and essentially her husband's wife.  Edmond Gosse highlights the

point that "Her insipidity, her dollishness, come from the incessant

repression of her family life (721)."  Nora has been spoonfed everything

she has needed in life.  Never having to think has caused her to become

dependent on others.  This dependency has given way to subordinateness, one

that has grown into a social standing.  Not only a position in society, but

a state of mind is created.  When circumstances suddenly place Nora in a

responsible position, and demand from her a moral judgment, she has none to

give.  She cannot possibly comprehend the severity of her decision to

borrow money illegally.  Their supposed inferiority has created a class of

ignorant women who cannot take action let alone accept the consequences of

their actions.

"A Doll's House" is also a prediction of change from this

subordinate roll.  According to Ibsen in his play, women will eventually

progress and understand her position.  Bernard Shaw notes that when Nora's

husband inadvertently deems her unfit in her role as a mother, she begins

to realize that her actions consisting of playing with her children happily

or dressing them nicely does not necessarily make her a suitable parent

(226).  She needs to be more to her children than an empty figurehead.

From this point, when Torvald is making a speech about the effects of a

deceitful mother, until the final scene, Nora progressively confronts the

realities of the real world and realizes her subordinate position.

Although she is progressively understanding this position, she still clings

to the hope that her husband will come to her protection and defend her

from the outside world once her crime is out in the open.  After she

reveals the "dastardly deed" to her husband, he becomes understandably

agitated; in his frustration he shares the outside world with her, the

ignorance of the serious business world, and destroys her innocence and

self-esteem.  This disillusion marks the final destructive blow to her

doll's house.  Their ideal home including their marriage and parenting has

been a fabrication for the sake of society.  Nora's decision to leave this

false life behind and discover for herself what is real is directly

symbolic of woman's ultimate realization.  Although she becomes aware of

her supposed subordinateness, it is not because of this that she has the

desire to take action.  Nora is utterly confused, as suggested by Harold

Clurman, "She is groping sadly in a maze of confused feeling toward a way

of life and a destiny of which she is most uncertain (256)."  The one thing

she is aware of is her ignorance, and her desire to go out into the world

is not to "prove herself" but to discover and educate herself.  She must

strive to find her individuality.

That the perception of woman is inaccurate is also supported by the

role of Torvald.  Woman is believed to be subordinate to the domineering

husband.  Instead of being the strong supporter and protector of his

family, Nora's husband is a mean and cowardly man.  Worried about his

reputation he cares little about his wife's feelings and fails to notice

many of her needs.  The popular impression of man is discarded in favor of

a more realistic view, thus illustrating society's distorted views.

Ibsen, through this controversial play, has an impact upon

society's view of the subordinate position of women.  By describing this

role of woman, discussing its effects, and predicting a change in

contemporary views, he stressed the importance of woman's realization of

this believed inferiority.  Woman should no longer be seen as the shadow of

man, but a person in herself, with her own triumphs and tragedies.  The

exploration of Nora reveals that she is dependant upon her husband and

displays no independent standing.  Her progression of understanding

suggests woman's future ability to comprehend their plight.  Her state of

shocked awareness at the end of the play is representative of the awakening

of society to the changing view of the role of woman.  "A Doll's House"

magnificently illustrates the need for and a prediction of this change.

--rhmmmm, that's a paddlin'

24.  A Day in the Life of a Gnome 2

Moses Alba

Mrs. Foreman English IV

Thursday, January 30, 1997

A Day in the Life of a Gnome

Once upon a time there was a gnome named Knob, who lived

the far off land of Gnomania.  Gnomania is a huge underground

lair with only one entrance.  The only entrance to this lair is by

swimming down to the bottom of the ocean floor and knocking on

a large clam. On the other side of this clam is an old grouchy

gnome named Stubby whose only job was to keep the clam clean,

and listen for the knock of incoming visitors.  To assist Stubby in

guarding the clam, he had a pet snark.  A snark is an animal or pet

that can be used as a watchdog.

One day Knob went to visit his grandmother in the land of

Gnollie which is about a guzillion centimeters away from

Gnomania.  On his way to his grandmother's house he ran across a

garden.  Upon stumbling on the garden, he decided to be

thoughtful and pick some tulips for his grandmother.  Tulips were

her favorite snack.

While approaching his grandmother's house, he found

something to be very strange.  His grandmother was hovering on an

hummingbird, while picking apples from her tall twenty-foot

appletree.  After contemplating on this strange doing, he decided

not to let it bother him.  After seeing Knob approach her house,

Knob's grandmother whistled for the hummingbird to bring her

down so she could greet him.  She greeted him with a loud burp

which was a common courtesy among Gnomanians.  After greeting

him she also sprinkled him with some of her fairy dust.  She

handily carried it around in her turban.  She naturally invited him

in for dinner where they ate lots of mosquitoes.  After dinner, they

watched a cheap imitation of television.  They used a big box to

put different animals in and called it the Discovery channel.

By the end of the day Knob was getting a little weary, so he

decided to return home.

When he returned form Gnollie his pet snark was there to

welocme him home.  He welcomed his snark back by feeding it

fisheyes or to us humans dog biscuits.  After the short snack, Knob

and his snark went back to his teepee where they hibernated until

the next morning.

The next day Knob met up with his friend Door.  Door was a

runaway gnome who lived on the streets of Gnomania.  They met

one day by accident.  Since Door lived on the streets, he had to

steal food to survive.  One day when

25.  A Day in the Life of a Gnome

Moses Alba

Mrs. Foreman English IV

Thursday, January 30, 1997

A Day in the Life of a Gnome

Once upon a time there was a gnome named Knob, who lived

the far off land of Gnomania.  Gnomania is a huge underground

lair with only one entrance.  The only entrance to this lair is by

swimming down to the bottom of the ocean floor and knocking on

a large clam. On the other side of this clam is an old grouchy

gnome named Stubby whose only job was to keep the clam clean,

and listen for the knock of incoming visitors.  To assist Stubby in

guarding the clam, he had a pet snark.  A snark is an animal or pet

that can be used as a watchdog.

One day Knob went to visit his grandmother in the land of

Gnollie which is about a guzillion centimeters away from

Gnomania.  On his way to his grandmother's house he ran across a

garden.  Upon stumbling on the garden, he decided to be

thoughtful and pick some tulips for his grandmother.  Tulips were

her favorite snack.

While approaching his grandmother's house, he found

something to be very strange.  His grandmother was hovering on an

hummingbird, while picking apples from her tall twenty-foot

appletree.  After contemplating on this strange doing, he decided

not to let it bother him.  After seeing Knob approach her house,

Knob's grandmother whistled for the hummingbird to bring her

down so she could greet him.  She greeted him with a loud burp

which was a common courtesy among Gnomanians.  After greeting

him she also sprinkled him with some of her fairy dust.  She

handily carried it around in her turban.  She naturally invited him

in for dinner where they ate lots of mosquitoes.  After dinner, they

watched a cheap imitation of television.  They used a big box to

put different animals in and called it the Discovery channel.

By the end of the day Knob was getting a little weary, so he

decided to return home.

When he returned form Gnollie his pet snark was there to

welocme him home.  He welcomed his snark back by feeding it

fisheyes or to us humans dog biscuits.  After the short snack, Knob

and his snark went back to his teepee where they hibernated until

the next morning.

The next day Knob met up with his friend Door.  Door was a

runaway gnome who lived on the streets of Gnomania.  They met

one day by accident.  Since Door lived on the streets, he had to

steal food to survive.  One day when Door was running away from

a gardener he ran full speed into Knob.  They both fell straight on

their backs.  As Knob came to his senses he realized what was

going on.  Being the compassionate and helpful gnome that he was,

he decided to help this stranger who was in great need.  He hid

Door in an alley to where the gardener could not find him.  Door,

realizing the great deed that had been done, from then on vowed to

help Knob in any predicament that he might be in.  Ever since that

day Knob and Door have become very close friends.

After meeting at his teepee Door and Knob went to the town

festival.  At the festival they saw many entertaining attractions.

One of which was a 9 foot sasquatch.  Other attractions were an

actual television, a real life dog, and a basketball.  The main

attraction was a real life human whom they had kept in captivity

for three months.

After a fun-filled day at the festival Knob and Door decided

to go home.  Only Door did not have a home.  His home was the

streets.  Realizing this, Knob contemplated on letting Door live

with him in his teepee.  Finally, after many hours of deep thought

and concernment he decided to ask Door to live with him.  Door,

surprised by the offer, joyfully accepted it.  And they lived happily

ever after.

I hope you have enjoyed reading this imaginative and creative short

story because I have really enjoyed writing it.  Just another day in

the life of a gnome.

26.  A Developmental Study of Alex in Kubrick

A Developmental Study of Alex in Kubrick's A Clockwork Orange

Synopsis of A Clockwork Orange

In A Clockwork Orange, the main character is that of a mildly young

child of 15 who, along with his fellow friends, or "Droogs", partake in evenings

of Ultra-Violence. Ultra Violence consists of random beatings, theft,

destruction, and rape. The main character, Alex, is the self-proclaimed leader

of the pack, and makes judgment on their actions pending on his mood. His Droogs

eventually find themselves under his direct rule, following his every word, and

decide to challenge his authority.

The three Droogs (Dim, Georgie, and Pete) join Alex on his romp to a

local "fat farm" to pillage the goods therein.   Inside, Alex stumbles upon the

owner of the resort, and after a length scuffle with her, ends up giving her a

blow to the head with a rather large, ceramic replica of an erect penis. When he

leaves the outer gates of the complex, Dim surprises him by smacking a milk

bottle against his face. His counterparts escape while little Alex is left

bleeding and blinded to deal with the police.

Upon interrogation of Alex, he discovers that the blow he delivered to

the young lady was a fatal one. He is charged with first-degree murder and

sentenced to 14 years in prison. While there, he befriends the resident minister

and becomes a helper to his service. The minister, Alex soon discovers, is a

part in a new form of  treatment that is trying to be implemented prisons to

help "cure" inmates from committing acts of violence. Through luck and

discussion with the higher officials in the prison, Alex is chose to be a guinea

pig for the experiment, and is sent to become "inoculated from violence".

The treatment consisted of Alex being strapped down to a chair in front

of a cinema screen, having electrodes attached to his head, and being kept

focused by small pairs of clamps used to disable his ability to blink. This,

along with the injection of an experimental serum, is monitored whilst he views

movies of UltraViolence. The serum leaves him vulnerable to his surroundings,

which are destructive films, and induces such feelings of helplessness, fear,

and near-death paralysis, similar to that of drowning. Alex soon associates this

feeling of distraught with the violence, and with the background music being

played throughout the entire ordeal: Beethoven, Alex's main love. The final

result is that whenever Alex is confronted with either violent acts of any kind,

or the sweet strings of Ludwig Van, he is soon on his knees in pain and agony.

When he is released, his parents abandon him. He meets up with a few

members of his old gang that have turned into crooked cops, and with their

newfound power and long-lasting loathe of Alex, they beat him much and leave him

for dead, this of which brought on the sickness that he was conditioned for.

Stumbling in the dark for help, he comes across a polite looking residence that

looked vaguely familiar. Eventually, Alex realizes that he is in the presence of

a former victim of his, but believes that the owner would not recognize him.

To his dismay, the author did recognize him after hearing Alex sing a

song in a very similar fashion to the way his attackers did 2 years ago. After

slipping a sedative into Alex's wine, Alex wakes up to find himself in a locked

room on the second floor of an apartment high-rise. Through the floorboards,

Alex starts to hear the hateful sounds of Beethoven, and goes into his sickness

fits. No exits, No escapes. His only way out is to jump out of the closed window

and end his life. He does just that.

Alex wakes in a hospital. The author was jailed for attempted murder,

and the government officials that started the program were ridiculed and

harassed out of their positions. Alex finds himself broken and hurt, but his

thoughts are that of the Ultra-Violence. Alex was cured and ready to live again.

Aspects of Psychology

In A Clockwork Orange, Alex is portrayed as two different people living

within the same body. As a mischievous child raping the world, he as seen as

filth. His actions and blatant disrespect towards society are categorized under

that of the common street bum. However, when he is away from his evening attire,

he is that of suave. His clothing, his words, his overall attitude. The

distinction between the two is triggered by the gentle sounds of Ludwig Van

Beethoven.

The psychology of Alex would be that of a serial killer. He is a classic

example of Darwin's, Skinner's, Freud's, Erikson's, and Adler's major theories.

Alex is not truly close to any other person that he comes in contact

with in the film. He is using his parents for a place to live, and they show no

emotion towards him, good or bad. His love for his gang is not that of a

male/male platonic relationship that is common in brotherhoods. It is that of a

marriage of like interests, when the parties involved loathe each other

personally. Society is against him for all his mortal sins. The only living

creature that he shows love for is his snake.

Darwin's theory of man having the same thought process's of animals

holds an interesting bearing upon Alex. Alex's love is for his snake. Generally

love is defined by an understanding, or a closeness between two items. The snake

is represented by many things in the natural world today.

Freud's analyzation  for the male closeness to the snake is that the person

involved is questioning his sexuality, or his love towards the female gender.

Alex keeps coming back to his snake after his nights on the town, and his first

concern with life after he is paroled is his dear snake. This, combined with the

fact that keeps his snake in a chest under his bed ( the most recognized sexual

item in an average household), show's his inadequacies with his sexual

performance and his penis. He feels that by keeping in contact with his snake,

he will be more of a man then he already is, thus making him more noticeable and

attractive towards the opposite sex. Therefore, Alex doesn't view his snake as

an equal, but as a greater being capable of becoming a close friend and a

security blanket.

The snake is also used in many different cultures to represent the evil and

hate that man kind dwells on. When something evil happens, culture blames all of

it's fears upon the snake, the idol of fear. The love that Alex feels for his

snake could fall under the love of understanding. With this love, Alex feels

that he can relate to his snake, and to what society views the snake as. Alex

finds the snake to represent sin and the hate that spawned the world as we know

it today. In Genesis, the serpent convinced eve to disobey her god and to eat an

apple from the tree of life, thus causing man to not be eternal, and for woman's

childbirth to be complex and painful. In Christianity, the snake is the

originator of sin. Alex feels that he is the modern bringer of sin.

Alex often finds himself in many situations where he is surrounded with

scenes of graphic sex or some sort of phallic reference. After a night of Ultra-

Violence, Alex and his droogs find themselves relaxing at the Karova Milk Bar

drinking Milk Plus, Milk Plus Dreminol, and Milk Plus Synthemesc. The bar is

adorned with images and sculptures of naked women in various positions of sexual

encounters, all of which with exaggerated colors and lengths of fluffy hair.

This corresponds with Harlow's experiments with monkey babies finding comfort in

soft items in times of distress. Alex finds comfort in the fluffy hair and

softness of the environment of  the bar. When he has committed an act of

distressing nature, be it violence or everyday normal occurrences, he retreats

to Karova to bring him a feeling of warmth, satisfaction, and justification of

his previous deeds.

This form of relaxation is common from children of broken homes. Freud

believes that the self-image within a man is shaped in the first 5 years of life.

With the response that Alex's parents give to him in his home-life, it is

obvious that they did not offer much love to the growing child. By Freud's

belief, if the child does not receive the proper love from a mother that it

should, it will find other means to replace the comfort that a mother provides.

Alex's comfort was the violence and the pleasure brought from a night completed.

There is no reference in the movie about Alex's parents being his natural

born parents, or if one of them died and remarried. My beliefs are that Alex's

natural born mother was beaten and eventually left his father. Alex was in the

middle of this action, and like Bandura's findings, the child imitates the

action that he views and takes it as natural, thus using it in everyday life.

Alex's aggression upon society are truly the natural urges and feelings that he

experiences, thus making him normal, being unaware of the wrongs that his

violence induces.

In a Freudian aspect, this could explain a vast majority of his aggression

that he displays. His actions interpret his hatred towards his father for being

the reason he lacks a parental security blanket. As quoted in one of the first

few scenes: "...and in the mess of wobbly chaos the drunken old malchek had found

himself lying in, he had managed to be able to push out an ugly lyric or two.

Now, the one thing that I truly hate in the world is a drunken old malchek

singing out the songs of his father with an occasional "blurp,blurp" in

between.", this shows his loath for

1) Disrespect for music.

2) Drunks,  and

3) Men in his fathers image.

The music was his salvation, for it could snap him in and out of his

dementia. The music was used in a pseudo-Pavlov experiment to eliminate Alex's

love for violence. In the experiment, Alex ingested a serum that would induce a

deathlike paralysis. While the serum was taking effect, he was bombarded with

sights of violence and the sweet sounds of Ludwig Van Beethoven, both leaving an

impression in his psyche, relating the sickness to the sights and sounds that he

was subjected to.

In Pavlov's experiments, his major goal was to prove that he could train a

subject to give a conditioned response with no reinforcement. This was

accomplished by training a dog to salivate when he heard a bell ring. The dog

was use to the sound of a ringing bell before receiving his food. Eventually,

Pavlov removed the food from the experiment, but the dog retained the

conditioned response of salivating whenever he heard the bell ring. Thus a

conditioned response without positive nor negative reinforcement. Alex's

conditioned response was to fall to the "sickness" when subjected to Beethoven.

With the sickness being the conditioned response, there is no Reinforcement

because the sounds of Beethoven were not intentional, thus not needing

reinforcement.

However, Alex's trauma could also be referred to as a Skinner approach to

treatment. Skinner's theory was that one could achieve a conditioned response by

giving the subject positive or negative reinforcement. In his experiments, a

mouse was put in a cage with nothing but a pressable button and a light. When

the bar was depressed, the light flashed and food was delivered into the cage.

If the mouse were dropped into a similar cage, it would be safe to assume that

it would retain the reaction to hit a bar and receive food. The conditioned

response was to hit the bar when hungry. The reinforcement was the food that was

provided by completing the response. In Alex's case, the reinforcement would be

the metal satisfaction of not going through with his violent needs when he is

subjected to violent surroundings.

In conclusion, the theories used as a basis behind Stanley Kubrik's A

Clockwork Orange, resemble that of the theories that came from the greater

thinkers of modern time. Alex, the guinea pig in this tale, is a classic example

of many psychologist's case studies, and could be analyzed differently from each.

27.  A developmental study of Alex in the Stanley Kubrick producti

Synopsis of A Clockwork Orange

In A Clockwork Orange, the main character is that of a mildly young child of 15 who, along with his fellow friends, or "Droogs", partake in evenings of Ultra-Violence. Ultra Violence consists of random beatings, theft, destruction, and rape. The main character, Alex, is the self-proclaimed leader of the pack, and makes judgment on their actions pending on his mood. His Droogs eventually find themselves under his direct rule, following his every word, and decide to challenge his authority.

The three Droogs (Dim, Georgie, and Pete) join Alex on his romp to a local "fat farm" to pillage the goods therein.   Inside, Alex stumbles upon the owner of the resort, and after a length scuffle with her, ends up giving her a blow to the head with a rather large, ceramic replica of an erect penis. When he leaves the outer gates of the complex, Dim surprises him by smacking a milk bottle against his face. His counterparts escape while little Alex is left bleeding and blinded to deal with the police.

Upon interrogation of Alex, he discovers that the blow he delivered to the young lady was a fatal one. He is charged with first-degree murder and sentenced to 14 years in prison. While there, he befriends the resident minister and becomes a helper to his service. The minister, Alex soon discovers, is a part in a new form of  treatment that is trying to be implemented prisons to help "cure" inmates from committing acts of violence. Through luck and discussion with the higher officials in the prison, Alex is chose to be a guinea pig for the experiment, and is sent to become "inoculated from violence".

The treatment consisted of Alex being strapped down to a chair in front of a cinema screen, having electrodes attached to his head, and being kept focused by small pairs of clamps used to disable his ability to blink. This, along with the injection of an experimental serum, is monitored whilst he views movies of UltraViolence. The serum leaves him vulnerable to his surroundings, which are destructive films, and induces such feelings of helplessness, fear, and near-death paralysis, similar to that of drowning. Alex soon associates this feeling of distraught with the violence, and with the background music being played throughout the entire ordeal: Beethoven, Alex's main love. The final result is that whenever Alex is confronted with either violent acts of any kind, or the sweet strings of Ludwig Van, he is soon on his knees in pain and agony.

When he is released, his parents abandon him. He meets up with a few members of his old gang that have turned into crooked cops, and with their newfound power and long-lasting loathe of Alex, they beat him much and leave him for dead, this of which brought on the sickness that he was conditioned for. Stumbling in the dark for help, he comes across a polite looking residence that looked vaguely familiar. Eventually, Alex realizes that he is in the presence of a former victim of his, but believes that the owner would not recognize him.

To his dismay, the author did recognize him after hearing Alex sing a song in a very similar fashion to the way his attackers did 2 years ago. After slipping a sedative into Alex's wine, Alex wakes up to find himself in a locked room on the second floor of an apartment high-rise. Through the floorboards, Alex starts to hear the hateful sounds of Beethoven, and goes into his sickness fits. No exits, No escapes. His only way out is to jump out of the closed window and end his life. He does just that.

Alex wakes in a hospital. The author was jailed for attempted murder,  and the government officials that started the program were ridiculed and harassed out of their positions. Alex finds himself broken and hurt, but his thoughts are that of the Ultra-Violence. Alex was cured and ready to live again.

Aspects of Psychology

In A Clockwork Orange, Alex is portrayed as two different people living within the same body. As a mischievous child raping the world, he as seen as filth. His actions and blatant disrespect towards society are categorized under that of the common street bum. However, when he is away from his evening attire, he is that of suave. His clothing, his words, his overall attitude. The distinction between the two is triggered by the gentle sounds of Ludwig Van Beethoven.

The psychology of Alex would be that of a serial killer. He is a classic example of Darwin's, Skinner's, Freud's, Erikson's, and Adler's major theories.

Alex is not truly close to any other person that he comes in contact with in the film. He is using his parents for a place to live, and they show no emotion towards him, good or bad. His love for his gang is not that of a male/male platonic relationship that is common in brotherhoods. It is that of a marriage of like interests, when the parties involved loathe each other personally. Society is against him for all his mortal sins. The only living creature that he shows love for is his snake.

Darwin's theory of man having the same thought process's of animals holds an interesting bearing upon Alex. Alex's love is for his snake. Generally love is defined by an understanding, or a closeness between two items. The snake is represented by many things in the natural world today.

Freud's analyzation  for the male closeness to the snake is that the person involved is questioning his sexuality, or his love towards the female gender. Alex keeps coming back to his snake after his nights on the town, and his first concern with life after he is paroled is his dear snake. This, combined with the fact that keeps his snake in a chest under his bed ( the most recognized sexual item in an average household), show's his inadequacies with his sexual performance and his penis. He feels that by keeping in contact with his snake, he will be more of a man then he already is, thus making him more noticeable and attractive towards the opposite sex. Therefore, Alex doesn't view his snake as an equal, but as a greater being capable of becoming a close friend and a security blanket.

The snake is also used in many different cultures to represent the evil and hate that man kind dwells on. When something evil happens, culture blames all of it's fears upon the snake, the idol of fear. The love that Alex feels for his snake could fall under the love of understanding. With this love, Alex feels that he can relate to his snake, and to what society views the snake as. Alex finds the snake to represent sin and the hate that spawned the world as we know it today. In Genesis, the serpent convinced eve to disobey her god and to eat an apple from the tree of life, thus causing man to not be eternal, and for woman's childbirth to be complex and painful. In Christianity, the snake is the originator of sin. Alex feels that he is the modern bringer of sin.

Alex often finds himself in many situations where he is surrounded with scenes of graphic sex or some sort of phallic reference. After a night of Ultra-Violence, Alex and his droogs find themselves relaxing at the Karova Milk Bar drinking Milk Plus, Milk Plus Dreminol, and Milk Plus Synthemesc. The bar is adorned with images and sculptures of naked women in various positions of sexual encounters, all of which with exaggerated colors and lengths of fluffy hair. This corresponds with Harlow's experiments with monkey babies finding comfort in soft items in times of distress. Alex finds comfort in the fluffy hair and softness of the environment of  the bar. When he has committed an act of distressing nature, be it violence or everyday normal occurrences, he retreats to Karova to bring him a feeling of warmth, satisfaction, and justification of his previous deeds.

This form of relaxation is common from children of broken homes. Freud believes that the self-image within a man is shaped in the first 5 years of life. With the response that Alex's parents give to him in his home-life, it is obvious that they did not offer much love to the growing child. By Freud's belief, if the child does not receive the proper love from a mother that it should, it will find other means to replace the comfort that a mother provides. Alex's comfort was the violence and the pleasure brought from a night completed.

There is no reference in the movie about Alex's parents being his natural born parents, or if one of them died and remarried. My beliefs are that Alex's natural born mother was beaten and eventually left his father. Alex was in the middle of this action, and like Bandura's findings, the child imitates the action that he views and takes it as natural, thus using it in everyday life. Alex's aggression upon society are truly the natural urges and feelings that he experiences, thus making him normal, being unaware of the wrongs that his violence induces.

In a Freudian aspect, this could explain a vast majority of his aggression that he displays. His actions interpret his hatred towards his father for being the reason he lacks a parental security blanket. As quoted in one of the first few scenes: "...and in the mess of wobbly chaos the drunken old malchek had found himself lying in, he had managed to be able to push out an ugly lyric or two. Now, the one thing that I truly hate in the world is a drunken old malchek singing out the songs of his father with an occasional "blurp,blurp" in between.", this shows his loath for

1) Disrespect for music.

2) Drunks,

and

3) Men in his fathers image.

The music was his salvation, for it could snap him in and out of his dementia. The music was used in a pseudo-Pavlov experiment to eliminate Alex's love for violence. In the experiment, Alex ingested a serum that would induce a deathlike paralysis. While the serum was taking effect, he was bombarded with sights of violence and the sweet sounds of Ludwig Van Beethoven, both leaving an impression in his psyche, relating the sickness to the sights and sounds that he was subjected to.

In Pavlov's experiments, his major goal was to prove that he could train a subject to give a conditioned response with no reinforcement. This was accomplished by training a dog to salivate when he heard a bell ring. The dog was use to the sound of a ringing bell before receiving his food. Eventually, Pavlov removed the food from the experiment, but the dog retained the conditioned response of salivating whenever he heard the bell ring. Thus a conditioned response without positive nor negative reinforcement. Alex's conditioned response was to fall to the "sickness" when subjected to Beethoven. With the sickness being the conditioned response, there is no Reinforcement because the sounds of Beethoven were not intentional, thus not needing reinforcement.

However, Alex's trauma could also be referred to as a Skinner approach to treatment. Skinner's theory was that one could achieve a conditioned response by giving the subject positive or negative reinforcement. In his experiments, a mouse was put in a cage with nothing but a pressable button and a light. When the bar was depressed, the light flashed and food was delivered into the cage. If the mouse were dropped into a similar cage, it would be safe to assume that it would retain the reaction to hit a bar and receive food. The conditioned response was to hit the bar when hungry. The reinforcement was the food that was provided by completing the response. In Alex's case, the reinforcement would be the metal satisfaction of not going through with his violent needs when he is subjected to violent surroundings.

In conclusion, the theories used as a basis behind Stanley Kubrik's A Clockwork Orange, resemble that of the theories that came from the greater thinkers of modern time. Alex, the guinea pig in this tale, is a classic example of many psychologist's case studies, and could be analyzed differently from each.

28.  A developmental study of Alex in the Stanley Kubrick production of A Clockwork Orange using modern psy

Synopsis of A Clockwork Orange

In A Clockwork Orange, the main character is that of a mildly young child of 15 who, along with his fellow friends, or 'Droogs', partake in evenings of Ultra-Violence. Ultra Violence consists of random beatings, theft, destruction, and rape. The main character, Alex, is the self-proclaimed leader of the pack, and makes judgment on their actions pending on his mood. His Droogs eventually find themselves under his direct rule, following his every word, and decide to challenge his authority.

The three Droogs (Dim, Georgie, and Pete) join Alex on his romp to a local 'fat farm' to pillage the goods therein.   Inside, Alex stumbles upon the owner of the resort, and after a length scuffle with her, ends up giving her a blow to the head with a rather large, ceramic replica of an erect penis. When he leaves the outer gates of the complex, Dim surprises him by smacking a milk bottle against his face. His counterparts escape while little Alex is left bleeding and blinded to deal with the police.

Upon interrogation of Alex, he discovers that the blow he delivered to the young lady was a fatal one. He is charged with first-degree murder and sentenced to 14 years in prison. While there, he befriends the resident minister and becomes a helper to his service. The minister, Alex soon discovers, is a part in a new form of  treatment that is trying to be implemented prisons to help 'cure' inmates from committing acts of violence. Through luck and discussion with the higher officials in the prison, Alex is chose to be a guinea pig for the experiment, and is sent to become 'inoculated from violence'.

The treatment consisted of Alex being strapped down to a chair in front of a cinema screen, having electrodes attached to his head, and being kept focused by small pairs of clamps used to disable his ability to blink. This, along with the injection of an experimental serum, is monitored whilst he views movies of UltraViolence. The serum leaves him vulnerable to his surroundings, which are destructive films, and induces such feelings of helplessness, fear, and near-death paralysis, similar to that of drowning. Alex soon associates this feeling of distraught with the violence, and with the background music being played throughout the entire ordeal: Beethoven, Alex's main love. The final result is that whenever Alex is confronted with either violent acts of any kind, or the sweet strings of Ludwig Van, he is soon on his knees in pain and agony.

When he is released, his parents abandon him. He meets up with a few members of his old gang that have turned into crooked cops, and with their newfound power and long-lasting loathe of Alex, they beat him much and leave him for dead, this of which brought on the sickness that he was conditioned for. Stumbling in the dark for help, he comes across a polite looking residence that looked vaguely familiar. Eventually, Alex realizes that he is in the presence of a former victim of his, but believes that the owner would not recognize him.

To his dismay, the author did recognize him after hearing Alex sing a song in a very similar fashion to the way his attackers did 2 years ago. After slipping a sedative into Alex's wine, Alex wakes up to find himself in a locked room on the second floor of an apartment high-rise. Through the floorboards, Alex starts to hear the hateful sounds of Beethoven, and goes into his sickness fits. No exits, No escapes. His only way out is to jump out of the closed window and end his life. He does just that.

Alex wakes in a hospital. The author was jailed for attempted murder,  and the government officials that started the program were ridiculed and harassed out of their positions. Alex finds himself broken and hurt, but his thoughts are that of the Ultra-Violence. Alex was cured and ready to live again.

Aspects of Psychology

In A Clockwork Orange, Alex is portrayed as two different people living within the same body. As a mischievous child raping the world, he as seen as filth. His actions and blatant disrespect towards society are categorized under that of the common street bum. However, when he is away from his evening attire, he is that of suave. His clothing, his words, his overall attitude. The distinction between the two is triggered by the gentle sounds of Ludwig Van Beethoven.

The psychology of Alex would be that of a serial killer. He is a classic example of Darwin's, Skinner's, Freud's, Erikson's, and Adler's major theories.

Alex is not truly close to any other person that he comes in contact with in the film. He is using his parents for a place to live, and they show no emotion towards him, good or bad. His love for his gang is not that of a male/male platonic relationship that is common in brotherhoods. It is that of a marriage of like interests, when the parties involved loathe each other personally. Society is against him for all his mortal sins. The only living creature that he shows love for is his snake.

Darwin's theory of man having the same thought process's of animals holds an interesting bearing upon Alex. Alex's love is for his snake. Generally love is defined by an understanding, or a closeness between two items. The snake is represented by many things in the natural world today.

Freud's analyzation  for the male closeness to the snake is that the person involved is questioning his sexuality, or his love towards the female gender. Alex keeps coming back to his snake after his nights on the town, and his first concern with life after he is paroled is his dear snake. This, combined with the fact that keeps his snake in a chest under his bed ( the most recognized sexual item in an average household), show's his inadequacies with his sexual performance and his penis. He feels that by keeping in contact with his snake, he will be more of a man then he already is, thus making him more noticeable and attractive towards the opposite sex. Therefore, Alex doesn't view his snake as an equal, but as a greater being capable of becoming a close friend and a security blanket.

The snake is also used in many different cultures to represent the evil and hate that man kind dwells on. When something evil happens, culture blames all of it's fears upon the snake, the idol of fear. The love that Alex feels for his snake could fall under the love of understanding. With this love, Alex feels that he can relate to his snake, and to what society views the snake as. Alex finds the snake to represent sin and the hate that spawned the world as we know it today. In Genesis, the serpent convinced eve to disobey her god and to eat an apple from the tree of life, thus causing man to not be eternal, and for woman's childbirth to be complex and painful. In Christianity, the snake is the originator of sin. Alex feels that he is the modern bringer of sin.

Alex often finds himself in many situations where he is surrounded with scenes of graphic sex or some sort of phallic reference. After a night of Ultra-Violence, Alex and his droogs find themselves relaxing at the Karova Milk Bar drinking Milk Plus, Milk Plus Dreminol, and Milk Plus Synthemesc. The bar is adorned with images and sculptures of naked women in various positions of sexual encounters, all of which with exaggerated colors and lengths of fluffy hair. This corresponds with Harlow's experiments with monkey babies finding comfort in soft items in times of distress. Alex finds comfort in the fluffy hair and softness of the environment of  the bar. When he has committed an act of distressing nature, be it violence or everyday normal occurrences, he retreats to Karova to bring him a feeling of warmth, satisfaction, and justification of his previous deeds.

This form of relaxation is common from children of broken homes. Freud believes that the self-image within a man is shaped in the first 5 years of life. With the response that Alex's parents give to him in his home-life, it is obvious that they did not offer much love to the growing child. By Freud's belief, if the child does not receive the proper love from a mother that it should, it will find other means to replace the comfort that a mother provides. Alex's comfort was the violence and the pleasure brought from a night completed.

There is no reference in the movie about Alex's parents being his natural born parents, or if one of them died and remarried. My beliefs are that Alex's natural born mother was beaten and eventually left his father. Alex was in the middle of this action, and like Bandura's findings, the child imitates the action that he views and takes it as natural, thus using it in everyday life. Alex's aggression upon society are truly the natural urges and feelings that he experiences, thus making him normal, being unaware of the wrongs that his violence induces.

In a Freudian aspect, this could explain a vast majority of his aggression that he displays. His actions interpret his hatred towards his father for being the reason he lacks a parental security blanket. As quoted in one of the first few scenes: '...and in the mess of wobbly chaos the drunken old malchek had found himself lying in, he had managed to be able to push out an ugly lyric or two. Now, the one thing that I truly hate in the world is a drunken old malchek singing out the songs of his father with an occasional 'blurp,blurp' in between.', this shows his loath for

1) Disrespect for music.

2) Drunks,

and

3) Men in his fathers image.

The music was his salvation, for it could snap him in and out of his dementia. The music was used in a pseudo-Pavlov experiment to eliminate Alex's love for violence. In the experiment, Alex ingested a serum that would induce a deathlike paralysis. While the serum was taking effect, he was bombarded with sights of violence and the sweet sounds of Ludwig Van Beethoven, both leaving an impression in his psyche, relating the sickness to the sights and sounds that he was subjected to.

In Pavlov's experiments, his major goal was to prove that he could train a subject to give a conditioned response with no reinforcement. This was accomplished by training a dog to salivate when he heard a bell ring. The dog was use to the sound of a ringing bell before receiving his food. Eventually, Pavlov removed the food from the experiment, but the dog retained the conditioned response of salivating whenever he heard the bell ring. Thus a conditioned response without positive nor negative reinforcement. Alex's conditioned response was to fall to the 'sickness' when subjected to Beethoven. With the sickness being the conditioned response, there is no Reinforcement because the sounds of Beethoven were not intentional, thus not needing reinforcement.

However, Alex's trauma could also be referred to as a Skinner approach to treatment. Skinner's theory was that one could achieve a conditioned response by giving the subject positive or negative reinforcement. In his experiments, a mouse was put in a cage with nothing but a pressable button and a light. When the bar was depressed, the light flashed and food was delivered into the cage. If the mouse were dropped into a similar cage, it would be safe to assume that it would retain the reaction to hit a bar and receive food. The conditioned response was to hit the bar when hungry. The reinforcement was the food that was provided by completing the response. In Alex's case, the reinforcement would be the metal satisfaction of not going through with his violent needs when he is subjected to violent surroundings.

In conclusion, the theories used as a basis behind Stanley Kubrik's A Clockwork Orange, resemble that of the theories that came from the greater thinkers of modern time. Alex, the guinea pig in this tale, is a classic example of many psychologist's case studies, and could be analyzed differently from each.

29.  A discription of feng shui and how it can be used

Feng Shui

The number one goal of Feng Shui is to help people live and work in comfortable and supportive environments.  In doing so, Feng Shui can assist in improving health, relationships and finances.

Feng Shui is a Chinese philosophy about the relationship between humans and their environment. It's the way your environment and you connect. Based on laws of nature, its theories offer us a way to understand.

Developed over 8,000 years ago as a system of how to survive and excel in harmony with nature, feng shui theories came from logical assumptions about natural causes and effects that endured through time. Passed down from generation to generation, only a select few understand the phenomenon of feng shui in its entirety. The complexity and correct application of feng shui takes many years to learn from a master. The ideas presented here offer some of the basic concepts that explain the principles of feng shui.

Feng shui is based on the Taoist philosophies of nature: these include the Yin-Yang Theory, Five Element Theory and the trigrams of the trigrams of the Yi-Jing. Everything is made of qi (pronounced chee) or energy, which is organized into five elements: metal, fire, water, wood and earth and associated to the trigrams. Do not think of the five elements as static physical elements but energies like frequencies, which have direction and a unique wavelength. The Five Element Theory explains how qi cycles in nature, constantly changing from phase to phase, since energy is neither created nor destroyed. Consequently, everything around us is connected and has the potential to affect our well-being. Today, feng shui is a multi-disciplinary study encompassing architecture, urban planning, geography, astrology, electromagnetism, landscape design, environmental psychology, and many others. (From Liu of feng shui.)

The method of feng shui affects your life every moment you live, whether you are aware of it or not. The best way to explain the way it works is with the three realms of feng shui. There is the heaven, earth, and human realm.

Heaven: Influences from climate atmosphere, and quality. It comes from the timing of your birth. To have good luck with the heaven realm you need proper timing of your endeavors.

Earth: This provides humans with materials needed to sustain life. Food, shelter, clothes, (the necessities) of life. According to feng shui beliefs humans position or how they orient themselves in their surroundings enormously impacts welfare and density of their lives.

Human: The human belief is about the people in your surroundings. The people in your surroundings affect your success.

There are also the five factors of success. This is another way to consider your equation for success. The concept of Chinese culture is That Contribute to Life Fortune.

Fate (or destiny): This is the time of your birth, place, history, family type, body, and socioeconomic status. Fate comprises of about 70% of one's life destiny.

Luck: The mysterious pattern of good or bad influences through the path of your life. This is not chance or random coincidence; luck is discernible.

Feng Shui: The positioning of you on earth. This is how you situate yourself in life. It impacts your life very strongly.

Charitable actions: This is you being positive toward others. This means serving others for good cause and without reward. The hope of not being recognized and doing the actions in well deeds makes you benefit also.

Self-improvement: This is tied in to the charitable actions. The self-improvement is simply improving one's self for character and for moral fiber.

10 ways Feng Shui is influencing you right now:

Your front door: This is an area receives subtle energy from your home. This influences your opportunities and amount of income you command.

People who lived in your house previously: The people who lived in your home before probably left behind some vibes. The subtle traces of their feelings or experiences may hinder you for several years of living in the house.

Stove placement: The placement of you stove influences cash flow and your physical health. For example a very dirty stove can affect financial status.

Clutter in home or office: Junk in a space blocks vital energy. This leads to dozen of frustrations or subtle obstacles.

Bathroom location: This can raise significant health issues or can result in leaking money.

Position of bed: This influences your love to amazing degrees.

Air and lighting levels: These can affect thinking patterns and endorphin levels. These in turn influence your attitude, performance, and results.

Colors you see: Colors in your surroundings powerfully influence moods, energy levels and effectiveness.

Desk Position: The position of you desk can either make or break your career. Position of your desk in Feng Shui is number one for success I your job.

Seeing your front door from the street: Having and open view of your door makes opportunities open for you. If your door is hidden from plain view then opportunities aren't going to be as prosperous.

30.  A DOLLS HOUSE

Nancy Landis

Ms. Holmes, p.1

English 12

12 February 1995

Nora Perceived by Other Characters

In the Victorian age many woman were thought of as mere objects.  Most woman has no real social status and were not allowed to express themselves freely.  A Doll¹s House, a play by Henrik Ibsen, has brought controversy to the conclusion in which Nora leaves her family. Nora perceived in many different ways is the catalyst that forces Nora to leave her family.   Many people had found it difficult to understand how Nora could dessert her husband and children.  In the Victorian Age it was not only unheard of to walk out on your loved ones but unethical as well.  There are many incidents that inch by inch helps Nora come to the conclusion that she must leave her home and family.  As Nora states ³ My first duty is to myself² (Ibsen 68 ).  Her husband, Torvald, treats Nora more as a possession then an equal partner.  He uses, manipulates and molds her to fit perfectly into his facade.  Krogstad, a morally diseased man who works for Torvald, also uses Nora to gain a higher position at work.  He believes her to be an easy target for blackmail.  Nora¹s best childhood friend, Christine Linde, helps her realize that a woman can think, act and live independently for herself.  As Nora realizes that she must find her true self, the ways in which Krogstad, Christine and Torvald perceive her dramatically change.

Christine Linde, a woman who has had to live independently since her husband died, suddenly comes back to visit Nora and finds Nora has not changed from her childish ways in high school.  Nora for an instant does not recognize her old friend because of the time that has passed since the last time she saw her.  Christine tells Nora of her husband¹s passing and how he did not leave her any money or ³even any sorrow or grief to live upon²  (Ibsen 6).  She tells Nora how she had to marry him because of her ailing mother and two younger brothers.  She needed someone who could take care of her and her family financially.  Now  she is on her own and looking for a job to support herself.  Nora expresses her sympathies and promptly brags about Torvald¹s promotion at the bank.  She is so excited at the importance of his job and more importantly the money that will begin to start pouring in.  Nora thinks it will be wonderful not having to worry about money and being able to shop at any time for anything.  ³Nora, Nora, haven¹t  you learnt any sense yet?  In our school days you were a great spendthrift² (Ibsen 8).  Christine tries to point out to Nora that there are more important things in life to worry about besides money.  ³Christine, a woman who has been forced to live in a hard world starts out patronizing Nora² (Rogers 83).  She believes Nora is living in a dream world, one that nothing can go wrong, instead of living in the real world where everything is not always so perfect.   Christine understands that Nora has led a sheltered life for she was always taken care of, first by her husband and then by Torvald.  Nora has never had her freedom like Christine; she always depended upon someone else.  Christine on the other hand never really had life easy.  ³She had to marry a man she did not love for the sake of money - in other words she too had her doll house² (Hornby 99).  For most of her life, Christine was responsible for someone.  She never had the luxury of depending upon anyone and therefore became more cynical of the world.

As Christine gets better acquainted with Nora she begins to realize that Nora is not what she seems; Instead her true inner feelings and thoughts are smothered by Torvald¹s domineering views.  When Nora tells Christine about the money she borrowed, Christine does not understand because a woman is not allowed by law to borrow money.  Nora answers ³humming and smiling with an air of mystery, Couldn't I?  Why not?² (Ibsen 12).  Christine is shocked at this information and can not believe that Nora would defy her husband.  ³Christine too is inclined to treat Nora as a kitten that has never known trouble.  Not unnaturally Nora is piqued into revealing that she is not such a child after all.  Seven years ago she saved her husbands life by borrowing money² (Ibsen and Strindberg 139).  ³You are just like the others.  They all think that I am incapable of anything really serious² is Nora¹s response to Christine¹s comment (Ibsen 11).  Nora is sick and tired of everyone treating her as though she is incompetent.  She wants them all to realize that she is a woman who is more than Torvald¹s ³little squirrel² to manipulate (Ibsen 5).

When the doctors tell her that Torvald will die if he does not live in the south; she first tries to work her wiles on him and uses tears and begs but he will not go.  She knows she must save him at any cost.  Nora did what she thought the only solution was; she borrowed the money and told Torvald that it was a present from her father.  Nora¹s borrowing gave her a sense of worth.  It made her feel like a man and made her feel more powerful.  Christine¹s first thoughts of Nora¹s forgery change as she realizes that Nora did it out of love and not deceit.  Christine begins to understand more and more that Nora is forced into a role that Torvald wants filled but not one that Nora wants to play.  She on the other hand is waiting for Torvald to love her as she loves him.  She wants him to sacrifice his reputation to prove his love for her is as great as hers for him.  Christine ends up interfering in their relationship by holding Krogstad from retrieving the letter because she believes the truth must come out in order for them to save their marriage.

Krogstad is a man who is treated and treats with contempt.  He is Torvald¹s employee at the bank who is about to loose his position for lack of morals.  Torvald will fire him not because he forged someone¹s name on a bond but because he did not take his punishment instead he ³got himself out of it by a cunning trick, and that is why he has gone under altogether² (Ibsen 27).  Krogstad is angry and vows revenge so he goes to Nora, whom he has been lending money, to reveal that he has discovered Nora¹s own forgery.  He hopes to use this against her to retain his position at the bank. He thinks Nora will be an easy target as he says ³Oh you can¹t frighten me.  A fine, spoilt lady like you² (Ibsen 43).  He does not believe Nora will display the courage to defy him.  This information is important to Krogstad because he now wants to rehabilitate himself.  He needs Torvald to give him a higher position in the bank so that people will respect him.  Respectability is important because he is tired of being depicted as a villain.  The irony is that he wants to become a better person but to do this he will blackmail Nora and destroy a marriage without feeling any guilt.  Instead of rehabilitating himself he is becoming more and more villainous.

Thinking that Nora could use her influence on her husband he tells her to make sure that he is able to keep his job.  Nora knows this is impossible because her husband will never listen to her pleas for Krogstad¹s sake. He scares her with threats that he will tell Torvald about the forgery.  ³Nora condemns Krogstad¹s behavior as shameful, brutal, and nasty.  He retaliates by making her look in the mirror.  He manipulates her into thinking that her crime was just as bad as his² (Durbach 79).  A disagreeing Nora naively tells him that the law will see that her crime was different because it was out of love whereas his was out of greed.  ³Nora would rather die then tarnish Torvald¹s honor.  She would rather die then put him to the test² and that is why she tells Krogstad she will do anything for him in exchange that he keep her secret (Hornby 101).  Nora pleads with him to take money instead but Krogstad wants more than money instead of his position at the bank.  He instead has decided that he will use Nora to influence Torvald to promote him to second-in-command who actually runs the bank.  When he does not get his promotion but rather a dismissal, out of anger and revenge sends a letter to Torvald explaining Nora¹s forgery and lies.

Krogstad¹s turning point comes when his old flame, Christine, comes to him to reconciliate.  She wants someone to love and someone to take care of and Krogstad fits the description.  She explains that she had to jilt him not because she did not love him but to marry someone with enough money to support her family.  Krogstad confesses that her rejection was the beginning of his downfall.   Krogstad is hesitant at first to trust her love but Christine¹s suave words about ³two shipwrecked people joining forces having a better chance than each on their own² and the fact that she could live with him even knowing his past history made up his mind to trust her love (Ibsen 56).  When Christine pledges her love to Krogstad, that love gives him the strength to turn over a new leaf over and really want to rehabilitate himself.  Christine changes Krogstad because she was the only one who has ever loved and cared for him.  Due to this quickly, blossoming love, Krogstad realizes that the most important things in life are not money and respectability but rather love and trust.  This realization helps him to understand that blackmailing Nora was wrong.  He wants to relieve Nora¹s fear and make everything right in their marriage.  Christine who has seen Nora¹s struggle tells Krogstad that the letter must be read.  She believes that the truth must come out so they can have a complete understanding between them.

Nora and Torvald¹s marriage seems like the perfect marriage to everyone including Nora and Torvald.  What no one saw is the facade Torvald is living in including Nora.  Torvald had just been made manager of the bank, a position that holds prestige and includes a bigger salary.  Now that he is in the spotlight he wanted a perfect home life.  He believes that Nora should not work but stay home and raise the children.  He also believes that a wife should obey her husband and not argue with his decisions.  In effect he transfers Nora into his own poppet to maneuver.  ³Once married, the women find they have a clearly defined and essentially subordinate role in relation to their men, whose property they legally and socially become² (Thomas 177).

Calling Nora names such as ³little skylark² and ³spendthrift² indicate that Torvald sees Nora on a level below him (Ibsen 6).  To him Nora is not equal to him for she is a woman and  does not have the intelligence or competence to think as well as a man.  ³When Nora wants something from him, she flatters and manipulates instead of asking directly, as an equal.  Concealing her competence and strength, Nora makes every effort to appear the twittering lark Torvald believes and wants her to be² (Rogers).  Torvald treats Nora like a child because that is how he manipulates her into thinking that she is an inferior creature who needs a strong man to lean on.  She tries very hard to please her husband because that is all she knows how to do..  ³She can wheedle and cajole but can never speak to him frankly and has therefore had to take a number of serious decisions on her past life in secret and entirely on her own² (Thomas 2).  When Torvald talks to Nora he talks about silly things; he never converses about anything serious because he thinks she lacks the intelligence.  Nora amuses Torvald when she brings up scientific investigations with Dr. Rank.  He laughs and says ³Just listen- little Nora talking about scientific investigations!² (Ibsen 56)

Nora real purpose to Torvald is that of a ³doll-wife².  Torvald needs Nora to act every inch the lady.  He wants everyone to be jealous of his wife and home life.  He wants to control her every action and thought.  ³Nora herself is trying to keep from being reduced.  She wants to curse like a man, sign loans, have male friends, and enjoy some personal power, not because she wants to be a man but because she wants to express herself more than society allows² (Deer 89).  Torvald has Nora perfect the Tarantella before the ball because he wants her to leave a spellbinding effect on everyone at the dance.  His wish is for everyone to admire her beauty and perfection and in effect be jealous of him.  After the dance he whisks her away suddenly because as he states ³Do you think I was going too let her remain there after that, and spoil the effect?² (Ibsen 53)  Torvald did not really know Nora or even really care to know her, all her needed and wanted was someone to be molded into a perfect doll.

As Nora secret is revealed, Torvald is angered at her lies and deception to him.

He does not give her time to explain but merely converts her from being his little skylark to criminal and hypocrite.

When he finally learns of Nora¹s forged note, he acts true to form.  This sort

of thing Nora expected.  She accepts it calmly and is even resigned to

committing suicide by jumping into the river.  But almost immediately

Helmer¹s facade crumbles.  It turns out that he is more interested with his

own career than with Nora¹s moral character (Hornby 95).

As Nora tries to explain that she did it for love, Torvald is quickly thinking up a plan on how to save his reputation.  He decides that Nora may stay in the house but may not raise the children.  He thinks her lies and deception will poison the children.  ³Nora discovers how limited her romantic role-playing has been, how it was not only imposed on her by society, but willingly accepted by her² (Deer 2).  She begins to realize that she must find out who she really is before she can be a wife and mother.

Just as soon as Torvald begins to calm down, he receives the returned bond from Krogstad.  He is ecstatic and yells ³I am saved!² (Ibsen 67).  Suddenly everything in Torvald¹s eyes is alright again.  To him they can go back to the way their marriage was before.  He forgives Nora and tells her that he now understands that she did it out of love for him.  Nora on the other hand has finally come to the end of her straw.  To her ³Torvald proved to be not a courtly hero, but a frightened and mean-spirited little man who is more worried about his reputation than his wife² (Thomas 2).  When Torvald reveals the note, Nora wanted him to take the blame on himself and protect her to prove his love for her.

³Torvald¹s rejection of Nora when he read Krogstad¹s first letter closes off

their relationship.  In effect he dismissed her from the human race, since he

denies her the only roles permitted her those of wife and mother, thus

ironically pushing her toward finding new ways to relate to society.  When

moments he later receives Krogstad¹s second letter and restores her to her

status as delicate possession she recognizes the he is once again trying to

cut off her change to grow and become involved in the world (Hornby 100).

In effect Torvald alienates Nora into leaving her home and her family.

The ways in which Torvald, Christine and Krogstad perceive her all had a direct effect on Nora¹s leaving Torvald.  Christine at first thought Nora to be childish but then realizes it was just an act she played to fit in Torvald¹s facade.  She learns that even though Nora always had someone to take care of her she has had to struggle internally with who she really is and how she acts.   Krogstad along with Torvald both use and manipulate Nora for their own advantages.  Both cared nothing about her thoughts or feelings.  Throughout the play Nora begins to realize that she no longer wants to play Torvald¹s role anymore.  Torvald¹s failure to take the blame on himself is when Nora finally realizes she must find herself because she can not continue to live in the facade world that Torvald put her in.

31.  A Fictional Story

A Fictional Story

Once upon a time...

Blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah,

blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah,

blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah,

blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah,

blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah,

blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah,

blah, blah, blah, blah, blah, blah, blah, blah, blah, blah...

THE END!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!

32.  A History of Antiracism Films

In studying and understanding the politics and artistic ideologies of film not in the popular "Hollywood" tradition, films of different cultures must be examined to explore the political and social history of the struggles for cultural identity.  The film becomes a means of consciousness raising and of creating political awareness. Films of revolution and social change cross all cultural boundaries and bring to the screen revolutionary movements in developing and underdeveloped countries.  The power of film is such that it not only reflects society in its own image; they can cause society to create itself in the image of the films.   This, unfortunately, has proved to be a battle for black men and women as they have been depicted in a far from flattering view since the beginning of the medium.  African Americans have been forced to endure constant racism and discrimination projected at them through movies since the technology was created.  Through the determination of many intelligent filmmakers, African Americans have been able to create a depiction of their culture as they see fit; and in the process, creating anti-racial films committed to social change.

At times, the screen has predicated against progress by fixing certain concepts and stereotypes in the public mind and artificially reinforcing the notion of their continuing usefulness.   The victims of these stereotypes were mainly African-American.  Blacks were, for the most part, misrepresented subjects to be exploited by the medium of film since it was created;  the most popular example being, D.W. Griffith's Birth of a Nation (1915).  Although hailed as the most successful and artistically advanced film of its time, it ignited race riots and it directly influenced the 20th century reemergence of the Klan.  Birth of a Nation locked misconceptions about race into a technologically innovative movie that gripped viewers with its new ability to convey the full flavour of events and feelings.  The Birth of a Race (1918), two years in the making and perhaps three hours in length, began as a response to Griffith's film.  But its succession of producers and backers lost touch with the original concept. Nonetheless, it inspired George P. Johnson and his brother, Noble, to found the Lincoln Motion Picture Company to carry forward the quest for a black cinema, only to fail because of a nationwide influenza epidemic that shuttered theaters.  As the American movie industry gradually moved to California after Word War I, little new opportunities arose for the African American.  Blacks generally played out conventional roles as chorus girls, convicts, racetrack grooms, boxing trainers, and flippant servants.  The sameness of the images led to the first boom of race movies that were made by black, and often white, producers specifically for black audiences. George and Noble Johnson made as many as four such films that were black versions of already defined Hollywood genres - success stories, adventures, and the like - all of them since lost.  As World War II progressed, creators of race movies disappeared due to the short rations of film stock.  Yet black activists and their government together pressed filmmakers to address wartime racial injustice.  In response, federal agencies made several movies of advocacy. First among them in distribution to both army and civilian theaters was the United States War Department's The Negro Soldier (1944), written by Carlton Moss, who also starred in the film. Late in the war, the government commissioned or inspired short civilian films on the theme of equitable race relations, among them Don't Be a Sucker, It Happened in Springfield, and The House I Live In (which won an Oscar in 1947 as the best short film).  The Government Manual for the Motion Picture (1942) recommended the use of 'colored' soldiers and servicemen with foreign names as a way of stressing national unity.  The general conception was that pictures of racial integration might help to allay racial tensions at home.  Documentaries, meanwhile, were beginning to showcase more liberal attitudes.  Janice Loeb and Helen Levitt's The Quiet One (1947) caught the dedication that social workers gave to black juveniles. The United Auto Workers sponsored an animated cartoon, The Brotherhood of Man (1947), which took up the fate of racism in postwar America.

Of all African American filmmakers of the era, Oscar Micheaux dominated his age.  More than any other known figure, Micheaux took up themes that Hollywood left untouched: lynching, black success myths, and color-based caste.  Above all, Micheaux saw his films as "propaganda" designed to "uplift the race." In the 1930's, his films represented a radical departure from Hollywood's portrayal of blacks as servants and brought diverse images of ghetto life and related social issues to the screen for the first time.  During his career, Micheaux made 35 movies. Most were stories about the lives, loves and perils of middle-class blacks.  With his fifth movie, Within Our Gates (1920) Micheaux attacked the racism portrayed in the most highly acclaimed silent movie of all time The Birth of a Nation. In his movie, Griffith depicted blacks as lazy alcoholics who raped white women. Micheaux turned the table on Griffith, filming a scene where a white man tries to rape a black woman, using exactly the same lighting, blocking, and setting as the black on white rape scene in The Birth of a Nation. Unfortunately for Micheaux, Within Our Gates came out right after the race riots, which plagued America throughout the summer of 1919. Black and white officials feared further violence if Within Our Gates was shown and they forced Micheaux to edit out controversial scenes. Micheaux, however, turned around and booked other theatres to show the "uncut version" to even bigger audiences.

Around 1950, the Committee for Mass Education in Race Relations was set up with the intent to "produce films that combine entertainment and purposeful mass education in race relations."   At this time, films were beginning to provide momentum for the Civil Right Movement that was to take place in the 1960s.  Films became more political during these times challenging the views of the ignorant.  Costa-Gavras's The Battle of Algiers (1966) was adopted as a favourite film of the Black Panthers, while Anthony Harvey's Dutchman (1967) was considered revolutionary by critics.  A new wave of films was to follow the assassination of Martin Luther King Jr.  The impact of the Civil Rights Movement along with the assassination of the Movement's leader was felt across America.  New waves of films were to be embarked upon by Hollywood labeled "blaxploitation."  As a movie genre, blaxploitation refers to a series of films in which African-American characters and their lifestyles are presented in a manner that reinforces often negative stereotypes. Many critics of 70s blaxploitation films believed these movies pandered to the lowest of black so called "ghetto" images, while borrowing heavily from mainstream Hollywood genres no longer used. There were black westerns, sci-fi fantasies and even kung-fu films.  But despite mediocre performances by the actors and shoestring budgets, the hip talk, sex appeal, and messages of black power made blaxploitation movies instant hits with black audiences.  This portrayal becomes the ideal by which young Black men and women live their lives, forcing them to become adolescent adults with guns and out of wedlock babies. Secondly, this portrayal tends to dehumanize Black men in the eyes of the world. As Adolph Hitler demonstrated, it is much easier to annihilate a race after that race has been lowered to a subhuman status in the eyes of society.   The financial success of Melvin Van Peebles' Sweet Sweetback's Baadasssss Song (1971) came as a surprise to Hollywood's major studios who instantly attempted to cash in.  Melvin Van Peebles projected a new image of a black hero in his film that he wrote, directed and starred in.  The message of Sweetback is that, if you can get it together and stand up to the Man, you can win.   "Of all the ways we've been exploited by the Man," Van Peebles writes, "the most damaging is the way he destroyed our self image.'  Black Panther leader Huey Newton urged the black community to see the film more than once since it attempts 'to communicate some crucial ideas and motivates us to a deeper understanding and then action based on that understanding."   The portrayal of Black men as gangsters and thugs is damaging in a number of ways.  There have been four episodes of filmmaking about Afro-Americans: Hollywood films portraying blacks before World War II, Hollywood films after that war, films made by black independents such as Oscar Micheaux and Spencer Williams before WWII, and the black exploitation movies of the late 1960s and early 1970s.   There has been an addition to the previously mentioned episodes known as the new black cinema.  The new black cinema was born out of the black arts movement of the 1960s, out of the same concerns with a self-determining black cultural identity.   What separates the new black cinema from these other episodes is its freedom from the mental colonization that Hollywood tries to impose on all its audiences, black and white.   Asserting that black expression could be appreciated on its own terms, this new black cinema aimed to preserve black culture both within the Hollywood system and apart from it.  A younger generation of filmmakers embraced Van Peebles, Micheaux, and African filmmakers as their cultural models. For the first time women joined black filmmakers' ranks.  New distributors, including the Black Filmmakers Foundation, California Newsreel, and Women Make Movies, Inc., aimed at select audiences and academic circles rather than mass markets.  The best known of the new black filmmakers during the 1980s and 1990s was probably Spike Lee.  Spike Lee's breakthrough independent feature, She's Gotta Have It (1986), was a "welcome change in the representation of blacks in American cinema, depicting men and women of color not as pimps and whores, but as intelligent, upscale urbanites."   By the late 1990s, the steadily expanding black presence in American film seemed to assure a solid future for the new black cinema.

The medium of film has a surface realism which tends to disguise fantasy and make it seem true.   Since the creation of the technology to capture moving images, African Americans have been depicted in an unfair fashion.  Popular films would inflict the values of ignorant, racist filmmakers as people went to discover them.  It took a lot of struggle and perseverance for filmmakers to enjoy the luxury of freedom available to them today.  Hollywood was never considered an ally to African Americans who wanted to depict their reality as it really was.  Independents had to struggle to finance films which were not Hollywood-friendly and many seized to continue because of this obstacle.  The pioneers of anti-racist films; the men and women who triumphed over hardships to create a piece of art true to their heart and culture are credited for providing the backbone for social change.  However, there is no argument that blacks still have distances to go in receiving a fair and honest portrayal in movies and television.

Teacher Comments: Do you think Black and anti-racism films are th same? Very good.  You should try to use smaller paragraphs (one for each main point).  Really well-researched and written.  Don't forget to cite all information.

33.  A Jest of God

We were strangers from the beginning

tormented by our difference

which did not exist.

(Betsy Warland)

An important ingredient inherent in a successful mother-daughter relationship is balance.  Like the scales of justice, maintaining equilibrium requires work.  The special bond between mother and daughter is delicate and unlike any other relationship due to expectations of performance on behalf of both women.  The female psyche is, characteristically, particular: each woman having a certain regiment making themselves unique.  Ideals and behavior learned, possibly inherited, from others are two of many things which carve an individual's personality.  It is these similarities and differences which often cause conflicts between mother and daughter.  In A Jest of God, the relationship between Rachel and her mother is strained due to unspoken expectations that each had of the other.  Stemming from poor communication, a host of differences were assumed to exist between the two, when in fact their struggle originated in their sameness.

The largest weapon which spear-headed the communication war between Rachel and her mother was the generation gap; coming from different eras, the pair assumed they had nothing in common.  In Rachel's eyes her mother was a pristine, saintly woman who maintained high moral values for herself and her family.  Therefore, being a good person and making the right decisions was never questionable to Rachel, as this was how her mother expected her to behave.  Rachel listened numerous times to her mother comment on how "peculiar" her behavior looked, and spoke of anyone else she observed doing the same.  Although this annoyed Rachel about her mother, she adopted similar paranoia tendencies, speculating how her behavior with Nick, a summer beau, looked to anyone who could be watching or noticing.  Irritated by her mother's attitude, Rachel excused it on the pretense that her views reflected the past times in which she lived.  However, Rachel had neither the patience nor the desire to speak out against her mother for fear of stirring trouble between them.  The irony in Rachel's decision is that their relationship needed  just what she was so desperately trying to avoid.

By turning her back on the communication problem between herself and her mother, Rachel wanted to believe that the problem was inherent in the misunderstanding each had of the other.  Underneath her shell, Rachel was coming to terms with what was really true of the gap between herself and her mother: their difference lay in her want to not be similar.  Both were single: Rachel unmarried and her mother a widow.  Through her fling with Nick, Rachel wanted to express her desires to be independent from her  mother, and have an adult relationship with another human being.  Another similarity between the two women was in their propensity to be stubborn and secretive, having opinions they did not speak of but eluded to.   This stubbornness was evident in terms of religious exploration as both were curious about faith. Rachel was more aggressive in her curiosity as evidenced in her visit the Tabernacle, however kept it a secret knowing her mother speculated about what good people saw in such activity.   Yet another similarity both mother and daughter share was in their satisfaction at living in a small town. Following the death of her father, neither Rachel nor her mother were anxious to change their living pattern.  Rachel was not blind to the similarities she had with her mother, but attempted to change herself in order to be different.

Like a teenager's last rebellious actions before entering adulthood, Rachel's actions during her last months in Manawaka symbolized the final fight to be different from her mother.  Struggling to maintain a casual relationship with a man her mother would disapprove of, Rachel was forced to sneak around behind her mother's back.  Rachel's mother seemingly had no trouble speaking her mind. Rachel tried to maintain her image as a proper, rule-abiding school teacher, and refused to speak to her principal about a troubling issue for fear he would lose respect for her. When attending the Tabernacle, Rachel spoke in tongues and left not knowing what she revealed of herself, only that her mother would surely disapprove of what she had done. Making a public spectacle of herself was a fear Rachel shared with her mother, however the experience was liberating for her because she knew the news would disturb her mother. These outward actions by Rachel were demonstrative of her want to finish her spiritual growth, which was stunted by an overbearing mother, and her own fear of being the same way.

Rachel remained a child well into her adult life.  This was evident in the way she spoke to herself, analyzing, and scrutinizing her own actions.  The narrative tone was that of a motherly voice, likely evidence of the fear for what her mother would say, and reflective of who she was growing into.  Rebelling against such growth is a natural progression for women because a strong sense of rivalry exists between mothers and daughters.  The latter, eager to carve their own path, become distressed when they realize they are unable to choose something new for themselves because it has already been branded into them from their mothers.  Such behavior is ritualistic and shows friendly competition between the wise and the wiser, as the former strive to prove themselves independent.  It is an attempt by daughters to prove their ingenuity, and gain acceptance and approval from their mothers.  Rachel realized this was occurring simultaneously with the reconciliation of her inner self, took charge of her independence and moved herself and her mother to the West Coast, at the end of the book.

Gaining independence was a great triumph in Rachel's life, and coincided with the first building block in an attempt to bridge the communication gap between herself and her mother.  Taking charge of her life was something Rachel never felt compelled to do prior to the growing experience of her inner-self.  As important as branching out on her own was, she was never before able to do this because she allowed herself to live under her mother's protective wing.  Although seeming to despise her mother for the qualities she unadmittingly possessed herself, Rachel was merely running from the truth, and failing to communicate only helped to reinforce this.

34.  A Look At Savage Garden

A Look At Savage Garden

Savage Garden is an Australian duo formed in 1994 by Daniel Jones and Darren Hayes. Daniel Jones, born on July 22, 1973 in Essex England moved to Brisbane, Australia as a young child, he plays keyboard, guitar, programming and sings back up. Darren came from a long line of musicians, so his love for music started when he was very young. When he was little, his brother had a drum set and when he went out, Daniel would sneak into his room and play then, he took piano lessons when he was seven. By the age of ten, he was playing the keyboard and drums in pubs and hotels. Daniel's musical influences were, Peter Gabriel, XTC, and Tears For Fears. Darren was born May 8, 1972 in Brisbane, he is both the lead and back up singers. At a young age, he began showing alot of intrest of getting into entertainment by singing and acting around the house which led him to act in many school plays when he got into high school. After high school, Darren attended college, to study journalism, Drama and education. His influences include, Prince, The Smiths, Fleetwood Mac, Marvin Gaye, Diana Ross, and Duran Duran. Both the guys are songwriters. Daniel was playing with another band called Red Edge, when he put an ad in a Brisbane music paper for a lead vocalist, Darren was studying to be a teacher when he decided he wanted to get into the music scene, he saw Daniel's ad and responded, "We clicked imeadeatly" (Darren Hayes, Savage Garden biography) Darren joined the band and in 1994, He and Daniel decided they were tired of playing other people's music so they left the band and devoted their time to writing and the band, Crush was formed. Darren and Daniel soon found out another Australian band also had that name so, they bought the name from them but, then they found another English band called Crush so they decided to call the band Savage Garden which was thought of by Darren, it was from an Anne Rice novel where "she describes the world as two levels, one as a very beautiful place but,in the other, underneath, we're all savage beasts" (The conception of savage garden) in the other,Darren and Daniel so fired by self assurance, sent out over 150 demo tapes to record companies and management all over Australia. One by one they got rejected until John Woodruff heard their tape and thought they had a chance, he immediately flew to Brisbane to sign them to JWM, his record company. Their first self titled album was recorded in Sydney, Australia. It was produced by Charles Fisher and mixed by Chris Lord-Alge. Woodruff released the record to an independent label, Road show Music and in 1996 their first single, I Want You, was released in Sydney. The single went platnum and became the highest selling single in Australia for 1996. It was also nominated for a Aria Award for the Best Debut Album in 1996 just two weeks after it's release and it rised to #3 on the national AMR charts. It debuted at number 31 on the Billboard charts which was "the highest chart entry ever for a debut single from an Australian artist."(village.com) It had a slow start until Rosie O'Donnell who loves the part in the song that says "chick-a-cherry cola" began playing it on her show and eventually invited them to appear and perform on the air. Their Second single, To The Moon and Back, "which adresses the insecurities of a teenage girl" (savagegarden.com/bio)quickly became a hit, reached number one and sold 135,000 copies in Australia and was in the top 30 in the US. Their third and most sucessful, Truly Madly Deeply which is a love song "distilled from the purity of heart" (savagegarden.com/bio),sold 160,000 copies and debuted at number 25 on the billboard charts. Their album was released on March 24, 1997 and debuted at number 1 on the national ARIA chart where it spent 19 weeks. The album has sold 9 times platnum, 670,000 albums, in Australia alone. Savage Garden launched their first live tour in Australia, May 1997, preforimg at sold out shows. Then in 1998 they were on the road again with their The Future Of Earthly Delites World Tour. Their CD was number 9 on the top ten best selling albums list from Dec 29, 1998 to Jan 3, 1999. They are currently in the process of making a new album which should be out sometime this year.

35.  A Man for All Seasons by Robert Bolt On Mores Moral Dilemma

More's Moral Dilemma

During the English renaissance in the 1500's, King Henry VIII wants a divorce from his wife for various reasons, but divorce is against the Catholic religion.  This is why he wants Sir Thomas More's consent, because More is a highly respected Catholic, but he is such a good Catholic that he goes against divorce.  In the play, A Man for All Seasons, by Robert Bolt, King Henry VIII applies pressure on Thomas More to support the divorce in many ways.  He exerts it both directly and indirectly in forms of threats and intimidation from various people.  Henry forces Meg, More's 'renaissance woman' daughter, to take an oath in order to see him, so she  tries to influence his decision about the divorce by using her intellect and by begging.  Wolsey, a cardinal, was told by the king to try to persuade him to support the king's divorce by appointing him to a political office, so if More does not support the king, he could be executed for treason.  Similarly, the king orders Cromwell, his assistant, to apply  pressure by finding a reason to kill More, to force  him out of the way.  All of these pressures from the king lead to a moral dilemma that More has to face, but he chooses to stick to his morals.

King Henry applies pressure on More to support the divorce through Meg.  While More is in jail for failing to take an oath supporting the divorce,  Meg tries to convince him to take the oath, and she says, 'Say the words of the oath and in your heart think otherwise,' (page 81).  More responded to this by saying, 'What is an oath then but words we say to god?' (page 81).  Meg is applying direct pressure on More by asking him to say the oath and not believe in it, so he will get the benefits of believing it and stick to his morals at the same time.  However, More thinks this is against Catholic religion because he thinks of an oath as 'words we say to God,' so he certainly can not use Meg's strategy.  Meg pressures More directly by trying to reach out to his feelings when she says emotionally, 'But in reason!  Haven't you done as much as God can reasonably want?' (page 81).  More supports his beliefs by saying, 'Well...finally...it isn't a matter of reason; finally it's a matter of love.'   Meg wants More to know that his family's food and money depend on him, and further more, whether he says the oath.  More still sticks to what he believes in, because he believes that he must always do what God wants him to do, for there is no limit to what god can 'reasonably want.'  Meg does as much as she can to persuade More to support the King, but it does not work, and More sticks to his morals.

Henry also orders Cromwell to pressure More to support the divorce.  At first, Cromwell informs More directly that the king is not pleased with him, and then says, 'Yet you do not know that even now, if you could bring yourself to agree with the Universities, the Bishops and the Parliament of this realm, there is no honor which the King would be likely to deny you?' (page 66).  More acknowledges this and says, 'I am well acquainted with His Grace's generosity,' (page 66).  Cromwell wants More to know that the king still has great respect for him, and if he supports the divorce there would be 'no honor which the King would be likely to deny' him.  More is not greatly affected by this type of pressure however, because he is the type of man that does not let rewards tempt him to go against his morals.  Cromwell realizes that More is stubborn on this issue, and wants to execute him, so to More he directly reads the charges against him, 'That you did conspire traitorously and maliciously to deny and deprive our liege lord Henry of his undoubted certain title Supreme Head of the Church of England,' (pages 86- 87).  More is shocked, and said, 'But I have never denied this title!' (page 87).  Cromwell is so devoted to satisfying the king that he finds a way uses More's silence as evidence of opposing the king, which means he is 'traitorously' denying the king of his title.  This is the most influential pressure that More has received, because if he is found guilty of high treason, he will be executed; but he still sticks to his morals.  More now has to deal with the harshest kind of pressure to face, because his life is in jeopardy.

Wolsey also plays a part for Henry in pressuring More to support the king.  At first, Wolsey tries to use his power to pressure More directly into supporting the king, 'The King needs a son; I repeat, what are you going to do about it?' (page 12).  More is smart when he says, 'I pray for it daily,' (page 12).  Wolsey is trying to pressure More with his power by making him answer the question, by using 'I repeat' as a way of reminding him that he must answer the question.  More, however, displays his intelligence by saying that he prays for the king's son, instead of giving in to Wolsey's trap and telling him that he supports the king.  Wolsey then gets angry at More and indirectly pressuring him by appointing him as the lord chancellor, which More does not know until Henry informs him, 'Did you know that Wolsey named you for chancellor?' (page 30).  More is surprised to hear this, and says, 'He was a statesman of incomparable ability,' (page 30).   Now More has to support the king, or he could be executed for high treason, which would prove to be the harshest form of pressure for More.  When More realizes why Wolsey appoints him a political position, he realizes what a smart move this is by Wolsey, and calls him 'a statesman of incomparable ability,' but this does not change More's decision about the divorce.  If Wolsey did not name More for chancellor, More would not have been able to be tried for high treason, and he would have been able to disagree with the king and not face execution.

More receives many pressures from many people through King Henry, both directly and indirectly.  In addition to Meg, More's whole family, including Alice, his wife, pressure him to support the king's divorce.  Also, politically he was challenged not only by Cromwell and Wolsey, but he is pressured by Norfolk, Rich, and Cranmer to support the divorce as well.  Socially, More is alone in his disagreement with the divorce.  All this pressure against More, and he still sticks to what he believes in and what his religion says to do, although he dies for it.  The moral dilemma More faces is similar to the moral dilemma of someone who has AIDS.  If you have AIDS, you have no good way of dealing with it.  More displays what a wonderful a person he is by choosing to not go against what he believed in, even though he got executed for it, which was probably a little crazy.

36.  a Man With A Dream

Willy Loman: A Man With A Dream

A common idea presented in literature is the issue of

the freedom of the individual in opposition to the

controlling pressures of society.  Willy Loman, the main

character in Death of A Salesman by Arthur Miller,

epitomizes this type of person; one who looks to his peers

and co-salesman as lesser individuals.  Not only was he

competitive and overbearing, but Willy Loman sought after an

ideal that he could never become: the greatest salesman

ever.  Determined to make money, Willy became uncontrollable

and somewhat insane.  Through his dialogue and actions,

Willy Loman portrays a character of insecurity, persistence,

and unknown identity.

From the very beginning of his life, Willy Loman

experienced problems with his popularity and personality.

His last name is a pun on a 'low man.'  He is at the bottom

of the business world as an unsuccessful salesman.  In

addition, his theories on life and society prove to be very

degrading, not to mention influential to his mind set every

day.  Willy believes that being well-liked and having a

personal attractiveness, together, can bring success, money,

and many friends.  Ironically, Willy does not have many

friends and many people do not like him.  With a beauty

unlike others, Willy thinks that doors will open and

problems will all disappear.

As a salesman, Willy developed many hindrances that

caused his mind to deteriorate.  His life as a salesman was

built on a dream that he witnessed as a child.  At an early

age, Willy heard of a salesman, Dave Singleman, who could

make his living out of a hotel room.  Singleman was very

successful and when he died, people from all over the

country came to his funeral.  It was this ideal that Willy

Loman sought after.  All he ever wanted was fame,

popularity, and a few friends.  Unfortunately, when Willy

died, not a single person went to his funeral.  His life,

one that was spent trying to become another person, namely

Dave Singleman, was a waste as no-one even wanted to see him

buried.

In reflection of his career with the Wagner Company,

many other problems arose that forced economic difficulties

on him and his family.  He was determined to live by ideals

that placed him above everyone else.  It was with these lies

and illusions that Willy's life began to lose its' air of

reality.  He lost his identity, courage, and dignity

throughout New England as a salesman.  And as he explained

often, 'I have friends...They know me up and down New

England.'  Realistically, though, Willy was not successful.

He did not have friends and people did not like him in New

England.

'With his self-identity weakened and undermined, Willy

lost his grasp of things in general.' (P.P Sharma, critical

analysis)  He spent hours on hours dreaming of the past.

Thinking of himself and his son Biff who had potential, but

did not take advantage of it.  Biff was Willy's inspiration

as a father.  He had the determination to become a great

football player, not to mention make something with his life

and the Loman name.  However, Biff flunked math and threw

all of his opportunities away.  It was with these

circumstances that Biff and his father began to separate.

Willy always promised his sons prosperity and good-fortune,

but he could not give that to him and when he lost Biff, his

life became an even larger failure.

In other memories and illusions, Willy often replays

the moments with his brother, Ben.  Specifically, the time

when Willy was offered a job in Alaska; the job which would

have made him an enormous amount of money haunts Willy every

time he tries to sell his Wagner stockings, only to have his

sales come up lame.  With low sales and age, Willy decided

to ask for a job in New York.  And it was at this time that

his company decided to stop paying by salary, but solely on

commission.  And for a man who cannot sell well, the loss of

a salary is very detrimental to his well-being.  'Although

Willy is aware, maybe dimly and imperfectly, that he is not

cut out for success in the world of trade and commerce, he

nevertheless nurses the dream of getting the better of

everybody else.  And this leads him into an alienation from

himself, obscuring his real identity.' (P. P. Sharma,

critical analysis)

Willy's life would have been more satisfying had he

engaged himself in more physical work that would occupy his

mind.  His life was situated on a dream for success and

prosperity.  When it never arrived, Willy spent a lot of

time, just brainstorming how to make his life what he wanted

it to be.  Putting his family aside, Willy committed a

terrible sin.  In Boston, during one of his business trips,

Willy cheated on his wife.  He met a woman who would be very

cheap for an evening, and as a boost of confidence, Willy

spent the night with this low-class woman.  Unfortunately,

his son Biff, who was surprising his father in Boston,

walked in on the two, thus causing a situation that would

forever haunt Biff.  His thoughts of his father as an

influential salesman in New England were all lost.  What

appeared, instead, was the belief that his father was a

loser with no potential to ever support his family.  It was

at this time that they their lives spread apart.

Using that situation as a downfall and the many others

that occurred in Willy Loman's life, it was not surprising

when he killed himself.  In search of happiness, Willy

believed that he could give his family what they wanted if

he only left the world.  But, his dreams were wrong, as his

family did not even care enough to go to his funeral.  He

died for things that he had lived for- his sons and

illusions of prosperity.  Ironically, though, his life was

not worth the happiness of his son's.  And his life was

definitely not worth the sacrifice that he made for them his

entire life.

Willy Loman died still unsure of his status in the

business world.  He wanted success and money, but at the age

of sixty-one, he realized that these goals would never be

reached.  His identity was lost and his presence on earth

unknown.  Willy Loman was influenced by society in that he

could not overcome the pressures of selling and making

money.  His life long dream was happiness, but that never

came either.  The pressures of society killed a man who once

had courage and determination.  But, as his life moved

further, Willy Loman lost his ability to see the world

clearly.  All his eyes could observe was despair and

insecurity.  It was through his beliefs that he decided to

end his unhappiness, by ending his life.  Willy Loman died a

lost identity, but one that found himself for a brief period

of time; long enough to end his life forever.

37.  A Medical Experience

It was the end of a normal day at the station.  The medics are just getting to bed

after running a half a dozen calls for an assorted minor medical and trauma problems.  The

paperwork was finished.  The reports were entered into the computer.  The truck was

even restocked.  They were just about into dreamland but, as with most nights at this

particular station,  sleep was not to be.

Several miles away, in a small, well kept apartment, Angie Briggs, a

eighty-year-old woman awoke to the feeling that the life-giving air was being denied to

her.  She tried to sit up, but the feeling would not subside.  Walking made it worse.  She

also noticed that, even though the temperature in her room was comfortable, she was

dripping with sweat.  The longer that she waited, the harder it became to breath.  So,

realizing the fact that her doctor was probably asleep, she did the next logical step, she

called her daughter, who lives in another state.  The daughter realized that her mother

needed more help than she could give over the phone, tried to persuade the mother to call

an ambulance, which, of course, the mother refused to do, stating that it wasn't necessary.

The daughter then took it upon herself to call EMS from her own house.

The medics were notified of the problem through the usual method, a series of

tones over a radio that cause a loud horn to blare and all the station lights to come on,

much to the annoyance of the fire lieutenant.  This alarm was immediately followed by the

dispatchers voice giving all the applicable information on this call.

"Med unit 2, respiratory call, 103 Royal Terrace Boulevard, apartment 7, in

reference to a 80 year old woman with shortness of breath."

Not that the EMS crew were listening at this point.  They are busy getting into

their jumpsuits and putting their boots on.  It does not matter if they are eating, sleeping,

watching TV, or even taking a shower, they are required to be in the ambulance and en

route to the scene within two minutes.

"Med Two's en route."  Stated EMT Jennifer Meyers in a sleepy voice

" Copy med 2 is en route to 103 Royal Terrace Blvd., apartment 7."  Now they are

listening.  "This is in reference to a 80 year-old female who is in severe respiratory

distress.  Received the call from her daughter that is out of state.  Patient sounds very

short of breath."

"Copy"

"I'm pretty sure that it is in the first entrance into the apartment complex.  Should

be the third or fourth building on the left", stated Doug Murphy the paramedic on duty.

It took only a few minutes for the ambulance to arrive at the scene.  After dispatch

was informed of their arrival, Doug and Jennifer removed the stretcher that was already

loaded with the monitor, the airway bag, and the med box. As he approached the front

door, Doug took notice of the condition of the walkway, of the location of the bushes, and

any outside furniture that might impede exiting the house with a stretcher loaded with a

person.  He did the same quick evaluation upon entering the residence.

After knocking, an elderly, heavy-set woman opened the door.  The medic could

see immediately that she was is serous trouble.  Her clothes were soaked, wet with sweat,

every time she took a breath, a faint popping sound could be heard.  The medic also could

see the front of her neck pull in along with every breath and that her general color had a

faint, matted bluish color about her.  Doug knew that without immediate treatment, this

lady would die.

Doug quickly lowered the stretcher and took the equipment off of it.  "Why don't

you sit right here."  Doug told Mrs. Briggs

" I'm fine, really.  I told my daughter that I would see my doctor in the morning.  I

don't know why she called you?" Mrs. Briggs stated.  The medic was surprised that she

could talk at all.

"When did you start having trouble breathing?"  Doug asked as he was turning on

the oxygen bottle

"About an hour ago.  I woke up and couldn't catch my breath." Pointing to the

oxygen mask that the medic was placing on her face.   "I really don't need any of that."

" I think you do.  You need to let me do my job and treat you.   This condition will

only get worse."

"No, I think I'll wait till the morning."

"Listen, you don't have until the morning.  To be perfectly blunt, I doubt you have

a hour.  You need to let me treat you now.  Your lungs are full of fluid."

"How do know that?"  asked the patient.

"I can hear it, even without my stethoscope." retorted the medic.  " I can take care

of this problem with medicines, but I need to do it now." Looking at his partner.  "How's

the blood pressure?"

The medic's partner had been busy taking the patients blood pressure and pulse,

and was now in the process of applying the electrodes on the patients chest for the

monitor.

"180/90, pulse 100 very irregular." came the reply.

While his partner began to set up the IV bag, the medic finished putting on the

monitor leads.  After he turned the machine on, he then began listening to the patients

chest, carefully listening to each lobe of the lungs, trying to judge just how far the

crackles, or rales, go up into the chest.  This allows him to determine how full of fluid

Annie's lung were.

"Your lungs are three-quarters the way full." Doug then took a look at the

monitor.           "Do you usually have skipped heart beats?"  questioned the medic.

"Yeah, it's been like that for a while."  answered the patient.

He then asked the patient.  "Have you ever had an IV before?"

"Yes. Do I really need one now?"

"Yes ma`am, you sure do." answered the medic.  A rubber tourniquet was placed

around the patients arm tight enough to stop the return blood flow, or venous blood but

not too tight enough to cut off the arterial blood flow.  He then looked for and found a

vein in her wrist, prepped the site with alcohol, and stuck a needle that was covered by a

thin catheter into the vein.  After he removed the needle, leaving the plastic catheter in the

vein, he took a sample of blood from the site and connected the IV line.  He then released

the tourniquet and opened the IV line to make sure he had a good flow.  The drip rate was

set so it would only drip once ever few seconds.  After he taped the line down to the

patient's arm, he finished this particular procedure by making sure that all the dirty needles

were safely placed in a sharps container.  He didn't want any accidental needle sticks.

"Ma'am, are you allergic to any medicines that your aware of?"

"No, not that I can think of."

"OK, This is what we are going to do.  First, I'm going to give you some Nitro

with a spray.  What I need to you to do is open your mouth and put your tongue at the top

of your mouth"  Stated the medic.

Mrs. Briggs complied, almost.  She opened her mouth and kept her tongue at the

bottom of her mouth.              "Tongue up." The patient complied.

"Good, now take a breath in."  When she did, the medic sprayed the Nitro into her

mouth.  Having her inhale when he sprayed the Nitro kept it from going back into his face.

Talking  to the patient "Ma'am, I'm going to give you some Lasix though the IV

line.  Hopefully, it will pull some of that fluid out of your lungs and back into your

bloodstream.  Is that oxygen helping?"

"A little."

"Good" The medic replied.  He then proceeded to slowly give the Lasix.  The

standing orders that he works under (after all, a non-physician cannot give medicine

without a physician willing to assume responsibility for it) allows him a dosage range up to

80 mg. for Lasix.  If the patient was not in such distress, he would have opted for double

of the home dosage.  However, this time he chose for the full eighty.

After being secured in the ambulance, Jennifer went back to make sure that the

residence was locked up.  Doug then retook the patients  blood pressure (which had not

changed) and listened again to her chest, detecting a slight clearing of the lungs.

"Ma'am, I need to ask you again if you are allergic to any drugs."

"No, I'm not."

"Have you ever taken Morphine before."

"No, why?"

"Because I'm going to give you some in a minute"

"Why?  I don't hurt anywhere."

"We're going for another effect that it has.  It helps pull that fluid out of your

lungs."  Seeing a look of confusion in the patients eyes, Doug asked  "Do you understand

what is happening?"

"No"

"For some reason, your heart cannot keep up with the flow of blood coming into

it."  The medic explained as he drew up the Morphine from the vial.  "When this happens

to the left side of the heart, the blood backs up into the lungs, causing the blood plasma to

leak into the tiny air sacs in your lungs.  This is what is causing you to be short of breath

and to have that crackling noise when you breath.  All the medicines I am giving you cause

your blood vessel to dilate, or get bigger.  The Nitro causes this all over the body.  The

Morphine does it in the arms and legs.  And the Lasix pulls it out of the body by making

you have to pee a lot.  The Morphine will also help you to relax somewhat.  Just let me

know if you start felling nauseous."  Doug took a alcohol wipe and cleaned the injection

port of the IV tubing, then inserted the syringe's needle into the port.  "I'm giving you the

Morphine now."

By this time, Jennifer had finished locking the apartment.

"You all set?" She asked, sticking her head in the back of the truck.

"Yup, let's go."

On the way to the hospital, the patient started improving; her blood pressure and

pulse were going down, and the patient was breathing a lot easier.  The rales were even

noticeably diminishing.  The medic had called the hospital over the radio notifying them of

the patient that he was bringing in and her current condition.  The patient, due either to

her finding it easier to breath or due to the Morphine, began talking.

"How long have you been a fireman?" The patient asked

"Never have been, I'm a paramedic."  The paramedic retorted.  "We have a dual

system in this county.  We work with and are stationed with the fire department, but we

are under a different chain of command."

"What does that mean."

"I don't put out fires, they don't give people needles."

By the time that the ambulance got to the hospital, the patients lungs were almost

clear of any rales that the medic could hear.  And, as expected, the patient requested a

bedpan as quickly as possible.

"Which room would you like us in."  Doug  asked a nurse.

"What'ch ya got" came the reply.

"Heart failure."

"Room 10 will be fine."

"Thanks." responded the medic as he wheeled the patient into the treatment room.

While the nurse went to get her paperwork, the medic and his partner lifted the patient

onto the hospital stretcher, transferring the oxygen tubing

38.  A Metaphorical Odyssey

2001: A Metaphorical Odyssey

Myths are created for the purpose of conveying a message with an interesting medium with which to do so.  Many cultures use myths to teach their young about the past.  Through time, however, these myths become impractical due to discovery.  This is when a new myth must be introduced to take the place of the obsolete one.  Stanley Kubrick shaped 2001: A Space Odyssey as a new myth to crack the archaic view of space, by using a hero, a dilemma, and a new revelation to fuel his cause.

Every myth has a character that breaks the mold of the ordinary.  In Homer's The Odyssey, Odysseus is the character that broke the mold of the other mortals.  He displayed character traits that superseded those of his crew mates.  Much in the same fashion, Bowman breaks the mold of the astronauts aboard the Discovery.  He and Poole are share duties aboard the Discovery, but he demonstrates a higher level of thinking by sensing and interpreting what is happening before him.  He is the one that realizes exactly what HAL is doing, and he puts a stop to it.  He sees problems, analyzes them, and then proceeds to diffuse the cause in the most efficient manner possible.  He uses his character traits of intelligence, persistence, and adroitness to overcome the dilemmas put in front of him.  By using his intelligence, he realizes that HAL has figured him out, and he must find a way to get back into the discovery in order to survive.  In using persistence, Bowman does not give up when it seems that HAL has won the battle.  Instead he takes the rough way in, and he then disables HAL.  Bowman shows how adroit he is with dilemmas by handling the entire HAL situation with calm and intelligence.

While on the mission, Bowman is faced with many dilemmas.  The first dilemma, is that he is in the dark about the purpose of the mission.  He has only been supplied with the vital information that he will need to perform routine operations until the site of the mission is reached.  HAL is responsible for informing him when the place has been reached and  time is right to complete the  mission.  He decides that he must do what he can without actually knowing the exact purpose of the mission.  The next dilemma is that HAL has been reacting to his instincts in a negative manner.  He realizes that Bowman and Poole are having doubts about the mission.  Bowman decides that he must hide his emotions and plans from HAL in order to proceed successfully.  HAL, on the other hand, figures out that Bowman and Poole are planning to unplug him by reading their lips while they are conversing in the pod, and finds a way to get them where he can control them.  He fakes a failure in the communications satellite dish, and Poole goes out to repair it, never to return. After Poole is disposed of, Bowman finally realizes that HAL has turned on him.  This is the ultimate dilemma that Bowman must face.  He is locked out of the Discovery, and he must find a way to get back in and disable HAL before he dies, and the mission is unsalvageable.  He finally succeeds in re-entering the Discovery and disabling HAL as the ship nears Jupiter and the pre-recorded message plays on the video screen.  His decision to unplug HAL and run the mission solo is the deciding factor in the new revelation that he encounters.

With the approaching of the climax of the movie, Bowman realizes that the mission was far beyond the comprehension of any human being.  He realizes why the mission had been kept confidential even to him, as a pre-recorded message gives him a debriefing of the purpose of the mission.  The ever present question of whether or not there are other intelligent beings in the universe is answered as Bowman enters the stargate.  As he descends into the stargate, the many colors and patterns show that he is proceeding into a realm that is a paradox of powers.    When Bowman sees that he is being protected from forces that are far beyond the control of any mortal, he knows that these other beings are far superior to humans.  With his experiences, the enlightened Bowman returns to earth realizing that society dwindling.

Using Bowman as a hero that faces dilemmas to reach the target moment, Stanley Kubrick uses 2001: A Space Odyssey as a new myth to replace the old myths about space.  This redefined what people thought about space.  This myth has carried over into the 20th century, and still will proceed into the 21st century.  It shows how new myths can replace old myths and shatter the very foundation the human mentality.  For when an archaic belief is suddenly replaced with a new one, it is often a reaction to wonder why the old one was wrong.  This often leads to further exploration and discovery in that area.  As discovery progresses, the myths change concurrently.  This also exemplifies how important myths are to a culture or race of beings.  Without myths, there would be no efficient way of communicating the beliefs and philosophies of the time.

39.  A Nightmare On Elm Street

A Nightmare On Elm Street

At a time when the stalker movie had been exploited to all ends and the image of mute, staggering, vicious killers had been etched into society's consciousness to the point of exhaustion, a new kid entered the block. The year was 1984 and it was time for a new villain to enter into the horror genre. A villain that was agile, intelligent, almost inviolable yet viscous, and by all means deadly. A Nightmare on Elm Street introduced the distinctive presence of Fred Krueger to the horror industry and to the audience. Freddy Krueger took the center stage and with him a new era of horror films began. This horribly scarred man who wore a ragged slouch hat, dirty red-and-green striped sweater, and a glove outfitted with knives at the fingers reinvented the stalker genre like no other film had. Fred Krueger breathed new life into the dying horror genre of the early 1980's.

Horror films are designed to frighten the audience and engage them in their worst fears, while captivating and entertaining at the same time. Horror films often center on the darker side of life, on what is forbidden and strange. These films play with society's fears, its nightmare's and vulnerability, the terror of the unknown, the fear of death, the loss of identity, and the fear of sexuality. Horror films are generally set in spooky old mansions, fog-ridden areas, or dark locales with unknown human, supernatural or grotesque creatures lurking about. These creatures can range from vampires, madmen, devils, unfriendly ghosts, monsters, mad scientists, demons, zombies, evil spirits, satanic villains, the possessed, werewolves and freaks to the unseen and even the mere presence of evil. Within the genre of horror films falls the sub-genre of teen slasher/stalker films. These teen slasher/stalker films take the horror genre film characteristics into account, however they add more to the formula. More violence, sadism, brutality, and graphic blood and gore are used to increase the terror factor. Sexuality and gratuitous nudity are also key characteristic of many of these films. Imitations and numerous sequels are also a common characteristic of teen slasher/stalker films as well.

A Nightmare on Elm Street and all of the following six sequels fall into its own sub-genre of the teen slasher/stalker sub-genre as well, know as the Nightmare on Elm Street Series. This series of films adds a new dimension to the typical teen slasher/stalker film, depth of character and story. The characters are not there only to be killed, but rather they have distinct personalities, they are independent and intelligent, particularly the female lead characters. The killer, Fred Krueger, as well is not only there to murder his victims. He displays a great amount of wit, sarcasm and intelligence. The audience comes away with a knowledge of each of the characters individual personalities. The storyline takes on a greater depth as well. The story goes beyond the simple gore and focuses more on the psychological terror that lies within and scares society the most. The line between nightmare and reality becomes blurred and the terror is allowed to build up, which results in a tremendous amount of suspense.

Horror films developed over a century ago and have come from a number of different sources: folktales, witchcraft, fables, myths, and ghost stories. The first horror movie was made by Georges Melies, titled The Devil's Castle (1896). Another of the early influential films was The Cabinet of Dr. Caligari (1919). The shadowy, dream-nightmarish quality of this film was brought to Hollywood in the 1920's and continued on into the horror films of the 1930's. Horror entered into the Dracula and Frankenstein era during the early 1930's. The studios took stories of European vampires and mad scientists and created some of the most iconic beings ever known on the screen. Dracula films and sequels were less successful than many of the Frankenstein sequels. Many of the films in the horror genre from the mid 1930's to the 1950's were B-grade films, inferior sequels, or low budget gimmick films. During the 1950's most of the films were cheaply made, drive-in teenage oriented films. To counter the popularity of television, experiments with 3-Dimensional films were made. These low budget films helped to keep the horror genre alive when the larger Hollywood studios turned away. Horror films branched out in all different directions in the 1960's and afterward. Film censorship was on the decline and directors began to frankly portray horror in ordinary circumstances and seemingly innocent settings. Alfred Hitchcock brought out his most horrific film, Psycho, at the start of the decade, which changed the face of horror films. In 1968, the MPAA created a new ratings system with G, M, R, X ratings in part to the violent themes of horror films. In the 1970's the horror genre was subjected to far more violence as well as blood and gore. Slasher films, in which the victims were stalked and killed by mortal or immortal psychopaths, also became popular during this decade, with films like The Texas Chainsaw Massacre (1974) and Halloween (1978). This trend carried through to the 1980's as well with films like A Nightmare on Elm Street and Friday the 13th , with the sequels to these films carrying them throughout the rest of the decade and into the 1990's. During the 1990's Wes Craven, the writer and director of the original Nightmare on Elm Street, has been credited with bringing the horror genre back to life with films like Scream. The characters in these films are now aware of the history of the slasher horror film and know all the rules. "They survive the movie based on their ability to outguess the twists of the formulas in which they are trapped" (Mast, Kawin, 553).

The horror genre, as well as slasher/stalker genre, and The Nightmare on Elm Street genre have been influenced by Expressionism, rendering inner states as aspects of the outer world. "Masks, madness, and shadows come together in the Expressionist horror film, where the threatening figure is often uncontrollably destructive, sexually aggressive, masked or in heavy makeup, and acting out some culturally repressed impulse" (Kawin, 94).

A Nightmare on Elm Street was written and directed by Wes Craven. The movie was released in 1984 and challenged the typical slasher genre film of the time in many aspects. The movie begins with the haunting children's song, "One, two Freddy's coming for you /Three, four, better lock your door / Five, six grab your crucifix / Seven,eight gonna stay up late / Nine, ten never sleep again." A teenage girl wanders around a dark boiler room in only her nightgown, as a screeching is heard as knives are scratched against the pipes. A badly burned man wearing a dirty hat and striped sweater with knives for finger grabs her from behind and she then wakes up screaming in her bed, it was only a dream. Not long after this, the same girl is in another dream where she is being chased by the same man, he catches her in the dream and in reality she is thrown around the room in a state of unconsciousness and stabbed repeatedly by an attacker that can only be seen in her dream. The film is already different from the typical slasher/stalker film in that the terror is taking place in both the dream state, as well as in reality. The basic plot resembles other slasher films in that a scary, strange entity is stalking teens in order to kill them. The setting is dark and spooky with a foggy appearance. As in many horror films a character who is thought to be one of the main characters is killed off early on and that is where the similarities end. The plot of this film gives a reason as to why Fred Krueger is after these teenagers. The parents of these teens who live on Elm Street had gotten together, captured him and burned him alive because he had gotten out of jail, charged with murdering children, on a technicality. Now as his revenge he must kill the children of all the parents that were involved in his murder, by stalking them in their dreams. By making Freddy Krueger the result of a dark secret in the neighborhood, the motivation is much deeper than the average slasher film. Although Freddy is a horrible villain, his crimes existed in the past. The teenagers parents are now responsible for the reawakening of the terror because they committed an act just as horrible and as a result, their children must now pay for their sins. The nightmare world is connected to reality, which effects the visual style of the film. This allows for anything to happen, there are no limitations. While other villains are restricted to real world laws of physics, Freddy Krueger can do anything when looking for people in their dreams. There are no physical limitations to what he can do. This also allows the filmmakers to do things in terms of effects that had not been done before, such as when Freddy pushes through the wall and knocks the crucifix over Tina's bed onto the floor. Weaving the reality sequences with the dream sequences so that the audience did not know which was which also had an impact on the visual style of the film. Some of the dreams appeared so realistic that when it was cut to reality or switched back into a nightmare it added even more surprise to the where the story was.

The characters in this film are also very different from the typical characters in a slasher horror film. These characters have personalities and are intelligent. Nancy ,the female lead character, is a particularly strong character in the film. She is not about to let herself be killed by Freddy. She fights back by trying to stay awake drinking coffee and taking caffeine pills. She also discovers ways to go into the dream state and learn about it without being killed. She even manages to find a possible way to bring Freddy into reality from a dream and sets him up to be killed. Nancy redefines the role of a victim in this genre of film. She does not just run from the attacker to get away, nor does she try and hide from him. Rather she goes right into the killers world announces that she's there by screaming out "Krueger, I'm here", captures him herself by going after him, fights back and destroys Krueger for the time being by not fearing him and standing up to him. Freddy Krueger also redefines the typical role of a killer in this film. The typical stalker was one that never spoke, was unimaginative, and vicious, that captured their victim by chasing them down to a dead end. While Krueger is scary and dangerous, it is his wit and intelligence that really come through. He has a brain and knows how to use it, he uses all the tricks of the trade to lure his victims to him and is very cunning while he does it. He uses sarcasm and plays with the minds of the victims, for example when Krueger transforms himself into a high school girl hall monitor and asks Nancy where her hall pass is. This is not the typical image one would have of a killer but this lets the audience know that he is lurking about just waiting to make his move.

The film also deals with certain thematic concerns, such as the role of parents and the police in society. The parents in this movie are not interested in what their children are telling them. Nancy's mother, who is an alcoholic, won't believe her when Nancy tells her about Freddy. Nancy's father, a police officer, doesn't show up to help Nancy when she brings Freddy out of her dream into reality, even though he said he would be there. Nancy believes that something might happen to Rod while he is in jail and she asks the police to check on him. The police don't check up on Rod and he is murdered in his cell by Krueger. The parents feel that there is no problem because they think that they solved the problem by killing Krueger themselves. The parents won't listen to their kids, which is a common theme in many movies.

A Nightmare on Elm Street adds to the horror genre, by bringing into light the psychological aspect of horror, which can be much scarier than blood and gore. It brought a new perspective to the typical horror movie and allowed for serious character development. Therefore, it became possible to battle the killer, it became an issue of the mind, not over who was bigger or stronger. The movie gave motives for the plot and made it interesting and intelligent It also made a connection between what society fears and the reality of those fears.

In an time when the horror film had become little more than a mindless game of cat and mouse, with excessive amounts of blood and gore, Wes Craven brought hope to the genre. A Nightmare on Elm Street intelligently probed into the audience's fear of nightmares and combines that with the fear of being trapped within a nightmare in order to create a very intelligent thought-provoking movie that helped to redefine the horror genre. Bibliography

Brown, Gene. Movie Time, A Chronology of Hollywood and the Movie Industry from Its Beginnings to the Present. Macmillan Company, 1995.

Mast, Gerald and Bruce Kawin. A Short History of the Movies, Seventh Edition, Allyn and Bacon, 2000.

Kawin, Bruce. How Movies Work, University of California Press, 1992.

40.  A Pageantry of Costumes

We think about the twelfth century as being captured by elegance, mystery and creative design.  This was definitely shown by their costumes.  The twelfth century was a time of intense religious worship, and when they performed on stage, the costumes were a release from their everyday restraints.  The costumes of this century brought out the flair and individuality of the people wearing them.  This had a great impact on theatre because even today, actors and actresses come alive when they get changed for performance.

To show the evolution and slow, steady development of costume, it is necessary to go back to structural beginnings: the trunk-hose, the flat wool caps, and numerous other equally interesting details of dress in the twelfth century.

The twelfth century was a magnificent pageantry of exotic and fantastic costumes, and after the disappearance of classical drama came the age of the liturgical or church drama of Western Europe. (Hartnoll 36)

Not only was more attention paid to dress, but cosmetics were introduced from the Indies.  Cosmetics were a way of hiding or disfiguring one's face to be anyone at all.  Those in the twelfth century adored the fact that they could break away from their pale faces and dive into vivid colours and fancy make-up.

It is impossible to illustrate more than a small fraction of the designs that may be found during this period, because its complexity adorns practically each item of apparel from hats to shoes.  I have aimed to condense and simplify my essay in hopes of describing typical examples of the garments which, in all probability, were the wear of our predecessors from centuries ago.

England at this period was the sole manufacturer of woolen stuffs; therefore wool, frieze, rugge, broadcloth, kersey, and similar materials were worn extensively in most productions.  Only the wealthy actors/actresses could afford such fabrics as cloth of gold or silver, velvet, satin, tissue, tinsel and fine damask, which were all imported at fabulous prices from France, Spain and Italy. (Brooke 71)

Velvet and satin were adored by all because it gave everyone a feeling of relaxation because of its touch and smooth texture.  Actors and actresses loved wearing velvet and satin more than any other fabric.  Women were the most popular purchasers of them, and most were quite remorseful when they had to remove their garments after their performance.  Some of the actors/actresses liked to take home the velvet and satin to wear around their homes...but if anyone caught them, they would have "committed a terrible sin."  Since the religious element was so strong back then, most awaited the chance to break free from the grips of everyday life. (Hartnoll 74)

It is exceedingly difficult to find contemporary examples of the costumes of serving men and women of this period.  The women's dress is particularly interesting because it is so much more diverse from their daily dressing routine.  Pleated petticoats were in general use on stage, and the idea of fastening the skirt to the belt was probably to protect the skirt from getting unnecessarily spotted fronts.  Peasant women wore simple woolen garments, their shifts were frequently made of linsey-woolsey.

Gowns were usually laced up in the front of the dress, and had fairly close-fitting sleeves and waistlines.  Women adored and fitted costumes because they could finally wear things that didn't cover the entire body, not to mention with drab colour schemes.  Twelfth century religion forbade such exotic clothing such as those fitted ensembles, but every woman felt free and much more feminine in them. (Willett 16)

Women's hose were of cloth and reached just above the knee, where they were tied; shoes were of cloth and reached just above the knee, where they were tied; shoes were of loose slippery variety with a flat sole and the toes were open.  Open toes were another special plus for those in the twelfth century theatre.  Open toed shoes were a sign of creativity, and mystery.  Women loved to wear open toed shoes on stage.  They had to wear black boot type shoes every other day which covered up most of their leg and their toes. (Willett 24)

Near the end of the century, the "split-sleeve" came into vogue for the ladies of fashion.  The sides were caught together with gold clasps instead of the more usual clasps.  A large apron of hollard or some coarser fabric was always worn on stage, and the belt or girdle served to carry any small articles that women may need from time to time.  Girdles and belts are still widely used today in theatre.  This shows how twelfth century theatre has carried on through generations and is still used to costume and clothe stage performers today.

Precious stones, gold and silver chains and clasps, and numerous rings were worn extensively.  Gloves, when worn, were cut at the knuckles to show the rings beneath.  Gloves, and expensive fine gems are still popular today and are still a vital touch for that finishing piece of a costume. (Hartnoll 52)

The men wore simply a shirt and tights, the latter of cloth reaching from waist to toe, covered by a belted doublet of some rough wooden material that finished an inch or two above the knee and had long sleeves.  Their boots or shoes were usually made of leather and covered the ankle.  Sometimes a cloak or gown was worn for extra warmth on stage, because some of the plays were held outdoors.  The costumes of the men have carried on through the years as well.  Men are still quite simple in their dress and they liked to wear comfortable costumes.

No itchy wool or cold satin for the men of the stage.  Cloaks were most fashionable, short, barely reaching the hips, and sometimes worn swathed round in the venetian style.  Shoulder padding was general, and "wings" were added to accentuate the width of the doublet.  Venetians were a series of knee-breaches, bombasted, quilted, and padded.  These usually reached just to the knee, and were either tied with a wide garter or finished with a small frill or bond.

(Brooke 14)

Probably the reason for so many changes in fashion and costume about the twelfth century was that they were so elaborate, and had splendid embroidery.

The religious content of the theater broke free when the actors/actresses took to the stage.  They felt like a new person.  It is so significant because performers feel that same way today.  So, we draw to a close, the most interesting century in our history, a century shaken by the discovery of a crazed enthusiasm, wild frenzies, and frantic expenditures.

No sober-minded stay-at-homes were they.  And the spirit of adventure, originality and extravagance must needs be given expression - hence the dazzling array of costumes, the exotic materials, and the priceless decorations set forth in the twelfth century.  It was a period in time for people to let themselves loose when religion was so predominant in their lives.  The twelfth century will also be significant in theatre history because their era was the building block to the future costumes that dazzle everyone.

WORKS CITED / CONSULTED

Brooke, Iris.  Costumes In The Twelfth Century.  London:  Adam and Charles Black, 1967.

Hartnoll, Phyllis.  The Theatre: A Course In History.  New York: Thames and Hudson

Incorporated, 1985.

Willet, C.  Handbook of English Medieval Costume.  London: Faber and Faber Ltd., 1969.

41.  a representation of the true meaning of tragedy

Arthur Miller's 'The Crucible' is clearly a representation of the true meaning of

tragedy.  John Proctor was, in fact, the medium, the tool, of which Miller utilized to

convey a universal depiction of tragedy.  A broad definition of a tragic hero is a

protagonist who, through faults and flaws of his own and in the society in which he

exists, falters in the grand scheme of things.  This mistake leads to suffering, which

ultimately leads to a self-realization.  Miller, himself, has said, 'Tragedy, then, is the

consequence of a man's total compulsion  to evaluate himself justly,' leading us to

believe that a greater theme encompasses this downfall.  Miller, as well as many other

literary critics seem to convey that tragedy revolves around two universal aspects: fear

and freedom.  'The Crucible' is a direct parallel to the multiple ideals of tragedy and thus

centers around John Proctor's fear and freedom while he exists as a tragic hero.

The first stage in the process of establishing the tragic hero for Miller was

relaying the characteristics of John Proctor.  It was essential that Proctor be viewed as the

so called 'good guy' in the plot, one who stands out or the audience can relate to.  He is

described as a 'farmer in his middle thirties' with a ' powerful body' and a 'steady

manner', and is already being established as the protagonist in which we sympathize

with.(p.19)  Miller's choice to describe him in such a fashion is very significant.  By

describing the tragic hero as a 'strong, steady, farmer' the dramatic effect is even greater.

Who else better to fall victim to his own personal freedom and the fear of others but the

strong, stern character?  John Proctor's description also provides another outlet to convey

the dynamic nature of his character.  While the physical side of Proctor deteriorated

towards the conclusion of the story a contrast is created.  John is said to be '...another

man, bearded, filthy, his eyes misty as though webs had overgrown them, ' an obvious

discrepancy from his initial condtion.(p.123)  Thus, John's physical delineation is an

apparent parallel to the changes he emotionally undergoes making him a dynamic

character.  Miller also establishes Proctor as the protagonist by giving him qualities the

audience found favor with.  John went against the normalities and conceptions of the

townsfolk.  An aspect we can truly justify, especially in America. Proctor's practical

nature is indicated when he often does not attend Church.  He does not agree with Parris'

talk of hell, exclaiming 'Can you speak one minute without we land in Hell again?' and

thus turns away from the Church, clearly emphasizing that rebellious side.(p.28)

The second step in creating the tragic hero is emphasizing the mistake or flaw

which brings upon the character's descent.  It is in this stage that fear and freedom enter

as a major part of John Proctor's actions.

'And if society alone is responsible for the cramping  of our lives then the

protagonist must needs be so pure and faultless as to force us to deny his validity

as a character.  From neither of these views can tragedy derive, simply because

neither represents a balanced concept of life.'(Miller)

It is this balance between the internal and external that opens the door for fear and

freedom to enter.  Fear is society's tool.  In Puritan New England paranoia was a common

aspect.  The people lived in fear of the devil, a physical devil that existed and walked

among them.  When word spread, speaking of witchcraft in Salem, that fear, that

paranoia emerged ever so imminently and thus began the tragedy.  With the people's fear

came rumors.  Mrs. Putnam asked, 'How high did she fly, how high?' of Betty clearly

exhibiting that rumors of witchcraft were surfacing and spreading.(p.12)  Subsequently,

from such rumors came the accusations.  It was the accusations that proved most costly.

People turned against each other saving themselves by accusing their neighbors.  All of

these consequences sprouted from fear in the hearts and minds of the people of Salem.

Fear, however, only contributed to this tragedy.

John Proctor's freedom within was the other half that completes the equation.  It

was this freedom that resulted in his mistakes, his flaws.  Proctor chose to have relations,

outside of his marriage to Elizabeth with Abigail. In Act Two, John makes a determined

effort to please Elizabeth.  He kisses her perfunctoritly; he lies in saying that her cooking

is well-seasoned (perhaps a kind of irony on the lack of spice in Elizabeth) showing the

strain in their relationship. (Murray, 46)  Like all men Proctor had his temptations yet his

freedom allowed him to give in to them.  Through his own freedom John 'lusted with the

girl' and went 'against the law of God and Salem'  (Murray, 46)  Freedom also existed in

John's choice to not attend Church.  It was this choice that also contributed to his

downfall, for it did not put him in the best standings with the townspeople.  The fear in

society and the freedom of John Proctor both complement each other in that balance that

Miller spoke of .  Tragedy comes from what the protagonist can, as well as cannot

control.  This evidence clearly holds true to Miller's definition of tragedy.

Suffering was a major step in coaxing John to his realization.  He suffered

mentally and emotionally because of his flaw, as the heat of the accusations intensified.

He witnessed his wife Elizabeth go through the agony of being accused as a witch.  he

suffers because he too was accused of betraying God.  Their true suffering becomes

apparent when Proctor confesses to adultery to pardon Elizabeth.  Elizabeth lies in turn to

save her husband's name.  They endured this torment for each other.  They endured it till

their day of sentencing.  This extreme anguish and emotional stress which Miller creates

adds to the sence of tragedy.  It is this emphatical grief which makes the conclusion of

The Crucible so outstanding.  Miller utilizes the sorrow to make Proctor's all-important

realization that much more spectacular.  However, in the Greek definition of tragedy this

suffering would serve as pathos.  Pathos is the element of sympathy in the plot to evoke

pity.  In the Greek tradition this was essential to the plot.  However, Miller does not see

his tragedy as one that should include pity for the protagonist.  'The possibility of victory

must be there in tragedy.  Where pathos rules, where pathos is finally derived, a character

has fought a battle he could not have possible won.'(Miller) This statement demonstrates

the conflict in belief.  Miller feels the protagonist must emerge victorious in some way

where the Greek tradition relies on an emphasis of pity.  In Miller's view, how can we

have pity for someone who has won?  This is where the conflict lies and as we see in

Proctor's realization, ' The Crucible' will hold true to Miller's definition.

Proctor learns something about himself and the world around him in his final

realization before his execution.  This is the concluding step in the tragic plot. 'Tragedy

seems to me to be an investigation of the possibilities of human freedom.'(Kerr)  Again,

it is Proctor's freedom that makes him a tragic hero.

'I cannot mount the gibbet like a saint.  It is a fraud, I am not that man.  My

honesty is broke, Elizabeth; I am no good man.  Nothing's spoiled by giving them

this lie that were not rotten long before... I want my life... I will have my life...

Then who will judge me? God in Heaven, what is John Proctor, what is John

Proctor?  I think it is honest, I think so; I am no saint.' (pp. 126-127)

These passages indicate that Proctor has come to see the truth.  He has the freedom now,

to not give in to them, to let God judge him.  'I think the tragic feeling is evoked in us

when we are in the presence of a character who is ready to lay down his life, if need be-

to secure one thing- his sense of personal dignity.'(Miller)  Miller's definition of  tragedy

is a clear cut example of Proctor's actions in 'The Crucible.'  Proctor realizes that his

confession to these people violated his freedom.  He learned that we need to answer to

God and God only for forgiveness.  The confession revoked Proctor's dignity and his

freedom.  Miller says, 'Tragedy enlightens... in that it points the heroic finger at the

enemy of man's freedom.' Proctor sees this and points a heroic finger at those people

who tried to take his freedom.

42.  A review of Glory

Glory captures the heroism of Colonel Robert Gould Shaw and

the first black regiment in the Civil War, the Massachusetts

"Fighting" Fifty-fourth.  An extremely talented cast and crew

earned three Academy Awards (cinematography, sound and supporting

actor) and five nominations for their work in Glory.  The

outstanding cinematography, sound, score and acting recreate the

events leading up to the Union attack on Fort Wagner on July 18th

1863.

Matthew Broderick portrays the young Bostonian abolitionist

Col. Robert G. Shaw who takes command of the Fifty-fourth,

following the Emancipation Proclamation.  Shaw along with Cabot

Forbes (Cary Elwes) leads a band of ex slaves, servants and other

black volunteers including a rebellious runaway slave Trip

(Denzel Washington), Shaw's educated childhood friend Thomas

Searles (Andre Braugher), and a former grave digger Rawlins

(Morgan Freeman).  Together these men face the adversity of a

racist Union Army, struggling to prove themselves worthy of their

government issued blue uniforms.

After months of training and exploitation for physical

labor, the Fifty-fourth gains the opportunity to fight in an

attack on Fort Wagner on the beaches of South Carolina.  Poised

to dispel the belief that blacks would not be disciplined under

fire, the Fifty-fourth leads the almost suicidal attack on Ft.

Wagner.  There Col. Shaw valiantly falls and the Fifty-fourth,

suffering great losses, displayed the courage that persuaded the

Union to enlist many more black soldiers.

Matthew Broderick delivers a noteworthy performance in the

role of Col. Shaw, which Leonard Maltin calls his most ambitious

part.  In an interview for the New York Times, Broderick spoke of

his method acting,

"The first step [in preparing for the role of Robert Gould

Shaw in Glory] was to try to learn as much as I could about the

real person.  That was mostly from letters, photographs,

descriptions and a poem by Emerson.  The thing I had to do was

bring myself into that situation.  I didn't want to be an

imitation of what I thought Shaw must have been like."

Broderick's acting talent has been noted on Broadway as well as

in films.  Broderick won a Tony Award for his performance in

"Brighton Beach Memoirs" in 1983, a year after his film debut in

Max Dugan Returns. (Maltin, 102) But it was his role as a

computer hacker in War Games and his role as a handsome young

teen touring Chicago in Ferris Bueller's Day Off that alerted

moviegoers to his talent.

Denzel Washington has received critical acclaim for his role

as Trip (as well as an Oscar for Best Supporting Actor).

Denzel commented on the role of Trip in an interview with the New

York Times.

"Trip's an instigator - wild, rebellious, angry.  He's a

product of racism who's become a racist.  He hates all white

people, Confederates most of all. But in the end, when he sees

the white officers make the maximum sacrifice, he's the most

patriotic one in the bunch."

Director of Glory, Edward Zwick described Washington by stating,

"Whatever that mysterious chemical process is that makes the

camera love someone, he has more of it than any one person

should."(Maltin, 921)  It is that presence that earned him an

Oscar for Glory and nominations for his roles in Cry Freedom and

Malcolm X.

Equally as important as acting to the impact of the movie

Glory is the Musical score composed by James Horner.  In the

final battle scene in Glory, Horner chose the Boys Choir of

Harlem which creates a moving effect during the death of Col.

Robert Shaw.(Magill, 158)  Horner won a Grammy Award for the

score for Glory.  He was nominated the same year for an Academy

Award for the score for Field of Dreams.  Horner's previous

Grammy Awards include song of the year and best song written for

a motion picture or television, all for "Somewhere Out There"

from An American Tale in 1987. (CTFT, 228)  Leonard Maltin calls

Horner one of today's most prolific film composer's.  Horner

composed thirty one motion picture scores from 1979 to 1989.

(Maltin, 411)

There are many elements that contribute to the success of a

film.  Glory combines the best cinematography, sound, score, and

acting to create a moving representation of this portion of U. S.

history.   Roger Ebert called it a "strong and valuable film."

In his review written for the Chicago Sun-Times, Ebert notes the

amount of effort devoted to accurate period detail.

One of Ebert's criticisms of Glory is that the perspective

of the movie is constantly seen from one view, that of the white

officer.  Ebert points out that a white man is cast as the lead

role when the movie is essentially about a black experience.

Glory could have been told from the eyes of a black soldier in

the Fifty-fourth.  Ebert makes a valid assumption when he suggest

that a totally different film could be made from the same

material.

Indeed Glory is a story of how the freed blacks were able to

prove themselves in battle.  The Fifty- fourth regiment could

also be considered one of the first times we see blacks look for

equal opportunity.  Ebert notes the scene when the black soldiers

of the Fifty-fourth learn they will not be paid the regular

(white) wage.  "Blacks march as far, bleed as much and die as

soon, they argue."(Ebert)  It would be 100 years later that they

gained equal opportunity when in Vietnam both black and white

soldiers were interspersed in the military.  While Roger Ebert

discusses the idea of a different point of view he notes that

Glory is an important film no matter who's eyes it is seen from.

Blake Lukas on the other hand is far more critical of the

film.  In Lukas' review for Magill's Cinema Annual he picks at

elements of the film, including weak characterization and

directing that leaves something to be desired.  Lukas seems at

times to be lost in his own rhetoric when he writes about the

dismal war genre.  He delves into the number of Vietnam films

that are "a far more popular subject in this period."(Magill,

155)

After a brief synopsis of the film Lukas comments on the

dynamics of the protagonist character who we see mature through

the film.  The remaining characters Lukas believes lack

dimension.  He calls the role of Cabot Forbes "fleetingly

interesting"  and the role of Trip, (which Denzel Washington won

Best Supporting Actor for) "predictable."  He goes on further to

say that the role of Rawlins portrayed by Morgan Freeman is only

enlightened by this "brilliant actor's own characteristic

intelligence."  Therefore without the phenomenal acting talent

presented in Glory Lukas feels the movie would be flat.

In addition to finding flaw in the characterization  Lukas

compares director Edward Zwick to the director John Ford.  Ford

directed earlier Civil War films such as The Horse Soldiers(1959)

or Sergeant Rutledge (1960)which based on the an all black

calvary regiment in the  Civil War.  Lukas suggest that Ford was

able to attain a "thematic richness" that alluded Zwick.  Lukas

also remarks that Zwick used ineffective "emphasis on close ups

and shallow focus which do little to make the film's historical

moment seem ...alive in spite of admirable attention to detail in

the art direction sets and costumes."

Lukas is impressed however by Zwick's direction of the final

scene in which he uses "vigorous tracking shots "  to create a

"stunning effect."  Lukas also comments on the James's Horner's

inventive use of the Boy's Choir of Harlem.  Lukas suggest that

Zwick looked to appeal to contemporary audiences.  Interestingly

enough Lukas is surprised that Glory met with such "critical and

commercial success."

I was surprised to read the review written by Blake Lukas

where he constantly compares Zwick to a former director of Civil

War films John Ford, and when he persist in mentioning the dismal

nature of most war films.  Lukas states that "Glory offers an

idealism and sense of heroism that contrast powerfully to the

spectacle of bloodshed and war's waste of life that it also

visualizes."  Lukas seems hung up on the waste of life that is

portrayed in war film's.  In my opinion Glory was not a movie

about whether or not we as a nation should participate in wars.

It was about the progress of the black race and the fierce battle

they had to fight a long the way to attain each rung on the

ladder of freedom.  Lukas criticism seems out of place when he

writes about Vietnam and the "American soldier's potential for

barbarism."

Lukas also seems hung up on the past.  he makes two comments

which seem out of place.  First when comparing Zwick to Ford he

states that Zwick does not attempt the same "thematic richness"

and that "(Zwick's) sensibilities are more attuned with the

responses of the 1989 audiences."  I don't think Zwick should be

faulted for creating a film that is appealing to contemporary

audiences."  I certainly would not go see a film directed by

Lukas.

Desson Howe reviewing Glory for the Washington Post like

Lukas notes that the scriptwriter Jarre (who's credits include

Rambo: First Blood Part II) provides only a superficial

characterization "his script is made better by the performers."

Howe believes that the is too much "liberal eyed giddiness

(thanks chiefly to the gushy, rhapsodizing score by James

Horner)."

Both Ebert and Lukas acclaim Broderick's performance of Shaw,

yet Howe criticizes it writing, "In this movie he is an amiable

non-presence, creating unintentionally the notion that he Fifty-fourth earned its stripes despite wimpy leadership."  This

comment lead me to wonder whether Howe and I saw the same movie.

Howe notes that the performance of Denzel Washington, and Morgan

Freeman uplift the film.

Perhaps the reviewers did not have the luxury of time to

research the history of Robert Gould Shaw or the Fifty-fourth.

If so they would have found that Shaw was indeed a youthful

officer given charge of the Fifty-Fourth as Colonel at the age of

26.  Understanding Shaw philosophical views as an abolitionist

and the societal views of blacks being subservient to whites,

certainly a young man leading the first black regiment would

experience a certain degree of self doubt and contradiction.  In

the end Shaw develops the courage to lead his men into battle to

a symbolic triumph displaying the bravery of these black

soldiers.  Broderick's portrayal of Shaw is credible from my

point of view.

The credibility of Glory is heighten by the amount of effort

devoted to recreating the historical details.  From the camps to

the costumes Glory captures the aura of battle.  Most of the

critics agree that the historical detail was a redeeming element

of the film.

Glory is a film that balances it shortcomings out with

exceptional talent.  Perhaps a lack of dimension in the

characters is balanced with outstanding performances.  Any faults

in the directing are made up by the detail put in to the film and

the superior sound and score.  Glory is a carefully constructed

film with a didactic theme.  It is an accurate representation of

the lives of Civil War soldiers.

The climax of the movie is fairly accurately represented.

The Fifty-fourth regiment had slightly over five hundred members

when they marched into battle on July 18th, 1863.  Over two

hundred and fifty members of the regiment died in that battle and

several more were injured.  That is what proved to the white

regiments looking on that the black soldiers were worthy of

battle.  Glory captures that triumph.

Bibliography

Contemporary  Theatre, Film and Television.  Detroit: Gale

Research, Volume 10

Ebert, Roger. The Chicago Sun-Times, January 12, 1990

Howe, Desson. The Washington Post, January 12, 1990

Lukas, Blake. Magill's Cinema Annual 1990,  Englewood Cliffs,

N.J.: Salem Press, 1990

Maltin, Leonard.  Leonard Maltin's Movie Encyclopedia,  The

Penguin Publishing Company, New York, NY 1994.

All I ever needed to know about Glory, I learned in AMCV 192.

Stephanie Beck

April 9, 1997

Prof. Deutch

43.  A review of the play Violet

Violet

The play "Violet" takes place in the mid-1960's and focuses on a young woman in search for a miracle, and who bears a horrendous scar on her face from an accident when she was a child. The musical opens with Violet boarding a Greyhound bus that is traveling to Tulsa, Oklahoma, where she hopes to be physically healed by a famous TV preacher. On her journey of self-discovery, she meets several people, including two soldiers, who soon become her friends. As the young adults traveling advances, so does their understanding of many important lessons and choices about life and growing up. Throughout the play, Violet flashes back to her childhood memories, especially those moments with her father, whom she condemns total responsibility for the accident. Ultimately, Violet experiences a form of healing that is truly more important than the physical miracle she was searching for.

The books and lyrics of "Violet" were composed by Brian Crawley and music by Jeanine Tesori. The musical was based on "The Ugliest Pilgrim" written by Doris Betts. The story has its strong and weak aspects. Although an understanding of relationships in a story, much less a musical, can be difficult to portray, were for the most part depicted very well. However, the play failed to represent a fully developed relationship between Violet and Flick, an African-American soldier. The comical moments and witty sarcasm also benefit the story and kept the audience's interest when a song was not being belted out by one of the talented characters. Furthermore, the flashbacks used throughout the play, although they are important for giving background information, were at times quite confusing and hard to follow.

Scenic designer, F. Nels Anderson, designed the set that included many props located on two sliding platforms from each side of the stage. These platforms, along with other props around the stage, created various locales such as the bus, a nightclub, and a hotel room. A fairly attractive backdrop showing a sky with clouds was also used. Louis Gagliano provided the strong lighting design that included different colors that highlighted the sky backdrop. During cheerful moments the backdrop was lit with warm and bright colors, while dark and gloomy lights projected the background during more somber scenes. The costumes by Greg Horton were, for the most part, appropriate for the time period, although some were quite revealing.

Director Jennifer Jones Cavanaugh portrayed the culture of the 60's very well. She also handled the scene changes in an effective and smooth manner as best she possibly could, and adequately distinguished between the flashbacks and daydreams in an orderly fashion. However, the most effective staging technique used to portray the plays meaning was the use of projections. Since Violet's scar was not visually noticeable, Cavanaugh effectively used a projected image of the scar, which hangs above the stage and slides forward as Violet looks at her disfigured face. The audience finally gets a glimpse at the scar and sees it as Violet sees it.

Although "Violet" is a difficult musical to stage, the talented cast proved their vocal abilities very well. On the contrary, several songs seemed hurried and hard to understand the meaning behind them, which can be problematic since a musical's songs are meant to be the plots "action." In other words, the music should tell the story and or the message, and this was the point where the production seemed to fail at the most.

Sarah Jane Johnson and Maggie Joyner each take on the roles of Violet and Young Violet, respectively. There was a remarkable resemblance between these two actresses, which also benefited the production. Johnson displayed a beautiful singing voice that fits the material, but did not convey the complexities of the character very well. The audience should have felt sorry for Violet, but they never really seemed convinced of the characters emotional pain.

Flick, the African-American soldier played by Andrew P. Jackson II, not only brought a soulful voice to the production, but also formed a parallel emphasis to the plays meaning.  Although he does not have a physical scar, the fact that he was a black man in the south during this time period indicates that he knew what it was like to be judged by one's skin.

Overall, the production as a whole conveyed the meaning of the play as best as it could. The story itself is complicated with so many things going on, which can make staging very difficult. Cavanaugh's staging choices were satisfactory in presenting the meaning of the play. The projections were extremely helpful in that area.

Although some characters personalities were portrayed better than others, the actors and actresses, overall, did a pleasing job, with the exception of a few songs being rushed.  However, underdeveloped relationships and the flashbacks throughout the play seemed to be unclear and left the audience somewhat confused.

44.  A Risen Hell Capturing memorable moments

A Risen Hell

Pictures can capture memories in many different ways.  Looking at a picture close enough can do more than catch your eye, it can tell a story.  Sometimes, words aren't even needed to convey the message behind the photo.  Some of the most compelling stories are captured in graphic images.  These are photographs that produce a negative effect and feeling to the viewer.  To truly capture a memorable moment, you really have to see more than the obvious; you have to read the image like a story.  The controversy behind the publication of graphic images has led me to take two different opinions.

There are many pictures that bring up controversy in society.  Many are of recent, and many were taken in the past.  The picture that I have chosen to discuss is on the mass extermination of Jews in World War Two.  "War photographs" implies more than just pictures of combat: it can refer to military photographs in general, or photographs of civilians caught in the middle of conflicts.  For many people, the photographs of the concentration camps, which came out only after World War II, were too much. The suffering and death at these and other concentration camps were greater than any before endured.  These photographs may be the most shocking ever published.  After them there could be equally graphic horrors (such as the Columbine tragedy for example) but not the initial shock at what human beings had done, or the shock of seeing and reading how bad the Jews were treated As war photography and photographs of other extreme situations have become increasingly graphic, it has been argued that seeing such images have made us routinely used to the horrors of such images.

In his essay on the Holocaust, Stephen Feinstein tells us, "Some say that even the special realism the camera brings to the depiction of war can no longer shock, for we have seen too much, and true shock is no longer possible."

The photo I chose to discuss was taken in Auschwitz during World War Two.  Auschwitz, Birkenau, Buna, and Buchenwald were all concentration camps that were responsible for the murder of nearly six million Jews during World War Two.  Just about every photo that was taken at one of these camps is graphic in some way or another.  Whenever looking at this picture, it is not amusing in any way.  Here in this picture we have a Jew, just seconds before the prison guard is about to pull the trigger and sending his murdered corpse into the cremation pit that is already full of dead bodies.  How scared he has to be.  This Jew is perceived as nothing other than a nuisance to this guard and the Nazi republic.  This picture says a lot about how bad these camps were.

As society views graphic photos such as these, many questions should be asked in deciding whether certain questionable photos should be published, or used. Clearly, these questions should be taken into account whenever the photo is "negative" in nature or presents the ugly side of life.  Pictures of the "good, happy and beautiful," as long as they are not manufactured or posed, will always pass well in society.  I have an uncertain attitude toward this photo.  The right side of my brain tells me that the picture deserves publication so that the public will know the problem of how horrible the tragedies of the Holocaust were.  This side of my brain also tells me that only certain audiences should be able to view these horrific photos, and in part only audiences old enough to understand the Holocaust should be concerned with such photography.  The media on the other hand shouldn't have to censor the photos of extreme graphics in photography.  It is television that would maybe need censored, but not photography.  Those that think they are too graphic need to decide for themselves on whether to view them.   Even in some cases they can't help whether they see them or not, but it goes against what my views in censoring them in photography anyway.  The left side of my brain, however, is sending me the message that it is not fair to the Jews to be photographed and shown to the public in such a depressing condition.  They are as much entitled to respect as their more well-off counterparts in our society.  It's bad enough that they have been neglected throughout the most part of the twentieth century.  Giving publicity to their sad plight only adds to their already miserable condition.  I also think that in our economy, the media has a strong influence on how people related to many different topics.  The audience in my opinion doesn't have that much say in what gets printed.  The media does influence public opinion, but they are rarely guilty of creating or manipulating it.  People are going to think what they want to think, and media is going to print what they want to print.  In relate to commercial purposes, I don't think that coverage on television would be good because photos are enough.  There are also many different kinds of audiences that watch television.  On the other hand younger audiences don't tend to look at magazines like "Life" or "Newsweek," that are more likely to have such photos in them, as much as they

would look at "Ranger Rick."   On television, there can be anything that pops up on commercials that young kids see.  These are my views on everything.

In conclusion, the times of the Holocaust offered society with photography that shocked the world.  As we look at pictures, we can find stories of the unimaginary that linger in our minds.  The country's dilemma will probably always be at stake with the publication  of certain photography.

45.  A Rock Concert Essay

A Rock Concert

Have you ever experienced an overload of every sense at once?  Well,

rock concerts can almost take you there.  I went to see AC/DC in the spring of

1991, and it was truly a festival of sensory overloads.  My body felt as if they

stimulated it in every area to its complete capacity.

The level of sound was so astronomical.  The decibel level was on the

threshold of pain.  The music roared through the streets for miles, outside the

coliseum.  Every time the bass drum was struck, I could feel the repercussion in

the organs within my chest.  It even made my teeth chatter.  The concrete floor

beneath me seemed to move with the beat of each song.

The number of people was enormous.  I had to actually become one with

the people next to me.  The crowd provided or allowed no personal space.  We

were all packed in there liked caged wildcats.  I had to move as the crowd

allowed or insisted.  Everything was done as a group.  There were no individuals

here.  It was only one group of crazed fans fighting for that one glimpse of

their favorite band.  The crowd would shift as people passed out.  This only

allowed me to move closer to the front.  As you can tell, I was packed in until

the end.

Your sight was not left out either.  Plenty of pyrotechnics kept your eyes

filled with colorful wonder as the music played on.  Souvenir "AC/DC money" fell

from the top of the building.  The bills fluttered down to the hungry hands of

the crowd.  The stage was a constant flurry of excitement.  This was generally

caused by the hyperactive guitarist, Angus Young. Angus was never at a stand

still.  He wore a path in the floor running back and forth.   Brian Johnson, the

singer, also aided in the constant "food for your eyes."   These guys made the

show spectacular.  At no point was there a lull in the show.

The light and fireworks kept me craving more.  A fireball would fly to

the left, then to the right.  The crowd was kept in a constant trance.  If you

love to have every sense tantalized, then try going to a concert by your

favorite band.  I love it every time.

46.  A Rock Concert

A Rock Concert

Have you ever experienced an overload of every sense at once?  Well, rock concerts can almost take you there.  I went to see AC/DC in the spring of 1991, and it was truly a festival of sensory overloads.  My body felt as if they stimulated it in every area to its complete capacity.

The level of sound was so astronomical.  The decibel level was on the threshold of pain.  The music roared through the streets for miles, outside the coliseum.  Every time the bass drum was struck, I could feel the repercussion in the organs within my chest.  It even made my teeth chatter.  The concrete floor beneath me seemed to move with the beat of each song.

The number of people was enormous.  I had to actually become one with the people next to me.  The crowd provided or allowed no personal space.  We were all packed in there liked caged wildcats.  I had to move as the crowd allowed or insisted.  Everything was done as a group.  There were no individuals here.  It was only one group of crazed fans fighting for that one glimpse of their favorite band.  The crowd would shift as people passed out.  This only allowed me to move closer to the front.  As you can tell, I was packed in until the end.

Your sight was not left out either.  Plenty of pyrotechnics kept your eyes filled with colorful wonder as the music played on.  Souvenir "AC/DC money" fell from the top of the building.  The bills fluttered down to the hungry hands of the crowd.  The stage was a constant flurry of excitement.  This was generally caused by the hyperactive guitarist, Angus Young. Angus was never at a stand still.  He wore a path in the floor running back and forth.   Brian Johnson, the singer, also aided in the constant "food for your eyes."   These guys made the show spectacular.  At no point was there a lull in the show.

The light and fireworks kept me craving more.  A fireball would fly to the left, then to the right.  The crowd was kept in a constant trance.  If you love to have every sense tantalized, then try going to a concert by your favorite band.  I love it every time.

47.  A Seperate Peace

A Separate Peace is a novel about two boy's lives and how they evolve during the course of WWII.  The story was written by John Knowles, who also left home to attend a school at the age of 15.  The story involves many instances in which the barriers between friendship and rivalry are cited.  One of the main characters of the story, Phineas, often demonstrates that it is important to be yourself and try to make the best out of a situation whenever confronted by one.  Phineas is athletic, friendly, and competitive.

Phineas is a very athletic person.  He seems to be good at any sport he tries and all of it comes without practice or post-effort.  During the course of his stay at Devon, Phineas wins several awards in all the sports he plays in.  One day while the others are away, Phineas and Gene go to the gym and Phineas breaks the school time trial record for swimming.  If Gene was not injured by his fall out of the tree then he would be able to compete in the Olympics.

Phineas is a friendly and outgoing kind of person.  Finny was always friendly and respectful towards other people and whenever one of his classmates such as Leper was being isolated from the rest of group, Finny would take up for him.  Even though Gene made Finny break his leg, Finny still didn't hold anything against him and refused to believe what happened.  Finny has always been friendly to others due to his outgoing personality.

Finny is a competitive sportsman like person.  Whenever Finny sees a challenge that has never been achieved he will try to do what the others could not.  During the summer when there was nothing else to do, Finny decides to make a club.  When the club meets, all the members have to jump out of the tree to be initiated.  Finny will always stand up to challenges set by others and succeed in breaking them.

Although Finny is not very smart, his athletic talents make up for it.  With Finny's outgoing attitude and friendliness, he can usually talk his way out of most situations that arise while at Devon.  When Finny died after breaking his leg, the world lost a great person.

48.  A Slice of life

Thump!Thump! There was a loud noise at the door, "Alright hold on,

I'm coming." Tim yelled. Tim  was in his early twenties, he had a blue

mowhawk, always dressed shabby, and addicted to heroin. Tim walked to

the door and opened it, "Yes." he said sarcastically.

The man at the door asked if Gwen was home,  "Are you Gwen's new

boyfriend" Tim asked him. "Yes I am, my name is Tony" he replied.  "Nice to

meet you" Tim said.  "No, Gwen is not here right now. I think she is still

trying to get the job at that bar on 6th street" Tim replied.

"Oh, well tell her that I came by and just to give me a call, OK?" Tony said.

"One problem" Tim said. "Oh, and what's that?" Tony replied. "Didn't Gwen

tell you?" Tim said "we don't have a phone, or a T.V or any other

appliances, we are gutterpunks. Why do you think we live in this shed?"

"Well I guess I will just come back later" Tony said with a strange look on his

face.

"Tim! Wakeup! " Gwen yelled.  "Huh?" Tim replied.  "Wakeup!," she

yelled back.  "Oh, OK" Tim yelled back.  "That boy, Tony came by, looking

for you, he thought we had a phone." Tim said  chuckling.  "You didn't tell

him that we don't have a phone or the other stuff did you?!" Gwen yelled.

"Um, well kinda yeah, why?" Tim questioned. " Why?" she yelled and

stormed off.

Gwen was the type of girl who didn't care what people thought of her, but

she didn't like it when people would find out that she was poor. She had

blonde hair, and was very thin. She wore sequined pants, and these funny

looking shirts most of the time, unless she went out.

"Gwen?, Mike, and Shirley are home. Look I'm sorry I told Tony." Tim

said. "Send Shirley in." Gwen yelled back.  "Shirley, Gwen wants you." Tim

said.  " I'll be right in" she yelled back.  Shirley was an Irish girl whose

parents had both died, and she was sent to America to live with her aunt,

she ran away and met Mike.  Shirley had red hair, and was also a weird

dresser, she had a job at a library filing books. The pay was bad but she

would accept anything, that would keep them alive.

"I'm outside Gwen, come on out and we will talk." Shirley yelled into

the shed.  "What's wrong with her?" Mike asked. "Tim told her new boyfreind

we were poor," Shirley replied.  "So, what's wrong with being poor?" Mike

asked, " We have a place to sleep and we're happy."  "Yeah, but you know

how Gwen is about these things." Shirley said.  "Yeah, I guess," Mike

replied.

Mike had brown hair, worked in a music store that paid him almost nothing.

He plays the guitar really well, and has tried out to be in local bands so he

could earn money but hadn't been lucky. He is the only one of the group that

knew about Tim's heroin problem.

Gwen walked out of the shack and apologized to Tim for storming off,

and told Shirley that she was OK, and didn't need to talk anymore.

"So, Tim, when are you gonna go look for a job?" Mike asked.

"Ugh.....me work!?" Tim replied sarcastically.  "Yes you." Mike said.  "I will

start first thing tomorrow, looking for one, I promise." Tim said.

"Well I don't know about you guys but I'm going for a walk."Tim said.

"Bye" they all said.  "Maybe I should go with him," Mike thought to himself.

"I'll be back in a minute," Mike told the girls.  He ran to catch up with Tim,

"Tim!" he yelled "Wait up!"   "What do you want?" Tim asked.  "Do you have

any heroin with you?" Mike asked  " Oh, so you know I'm hooked?" Tim

questioned. "No! I am just making sure you don't, so you won't mess

yourself up." Mike said  "Mike, just leave me alone, I don't need you telling

me what to do!" Tim yelled at Mike.  "Fine but don't think about coming back

to the house unless you quit right now!" Mike yelled back.  "Fine then, tell

gwen and shirley that it was nice knowing them." Tim said.

"I wonder where they are?" Gwen said.  "I am sure they will be home

soon." Shirley said.  Clang! The door of the shed opened, Mike walked in but

no Tim, he explained the whole thing to them about Tim being addicted to

heroin.  Both of the girls were shocked, and insisted that they go and find

Tim.

Mike said " I'm sure he'll be back, lets just wait."  "I sure hope so," Shirley

said.

The next day Mike, and Shirley went to work and Gwen stayed home.

Gwen was cleaning the house, when a policeman came by. He said that

Tim had been found dead in an alley.  She asked how he had found out

where Tim lived, he said that he had seen, him walking over here many

times.  Gwen informed everyone of the news, they all cried and were sad.

Mike thought that they should all forget about it and go on with their lives,

they all agreed.  Gwen got a job working in a bar, Mike still worked at the

record store which was becoming more and more popular, and Shirley still

worked at the library.  So all together they made a pretty good amount of

money.

"Maybe we could get an apartment?" Gwen asked the other two.

"Yeah!" Shirley said "What do you think, Mike?"   "I think that would be

pretty good, we would have our own showers and stuff, I think that's a great

idea." Mike agreed.

So the next day they went looking for an apartment, they went to three

housing developments and finally found one with three bedrooms, a phone

and one shower for one-hundred-fifty dollars a month. They decided to take

it.

They moved in the next day, and were settled. They all liked the apartment,

and everyone was happy. Everyone continued their jobs and they gradually

raised enough money to buy a car.

One night they were walking down the street, and Mike saw an ad for

tryouts for a band, "Should I try out for that?" he asked the girls, "Sure go

for it, Mike." Gwen said.     The next day Mike went to the tryout and was

picked over many guitarists.  The band told him that he would start playing

the next day, and that they were going to tour in a few weeks.

Mike thought this was the greatest thing ever.  "Can you believe this!?" Mike

screamed with joy, "I have never been so happy."    "Well what are you

going to do about your job?" Shirley asked.  "I don't know, do you think I

should quit? Because the band said we were going to tour," Mike replied.

"Yea well what happens if you guys break up then what are you going to

do?" Shirley said.  "Well hopefully I will have enough money from touring

that I won't need to worry for awhile." Mike replied.

"Oh well do whatever you want," Shirley said.

After a few days, Mike came home and told the girls that that he was

going to leave for awhile to go and do some shows.  They asked when he

would be back and he said he didn't know.  Mike went on touring and Gwen

and Shirley kept doing what they were doing.   Gwen continued seeing

Tony, and they finally decided to get married, it was ironic that Tony's family

was a very wealthy family.  When Gwen broke the news to Shirley, Shirley

was happy and sad. She was happy that Gwen was getting married, but she

was sad because she would have no one to live with.

"Oh, Shirley, I am so sorry but I really want to get married and get away

from this type of living and this apartment." Gwen sobbed  " I know, I would

too if I could but you go ahead, and get married, live a happy life." Shirley

replied.

"Thank you" Gwen said hugging Shirley.

A month later Gwen and Tony were married and moved to Orange

County, California.  Shirley still resided in Berkeley, and seemed happy

living alone, she had gotten a smaller apartment that wasn't so expensive.

A slice of life.

49.  A Stay at the Holiday Inn

"Holiday Inn" was a very popular film when released in 1942. The musical was written by Irving Berlin who featured in his film many stars of the decade. Actor-singer Bing Crosby stars as Jim Hardy and features his hit song "White Christmas." Actor-dancer Fred Astaire stars as Ted Hanover who thrills the crowd with his astonishingly superior tap dancing. Jim is an easy-going man who wants to relax, away from the big-city life. Ted is all about show business, making himself popular, and at any expense.

Virginia Dale plays Lila Dixon, Jim and Ted's former dance partner as well as fiancée. Marjorie Reynolds takes the role of Linda Mason, a former clerk in a flower shop turned song and dance performer.

The plot of the film is not hard to follow; it simply contains many twists and turns throughout. Jim, Ted, and Lila are famous song and dance performers in New York City in the 1930's and 1940's who perform together. In the beginning, Jim and Lila are engaged and ready to retire from the stage to relax on Jim's newly bought farm in Midville, Connecticut. On the night of their last performance, Jim finds out that Lila is leaving him to marry Ted so as to continue dancing and singing. With all settled, Jim moves to his farm alone and comes up with a plan to make the place into an inn where performers would perform for an audience, but only on holidays. All that he needs to do is find a partner.

Danny Reid, Ted's agent and friend, meets a young woman, Linda Mason, in a flower shop. He is bothered by her and, suspecting she has no talent, sends her to Holiday Inn to audition. When she gets to Jim's farm she automatically gets the part and her first performance is on Christmas. At the New Year's performance, Linda runs into and dances with the incredibly drunk Ted Hanover, whom Lila has just dumped for a Texas millionaire. Ted wants Linda for his new dance partner, but does not know what she looks like, so he and Danny spend several weeks trying to find her. All the while, Jim and Linda are engaged and Jim is trying to hide her from Ted. Finally, on Valentine's Day, Danny and Ted succeed in finding Linda and offer her the job of being Ted's dance partner.

Basically, what happens after that goes by very quickly. Linda gets mad at Jim because he does not trust her and ends up going with Ted to make a movie about Holiday Inn in Hollywood. Jim closes down the inn, then stays at home, depressed, until his maid, Mamie, tells him that he needs to go after Linda. So Jim travels to the studio in Hollywood to get Linda back and he succeeds, to Ted and Danny's dismay. Everything ends up fine, however. Jim gets Linda back, Lila leaves her millions-owed millionaire and returns to Ted, and Holiday Inn is reopened.

The women and men in this movie are very fickle because of their excessive changing of partners. Clubs were open late into the night where song and dance entertained large crowds along with food and alcohol. The dancing was taken place to the beat of swing music and jazz and was very up-tempo. Women wore fur hats and fur coats. They wore dresses that revealed more skin than in the past. Men wore suits, ties, high pants, and loose-fitting shirts. Obviously, the film focuses on the rich, not the poor.

Overall, I loved "Holiday Inn." Ted was selfish and was taught a lesson for using people, but still got Lila back. Jim learned that sometimes he had to fight for what he wanted and have a little ambition. I love how, in the end, everyone who has been taken advantage of has still remained advantageous.

50.  A STRANGER IS WATCHING

A STRANGER IS WATCHING

A Stranger is Watching is a terrific book. I enjoyed reading this book very much. The non-stop action kept me reading for hours.

One of the best features of the book is how it was written.The point of view changes every chapter.For example Chapter 1 is written in the point of view of the infamous Foxy character.Chapter 2 is written in the point if view of our protagonist, Steve; and so on.I also liked how the author built the relationship of the characters up,so you care about what happens to them and feel like you're going through what they are going through.For instance,the author tells us of Steve's wife's death.We find out that Steve's son, Neil was never the same after this tragedy.When a new women,Sharon comes into Steve's life,Neil rejects her.Neil thinks that if Sharon and his father get married ,his father will send him away.When Neil and Sharon are held hostage together, Neil's feelings for Sharon change;he begins to see her as a nice person and a motherlike figure.I felt the author built this relationship up well so that the story would have a happy ending.

I also like how the author made the character traits of the protagonist completely conflict with the antagonist.The protagonist,Steve is a successful man with a family and no problems;at least in the mind of the antagonist.The antagonist has problems with females,a career he feels is going nowhere,and a lack of good friends.throughout the story we find out that the antagonist is very jealous of the protagonist's lifeand that's why he indirectly targets him.This contrast was an addition to the already excitng plot of the story..

In my opinion the best part of "A Stranger is Watching"is the end,chapter 52.this chapter contains one of the greatest climaxes I ever read.The chapter begins at a frantic moment.All of the characters lives are at risk because Foxy's bomb is about to go off.After a fight with Foxy,Steve manages to release Sharon and Neil.At the same time Ronald Thompson(a juvenile convicted if murder)is about to be executed for the murder of Steve's wife,Nina.A few chapters earlier we find out that Nina is Foxy's victim but he got off clean with it. Steve races out of Grand Central Station (where the bomb is going to go off)with Sharon and Neil.At this point the author stops her narrative and begins with the time eleven forty-two,twelve minutes after the bomb goes off,at this point we don't know what happened to our characters.In this next paragraph we are informed that Steve,Neil ,and Sharon get away while Foxy dies from his own bomb.We also find out that Ronald Thompson is saved from his execution and released from prison.

I enjoyed this part of the story so much because it was the point of the highest excitement. Every event that took place in the story built up to this major event.All excitement in the story was covered at this point.I feel the climax is the best part of every story,and should be.This was definitely one of the best books I have ever read.

51.  A streetcar named desire

Tennessee Williams's play A Streetcar Named Desire contains more within it's characters, situations, and story than appears on its surface.  As in many of Williams's plays, there is much use of symbolism and interesting characters in order to draw in and involve the audience.  The plot of A Streetcar Named Desire alone does not captivate the audience.  It is Williams's brilliant and intriguing characters that make the reader truly understand the play's meaning.  He also presents a continuous flow of raw, realistic moods and events in the play which keeps the reader fascinated in the realistic fantasy Williams has created in A Streetcar Named Desire.  The symbolism, characters, mood, and events of this play collectively form a captivating, thought-provoking piece of literature.

A Streetcar Named Desire produces a very strong reaction.  Even at the beginning of the play, the reader is confronted with extremely obvious symbolism in order to express the idea of the play.  Blanche states that she was told 'to take a streetcar named Desire, and then to transfer to one called Cemeteries'.  One can not simply read over this statement without assuming Williams is trying to say more than is written.  Later in the play, the reader realizes that statement most likely refers to Blanche's arriving at the place and situation she is now in because of her servitude to her own desires and urges.  What really makes A Streetcar Named Desire such an exceptional literary work is the development of interesting, involving characters.  As the play develops, the audience sees that Blanche is less proper and refined than she might appear or claim to be.  Her sexual desire and tendency to drink away her problems make Blanche ashamed of her life and identity.  Desire was the 'rattle-trap streetcar' that brought her to her pitiful state in life.

Blanche is the most fascinating character in A Streetcar Named Desire.  One reason for this is that she has an absolutely brilliant way of making reality seem like fantasy, and making fantasy seem like reality.  This element of Blanche's personality is what makes her character interest the audience and contribute to the excellence of the work.  Returning to the beginning of the play, Blanche, shocked with the dirtiness and gloominess of Stella and Stanley's home in New Orleans, looks out the window and says 'Out there I suppose is the ghoul-haunted woodland of Weir!', to which Stella replies 'No honey, those are the L and N tracks.'  Blanche would assume that something so common and simple as noisy, dark railroad tracks might as well be 'ghoul-haunted woodlands.'  Further evidence of Blanche's warped view of reality and fantasy is shown throughout the entire play.  She seems to hint to Stella and Stanley, and therefore the audience, that she is actually much more than she seems.  In scene seven, Blanche soaks in a tub, singing:

'Say, it's only a paper moon, sailing over a cardboard sea

-But it wouldn't be make-believe If you believed in me!

It's a Barnum and Bailey world, Just as phony as it can be

-But it wouldn't be make-believe If you believed in me!'

As she sings this song, telling the story of her tendency to believe a more pleasant, warped view of reality over the actual reality, Stanley is telling Stella the horrifying truth about Blanche's scandalous past.  The reader is as drawn into Blanche's illusion as much as Stella is, and just as Stella refuses to believe Stanley's harsh words, the audience also does not want to accept that the view they have had of Blanche for a good deal of the play is nothing more than a story made up to hide her unpleasant history.  The clearest example of this is also one of the most intense and involving scenes of the entire play.  In scene nine, Blanche is confronted by Mitch, who has learned the truth about her past.  Mitch tells Blanche that he has never seen her in the light.  He tears Blanche's paper lantern off of the plain, bright light bulb, and tries to see her as she really is, and not in a view warped by Blanche's efforts to make herself seem more innocent, young, and beautiful than she is.  Blanche responds to this by saying 'I don't want realism.  I want magic!...I try to give that to people.  I misinterpret things to them.  I don't tell truth, I tell what ought to be truth...Don't turn the light on!'  This intense, frightening scene reveals to the audience the way Blanche views the world.  Tennessee Williams's use of this kind of dual view of the world to develop Blanche's character is a perfect example of the way A Streetcar Named Desire makes the audience react to the characters in the play.  It is this reaction between the audience and the brilliant characters in the play that makes the play such a valuable literary work.

The literary value of A Streetcar Named Desire is in Williams's ability to create a fantasy world which draws the reader into it as if it was their own reality.  In some ways, the setting and conflict of the play is familiar to the reader, but in many ways the conflicting worlds of Stanley Kowalski and Blanche DuBois are too different to share the same reality.  Tennessee Williams's world in A Streetcar Named Desire, and the characters within it, become so familiar and fascinating to the reader that every event that occurs in the play affects the reader's reaction to the overall outcome of the play and his opinions of the characters.

The theme of the play does not occur to the reader until after the play's overall experience is concluded, and he is left to reflect on just what Tennessee Williams was trying to say in the play.  While the play is being read, the audience is not interested in the overall meaning of the work, but simply in the intriguing action occurring at that moment in the play.  However, A Streetcar Named Desire certainly contains many potential themes.  One theme of the play could be that time is precious, and to waste it is to lose it.  This theme of carpe diem, or 'seize the day' is strong in the play.  As time goes on in Blanche's life and her social behavior changes, she wastes away her youth.  The loss of her young husband Allan has caused her loneliness, sexual desire, and even certain signs of psychological instability.  All of these problems were increased by her attempt to lose them through drinking.  What Blanche does not realize is that she can not change the past through the present.  Blanche's youth is gone, and she tries to give the appearance of being as youthful and innocent as she once was, but her illusion can not last.  As an epigraph to the play, Williams quotes from the poem 'The Broken Tower', by Hart Crane:

'And so it was that I entered the broken world

To trace the visionary company of love, its voice

An instant in the wind (I know not whither hurled)

But not for long to hold each desperate choice.'

The use of this poem helps to express Williams's choice of theme in A Streetcar Named Desire.  Blanche has entered a 'Broken world' of fear, longing, and sorrow because of her simple desire to hear 'the visionary company of love, it's voice', or tender, gentle words of love and appreciation from Stella and Mitch.  However, these words are only 'visionary'.  Blanche hopes that these words will bring to her  what she needs to rebuild her life, but they do not last.  Stanley feels he needs to prove that Blanche is not what she seems.  To this end, he destroys her dreams of becoming what she wants to be, and not what she was.  By telling Stella and Mitch about her activities in the past, Stanley ruins Blanche's illusion.  Blanche won their love by covering the past, and she could no longer build a new person from herself.  The breakdown of Blanche's character climaxes when Stanley rapes her, trying to prove to her that he always knew she was less than she appeared.  After this event, Blanche is forced to deal with the reality that she can never change who she is, and she is doomed to live with her reputation. This final outcome for Blanche is a brutally realistic way of proving the idea that youth is precious and should not be wasted on trivial desires.

Thomas Lanier Williams, known as Tennessee Williams, was born on March 26, 1911 to Cornelius Coffin and Edwina Dakin Williams in Columbus, Mississippi.  During extended periods of Tennessee Williams's early life, his father was on the road as a shoe company salesman.  Williams and his family lived with his maternal grandparents in the parsonage of St. Paul's Episcopal Church. Between the ages of two to seven years old, Williams lived in various locations in Tennessee and Mississippi.  After a long bout with diphtheria and a kidney infection, Williams became withdrawn.  In July of 1918, Williams's father became a branch manager of the shoe company, and the family moved to St. Louis, Missouri.  His father taunted him for his reclusion and effeminacy, nicknaming him 'Miss Nancy.'  As Williams grew up, he took refuge from his intense shyness in his creativity.  He wrote for his school newspaper, and became a published writer in 1927 at age sixteen with the essay 'Can a Good Wife Be a Good Sport?' in Smart Set, for which he received third prize.  In September of 1928, Williams entered the University of Missouri.  In 1931, his father withdrew him from the university for failing ROTC.  He began work as a clerk in the warehouse for the International Shoe Company, and pursued writing at home during the night.  In 1935, Williams suffered a breakdown and went to recuperate for a year at his grandparent's home in Memphis.  In July of that year was the first production of his play Cairo! Shanghai! Bombay! by the Memphis Garden Players. In 1936 and 1937, Williams Enrolled in Washington University, where he wrote poetry and produced several plays, then transferred to the University of Iowa.  In 1938, he received a degree in English from Iowa. From 1939 to 1943 Williams lived briefly in a number of locations in the Midwest, South, and West, including New Orleans, which became his favorite city and where he had his first homosexual experience.  During this time, he first used the name 'Tennessee' as the author of 'The Field of Blue Children.'  In 1944 and 1945, The Glass Menagerie premiered in Chicago on December 26Th., and opened on Broadway on March 31St.  In 1947, A Streetcar Named Desire opened on Broadway, won the Pulitzer Prize for drama and made the longest Broadway run of any of Williams's plays, 885 performances.  The next year his parents separated.  In the next 13 years, over twenty of Williams's works were published, opened on stage, or made into films, including The Night of the Iguana, his last Broadway success.  In 1963, after the death of his intimate friend by cancer, Williams entered what he refers to as his 'Stoned Age.'  In 1969, he was baptized as a Roman Catholic, was awarded an honorary doctor of human letters from the University of Missouri, and entered Barnes Hospital for psychiatric care from September to December of that year.  During the next ten years, Williams received more awards, and dealt openly with his homosexuality in Memoirs and Moise and the World of Reason.  In the last three years before his death, his mother died, he received the Medal of Freedom from President Carter, and received an honorary doctorate from Harvard University.  On February 24Th. or 25Th. of 1983, Williams died at the Hotel Élysée in New York, apparently from choking on a cap from a medicine bottle, and was buried in St. Louis, against his expressed wish to be buried at sea, like one of his favorite poets, Hart Crane.  (Adler, xi-xvii)

Due to Tennessee Williams's unique style of writing and use of symbolism, there is much room for individual interpretation in it's theme and meaning.  Because of this, many writers have presented their views of the work in critical essays and books.  One of these such authors is Leonard Quirino in his essay, 'The Cards Indicate a Voyage on A Streetcar Named Desire.'  Quirino remarks that the recurring theme of the poker game is a strong symbol in the play.  Quirino states:

'...Much of the verbal and theatrical imagery that constitutes the drama is drawn from games, chance and luck.  ...Two of the most crucial scenes are presented within the framework of poker games played onstage.  Indeed, the tactics and ceremonial of games in general, and poker in particular, may be seen as constituting the informing structural principle of the play as a whole.  Pitting Stanley Kowalski...against Blanche DuBois..., Williams makes the former the inevitable winner of the game whose stakes are survival in the kind of world the play posits.  For the first of four of the eleven scenes of Streetcar, Blanche, by reason of her affectation of gentility and respectability, manages to bluff a good hand in her game with Stanley; thus, in the third scene Stanley is continually losing, principally to Mitch the potential ally of Blanche, in the poker game played onstage.  However, generally suspicious of Blanche's behavior and her past, and made aware at the end of the fourth scene that she considers him an ape and a brute, Stanley pursues an investigation of the real identity of her cards.  ...He continually discredits her gambits until, in the penultimate scene, he caps his winnings by raping her.  In the last scene of the play, Stanley is not only winning every card game being played onstage, but he has also won the game he played with Blanche.  Depending as it does on the skillful manipulation of the hands that chance deals out, the card game is used by Williams throughout Streetcar as a symbol of fate and of the skillful player's ability to make its decrees perform in his own favor at the expense of his opponent's misfortune, incompetence, and horror of the game itself.' (Quirino, 62)

Quirino's view of the symbolism in A Streetcar Named Desire is insightful and interesting.  The idea of the poker game being a microcosm of the conflict of the entire play is not one that all critics and readers would agree with.

One other critical view on A Streetcar Named Desire, that of Alvin B. Kernan, deals with Williams's interpretation of reality within the play.  The theme of reality vs. fantasy is one that the play centers around.  In 'Truth and Dramatic Mode in A Streetcar Named Desire,' Kernan says:

'In each of his plays, Williams poises the human need for belief in human value and dignity against a brutal, naturalistic reality; similarly, symbolism is poised against realism.  But where the earlier playwrights were able to concentrate on human values, Williams has been unable to do so because of his conviction that there is a 'real' world outside and inside each of us which is actively hostile to any belief in the goodness of man and the validity of moral values.  His realism gives expression to this aspect of the world, and A Streetcar Named Desire is his clearest treatment of the human dilemma which entails the dramatic dilemma.  We are presented in Streetcar with two polar ways of looking at experience: the realistic view of Stanley Kowalski and the 'non-realistic' view of his sister-in-law, Blanche DuBois.  Williams brings the two views into conflict immediately.' (Kernan, 9)

Kernan's idea of the conflict between Stanley and Blanche acting as a messenger of the conflict between reality and fantasy is one that the reader sees quite clearly in the play.  Critical interpretations of books like A Streetcar Named Desire not only help the reader to better understand what the author is trying to say in the work, but also provide the reader with many other stimulating points of view on the work.

In conclusion, the reader of A Streetcar Named Desire is not only entertained by an interesting story when he reads the play.  He is also thrust into a reality which is not his own, yet somehow seems familiar.  This realistic fantasy Williams creates with his brilliant use of symbolism, intriguing characters, and involving action in the play causes the reader to connect fully with the setting, characters, conflicts, and emotions within it.

BIBLIOGRAPHY

Adler, Thomas P.  A Streetcar Named Desire: The Moth and the Lantern.  Boston: Twayne Publishers, 1990

Kernan, Alvin B.  'Truth and Dramatic Mode in A Streetcar Named Desire, In Modern Critical Views: Tennessee Williams.'  Ed. Harold Bloom.  New York: Chealsea House Publishers, 1987

Quirino, Leonard.  'The Cards Indicate a Voyage on A Streetcar Named Desire, In Modern Critical Interpretations: Tennessee Williams's A Streetcar Named Desire.'  Ed. Harold Bloom.  New York: Chelsea House Publishers, 1988

WORKS CITED

Adler, Thomas P.  A Streetcar Named Desire: The Moth and the Lantern.  Boston: Twayne Publishers, 1990

Kernan, Alvin B.  'Truth and Dramatic Mode in A Streetcar Named Desire, In Modern Critical Views: Tennessee Williams.'  Ed. Harold Bloom.  New York: Chealsea House Publishers, 1987

Quirino, Leonard.  'The Cards Indicate a Voyage on A Streetcar Named Desire, In Modern Critical Interpretations: Tennessee Williams's A Streetcar Named Desire.'  Ed. Harold Bloom.  New York: Chelsea House Publishers, 1988

52.  A Thematic Analysis of Psycho

Alfred Hitchcock's Psycho has been commended for forming the archetypical basis of all horror films that followed its 1960 release. The mass appeal that Psycho has maintained for over three decades can undoubtedly be attributed to its universality. In Psycho, Hitchcock allows the audience to become a subjective character within the plot to enhance the film's psychological effects for an audience that is forced to recognise its  own neurosis and psychological inadequacies as it is compelled to identify, for varying lengths of time, with the contrasting personalities of the film's main characters. Hitchcock conveys an intensifying theme in Psycho, that bases itself on the unending subconscious battle between good and evil that exists in everyone through the audience's subjective participation and implicit character parallels.

Psycho begins with a view of a city that is arbitrarily identified along with an exact date and time. The camera, seemingly at random, chooses first one of the many buildings and then one of the many windows to explore before the audience is introduced to Marion and Sam. Hitchcock's use of random selection creates a sense of normalcy for the audience. The fact that the city and room were arbitrarily identified impresses upon the audience that their own lives could randomly be applied to the events that are about to follow.

In the opening sequence of Psycho, Hitchcock succeeds in capturing the audience's initial senses of awareness and suspicion while allowing it to identify with Marion's helpless situation. The audience's sympathy toward Marion is heightened with the introduction of Cassidy whose crude boasting encourages the audience's dislike of his character. Cassidy's blatant statement that all unhappiness can be bought away with money, provokes the audience to form a justification for Marion's theft of his forty thousand dollars. As Marion begins her journey, the audience is drawn farther into the depths of what is disturbingly abnormal behaviour although it is compelled to identify and sympathize with her actions.

It is with Marion's character that Hitchcock first introduces the notion of a split personality to the audience. Throughout the first part of the film, Marion's reflection is often noted in several mirrors and windows. Hitchcock is therefore able to create a voyeuristic sensation within the audience as it can visualise the effects of any situation through Marion's conscious mind. In the car dealership, for example, Marion enters the secluded bathroom in order to have privacy while counting her money. Hitchcock, however, with upper camera angles and the convenient placing of a mirror is able to convey the sense of an ever lingering conscious mind that makes privacy impossible. Hitchcock brings the audience into the bathroom with Marion and allows it to struggle with its own values and beliefs while Marion makes her own decision and continues with her journey.

The split personality motif reaches the height of its foreshadowing power as Marion battles both sides of her conscience while driving on an ominous and seemingly endless road toward the Bates Motel. Marion wrestles with the voices of those that her crime and disappearance has affected while the audience is compelled to recognise as to why it can so easily identify with Marion despite her wrongful actions.

As Marion's journey comes to an end at the Bates Motel, Hitchcock has successfully made the audience a direct participant within the plot. The suspicion and animosity that Marion feels while at the motel is felt by the audience. As Marion shudders while hearing Norman's mother yell at him, the audience's suspicions are heightened as Hitchcock has, at this point, made Marion the vital link between the audience and the plot.

The initial confrontation between Marion and Norman Bates is used by Hitchcock to subtly and slowly sway the audience's sympathy from Marion to Norman. Hitchcock compels the audience to identify with the quiet and shy character whose devotion to his invalid mother has cost him his own identity. After Marion and Norman finish dining, Hitchcock has secured the audience's empathy for Norman and the audience is made to question its previous relationship with Marion whose criminal behaviour does not compare to Norman's seemingly honest and respectable lifestyle. The audience is reassured, however, when Marion, upon returning to her room, decides to return the money and face the consequences of her actions.

Upon the introduction of Norman, Hitchcock introduces the first of several character parallels within Psycho. The clash between Marion and Norman, although not apparent to the audience until the end of the film, is one of neurosis versus psychosis. The compulsive and obsessive actions that drove Marion to steal the money is recognisable, albeit unusual behaviour, that the audience embraces as its sympathy is primarily directed towards her character. The terror that Hitchcock conveys to the audience manifests itself once the audience learns that it empathised with a psychotic person to a greater extent than with rational one when its sympathy is shifted to Norman. The shift from the normal to the abnormal is not apparent to the audience in the parlour scene but the audience is later forced to disturbingly reexamine its own conscience and character judgment abilities to discover why Norman's predicament seemed more worthy of its sympathy than Marion's.

During the infamous shower scene, Hitchcock conveys a sense of cleansing for the audience. Hitchcock has reassured the audience of Marion's credibility and introduced Norman as a wholesome character. The audience's newly discovered security is destroyed when Marion is murdered. Even more disturbing for the audience, however, is that the scene is shot not through Marion's eyes, but those of the killer. The audience, now in a vulnerable state looks to Norman to replace Marion as its main focus in its subjective role.

After Marion's murder, the audience's role in the film takes a different approach. Hitchcock provokes the audience to utilise the film's other characters in order to solve the mystery of Marion's death yet he still successfully maintains the sympathetic bond between Norman and the audience. Interestingly, Hitchcock plays on the audience's obsession with the stolen money as the audience knows that it had been sunk yet clings to the fact that Marion's death may have been a result of her crime with the introduction of Sam, Lila, and Arbogast.

Hitchcock uses Arbogast's character to arouse suspicion within the audience. Arbogast's murder is not as intense as Marion's because the audience had not developed any type of subjective bond with his character. Arbogast's primary motivation, however, was to recover the stolen money which similarly compels the audience to take an interest in his quest. Despite the fact that Arbogast interrupts Norman's seemingly innocent existence the audience does not perceive him as an annoyance as they had the interrogative policeman who had hindered Marion's journey.

When Sam and Lila venture to the Bates Motel to investigate both Marion's and Arbogast's disappearances, Hitchcock presents the audience with more character parallels. As Lila begins to explore Norman's home, Hitchcock conveniently places Sam and Norman in the parlour where Marion had dined with Norman before she had been murdered. As the two men face each other, the audience is able to see their contrasting personalities in relation to Marion. Sam, who had legitimately gained Marion's affection is poised and respectable in comparison to Norman, whose timid nature and sexual repression is reflected in the scenes of Lila's exploration of his bedroom. The conflict that arises between Sam and Norman reflects the fact that Sam had what Norman wanted but was unable to attain due to his psychotic nature.

Psycho concludes by providing a blatant explanation for Norman's psychotic tendencies. The audience, although it had received a valid explanation for Norman's actions, is left terrified and confused by the last scene of Norman and the manifestation of his split personality. Faced with this spectacle, Hitchcock forces the audience to examine its conscious self in relation to the events that it had just subjectively played a role in.

The fear that Psycho creates for the audience does not arise from the brutality of the murders but from the subconscious identification with the film's characters who all reflect one side of a collective character. Hitchcock enforces the idea that all the basic emotions and sentiments derived from the film can be felt by anyone as the unending battle between good and evil exists in all aspects of life. The effective use of character parallels and the creation of the audience's subjective role in the plot allows Hitchcock to entice terror and a convey a lingering sense of anxiety within the audience through a progressively intensifying theme. Hitchcock's brilliance as a director has consolidated Psycho's place among the most reputable and profound horror films ever made.

53.  A World Without Engineers

A World Without Engineers

Once upon a time, in a galaxy far, far away, on the planet Zovirax, there was an evil king, King Syphilis, who was mighty pleased with himself, for he had just banished all the engineers on the planet to work in the Pixie Stick Powder mines on the moons of Gluteus.  "You see," he told his sycophantic servants and lackeys, "I have solved two problems with one simple executive order.  I have rid the planet of those annoying, nerdy, know-it-all, engineers." (King Syphilis was actually quite envious of them, because he went to a Junior University in Palo Alto, and didn't know very much at all.) "And secondly," he explained, "I have provided cheap slave labor for the Pixie Stick Powder mines, thus ensuring a limitless supply of this heavenly confection for all to enjoy."

All of King Syphilis' staff applauded loudly, because he tended to behead

those who didn't. "Bring us intoxicating chemicals, so that we may celebrate," ordered the king.

"I'm sorry, Mr. King Syphilis," replied the servant. "You banished all the chemical engineers to the powder mines, so we cannot make the intoxicating chemicals anymore."

King Syphilis was quite mad. Nobody talked back to him and go away with it. "Bring me my plutonium phasor gun, so that I may vaporize this impudent guy," ordered the king.

"I'm sorry, my good King Syphilis," replied another servant. "Since you deported all the nuclear engineers to the powder mines, we have been unable to operate the plutonium powered phasor gun."

Now the king was really mad. "I'm really mad!" said the king. "Bring me my

limousine, so that I may repeatedly run over these contumelious servants of mine."

"No can do, Mr. King," said the third servant, whose part will be played in the movie version by Keanu Reeves. "All the mechanical engineers are in the mine place, and everyone knows, you can't drive cars without mechanics."

"Go jump off a bridge!" said King Syphilis.

Another of his servants interrupted, "We have no more bridges, since all the civil engineers have been exiled to the powder mines.  Perhaps we should bring them all back."

But the king was not the brightest of kings, so he didn't agree to that just yet. "Bring me my vibrating pleasure device, so that I may relax and think about this dilemma of ours," ordered the king.

"We are unable to do that, my king, because all the electrical engineers who design the vibrating pleasure devices are in the powder mines."

"Hmmm," thought the king. "Perhaps I was wrong in banishing the engineers

from my planet.  Without them, we have no intoxicating chemicals, no plutonium powered phasor guns, no automobiles, no bridges, and no vibrating pleasure devices. I will bring them back from the powder mines of Gluteus."

But it was too late, because the engineers so enjoyed having free time that

every last one refused to return, and they were all killed in a freak mining accident.

So the moral of the story, boys and girls, is that engineers are a very important part of out everyday lives, and, engineers although smelly and dirty like pigs in a pig pen,  you should not banish them to slave labor camps.

54.  A Zipper for Pee

A Zipper for Pee-Wee Herman

Ethel O' Grady

History of Television

December 3, 1996

Leaders in childrens television are and always have been concerned about

what programs actually make it on the air.  Most early programming for children

of school age in the 1950's was the western program.  Another type was the

science-fiction thriller which tended to be based on hero's from the radio,

comics, and films.  However, a favorite of the youngest audience was the

children's equivalent of the variety show.  This usually contained circus,

puppet, and/or animal segments.  "Super Circus", which aired in 1949, consisted

of music, circus acts, animals, and of course, clowns.

In 1952, yet another type of program came about which reached a very

similiar audience as the circus variety shows.  It was called "The Ding Dong

School".  The Ding Dong School offered the conversation, low-key instruction,

commercials, and entertainment of Miss. Frances, a professional teacher.

With the help of these types of shows, a new genre was born.  Children's

television which was a mixture of songs, education, fun, and a whole lot more.

In 1969, the first airing of "Sesame Street" took place.  Sesame Street had

programs which were sponsored by different letters of the alphabet or numbers

each day, and relied on very short, animated cartoons with live and puppet

segments which kept the interest of preschool children.  The show was an

instant outstanding success, and still broadcasts today.

In 1970,  "Mr. Roger's Neighborhood" was born.  Mr. Fred Roger's used

puppets and music to teach patience and cooperation, while providing guidance

to help children cope with feelings and frustrations.  Mr. Roger's land of

makebelieve's handpuppet characters interacted with humans in the mythical

kingdom of King Friday XIII.  There, the puppets and humans would deal with

their feelings and emotions as they solve typical, everyday problems.

This new genre of programming was a sensation.  The children loved it,

and the parents approved of it.  During the following years, many new shows

came about which still fit this genre.  In the year 1986, yet another show was

born into childrens television. "Pee-Wee's Playhouse".  This series, starring

host Pee-Wee Herman (Paul Reubens) used animation, puppets, and vintage

cartoons to entertain and educate its audience.  Between Pee-Wee Herman and his

extraordinary playhouse, children were given the opportunity to let their

imaginations go crazy.

The "playhouse" had no permanent residents, that is, besides the

furnishings.   Not ordinary furnishings, you see, Pee-Wee's furnishings could

move, talk, dance, and sing. These "characters" could be seen at the

playhouse on a regular basis.  Some of the favorites were:  Globey, a talking

globe who would show Pee-Wee the countries that his pen-pal's letters came

from;  Magic Screen, a toy of Pee-Wee's that enabled him to actually get

"inside the screen" and play a life-size game of connect the dots;  Konkie, a

talking robot which revealed the secret word of the day; and of course Genie,

who granted Pee-

Wee one wish a day.

The playhouse also welcomed a series of visitors during each episode,

which could also be seen on a regular basis.  Some of these favorites included:

Rina the mail-lady, who came to deliver Pee-Wee's pen-pal letters everyday;

Miss Yvonne, who Pee-Wee referred to the most beautiful woman in Puppetland;

and of course the King of Cartoons who brought the "vintage cartoon of the day"

to Pee-Wee.

Besides the spectacular furnishings and outrageous visitors,  the

television show also had an unusual daily theme.  This theme could have been

anything from "a fire in the playhouse",  "a trip to another planet", or even

"Pee-Wee getting sick".  In all of these situations, Pee-Wee stressed the

importance of friendship, sharing, and just being nice.

One particular show, "Monster in the Playhouse", was about being in the

dark. Pee-Wee explains that when your with your friends, the dark is less

spooky.  Suddenly Mrs. Steve, a neighbor of Pee-Wee's, begins panicking because

she thinks there's a monster on the loose.  Just then, a great monster with one

eye and one leg enters the playhouse. His name is Roger, and he stays and plays

with Pee-Wee.  All of a sudden Roger's mother is on the picture-phone saying

that Roger is late for dinner.  This show ends with Pee-Wee's elaborate

closing:  Pee-Wee mounting his scooter with Roger and giving him a ride home.

Unfortunately, Pee-Wee's Playhouse came to an startling end only five

years later. Why?  Well, on July 26, 1991, Paul Reubens (Pee-Wee Herman) was

arrested for indecent exposure in a porno-theater.  This incident both shocked

and worried the leaders of children's television programming due to the morals,

ethics, and values of the society during that time.  Questions flooded the

minds of parents, teachers, and officials.  People began to fear that Pee-Wee

was perhaps a poor role-model for their youngsters.

The real question is this:  Should Pee-Wee's behavior have been such a

shock to society?  Lets look a little deeper into Pee-Wee's Playhouse.  This

children's television show was actually a refined version of Paul Reuben's

nightclub act:  "The Pee-Wee Herman Show".  It is difficult to imagine that

anyone who had seen his nightclub act, actually agreed to run Pee-Wee's

Playhouse during Saturday morning, children's programming.

The Pee-Wee Herman Show can best be described as an adult version of

Pee-Wee's Playhouse.  Paul Reubens played the part of Pee-Wee Herman, a boy who

acts out his infantile sexuality by "playing doctor" with the ladies and

looking up women's skirts. Numerous accounts of sexual innuendo's are made by

Pee-Wee during the entire show.

I don't think Pee-Wee Herman ever gave the impression that he was a "Mr.

Rogers-Captain Kangeroo" kind of role model for children.  Pee-Wee was who he

was: a creative comedian who had a clever way of looking at life through the

eyes of a child.  Whether he was a disgusting pervert or just plain human, his

television show and movies were a huge success.

Though no longer in syndication, Pee-Wee's Playhouse's fire still

continues to burn. There is now a collection of video tapes available which

allow Pee-Wee to be where he belongs:  in the center of family room's across

the country.

Long live Pee-Wee Herman!

Works Cited:

Textbook:

Christopher Sterling & John Kittros.  Stay Tuned:  A Concise History of

American Broadcasting (Revised Edition).  (Belmont, CA: Wadsworth, 1990)

The Museum of Television and Radio (NYC):

1.  Pee-Wee's Playhouse:  A Fire in the Playhouse

2.  Mr. Rogers Neighborhood:  Superhero's

3.  Before They Were Stars III (TV)

4.  Comic Relief, pt. 2 of 5  (1986)

5.  Television, pt 8:  The Promise of Television

6.  Andrew Dice Clay:  For Ladies Only

7.  The Muppets:  A Celebration of 30 Years

55.  A Zipper for PeeWee

Ethel O' Grady

History of Television

December 3, 1996

A Zipper for Pee-Wee Herman:

Leaders in childrens television are and always have been concerned about what

programs actually make it on the air.  Most early programming for children of school age

in the 1950's was the western program.  Another type was the science-fiction thriller which

tended to be based on hero's from the radio, comics, and films.  However, a favorite of the

youngest audience was the children's equivalent of the variety show.  This usually

contained circus, puppet, and/or animal segments.  "Super Circus", which aired in 1949,

consisted of music, circus acts, animals, and of course, clowns.

In 1952, yet another type of program came about which reached a very similiar

audience as the circus variety shows.  It was called "The Ding Dong School".  The Ding

Dong School offered the conversation, low-key instruction, commercials, and

entertainment of Miss. Frances, a professional teacher.

With the help of these types of shows, a new genre was born.  Children's television

which was a mixture of songs, education, fun, and a whole lot more.  In 1969, the first

airing of "Sesame Street" took place.  Sesame Street had programs which were sponsored

by different letters of the alphabet or numbers each day, and relied on very short,

animated cartoons with live and puppet segments which kept the interest of preschool

children.  The show was an instant outstanding success, and still broadcasts today.

2

In 1970,  "Mr. Roger's Neighborhood" was born.  Mr. Fred Roger's used puppets

and music to teach patience and cooperation, while providing guidance to help children

cope with feelings and frustrations.  Mr. Roger's land of makebelieve's handpuppet

characters interacted with humans in the mythical kingdom of King Friday XIII.  There, the

puppets and humans would deal with their feelings and emotions as they solve typical,

everyday problems.

This new genre of programming was a sensation.  The children loved it, and the

parents approved of it.  During the following years, many new shows came about which

still fit this genre.  In the year 1986, yet another show was born into childrens television.

"Pee-Wee's Playhouse".  This series, starring host Pee-Wee Herman (Paul Reubens) used

animation, puppets, and vintage cartoons to entertain and educate its audience.  Between

Pee-Wee Herman and his extraordinary playhouse, children were given the opportunity to

let their imaginations go crazy.

The "playhouse" had no permanent residents, that is, besides the furnishings.   Not

ordinary furnishings, you see, Pee-Wee's furnishings could move, talk, dance, and sing.

These "characters" could be seen at the playhouse on a regular basis.  Some of the

favorites were:  Globey, a talking globe who would show Pee-Wee the countries that his

pen-pal's letters came from;  Magic Screen, a toy of Pee-Wee's that enabled him to actually

get "inside the screen" and play a life-size game of connect the dots;  Konkie, a talking

robot which revealed the secret word of the day; and of course Genie, who granted Pee-

3

Wee one wish a day.

The playhouse also welcomed a series of visitors during each episode, which

could

also be seen on a regular basis.  Some of these favorites included:  Rina the mail-lady,

who

came to deliver Pee-Wee's pen-pal letters everyday;  Miss Yvonne, who Pee-Wee referred

to the most beautiful woman in Puppetland;  and of course the King of Cartoons who

brought the "vintage cartoon of the day" to Pee-Wee.

Besides the spectacular furnishings and outrageous visitors,  the television show

also

had an unusual daily theme.  This theme could have been anything from "a fire in the

playhouse",  "a trip to another planet", or even "Pee-Wee getting sick".  In all of these

situations, Pee-Wee stressed the importance of friendship, sharing, and just being nice.

One particular show, "Monster in the Playhouse", was about being in the dark.

Pee-Wee explains that when your with your friends, the dark is less spooky.  Suddenly

Mrs. Steve, a neighbor of Pee-Wee's, begins panicking because she thinks there's a monster

on the loose.  Just then, a great monster with one eye and one leg enters the playhouse.

His name is Roger, and he stays and plays with Pee-Wee.  All of a sudden Roger's mother

is on the picture-phone saying that Roger is late for dinner.  This show ends with Pee-

Wee's elaborate closing:  Pee-Wee mounting his scooter with Roger and giving him a ride

home.

Unfortunately, Pee-Wee's Playhouse came to an startling end only five years later.

Why?  Well, on July 26, 1991, Paul Reubens (Pee-Wee Herman) was arrested for indecent

4

exposure in a porno-theater.  This incident both shocked and worried the leaders of

children's television programming due to the morals, ethics, and values of the society

during that time.  Questions flooded the minds of parents, teachers, and officials.  People

began to fear that Pee-Wee was perhaps a poor role-model for their youngsters.

The real question is this:  Should Pee-Wee's behavior have been such a shock to

society?  Lets look a little deeper into Pee-Wee's Playhouse.  This children's television

show

was actually a refined version of Paul Reuben's nightclub act:  "The Pee-Wee Herman

Show".  It is difficult to imagine that anyone who had seen his nightclub act, actually

agreed to run Pee-Wee's Playhouse during Saturday morning, children's programming.

The Pee-Wee Herman Show can best be described as an adult version of Pee-

Wee's Playhouse.  Paul Reubens played the part of Pee-Wee Herman, a boy who acts out

his infantile sexuality by "playing doctor" with the ladies and looking up women's skirts.

Numerous accounts of sexual innuendo's are made by Pee-Wee during the entire show.

I don't think Pee-Wee Herman ever gave the impression that he was a "Mr. Rogers-

Captain Kangeroo" kind of role model for children.  Pee-Wee was who he was: a creative

comedian who had a clever way of looking at life through the eyes of a child.  Whether he

was a disgusting pervert or just plain human, his television show and movies were a huge

success.

Though no longer in syndication, Pee-Wee's Playhouse's fire still continues to burn.

5

There is now a collection of video tapes available which allow Pee-Wee to be where he

belongs:  in the center of family room's across the country.

Long live Pee-Wee Herman!

----------------------------------------------------

Works Cited:

Textbook:

Christopher Sterling & John Kittros.  Stay Tuned:  A Concise History of American

Broadcasting (Revised Edition).  (Belmont, CA: Wadsworth, 1990)

The Museum of Television and Radio (NYC):

1.  Pee-Wee's Playhouse:  A Fire in the Playhouse

2.  Mr. Rogers Neighborhood:  Superhero's

3.  Before They Were Stars III (TV)

4.  Comic Relief, pt. 2 of 5  (1986)

5.  Television, pt 8:  The Promise of Television

6.  Andrew Dice Clay:  For Ladies Only

7.  The Muppets:  A Celebration of 30 Years

56.  Aaron Copland

Aaron Copland

Aaron Warner

Aaron Copland was the embodiment of what a composer can hope to become.

Copland was very much in touch not only with himself and his feelings, but with

the audience he intended to reach. Very few composers have a concrete idea of

what "types" of people they wish their music to reach. Copland was one of these

few. The "Common Man" was the central part of much of his volumes of music

strived to reach. Copland felt that, ". .everyone should have a chance to see

things through this music. Limiting who can understand it only limits your

usefulness"  Throughout his 75+ years as a composer and conductor, he touched

the lives and hearts of as many people as he could.

Copland was born in Brooklyn, New York in 1900 to fairly affluent

parents. Because of his family's financial status, he started formally training

as a teen, and moved to Paris where he became the first American student of

Nadia Boulanger. It was here that Copland developed much of his neo-classical

style. Although he enjoyed the precise structure that Boulanger had taught him,

Copland's heart was truly in creating music that people other than musicians

could appreciate. It was upon his return to America in 1924 that he decided that

he would write ". . .truly American music."  He traveled throughout America,

getting a taste of what the "common man"  was listening to. During these travels

he strayed into Mexico, and wrote the highly successful El Salon Mexico. A quote

from the fall of 1932 sums up his intentions in writing this piece: "Any

composer who goes outside his native land wants to return bearing musical

souvenirs."  This is exactly what he did. The piece is a lively adaptation of

Frances Toor's Cancionero Mexicano, with a very loose tempo, and heavy use of

the horn section.

It was after the success of El Salon Mexico that Copland proceeded to

produce what is now considered the epitome of "American" music. He combined his

neo-classical schooling with jazz-like syncopation and a new, more "open" use of

old chordal progressions.   He created Billy The Kid in 1938, producing the

first "Western" musical. The score achieved a remarkable balance between

outright humor and pathos, and oftentimes bordered on tragic. It was this base

understanding of humanity that made Copland's music what it is.  Many texts also

refer to a certain built in sympathy that Copland may have had for the main

character, citing his homosexuality as a cause for his deep understanding of

what it is to be looked down upon by society.

Another rowdy musical followed, entitled Rodeo. This piece was comprised

of a similar hybrid of popular western themes, and used as a story line the

universally known as "The Ugly Duckling".  Rodeo had it's premiere in 1942 at

the Metropolitan Opera House, and was judged as an unqualified success.

Copland was clearly breaking down barriers with his "common" music. The

Metropolitan Opera was known at this time for it's stuffy renditions of Verdi

and Puccini's operas, and not for the joyful playfulness of such a work.

The warm exuberance of Copland's music attracted Martha Graham in 1943.

She commissioned him to write a score for her ballet entitled Appalachian Spring,

which is impossible not to mention. (despite the fact that we heard it in class)

Appalachian spring brought nothing but good fortune to Copland, assuring him an

eternal place in classical music. It was after the widespread success of Spring

that he produced his most prolific piece, and perhaps the best summation of his

attitude towards classical music, "Fanfare for the Common Man" Finished in 1942,

this was one of 18 pieces commissioned by Eugene Goossens for the Cincinnati

Symphony Orchestra.   The horns and the timpani play a major role, producing a

strong and bold urgency. This provides an interesting paradox: "Common Man"

seems to be as "American" as a piece could get. It is strong, bold, to the point

and unquestioning. Interestingly enough, Copland was spending much of his time

with an extreme leftist group of friends who made plays about the injustice and

hypocrisy that existed in society during the 1940's.

Copland was not only known for his prolific style and unquestionable

compositional language. He was also a great supporter of other musicians,

sponsoring event after event, and starting the career of the now world renowned

Leonard Bernstein . He spoke and taught at countless Universities across the

country, and gave to the American people a style of music that they could claim

as their own. All of this is an example of the caring and humanity that was both

the cornerstone and the trademark of his music. Although he died in 1990, his

music will live on in the hearts and minds of the American people as long as

there is a place called "America."

57.  ABC Book

A

gatha Christie, the author of "And then there were None" is called the Queen of Mystery by those who have read her books.  In addition to, "And then there were None", Agatha Christie has written many books, which include "ABC Murders", "Body in the Library", Easy to Kill" and "Towards Zero".

B

rent, the family name of Emily, the 65 year old daughter of a Colonel, and definitely not happy with the way the world is going now.  She liked every thing as it was 45 years ago, when children did what their parents told them to and when everyone respected their elders, but now .....

C

oroner's inquest having turned her life upside down, Vera Claythorne  has had tough luck so far in her life.  She does not have a lot of money, and has had trouble finding a job after the inquest. Even though she had been acquitted, people still look at her funny when she walks down the street.

D

octor Armstrong, a former doctor who likes time to think. Whenever he thinks about the past one of the first things to pop into his mind is the fact alcohol ruined his life. If only he hadn't had a couple of drinks before operating on his patient, he might not have accidentally killed him.

E

veryone was dead when the police got to the Island.  Nobody could figure out what happened.  The police did not find any suicide notes and searched the island a couple of times.  The police found no-one in hiding and were left open-mouthed and clueless.

F

red Narracott was the boatman who took everyone to the island on his boat. As he told the police, as far as he knew he was the only one who had taken anyone over to the Island.

G

eneral Macarthur, loved war and was disappointed when he had to stop fighting on the battle grounds.  War was his life.  He loved the smell, the sounds and the feel of battle.  In fact he craved to kill again.

H

elpless, the guests on the island were prey to the killer, they couldn't get off the island because there was no boat.  Hiding was out of the question due to the bad storm, and they did not know who the killer was, so everyone was under suspicion.

I

ndian Island was purchased under the name U.N. Owen and nobody knew who it was.  All the tabloids were saying royalty had bought the island or some eccentric millionaire, but nobody really knew who it was.

J

ustice Wargrave, was a judge. You could say he was a murderer, even though he never killed anybody himself. He just sentenced people to death.  He was a mean and intimidating judge which he used as an advantage over the others.

K

illed, everyone on the island was terrified of being killed. They trusted nobody and suspected everybody. With the killer's identity being unknown, only one person went to the bathroom or to walk around while the rest waited together so there was no chance of being a victim.

L

ombard was an ex-soldier who liked firearms.  He had  brought one to the island for his own protection he told everyone, but I doubt anyone believed him. So they locked away the gun  and any other weapons and no single person was able to open the lock.

M

arston was the youngest guest who liked to do things fast without thinking first. He liked speed and alcohol.  He was very good at prejudging people and liked to be at the centre of attention. He was favoured by women and he knew it.

N

obody, not even the butler Mr. Rogers and his wife, who had been hired to take care of things on the island, knew who U.N. Owen was.  Although he or she was expected to show up soon after all the guests arrived on the island.

O

pen-mouthed the  detectives from Scotland Yard were, when they had no evidence only ten corpses and their personal diaries. The detectives were unable to explain that there was no murderer, but all the people definitely had been murdered.

P

erson or persons unknown on the island was using a false pretense so nobody would suspect that person as the murderer which was why it was difficult for the murderer to be discovered.

Q

ueasiness was felt by some of the passengers on the boat ride to Indian Island, as the water was getting rough due to a squall coming up.  The boat bounced around from wave to wave.  Fred Narracott mentioned just before they got to the island that if it gets any rougher nobody would be able to reach the island by boat.

R

ich was the person who had bought the island.  He would have to be, to be able to afford something which was worth a lot.  Tony Marston thought at least with all that money they should be served good food and thirst quenching drinks.

S

tranded on the island due to a terrible squall which came up as soon as Fred Narracott got back to the mainland, everyone would have to wait until the sea was calmer and the waves were smaller.  Not worried about food or water, as there was enough on the island, they were worried about being murdered.

T

en little Indian glass figurines were in the centre of the table in the dining room. As each person was murdered one mysteriously disappeared from the table, even though the room was locked each night before everyone locked themselves in their rooms.

U

nderstanding the various reasons why they were asked to come to Indian Island, each guest had received a letter, but each letter only had a scribbled signature and no return address.

V

iolent were all the deaths, especially Tony Marston's because he had a big chunk of concrete dropped on his head.  Mr. Rogers' death was violent too, as he was hit in the back of the head with an axe.

W

hy was this happening to them, everyone on the island was wondering.  Who could hold such a big grudge against each one of these people to go to all this trouble to kill them.

X

-rays had to be used on three bodies by the coroner to determine the exact cause of death.  Also poison tests were done on two bodies and gunshot tests on two more bodies.

Y

ounger than any of the other guests on the island, was Tony Marston. Emily Brent was the oldest, with everyone else being around the same age.

Z

oo, according to the poem "Ten Little Indians", was were three little Indians went, a bear hugged one, and then there were two.

58.  About the movie entitled The Hurricane

"The Story of the Hurricane"

"Here comes the story of the Hurricane, The man authorities came to blame, For something that he never done.  Put in a prison cell, but one time he could-a been the champion of the world."  Those are lyrics from a song by Bob Dylan.  Bob Dylan made this song to give justice to the man known as Rubin "The Hurricane" Carter.  This song explains the trials and tribulations of Rubin's life.  In this paper I this paper I hope to explain the story of Rubin Carter and his ups and downs in life.  Rubin Carter was born in Clifton, New Jersey (apbspeakers.com p1).  When Rubin was a young man he was teased.  He was teased due to a speech impediment that he had.  The only way Rubin knew how to deal with this was to fight.  Carter had to get out of that kind of atmosphere, so he enlisted in the United States army.  It was there where he learned how to box.  Carter became The European Welterweight Champion two years in a row.  This was the first thing he really excelled in.  Rubin began his professional boxing career in 1961 (apbspeaker p1).  Carter was know for knocking out his opponents in the first round with his vicious left hook.    Carter soon became known as "the Hurricane."

All of his glory came to a screeching hault in 1966.  Rubin Carter and a teenager named John Artis were arrested for the murders of three people in a New Jersey bar.  They were convicted and sentenced to three life terms in prison.

The electric chair was sought to be the way for Rubin and Artis to go.  They both kept their innocence and weren't sent to the electric chair.  While Carter was in jail he published a book about himself.  This book was called the sixteenth round.  "Carter went from the number one contender to number 45472 (apbspeakers.com p2)."  While Carter and Artis were in jail they were known all over the world for civil rights.  Rubin Carter received most of the fame with the song "Hurricane" by Bob Dylan.  Bob Dylan believed that the men were innocent.  Rubin even had support from the most famous boxer in the world, Muhammad Ali!  After evidence showed that perjury and vital evidence has been withheld from the defense, all of the convictions were thrown out by the New Jersey supreme court.  When Carter and Artis thought they were free they were wrong. The men were retried and convicted for the murders. Rubin didn't give up hope.  But Artis did give up hope. He just couldn't take it and died while in prison.  Rubin finally was able to tell his side of the story to the Federal Court.  He did this with the assistance of Myron Beldock and Professor Leon Friedman in 1985.  "The United States District Court ruled that Carter's conviction had been based on racism rather than reason and concealment rather than disclosure and that his imprisonment had been a travesty (apbspeakers.com p2)."  This man was held in jail for more than nineteen years for a crime he did not commit.  Also a innocent adolescent died while incarcerated for a crime he never committed.  Finally in 1988 this indictment against Carter was dismissed and all over.  Many attempts were made after this to put Carter back in jail, but none were successful.

The story of this man and his 19 year long fight was made into a movie.  Norman Jewison was the director of this movie called "The Hurricane".  Denzel Washington played the part of Rubin Carter.  This movie is a great representation of what happened, but there's a few differences.  Carter's white supporters do some good deeds, from the adoption of a black teen to relocate to the U.S. in order to free Rubin.  The director wanted to show that there are good and bad in this world.  The trio that helps Rubin is considered "good people" and the racist cop is "the bad guy".  These character's are fiction, but make this movie more dramatic.

Denzel Washington performance was unbelievable.  He had me believing that he was actually a man that was framed for murder.  The way Denzel showed his feelings while in jail and when being freed from jail.  The cop was fictitious, but showed the ignorance that put Rubin in jail.  The cop just tried to make Rubin's life miserable.  That cop did in fact make his life miserable for more than 19 years.  In prison, Carter makes up his mind that his mission must now be to live in prison forever with dignity and internal justification.  He never leaves his cell because he's training himself.  In the end this movie makes a very convincing case to oppose capital punishment.

Today Carter is a speaker all over discussing issues such as wrongful convictions and the death penalty.  He lives in Toronto, Ontario.  He was also was honored by the World Boxing Council with the WBC Championship Belt.  To end this paper I'm going to leave you with a quote from Rubin Carter.  Now with this movie completed, Carter said he has a sense of release.  He also said, "I don't care what it does at the box office, to me, the blockbuster already happened!"(jsonline p1-2)

59.  Acting Taken To Another Level

Acting Taken To Another Level

Actor, comedian, producer Robin Williams was born on July 21, 1952 in Chicago Illinois.  He started with a great deal of success with stand-up comedy during the 1970s, including time at Los Angeles Comedy Store in his own showcase.  After performing on the revival of the Laugh-In series in 1977-78, he went on to landing a guest role on the popular sitcom Happy Days as Mork, a lovably odd space alien from the planet Ork.  Regardless of Williams' undeniable success with audiences by way of his television work and stand-up comedy, his film career got off to a fairly slower start.  He made his film debut in the role of a disappointing live action version of Popeye (1980), which didn't make it very big and gave him little fame.  1987 however, became the year when he was noticed as one of the best actors because of the Oscar nominated performance in Good Morning Vietnam.  This comedy/drama was about a deejay assigned to a radio station for the U.S. Armed Services in Vietnam.  Even on the set of the movie, Williams' improvisational skills became famous, and he became known for ad-libbing many scenes.  His ability to entertain people became his trademarks, which then lead him to a number of entertaining roles such as Dead Poets Society (1989), Mrs. Doubtfire (1993), Jumanji (1995), The Birdcage (1996), Flubber (1997), and Patch Adams (1998).  All of these films and many others had his familiar funny antics that us (the viewers) have grown to love.  However, there comes an instance where an actor is put to the test.  When they're asked to perform in a contradictory film from what they're not accustomed too.  From the customary humor in Patch Adams, to one of his recent films One Hour Photo, Williams displays his remarkable skills of an actor, by showing us no matter the plot, he'll provide an outstanding performance.

In Patch Adams he entertains by showing conflicts with the serious conventions in the establishment of medical school, while attempting to inject humor and humanity into his treatment of the patients.  The scene when the gynecologists visit the medical school for a tour, and are welcomed by a mold of a woman's legs spread apart as the entrance into the school displays this common humor associated with Robin Williams.  Although everyone loves his type-casted films filled with laughter, the greater acting challenge comes when he pursues a film he's unaccustomed to.

Robin Williams, transcending from his usual comic territory, was definitely the right choice for Sy Parrish in One Hour Photo, for the unusual is sometimes a challenge, and with that challenge he makes it one of his finest performances.  Scene after scene had an eerie sense with unspoken meanings (something he's not grown to do).  Of course his other movies were outstanding, but for him to leave his comfort zone and pursue a film that is abnormal to the usual, shows true superiority compared to recent films.

The movie One Hour Photo, in the simplest terms presents that life is nothing more than a string of moments that fill our time from birth to death.  People reflect on their lives through memories and images the mind perceives from past experiences.  Sometimes snapshots preserve the good memories, but no one takes a picture of something they want to forget.  That's why Sy (Robin Williams) takes his job so seriously.  Sy doesn't view himself as evil, just fulfilling his duties; Williams uses this subtle mentality to challenge the audience.  We feel sympathy for him and understand his loneliness, but also want to keep our distance as we sense unsteadiness and possible danger.

Williams' work is easily compared to that of an artist, in that an artist grows and learns, then displays a certain style and continues to convey that style with their works.  Like the famous artist Georgia O'Keefe who painted flowers and other works of art, but was undoubtedly known for her flower paintings.  It's difficult when an artist is known for a particular piece or works of art to then try something entirely different.  Yet Williams does exactly that, and for most moviegoers he still remains an unusual commodity in Hollywood: a talented comedic actor, who can also deliver sincere, affecting dramatic performances.

Through Williams' career we see that it's common for him to be able to relate to the comical movies due to his success in the past.  It's difficult for us to picture him in anything else, but those types of movies.  However, to push the very limits of acting, and to be considered one of the best, one must drive towards different than the accustomed too.  This same suggestion is expected in our every day lives.  Our jobs themselves require us to be different so that we stand out from the regular, yet we are familiarized to staying with what we know instead of pushing our limits.  If we were to stand away from the regular we are then put into a higher position in our workplace or are fired.  Robin Williams chose to stand away from his norm and now can honestly be recognized, as far more than just the comedic actor we know today.

60.  Adam De La Halle and Ars Antiqua Time Period

Adam De La Halle and Ars Antiqua Time Period

Life Summary

Adam de la Halle is often referred to as the greatest of the long succession of

post Medieval musicians.  He was a poet, musician and innovator of the earliest

French theater. He became famous for his use of polyphony and his theatrical

productions. Adam originally trained for the clergy (the people of the church).

Marriage interfered with his musical career; but with the help of some noble

benefactors he was able to pursue  musical studies at the University of Paris.

The remainder of his life was spent in service of noble patrons.

His Music

Adam de la Halle was of French origins. All of his lyrics were written in French.

Much of his early music was monophonic which shortly after became homophonic and

then transformed into polyphonic. Much of his polyphonic work was set for 3

voices or instruments. If a piece of music is monophonic, then  it has only a

melody line and no harmony. Much of the medieval music was monophonic. If the

music is homophonic then there is only one melody line, but it may be played by

two or more instruments.  Many of the songs that were originally monophonic were

easily transformed into homophonic by add extra voices or instruments.

Polyphonic is the type of music we hear today. Polyphonic is when there is a

melody line accompanied by harmony.  A considerable amount of Adam de la Halle's

polyphonic work was designed for plays. One of Adam's manuscripts contains the

oldest known existence of the sharp sign. In 1872 his music was officially

published.

Ars Antiqua Time Period

Ars Antiqua is Medieval Latin for "ancient art". Ars Antiqua was the period of

musical activity in 13th century France. The music was characterized by the

increasing sophistication of counterpoint (the art of combining simultaneous

voice parts). Modern music historians classify the whole 13th century as Ars

Antiqua where as older historians classified only the later half of the 13th

century as Ars Antiqua. This was the time period when music started to become

more formal. In this time period, musical plays were just becoming popular and

in 1283 one of the first operas was performed.

Most of the music of the Ars Antiqua time period is anonymous. Two important

figures stand out among the anonymity. Pérotin, who became famous in the late

12th century, composed the earliest known music for four voices. Franco of

Cologne, who flourished in the middle of the 13th century, was a theorist who

organized a new, more precise system of rhythmic notation, the direct ancestor

of modern notation.

The most important style of music to originate in the Ars Antiqua is the motet,

which retained its popularity for centuries. The essence of this style of music

is the simultaneous presentation of more than one text. It originated with the

addition of a new text to the upper voices of a sacred polyphonic composition.

The lower, slower moving voices retained the original text.

Ars Antiqua was the time period when music as we know it was just beginning.

Composers were considered innovators because they invented a great deal of what

is used in modern music (for example harmony and modern notation).  The music we

listen to today is comprised of everything these composers created. Without this

great musical minds, music today would be significantly different.

61.  Adam De La Halle and the Ars Antiqua Time Period

Adam De La Halle

Ars Antiqua Time Period

Life Summary

Adam de la Halle is often referred to as the greatest of the long succession of post Medieval musicians.  He was a poet, musician and innovator of the earliest French theater. He became famous for his use of polyphony and his theatrical productions. Adam originally trained for the clergy (the people of the church). Marriage interfered with his musical career; but with the help of some noble benefactors he was able to pursue  musical studies at the University of Paris. The remainder of his life was spent in service of noble patrons.

His Music

Adam de la Halle was of French origins. All of his lyrics were written in French. Much of his early music was monophonic which shortly after became homophonic and then transformed into polyphonic. Much of his polyphonic work was set for 3 voices or instruments. If a piece of music is monophonic, then  it has only a melody line and no harmony. Much of the medieval music was monophonic. If the music is homophonic then there is only one melody line, but it may be played by two or more instruments.  Many of the songs that were originally monophonic were easily transformed into homophonic by add extra voices or instruments. Polyphonic is the type of music we hear today. Polyphonic is when there is a melody line accompanied by harmony.  A considerable amount of Adam de la Halle's polyphonic work was designed for plays. One of Adam's manuscripts contains the oldest known existence of the sharp sign. In 1872 his music was officially published.

Ars Antiqua Time Period

Ars Antiqua is Medieval Latin for "ancient art". Ars Antiqua was the period of musical activity in 13th century France. The music was characterized by the increasing sophistication of counterpoint (the art of combining simultaneous voice parts). Modern music historians classify the whole 13th century as Ars Antiqua where as older historians classified only the later half of the 13th century as Ars Antiqua. This was the time period when music started to become more formal. In this time period, musical plays were just becoming popular and in 1283 one of the first operas was performed.

Most of the music of the Ars Antiqua time period is anonymous. Two important figures stand out among the anonymity. Pérotin, who became famous in the late 12th century, composed the earliest known music for four voices. Franco of Cologne, who flourished in the middle of the 13th century, was a theorist who organized a new, more precise system of rhythmic notation, the direct ancestor of modern notation.

The most important style of music to originate in the Ars Antiqua is the motet, which retained its popularity for centuries. The essence of this style of music is the simultaneous presentation of more than one text. It originated with the addition of a new text to the upper voices of a sacred polyphonic composition. The lower, slower moving voices retained the original text.

Ars Antiqua was the time period when music as we know it was just beginning. Composers were considered innovators because they invented a great deal of what is used in modern music (for example harmony and modern notation).  The music we listen to today is comprised of everything these composers created. Without this great musical minds, music today would be significantly different.

62.  Adam Sandler

Adam Sandler's "What the Hell Happened to Me?": How Music Affects Culture

This song means that culture affects how we grow up greater then most people

think. I shows that when Adam Sandler was young, he was a well-rounded boy that

liked to have fun. The song is also saying that our culture is affecting

innocent youth that are forced to deal with the problems that the previous

generations made for them. This song shows how all people are affected when they

are really just innocent bystanders that have to witness the world at its

roughest. They are forced to deal with it although they are truly unprepared for

such a harsh treatment.

Traits. The song presents cultural traits in that it shows how we grow up and

are affected by culture. Cultural traits presented in this song are how we teach

children and what we subject them to. Our methods of education and entertainment

both affect how we turn out in the long run. The song shows how these traits

affect how people grow up, and what they value in life. For example, the song

talks about selling lemonade, eating popcorn, and watching parades. Then it goes

on to say he's "only happy when [he's] drinking JD" The point is that people are

changing because of society and our culture's lack of certain elements, such as

respect and discipline.

Values. The values presented by this song include the value of respect and

discipline, and the need for more strict ways to keep a young mind safe of

destruction. These values are presented in the line "I only did the things that

Mama said I should, but now I do whatever I want." That line shows that values

change as we age and the reason is because of society; obviously if  Adam only

did what was allowed, culture's values of discipline and respect must have

turned him the wrong way, because his mother did not.

Other values presented in the song are education and entertainment. This is

shown by the lines stating that as a boy, Adam was well-behaved and had fun in

parks and carnivals. He played in the snow and he loved sports, but as an adult

he only finds pleasure in things he would never had imagined he could have only

20 years ago. Also, it is shown that culture has made such a mess of his mind

that he can't understand why he would be in this shape. he presents this

information to us in the lines "It makes no sense, I can't believe I'm me.' He

says this meaning "Why did I end up like this and how? I never saw it coming."

Language. This song really does not demonstrate the language of the culture

besides his use of shortened words and contractions. This shows that in our

culture, we are lazy and don't really care enough to finish complete words or to

make full sentences.

Lyrics:

I used to ride the big wheel

And sell lemonade

Eat popcorn with Grandpa while we watched the parade

But now I'm only happy when I'm drinkin' JD

What the hell happened to me?

I used to have fun throwing snowballs

With my best friend Billy

Then Mom would make us cocoa if we got real chilly

But now I only get excited when I see a girl pee

What the hell happened to me?

I used to be the nicest kid in the neighborhood

I only did the things Mama said I should

But now I just do whatever I want

I even whipped it out at a restaurant

I used to help clean the park in the middle of town

Then play kickball 'till the sun went down

but now all I do is get VD

What the hell happened to me?

It makes no sense

I can't believe I ended up me

I'm outta my gourd

Won't somebody please help me

I'm kinda a weirdo

63.  Adios Cordera primo distante de 1984

Chris Stone

el 2 de diciembre, 1996

Ramón Díaz-Solís

el 9o trabajo

Adiós, Cordera:  primo distante de 1984

Adiós, Cordera, un buen ejemplo del movimiento naturalista, nos cuenta una historia triste pero muy sencilla y pura.  Su lenguaje descriptivo nos da una imagen perfecta de la escena presentada.  También, la inocencia del cuento, en sí mismo, resulta un elemento integral de la trama.  Estamos a discutir la verdadera significación del cuento y a ver cuando vuelve a aparecer este estilo literario.

En la historia, Cordera, una vieja vaca que reemplaza el hueco de una madre muerta.  Cuida a los niños y ahí, con Cordera, se diviertan los niños de ella.  Tienen todavía a su padre, pero esa vaca acaba haciendo el papel maternal.  Con el desarrollo tecnológico de la región,  el granjero pierde su dinero; un fenómeno que siempre pasa porque el venir de algo nuevo requiere que algo se vaya.  A un cierto momento, se da cuenta que va a tener que vender esa vaca sólo para vivir.  Los niños lloran mientras un tren llevando ganadería pasa por su campo donde solían jugar con Cordera.  Terminan gritando "¡Adiós, Cordera, Adiós Cordera de mi alma!"  Luego, el hermano también se va y de la misma wagón le grita la misma frase a su hermana que miraba desde el campo precioso.

Bueno, aquí vemos una vida tranquila rasgada por la llegada de algo nuevo.  No es un nuevo fenómeno de nuestra existencia, sino un fenómeno familiar.  Cada siglo ha producido sus revolucionarios y los que convierten lo actual en lo histórico.  Un ferrocarril y el telégrafo cambian la economía y pues a los niños les parece que esa nueva "cosa" "aruinó el orgullo de nuestro padre y nos robó la única mamá que tenemos."

Pero lo que me interesa más a mí es las semejantes entre este cuento y la famosa novela, 1984.  ¡Ojo!  Tal vez me cree loco:  no se ve claramente a primera vista esa relación entre las dos entidades; hay que analizar los símbolos de cada uno.

George Orwell nos cuenta una visión profética.  Escrita sobre los eventos del año 1984 d.C., la novela es una pesadilla de lo que puede pasar con los adventos de nuevas tecnologías.  El tren, el ferrocarril y el telégrafo que cambian la vida de los niños (y de Cordera) representa lo mismo que la televisión omniciente en 1984.   No digo que las historias son idénticas, sino que el mensaje es el mismo.

Una diferencia entre los dos es el sujeto del cuento (o novela según el caso).  Clarín, o sea Leopoldo Alas, se dirige a la destrucción de la naturaleza.  Orwell, en 1984, nos describe la destrución del espíritu humano.  Pero en realidad, el resultado de los dos escenarios es la destrución de una manera de vivir.

64.  Advantages of Commericals

The Advantage of Commercials

It began in the early 1940's and to this day still is in many of our lives, even more so then before.  It's the TV that I'm referring to.  The TV started only as only musicals on it,. But eventually proceeded up to today's oriented world, with movies, sports, and violence.  Today more than 98% of all households have a TV.  Over 75,000,000 of TV sets are color.  To how haw our lives depend on TV; according to A.C. Nielsen, America watches more than 7 hours per day.  Many people say TV has many disadvantaged, like expensive commercials.  For example, on 30 second commercials in the 1984 Super Bowl cost approximately 450,000 dollars.  If you just look at the price it sounds costly, but in reality TV is one of the most cost-efficient media there is.  Not only is cost an advantage of TV commercials, so are TV's impact credibility, selectivity, and flexibility.

Television is powerful in may ways, mostly by having the ability to combine all major medial into one media called commercials.  TV commercials are like direct mail because it comes directly to the consumer in his or her house.  It is like the radio because TV has to have sound to make it powerful impact.  It is also similar to print or newspapers because TV is able to show the product alone, in a setting, or in use.  Finally, unlike any other advertising vehicle, TV can portray the object in motion while the other forms of media cannot.

TV is believable mostly because of the old of "seeing is believing" an that is what TV does.  Commercials  have an unbelievable capacity to induce belief because of this old saying.  The other major print that make TV commercial believable is that the actors make the commercials and A or the A+.  What is meant by this is that when and actor uses a product on TV and has a satisfying look on his or her face, that's implying that the product is doing it's job effectively.  Also the actors can demonstrate the product tooo  The most common way to prove a product worthyness, is to test it against a well known competitor.  All of these ways make TV commercials not only very believing, but also very persuading.

The next quality that TV commercials have is that the commercials are selective.  Commercials can reach any target audience.  For example, if a commercial is toward children, the commercial will be played in between after school programs that the children like.  If commercial is directed toward housewives, they will be played mostly during the midmorning and afternoon.  Another way TV commercials are selective national chain stores can advertise in markets in which a store or product needs extra support, or have sales are the greatest to keep them the greatest.

Finally, TV commercials are flexible they are flexible in the way they can purchase time on TV locally, regionally.  TV is also flexible in how both local and national companies can use this type of media if it suits their needs and budget.  As one can plainly see, if you own a nationally known business, you can broadcast their selling messages either from coast to coast or in selected local markets.  As stated before, the reason small companies can advertise with TV commercials is because of it's comparatively low cost to all other forms of media.

With such a vast number of people being affected by a TV commercial, there is no doubt that it is, by far the best form of media  TV commercials have the ability to reach people, it's powerful, believable, selective, and flexible.  The availability of getting a commercial is high, with a price on it to hopefully fit your budget.  While the other forms of media a good job at communicating with the buyers, TV commercials top off all other ways of media by the advantages stated before.

65.  African American Influence on Music

3.

A.     Spirituals, shouts, hollers, and work songs are forms of black group singing that are the basis for African American music of the past two centuries.  The nature of these types of singing originated in the early nineteenth century in the fields of the where the slaves toiled.  The slaves used this spirituals to express their sorrows of slavery, hopes for freedom and used the shouts, hollers, and work songs to communicate.  Reminants if the African culture were evident in the music formed by these slaves.

The performance practices of black group singing were

3.

A.     Spirituals, shouts, hollers, and work songs are forms of black group singing that are the basis for African American music of the past two centuries.  The nature of these types of singing originated in the early nineteenth century in the fields of the where the slaves toiled.  The slaves used this spirituals to express their sorrows of slavery, hopes for freedom and used the shouts, hollers, and work songs to communicate.  Reminants if the African culture were evident in the music formed by these slaves.

The performance practices of black group singing were

3.

A.     Spirituals, shouts, hollers, and work songs are forms of black group singing that are the basis for African American music of the past two centuries.  The nature of these types of singing originated in the early nineteenth century in the fields of the where the slaves toiled.  The slaves used this spirituals to express their sorrows of slavery, hopes for freedom and used the shouts, hollers, and work songs to communicate.  Reminants if the African culture were evident in the music formed by these slaves.

The performance practices of black group singing were

66.  African Literature

Trent Hughes

Eng 109

Paper #2

African Literature

The two short stories "In the Cutting of a Drink" and "The Return" bring different responses from me.  "In the Cutting of a Drink" makes me think about what it would be like to go into a new culture.  It also makes me think about the decline in moral values now days.  "The Return" reminds me to be more thankful for the many things I take for granted.  It also makes me think about how hard it can be to cope with change.  In the poem "Those Rainy Mornings" I am reminded of my grandma and what a kind, loving, wonderful person she is.

In Frank Chipasula's poem "Those Rainy Mornings" the speaker is talking about his aunt Gwalanthi.  The speaker tells us what a wonderful loving person his aunt is.  In the first section the speaker tells us how his aunt would wake up at the crack of dawn and build a fire.  Then she would begin cooking porridge.  In the second section of the poem the speaker talks about waking up "out of the nagging nightmare."  Then the speaker describes his aunt a little bit more, "her soft but husky call."  In the last section the speaker talks about how kind his aunt is to take care of his brothers and sisters while his parents "strayed to the copper mines."

This poem makes me think about my grandma and all the wonderful things she has done for me.  The speakers aunt is an old fragile woman, "hoe-broken palms" and "scrawny ribs."  But she is also a very hard worker and loving person.  Both these things remind me of my grandma.  My grandma may be old and fragile but she is still a very hard working and loving person.  My grandma is always up at first light doing household chores or working in her garden.  Many times we have to force her to go inside, so she won't be exposed to the hot sun for to long.  I can't count the number of times my grandma has made my bed, folded our clothes, washed our dishes, or done various other household chores for me and my family.  I could never fully repay my grandma for all the wonderful things she has done.  My grandma, like aunt Gwalanthi, is a very kind, hard working person.

Ama Ata Aidoo's "In the Cutting of a Drink" is about a person relating his story of looking for his lost sister in a big city called Mamprobi.  The narrator, Mansa's brother, is talking to his uncles in the story.  He is telling them about the things he experienced in the city while looking for Mansa.  The narrator is from the country, so a lot of the city life is new or shocking to him.  The narrator and Duayaw, the person helping him find his sister, go to a nightclub while looking for Mansa.  This is a very new experience for the narrator.  Some new things he experiences are dancing and watching women buy beer.  But the most shocking thing is when he finds out his sister Mansa works there.  "Young woman, is this the work you do?" he asked her.  In the end Mansa's reply was, "any kind of work is work."

This story made me think of a couple of things, differences in cultures or places and a decline in moral values.  When the narrator goes to the city he is in a totally new culture.  Many of the things he sees done are shocking to him.  "I sat with my mouth open and watched the daughter of a woman cut beer like a man."  "I cannot describe how they danced."  Going into a new culture would have to be a shocking experience for anyone.  The comment "any for of work is work" made by Mansa makes me think about the decline in moral values.  Now days many people seem to go by this saying.  People seem to not care about what form of work they are doing as long as they make money.  Some factors to consider when doing a job are, is what you are doing morally right or ethical, and is what you are doing legal or illegal.  Would you want your husband or wife to go to work as a prostitute?  Or would you want them to go to work as a female or male stripper?  I would hope not in both cases, the first simply because it is illegal.  The second because it is pornography and I think you should have enough respect for your spouse to not want them to do that kind of work.  So the comment "any form of work is work" is not a way to go about finding a job.

"The Return" by Ngugi wa Thiong'o is about a man named Kamau who returns home after being in a detention camp for five years.  He hopes to see his old village exactly the same.  Instead he finds it now ruled by the British.  The British have changed the village and its culture.  Worst of all, Kamau's wife Muthoni left with another man named Karanja.  Muthoni did this because Karanja lied and told the village that Kamau had died.  At the end of the story Kamau lets a small bundle, filled with things that reminded him of Muthoni, roll down a bank and float down the river.  Then he talks about the relief he felt after this happened.  "Why should she have waited for me?  Why should all the changes have waited for my return?"

These comments make me think about change and how hard it can be to cope with change.  It also made me be more thankful for some of the things I take for granted.  When Kamau returned home he basically returned home to a completely new village.  His family had aged, many people didn't recognize him, and his wife was gone.  This was very hard for Kamau to cope with, "the old village had not even waited for him."  Kamau felt resentful and angry.  I know I would have the same resentful feelings as Kamau if I were put in the same situation.  I would feel cheated if I came home one day only to find it completely changed.  Many time I find myself taking my friends, family, home, or security for granted.  Sometimes I don't realize how important these things are in my life.  I know if they were taken away or completely changed, I would be devastated.  I would not be able to get over it as fast as Kamau.  After reading this story I am more thankful for the many things I take for granted.

All three of these readings bring out different responses from me.  My grandma is the person I think about in the poem "Those Rainy Mornings."  I am reminded of all the wonderful things she does for me and my family.  In the story "In the Cutting of a Drink" I think about the decline in moral values these days.  I also think about the what it would be like to go into a whole new culture.  After reading the story "The Return" I am more thankful for the things that I take for granted.  The story also makes me think about change and how hard it can be to cope with change.

67.  Ah Woe Is Me

Ah, Woe Is Me

A) Summary of The Story:

In the beginning of this short story we are introduced to Sarah, an aging black servant living in South Africa. She works hard for an upper-class white family and spends all of her money on education for her three children who are sent to a boarding school. They come home once a year at Christmas, and the first time the narrator meets the children, she is surprised at their well-mannered behaviour. She finds, however, that Sarah is a bit harsh towards them, and she comments on this. Sarah tells her that it is better to learn the lesson now and grow to accept one's fate later. In the course of the following year, Sarah must give up her job because of her legs, and one day her daughter comes to the house. Slowly she tells her story to the narrator. How the younger brother is working now, and how she is taking care of Sarah. The narrator offers her some clothes and some money and invites her inside for a cup of tea. When she is about to leave, she starts crying and can only mutter that her mother is very ill. Unsure of what to do, the narrator hands her a handkerchief.

B) An Essay About the Text:

The setting in this story is South Africa in the 1950's. Apartheid and segregation are words that describe the conditions under which the blacks (the native Africans) live perfectly. The blacks nearly have no rights and must accept being oppressed by the whites. Sarah is only one of many poor blacks who only just manages to earn a living by working as a servant for a rich white family (the narrator). Slavery does not exist anymore, but it can be difficult to distuingish the life of a slave from that of a native African in the 50's except from the fact that they do after all get paid for their work. Sarah is very concerned about her children getting a good education. She probably wants them to have a better life than she has had so far, and while that is a very noble thought, the facts speak against it. Her children do not at this time have a very good (if any) chance of getting a good solid education because it is very expensive, and their mother does not make that much money. Even if she did make enough money, her legs are bad, and at the end of the story, she has to give up her job (and thus take her children out of the boarding school) because she cannot afford to pay for the school. This is what could look like the final blow to her children's future success in life. No education means no chances of getting a better life in South Africa (and just about everywhere else, too). But what if she did have enough money to give her children a proper education - would that guarantee the children a good future life? I gravely doubt it. As I said before, the blacks live almost like slaves, and as such, they do not have the opportunity to climb the social ladder. All in all, Sarah's hopes and dreams for her children are all very noble, but, unfortunately, at that time and place, very unrealistic.

The narrator does not treat Sarah any better than most other white people in South Africa at this time. While she allows Sarah's children to stay in her house during Christmas, I think the only reason she does it is because she tries to escape her own bad conscience. It is Christmas after all. Throughout the rest of the year, she does not even think about helping Sarah's children financially so they can stay in school. Even though she presumably has more money than Sarah will ever see, the thought of helping her servant out does not strike her at any point in the story. Her servant is her servant, and servants' children are not someone she thinks about. This point is also very clear to see when one reads the description of the narrator's thoughts about Sarah's children. She is surprised at how well they behave, how good their manners are; as if she was expecting a horde of wild animals instead of normal human beings. She is undoubtedly not the only one to think this way about the blacks, they were considered animals by many white people at that time. However, the narrator seems to excuse her treatment and behaviour towards Sarah and her family with ignorance (see lines 99-103). I find it hard to believe that this ignorance really existed, but it is possible that it did, because the whites and the blacks were so distinctly segregated by the apartheid system. Yet I find it hard to believe that the narrator was completely unaware of Sarah's almost inhuman standard of living. Surely, even though apartheid almost divided the whites and the blacks into two separate worlds, she must have known something about the conditions under which Sarah and her children lived, and that it was getting worse as the days went by (because of the mother's bad legs).

When Janet, one of Sarah's two daughters, comes to visit the narrator in the end of the story, the narrator once again displays her ignorance about the blacks, but this time she openly admits it. Janet is, of course, in an unpleasant situation when she stands in the back yard of her mother's former employer. Everyone has some pride in themselves, and standing in the back yard, asking for alms is, of course, very degrading to a proud person, no matter who that person is. Janet has probably tried being in a similar situation before, but now that her mother is unable to provide for the disintegrating family (her father has lost his job and her sister has married and moved away), the life and death of her family depends solely on her and her brother who are the only ones working. Janet is of course very depressed and sad, but she cannot give up now. Her last hope is that the narrator will help her out, and, fortunately, she does. The handkerchief is actually the first thing the narrator has ever done to help Sarah's children. It is not until that point in the story Janet realizes just how bad things are with Sarah and her family. Of course, one could again be tempted to think that it was only her bad conscience that made her give Janet the clothes, but there is no way to be sure. I am, however, inclined to believe that the narrator has finally realized how immense the difference between the "black world" and the "white world" really is. However, the things she gives Janet (some money and the handkerchief) will not last long, and what will Janet do then? Come back for more, of course. I am not saying that the narrator is doing something bad, but I do not think she realizes that Janet will probably come back again. It is like giving a stray cat some food; it will always come back for more. The question is if the narrator would give Janet more money if she came back, and if it would be any help at all. The first question is easy: Yes, she would give her more money if she came back - her conscience forbids her to do otherwise. The second question is a bit more difficult to answer. Of course the money is an instant help to Janet and her family, but only a very insufficient one. The few dollars (or whatever currency they use in South Africa) she gives Janet will only provide the family with a meal or two, and after that they will be back to where they started, and would have to beg for more money. Now, I am not saying charity does not help, but I do not think it helps as much as many people would like to think it does. In many cases, it only puts off the sufferings.

The apartheid system has officially been abolished in South Africa today, but I think old habits die hard, so to speak. I am sure there are still blacks like Sarah and her family who have to subordinate to the richer white population even though - officially - apartheid does not exist there anymore. Societies do not change overnight, especially not when one group has to give up its right and privileges and share them with others (whom they dislike). Sarah's story is undoubtedly not the worst example one could find, but no one knows what happened after the scene in the narrator's back yard.

Translation:

In the beginning of his well-known novel about a missing principal, Hans Scherfig gives the following description of how it all started:

On the tenth of October, a horrible discovery was made on Amager Fælled. A soldier found the horribly mutilated remains of a person who had literally been blown to bits.

The police immediately started an extensive investigation, which was somewhat complicated by the fact that it was impossible to identify the body. Some small pieces of clothing were sent for chemical analysis, but since the results would not be available until a week later, the police were unable to proceed directly with solving the mystery.

68.  Albrecht Durer Leonardo of the North 1410

Excellent paper, one of my best, I spent several hours researching Albrecht Durer This is the best paper in the class.

Albrecht Dürer

Leonardo of the North

Michael Wise

Art 5

Frank Turduci

Impressive though others may be, the great German artist of the Northern

Renaissance is Albrecht Dürer (1471-1528). We know his life better than the lives of other artists of his time. Dürer traveled, and found, he says, more appreciation abroad than at home. The Italian influence on his art was of a particularly Venetian strain, through the great Bellini, who, by the time Dürer met him, was an old man. Dürer was an extraordinarily learned person, and the only Northern artist who fully infused the sophisticated Italian dialogue between scientific theory and art, creating his exposition on proportion in 1528.  Even though we know so much about his doings, it is not easy to fathom his thinking.

Albrecht Dürer was born in the imperial free city of Nuremberg on May 27,1471, at a time when the city was shifting from its Gothic past to a more progressive form of Renaissance Humanism.  Dürer's father, a goldsmith, departed Hungary to come to Nuremberg, where he met and married Albrecht's mother -- Barbara Hopkins.  At age 13, Dürer accomplished an artistically precise and meticulous silverpoint, entitled "Self Portrait at age 13."  This work of art not only reveals his premature aptitude as a youth, but the unique details of northern art.  Albrecht Dürer was first apprenticed to his father at age 14, during which time he learned techniques in metal working.  It would be these techniques and his own intrinsic talents that provide a stable base for his future engraving masterpieces.

Dürer, who did not care for goldsmithing, was apprenticed to one of his fathers' close friends, painter and book illustrator Michael Wohlgmuth, in 1486. While an apprentice under Wohlgemuth, Albrecht acquired the essential skills needed in painting, drawing, and the craft of woodcut.  Michael Wohlgemuth's workshop was extremely busy and was aggressively designing and fabricating woodcuts used in the making of books with detailed illustrations.  It is believed that Albrecht may have assisted in the preparation of illustrations in the Nuremberg Chronicles (1493, Hartmann Schedel).  This project would have allowed Dürer to view works by the leading printmasters of the period, including Martin Schogauer, the Housebook Master, and other Italian artists.

Albecht Dürer left Michael Wohlgemuth's studio in 1490 after finishing his apprenticeship to go on Wanderjahre (wandering journey).  The main purpose of Dürer's journey was to visit Martin Schongauer in Colmar.  It is believed, however, that he first went to visit the Housebook Master working in the middle Rhine area, after which he continued on to the Netherlands.  In 1492 Albrecht sadly discovered that Schongauer had recently died; nonetheless, the master's brothers welcomed Dürer.

Shortly after, Albrecht went onto Basel to work with another of the Schongauer brothers. During this time he also made many contacts. In Basel and later in Strasbourg, Dürer created illustrations for various publications, in addition to Sebastian Brant's Das Narrenschiff (Ship of Fools, translated 1507) in 1494. At the this early period of his life, amid his apprenticeship and his return to Nuremberg in 1494, Dürer's art exhibits his extravagant expertise with line and his astute attention to detail.

Due to a prearranged marriage, Dürer had to return to Nuremberg.  On July 7, 1494, he married Agnes Frey, the daughter of a wealthy local burgher.  Agnes and Albrecht appeared completely unsuited for each other; consequently, only months after their wedding, Dürer left for his first trip to Italy, accompanied by friends.  While in Italy, he visited his good friend Willibald Pirckheimer; in fact, it was Willibald who introduced Albrecht to classical writings and humanist beliefs.  It is believed, perhaps, that Dürer met Jacopo dé Barbari, whose geometrically constructed figures motivated Dürer to contemplate the dimensions of the human body.  Also, during his year long stay in Venice he completed illustrations of mysterious animals and figures, as well as contemplating nature.  During his stay in Italy Albrecht produced some magnificently detailed watercolor landscape studies, presumably during his return journey -- for example, a view of the Castle at Trent (1495, National Gallery, London).

During the ensuing ten years in Nuremberg, from the summer 1495 to fall of 1505, Dürer generated a great abundance of works that strongly secured his notoriety. (The Apocalypse (1498), a series 15 large, full-page woodcut drawings and the engravings Fall of Man (1504)and Large Fortune (1501-1502)). On the whole, these works and others of the period demonstrate his advancing technical expertise of the woodcut and engraving media. They also demonstrate his awareness of human proportions based on passages by the ancient Roman writer Vitruvius, and reflect his dazzling ingenuity to combine the details of nature into believable illustrations of reality. His Self-Portrait of 1500 (Alte Pinakothek, Munich), in which he illustrated himself as a Christ-like figure, reiterates in visual form his lifelong preoccupation with the elevation of the artist's status surpassing that of a mere artisan.

Albrecht left for Italy in fall 1505 after completing Crowned Death on a Thin Horse (British Museum, London). The plague epidemic in Nuremberg is quite possibly the reason Dürer left for Venice. From 1505 to 1507 he remained in Venice where he met the great master Giovanni Bellini and other artists. During his stay he secured a significant commission for a painting, the Feast of the Rose Garlands (1506, National Museum, Prague), for the German Merchants' Foundation.  Albrecht Dürer also composed the following three paintings in which there is a new gentleness of color and tonal harmony:  Christ Among the Doctors (1506, Thyssen Collection, Lugano), Portrait of a Young Woman (1506-1507, Deutsches Museum, Berlin), and lastly Virgin with the Siskin (1506, Deutsches Museum, Berlin).

Upon returning to Nuremberg in February 1507, Dürer began a second period of great productivity. During this time he completed such works as: an Adoration of the Trinity panel, an altarpiece for the Dominican church in Frankfurt (1508-1509, destroyed by fire in 1729), portraits; many prints, two editions of the Passion, woodcuts for the Triumphal Arch for Holy Roman Emperor Maximilian I, and a series of engravings that included The Knight, Death, and the Devil (1513), Saint Jerome in His Study (1514), and Melancholia I (1514). Through the linear process of engraving, Dürer was able to produce tones of varying darkness and he used them to illustrate a three-dimensional appearance.

In 1520 Dürer learned that Charles V, Maximilian's successor, was scheduled to be making a voyage to Aachen from Spain.  Upon arrival in Aachen, Charles V was crowned Holy Roman emperor of the Habsburg dynasty. Albrecht Dürer had received a yearly stipend from Maximilian for such works as Triumphal Arch (1515-1517), an enormous woodcut measuring 111/2 feet by 93/4 feet and other works of art.  Albrecht was eager to meet with Charles to have his salary continued. Armed with prints and other artworks, which he sold along the way to finance his trip, Dürer journeyed to Aachen and on to the Lowlands between 1520 and 1521. His audience with Charles proved successful.  Albrecht kept a silverpoint diary that consisted of sketches of the many people and places he visited on his pilgrimage to the Netherlands, the first of its kind in the history of art.

He returned to Nuremberg in July 1521, at which time he started to compose portrait engravings.  The first, Cardinal Albrecht of  Brandenbergwhich, was completed in 1523. The second, was a portrait engraving of an old friend, Willibald Pirckheimer (1524), and the last of his portrait engravings' was Erasmus of Rotterdam (1526) are all remindful of the Flemish portrayals of St. Jerome. His last monumental works are two large panels depicting the Four Apostles (1526?, Alte Pinakothek), were presented originally as his gift to the city of Nuremberg.  Albrecht Dürer also wrote disquisition's on perspective (1525, Underweysung der Messung...), on fortification of towns (1527, Etliche Underricht zu Befestigung der Stett...) and lastly on human proportion (1528, incomplete, Vier Bücher von menschlicher Proprtion).   On April 6, 1528 Albrecht Dürer died, but shall never be forgotten.

The quality of Dürer's work, his astonishing output, and his influence on his contemporaries all underscore the significance of his place in the history of art. In a broader context, his curiosity in geometry and mathematical proportions, his keen sense of history, his observances of nature, and his awareness of his own individual potential demonstrate the intellectually inquiring spirit of the Renaissance.

69.  Albrecht Durer vs Brett Whiteley 1238

In this paper I will compare and contrast the work of two well-known and quite contrasting artists that stand out in their approach towards the handling of the figure in their art.  While searching for two artists that would be not only interesting to compare and contrast, but in doing so, further my understanding of the relationship between the artist and their attitude towards their artwork, I came across Brett Whiteley and Albrecht Dürer. I was drawn to these artists because of their capacity to capture so clearly what they saw. Their talents in approach and craftsmanship while so vastly different in some areas were closely related in others.

Both of these artists were exceptionally talented draftsmen and shared a keen sense of observation for realistic detail.  Dürer believed that, by using geometry and measurement, he could create a rational system of perspective and bodily proportions, whereas, Whiteley, although having the ability to draw realistically, was more concerned with abstraction, distortion and exaggeration to create emotion, especially when portraying the human figure.  Both Dürer and Whiteley's art demonstrates their extreme proficiency with line and their ability to depict the human form in ways that many artists could only dream of.

Whiteley's use of line was equal to none, in that with just a few lines he could encapsulate the sensual, feminine curves of a voluptuous female nude.  He had a highly evolved instinct for making marks on surfaces, he had the ability to change a dull, blank sheet of paper into an emotionally charged artwork with a fluid like swipe of a paintbrush.  Dürer's use of line on the other hand was quite different.  The use of millions of fine lines to render an image is typical of German renaissance engravers but Durers astonishing and unequalled achievements in woodcut and engraving permanently changed the graphic arts and heightened its possibilities. Through his two visits to Italy, and his contact with such brilliant renaissance artists like his contemporaries Mantegna, Leonardo and Giovanni Bellini (1430-1516), Durer was stimulated and influenced to develop his unique style.

While looking for two specific artworks to compare and contrast, I first found Durer's widely familiar work 'Hands of an Apostle' or 'The Praying Hands', which was finished down to the last detail. Above a network of veins the somewhat thin but gnarled fingers point skywards and come to a 'point like a Gothic arch'. I then came across Brett Whiteley's 'My God, My God&#8230;Why&#8230;' which depicts Christ on the crucifix with his arms and his largely out of proportion hands held sky ward. The hands are cartoon-like and are grotesquely distorted becoming a strong image of intense of pain, so much so that the rest of the painting becomes seemingly insignificant. Whiteley used his ability to distort an image to intensify the feeling of the picture to its full extent but he also knew he could rely on his tremendous skill as a draughtsman to rescue him if he took it too far. Durer however, made constant attempts to find a general proportional law that held constant with all varieties of human physique. He diagrammed the proportions of different parts of the body according to a fixed scale. It is understood that the hands were a section of a larger work and that Durers capacity for scale meant that each part could be placed like a jigsaw and be accurately in proportion. He collected his thoughts on human proportion into four volumes of books called Treatise on Human Proportions. He only completed two before his death in1528.

Whiteley's paintings most of the time, were quite highly sexualised, in fact, Whiteley was the first Australian artist to directly portray sex in art. I think Durer would be quite disgusted with Whiteley's blunt theme, but Whiteley was more intrigued with the manner not the subject matter of the artwork. Whiteley seemed to have a cool sentimental detachment with the themes in his paintings. For instance, in his work Head of Christie which is a portrait of an English murderer, instead of concentrating on directly painting a picture of death and despair to repulse the viewer, he simply uses a subtle form of composition and distortion of the face to entice the viewer to look at the face of a murderer. He aims not to shock or repulse but to intrigue. It's interesting in that Whiteley's pictures of nudes, giraffes and monkeys seem to have the same emotional level as The Head of Christie. Durer on the other hand chose his theme quite carefully. His main themes were usually spiritual or religious, although he like Whiteley, also had a keen eye for landscapes and some sort of connection with animals. Almost all of Durer's paintings or etchings of animals or landscapes were so detailed that they could perhaps be accurate enough for a botanist or biologist to use today. I think, Durer's connection with animals sometimes led him to mix his themes, as in his Virgin with a Multitude of Animals, 1503, where he surrounds the Virgin with a gathering of gentle animals including a parrot, a fox, a poodle, some owls and a crab.

One of Durer's favourite themes however, was himself. His self-portraits were all precisely finished and all portrayed him as a handsome young man. He completed four self-portraits during his life the first of which when he was only thirteen. It is an amazingly accomplished self-portrait and was not only his earliest known work but is also the first recognised self-portrait in German art. The last self-portrait he painted was at the age of 29 in 1500, where he deliberately portrayed himself in the style of a painting of Christ. He idealised his own features to resemble that of Christ, not to show himself as the reincarnation of Jesus, which to a good Christian would be blasphemous, but he believed that his gift of art was god given. Although Durer often painted self-portraits he hardly ever painted his wife, and when he did they weren't that flattering. Whiteley nevertheless, used his girlfriend as a constant theme in his art. He painted her not to show her in a sense but to show the female form.

Two widely different personalities in two vastly different eras, the fifteenth Century and the twentieth Century have shown me how the quality of draughtsmanship and line can have such a strong impact on the viewer of the figure. Whilst Durer struggled in the changing time of the German Gothic era to the beginning of the wonderfully flamboyant Italian Renaissance, Whitely was also an artist of a changing era. His paintings especially the abstracted figure encapsulated the sexual revolution of the sixties and enriched the Australian art tradition. They both were drawn to the human and animal form and while Durer embraced realism in the time where developing science was the changing the way the world saw itself, Whiteley was seeking the abstract when science was being questioned, and the search for more inner truths was a sign of the times. Their construction of the figure displays all these concepts.

Bibliography:

GAUNT, William, "Everyman's Dictionary of Pictorial Art",Vol 1. 1962. K.M Dent and Sons. London

GLEESON James (ed) 'Masterpieces of Australian Painting',1969. Landsdowne Press Melbourne

HORTON, M. "Australian Painters of the '70's", 1975 Ure Smith Press, Sydney

HUGHES, Robert, "The Art of Australia" 1966 Penguin Aus.

RUSSELL Francis, "The World Of Durer c. 1471-1528" 1967 Time Life Inc. NY.

70.  Alexander Calder 347

Alexander Calder was born on July 22, 1898 in Lawnton, Pennsylvania. He had an artistic upbringing, as his father and grandfather were sculptures as well. Both of his parents went to Pennsylvania Academy of the Fine arts.  Despite Calder's artistic upbringing, he didn't go immediately to art. He first studied mechanical engineering at Seven's Institute of Technology in Hoboken, where he got a bachelors degree in 1919. However, his engineering life wasn't going very well, so in 1923 he enrolled at the Art Students League in New York City. It was there where he found his greatest inspiration, John Sloan. Calder constructed paintings based on Sloan's.  In 1924 he became a freelance artist for the National Police Gazette. Then, in 1926 he published his first illustrated book, Animal Sketching.

In 1930 he went to Paris, where he attended Académie de la Grande Chaumière.  There he discovered the art of Mondrian and Miró. He started experimenting with abstract form.  In 1931 he exhibited his first brightly colored constellations, called mobiles, consisting of painted cutout shapes connected by wires and set in motion by wind currents. One of these mobiles was called "Universes." Because of all his works with wire, he started making wire sculptors.

He also married Louisa James in this year, who was the grandniece of author Henry James. Together, they (Louisa and Alexander) had two children. With his new family, he moved to Roxbury, Connecticut. After that, he spent more time in America then in Europe. He started designing costumes and sets for ballets. In 1937 he constructed "Whale" which was his first stabile. He also constructed a mercury fountain for the Spanish Pavilion of the Paris Exposition. He called this piece an aquatic ballet. He continued making water stabiles throughout the rest of his life.

Many of his later works are huge, heavy, and delicately balanced mobiles produced for public buildings throughout the world. Calder is also noted for his book illustrations and stage sets. He had studios in Roxbury, Connecticut, and Paris.  He died the 11th of November, 1976 at the age of 79.

71.  Alfred Hitchcock Analysis

Major Project - Alfred Hitchcock Critical Analysis

Alfred Hitchcock was and still is considered one of the best horror directors of all time. He is considered the "Master of Suspense" for his very well written and directed horror films, which have left his mark clearly and firmly on the movie-making industry. With works such as Vertigo, Psycho, The Birds and Rear Window, Hitchcock told his stories through intelligent plots, witty dialogue and just the right amount of mystery and murder. All these factors coincide to revolutionise the filming industry, particularly the Horror/Thriller genre, spawning a whole new line of filmmakers mimicking his recipe for a great horror, making him a legend all over the world.

The fact that Alfred Hitchcock is the "Master of Suspense" is what makes his horror movies so great. It is the suspense that keeps the audience on the edge of their seats in anticipation, fear and excitement. This sheer exposure and incorporation of suspense into all of his films makes them so deep and uncontrollably addictive. Not a single person who has ever experienced, the full entirety of his films, as it is not something one merely watches, one experiences it, can deny the great presence of suspense and the immense effect it has on the film, itself. Hitchcock manages to turn a simple horror/thriller into a film that is over whelmingly full of suspense and creates an aura and sense of complete suspension throughout the movie, of pleasurable excitement and anticipation that can not be simply let go and must be experienced in it's entirety. It is this amazing creation of suspense that creates the link between suspense and horror, which is why Hitchcock is not only the master of suspense but also the master of all thrillers. Which is why, suspense is the glue that holds the pieces of horror together. The best way to describe this was indeed, presented by Hitchcock, when he said. "There is no terror in the bang, only in the anticipation of it", this quote truly embodies the whole factor of suspense, in that the 'bang' is quick and instantly over, whereas the eventual and agonising climax to it is much more horrific.

Hitchcock once stated "Always make the audience suffer as much as possible" This quote would possibly be one of the greatest pieces of advice Hitchcock could give. Not only that, it also analyses his horror and suspense methods at the same time. Keeping the audience in agony longer keeps them more and more involved in the film, intensifying the suspense to an unbearable degree, where they won't be able to watch any more but have to, this is what Hitchcock wanted to achieve; putting his audience in a position of unbearable excitement. This quote is also linked to the previous quote, whereby a long and agonising feature of suspense adds far more to the film than a quick 'bang'.

There are numerous ways in which a writer/director can create suspense. This can include; building expectation, increasing tension, using surprise, creating immediacy, establishing consequences, limiting time, maintaining doubt, camera angles and the use of music and sound effects. Incorporated together these nine ways of suspense are all identifiable in many of Hitchcock's works and all greatly add to the horror of the movie with it's own method of suspense.

The first method that Alfred Hitchcock uses in creating suspense is to build expectation. This may be expectation of danger, for instance where the audience knows of an imminent danger that is going to occur and are 'suspended' into the fate of that person. This is an excellent way to captivate the viewer as, once a character has been identified to the audience, the viewer holds a greater expectation that events will more-likely revolve around that character and therefore have a greater suspension in the acts and submissions of that character. This is a great way to grip the audience into a theatre of imminent danger to that character, creating suspense. Hitchcock uses this method to his advantage in his film, Psycho. After establishing the Private Investigator in the movie, he decides to investigate the motel, at which she was supposedly staying. The audience at this point is thinking that the deranged mother of the owner has killed the person and a great expectation of danger occurs when he goes into the house where the mother is, the audience is on the edge of their seats waiting to see what will happen to the investigator. Everything was set up for a major event and the expectation for this was openly apparent. That being said, Hitchcock can't and doesn't rely so heavily on music and sound effects. As he once said, "If it's a good movie, the sound could go off and the audience would still have a perfectly clear idea of what was going on" This shows that even though sound is a great asset, nothing can go past a good visual, that can incorporate several methods of suspense, not merely one. This is another measure of Hitchcock's great talents, in that he believes so heavily in his work and knows what makes it so great.

Another method used copiously in the horror genre is that of creating tension. Similar to building expectation, increasing tension uses information to manipulate the audience. In this technique, the audience is given information and is informed of the impending fate of the character, while the character is left in the dark. The whole fate is not yet known, however they are aware of imminent danger and what could possibly happen to that character. This creates a lot of tension in the audience, as they are aware of what is going to happen, while they watch the identified character walk straight into a trap. For instance, it makes the viewer just want to scream out 'Don't do it!' It also suspends the audience into whether the character will survive or not. Hitchcock uses this technique in rear Window. While looking through Jeff's camera we can see a whole set of events pan out. We see Jeff's girlfriend, Lisa enter Thuwald's, the killer's apartment through the window. The tension continues to build as we see Thornwald enter his apartment while Lisa is still inside. Since Lisa is an identified character that the audience cares about, nobody really wants to see the next bit where it is imminent that the killer will find her. However at the point where she does not know that the killer is returning, the viewers tension increases, aware of the jeopardy she is in, especially since she does not know and we, the audience can't do any thing about it.

Another technique used by Hitchcock to manipulate his audience is the use of surprise. When there is a sudden surprise or twist in the story or plot the audience begins expecting more violence and mystery etc. An excellent example of this technique is in the movie Psycho. Hitchcock kills off the star early in the movie in the classic shower scene. This surprise twist creates an expectation for more of it and therefore more suspense. Hitchcock's remarks to this were "At this point I transferred the horror from the screens into the minds of the audience. And although there is only one more violent act in the whole movie, the audience is held in suspense throughout" This is a perfect example of Hitchcock using different ways to create suspense which make his horrors so unpredictable, the ending of this movie only has to be seen to explain why. This technique, just like all the others is almost unique or always modified by Hitchcock so that the audience never knows what to expect in any aspect of horror, increasing the suspense and therefore, horror.

When something vital is at stake immediate suspense is created to house the fears for that something. This is called creating immediacy and is very effective in all movies to manipulate the audience into caring for something that is vital to one of the characters, which otherwise may have been less involving. This technique is also used to create suspense in Alfred Hitchcock's Rear Window. In this movie, someone very vital to the lead character, his girlfriend has her life put in jeopardy in a very intense scene in the movie. The audience feels for the main character and the emotions he must be going through, watching his girlfriend, seemingly moments away from imminent death, especially when there is nothing he could do. This technique is very useful as the suspense created, not only captivates the audience into the events but also influences their feelings for the boyfriend and how he is powerless over something that is so vital to him and thus, the audience feels in the same manner.

In most of his movies Hitchcock establishes consequences for the main character to achieve and if he didn't he would have to suffer the ramifications. This creates a great sense of suspense, as the entire audience watches in anticipation, will he or wont's he? It keeps the audience on the edge of their seats, as Hitchcock does, it brings alive the plot of the movie, and thoroughly engages the audience. This is shown in Vertigo, where a Private Investigator is hired to follow the wife of a rich businessman. After following her around for a few days he believes she became somewhat possessed by a ghost of her grandmother and became suicidal to fulfil her husbands wishes to kill her. The consequences of failure to help her, leads to her death and the ramifications and implications that occur in court. However throughout his time on this case the audience feels suspense because they sit in indecisiveness over what will happen. On one hand they would like to see him save her but on the other they don't want a boring or uneventful movie. This is what possible consequences do; however it also increases urgency to get it done.

Yet, another method that Alfred Hitchcock has mastered is that of maintaining doubt. If there is doubt in the minds of the audience as to the outcome of certain events, the suspense is intensified. When something is know there is no interest, no captivity, no suspense. For instance if somebody told you the ending to a classic whodunit such as Agatha Christie's Murder on the Orient Express then you would most likely not even watch it and even if you did there would be far less thrill and suspense when you did. This is why keeping the audience in the dark about certain events or people works so well for Hitchcock, captivating the audience into curiosity and intensifying the suspense further. In Psycho, Hitchcock puts huge doubt in the minds of the audience when he kills off the star half way through the movie. If anyone knew what was going to happen, they can think again and this method suspended the audience in a far greater way than if it were what they had predicted. Nevertheless, this difference makes the audience guessing until the very end, not knowing if or when he will do something this different again.

Limiting time is another method used that captivates the audience in another will he or won't he escapade. This technique adds urgency to the scene, captivating the audience and intensifying their viewing. This urgency adds suspense by adding a further enemy, time. This begins a race against the clock and incorporated with this technique can be many others, such as building expectation, increasing tension or creating immediacy. One example of all of these techniques coming into effect in the same scene could be if the hero, for instance Superman had to defeat his arch nemesis and stop the bomb from going off (limiting time) save his girlfriend (immediacy) and to save the world from an asteroid (establishing consequences) all after the disappearance of his side-kick (maintaining doubt). It is Hitchcock's measure as a director to choose different variables and combinations that create the best suspense and therefore the greatest thrillers. Time is of the essence in Hitchcock's Vertigo. A time limit is created as Johnny rushes to save Madeline from committing suicide. Unfortunately he is too late, however the suspense as he staggers up the stairs to try and reach her in time is unbearable.

Another method of establishing suspense and creating horror is that of incorporating different camera angles, from different perspectives, angles and types of shots. Manipulating the camera angle can do so much for the movie, as it affects the audience so greatly, it is almost like helping them see from Hitchcock's mind of what the movie should express. This may be elevating the camera to show who is in charge and establishing power or from a characters perspective to add perspective and greater insight into that character, i.e. their feelings, emotion and most importantly what they perceive through their eyes. This is shown very well in two movies, Psycho and Vertigo. Firstly, in Psycho, Hitchcock uses camera angles alternatively to give the viewer and idea of what the would-be victim is experience. It adds, a more eerie feeling, creating greater suspense, as there is no better way to tell a story than through the eyes of those who experienced it. Again, in Psycho, camera angles are adapted to bring fear into the minds of the audience. When the victim is about to be attacked, the camera angle depicts the murderer, launching himself directly at the victim. The camera is placed just under the killer to create the feeling that we, the audience are under attack. Thirdly, in Vertigo the main character is afraid of heights due to a terrifying incident where he was hanging off a ledge 15 stories above the ground. This would not look nearly as frightening from an upward looking view as it would from the perspective of the man hanging at a perilous height. These examples are just a few that allow Hitchcock to create suspense just with the camera.

The final, but possibly the greatest creator/amplifier of suspense is music and sound effects. Sound is 50% of the whole impression of the movie so it isn't hard to see why Hitchcock puts it to such great effect. Firstly, the sound and music coincide with the scene that is taking place; the music always fits the mood. For example during parts of intrigue and mystery taking place the music fits appropriately, such as a quick 3 beats with a trumpet and drums, Da Da Da and zooming into the characters face to see their expression, to signify the previous statement. This also shows the intertwining of music and different filming techniques used by directors, especially Hitchcock to better their films. However, more importantly in a horror scene, the music is always very quiet or not present just before imminent danger. This quietness is used to put the audience into a false sense of security, before a sudden incident, which is made much more unexpected and therefore more horrifying, catching the audience off guard. This then escalates to coincide with the positioning of the killer/victim, as when one approaches the music intensifies into a loud playing of violins to catch your attention. For example in the classic shower scene in Psycho, as the killer slowly approaches, suspense is created through the uprising of the music, just like Jaws, with the approaching shark. The classic violins play their high-strung and high-pitched tune, at the climax of the music is always the murder, or in this case stabbing of the victim, which coincides with the blood curling scream. Without a doubt, music is half the movie and Hitchcock uses it to great effect in elaborating even more suspense into the minds of the audience.

Another technique that Hitchcock manipulates to his advantage is that of using symbolism.

Symbolism creates subliminal backdrops or themes that add to the overall mis-en-scene. Paini described Hitchcock as "one of the greatest inventors of images in the 20th century, and the only filmmaker whose work reflects the impact of each of its major art trends: classicism, symbolism, mannerism and modernism". Symbolism is shown in all of Hitchcock's movies, but especially in Psycho. Symbolism in this movie involve the stuffed birds in Norman's office and the 'peeking' conversation that highlight the impending chaos of the film and the double image of Norman Bates reflected in the hotel window. Norman's dead mother in the basement is also a symbol of the mental psychosis of Norman that sends him into thinking she never really left and that she is always with him, inside of him.

However, if criticism could be laid from a personal viewpoint, it would be the lack of excitement felt by today's audiences. However, this factor may not contribute to criticism but rather acts as an appraisal of Hitchcock's abilities as a director. This is due to the sheer amount of violence, action, blood, deaths, and gruesome and vulgar acts of insane and neurotic characters in horror movies today. This is basically the method used these days for great horror. Sure it appeals to the current generation but it also shows that the directors of these films simply don't measure up to Hitchcock's standards, they go for a simple intense moment every now and again, not incorporating as much variation of suspense as Hitchcock did so many years before. This enhanced Hitchcock's abilities as a director, relying on his own skill, rather than that of the special effects-guy.

Of course, it would not be fair to praise Hitchcock for the entire success of his movies. It was also the actors, producers, writers, cinematographer and sound technicians, all of whom won or were nominated for academy awards in Rear Window. This either means one of two things that the association and work with Hitchcock aided them or that Hitchcock relied on others. Either way led to an end product of brilliance, placed together and put into place by Hitchcock.

Alfred Hitchcock is so much more adaptable and accommodating to the changing faces of cinemas. With a career that spanned 57 movies over 50 years, Hitchcock produced movies throughout the history of the popular medium, from the silent era to stereo sound, black-and white to Technicolor, wide screen to television, and from Europe to Hollywood. This shows how adaptable he was to changing circumstances, audience and cinema paraphernalia. While he progressed with each movie he got better and better until the continual success of several movies were hailed as 'masterpieces'. No director is ever without fault, and Hitchcock was no exception, from million-dollar blunders to little-known movies produced in Japan. Although these were minor 'character building' mistakes, just like a craftsmen making a wooden sculpture, he kept chiselling away until a final, desired or 'perfect' result has been made.

Beyond doubt, Hitchcock was the master of suspense and by combining these techniques in any desired order he has established himself and his movies as classics. Along with his ability to adapt, his versatility and love of directing, Hitchcock and his movies are to be remembered and benchmarked for a long time to come.

72.  Alfred Hitchcock and his contribution to Hollywood

Throughout history there have been many directors who have made their impact on the world of movies but few of them have had the same impact that Alfred Hitchcock has had. Hitchcock has been seen as a very complex yet important figure in the history of film making. He has directed some of the best suspense films known to man. He also had his own television show in the 50's known as Alfred Hitchcock Presents.

Alfred Joseph Hitchcock was born in England in a little town outside of London on the thirteenth of August in eighteen ninety-nine, to William and Emma Hitchcock. He had two older siblings, William and Nellie. The family was a lower middle class family living in Leytonstone, England. William Hitchcock was a dealer of fruit and poultry, and his business did quite well. According to John Russell Taylor, in his tell-all biography, Hitch (1978); Hitchcock was a child who kept to himself because of the fact that his older siblings were so much older than him (Taylor, 1978).

Hitchcock was educated at many different schools. His first school was a school which was located directly behind his house, operated by the Faithful Companions of Jesus. Hitchcock did not stay there long because, according to Taylor (1978), "Father Flanagan came and gave his parents hell for sending him to a secular school" (29). Following the secular school was the Selesian College in Battersea in which Hitchcock was sent to board at the tender age of nine. Finally Hitchcock ended up at St. Ignatius College where he stayed until he was fourteen years old. Hitchcock only left school after his father died in 1914. After he left school he decided to enroll in the School of Engineering and Navigation because he was interested in becoming an engineer. While at school he became interested in the arts and so he then decided to go to school for the arts and he ended up at London University where he studied fine arts (Perry, 1965).

In George Perry's book, The Films of Alfred Hitchcock, from the years of 1921 to 1929, Hitchcock worked on silent films, first as the title card designer and then as the director. But he did not start out at the production studio he actually started out in this business at a small advertising firm getting about fifteen shillings a week (Perry, 1965).  According to George Perry (1965), "From there he went to W.T. Henley, the cable company, as a layout man" (7). This firm was very embracing of Hitchcock's artistic demeanor. Henley had a newspaper which their social club published and Hitchcock regularly had drawings and stories in them (Taylor, 1975). During this time Hitchcock was introduced to the idea of drawing title cards, which he took in stride. Very soon after starting his title card drawing he was hired by the Famous Players-Lasky production company. While working at this company he had his first directing experience which he was talked into by Anita Ross, the publicity woman (Perry, 1965 and Taylor, 1978). The movie was called Mrs. Peabody, but Hitchcock referred to it as Number Thirteen, probably because no one had ever really decided on a name (Taylor, 1978). This film was never completed because of money problems. The next chance Hitchcock was given was as a co-director of the film, Always Tell Your Wife (Perry, 1965). Always Tell Your Wife was followed by Woman to Woman which he was the assistant director.

Alfred Hitchcock's first talkie was not done until 1929 and it was called Blackmail. This movie was also Britain's first talkie movie. Blackmail featured Anny Ondra, a German actress who can be called the first of Hitchcock's blonde prototypes. Following Blackmail was Juno and the Paycock which was a musical screenplay. This was not a thriller in any sense and Hitchcock's next film went back to the thriller genre called, Enter Sir John (Perry, 1965). The movie Hitchcock considers his first movie is The Lodger because it had such a big response when it came out. "Still whether or not critics and audiences picked up on everything in the film, they pick up on enough to make it and Hitch an overnight sensation" (Taylor, 1965).

All during this time Hitchcock had been working on his own family. He had married a woman named Alma Reville, whom he met when filming Woman to Woman in 1922. Alma was the editor on this film and she had a higher job than Hitchcock did and in those days a man could not acknowledge the fact that a woman had a higher job than him so Alfred waited until he had a higher position than her to speak to her. When they did speak they took a liking to each other and then after a long engagement they were married. Their wedding was small and took place on December 2, 1926. Alma and Alfred had a small wedding with immediate family and a couple close friends. After the wedding they cut the cake in their new apartment and left for their honeymoon in France. Their married life was just fine and then Alma became pregnant and on July 7th, 1928 she gave birth to Patricia Hitchcock (Taylor, 1978).

In 1940, Alfred Hitchcock and his family came to Hollywood. When he arrived in Los Angeles, he and his family moved into an apartment on Wilshire Boulevard. Almost immediately after arriving in America Hitchcock threw himself into working on a new project, a movie titled Rebecca. Rebecca turned out to be a very expensive and successful movie. Even though the movie was a success Hitchcock still wondered whether it would have been even better had it been filmed in England. In the years following Hitchcock directed many movies for instance Foreign Correspondence, Mr. and Mrs. Smith, Strangers on a Train, Spellbound, Rope and many others.

In the 1950's Hitchcock was told he should be on air, meaning he should be on television. Television was a new medium in that time and many of the Hollywood people looked down on it. Hitchcock was thrilled by the idea of being on television and he jumped at the chance. With great haste he set up a company called Shamley Productions. He then called up an old business partner and asked her to produce the show, Joan Harrison agreed and they had a show. The show has the same cynical dark humor that is often found with Alfred Hitchcock. The television show was a success, "but the television shows were just the beginning of what was to turn into a whole industry. They spawned a lengthy series of short story anthologies with titles like "Stories They Wouldn't Let me Do on TV" and "Tales My Mother Never Told Me", collections of the kind of funny/macabre story made familiar and permanently associated with Hitch's name as a result of the television show" (231). This venture eventually made him independently wealthy.

In 1957, Hitchcock began making the movie Vertigo starring James Stewart, Kim Novak and Barbara Bel Geddes. This movie showed many shots which were very innovative for the time. For example in the beginning of the film when James Stewart's character John "Scottie" Ferguson, is in the studio of his friend, Midge Wood, he is talking about his illness which is vertigo. He is telling Midge how he thinks he is getting better and to prove it he steps up on a step stool and climbs to the top of it. Then he looks out the window and sees how far above the ground he is and he gets dizzy and begins to fall. When the camera shows the shot of what he sees out the window it looks as if he is about 30 stories up, when in fact the was not close to being that high up, it was all the camera angle. The scenes in this movie are also very well shot throughout the movie. It is a well known fact that most of the backdrops in Hitchcock's movies where painted and most people cannot even tell this because of the expert shots taken by the camera man.

After the television show Hitchcock returned to making movies. The one movie he is most known for is Psycho staring Janet Leigh. Psycho had the biggest opening Hitchcock had ever seen in his time as a director. Then after a brief two year hiatus out came The Birds, which turned out to be another Hitchcock masterpiece. Hitchcock's last movie came out in 1976. The movie was called Family Plot.

Most of Hitchcock's work was done in black and white which gave the work a certain feeling of suspense. Also the fact that he did not show most of the violence in the movies also helped to add the need for the audience to use their imaginations. When a movie is in black and white it is up to the viewer to use their imagination about the colors. The shades of black, white and grey make the whole aura of the film seem a lot more sinister and slightly leering. Even when films where being made in color Hitchcock stayed with the black and white; if his movies had been done in color the audience would not have had the same feeling of unease.

A lot of people found Alfred Hitchcock to be a very complex as well as eccentric man. One of the things that stood out about him was the fact that he started the tradition of appearing in all of his movies. He never had a very large role, but he would have one none the less. For instance he would be a random person sitting on a train or he would just causally walk by on the street. Finding him in his movies became a hobby held by many of his fans. Some other eccentric features of him were the fact that he would fall asleep at random times like, at dinner parties or when he was out with friends. It became an expected habit from him. Another strange fact about him was found in the book, The Men Who Made the Movies, in which the author Robert Schickel (1975) says that Hitchcock never drove a car because he did not have his license. Meanwhile in the book Hitch, by John Russell Taylor (1978) it says that he was just pretending not to ever drive. Taylor also says that Hitchcock used to drive Pat, his daughter to church every Sunday. The last really strange fact about Hitchcock was his love for blondes. He had a certain type of blond in mind at all times, for a while it was Tippi Hedren and then it became Janet Leigh. Hitchcock became synonymous for his blondes.

I believe that Hitchcock had a very positive influence on society because without him I really do not think we would have such a good sense of real suspense. Psycho had such a profound touch on our lives. Many people who saw the film left the theater and were petrified of taking a shower. There is no way a person can say that Alfred Hitchcock had a negative influence on the film industry, all he did was help it. He helped to make television an okay medium even after Hollywood shunned it. His use of black and white and his lack of gore made suspense movies what they are today. Today many directors feel that they have to show the brutal murder of their characters in order to scare their viewers, when in all actuality the brutal murder just shocks the viewers. Hitchcock knew the secret was to let the audience imagine how horrific the murder would have been, that what would really scare someone. If one were to try and imagine suspense movies without Hitchcock, one would be horribly disappointed. Alfred Hitchcock is in my opinion the master of all suspense and thriller movies.

Perry, G. (1965). The Films of Alfred Hitchcock. London: Studio Vista Limited.

Schickel, R. (1975). The Men who made the movies. New York: Atheneum.

Taylor, J.R. (1978). Hitch: The life and times of Alfred Hitchcock. New York: Pantheon     Books.

Vertigo. Dir. Alfred Hitchcock. Per. James Stewart, Kim Novak, and Barbara Bel Geddes. Universal, 1999.

73.  Alfred Hitchcock at 100

Queen Victoria was still on the throne when Sir Alfred Hitchcock was born in London a hundred years ago this month. A massively fat man of relentlessly old-fashioned demeanor, schooled by Jesuits and formal to the point of paralysis, he spent his entire adult life working in a medium that barely existed in 1899, but has since come to be regarded as the very essence of modernity. From 1939 until his death in 1980, he lived in Hollywood, a city that inverts every value of the lost world into which he was born. He made movies about secret agents and serial killers, and peopled them with debonair gentlemen who slept with cool blondes, thereby amusing millions of unsuspecting filmgoers with his own hopeless fantasies; he longed to be the witty, unflappable Cary Grant of North by Northwest, but knew he was really the Jimmy Stewart of Vertigo, haunted and desperate.

Today, when the tempo of cultural change has accelerated beyond the wildest dreams of the maddest prophets, Hitchcock remains a fixed star of American popular culture, the only director of his generation whose name is still as familiar to ordinary moviegoers as it is to the film- studies cranks who churn out ponderous tomes with titles like Hitchcock as Activist: Politics and the War Films and Hitchcock's Bi-Textuality: Lacan, Feminisms, and Queer Theory. But it was not always so. Witness, for instance, this testy review of Secret Agent, his 1936 adaptation of Somerset Maugham's Ashenden:

His films consist of a series of small "amusing" melodramatic situations: the murderer's buttons dropped on the baccarat board; the strangled organist's hands prolonging the notes in the empty church; the fugitives hiding in the bell tower when the bell begins to swing. Very perfunctorily he builds up to these tricky situations (paying no attention on the way to inconsistencies, loose ends, psychological absurdities) and then drops them; they mean nothing: they lead to nothing.

This review, as it happens, was written by a novelist, Graham Greene, and it is interesting that he should point with distaste to the aspect of Hitchcock's work that is now most admired by critics: the fact that his movies deal primarily in images, not words. It isn't that his characters never say anything memorable. (Cary Grant, in North by Northwest: "Apparently the only performance that's going to satisfy you is when I play dead." James Mason: "Your very next role. You'll be quite convincing, I assure you.") But it is not what they say that we remember after the lights come up. An elegantly dressed man running through a deserted cornfield, chased by a renegade cropduster; a broken wine bottle that inexplicably proves to be filled with sand; the blankly staring eye of a woman lying dead in a running shower-such is the stuff of which a Hitchcock film is made, and next to it, everything else is window dressing.

Though only nine of his feature films were silent, Hitchcock was profoundly affected by the silent-film aesthetic, and spent the rest of his career trying to import it into the age of sound. It took him long enough-many of his pre-1950 films are quite talky-but by the time of Strangers on a Train, he had figured out how to structure his scripts so as to diminish sharply the importance of dialogue. Characteristic of Hitchcock is that so many of his strongest films pivot around a tiny plot twist, uninteresting in itself, that serves as a pretext to set the characters in motion, and even more so that those characters should not infrequently go through entire scenes without speaking a single word out loud. Typical, too, is the remark he made to Ernest Lehman, who wrote North by Northwest, midway through the shooting of that film:The audience is like a great organ that you and I are playing. At one moment we play this note on them and get this reaction, and then we play that chord and they react that way. And someday we won't even have to make a movie-there'll be electrodes implanted in their brains, and we'll just press different buttons and they'll go "ooooh" and "aaaah" and we'll frighten them, and make them laugh. Won't that be wonderful?

Hitchcock's image-oriented style cut against the grain of filmmaking in the '30s and '40s, which had been transformed almost beyond recognition by the coming of sound. It is no coincidence that radio, which flourished at the same time, made effective use of nearly every Hollywood star of the day; even Citizen Kane, a movie bristling with indelible images, was no less strongly influenced by Orson Welles's experience as a radio director. Small wonder that at a time when scripts were still known as "photoplays," Hitchcock's emphasis on the visual should have caused his work to be widely dismissed as mere light entertainment.

Not until the '60s, after European directors had taken the lead in pulling away from the traditional style of cinema that dominated Hollywood in its golden age, did Hitchcock begin to be acknowledged as a major figure. Yet the irony is that his sensibility is decidedly pre- modern, not merely in its silent-film roots, but also in its emotional tone. A movie like Vertigo, which at first glance appears to be a kind of film noir, actually differs greatly from such earlier examples of the genre as Jacques Tourneur's Out of the Past or Nicholas Ray's In a Lonely Place in that its mode of expression is essentially Gothic-even operatic.

Herein lies a crucial difference between the films of Hitchcock's major phase and the less mature ones that preceded them: Starting in 1954, he began to work with a composer capable of filling the empty spaces of his near-silent scenes with music fully in keeping with his own distinctive sensibility. To watch Ray's On Dangerous Ground, the lone film noir scored by Bernard Herrmann, is to realize what a difference his nervously yearning music made to Vertigo, North by Northwest, and Psycho, which are for all intents and purposes collaborations between Hitchcock and Herr-mann. Remarkable as these films are, their impact would have been considerably diminished had the director instead been working with such talented but essentially conventional film composers as Roy Webb (who scored Notorious) or Dmitri Tiomkin (who scored Shadow of a Doubt and Strangers on a Train).

Significantly, only four of Hitchcock's earlier films-Shadow of a Doubt, Notorious, Strangers on a Train, and Rear Window-are comparable in force and concentration to the three key collaborations with Herrmann. That is not a very long list for a man who directed 55 movies in 51 years, and it leads one to view with suspicion the now-general consensus that his films are "great" works of art. To be sure, there are films as great as the greatest plays or operas or ballets, but fewer than is commonly thought; most people who write about movies, as John Simon has pointed out, are "enthusiasts or fantasts who either worship all films or conceive of film criticism as a means of justifying irrelevant cravings," and are thus inclined to ascribe greatness with ill-informed abandon. If Strangers on a Train is a "great" movie, then what adjective can rightly be used to describe, say, Jean Renoir's The Rules of the Game? Mega-great? Measured against the golden yardstick of true greatness, Hitchcock comes up short. For all his undeniable gifts, he is too emotionally constricted, too obsessional, to be seriously compared to Shakespeare or Verdi or Balanchine (or Renoir, for that matter). His films, even the best of them, are melodramas played out on the narrowest of stages, returning again and again to the same short list of feelings. Guilt, fear, longing: We expect more of a genius than that. Yet his iconic images lodge permanently in the minds of all who see them, and surely that is a kind of greatness that cannot be denied. Call him, then, a major minor master, one who succeeded in spinning out of his tormented inner life a body of work incapable of expanding our own imaginative worlds, but that nonetheless retains its dreamlike power to frighten and enthrall.

74.  Alfred Hitchcock Biography Essay

Alfred Hitchcock Obituary

Alfred Hitchcock, admired genius and master of film suspense, died of liver failure and heart problems on April 28, 1980 in Los Angeles, California.  He was the single most influential director in the film genre of suspense, having partly created it, and is one of the most well known and esteemed directors in the medium of film.

Hitchcock was born on August 13, 1899 in Leytonstone, England, the son of a grocer, William Hitchcock, and his wife Emma.  An interesting event occurred early in his life.  When Hitchcock was five, his father got mad at him for being mischievous, and sent young Hitchcock to the police station with a note for the officer.  Alfred was then locked up behind bars for awhile to think about what he had done, and during this time he felt immense terror.  It is thought that this had a profound effect on the movies Hitchcock would go on to make; themes of innocent victims feeling terror and confusion, as he did during this punishment, surfaced in many of his works.

Hitchcock received his education from St. Ignatius College (London), the School of Engineering and Navigation, and the University of London, where he studied art.

Hitchcock's earliest film experience came in 1919, when he illustrated title cards for silent films being produced at London's Players-Lasky studio.  It was spending time at this studio that he learned about many different aspects of film that would later be important in his film career, including direction, stage art, and screen writing.

In 1922 Hitchcock met Alma Reville who he married in 1926.  They went on to have a daughter, Patricia.

Hitchcock's first mark as a film director came in 1925 with The Pleasure Garden.  It was a largely unimportant film, and was not recognized as being anything more than an average melodrama.  Writer Eliot Stannard, who worked with Hitchcock on the film, commented,

"Hitchcock, right from the beginning, always had a vision.  How he worked at his first movie is something I will never forget. He was born for movie making."

Hitchcock had far more success in 1926 with The Lodger, which introduced audiences to the Hitchcock style that would be evident in many of his future films.  It was a murder mystery with a fair share of intrigue, and, though it was a silent film, still managed to produce what would become the classic Hitchcock feeling of suspense.

It was also with The Lodger that Hitchcock started his trademark of making cameo appearances in his films, something he has done in most of his films since.  Other directors have followed in this habit, including Cameron Crowe and Quentin Tarantino.

"I guess you could say I felt a bit like Hitchcock doing it", said Cameron Crowe, regarding his brief appearance in his film Minority Report.

By 1929, Hitchcock had moved into sound films.  1934's The Man Who Knew Too Much was Hitchcock's first big hit, and further developed Hitchcock's budding mastery of suspenseful film. He continued to make movies in Britain until he moved to Hollywood in the early 1940. After a few movies of what had now become tried and true Hitchcock, came 1946's Notorious which was a hit and featured an FBI agent forced to turn over his love to Nazis in order to find out valuable information.

Hitchcock's "golden age" of movies came from 1950 to 1960.  Among the most memorable were Dial "M" For Murder (1954), Vertigo (1958), North By Northwest (1959), and what is considered Hitchcock's greatest achievement, Psycho (1960).

1955 was truly the year that saw Hitchcock become an icon, however. The TV show Alfred Hitchcock Presents went on the air, and it was a huge success.  This was also the year that Hitchcock became a U.S. citizen.

"It was exciting to work with Hitchcock.  I had admired him for so long, and was very happy to be cast in North by Northwest.  Although at times very difficult to work with, Hitchcock has a spectacular mind and vision," said Cary Grant, shortly after playing Roger Thornhill.

Hitchcock continued to make films as an older man but they were far less frequent. His final film came in 1976 with Family Plot, a good, solid film that was hailed by critics as a "fitting end" to Hitchcock's masterful body of work.

"Hitchcock came across as very smart, very striking and at the top of his game when I worked with him," said title designer Saul Bass, who worked with Hitchcock on Vertigo, North by Northwest, and Psycho.

There are many people in all aspects of film that have at some point been influenced by the Master of Suspense.  Hitchcock worked with some of the finest names in film: Cary Grant, James Stewart, Ingrid Bergman, and Grace Kelly to name a few.  Some of those peoples' careers were even made by Hitchcock.

Hitchcock received many honors, including being knighted in England shortly before his death in 1980.  He stayed married all his life to Alma Reville, who died in 1982.  Hitchcock is survived by his daughter, Patricia Hitchcock O'Connell, and will be remembered by many generations to come as the Master Of Suspense.

75.  Alfred Hitchcock Comparison of 4 movies

Alfred Hitchcock is the undoubted master of suspense, and virtually invented the thriller genre. He began his film career in 1919, illustrating title cards for silent films at Paramount's Famous Players-Lasky studio in London. His first directed film was The Pleasure Garden in 1925. From there Hitchcock went on to make such films as The 39 Steps in 1935, an espionage thriller involving spies and murder set in London, Vertigo in 1958, a mystery about a man with a near insane obsession, North By Northwest in 1959, a cross-country manhunt for a mistaken government agent by a group of spies, and Psycho in 1960, a thriller based around murders inside of an isolated motel. In these four movies, Hitchcock used similarities such as McGuffins, suspense techniques, similar characters and situations, a similar basis, and movies that featured ordinary people in extraordinary situations. Each movie takes someone that could be found in everyday life, and put into a situation that most people would never dream of being in.

Alfred Hitchcock's movies have a very similar basis they feature ordinary people in extraordinary situations. For example, in The 39 Steps, Richard Hannay visits a typical music hall for an evening, and ends up with a murdered spy in his London apartment. Hannay started his night listening to music, and later came across a woman after shots had been fired inside of the music hall. Taking her into his apartment and away from danger turns quickly into an extraordinary situation as she reveals herself as a spy. Soon he has the government after him for murder, and a group of spies after him because of a secret that he doesn't hold. In Vertigo, a policeman named Scottie Ferguson follows a friend's wife, and eventually finds a extraordinary connection between her and someone who died many years ago. This situation can also be seen in North by Northwest, when Roger Thornhill, an ad executive is involved in a case of mistaken identity. What would normally be an ordinary situation quickly escalates when his accusers take him off to be killed instead of listening to reasoning. Psycho, the 1960 suspense movie, Marion steals $40,000 on an impulse, and runs away to start a new life. In each of these movies, the main character starts off just as an ordinary person would. The events that take place, put the person into an extraordinary position, which is frequent in Hitchcock's films.

Hitchcock has become famous for his many suspense techniques, seen in many of his films. Showing the viewer of the film the danger involved, but not the characters. For example, in North by Northwest, Vandamm and his associate are speaking while Eve is upstairs. Vandamm's associate fires the blanks at Vandamm showing that Eve did not commit a murder, but instead faked it. They talked about throwing her out of the plane over the water later in the film. The viewer becomes aware of this, but Eve is up in her room preparing, unaware. This method of suspense is also in Psycho after Marion is killed, and the viewer knows that there is a killer in the house. Sam doesn't know anything, but the viewer feels the suspense due to the last murder.

The McGuffin has been attached to the Hitchcock name due to its use in many of his films. A McGuffin is something that the characters in the movie focus their attention around, but the viewers don't. A McGuffin can be used to draw a story line to a certain point, where it is then dropped. It can also be used to tie different parties together in the end of a film. In The 39 Steps, the spies after Hannay don't want the secret of the 39 steps getting out. This is their motive for killing the woman in his apartment, and attempting to kill him. The viewer is not intended to care about the 39 steps, but instead about Hannay's chase, and his attempts to prove his innocence. North by Northwest's McGuffin is the microfilm which contains the government secrets, which is trying to be smuggled out of the country by Vandamm. This is what includes the authorities into the chase, but the viewer is initially told to think that they are chasing Hannay. In Psycho Marion takes $40,000 to start a new life. For the entire first half of the film viewers are lead to believe that the movie is essentially a story of stolen money, but that McGuffin only lasts until the Bates Motel comes into the story.

Hitchcock was not compared with directors during his lifetime. Besides Rebecca, none of his films won an Academy Award for Best Picture. As a producer, Alfred received one Best Picture nomination for Suspicion. He was nominated Best Director for five of his films: Rebecca, Lifeboat, Spellbound, Rear Window, and Psycho. The only Academy Award that he ever received was the Irving G. Thalberg Memorial Award in 1968. Hitchcock would be knighted in January 1980 by Queen Elizabeth II just four months before his death in Los Angeles.

76.  Alfred Hitchcock life

Alfred Hitchcock, Director

Alfred was the third and youngest child in the family. He might have gone on to follow in his father's footsteps as a grocer or develop a career of less notoriety except, perhaps, for a chilling incident in his early youth.  Alfred was just five years old the day he committed some misdeed that convinced his father he needed a lesson in discipline.  His father sent him down to see the chief of police, with a note about what should be done to teach Alfred the error of this ways.  The police chief promptly put him into a cell and slammed the door shut.  Later, Alfred recalled that "the sound and solidity of that closing cell door and the bolt" never left his memory.  He was really only abandoned behind bars for five minutes.  Upon his release, the officer made sure to impress him with the chilling words "that's what we do to naughty boys".   (Shepler, August 15, 1999)

Alfred's fear of authority and punishment was reinforced during his years at the Jesuit school, St. Ignatius College.  At that time, corporal punishment was meted out by ritual beatings on the hands with a hard rubber strap.  Alfred Hitchcock would later recall that those incidents felt to him much like "going to the gallows."  Punishment, and terror of it being unfairly administered by the police to someone undeserving would later emerge in Hitchcock's movies, particularly "The Thirty-Nine Steps", "I confess", "The Wrong Man" and "North by Northwest".

Every director makes the choices of what to emphasize and what to play down in a given screenplay.  Hitchcock, throughout his career, always chose to highlight irony, surprises, moral ambiguity, and the uncertainties of life.  I will attempt to illustrate what I think are Hitchcock's best attributes and supreme techniques as a director; specifically his use of camera angles, sound and ability to use the audience's imagination.

Hitchcock possessed a deliberate directorial style and vast technical knowledge.  The director was known for his meticulous planning of every shot - before filming, he would sketch each scene with a list of every possible camera angle.  Hitchcock used a full array of cinematic techniques in addition to montage to manipulate his audience, including unusual camera angles and carefully placed sound effects.  He meticulously planned each shot in his films and treated the actor as just another object on the set, leaving the impression that nothing on the screen had arrived there by chance.

Indeed, what makes many of Alfred Hitchcock's movies so compelling is his focus on ordinary people being drawn into extraordinary and frightening events.  There are no great beasts or extraterrestrial beings.  The monsters may well be the neighbors across the way, as in "Rear Window," or inside the psychotic mind of an otherwise likeable young man, namely Norman Bates in "Psycho".  Espionage, terrorism and military sabotage, genuine fears during the years leading up to World War II and throughout the Cold War, formed the basis for "North by Northwest," "Secret Agent" and "Saboteur".

A technique that Hitchcock used to build suspense was to get the audience in on the real danger early in the movies, but leave the characters in the dark.  In "Sabotage," he has a delivery boy carrying a package that contains a bomb set to go off at 1:45pm.  The audience knows this but the delivery boy only knows he's been told to deliver the package to an address in London by 1:30.  As he dawdles down the street, distracted by this and that, tension builds as the clocks keep ticking off the minutes.  Finally, he boards a bus to make up time.

When moviegoers refer to Alfred Hitchcock's style, they are usually thinking of his camera work and editing.  Hitchcock's use of language, sound effects, and music is just as essential, distinctive, and masterly.  Hitchcock was an important pioneer of sound techniques: he experimented with expressionistic sound in "Blackmail" with the interior monologue in "Murder", with subliminal sound in "The Secret Agent" and with computer-generated effects in "The Birds".    Hitchcock has had an abiding interest in finding ways to incorporate music into the heart of his plot.  Indeed, music is an essential component of the story in over half of his sound films, and eight of his protagonists are musicians.  He thus can manipulate the audience's familiarity with and expectations about popular music as a way of defining character and controlling our responses without having to introduce any extraneous element.  During a Hitchcock film we are typically looking at one thing or person while listening to another.  By separating sound and image Hitchcock can thus achieve, denseness, tension and on occasion, irony.  In three films where Hitchcock eliminates scoring, for example, he uses sound effects to much the same atmospheric effect: wind in the "Jamaica Inn", waves in "Lifeboat", bird caws in "The Birds".  Indeed, in "The Birds" avian noises imitate the functions of music (instead of musical cues, bird cries maintain the tension), in Psycho music (screeching violins) imitates birds at various points.  Hitchcock's incorporation of musical ideas into the thematic conception of his films is yet another example of how he uses the traditional elements of the soundtrack in unorthodox ways.  (Weis, Elizabeth, 1982)

When it comes to on-screen murder Hitchcock deliberately plays on the creativity of the audience's imagination and this can be seen in his attempts to partially conceal murders.  In "Blackmail" the murder takes place behind the curtains that surround Crewe's bed.  A more interesting case of concealment comes in the murder of Miriam in "Strangers on a Train".  When Miriam ditches her escorts in hope of talking to Bruno, he surprises her.  His hands swiftly find her throat.  Miriam's glasses fall off.  Hitchcock cuts to a close-up of the glasses.  Reflected in one of the lenses, we can make out two struggling figures.  Hitchcock denies us a clear view of what is happening as Bruno strangles Miriam.  The view in the glasses is distorted and provides a carnivalesque, fun-house perspective, yet we can tell that Bruno is completely overpowering her.  The murder is also hidden from us aurally by the jangle of the carnival organ.  The camera angle, the reflected, distorted image, the absence of editing, the absence of the sounds of the struggle, and the lighting all function to conceal the violence of the attack while simultaneously implying Bruno's strength and the inevitability of her death.  Cinematic concealment is used to multiply the power of the killer.  Hitchcock takes up the task of concealment again in Psycho.

Forty minutes into Psycho, Marion is murdered.  When Marion gets into the shower at the Bates Motel and the water starts to flow, we see she is cleansing herself.  She ahs decided to give back the money that she embezzled.  Everything has returned to normal until the bathroom door opens and a shadowy figure approaches the curtain.  When the figure throws open the curtain, we see a knife raised at shoulder height.  The first strike comes at forty seconds after the shower has been turned on.  Over the course of the next twenty seconds there are twenty-eight cuts.  There are no shots of the knife penetrating skin, there are no shots of open knife wounds, and finally, there are no shots of blood spurting.  Hitchcock manages to make twenty-eight cuts without once showing either a fatal blow or a fatal wound.  Hitchcock hides the actual violence by employing severe editing techniques.  The violence that takes place is put together by our imaginations, since it remains mostly hidden from our direct view.

Astoundingly, the man considered by many the finest director who ever lived never won an Oscar for Best Director.

Works Cited

"Hitchcock, Sir Alfred Joseph," Microsoft(r) Encarta(r) Online Encyclopedia 2002

http://encarta.msn.com (c) 1997-2002 Microsoft Corporation. All Rights Reserved.

(c) 1999 - 2002 by John E. Shepler. Linking to this article is welcome, but no online republication is permitted.  http://www.execpc.com/~shepler/

Weis, Elisabeth. The Silent Scream: Alfred Hitchcock's Sound Track. London: Associated University Press, 1982.

77.  Alfred Hitchcock Master Of Suspense

Alfred Hitchcock, also known as "Master of Suspense," was a director who loves to manipulate the audience through his films.  As a director, he always stayed in touch with his childish fears.  Ever since his father taught him a lesson about what happens to "naughty boys," he always feared police. Hitchcock recalled that "the sound of that closing cell door and the bolt" never left his memory.  Director of such works as Psycho and Dial "M" for Murder, Hitchcock told his stories through suspense.

In the documentary, "Film on Film," Hitchcock lets us know his secrets in successfully making a great film. In all of his films, the Hitchcock villain is a person you'd never suspect. The most everyday character is really the murderer.  In Hitchcock's eyes, no one is ever truly innocent.  Everyone in his films is guilty of something.  For example, in Dial M for Murder, Margot is not really the innocent victim because she was cheating on her husband.  The second technique Hitchcock uses is to have places familiar to the audience as settings for danger.  He sometimes uses landmarks to show complete order and have disorder happen there.  Other times he uses places that everyday people go to.  For example, in Psycho, danger happened in a hotel that the audience is familiar with as a place where you can safely rest.  This is to allow the audience to think that danger can happen anywhere and that it can happen to anyone. Another technique that Hitchcock used to build suspense was to let the audience know more about the plot than characters.  This is to leave the audience helpless when they know that something is going to happen. This is known as the bomb theory.  But must not happen with the bomb theory is that the bomb must not go off.  This is so that it won't ruin the suspense from the audience.

Psycho is one of the most famous and well-known films in the history of American cinema.  It was shot in black in white even though the technology of color movies was around. For many reasons it was a great achievement. The film tricked the audience into believing it was telling one story, then shifted to tell another by killing off its leading lady halfway through the film.  He did it perfectly without disappointing or losing its audience. A strange figure enters and repeatedly stabs Marion with a knife to shrieking music.  The music adds a lot of tension and suspense to the audience.  This adds tension and also keeps the audience in suspense because the audience knows that something will happen in that part.  The audience is then terrified and wants to know more. Another scene that was brilliant was when the detective is stabbed at the top of the stairs and he falls down. That placement of the camera makes u feel like you are falling with him.  Suspense in Psycho arises from wondering who is going to be killed next.  Alfred Hitchcock gives an image that Norman Bates' mother is alive.  He does this by describing Norman Bates as being controlled by his mother.  He does not tell the truth about the mother being dead, but does not lie either.  Norman's mother is dead, but is alive in the mind of Norman.  The audience thinks that the mother is alive and they think she can be the killer in the film. This makes the audience want to see what really happens in the film.

Hitchcock's Dial M for Murder is another example of pure and classic Hitchcock film. Hitchcock proves in this version that you don't need fancy clothes and pretty sets to make a film that keeps you in suspense the whole time. What you do need is good actors, a well-planned plot, and a little case of attempted murder. One difference between it and most typical mysteries is that we explore a perfect crime knowing ahead of time what the plan is.  We watch in suspense to see if it is actually going to work and then in dread that it actually might. Hitchcock seems to be the only director who can make you feel more sorry for the conniving killer than the intended victim. He's so clever and charming, you almost wish he's get away with it. Hitchcock makes you root for the creep, which isn't easy to pull off.  During the scene where Tony propositions the would-be murderer in their apartment, the entire scene is shot from the ceiling.  The whole time it looked like you were watching the scene through a security surveillance camera.  The next remarkable point in this movie is the way Hitchcock achieved the creation of a sort of involvement between murderer, victim and viewer. The viewer is turned into the murderer as he expects almost frantically Wendice's telephone call. When Tony was late in phoning his wife and the murderer looked as if he might walk out of the apartment without killing Margot. The audience as well as Tony was hoping he'd hang on for another few minutes. Another point is when the murderer is waiting for the right moment to strangle his "victim." It makes the audiences "feel" Margot's surprise and desperation as well as the murderer's brutal attack on her as it happens.

In conclusion, Hitchcock was a director who planned each of his shots with great care and detail.  His artistry in lighting, camera angle, etc. makes filming a form of art.

78.  Alfred Hitchcock What made him so great

Alfred Hitchcock is one of the most well known directors of all time, as he helped perfect the murder and mystery genre.  His started his directing career in1925 with "The Pleasure Garden" and ended in 1976 with the film "Family Plot", and set a standard for all other directors in the film industry. Many techniques used by Hitchcock, along with some of the storylines have become common standards for the films of today.  Most Americans know Hitchcock from several of his famous movies such as "Psycho" and "Vertigo", but it was in England years before that he developed into an amazing director and created films which set the tone for his later works.  It is very interesting to analyze some of his earlier works to see how he became such a prominent figure in modern History.

Hitchcock was raised in England where he lived with his parents.  He had a strong interest in filmmaking since he was young, and when a new Paramount studio opened where he lived, he rushed to get a job there.  They hired Hitchcock as a "Title designer" for silent films.  Basically, he would write out the words which are displayed after each shot in a particular film which helped move the story along during the silent film era. From there, he worked his way up to become an assistant director, and directed a small film which he was never finished, and was never released (Philips 22).  Hitchcock's first real debut as a director took place in 1925 when he released the film "The Pleasure Garden" (Giannetti 182).  Just a year later he released a film that really helped his career take off titled "The Lodger".  "The Lodger" is a model example of a typical Hitchcock plot.  The basic idea behind the plot is that an innocent man has been accused of a crime that he didn't commit, and through mystery, danger, and love he must find the real criminal (Philips 23).

It wasn't long before Hitchcock became known as the "Master of Suspense", which is a title he actually gave to himself.  The first talkie created by Hitchcock was the movie "Blackmail". The film, which was released in 1929, had originally supposed to be a silent film, and there are some people who think it should have stayed that way. nevertheless, it was a incredible breakthrough for both Hitchcock and the British film industry as it was their first film with sound (Giannetti 182).  However, there were a few problems that arose with the transition to sound.  A girl named Anna Ondra played the female character Alice, and had a thick Eastern accent which came to be impossible to interpret in the film.  This was obviously never a problem for her prior to "Blackmail" since she had only starred in silent films.  Hitchcock helped to fix this problem by getting someone to dub over her voice which turned out to be the perfect solution (Philips 23).  This film features a classic Hitchcock story where the character wants the police to understand what happened, but decide it isn't a good idea.  They figure that the police would never believe them anyway, so they're on their own (Philips 23).

Hitchcock loves to return to the same themes time and time again, but he somehow manages to never make the same movie twice.  Each movie has a certain characteristic that sets it apart from all the rest.  In "Blackmail" for example, the visuals and sounds set themselves apart, but do not detract from one another. Hitchcock managed to keep a strong emphasis on the visuals when incorporating sound into his films. The sound does not overwhelm in "Blackmail", so the viewer is still able to pay attention to the fine details.  For example, the image of hands continually reaching for Alice is as evident as it should be.  This also applies to the glove which is forgotten in the studio, the setting of the murder (Thomson 28).  The sound only works to improve on what is already there.

The film that really set off Hitchcock's career is the 1935 film "The 39 Steps", which was based off a book written by John Buchan.  "The 39 Steps" is a murder mystery with a little bit of espionage.  The story is about a man named Richard who is new to London.  After a fight breaks out at a nearby theater, Richard is approached by a girl in distress who pleads to go home with him. He agrees, and soon finds out that she is hiding from several men that are chasing her.  From then on he is involved in chases, confrontations, and romance (Philips 24). There were several changes in the story line that Hitchcock knew would work better on screen.  The Professor in the novel is unique because of his hooded eyes, not a missing finger as shown in the film.  Hitchcock thought a missing finger would be more dramatic to the film than someone with half shut eyes because it is much more noticeable, and has a stronger effect (Rose 10).

This film is one of the most popular early works of Hitchcock, because it derives Hitchcock's distinct and unique style of directing. A lot of the ideas from this film are reworked in later films such as "Saboteur", and "North by Northwest" (Giannetti 183). This film also displayed his talent as being able to make a novel's story line work in a movie with just a few adjustments. The length of Hitchcock's movies are important to him, he was once quoted as saying: "The length of the film should be directly related to the endurance of the human bladder", a standard all directors should work by in my opinion" (Anderson 56).  He was able to compress the novel to a length that would not only interest the audience but improve upon it as well.

Hitchcock also uses the technique of irony quite often which many viewers may not realize, but it is part of what makes him so great.  As mentioned in "The 39 Steps", Richard allows the women to go home with him, at which point she tries to explain to him what happened at the theatre.  Richard tells her that she shouldn't bother telling him because he's a nobody.  The real irony in this statement is that throughout the movie Richard goes on to pose as a milkman, a mechanic, a parade marcher, and a political speaker.  This strongly contradicts his statement because he is virtually everyone (Thomson 29).

"The 39 Steps" definitely had a large historical impact on movies.  After this movie came out almost every chase and spy thriller have copied its approach.  Directors discovered that movie-goers really enjoyed this type of film.  The movie gets the viewer so involved in the suspense, action, and romance they almost forget about the actual 39 Steps.  Even more amazing, the film contains minimal special effects, but it doesn't need them since the suspensful plot and the staging of the shots make the audience stay in their seats to find out what happens (Rose 101).

Hitchcock came to America in 1939 as an already very established filmmaker.  "Rebecca", released in 1940, was Hitchcock's first American film and was a huge success, winning best picture.  During this decade Hitchcock also created two other Masterpieces:  "Shadow of a Doubt in 1943, and "Notorious" in 1946.  It wasn't until the 1950s however, that Hitchcock really took off in the US and became a household name.  This era produced some of his best work such "Strangers on a Train" in 1951, "To Catch a Thief" in 1955, and "Vertigo" in 1958.  1960 is arguably the pinnacle of Hitchcock's career when he released the hit "Psycho", which generated over 18 times more money than was put into it.  His final work came in 1976 when he released "Family Plot", putting an end to one of the most amazing directing careers in the history of film (Giannetti 279-81).

There is no denying that Hitchcock enjoyed the majority of his success here in America, but he wouldn't have become the great director he was without his experience over in England.  It was there that he developed into an amazing director, and began to show the world some of the things he was capable of.  The consistency of quality plot lines and technical creativity earned him the recognition of being one of the greatest filmmakers of all-time.

Works Cited:

Anderson, Michael.  "Alfred Hitchcock".  New York Times.  2001, Vol. 153 Issue

52669, p56, 2p.  16 Nov 2003.  Academic Search Premier.

Giannetti, and Scott Eyman.  Flash-Back.  4th Ed.  New Jersey: Prentice-Hall Inc., 2001.

Phillips, Louis. "The Hitchcock Universe:  Thirty Nine Steps and then some".

Films in Review.  Mar/Apr95, Vol. 46 Issue 3/4, p22, 6p.  18 Nov 2003

Academic Search Premier.

Rose, Lloyd.  "Alfred Again".  Atlantic Monthly.   Oct 83, Vol. 252 Issue 4,

p100, 2p.  19 Nov 2003.  Academic Search Premier.

Thomson, David.  "Hitchcock".  Sight & Sound.  Jan 97, Vol. 7 Issue 1, p26, 4p, 6c.

16 Nov 2003.  Academic Search Premier

79.  Alfred Hitchcock

Alfred Hitchcock is among the few directors to combine a strong reputation for high-art film-making with great audience popularity.  Throughout his career he gave his audiences more pleasure than could be asked for.  The consistency of quality plot-lines and technical ingenuity earned him the recognition of being one of the greatest filmmakers of all time.  His films earned him the reputation of being the 'master of suspense', and after viewing two of his more popular films, Psycho and The Birds, it is evident why.  There is a distinction between surprise, which lasts only a few seconds, and suspense which captivates one's attention the entire length of a film.  This is something that Hitchcock realized early on, and applied into his movies.  He is one of the few directors whose name on a marquee is as important, if not more so, than any actor who appears in the film itself.  Both his style of directing, and that of the movies that he has directed are very unique, making him stand out in the film industry.  He pioneered the art of cinematography and special effects, which along with his cameos, are what he is most often associated with.  Hitchcock led a long and prosperous life in the movie industry, starting as a teenager and making movies up until his death in 1980, while working on the 54th of his career (Sterrit 3).

Alfred Joseph Hitchcock was born on August 13, 1889 in London, England.  As a child his parents were very strict with him and they imposed severe and unusual punishments upon him, as what they considered to be discipline.  One of these incidents scarred him for life.  As punishment for arriving home late one night, young Alfred's father had a policeman friend lock the boy up in a cell for five minutes, 'in order to teach him where naughty little boys who come home after 9 o'clock would eventually end up.' (Phillips 27).  Throughout his career he used the innocent man being arrested and imprisoned in his films, and claimed that forever after he had a fear of the police (Spoto 16).  Fear was also a big part of his childhood, which later was evident in many of his movies.  'Fear? It has influenced my life and my career.' (18) explains Hitchcock, he also had a fear of being alone and of darkness which once again appeared in many of his movies.  '...fear you see is an emotion that

people like to feel when they know they are safe.' (39).

Hitchcock led a life of fantasy, and spent much of his time alone, entertaining himself because he did not have many friends growing up.  He lived life as if he was on the outside looking in.  Much like a person watching television or a director directing a picture.  Reading was also a part of Hitchcock's life from a young age.  The novels  Bleak House and Robinson Crusoe were two that stuck with him over the years.  He also really enjoyed Edgar Allan Poe, stating that 'Very likely it's because I was so taken by the Poe stories that I later made suspense films.' (39).  In 1915 he started work for the Henley Telegraphy Company.  He soon began to study art at the University of London, which led to being promoted to Henley's advertising department to design cable ads.  But Hitchcock's true love was the movies.  He hunted all over the famous Wardour Street trying to obtain a position in film-making.  In 1920 a co-worker at Henley's helped him put together a portfolio and he was hired instantly by The Famous Players-Lasky as a title designer for silent films.  For two years Hitchcock wrote and designed for popular British movie directors.   The hard working Hitchcock was recognized by his employers as well as leading actors of the day.  In 1922 the director of Always Tell Your Wife, a film in progress, got very sick and had to leave the movie.  The lead actor Seymore Hicks had to take over the duties of direction, but was stumped on ideas.  The young Hitchcock assisted him with the rest of production, and a legacy had been born (Rohmer 4).

Hitchcock's solo directorial debut, The Pleasure Garden was released in January of 1927, but it was not until three weeks later that the illustrious career of Alfred J. Hitchcock really took off.  In February of 1927 The Lodger was released and it attracted mass audiences because of the rave reviews it received early on.  It marked the first time in British film history that a director got more praise than did any of his stars (Kapsis 20).  Besides being Hitchcock's first acclaimed motion picture, The Lodger is also note worthy because it was the movie in which one of the greatest movie traditions of all time would begin; the famous Hitchcock cameo appearance, a unique trademark of his films for the next fifty years.  In April of 1926, Michael Balcon told Hitchcock he wanted to make a movie of the 1913 mystery novel The Lodger, and felt that Hitchcock's sense of character and narrative would be perfect (Spoto 84).  So early in his career, Hitchcock already had a reputation for the true art of film-making.

Hitchcock always prided himself as being the total film-maker, planning and having total control over every aspect of his films, from casting to publicity.  Hitchcock loved to be publicized, and some critics feel that the original intent of his unusual camera shots were no more than a publicity stunt at first.  Regardless, Hitchcock brought cinematography to new levels, pioneering the point-of-view shot, which among other things was recognized for its ability to bring about viewer-character identification (Sterrit 11).  Hitchcock's cameos, which he admitted to have borrowed from Charles Chaplin in A Woman of  Paris (Kapsis 21), was just another example of Hitchcock's personalization and perhaps little 'gimmicks' of his films.  He did not just become characters like did colleagues Orson Welles or Woody Allen,  but his presence and style was always recognized.

During the first decade of his career Hitchcock toyed with a variety of formats including theatrical adaptation, romance, musical, and of course, thrillers.  It was not until 1934 when Hitchcock filmed The Man Who Knew Too Much that Hitchcock started making thrillers on a regular basis.  That film marked the first is a secession of six thrillers which would become known as the classic 'thriller sextet'.  Following the 1938 release of The Lady Vanishes, Hitchcock was voted to be the best director of that year by New York film critics (23).

Throughout the 1940's his reputation continued to flounder with the hit movies Spellbound (1944 [in which artist Salvador Dali painted some scenery]), and Notorious (1946).  The 1950's was the beginning of Hitchcock's most productive and popular era.  Movies like Dial 'M' for Murder (1954), Rear Window (1954), The Man Who Knew Too Much (1956), and North By Northwest (1959) were on the big screen and the Hitchcock name was everywhere.  In 1955 the television program 'Alfred Hitchcock Presents' was also released.  The style and reputation that came with the Hitchcock name was visible in every movie, in every scene.  North By Northwest to this point had gone where no other film had gone before.  The airplane chase in the cornfield became one of the most famous sequences in movie history, and really identified Hitchcock as a cinematographer and a director.  Well, it is only fitting that the most famous murder-thriller movie of all time be the next released.

Psycho (1960) became Hitchcock's biggest commercial hit ever. Produced at just over $800,000, it grossed over $20 million (Bowers 1391).  Psycho is the story of murder and deception, but at the same time (although slightly ambiguous) it is the story of split personality and not letting go.  Suspense (and in some cases fear) is built up throughout the entire movie, making the viewer forget that there are only two actual scenes of violence.  Psycho is a film that takes place more in the mind of the viewer than on the screen.  The movie is based on a novel with the same name by Robert Bloch, which was a fictionalization of a real event in Wisconsin (Bowers 1393).

Marion Crane is the first character that is really introduced.  She is upset because her and her boyfriend Sam can not get married due to financial difficulties.  Marion's boss entrusts her to deposit $40,000 of a client's money.  The next time we see Marion she is packing a bag and has the money with her, obviously planning to leave with it.  Even though she is a thief, the audience is still sympathetic towards her because of her situation.  Marion trades in her car for a new one and leaves Phoenix heading towards California, where her and Sam plan to get married.  When Marion pulls over for the night, the first view of the now famous Bates motel and mansion.  A figure of an old woman is visible in the window.  As Marion wanders around the motel she meets Norman, the proprietor, and also sees his hobby of stuffing birds.  After she is taken to her room, she is sitting on her bed (with the bathroom and shower clearly visible in the background) and she hears an argument between Norman and his mother.  Marion then decides to take a bath before bed, and the most famous murder scene in movie history takes place.  The infamous shower sequence, totally takes the viewer by surprise.  Marion who appears to be the main character is killed off in the first third of the movie.  This scene required over 60 still shots, 70 setups, and over a week of attempts; all for a less than a minute on screen.  True Hitchcock genius, you never actually see the knife strike Marion, but the loud, high pitched screeching music, and the close-ups of her face and the knife sends chills through the body.  An investigator comes out to the motel, and becomes the next victim.  Soon the audience learns that there is no Mother Bates, when one of the other investigators discovers her body in the basement, where she is attracted by Norman, the split personality, dressed in his mother's clothing.  The movie has foreshadowing and imagery through out, such as the credits splitting apart, and all the use of mirrors, implying that perhaps other characters are split also (Spoto 357), and the presence of the shower and all the stuffed birds in the background.  As  William Blowitz said 'The star of this picture is Alfred Hitchcock.' (Kapasis 83).

'A blot on an honorable career' is how New York Times (NYT) critic Bosley Crowther announced the release of Psycho in 1960, and by the end of the year he had it on his list of 10 best for the year (Sterrit 100).  In his original review Crowther says that Psycho is '...obviously a low budget job.' and 'It does seem slowly paced for Mr. Hitchcock and given over to a lot of small detail.' (NYT film review).  He also said that the stunts were exaggerated.  'The consequence in his denouement falls quite flat for us.  But the acting is quite fair.' is how he describes the other aspects of this film; the film which best describes the mastery of Alfred Hitchcock.  Philip T. Hartung who reviewed Psycho for Commonweal magazine in September of 1960, had a different opinion of it; 'Hitchcock pushes everything as far as he can go: the violence, the sex, the thrills and the gore.'  All of the literature used in this report all agree on one fact: Psycho is a movie beyond its years and is one of the best in movie history.  Although none of his movies did or would ever compare to the success of Psycho, his next release The Birds (1963), is another classic example of Hitchcock's true genius.

Inspired by a unusual occurrence of 'crying' birds, who bit some residents along the San Francisco coast, The Birds is another scary, and truly remarkable movie (Discover 37).  Again the use of special effects and unique camera angles are found in this Hitchcock classic.  This movie also comes from a novel by Daphne du Maurier, who's storytelling abilities make a reader believe, much like Hitchcock himself (DeWitt 249).

The Birds begins in San Francisco where Mitch Brenner meets Melanie Daniels.  She has a crush on him and decides to visit him weekend house.  Melanie arrives in town, where all the birds have already begun to gather.  The birds behave strangely, and cause the people to be threatened.  The birds attack all over Bodega Bay, seemingly unprovoked.  In one scene a flock of birds plunged down upon a gas station where a worker is frightened and drops the gas pump.  The gas continues to flow from it, and is set on fire, when a passer-by drops a match on the ground causing a immense damage.  In a later scene the children are trapped in the school, and as the teacher attempts to lead them to their homes, believing the birds have flow away, they turn a corner and are suddenly surrounded.  The birds come together and strike, while the children run and scream for their lives.  Some of them trip and are either pecked to death or trampled.  Throughout the movie the birds wreak havoc all along the coast of San Francisco.  All the remaining people escape the town, and the birds move in and seem to claim as their own, as though they were a conquering army.  The movie just ends without any real idea of what happens next, something that Hitchcock had never done before.

According to Bosley Crowther who reviewed the movie in April, 1963 for NYT 'The cast is appropriate and sufficient to this melodramatic intent.  Tippi Hedren is pretty, bland and wholesome as the disruptive girl.  Rod Taylor is stolid and sturdy as the mother-smothered son.' He goes on to say that the narrative elements of this film are clear and naturalistic, and he thinks the scenery is very well suited to the movie.  'Mr. Hitchcock and his associates have constructed a horror film that should raise the hackles on the most carageous and put goose-pimps on the toughest hide.' ( Crowther qtd NYT).  It is rather obvious that Mr. Crowther enjoyed this picture at first viewing more than he did Psycho.

Hitchcock always believed that developing an artistic reputation was far more important than fame, and that as much as you put in, that is how much you get out.  The remarkable life and career of Alfred Hitchcock demonstrate truth in his words.  He put everything he had into all his movies, making sure that every detail, no matter how minute, was perfect.  Alfred Joseph Hitchcock died in 1980 while working on what would have been his 54th motion picture.  His unique style and breakthrough ideas will stand for all time, and he will always be remembered as one of the greatest directors of all time.

80.  Alien 3

Alien 3

It was in 1979 that the nightmare began, when the

spaceship the Nostromo landed on an unknown planet to

answer a rescue message and later explore an abandoned

vessel. That's where the crew met for the first time a

creature as deadly as beautiful, the Alien. This creature and

it's environment, created by the talented Swiss artist H.R.

Giger, were the main antagonists from the movie " Alien ",

directed by Ridley Scott and featuring Sigourney Weaver

as the only survivor of the Nostromo crew when the Alien

penetrated it. This movie was the first chapter of a cult saga

still active these days. From the four movies featuring the

Aliens, the third one is considered as the worst one. Even

though it's visual quality was exceptional, it's poor scenario

deceived most Alien fans throughout the world, leaving not

much place for improvement for a forth movie. But most

people don't know that the critically acclaimed cyberpunk

author William Gibson wrote an alternative scenario to

Alien³, much more researched, focusing on future

technology and human contacts rather than on explosions

and gratuitous violence.

Both Alien³ and Gibson's script have a similar opening,

where the audience learns that a Face-Hugger (a

crab/spider-like creature whose function is to implement an

embryo inside a chest cavity from a living organism) has

been able to hide in the Sulaco, the ship with which Ripley

(Sigourney Weaver), Hicks (an injured marine soldier),

Newt (a 12 years old girl) and Bishop (an android seriously

damaged) escaped from the Alien colony in the previous

movie, Aliens. But this similarity between the to scripts is

maybe the only one. From now on, the two stories will take

completely different courses. In Alien³, an electric

malfunction (usually attributed to the Face-Hugger) causes

the ship to crash on a planet called Fiorina 161 containing a

disaffected mining colony now used as a high-security

prison. This leads to predictable, violent, confrontations

between Ripley (the only survivor from the crash) and the

prisoners. From now on, the viewers knows that the movie

will be based on sexist debates and on useless violence.

However, in Gibson's version, the Sulaco does not crash

on a planet but rather continues on it's original path but

with a small deviation. This deviation makes the ship enter

an area claimed by the Union of Progressive Peoples, or

UPP, a somewhat clear analogy to the late USSR.

It is rumored that this similarity contributed to the demise of

Gibson's script. The presence of a political force in the

story would have been the first apparition of any kind of

political debates in all the Aliens movies. And at the same

time, the audience learns that there's not only one powerful

government controlling the world, but at least two of them,

and maybe more. This shows that Gibson wanted to have

new possibilities for the story. From now on, the rest of the

story will not be based only on the survival skills of the

protagonists in hostile environments as in the other movies,

but more on human debates and political arguments. In

fact, most part of the story is unfolding on an immense ship

called the Anchorpoint. The Anchorpoint is a big

permanent station, where there are people living, there are

malls. It's like a small city in space.

Then a Commando composed of three soldiers infiltrated

the Sulaco and discovered an egg, rooted in Bishop's

torso. A Face-Hugger attacked The Commando, killing the

leader and the remaining soldiers left with Bishop's

truncated body. As the story unfolds, the spectators

discovers that the Queen (the Alien in charge of laying eggs

which contains Face-Huggers) which boarded the Sulaco

in Aliens somehow deposited genetic material in the ship,

causing two more Aliens to attack the second Commando

which boarded the Sulaco. This scene is one of the most

important because of it's consequences on the story. In this

part, as the battle rages on in the Sulaco, Ripley gets

terribly burned by a soldier who was trying to cremate an

Alien with a flame-thrower. So Ripley will not be active

throughout the rest of the story because she lies in a coma,

making this movie the first one where Ripley is not the

leading character. Another very important difference

between the two stories is the supporting characters. In

Alien³, most of the prisoners are against Ripley, she is

really the most important character from all the movie. But

in Gibson's version, there are a lot of new characters very

important to the story. Each new character plays a

different, small role in the action. Most of them are useful

against the Aliens and they have their own personality. The

story is more based on the characters personalities than on

their physical capabilities. But, strangely enough, one of the

most important character of Aliens, Newt, is sent back to

earth to see her grand parents. She does not play any

important role in the story.

As soon as Hicks and Newt are in good shape the movie

ambiance takes a different turn. Advanced technology is

used more often and not only as gadgets as in most science

fiction movies. Technology takes a more and more

important part of the plot as the story unfolds. This is a

major difference with Alien³, which was more primitive,

there were no weapons and nothing was automated, almost

everything was mechanical. First of all, the UPP recovers

all the data about the new species stored in Bishop's brain,

erase any kind of genetic material left on his body and

recreates his legs using some cheap materials. After that,

Bishop's memory is altered so that he does not remember

his visit to the UPP ships and he is sent back to the Sulaco.

Then they plan to use their newfound friends (the Aliens) to

create a new kind of weaponry, or the " perfect soldiers ".

The same thing is happening at the Anchorpoint, there are a

lot of scientists working on the Aliens and trying to find

something useful to do with them. In fact, they are working

directly on their DNA, at some point in the story they are

trying to find a way to combine an human DNA with an

Alien DNA to fight cancer.

That's where the " action " begins, where the Aliens

become dangerous. The scientists then discover that the

Alien DNA automatically combines with human DNA to

create a hybrid of the two species. But what is fascinating

about this discovery is that this transformation occurs very

quickly, in matter of seconds. But an accident happens and

two scientists are splashed with organic fluids. For the

moment everything is correct, they get decontaminated and

they go back to work. But later, as they are talking in a

meeting with their superiors, one of the two scientists

(which are important characters to the story) begins to

mutate. In a very short period of time the scientist's skin

disappears, biomechanoid tendons growing from beneath

the skin, leaving place to an exoskeleton just like the

Alien's shells. The physical and mental properties of the

victim is disappears completely and a new species is born

in less than a minute. This scene is a very important chapter

of the story since it creates a completely new creature, and

this creature will change the way the audience see the

Aliens for all the movies to come. It adds a new twist to the

action since the new " monster " is not fastest, more

powerful and reproduces very quickly. In fact, the new

Queen's reproduction method is by launching spores in the

atmosphere. So now anybody that breathes these spores

will be contaminated. And if it was not enough, more than

one Chest-Buster (the second phase of the Alien's life, it's

at this stage that the embryo living in the chest cavity of the

victim is " bursting " the chest of the unlucky carrier) is

created at a time. This part of the story is very, very

different from the Alien³'s plot, there are so much new

possibilities to come with the Aliens. But such possibilities

are impossible according to the original story.

The rest of the story is more or less an action packed

sequence, where there are dozens of Aliens and Soldiers

dying. The important facts to know are that only Bishop,

Hicks and some soldiers survive the inevitable nuclear

explosion of the Anchorpoint (as in most movies, the

infested environment is destroyed), and that Hicks have

sent Ripley's hospital bed in a rescue ship to the earth with

a map to Newt's house.

William Gibson's script is very different from the actual

Alien³ script. Technology plays a crucial role in the story,

as well as human foolishness. But a thing that will probably

never change in all the Aliens movies, including Alien³, is

the fascination the Army has for the xenomorphs (scientific

name for the Aliens). In all the movies, there are always

been someone, human or android, trying to discover how

the creature functions. This is the only similarity beside the

characters in all the movies. But this similarity is present in

many science fiction movies, by example E.T. Maybe it is

in human's nature to always want to have more and more

knowledge...

Movies cited

Alien. Dir. Ridley Scott. 20th Century Fox. With Sigourney

Weaver, Ian Holm and John Hurt. 1979

Aliens. Dir. James Cameron. 20th Century Fox. With

Sigourney Weaver, Carrie Henn, Lance Henriksen and

Michael Biehn. 1986

Alien³. Dir. David Fincher. 20th Century Fox. With

Sigourney Weaver, Charles S. Dutton, Charles Dance, and

Brian Glover. 1992

E.T. The Extra-Terrestrial. Dir. Steven Spielberg.

Universal. With Henry Thomas, Drew Barrymore and

Robert MacNaughton. 1982

Movie Script

Gibson, William. Alien III, Revised first draft screenplay

from a story by David Giler and Walter Hill. Unknown

date, Not published.

81.  All My Sons

Arthur Miller creates several conflicts in All my Sons in order to keep the play captivating for the audience. For example he portrays Chris to be a man that feels guilty about the money he owns because he gets it out of a business that does not value the labour it relies on, but on the other hand Joe, his father, is portrayed to be a man that will sacrifice almost anything, including his dignity, for the success of his business. The play revolves around conflicts such as this, about the question of morality, individualism and society as a whole. One might think that the exceptional circumstances of the family in which one son is dead while the other not only lives, but also plans to marry the former fianc&amp;eacute;e of his brother, that the play takes place after World War Two and that the setting is a backyard of a middle to upper middle class home in a small town in America might be the only reason for such dilemmas. However it is important to note that the roots of these conflicts are both timeless and placeless; they happen to everybody, every day, making this play a universal drama.

The central conflict of the play revolves around the question of morality, a universal dilemma. Joe has the morality of a man who places his responsibility to his immediate family above everything else, including his responsibility to all the men who rely on the integrity of his work for survival. For Joe "It was only for Chris, the whole shootin'-match was for (Chris)" (59). In short, "He just wants everybody happy" (28). Chris' morals are guided by the belief that a man's duty and contribution to his fellow country men is paramount. He believes that "there's a universe of people outside and you're responsible to it" (69). One might argue that it is the experience of war that has changed him to believe this way, but the fact is that there is always a question being asked about whom one is working for-the greater good for oneself, or for the greater good for humanity? This might be exaggerated in this play because Chris has just been through a war where the men "[...] didn't die; they killed themselves for each other" (31). He is angry at the fact the world has not changed and that the selflessness of his soldiers counts for nothing. This is the central conflict of the play- a belief of working only for the good of the immediate family versus a belief that one should work towards the greater good of humanity. This is dilemma that it universal, however much it might be exaggerated by the circumstances of the play.

The pressure to succeed, uncertainty of the future, and the question of individualism as faced in the play are universal dilemmas. Joe feels a pressure to succeed. He thinks that it's "only for Chris (15)" that he worked so hard so that his sons wouldn't have to start from scratch like he did. He believes that the means by which he made money are legitimate and justifiable. He also puts forward the point of no one "worked for nothing" and the world is all about "dollars and cents, nickels and dimes" (67) and that war is just a shadow passing over it. He also believes his sons are more important than society as a whole which motivates him to compromise his honour and integrity by shipping out defective parts. Unlike Chris, he does not see a universal human family which has a higher claim on his duty. Chris sees this as ridiculous, making a point of how he's "no better than most men" (67). To Chris this whole idea of individualism and working solely toward the prosperity of your immediate family is only a form of egoism. He feels "wrong to open the bank-book, to drive the new car, see the new refrigerator (31)." He believes "that it came out of the love a man can have for another man" (31) and so there's blood on it, making him feel guilty about all of his possessions. There is also a certain air of uncertainty in the play. Chris cannot decide upon what to do with his life and he cannot find a purpose or goal to work towards. He wants to change the world but realises that even to change his family is a massive task. These dilemmas, again, might be exaggerated by circumstances of the play but the dilemmas are most universal.

The continuous denial by the characters about the actual events and the catch-22 situation it creates is universal. Joe continuously denies the truth about the engine parts to his own son. This creates a fragile situation that is worsening by time and when it finally cracks Joe still denies it, covering it up by saying "it was for you, Chris, a business for you! (59)." Joe expects forgiveness saying "There's nothin' he could do that I wouldn't forgive. Because he's my son ...I'm his father and he's my son, and if there's something bigger than that I'll put a bullet in my head! (63)" Ann denies Larry's death because to believe it, for her), would be to believe his death was a result of Joe's crime-an intolerable thought, so she must persuade herself that Larry still lives. Joe sees this idea to be ridiculous, but must tolerate it to secure Kate's support for his own deception. This situation creates a time bomb waiting to explode. However, as Chris says "We used to shoot a man who acted like a dog, but honour was real there [...] But here? This is the land of the great big dogs, you don't love a man here, you eat him. That's the principle; the only one we live by - it just happened to kill a few people this time, that's all. The world's that way. (66)" The continuous denial leaves no honour to be salvaged. This situation might have been lead up to by the course of the play, but the root of it is universal.

Overall this play should most certainly be classified as universal, only exaggerated by the special circumstances of the family and the timing of it. Conflicts such as this have taken place, and will always take place, all the more so in capitalist society. The conflicts may come in different forms and shapes and the results are entirely dependent on the situation, but the root always remains the same.

82.  All Quiet on the Western Front

All Quiet on the Western Front, Reviewed

Erich Maria Remarque had his novel, Im Westen nichts Neues(In the West Nothing New) serialized in the magazine Vossiche Zeitung in 1928. The pacifist work alienated Remarque from Germany. Ultra-nationalists and Hitler's propagandists incited the hate of the German people against him. He was burned in effigy in 1933 in the Obernplatz, and his work was reduced to ashes in front of the Berlin Opera House. Remarque was stripped of his citizenship in 1939, and his sister was beheaded in a Nazi prison. Even with all the trouble it caused him, Remarque could not possibly wish he had not written it. A year after it appeared in Vossiche Zeitung, Im Westen nights Neues appeared in English as All Quiet on the Western Front. It sold a million and a half copies its first year in print, and was translated into 29 languages. All Quiet on the Western Front is known as one of the literary masterpieces of the twentieth century. Remarque showed such mastery in writing this pacifist work that Josef Goebbles, Hitler's main propagandist, spread lies about him and forced him out of the country. Goebbles in effect believed that Remarque's compelling anti-war writing could have stinted German approval of World War II.

Goebbles did not fear for no reason, All Quiet on the Western Front is one of the most powerful books I have ever read. It is obvious that Remarque had been in the front lines himself from his vivid, gut-wrenching description of trench warfare. The story is told in the first person by Paul Baumer, a young man who, encouraged by his teacher, enlisted in the German army as one of a group of seven boyhood friends. Between the beginning of the war and rumors of the armistice, every young man in the group is killed, except for Paul. The boys are ravaged by mustard gas, bombs, grenades, rifle shots, and shrapnel in the horrible attacks suffered by the front line. When the characters are in combat they are animals, but when they are behind the lines, they develop into titillating three dimensional entities. Paul and his friends discuss the real cause of the seemingly pointless massacre, and show the extent of their damaged psyches in their ponderings of what the world will be like and what they will do when the war is over. Rarely, Remarque slightly overemphasizes his pacifist agenda through Paul, but it hardly takes away from the rest of this great war book.

Besides an incredible description of World War I battle, All Quiet on the Western Front has a page-turning story line and colorful exchanges. The reader never knows when the Second Company(Paul Baumer's company) is going to be called to or back from the front line, or how long Paul will be taking shelter in a shell-crater before he can run back to safety, or which character will die next from some stray artillery fire. To top it off, away from the fighting, Remarque gives the boys sharp wits and makes the story interesting by mixing the boys with Himelstoss, their former drill instructor who is now in the second company and ranks lower than the boys, and Kantorek, the boys' former schoolmaster who encouraged them to fight. Kantorek becomes a soldier himself, and is a pathetic specimen.

I can hardly catch my breath to continue praising this book, so I will let someone else do it for me. "It is a great document A powerful work of art. All other books about the war become small and insignificant by comparison."-Albert Engstrom

83.  All Quite on the Western Front

In the movie "All Quiet on the Western Front"  we see the boys almost innocent as

they sit in class. The teacher in this scene is pressuring the boys to go to war. He preaches

that it is their "duty" to fight.  The teacher seems very pushy and strict. He is especially

strict with Paul, the main character in the movie. In this particular scene, Paul is drawing a

picture of a bird. In Paul's family they are glad that he is going to war. His family prays for

him and they pray for the Kaiser, the ruler of Germany. We see here that this is ironic

because Paul's family is praying for someone they  have never met.

When Paul goes to see his friend in the hospital, another friend asks for the boots

he has. This shows that the boys are already changing.

When the boys go to the training camp they are still innocent. They meet Corporal

Himmelstoss. Corporal Himmelstoss is very mean to the boys and is very strict. After

completing  the Training camp the boys go to war. When the boys get to the battlefield

they are told by Kat their leader, that what they learned in training camp they do not need

to know because, you don't need to know how to march in war. The first day they are

there, Paul sees a horse getting killed. He is very mad about this because the horses are

innocent and they are not involved with the war. Paul is changed emotionally by this and

he is sad about it.

After the boys see the Kaiser they talk and don't even know what they are fighting

for. One night in battle Paul killed a French soldier. Once he killed the solider he begins to

regret that he killed him. He looks at the pictures of the soldier's  family. Paul says that

"they could of been brothers". Paul trys to save the soldier's life but, cannot. Paul realizes

that he has killed another human. Paul feels remorse

In battle Albert, Paul, and Franz get wounded. Franz dies and Albert gets his leg

amputated. Albert becomes depressed and becomes suicidal. Franz becomes jealous that

Paul is getting better. Albert doesn't want to return home with one leg so he try's to kill

himself.

After a months of killing people Paul returns home and writes a letter to his mom.

In the letter he writes that he has changed. Paul writes "I am no longer what I once was"

he has changed. He no longer feels remorse for killing. He tells his mother that his home

and his family is on the battle field. Paul feels that he is disconnected from his family and

he is now a killing machine. Paul now feels like a robot. When Paul returns and visits his

teacher, the teacher is not upset at all that most of the boys are dead. Paul tells him that

they wanted to stay boys and not die rather then fight in the war.

Near the end of the movie Paul starts to smoke. Paul has changed in many ways.

War has effected him not only physically but, mentally. Paul is crazed with killing and

violence. At the end of the movie, when Paul dies he sees a bird and wants to draw it. The

bird could resemble because in the classroom when he first drew a picture of the bird he

was innocent but now when he is drawing a picture of the bird, Paul is cynical and enraged

with killing. This could tell us  that the boys were too young to fight in the war and they

were forced to fight because of pressure of the others.

84.  American Beauty

American Beauty

The Color Red

"The beauty that addresses itself to the eyes is only the spell of the moment; the eye of the body is not always that of the soul." George Sand hit the nail right on the head when he said this in 1872. Appearance versus reality has been a central theme in many American creative works including the film American Beauty. American Beauty is a film that delves into your typical, middle-class suburban American home and slowly uncovers all of the abnormalities that lie within. The family is portrayed as normal but as the films tag line suggests "look closer" then it is possible to fully understand the implications that takes place in this seemingly happy home. The film is masterfully directed by the famous theater director Sam Mendes and encompasses a great number of cinematic techniques that appear fresh and exciting. Critics have mentioned many of these techniques. However, they failed to notice the clever use of color used throughout the film--especially the color red. Sam Mendes effectively uses the color red; as a central motif to accentuate mood and theme, to contrast families, and to reveal characters personalities and feelings. In American culture red is a color of various meanings and images. The color red is the essence of life; it is the color of blood. It can insinuate energy, vitality, passion, anger, power, excitement, and sacrifice. It is a grounding color. Red can stand for warmth, danger, love, sex, death, rage, lust, and beauty. Red is the color used for the women's clothing, the cars, the doors and also it is the color of Lester's blood splattered Gavrelis 2

across the white table at the end of the movie. Red is the central motif of the film. Sam Mendes incorporated many of these meaning of red within the film American Beauty, Not only did Sam Mendes implant a motif of red, he also incorporated a motif of the red rose. Roses in American culture are the ultimate symbol of love, life and death. Flowers are a large part of the American culture. They have come to symbolize compassion, caring and love. The beauty of roses are superceded with danger, for they have thorns that can prick. Roses epitomize beauty; perhaps that is why they chose the title American Beauty. The title American Beauty is a hodgepodge of symbolism; it encompasses a variety of meanings. For the viewer it can stand for the American beauty rose a rare and antique climbing rose much like the roses in the Burnham garden. It can also represent the American ideal of a woman such as Angela, the ideal American beauty with her long flowing blonde hair, her porcelain complexion and her ruby red lips and bright blue eyes. Another adaptation of the title is the beauty of a perfect American home much like the Burnham's home appears to be. But all have flaws, the rose has thorns to prick, Angela has her fear of being ordinary and the Burnham's home, well it too is cursed with the reality that they are a dysfunctional family.

Red roses become not only a motif in the film; they come to represent symbols. They are prevalent in almost every scene. They are in the garden; almost every room in the house has a bouquet of brightly colored roses in a vase. They are the centerpieces to the dining room table. This table becomes a motif in the film as well, the family has its nightly dinner ritual and over the course of the movie we see a delineation of the family at this table. Rose petals are the symbol of sex as well, they are seen surrounding Angela Gavrelis 3

for Lester, they burst out of her blouse, they pop out of his mouth after he fantasizes of kissing her and they fall from the ceiling onto his face when he pictures her above his bed. The front door to the house becomes a motif as well, with constant references from neighbors about the house with the red door. As if the door is a gateway to the oddities lurking inside the house. Within the house Mendes restricted the colors to a monochromatic blue-gray scheme to emphasize the isolation between the Burnham's. Lester escapes from this cold and lonely house by creating a domain for himself, it is framed in golden browns, and this separates him even further from the blue-gray existence he had been living. To carry further the theme that the Burnham's happy home is just a front for what lies deep inside. Sam Mendes juxtaposes the Burnham's house with the neighbor's homes. The bright, almost artificial colors of Burnham's house are quite a contrast against the Fitt's which is very bland and regimented; inside it is almost Amish looking. It is completely void of plant life and aethstetics typically associated with homes. They have limited furniture and décor, and the furniture that is present is plain, straight lined dark and wooden. The lighting is dim and the prevalent color throughout the home is white or cream. The Fritt's family is one of distances. Mendes makes a point by surrounding them in bland, melancholy colors and spacing them at length from one another. The family is clad in black and white throughout most of the film to externalize the loneliness and isolation between themselves and society. The other neighbors present appear at first to be the most abnormal of the bunch. They are Jim and Jim, two very successful men living together as "partners." They are always bright and cheery dressed Gavrelis 4

in primary colors and portrayed as happy and full of life. The irony is that they are most normal characters in the entire film. Color is used not only to show juxtapositions in neighborhoods, but to bring out the characters as well.

Sam Mendes captures the essence of each character with color. At first we see Lester in cool desaturated colors to suggest a lack of energy and a drained life. As the film continues and Lester goes through a rebirth we see him develop a brighter outlook on life and the color of his garments go through a rebirth as well, at first he turns to yellow, then green and eventually he adopts red. He wears a red tank top, acquires a red car and pursues a job wearing a red and white uniform. Mendes uses this color transformation to show that Lester has remembered the things he wanted. He suddenly realizes what is lacking in his life and red clothing gives him a sense of power and control over his life. What started this change was when he first saw Angela. She represents the ultimate sign of American beauty; she is adorned with red throughout the movie. She emanates sex and passion. Throughout the film she wears fire engine red lipstick, she wears brightly colored clothing and she is seen to Lester as surrounded by red rose petals, he has visions of her soaking in a bath tub of rose petals. Red is the dominant color of nail polish and lipstick for all the central females in the film including Caroline. Caroline Burnham goes through a transformation as well she outwardly appears isolated and controlling but underneath she yearns for passion and power. Mendes ingeniously shows this in the beginning of the film when Caroline undresses to clean a house and underneath her drab yellow suit is a crimson red camisole. While she cleans the dark and shadowy house she is backlit with brightly colored walls. She has a Gavrelis 5

private "breakdown" and covers her sobbing face with those powerful, sexy red nails to mask her uncharacteristic behavior. Carolyn attempts to fill her loneliness up with having the right things. The right car, the right house and even the right garden, but she doesn't see the big picture. She does transform, much like Lester into a more secure and grounded person. This is most apparent in the last sequence of the film when she is wearing a very sexy red velvet dress. She has become assertive and is ready to finally connect with Lester, even though she is too late. Early on it becomes obvious that she is obsessed with her image of success, and this is why she envies Buddy Kane so fervently. Buddy Kane the "king of real estate" is her competitor and the ideal figure of success, he has a bright red sign mounted in the yards of his homes to advertise himself. The sign represents his power and hints at his sexual appeal to Caroline. Jane and Ricky are important too, they are the more grounded of the characters, they are both presented in neutral colors throughout most of the film. They represent balance and neutrality in the movie. Ricky's parents are not so neutral; they are dressed in pale, washed out colors to show their lack of vitality. Especially Mrs. Fritt's, she plays a minor role in the movie and that is precisely the point Sam Mendes makes. She is seen as a minor role in the family. She is usually wearing a long white nightgown and appears almost as a ghost in the picture, t her family, she barely exists.

American Beauty is a fantastic film that encourages viewers to "look closer." Sam Mendes directed a film about American Beauty and foolish things that Americans do to keep up with appearances. He is urging us to find beauty in our lives, and to forget about having the perfect garden and home. He effectively uses the color red; as a central Gavrelis 6

motif to accentuate mood and theme, to contrast families, and to reveal characters personalities and feelings. "Mere colour, unspoiled by meaning, and unallied with definite form, can speak to the soul in a thousand different ways."--Oscar Wilde

85.  American Comedy and The Great Depression

The Great Depression had an impact on many aspects of American culture.  American Film, especially in the Comedy genre was a good example of this.

By the 1930s, the country had undergone huge social changes.  Women had recently gotten the vote and were beginning to gain a previously unheard of social independence. The Stock Market crash of 1929 began an economic depression that soon affected most of America.  By the peak of the Depression in 1933 almost twenty-five percent of the country was unemployed, while even more people just made ends meet. Motion pictures and radio however just grew in popularity and gave Americans a common culture and a greater sense of connectedness.

American film soon reflected these realities.  Film was rapidly becoming the entertainment of choice for the vast majority of Americans.  Even with huge unemployment and widespread poverty, 60 to 70 million people a week were escaping from their problems for a few hours at a time by spending fifteen cents to go to the movies.

As American social structures were rocked by the depression, comedies released in these years began to express a disdain for traditional institutions and values. The Marx Brothers spoofed everything from class structures, to universities, to patriotism in such films as "Animal Crackers" (1930), and "Duck Soup" (1933).  Mae West used sexual innuendo to poke fun at the middle class code of morality and was the first woman to make racy and suggestive comments on film. Her early films, "She Done Him Wrong" (1933), and "I'm No Angel" (1933) resulted in the Motion Picture Production Code.  Bowing to pressure from various groups, the Industry instituted the Production Code of 1934 that prevented films from depicting sexually suggestive actions or dialogue.

At the same time Hollywood had to contend with these restraints, the studios had an increasing need for good writers to craft needed dialogue for the talkies.  Hollywood was one of the few places with full employment and rising salaries.  Soon, some of America's best writers were flocking to the West Coast. The writers brought a new sophistication and much creativity to the problems prompted by the necessity of adhering to the Production Code.

All of these factors lead to the development of the screwball comedy.  It featured sharp dialogue, women who were smart and strong, fanciful plot twists and turns, and a storyline that often included the interplay between the wealthy and poorer classes. The films generally sided with their lower class protagonists and often showed the wealthy classes to be inept and in need of the good common sense of the masses.

"It Happened One Night" (1934) is perhaps the best known of the screwball comedies.  Claudette Colbert is Ellie Andrews, a wealthy rebellious socialite who married a society wastrel.  Her father has the marriage annulled, and she runs away to go to her husband.   Incognito, she meets a savvy street-smart reporter Peter Warne played by Clark Gable. She needs his help and they end up traveling together as Warne hopes to get the big scoop.  Gable's character is the strong, competent, wise cracking everyman not dazzled by Colbert's wealth.  He has a strong moral center and would not take advantage of the intimate situations they experience.   This character appealed to the largely middle and working class audience.    Colbert's character is strong and smart and after a few "fish out of water" jokes, soon fits comfortably into the situations garnering the admiration of Gable's character, and more importantly, that of the audience.  This showed that the wealthy upper classes were the same as everyone else and reinforced the American ideal of a classless society-a popular notion with the audiences of the 30s.

My Man Godfrey (1936) is another good example of the genre. Carol Lombard plays Irene Bullock, a young, wealthy eccentric who goes to the city dump where she meets a derelict named Godfrey, and hires him as family butler. Godfrey brings a much-needed sense of reality to the crazy, spoiled and rich family.  This again reinforced the competency and the ascendancy of the working and middle class-the audience.

While relating to the harsh times, these settings not only capture the emotions of its audience but also manipulate them with a positive turn of events at the end.   Film Historian Ed Sikov says that they serve the cultural function of humanizing the wealthy, especially in a time of widespread poverty and social unrest

The Great Depression was the biggest socio-economic event of the 1930s, it is fitting that it had an important impact on a major aspect of American culture - our films.  The films also had a huge impact on the Society.  President Franklin Roosevelt said: "During the Depression, when the spirit of the people is lower than at any other time, it is a splendid thing that for just 15 cents an American can go to a movie and look at the smiling face of a baby and forget his troubles."

86.  American Dream

Every morning Joel Hardy was awoken by his alarm at precisely seven thirty-five.

He would have a shower in the master bathroom on the third floor of his home.  He would

then eat a hearty breakfast, (prepared by his beautiful wife Joanne), with his daughter,

Jennifer.  Then he hopped cheerily into his new Mercedes, and started to work.  Joel

worked at Virtual Tech. Computers, a new computer company that specialized in virtual

reality.  Joel was the chief design editor and brought home a handsome one hundred and

twenty thousand dollars per year.  Joel had many friends, both at work and in the

community.

Joel sounded his horn as he came to a stop in front of Kyle McNeil's apartment.

Joel did this every morning as Kyle was a very close friend of his, and worked in the same

company.  Kyle however, was not a lucky as Joel, Kyle did not have the three story home

that Joel did, nor the outrageous salary, nor the beautiful wife and daughter.  He did not

have the luck of being at the lab when the reality-cam was finished, the idea that gave Joel

his claim to fame.  If it would have been Kyle working that shift maybe things would be

different.  Kyle was a loner, and a struggling loner at that.  "Good morning Kyle," said

Joel.

"G' mornin'," mumbled Kyle in a saddened voice.  Joel instantly sensed that

something was wrong and upon further questioning found that Kyle had lost yet another

one of his "bimbo" type girlfriends.  Joel pretended to be sorry for him for a while, then

they spoke of work.

Kyle never really envied Joel's success or his life until that day.  Kyle was trying

one the new reality simulators called "American Dream", which was a program which

enabled the user to have an ideal American life.  Kyle experienced things that he had never

before experienced; the love of a child, the security of your own home, and the devotion

of a loving wife.  Kyle eventually became obsessed with the simulator, using it for four and

seven hours per day.  He began watching happy situation comedies on television instead of

violence filled action movies.  He was captivated by the idea of having a family, love, and

without knowing it, Joel's life.  Kyle never told Joel about his new fixation, and continued

to travel to and from work with him as if nothing had changed.  Sometimes Kyle would

stay all night in the simulator, and all of the next day, it was an obsession in the true sense

of the word.

Kyle didn't want to live his family life in a fantasy world anymore, he wanted to try

and invent or create something that would give him a raise and the money to start building

his dream.  Joel was working on a new program that would revolutionize the computing

industry.  He kept it secret, only working on it at home.  He didn't even tell Kyle about it.

But one night, while watching a football game at Joel's house, he discovered that Joel had

left his computer on and unprotected.  Kyle sat down just to browse around, but upon

finding the new program he saw that this could be the key to his new house.  Kyle quickly

copied the program onto a disk and took the disk with him.

The next day at work Kyle took this disk to one of his superiors and by the end of

the day Kyle had a new job, car, and house.  All Joel had to say was that he was proud of

Kyle, and that it was ironic that they were both working secretly on the same idea.  They

just chuckled and smiled together for a while, then Joel stopped, but Kyle kept on smiling.

Kyle's girlfriends were now substantially more classy, but still none that stayed

with him.  He wanted a wife.  He wanted a partner.  He wanted Joanne.  That night Kyle

invited Joanne somewhere secret and special.  A place that would intrigue any bored

housewife, a romantic park, in a dark wood.  Kyle had a blanket, and on it burning

candles, and incense.  Joanne, for one short passionate moment fell in love with Kyle.  But

that was all it took.

"Do you know what's odd Kyle?," asked Joel

"No," replied Kyle.

"Joanne went to her mother's last night," said Joel, "and didn't come home."

"I'm sure she's fine," said Kyle as he looked down at his computer screen and

smiled.

Kyle arranged other meetings with Joanne, and they all went the same as the first.

Kyle soon tired of the affair and wanted Joanne to leave Joel so that they could be

married.  Joanned refused, saying that Joel was too nice, and kind of a man to just leave

like that.  So, rather than accept the rejection, Kyle decided to make Joel look cruel,

heartless, and criminal.

That night, Kyle entered the company building, using Joel's security code.  He

transferred money from other's pay-checks to his own.  He deleted important system files,

and downloaded the company's customer database.  He created the illusion that Joel was

planning a hostile take-over.  What Kyle did not know was that Joel was working late in

his new office and watched Kyle do all of these things.  Joel confronted Kyle and asked,

"What the hell do you think you are doing?"

"What does it look like Joel?  You always were a moron.  I'm finishing you.  I

have had enough of your perfect house, perfect job, and...well...not-so perfect wife," said

Kyle.

"Not-so perfect wife?," asked Joel.

"Yeah, those nights that she was supposedly at her mother's, she was with me at

my house," bragged Kyle.

"Doing what?," questioned Joel.

"You figure it out," said Kyle, "and...ahh...by the way, I took your program from

your computer.  He, he, he.  Good idea.  Thanks."

"YOU BASTARD," screamed Joel.  At this Joel reached into his desk, pulled out

his shiny new corporate handgun, and shot Kyle three times in the head.  Then in an

attempt to hide the bullet holes and the murder, he through him through the window of his

twenty-fifth floor office to crash upon the pavement below.  Kyle lay dead and bleeding,

and Joel stands three hundred feet above him with a gun in his hand.

"Kyyyyle, Kyle. KYLE," said Joel.

"Wha...what the?," said a puzzled Kyle.

"Don't you think you should give the simulator a break for a while?  You're going

to burn yourself out," said Joel as he resets the "American Dream" simulator, "besides, I

haven't weeded out all of the bugs yet."

87.  AMISTAD

AMISTAD

Amistad is a recreation of the true story about a 1839 slave revolt on a small Spanish schooner, La Amistad, ironically the Spanish word for "friendship." Spielberg does a great job in recreating the Amistad revolt that spurred a series of trials beginning in the lower courts of Connecticut and ultimately ending in the Supreme Court. Events following the revolt raise controversial questions about slavery and freedom. This case not only marks a milestone for Abolitionists in their fight against slavery but it also questioned the natural laws of our Constitution.

Leading up to the trial of the Africans, Spielberg illustrates the horrors the slaves endured as they were captured and taken from their homes. It is very distressing to see the cruelty that was imposed on the slaves as they were captured. The slaves were shackled and chained, then packed in an unsanitary, overcrowded slave ship, and exposed to inhuman treatment, on the Portuguese slaver Tecora as it makes its way through the Middle Passage towards Cuba. Although a third of the slaves died aboard the Tecora before it reached it's destination, those that survived the trip were eventually auctioned into slavery in Havanna, Cuba..

The revolt on the slave ship Amistad resulted in the deaths of the captain and cook of the ship. The Africans did spared the lives of two Spaniards who were needed to help navigate the ship back to Africa. The Africans had control of the Amistad for only a short time before it was seized by the U.S. Army, capturing the Africans and forcing them to face a trial, on charges of murder and mutiny. This trial marked the beginning of a court case that dramatically challenged our judicial system. The Abolitionists play a big part in the outcome of this trial. Abolitionists to enhance strong public emotion against slavery, begin publicizing the horror stories and brutalities of slavery. They felt sorry for the slaves and with the help of Edward Tappin, an abolitionist leader, they secured the services of an attorney Roger S. Baldwin of Connecticut to defend the Africans. What amazed me, is that even with odds against the Africans, as the judge in the trial, Andrew T. Judson was an opponent of slavery and he was also under pressure by President Van Buren to send the Africans back to Cuba, justice prevailed for the Africans. At least for a short time when Judson ruled that the Africans had been kidnapped and ordered their return to Africa. The Abolitionists and Africans felt that justice had been served, until President Van Buren requested an appeal to the Supreme Court, in which five of the justices had been slave owners.

The Abolitionists and Roger S. Baldwin the African's attorney felt the only way they could win this trial is by seeking help from an influential person of status. They appealed to former President, John Quincy Adams for help. Adams accepted the case and in the Supreme Court trial, Adams delivered an emotional argument challenging the Court to grant the Africans liberty on the basis of the natural rights as outlined in the Declaration of Independence. Anthony Hopkins shines in his role as John Quincy Adams, with his argument to the Supreme Court. He expresses so much emotion, while pointing to a copy of the Declaration of Independence on the wall in the courtroom he states "I know of no other law that reaches the case of my clients, but the law of Nature and Nature's God on which our fathers placed our own national existence. The Africans, he proclaimed were victims of a conspiracy that denied their rights as human beings. The Supreme Court rules the slaves free, stating that the slaves had been "kidnapped" and they had an inherent right of self-defense. This verdict marked a major milestone for the white abolitionists. They had brought national attention to a great social injustice. For the first time in history, Africans seized by slave dealers had won their freedom in American courts. The importance of the Amistad case lies in the fact that Cinque and his fellow captives, with the help of the white abolitionists, had won their freedom. It pointed out the need to change American laws which contradicted the natural laws expressed in our Constitution. The Amistad incident exposed the need to bring the Constitution and American laws in compliance with the moral principles underlying the Declaration of Independence. This incident also helped abolitionists in their fight against slavery, with which they finally won with the addition of the Thirteenth Amendment to the Constitution in 1865.

Djimon Hounsou, a 33-year old native of Benin played the role of Cinque a native Mendi African from Sierra Leone. He does an outstanding job in the portrayal Cinque. The most impressive scene being when Cinque, stands up in the courtroom scene where he stands up and says, "Make Us Free", "Make Us Free". I felt this was the most emotional part of the entire movie.

While Stephen Spielberg did use humor to help subdue the emotional content of the movie the historical content remained relatively true to fact with a few exceptions. There were a few historical facts that were omitted from the move. In the movie, John Quincy Adams was moved to represent the Africans by a talk he had with Cinque in John Quincy Adam's greenhouse. The true facts are that John Quincy Adams was moved to support the Africans in the Supreme Court by a letter that was written by Kali, one of the African children. In this emotional letter she makes the statement, "All We Want Is Make Us Free". Speilberg keeps the movie from becoming too depressing by adding a lot of light hearted humor. The outcome helps to leave you feeling that against all odds, justice prevailed. I give Amistad **** and would recommend it to anyone who wants to enjoy a heart felt story out of American History.

88.  An Alaysis of the Final Scenes of Alfred Hictcocks NOTORIOUS

After viewing Alfred Hitchcock's Notorious for the first time, the

film did not strike me as particularly complex.  Nothing specific about the

film lodged itself in my brain screaming for an answer-or, at least, an

attempted answer.  Yet, upon subsequent viewings, subtle things became

more noticeable.  (Perhaps Hitchcock's subtlety is what makes him so

enormously popular!)  Hitchcock uses motifs and objects, shot styles and

shifting points of view, and light and dark to help explain the relationships

between Alicia, Devlin, Sebastian and Mrs. Sebastian, and an overall

theme of being trapped.  An analysis of the film from the first poisoning

scene to the final scene in the film shows how the above tools lead to a

better understanding of the character's motivations.

The most obvious recurring object in the final scenes is the

poisoned coffee cup.  In the first scene of the portion being analyzed,

Sebastian suggests to Alicia that she drink her coffee, and Hitchcock

zooms onto the object as she slowly takes a sip.  In a later scene, Mrs.

Sebastian pours the coffee into the cup for Alicia, and sets it on a small

table in front of her.  Here, Hitchcock not only zooms in on the small

teacup, but heightens the sound it makes connecting to the table, includes

it in every shot possible, and shows us not only the full coffee cup, but the

empty cup as well after Alicia has drank it.  Again, the cup is zoomed in

on after Alicia realizes she's being poisoned.  Because the coffee is

poisoned, the coffee itself becomes a metaphor for life and death,

supported by the fact that the poisoner herself ours it, and the shots of the

full and empty teacup.  In this way, it also suggests Alicia's inability to

escape her situation-whenever she drinks the coffee, she becomes

trapped due to the poison in her cup-and the poison in her sham of a

marriage..

A repeated object not so noticeable is Mrs. Sebastian's needlework.

Mrs. Sebastian  is constantly working on her needlepoint while Alicia is

being poisoned.  Hitchcock, in fact, goes out of his way to make sure that

a shot of her 'toiling at her work' is included several times.  One cannot

help but be reminded of Dickens classic A Tale of Two Cities-with

Madame Defarge knitting everyone's fate into her work.  At the beginning

of the film, Devlin hands Alicia a handkerchief, and a scarf, which she

keeps, but returns to him in this segment.  These pieces of cloth

throughout the film help tie Alicia to the different characters, and in

essence, help control her fate in different situations.

Hitchcock's use of shot type is another hint into his character's

personalities.  Hitchcock is very fond of medium and close-up shots, and

rarely uses a longer shot in the film.  This may suggest to the audience to

keep a closer eye on the character's facial expressions, as Hitchcock lets

the actors express their thoughts and feelings in this manner.  An excellent

example of this would be when Alicia realizes that she is being

poisoned-Hitchcock zooms in on her wide-eyed expression as she first

looks at the teacup, then at Mrs. Sebastian and her husband.  Mrs.

Sebastian's cold hearted stare back at Alicia tells us exactly just how

much hatred she has for her.

Hitchcock also uses devices in his scenes such as fades from shot to

shot.  By doing this, Hitchcock illustrates his character's different

viewpoints.  The fades themselves are used to connect Alicia's two

different worlds-her 'fake' world (her marriage to Sebastian), and her

'real' world (her relationship with Devlin).  For example, when Alicia is

unable to make contact with Devlin due to her illness, there are several

shots of her in her sick bed, then fading to Devlin waiting impatiently at a

bench.  The fading between shots usually comes at a point when Alicia is

feeling trapped, and this suggests that the fades represent her desire to

escape back to her 'real' world.

Since, obviously, it is difficult to use colour as a nuance in a black

and white film, Hitchcock makes use of light and dark images.  When

Alicia and Sebastian are alone together, it is usually in darkness.-

implying safety in hiding, and also implying a different world.  Alicia is

safe and free to do what she wants in the darkness, as she is with Devlin,

and can easily hide within it.  For Sebastian, it is the opposite, for to him,

Alicia's darkness is a world that he cannot enter, although he tries.  An

example of this is seen when Alicia meets her commander, and asks him

to shut the blinds in the room because the light bothers her.  Also, when

Devlin rescues Alicia, he walks into her dark bedroom and makes her

walk out into the lighted hallway.  Sebastian walks up the staircase to

meet them, and goes out into the night, where he is rejected from the dark

car as Alicia and Devlin pull away.  Ironically, this is reminiscent of

Romeo and Juliet, where Romeo rescues Juliet from an unwanted

marriage to Paris, and where things seem to go wrong for the two star

crossed lovers only in the daylight.  The final scene, when Sebastian

slowly walks up the stairs to his death, he walks into the light of the house

(like walking into the light of heaven), then all becomes dark as the door

(St. Peter's gates?) closes behind him.  Again, ironically, it is only then

that Sebastian can reach Alicia's 'dark world'-through death.

The costumes that the characters wear is also a clue.  Both Mrs.

Sebastian and Alicia are trapped in their worlds, and when they are both

feeling trapped, they wear dark colours.  For instance, when Alicia realizes

she is being poisoned, she attempts an escape, and fails-while wearing a

black dress.  When Mrs. Sebastian walks down the staircase behind Alicia

and Devlin in the final few scenes, she knows she is trapped, and is

wearing a dark dress.  However, whenever the two characters feel free or

released from their trappings, they wear light colours-as when Alicia is

poisoned, Mrs. Sebastian is wearing white, and when Alicia makes her

escape, she is wearing a white nightslip.  Since the two characters are

enemies, and in opposite worlds, usually when one is wearing light

colours, the other is in dark colours.

Hitchcock's use of shadows also help us understand character

motivations.  The most obvious example is when Alicia realizes she's

been poisoned, and begins blacking out.  She looks at Sebastian and his

mother, and the lighting in the room becomes opposite to what it

previously was, lighting up the window behind them, and throwing

Sebastian and his mother into shadow.  The two characters become

shadows themselves.  Again, when Alicia staggers to the door of the room,

the two shadows of Sebastian and his mother on the door merge to her

blurry vision.  In this shot, the audience gets a sense that Sebastian and

Mrs. Sebastian have become the same person-essentially, they are, as

they are united in their common goal of keeping her political preference a

secret.

Through nuances such as repeated objects, shot types and light and

dark, Hitchcock is able to help the audience better understand Alicia,

Sebastian, Mrs. Sebastian and Devlin's personalities and motivations

towards one another.  What I found extremely compelling is the fact that,

unlike Scorsese's After Hours, the motifs throughout this film weren't

immediately apparent, at least to me, unless Hitchcock wanted them to be.

Although Hitchcock is probably known better for weird and wonderful

films like Vertigo and Psycho, his subtlty is what makes him a master.

89.  An analysis of the MAyor of Casterbridge

The plot of The Mayor of Casterbridge,  by Thomas Hardy, can often be confusing

and difficult to follow.  The pages of this novel are filled with sex, scandal, and alcohol, but

it provides for a very interesting and unique story.  It all begins one day in  the large Wessex

village of Weydon-Priors. Michael Henchard, a young hay-trusser looking for work, enters

the village with his wife and infant daughter.   What follows next, is certainly a little out of

the ordinary, and this book provides and interesting plot, that is sure to brighten up any

boring day.

Michael Henchard, looking for something to drink, enters  into a tent where an old

woman is selling furmity, a liquid pudding made of boiled wheat, eggs, sugar, and spices.

Henchard consumes too many bowls of furmity spiked with rum. Feeling trapped by his

marriage and under the influence, Henchard threatens to auction his family. The auction

begins as a kind of cruel joke, but Susan Henchard in anger retaliates by leaving with a

sailor who makes the highest bid. Henchard regrets his decision the next day, but he is

unable to find his family.

Exactly eighteen years pass. Susan and her daughter Elizabeth-Jane come back to

the fair, seeking news about Henchard. The sailor has been lost at sea, and Susan is

returning to her "rightful" husband. At the infamous furmity tent, they learn Henchard has

moved to Casterbridge, where he has become a prosperous grain merchant and even mayor.

When Henchard learns that his family has returned, he is determined to right his old wrong.

He devises a plan for courting and marrying Susan again, and for adopting her daughter.

A young Scotsman named Donald Farfrae enters Casterbridge on the same day as

Susan and Elizabeth-Jane. Henchard takes an instant liking to the total stranger and

convinces Farfrae to stay on in Casterbridge as his right-hand man. Henchard even tells

Farfrae the two greatest secrets of his life: the sale of his wife and the affair he has had with

a Jersey woman, Lucetta. Henchard is confused as to how to make good on his bad acts.

Henchard remarries Susan, who dies soon afterward, leaving behind a letter to be

opened on Elizabeth-Jane's wedding day. Henchard reads the letter and learns that his real

daughter died in infancy and that the present Elizabeth-Jane is actually Susan and the sailor's

daughter. Henchard also grows jealous of Farfrae's rising influence in both Henchard's

business and in Casterbridge. The two men quarrel and Henchard fires Farfrae, who then

sets up a successful competing grain business. Henchard is rapidly going bankrupt, after

several bad business deals.

Soon after Susan's death, Lucetta Templeman, Henchard's former lover, comes to

Casterbridge to marry Henchard. In order to provide Henchard with a respectable reason

for visiting her, Lucetta suggests that Elizabeth-Jane move in with her. Henchard tries to

force Lucetta to marry him, but she is unwilling. She has fallen in love with Farfrae and

soon marries him. Henchard's business and love life are failing; his social position in

Casterbridge is also eroding. The final blow comes when the woman who ran the furmity

tent in Weydon-Priors is arrested in Casterbridge. When she spitefully reveals Henchard's

infamous auctioning of his wife and child, Henchard surprisingly admits his guilt. The news,

which is harmful to Henchard's reputation, rapidly travels through the town. Henchard is

soon bankrupt and forced by his poverty to become Farfrae's employee. He moves to the

poorest section of town.

Farfrae and Lucetta buy Henchard's old house and furniture. The Scotsman then

completes his embarrassment of Henchard by becoming mayor of Casterbridge. Later,

Henchard challenges Farfrae to a fight to the death. Henchard is on the verge of winning

when he comes to his senses and gives up. As the mayor's wife, Lucetta becomes the stylish

and important woman she has longed to be. But she fears her secret affair with Henchard, if

revealed, might destroy her marriage to Farfrae. She begs Henchard to return the damning

letters she had written him years before. Henchard finds the letters in his old house and

reads some of them to Farfrae. He intends to reveal their author as well but relents at the

last minute. Later, he asks Jopp, a former employee, to deliver the letters to Lucetta.

Henchard doesn't realize Jopp hates both him and Lucetta. Jopp shares the letters with some

of the lowlife of the town.  Lucetta sees herself paraded in mimicry, and the shock kills her.

Henchard reconciles with Elizabeth-Jane, who continues to believe Henchard is her

father. He sees his final chance for happiness crumbling, however, when Elizabeth-Jane's

real father, the sailor Newson, comes to Casterbridge to find his daughter. Henchard lies to

the sailor, telling him Elizabeth-Jane died soon after her mother's death. Newson leaves, but

Henchard worries that the sailor might return to reclaim Elizabeth-Jane. During the

following year, Henchard's life becomes fairly settled. He lives with Elizabeth-Jane and runs

a small seed store. Farfrae begins flirting with Elizabeth-Jane, and the two plan to marry.

Then the sailor returns, and Henchard flees Casterbridge.

Henchard appears at Elizabeth-Jane and Farfrae's wedding to deliver a present.

Elizabeth-Jane spurns him, and Henchard sees that Newson has taken over as father of the

bride--a role Henchard can never play. He leaves Casterbridge broken-hearted. A few days

later, Elizabeth-Jane discovers Henchard's present, a bird in a cage. The unattended bird has

died of starvation. Touched, she and Farfrae go in search of Henchard. Too late, they learn

he has just died in the hovel where he had been living with the humblest of his former

employees. The young couple read Henchard's pitiful will, in which Henchard asks that no

one remember him.

As one can see, to often scandal can end in tragedy, as in the case of poor Michael

Henchard.  He lived a risky life, and paid for his mistakes in the end.  The Mayor of

Casterbridge proves to be an  interesting novel, that provides everything modern day critics

hope to keep out of the hands of children.  The book proved to be at times, quite exegesis,

but the plot is presented well, and the settings described beautifully. Thomas Hardy creates

a masterpiece in describing the rise and fall of one Michael Henchard.

90.  An Analysis Of The Video

An Analysis Of The Video "Like A Prayer" By Madonna

An Analysis of the Video "Like A Prayer" by Madonna

Madonna first arrived in the national popular culture in 1984 with

her song "Borderline". She moved very quickly in the ensuing years

to make several records (many of which have gone multi-platinum)

and to take several world tours with sold-out concerts, and has

caused quite a bit of controversy in what she has done in the

public eye. Examples include posing nude for Penthouse magazine

(and announcing afterwards that she was not ashamed for doing it),

marrying (and subsequently divorcing) actor and media-avoider Sean

Penn, creating a fashion trend (which was primarily popular with

teenage girls), and making truly atrocious movies which the

critics hated and the people refused to see (the only two

exceptions are Dick Tracy and Truth or Dare, her controversial yet

fascinating self-documentary about her tour of the same name). It

seems that Madonna seems to enjoy attention, good or bad, and it

seems like she feeds on her own controversy. Her songs, and the

music videos which accompany them, are no exception to this.

However, the things she does and the images she projects requests

contemporary society to reflect on itself, and to possibly

re-create itself in innovative and inventive styles. Perhaps she

always breaks with convention because she sees things in a

different light than the rest of society. This essay shall focus

on the video which accompanies the title track from her 1989

album, "Like A Prayer," which certainly had its share of

controversy.

Probably the most startling image in the music video was that of

several burning crosses on a lawn or a hill. These crosses were in

the background, while Madonna was facing the camera and singing.

When I saw the music video for the first time, this particular

section of the video made me sit up and intently watch my

television screen. The first things I thought about were, "She's a

very outspoken woman for doing this! Boy, she's got a lot of

nerve! I believe she was raised Catholic, and she's making a

mockery of the Catholic Church by doing so! The Pope would be

offended, to say the least!" The radical approach to dispose of

any religion (or a person's religious or pious fervor) is at least

shocking. The cross is the symbol of Christianity and all it

stands for. Seeing the cross engulfed in fire -- which symbolizes

(and is) a destructive force -- would be very disturbing for

anyone to see, Christian or not. I sat up and took notice, and I'm

not even Christian -- I am Jewish. Furthermore, the fact that

Madonna is singing in front of the crosses (and consequently, not

doing anything to stop the crosses burning) implies that she

condones cross-burning. This thought asks three questions. Does

she also condone the Ku Klux Klan, which also burns crosses? Does

she like the idea of religion and/or atheism in any way at all?

Does Madonna believe in God? These are all very deep and probing

questions, which can only be answered truthfully by Madonna

herself.

Another small piece of the music video showed Madonna kissing a

black man. While I personally feel that love is blind and has no

boundaries, a vast majority of America cocked an eyebrow to this

scene. In recent years, a television situation comedy and a major

motion picture have both built on interracial relationships as the

core of the storyline. "True Colors" was on the Fox Network, built

around a black man married to a white woman. Spike Lee's movie

"Jungle Fever" also had a black man and a white woman. Lee's

reason why he did a story of a black man and a white woman (and

not a white man and a black woman) was that the white woman has

been stereotyped to be the essence of all beauty, and that the

black man has been stereotyped to be a stud. (It is true that

films and television shows have been made which focused on

relationships between white men and black women; an example is the

film "Soul Man.") Does Madonna have any feelings for men of other

races? Should America care? Knowing Madonna's sexual liberalism

(she "confessed" to having partial feelings for women in an

interview), has she and/or will she seek out alternative methods

to satisfy her sexuality and her sexual curiosity?

Both Madonna and the controversy she causes are interesting to

watch. The public keeps a sharp eye on what she does because she

is an outspoken individual who knows how to market herself to the

worldwide media. She always strays from the norm, and she always

gives her brash opinions on particular establishments, and acts on

those opinions afterwards. Many people have many opinions about

her, and many people speak their mind about her. This is what she

likes -- to listen to people talking about her. She loves the

attention and uses it to her advantage. My opinion of Madonna is

that what she doesn't have in pure talent (and I think that she's

a little lacking in the talent department), she makes up for with

creativity, controversy, intelligence (she attended the University

of Michigan -- called by some to be the best public school in the

nation) and sexuality (she is an extremely beautiful woman -- I

saw her Penthouse layout) to literally guarantee an audience. It

is for this ingenuity that I respect her.

91.  An anylsis of Grapes of Wrath

'A great man and a great American, Frank Capra is an inspiration to those who believe in the American dream' John Ford

'The megaphone has been to John Ford what the chisel was to Michelangelo.....Ford Cannot be pinned down or analyzed. He is pure Ford--Which means pure great' Frank Capra

Frank Capra and John Ford have directed many classic movies and it is unfair to only view two of their  works and summarize all there is too say about their styles, so I won't. Instead, I will be discussing different styles and conventions that Frank Capra and John Ford used in the four movies I viewed. These movies  are  Mr. Smith goes to Washington,  Mr Deeds goes to Town  both Capra, films and The Informer and Grapes of Wrath by Ford.

America in the 30's was a time of hardship economically, politically and socially. If you have taken an American history course you know all about the depression and the crisis that it bestowed upon the land. Hollywood,  the movie making capital of the world tried its best not to reflect the problems of the country in its products. Instead of the grim realities of world, Hollywood lured in the audience with escapist movies. The classic thirties genres like screwball comedies,  glamourous musicals and fantasy movies, were mere ploys to divert the sad reality of the time and in doing so Hollywood firmly defined its role as entertainer not critic. Capra and Ford can also be accused of following this pattern too, with other movies they made. The 30's were also a time of the great studio system and one had to work under the control of these institutions, although both directors managed to achieve enough fame and power that they could create their own visions. With this power and fame, Capra and Ford were able to turn out movies that went against the usual Hollywood style; critical of society, authority, government, newspapers, the police and political rebels. These men where able to make movies about the injustice in the world and they created simple folk yet(much like Forrest Gump in Capra's case) complex enough to deal and in some cases win against the evils of the world. Although they deal with similar topics and  understands about society and man, they have different ways of delivering their message. Capra used humor, fantasy, splendor, and a quick moving camera.  Ford on the other hand used gritty realism, harsh environments, and a static camera, with slower cuts and movements. They both can be considered anti-establishment directors, but I would say that their movies go beyond simple anti-establishment attitudes and actually try to and establish a new more righteous establishment.  Ford and Capra believed so much in America that during her time of great crisis in WWII, they left Hollywood and all the money to work for the U.S. Forces.  Ford became an Admiral in the U.S. Navy and Capra a Colonel for the Army.

Of  the four movies by Capra and Ford, The Informer is the only one that was not a box-office smash at its time of release, however all four movies carry the prestigious titles of being called some of the greatest films of all time. All these films can be enjoyed on a simplistic entertainment level, but there is so much hidden between the texts that makes them great, therefore they were obviously made for more than just enjoyment.

There are strong issues being dealt with about man and his relationship within the society he lives in. From the most basic problems about individuals suffering from lack of shelter and starvation to mass starvation and political corruption. There also seem to be the tone in Capra's and Ford's movies that man was doing fine until society interfered with him, not just society in general but more city society. There is a feeling that city people are corrupt and infect all that they touch, while the simple country folk are pure and good. This point is proven over and over again, it is not the individual that is corrupt it is the society that corrupts the individual. Deeds and Smith both from there respective self titled movies are happy and fine living quiet sheltered lives in their small town. As soon as city society comes knocking on their door trouble begins. Whereas when we meet Fonda in Grapes of Wrath, society has already beaten him down and now he must rise again or perish. Gypo too in The Informer has been defeated by society and he too must rise or perish. So as Capra's hero's are virginal,  Ford's have already been around the block a few times but insist that they are still virgins.

The character's in Ford and Capra's movies are microcosms for all that is happening and these movies are mainly character centered and driven so it is a fair way in dealing with their idea's. Capra's characters are modeled on the belief that one man can make a difference and help society, while Ford's characters are almost incapable of helping themselves. (although Fonda in Grapes of Wrath speaks of wandering the earth to bring truth and justice to the world,) Fonda will only effect small minorities of people, while Capra's characters change the world. Yet both styles of character are modeled on the simple and common folk. They are naive to the world and as the movie progresses, they and we, the audience learns how corrupt the world is, but whereas Capra gives you the golden ending, (believable and happy) Ford takes a much more cynical look. Gypo the main character is killed while the Joad family future in Grapes of Wrath is not that much better than when they statred out.

Capra's heroes come from small town, happy middle America and are the epitome of the common man. They are well liked and respected in the community that they live in. Capra's men have greatness thrust on them by luck, while Ford 's characters have trouble thrust upon them. Both Smith and Deeds achieve their honored positions by the misfortune of someone else. In both cases it is the death of a famous individual who perishes and Deed's and Smith are called up from the ranks of the common people to eventually achieve greatness. However, their call is based on pure luck. Deeds luck was due because he was an heir of a wealthy relative, and Smith because a coin toss ends with the coin standing erect. Ford's men come from the outside of society,  Fonda from prison and Gypo had been kicked out of the IRA. They have been disgraced and are at low points in their lives, while Fonda tries to redeem himself in a society that keeps dropping him down. He is released from prison, finds out the authorities have taken his home and starts out with nothing. Fonda tries his hardest not to become a 'Mean Man'.(Ma Joad's  name for what happens when you go to prison and become evil) Gypo also wants redemption but is so lost in a society that rejects him. The society in this case is the IRA and once Gypo is kicked out he has no money and becomes lost. He wants to do good but is helpless until the end when he begs and is granted  forgiveness and dies redeemed, religiously speaking.

Ford used religion in both movies as turning points and a way to reflect the inner struggle of characters, the death of the preacher changes Fonda forever and Gypo's redemption in the church where he has at last found peace. Capra on the other hand uses real American monuments in the same way. Grant's Tomb and the Capitol building are seen by Deeds and Smith as great American institutions that symbolize the truth and greatness of  their nation. During the monument scenes we learn a lot about the inner emotions of the characters. No one else see's the beauty and ideological importance of these monuments as we are told by supporting characters but this reflects that twentieth century man has lost his faith in the institution. Although Capra's movies can be considered to show American society and authority in poor light, he on the surface can be considered anti-establishment or anti-American, but on a deeper level he is more pro-establishment and American because he wants the institutes to work and  mean something, not just to be  hollow houses to be used by the wealthy and cunning to swindle the land. Smith actually argues these point when he is holding the filibuster and is trying to explain why kids must learn to understand an appreciate the Constituent. So when they grow up they hold them of value and the principals of the founding father actually meaning something.  Ford too shows the same if not even stronger anti-establishment views. At the same time as tearing down the institution they support but not in its present corrupt form  making these directors super-patriots, they are willing to go against something they believe to be wrong in the hope it will get better. In this way both Ford and Capra can be seen as Caprasque heroes  both men somehow achieved enough luck that they where in a position to change the world and they did.

Ford and Capra also make comments on the society of  the educated man and the written word. In fact the written word is used by both directors in various forms, it motivates, destroys and can redeem. The written word is always paralleled with money or prosperity but, once unmasked is usually wrong or bad. Gypo sees a poster of his friend that reads reward 20 pounds, Gypo out of confusion turned to this poster and betrays his friend and his society for the money. The Joad family is of on a quest to California on account that they read a pamphlet,  this could be compared to the newspaper clip Ma Joad has of her son's imprisonment. In both these Ford movies the news or the written word is somehow a motivation for people to do something. But  the written word always leads to misfortune. Comparing the pamphlet with the article on Fonda's imprisonment could symbolize and verify that nothing good ever comes from the written word.  Ford way of secretly criticizing the learned man.  Perhaps he is commenting on the fact that we pay to much attention to what is written, which could lead to our downfall. Don't just believe what you read investigate to find out the truth. Later on in Grapes of Wrath we find out that the pamphlet is actually a tool of the rich man to lure lots of workers out to California so they can offer really low wages. The wealthy man controls the news and will always use it to his advantage, even though most common folks believe what they read they must learn not to be so blind.

The use of newspapers and written words are more obvious in the two Capra films. They not only affect the characters but they also help explain the story to the audience. In the Capra films we learn that news is subjective to mistruths and when silly stories appear of  Deeds in the paper we know they were not meant in the context that they were printed. Yet it seems that in Capra's films the society believes without question everything they read in the paper,  yet as spectators we learn the truth about the media. Babe the reporter who loves Deeds says in the court room she colored the articles to sell more papers. Finally when we are introduced to Taylor in Smith we realizes how corrupt the news actually really is. Taylor's name can be used as a metaphor for tailor as someone who alters something. Although control of the paper is done in typical Capra fashion, by the power of one man. The newspaper is another institution that must be unveiled because it has the power to confuse and corrupt people. Taylor is the ultimate in corruption and when Babe was working for the paper she too cheats. Anyone associated with the written word is portrayed in a cynical or devious ways.

Finally the most destructive theme in Ford's and Capra's movies is money. Money is used in many ways in these four films sometimes their is plenty and some times their is not any.  Money ends up playing a big role in each of these films, money is also used as a device to show how characters behave when serious matters occur.

Deeds and The Informer are very similar in their dealing with money. Both movies begin with a large written banner about money. Gypo is faced with a poster claiming reward money, while Deeds begins with the newspaper proclaiming millionaire heir not found yet. In both cases death is the cause that there is the transfer of money to the main characters. Gypo becomes paranoid and drunk indirectly due to the money. Deeds also misuses his fortune at first, getting drunk and running around New York naked. With money comes responsiablity and both Gypo and Deeds in the beginning are not capable of handling responsesablity. It takes them many lesson to learn the real value of money and when they firgure it out they end up givening their money away to help someone less fortunate. Deeds gives his millions to the out of work people, while Gypo gives his money to a lady in need of transportation home. Both cases the money is used for the purpose of good. In Deeds the twenty million dollars brings many leeches, the same happens to Gypo with his 20 pounds. Gypo starts to spend money more and more frequently as the night wares on. He attracts leeches who care little about Gypo but a lot about his money. These leeches end up guiding the character into deeper and deeper trouble. Wheras Deeds has professional leeches like lawyers, because Deed lives in the world of high fainace the thief where suits and have offices. Both films end up using money as a test of a persons strength in the case of Gypo he fails at first but eventually learns right even though it is too late. Deeds on the other hand passes the test at first easily, but there are moments when he is close to failing.

Smith and Grapes of Wrath are also very similar with the use of money potrayed in these pictures. Both are centered on the fact that society through money is being abused and the little guy can not fight these odds. The big buisness men who smoke fat cigars and buy up land and kick off the farmers in Grapes of Wrath are the same men that work in the Senate in Smith. These men the wealthy are extremly greedy whereas the Joads just want enough money to feed the family and live. These rich land owners are willing to starve children just to make more of a profit. coincidently while the rich steal and make illegal deals to become richer the Joads do not even try to steal a loaf of bread. Which is the point of these moves that there is more important thing than money, even thought are society is based on it.

Capra and Ford worked very hard to achieve the positions in society they did, both grew up in poor large families and hence started at the bottom and worked their way to the top. They lived the American dream yet they were not so blinded by their success that they did not see the misfortune of others. They knew the American system was corrupt and unfair and set out to criticizes  and even help change it. Either men cannot be labeled as liberal or socialist because  there political allegance was not towards a party or a theory, it was rooted in simple and obvious universal truths. And because their movies deal with universal themes and truths I believe there movie do not or will not ever appear old or dated.

American Film I

FA/FILM 3210

'FORD & CAPRA'

DEC 3 1996

92.  An argumentative essay on Roger Moore

<Michael Moore is a writer and film director who stands up for the blue-collar, working class people.  In his film, 'Roger and Me', he shows how these groups of people are mistreated and disregarded by the stockholders and the company chairman of General Motors.  Moore shows that corporate America is the 'American dream' perfected and then corrupted because of greed and the will to power.

Michael Moore was born in Davison, Michigan, just outside of Flint, in the shadow of the GM plant.  His home was an apartment over a dry cleaner's shop.  His family moved from a small, three-room bedroom ranch house on a dirt road when he was very young.  After his two sisters were born, his family moved again, this time to a small house on a paved street.  He left his home at age fourteen to go to the seminary.  At age fifteen, he decided that he no longer wanted to be a Catholic priest, and he quit.  Later, in high school, he started a very successful life.  He became an eagle scout and was elected to the school board (this was not done without a fight; he had to sue the school board because they did not want to accept a long-haired eighteen-year-old).   When he was twenty-two, he founded and became the editor of the Flint Voice, one of the nation's most respectable alternative  newsletters.

In 1989, Moore produced and directed  a documentary entitled 'Roger and Me', a political satire about his quest to convince General Motors' Chairman Roger Smith to visit Flint, Michigan, and witness the devastation brought  by GM shutdowns.  His movie quickly became the highest grossing documentary of all time, appearing on more than 100 of the critics '10 best films of the year' lists.  The film was also given many awards and even led to the founding of the Center for Alternative Media.

In 'Roger and Me', Moore wants answers for the plant closing and the catastrophes it has brought.  He tries to interview Roger Smith in order to get the answers to these questions.  The  film's guiding thread is Moore's relentless stalking of Roger Smith from 1987 to 1989.  Smith continually eludes him, never explaining his mistake.  Meanwhile, in Flint, the poor are getting poorer and the rich keep getting richer.  Crime rises and Flint, once home to America's  largest corporation, becomes the worst town in the US.  The now-unemployed factory workers that haven't moved, lost their mind, or committed suicide, try to survive.  Some sell their blood, others try to work at Taco Bell, while still others try a group effort to survive.  The citizens try to make Flint into a center for tourism and even built their own amusement park, Autoworld.  This plan dies shortly after it was starts.

Roger Smith's plan was a great one for his own gain.  It probably added millions to his already unlimited supply of money.  The aspect that he didn't take to mind is the thousands of people who were destroyed by his relentless stride to earn more money.  Even after closing eleven factories, he dove deeper into the pool of corruption.  He started to buy  weapons manufacturing companies and then he collected billions from the unions, via wage cuts.

Roger Smith, and people like him, lead to uncontrollable poverty and the overall self destruction of this country.  There can be no mistaking the ironic meaning that Smith's words take on as we see an evicted man carrying his Christmas tree out of his apartment along with his family's other belongings.  The chairman says, 'we've listened for the jingle of bells in the country, we've smelled the pine needles on the Christmas tree and the turkey on the table.'  These words are spoken over images of the evicted families being ejected from their homes and their Christmas tree being thrown in the trash.

Works Sighted

Various internet documents about Michael Moore

Various internet documents about 'Roger And Me'

93.  An event that changed my life

Open your eyes.  Let the music surround you and indulge.  But don't let it blind you.  We must stay alert and strong.  You can take them, for they are the weak.  Find the source; he is there if you look, if you accept, if you are open.  For the act of closing is futile.  You cannot see his heart, but you can feel his love.

The children run out into the new day to find the bitter cold exciting.  When tucked into their warm beds, the world was dreaming.  They dread the next day, waiting for the arrival of the school bus.  But when they awoke to the whiteness, the pureness, a sort of childish bliss swept through them, for this kind of happiness is only felt with the drifting in of snow and the voice of the radio announcer declaring a day off of studies.

Mothers curse the administrators, insiting  the weather shouldn't stop the daily study of knowledge.  Fathers curse the plow trucks for their hectic ride into work that awaits before them.  But the children open their eyes to see the miracle, little as it may seem.  The children hesitate not, for at any moment they know it may melt away, like their past.  The snowmen are created as if God had sprinkled a little of his miracle in each of their tiny hands.  Snowballs are thrown playfully by young boys, showing their "masculinity" to the girls who giggle at their "immiturity."  No one notices the shadow.   She walks through, smiling to herself at the past she barely can recall.  The angelic music of her past plays to herself.  She wonders if the children themselves can hear the songs of the angels.  She just then realizes that they are the angles.

94.  Analysis of The Astronomers Wife by Kay Boyle

In the "Astronomer's Wife" by Kay Boyle, something as simple as a conversation with

a plumber about a stopped elbow is enough to trigger an awakening in Mrs. Katherine Ames.

When Mrs. Ames realized that the plumber was talking about something she understood (the

stopped elbow), she realized that her marital problems were not the result of a division betwwen

the sexes;  instead, she realized that some men, like the plumber, are as practical as she is, and

that some other men, like her husband, scorn people like her because they are intellectually

inclined.  Previous to this discovery, Katherine did not realize that there were different kinds of men, and

therefore she did not realize that she and her husband were mismatched.  Furthermore, in

her awakening, Mrs. Ames also discovers that she, like the plumber, occupies as valuable a

place in society as the astronomer, for she does the "dirty" work to free people like her husband

to have time to think and to discover.

The scene in question takes place after Mrs. Ames has already noticed that the plumber

has a few physical characteristics that match her own (such as blond hair), and she is talking

to him as he descends into the earth.  The scene begins immediately after the plumber says

"I think something has stopped the elbow", because this phrase was one of the few things that a

man has ever said that Mrs. Ames has understood.  After the plumber has descended into the ground before the scene,

Mrs. Ames is the only one left.  She spends the entire duration of this scene sitting on

the grass, silently thinking and revealing her thoughts to the audience.

During her course of thinking, Mrs. Ames makes the important discovery that there is a

whole race of practical people like herself, men and women alike.  She knew that "when her

husband spoke of height, having no sense of it, she could not picture it nor hear", but

strangely enough, when another man who happened to be a plumer spoke of his work, "madness

in a daily shape, as elbow stopped, she saw clearly and well".  Mrs Ames finally realized during

these thoughts that these were two men with two different ways of life, and perhaps her

way of life suited the plumber's more than the astronomer's, in that she too could identify only

with daily concerns.  The division between people in her mind was no longer just between men and women; it was now

the working and the thinking, those who "had always gone up, [and] others who went down, like

the corporeal being of the dead".  She now recognized that there were both physical and

spiritual human beings, herself and the plumber being the former, and her husband being the

latter.

The theme is revealed in the way that these two classes of people, the toilers and the

thinkers, react to the world.  The people who work with their hands, when they see "weeds

springing up, [do] not move to tear them up from life".  In other words, people like Mrs, Ames, upon recognizing

something that occupies the same position in society that they do, such as the often ill-

regarded weed, do not feel compelled to destroy it.  Weeds, like the workers, although considered

ugly, are as necessary for nature to be in balance as the more beautiful flower is.  However,

people like the astronomer "could balance and divide, weed out, destroy".  This indicates

that people with lofty ambitions, like the astronomer, do not regard the common people as

necessary for the world to run smoothly, and would rather obliterate them.  The astronomer

does not realize that by unclogging pipes and performing other such chores, those people have allowed

him to be free to think about large-scale problems.  Interaction between the two types

of people is necessary, whether either one realizes it, for the world to function.

The "Astronomer's Wife" is an excellent short story that brings out the often forgotten

point that both the practical people and the ambitious dreamers are important for each

other's survival.  While Mrs. Ames perhaps could never get along without her husband, it

was no fault of her own that she didn't.  She provided a comfortable existance for the

astronomer so that he would be free to do his work, and the marriage would have been

happier if Mr. Ames recognized all that she had done, and had considered her lifestyle a

valid one.  Of course an understanding was never reached, because otherwise the author

would not have been able to illustrate the similar conflicts that exist in today's society

so well.

95.  Analysis of the Final Scenes of Alfred Hitchcock

Analysis of the Final Scenes of Alfred Hitchcock's Notorious

After viewing Alfred Hitchcock's Notorious for the first time, the film

did not strike me as particularly complex.  Nothing specific about the film

lodged itself in my brain screaming for an answer-or, at least, an attempted

answer.  Yet, upon subsequent viewings, subtle things became more noticeable.

(Perhaps Hitchcock's subtlety is what makes him so enormously popular!)

Hitchcock uses motifs and objects, shot styles and shifting points of view, and

light and dark to help explain the relationships between Alicia, Devlin,

Sebastian and Mrs. Sebastian, and an overall theme of being trapped.  An

analysis of the film from the first poisoning scene to the final scene in the

film shows how the above tools lead to a better understanding of the

character's motivations.

The most obvious recurring object in the final scenes is the poisoned

coffee cup.  In the first scene of the portion being analyzed, Sebastian

suggests to Alicia that she drink her coffee, and Hitchcock zooms onto the

object as she slowly takes a sip.  In a later scene, Mrs. Sebastian pours the

coffee into the cup for Alicia, and sets it on a small table in front of her.

Here, Hitchcock not only zooms in on the small teacup, but heightens the sound

it makes connecting to the table, includes it in every shot possible, and shows

us not only the full coffee cup, but the empty cup as well after Alicia has

drank it.  Again, the cup is zoomed in on after Alicia realizes she's being

poisoned.  Because the coffee is poisoned, the coffee itself becomes a metaphor

for life and death, supported by the fact that the poisoner herself ours it,

and the shots of the full and empty teacup.  In this way, it also suggests

Alicia's inability to escape her situation-whenever she drinks the coffee, she

becomes trapped due to the poison in her cup-and the poison in her sham of a

marriage..

A repeated object not so noticeable is Mrs. Sebastian's needlework.

Mrs. Sebastian  is constantly working on her needlepoint while Alicia is being

poisoned.  Hitchcock, in fact, goes out of his way to make sure that a shot of

her `toiling at her work' is included several times.  One cannot help but be

reminded of Dickens classic A Tale of Two Cities-with Madame Defarge knitting

everyone's fate into her work.  At the beginning of the film, Devlin hands

Alicia a handkerchief, and a scarf, which she keeps, but returns to him in this

segment.  These pieces of cloth throughout the film help tie Alicia to the

different characters, and in essence, help control her fate in different

situations.

Hitchcock's use of shot type is another hint into his character's

personalities.  Hitchcock is very fond of medium and close-up shots, and rarely

uses a longer shot in the film.  This may suggest to the audience to keep a

closer eye on the character's facial expressions, as Hitchcock lets the actors

express their thoughts and feelings in this manner.  An excellent example of

this would be when Alicia realizes that she is being poisoned Hitchcock zooms

in on her wide-eyed expression as she first looks at the teacup, then at Mrs.

Sebastian and her husband.  Mrs. Sebastian's cold hearted stare back at Alicia

tells us exactly just how much hatred she has for her.

Hitchcock also uses devices in his scenes such as fades from shot to

shot.  By doing this, Hitchcock illustrates his character's different

viewpoints.  The fades themselves are used to connect Alicia's two different

worlds-her 'fake' world (her marriage to Sebastian), and her `real' world (her

relationship with Devlin).  For example, when Alicia is unable to make contact

with Devlin due to her illness, there are several shots of her in her sick bed,

then fading to Devlin waiting impatiently at a bench.  The fading between shots

usually comes at a point when Alicia is feeling trapped, and this suggests that

the fades represent her desire to escape back to her `real' world.

Since, obviously, it is difficult to use colour as a nuance in a black

and white film, Hitchcock makes use of light and dark images.  When Alicia and

Sebastian are alone together, it is usually in darkness.- implying safety in

hiding, and also implying a different world.  Alicia is safe and free to do

what she wants in the darkness, as she is with Devlin, and can easily hide

within it.  For Sebastian, it is the opposite, for to him, Alicia's darkness is

a world that he cannot enter, although he tries.  An example of this is seen

when Alicia meets her commander, and asks him to shut the blinds in the room

because the light bothers her.  Also, when Devlin rescues Alicia, he walks into

her dark bedroom and makes her walk out into the lighted hallway.  Sebastian

walks up the staircase to meet them, and goes out into the night, where he is

rejected from the dark car as Alicia and Devlin pull away.  Ironically, this is

reminiscent of Romeo and Juliet, where Romeo rescues Juliet from an unwanted

marriage to Paris, and where things seem to go wrong for the two star crossed

lovers only in the daylight.  The final scene, when Sebastian slowly walks up

the stairs to his death, he walks into the light of the house (like walking

into the light of heaven), then all becomes dark as the door (St. Peter's

gates?) closes behind him.  Again, ironically, it is only then that Sebastian

can reach Alicia's 'dark world'-through death.

The costumes that the characters wear is also a clue.  Both Mrs.

Sebastian and Alicia are trapped in their worlds, and when they are both

feeling trapped, they wear dark colours.  For instance, when Alicia realizes

she is being poisoned, she attempts an escape, and fails-while wearing a black

dress.  When Mrs. Sebastian walks down the staircase behind Alicia and Devlin

in the final few scenes, she knows she is trapped, and is wearing a dark dress.

However, whenever the two characters feel free or released from their trappings,

they wear light colours-as when Alicia is poisoned, Mrs. Sebastian is wearing

white, and when Alicia makes her escape, she is wearing a white nightslip.

Since the two characters are enemies, and in opposite worlds, usually when one

is wearing light colours, the other is in dark colours.

Hitchcock's use of shadows also help us understand character

motivations.  The most obvious example is when Alicia realizes she's been

poisoned, and begins blacking out.  She looks at Sebastian and his mother, and

the lighting in the room becomes opposite to what it previously was, lighting

up the window behind them, and throwing Sebastian and his mother into shadow.

The two characters become shadows themselves.  Again, when Alicia staggers to

the door of the room, the two shadows of Sebastian and his mother on the door

merge to her blurry vision.  In this shot, the audience gets a sense that

Sebastian and Mrs. Sebastian have become the same person-essentially, they are,

as they are united in their common goal of keeping her political preference a

secret.

Through nuances such as repeated objects, shot types and light and dark,

Hitchcock is able to help the audience better understand Alicia, Sebastian, Mrs.

Sebastian and Devlin's personalities and motivations towards one another.  What

I found extremely compelling is the fact that, unlike Scorsese's After Hours,

the motifs throughout this film weren't immediately apparent, at least to me,

unless Hitchcock wanted them to be. Although Hitchcock is probably known

better for weird and wonderful films like Vertigo and Psycho, his subtlty is

what makes him a master.

96.  Ancient Greek Theatre

The origins of drama

TWENTY-FIVE HUNDRED YEARS AGO, two thousand years before Shakespeare, Western theatre was born in Athens, Greece.  Between 600 and 200 BC, the ancient Athenians created a theatre culture whose form, technique and terminology have lasted two millenia, and they created plays that are still considered among the greatest works in theatre. Their achievement is truly remarkable when one considers that there have been only two other periods in theatre history which approached the greatness of ancient Athens -- Elizabethan England and the Twentieth Century. The great playwright of Elizabethan England was Shakespeare, but Athens produced at least five great playwrights. The Twentieth Century produced thousands of fine plays and films, but their form and often their content were based on the innovations of the ancient Athenians.

The Cult of Dionysus

The theatre of Ancient Greece evolved from religious rites which date back to at least 1200 BC. At that time Greece was populated by primitive tribes. In northern Greece, in an area called Thrace, a cult arose that worshipped Dionysus, the god of human and agricultural fertility. The Cult of Dionysus practiced ritual celebrations which included intoxication, orgies, human and animal sacrifices, and hysterical rampages by women called maenads.

The cult's most controversial practice involved uninhibited dancing and emotional displays that created an altered mental state. This altered state was known as ecstasis, from which the word ecstasy is derived. Dionysiac, hysteria and catharsis also derive from Greek words for emotional release. Ecstasy was an important concept to the Greeks, who would come to see theatre as a way of releasing powerful emotions.

Though it met with resistance, the cult spread south through the tribes of Greece over the ensuing six centuries. During this time the rites of Dionysus became mainstream and more civilized. By 600 BC they were practiced every Spring throughout much of Greece.

The Dithyramb

A key part of the rites of Dionysus was the dithyramb. The dithyramb was an ode to Dionysus. It was usually performed by a chorus of fifty men dressed as satyrs -- mythological half-human, half-goat servants of Dionysus. They played drums, lyres and flutes, and chanted as they danced around an effigy of Dionysus. Some accounts say they also wore phallus-like headgear. Although it began as a purely religious ceremony, like a hymn in the middle of a mass, over time the dithyramb would evolve into stories, drama and the play form.

The Golden Age of Greek Theatre

By 600 BC Greece was divided into city-states, separate nations centered around major cities and regions. The most prominent city-state was Athens, where at least 150,000 people lived. It was here that the Rites of Dionysus evolved into what we know today as theatre. Since Athens was located in a region called Attica, Greek and Athenian theatre are sometimes referred to as Attic Theatre.

Thespis

In 600 BC, Arion of Mehtymna wrote down formal lyrics for the dithyramb. Some time during the next 75 years, Thespis of Attica added an actor who interacted with the chorus. This actor was called the protagonist, from which the modern word protagonist is derived, meaning the main character of a drama. The word thespian, meaning actor, also derives from Thespis. Thespis is credited as well with inventing the touring acting troupe, since he toured Greece with a group of actors in a cart that doubled as a stage.

Athenian Drama Competitions

In 534 BC, the ruler of Athens, Pisistratus, changed the Dionysian Festivals and instituted drama competitions. Thespis won the first competition in 534 BC.

In the ensuing 50 years, the competitions became popular annual events. A government authority called the archon would choose the competitors and the choregos, wealthy patrons who financed the productions. Even in ancient Greece, arts funding was a tax shelter: In return for funding a production, the choregos would pay no taxes that year.

Amphitheatres

During this time, major theatres were constructed, notably the theatre at Delphi, the Attic Theatre and the Theatre of Dionysus in Athens. The Theatre of Dionysus, built at the foot of the Acropolis in Athens, could seat 17,000 people. During their heyday, the competitions drew as many as 30,000 spectators. The words theatre and amphitheatre derive from the Greek word theatron, which referred to the wooden spectator stands erected on those hillsides. Similarly, the word orchestra is derived from the Greek word for a platform between the raised stage and the audience on which the chorus was situated.

Greek actors. Note the masks and cothornos How Plays Were Performed

Plays were performed in the daytime. The annual drama competitions in Athens took most of the day, and were spread out over several days. Actors probably wore little or no makeup. Instead they carried masks with exagerrated facial expressions. They also wore cothornos, or buskins, which were leather boots laced up to the knees. There was little or no scenery. Initially, most of the action took place in the orchestra. Later on, as the importance shifted from the chorus to the characters, the action moved to the stage.

Tragedy

Between 600 and 500 BC, the dithyramb had evolved into new forms, most notably the tragedy and the satyr play.

Tragedy, derived from the Greek words tragos (goat) and ode (song), told a story that was intended to teach religious lessons. Much like Biblical parables, tragedies were designed to show the right and wrong paths in life.

Tragedies were not simply plays with bad endings, nor pathos (another Greek word, meaning pitiable people or events). They depicted the life voyages of people who steered themselves on collision courses with society, life's rules or simply fate. The tragic protagonist is one who refuses to acquiesce to fate or life's rules, either out of character weakness or strength. Most often, the protagonist's main fault is hubris, a Greek (and modern English) word meaning arrogance. It could be the arrogance of not accepting the hand that life deals (i.e., fate, as in Oedipus Rex), the arrogance of assuming the right to kill (Agamemnon), or the arrogance of assuming the right to seek vengeance (Orestes). Whatever the root, the protagonist's ultimate collision with fate, reality or society is inevitable and irrevocable.

The Culture That Created Tragedy

Tragedy did not develop in a vacuum. It was an outgrowth of what was happening at the time in Athens. One one hand, Greek religion (see Bullfinches Mythology) had dictated how people should behave and think for centuries. On the other, there was a birth of free thought and intellectual inquiry. Athens in the 4th and 5th centuries BC was bustling with radical ideas like democracy, philosophy, mathematics, science and art. It boasted philosophers like Plato, Socrates, Aristotle, Epicurus and Democritus, the first known historians Thucydides and Herodotus, scientists and mathematicians like Thales, Hippocrates, Archimedes, and later Euclid (euclidean geometry), Pythagoras (the pythagorean theorem), Eratosthenes, Hero (the steam engine!), Hipparchus and Ptolemy. In these respects -- a blossoming of free thought after years of religious dicta -- ancient Athens resembled Renaissance England, which not coincidentally spawned the next great era in theatre.

In essence, the ancient Athenians had begun to question how nature worked, how society should work, and what man's role was in the scheme of things. Tragedy was the poets' answer to some of these questions -- How should one behave? How can one accept the injustices of life? What is the price of hubris? Read a soliloquy from a Greek tragedy, or for that matter from Hamlet or Macbeth, and what you will hear is these questions being asked.

The Tragedy Form

The traditional tragedy in Aeschylus' time (circa 475 BC) consisted of the following parts:

*Prologue, which described the situation and set the scene

*Parados, an ode sung by the chorus as it made its entrance

*Five dramatic scenes, each followed by a Komos, an exchange of laments by the chorus and the protagonist

*Exodus, the climax and conclusion

Aristotle - arousing of fear and emotion, purging (catharsis) - the unities: unity of time place and character - Pathos (greek for suffering) which has come to mean the quality in something that arouses sympathy. Often used today to describe something sad but not necessarily tragic. Satyrs, trilogies of tragedies were interrupted by satyr plays (which made fun of characters in the tragedies around them), Hence the word tragedy. Comedy from Komodos merrymaking, and singer

Aeschylus, the First Playwright

Until 484 BC the Athenian drama competitions consisted of a trilogy of dithyrambs and a satyr play. These were still more choral than dramatic. But around 484 BC there appeared on the Athenian theatre scene a playwright named Aeschylus. Aeschylus turned the dithyramb into drama. He added a second actor (the antagonist) to interact with the first, introduced props and scenery and reduced the chorus from 50 to 12. Aeschylus' Persians, written in 472 BC, is the earliest play in existence.

Aeschylus' crowning work was The Oresteia, a trilogy of tragedies first performed in 458 BC. They tell the legend of Agamemnon, the Greek war hero who was murdered by his wife Clytemnestra, and the pursuit of justice by Agamemnon's children Orestes and Electra. Thematically, the trilogy is about the tragedy of human arrogance or hubris -- the hubris required to murder a person for personal gain, as Clytemnestra and her lover Aegisthus do, as well as the hubris to in turn hunt down and kill them, as Orestes and Electra do. When in the end, Orestes and Electra are brought to trial themselves by the Furies, vengeful emissaries of the gods, Aeschylus makes a point that has been echoed by historians and dramatists, psychologists and crime writers for centuries since: That the root of evil and suffering is usually human arrogance. On a dramatic level, the plays convey the suffering of a family torn apart by patricide and matricide.

The Periclean Age

Aeschylus' death in 456 BC coincided with the beginning of the Periclean Age, a period during which Athens' population grew to 150,000, its government embraced democracy (although two-thirds of its population were slaves), and the arts flourished. In a span of 60 years, Thucydides and Herodotus wrote their histories, the sophists, Socrates and Plato expounded their philosophies, and Sophocles, Euripides and Aristophanes wrote some of the world's best plays.

Sophocles

In 468 BC, Aeschylus was defeated in the tragedy competition by Sophocles. Sophocles' contribution to drama was the addition of a third actor and an emphasis on drama between humans rather than between humans and gods. Sophocles was a fine craftsman, and it was his plays that Aristotle used for his classic analysis of drama, The Poetics.

Sophocles' plays are suffused with irony. In The Oedipus Trilogy, Oedipus seeks the truth about his father's murder. The truth that awaits him, however, is that he is the murderer. In Electra, the hunted murderer Aegisthus finds a body under a blanket is Orestes, the man who has relentlessly hunted him and his lover, Clytemnestra; he is relieved that he has escaped justice. However, when he lifts the blanket he discovers the body is that of his lover Clytemnestra. Orestes has indeed caught up with him.

Sophocles' plays are about the folly of arrogance and the wisdom of accepting fate. Sophocles believed in the Greek gods, but his plays are suffused with existential insights that have been voiced many times since. For instance, compare this observation by Antigone:

What joy is there in day repeating day,

some short, some long, with death the only end.

I think them fools who warm their hearts with

the glow of empty hopes.

with Macbeth's famous speech:

Tomorrow, and tomorrow, and tomorrow,

creeps in this petty pace from day to day,

to the last syllable of recorded time;

and all our yesterdays have lighted fools

the way to dusty death. Out, out, brief candle!

Life's but a walking shadow; a poor player,

that struts and frets his hour upon the stage,

and then is heard no more: It is a tale

told by an idiot, full of sound and fury,

signifying nothing.

Euripides

In all, Sophocles won 20 competitions, making him the Carl Lewis of Greek dramatic competition. Although far behind Sophocles in the medal count with a mere five, Euripides has since eclipsed both Sophocles and Aeschylus in popularity. The modern attraction to him stems largely from his point of view, which resembles today's attitudes more than those of fifth-century BC. His plays were not about Gods or royalty but real people. He placed peasants alongside princes and gave their feelings equal weight. He showed the reality of war, criticized religion, and portrayed society's forgotten -- women, slaves, the old...

Euripides is credited with adding to the dramatic form the prologue, which "set the stage" at the beginning of the play, and the deus ex machina, which wrapped up loose ends at the close. Aside from those devices, there is less contrivance, fate or philosophy in Euripides than in either Aeschylus and Sophocles. There is instead a poignant realism, such as in this scene from the anti-war Trojan Women, in which a grandmother grieves over the daughter and grandson she has outlived. During his life, Euripides was viewed as a heretic and was often lampooned in Aristophanes' comedies. A cynic about human nature, he became a bookish recluse and died in 406 BC, two years before Sophocles.

Comedy

Tragedy was not the only product of Athens' flourishing theatre culture; comedy also thrived. Not only did the Greeks produce many lasting comedies, they also cast the molds for many Roman, Elizabethan and modern comedies.

The historical development of comedy was not as well-recorded as that of tragedy. Aristotle notes in The Poetics that before his own time comedy was considered trivial and common -- though when it was finally recognized as an art form, the orphan suddenly had many fathers:

The credit for Comedy is put forward not only by those of Greece proper, who allege that it originated under their democracy, but also by the Megarians of Sicily, since the poet Epicharmus, who came much earlier than Chionides and Magnes, belonged to that country. Tragedy too is claimed by certain Dorians of the Peloponnese. In each case they cite the evidence of language. They say they call outlying villages komai, which the Athenians call demoi: and they assume comedians got their name not from komazein, 'to revel,' but because they wandered from village to village (kata komas), being excluded contemptuously from the city. They add also that the Dorian word for 'doing' is dran, and the Athenian word prattein.

Aristophanes and Old Comedy

Greek comedy had two stages: Old Comedy, represented by Cratinus and Aristophanes; and New Comedy, whose main exponent was Menander.

With its high-brow culture, Athens invited satire, and Aristophanes assumed the task with zeal, aiming his lampoonery at those who stuck their heads above the crowd:

Warriors, in Lysistrata...

First Speaker: For through man's heart there runs in flood

A natural and noble taste for blood---

Second Speaker: To form a ring and fight--

Third Speaker: To cut off heads at sight--

All in Unison: It is our right!

Youth...

Come, listen now to the good old days when children, strange to tell,

were seen not heard, led a simple life, in short were brought up well.

and intellectuals, in The Clouds...

Father: (enrolling his son in a "school for thinking") O Socrates! O--dear--sweet--Socrates!

Socrates: (meditating in a basket overhead) Mortal! Why call you on me?

Father: Tell me, please, what are you doing up there in that basket?

Socrates: I walk on air while I contemplate the sun. One cannot ponder cosmic matters unless one mingles with the atmosphere, one's ethereal spirit above ground. The ground is not a place for lofty thoughts. Gravity would draw their essence down, as it does with watercress. Father: Well, well. Thought draws the essence into watercress.

The Athenian audiences were well-versed in their highbrow culture and must have enjoyed these in-jokes immensely. Aristophanes' other targets included Aeschylus and Euripides, whom Aristophanes portrayed variously as a windbag and corrupter of youth with his heretical ideas.

New Comedy

Comedy developed along similar lines as tragedy did, becoming more aimed at the common people and less concerned with its religious origins. By 317 BC, a new form had evolved that resembled modern farces. The overt satire, topicality and celebrity characters of Aristophanes' style were replaced by mistaken identities, ironic situations, ordinary characters and wit. This period is called New Comedy, and its two main practitioners were Menander and Phlyates.

Menander is the more significant of the two. Most of his plays are now lost, but parts found their way into plays by the Roman playwrights Plautus and Terence (whom Julius Caesar called "a half-Menander"), Shakespeare's Comedy of Errors, Stephen Sondheim's A Funny Thing Happened on the Way to the Forum, even the writings of St. Paul ("Bad messages belie good manners"). In 1905 a manuscript was discovered in Cairo that contained pieces of five Menander plays, and in 1957 a complete play, Diskolos (The Grouch, 317 BC), was unearthed in Egypt.

Menander's main contribution was to create a comedy model that greatly influenced later comedy. Unlike Aristophanes, his characters were not celebrities but ordinary people. The chorus in Menander's plays resembled a modern chorus -- singers and dancers who provided filler between acts; Menander sometimes portrayed them as drunken audience members. His characters were classic comedy archetypes, such as the curmudgeonly old man in The Grouch, that would become staples of comedy. Most of all, the style of comedy that Menander created, with its emphasis on mistaken identity, romance and situational humor, became the model for subsequent comedy, from the Romans to Shakespeare to Broadway.

Aristophanes ... quote from Thesmoro... with Euripides... -R. T. B., ELAC Theatre consisted of a trilogy of plays and a satyr play 3 great playwrights of tragedies remembered today Sophocles Euripides "Old Comedy" Aristophanes and Cratinus, 3 actors, a chorus that sung and danced and sometimes participated in the dialogue [example] Chorus's address to the audience - author's opinion Ridicules Gods, Athenian institutions, popular and powerful individuals, including Aeschylus, Sophocles and Euripides "New Comedy" Menander masks upper stage + Orchestra equally important

The Final Curtain

By the time of Sophocles' death in 406 BC, 128 years after Thespis' victory in the first Athenian drama competition, the golden era of Greek drama was waning. Athens, whose free-thinking culture had spawned the birth of theatre, would be overrun in 404 BC by the Spartans, and would later be torn apart by constant warring with other city states, eventually falling under the dominion of Alexander the Great and his Macedonian armies. Theatre continued, but it would not return to the same creative heights until Elizabethan England two millenia later.

97.  Andrew Warhola196

Andrew Warhola was born on Agust 6, 1928 in Forest city, Penn.  His father, Ondrej, came from Czechslovakia in 1912, and sent for mother, Julia Zavacky Warhola in 1921.

During teenage years, Andy sufferend from several nervous breakdowns.  Overcoming this he graduates from schenley high school in Pittsburgh in 1945, enrolls in the Carnegie Institute of Technology and graduated in june of 1949.

Moving to NYC, he shared an apartment with perlstein at ST.Mark's place off of Avenue A.  In NY he meets Tina Federicks, art editor of Glamour Magazine.  Andy started working doing jobs like drawings for Glamour.  He drew advertising for various magazines, including Vogue, Hapers Bazzar, book jackets, and holiday greeting cards.

1950's

Moves to an apartment and his mother moves in with him.  Fritizie Miller becomes his agent.

1952

First solo exhibition was held at Hugo Gallery, NY.  Drawings illustrated stories by Truman Capote.

Starts illustrating books beginning with Amy Vanderbilt's Complete Book of Etiquette.

1953-1955

Worked for a theater group on the lower east side and designed sets.  Around this time that he dyes his hair silver.  Publishes several books, including Tweny Five Cats named Sam and One blue Pussy.

1956

98.  Andrew Wyeth 1504

A well known example of American Realism is Andrew Wyeth.  He has a

certain "affection" for the objects and people which surround him.  These

Wyeth records with remarkable likeness, poetic charm, and a "powerful

silence".  These statements can be applied to both people and still life.  I

agree with David McCord in his statement in Andrew Wyeth, page 24,  "to

that powerful silence one must add enormous stillness."

All of Wyeth's works emit that special poetic charm, but it is best

illustrated in his use of water versus the landscape.  In River Cove the water

sits so still and calm it appears to be dead.  The only life visible on the land is

a few clam and mussel shells along with the tracks left behind by some local

bird.  The only fauna that can be seen is reflection of evergreens in the water.

This painting is hauntingly still with a profound simplicity.  There are no

people visible, and no evidence of people inhabiting the area.  In this sense

the viewer has a "birds eye view" of an untouched, natural paradise.

The "powerful silence" and "enormous silence" described by David

McCord in the opening paragraph is most apparent in Wyeth's distinguished

piece appropriately named after its subject entitled Christina's World.

In Christina's World Wyeth depicts his young neighbor struggling to

reach a farm house, perhaps her home, in the distance.  The strongest

emotion which radiates from this painting is silence.  There are no other

figured in the portrait as the crippled girl looks longingly to the farm.  A

slight breeze is detectable as strands of Christina's hair float as wisps.  The

sea-shell pink dress gives the subject a sense of maturity and girl-hood at the

same time.  Her back is turned towards the viewer so any emotion Christina

is feeling must be derived from her body positioning and the outstretched

arms.  The other colors in the painting may be considered bland, but to me

they are rich with the color of the earth.  This draws the viewers eye first to

Christina  (in the contrasting pink dress)  and then to the earth toned

farmhouse at the top of the hill.  Christina's World may even represent

something greater.  The field is brown, yet endless.  Although crippled

Christina props herself up on her arms.  This can be an allegory showing life

holding on, which is why people can identify with the painting so well.  A

person can see that life pulls through even in art so it will make them feel

optimistic about their own life.  About the creation of Christina's World

Wyeth has said:

When I painted it in 1948, Christina's World  hung all summer

in my house in Maine and nobody particularly reacted to it. I thought,

'Boy is this one a flat tire.' Now I get at least a letter a week from all

over the world, usually wanting to know what she's doing.  Actually

there isn't any definite story.  The way the tempera happened, I was in

an upstairs room in the Olson house and saw Christina crawling in the

field, I later went down on the road and made a pencil drawing of the

house, but went down into the field.  You see, my memory was more

of a reality than the thing itself.  I didn't put Christina in till the very

end.  I worked on the hill for months, that brown grass, and kept

thinking about her in her pink dress like a faded lobster shell I might

find on the beach, crumpled, finally I got up enough courage to say to

her, " Would you mind if I made a drawing of you sitting outside?"

and drew her crippled arms and hands.  Finally, I was so shy about

posing her, I got my wife Betsy to pose for her figure. Then it came

time to lay in Christina's figure against that planet I'd created for her

all those weeks, I put this pink tone on her shoulder - and it almost

blew me across the room."  (Corn pp.38)

Wyeth's American Realism style has a French counterpart - Edouard

Manet.  In Wyeths Helga series, the young women  (Helga)  is painted both

in the nude and clothed.  She is depicted in various poses; Helga stands, lays

on a bed facing away from the viewer, looks over her shoulder, and many

other positions Wyeth himself feels is appealing to the viewer.

Manet's Olympia and Wyeth's Black Velvet are similar in content and

form, yet have contradicting purposes and motivations.  Manet was

concerned with showing the boldness of a woman  (perhaps a prostitute)

with no subtle allure.  By doing this he defies tradition and then went a step

further by using a minimum of shading, flattened them so that they resembled

the figures in Japanese prints.  (Fiero, 98)  Helga in Black Velvet is similar to

Olympia in her body positioning, except her head is turned away and she

appears to be asleep.  Wyeth's motive, unlike Manet, was to "preserve the

abstract flesh".  (Wilmerding, 60)  By using the black velvet ribbon around

his subjects neck  (such as Manet did)  and keeping the rest of her body

perfectly nude, Wyeth draws attention to and emphasizes her nakedness.  In

Olympia the black velvet may raise attention to the females availability, but

in Black Velvet the ribbon calls attention to Helga's innocence and unguarded

sexuality.

Another portrait from the Helga series, titled Crown of Flowers illustrates

Wyeth's poetic charm.  Helga's hair is down and flowing with the vitality of

youth.  Her blue eyes stare off into the distance while a slight smile, similar

to that of the Mona Lisa's is displayed upon her face.  A crown of flowers

adorns her head.  The flowers represent the beauty of Helga at this time and

the fleetingness of youth.  Helga and her crown are almost personifies as

nature itself .  Natural, beautiful, and true Helga can be compared to

Rembrandt's Saskia as Flora.  A young woman, an adolescent on the verge

of womanhood, wears a crown of flowers similar to Helga's.  Although

Rembrandt's figure is ornately dressed with a more elaborate crown, the

crown of flowers can be seen as representing the same idea in each painting.

As John Wilmerding stated on page 60 of The Helga Series each womans

floral wreath links her to natures capacity for growth and rebirth.

Even the most mundane subjects can be brought to life by Wyeth's

talented hand and palette.  In Groundhog Day  a simple place setting is

displayed upon a table while sun drifts in through a window above the table.

Through the windowpane a barbed wire fence can be seen, along with logs

which have been freshly cut.  Behind this is the start of a forest and the

continuation of the barbed wire fence.  This picture represents the simplicity

and beauty of farm life.  The delicate imagery of flower arrangements on the

wall paper releases a comfortable feeling of home and welcomes the viewer

to the painting.  Many people outside of New England, especially in the cities

of may not understand the beauty of simplicity in  country life.  This is one

way, by painting, where Wyeth can show them the homely grace of the true

countryman.  (McCord, 23)

Wyeth's work also resembles that of his contemporaries.  Take for

example his admiration and resemblance in his early work to that of Winslow

Homer.  Homers oil on canvas often appear "busy" compared to that of

Wyeth.  Take for instance Homer's The Country School.  The teacher stands

in front of the class and reads to the students as they follow along in their

own books.  If this had been a painting by Wyeth the schoolhouse would be

nearly empty with only the teacher left working on her planner.  One of the

windows would be half open with a slight breeze billowing the curtains.  The

view of the subject would be close-up with great detail.  Compared to

Homer, Wyeth has a central figure in his paintings with little to no

surrounding figures to draw your attention away.  His paintings of objects

(such as Groundhog Day)  almost seem empty when first viewed.  There is

not any kind of activity taking place so the viewer may feel a little "bored".

Once the viewer keeps looking at Wyeth's painting he or she will realize the

remarkable talent required to produce such a serene and peaceful work of art.

To conclude, Wyeth appropriately defines American Realism.  He takes

objects and people from his everyday life and transforms them into

something magnificent.  My favorite painting of his is Christina's World.

Ever since the first time I viewed it in junior high it has remained in my

memory.  Every time I look at it I remember my first impression and how it

keeps changing as I learn more about both the painter and the subject.  I

believe Wyeth best described his work and reason for painting when he said

"If somehow I can, before I leave this earth, combine my absolutely mad

freedom and excitement with truth, then I will have done something."

99.  Andy Warhol The Life and Art of the Prince of Pop 1775

Andy Warhol: The Life and Art of the Prince of Pop

Andy Warhol created the most sensational and often controversial art of the 1960's. He appropriated images that Americans knew and loved--like Campbell's soup cans and Coca-Cola--and transformed them into radical and enduring works of art. Andy's art did not give us answers; instead, it raised questions. He gave us a shocking look at what constitutes who we are. In grasping the essence of Pop Art, Warhol's work is completely about the spirit of culture in modern society.

Andrew Warhola was born in Pittsburgh, Pennsylvania in 1928, to a poverty-stricken immigrant family. Having no money to buy toys, Andy's mother encouraged him and his two brothers to draw. Little Andrew took to it immediately, impressing his family with his pictures. His father, a factory worker, had only enough money to send one child to college. He began to save his pennies so that Andrew could be the first of the Warhola's to attend college.

At age eight, Andrew was diagnosed with a nervous disorder called St. Vitus's Dance, which made his limbs shake uncontrollably, and turned his skin ghost-white. Later in life, it also made his hair fall out (hence the white wigs). He was ridiculed in school, and became a loner, always opting to watch, rather than partake in fun activities.

"In the future, everyone will be world famous for 15 minutes." -Andy Warhol

Andy's fame as an artist lasted longer than fifteen minutes. It began at Carnegie University in Pittsburgh, where he learned valuable lessons in getting attention. He was a shy person and loved to observe people. He studied them from the sidelines, painting portraits of his classmates, which quickly earned him an entourage of friends. It was also in college that he submitted a painting to an art contest; it was a grotesque image of a man picking his nose. Although the painting was immediately withdrawn from the contest, he hung it on the wall at school, and students flocked to see it. It was then that he learned that controversy pays.

In 1949 he moved to Manhattan to pursue his lifelong dream of money and fame as a commercial artist. In less than a week, he landed his first account with Glamour magazine, entitled "Success is a Job in New York." It was an editorial error in that article that gave him his new name. It mistakenly appeared as Andy Warhol. He liked it, and decided to keep it.

Throughout the 1950's, Andy worked for several different magazines, and made window displays for retail stores. He was one of the first artists to understand the importance of marketing and the media. It served him well, making him one of the highest paid commercial artists in New York.

"Once you got Pop, you could never see a sign the same way again. And once you thought Pop, you could never see America the same way again." -Andy Warhol, 1980

The 1960's were a prolific decade for Andy Warhol. He was determined to break out of the world of commercial art, and into the league of fine artists. At the time, the world of fine art was dominated by Abstract Expressionism, which featured unrecognizable scribbles on a canvas, in an attempt to convey an emotion. Pop Art was a revolt against Abstract Expressionism, and pop artists focused on the world outside of themselves. They exploited superficial images of a prosperous post-war America, and turned them into vibrant, consumer driven art. Andy was one of the leaders in Pop Art.

In addition to painting, Andy began to silkscreen his art figures. His first images of society's stars like Marilyn Monroe, Elvis, and Jackie Onassis, were immediate successes. He bought a building and started "The Factory," with an entourage of artists mass-producing his work. One could buy them small, medium or large (priced accordingly, of course), or even 100 multiplied on one canvas.

One cannot help but wonder if Warhol anticipated the highly charged reactions to his choice of subjects, showing the figures who had touched the lives of the American public, whose real-life tragedies had stirred the emotions of all those who had "known" them. Whatever his intent, Andy's dream of fame and riches had come true, as he immediately became as well-known as the stars he painted.

"If you want to know all about Andy Warhol, just look at the surface of my paintings and films and me, and there I am. There's nothing  behind it." -Andy Warhol, 1987

Although Warhol himself neither offered nor refuted any explanation of his art, it seemed at times as if he was trying to expose our most hidden sides, and satisfy our secret curiosities. Works such as Electric Chair (1967), Five Deaths (1962), White Burning Car (1963), all from his "Death and Disaster" series, were disturbing, yet fascinating at the same time. Electric Chair appeared at the very moment when Americans were hotly debating the morality of the death penalty. It constitutes one of the most powerful images in 20th-century American art. Five Deaths depicted people bloody and dying, trapped

under a wrecked car. Some say the picture reflected society by sending the message: "Here we are, with our love of money and big beautiful things; and here is what is does to us." White Burning Car, shows a car in flames, and a dead man hanging from a nearby tree. In the background, there is a man leisurely walking by, paying no attention to the catastrophe. This work unmistakably rubbed society's indifference right in their faces. People looked at it in horror, forced to see a part of themselves they chose not to acknowledge.

"They're experimental films; I call them that because I don't know what I'm doing. I'm interested in audience reaction to my films..." -Andy Warhol, 1967

In 1965, Andy announced his retirement from painting (which he later revoked), in order to concentrate on filmmaking. His films, like his art, broke all the rules. They did not have a  plot or script, and were often visually unfocused. Two of his most popular films were entitled Sleep, and Blow Job. Sleep was a five-hour film of his male friend sleeping in the nude. Blow Job depicted only the face of a man receiving fellatio. Another, Empire, was merely eight ours of the Empire State Building against a dark sky. One could say that Andy's films were the 1960's version of the web cam.

During this time, the factory had gotten out of control. Although Andy never took drugs, his entourage indulged in them. It was a never-ending party of sex, drugs and rock'n'roll. The band he managed (and formed at the factory), called The Velvet Underground, would often play there. But in 1968, the party stopped, as someone walked

in that changed Andy's life and art forever.

Valerie Solanis, a groupie from the factory, and the founder and sole member of S.C.U.M. (Society for Cutting Up Men), walked into Andy's office and shot him three times. The first two shots missed, but the third was fired point blank into Andy's chest. Andy was pronounced dead at the hospital, then later revived. He was hospitalized for months, and was forced to wear a painful corset for the rest of his life. When asked why she did it, Valerie said, "He had too much control over my life." She also blamed him for losing the only copy of her masterpiece, so eloquently entitled Up Your Ass.

It was years before Warhol was back in action. He had not recovered mentally from the shooting and had become paranoid. He shut down the old factory, and purchased a new building, hiring business-minded men to run it. But the toll of Andy's shooting was too much for his mother to bear, as she developed a heart condition soon after. She was his first assistant, and had lived with him for twenty years, always doting on Andy. Julia Warhola died in 1974, devastating him even more.

"Making money is art, and working is art and good business is the best art." -Andy Warhol

During the decade of the 1970's, Andy devoting his attention to making money. He began publishing Interview magazine, which is still in circulation today. He also returned to painting, focusing mostly on silkscreens of celebrities and other well-known people. Partying and networking was what Andy loved. He was a regular at New York clubs such as Studio54, and was always surrounded by celebrities. They flocked to him, and it was often said that you were not a star until you had the "Andy Stamp." There was not a price too high to pay for Andy Warhol to take their picture and paint them blue and green. The awkward-looking, shy man, who rarely spoke, was loved by all.

In the 1980's, things took a turn for the worse. Andy Warhol was now a household name, but he was unhappy. Andy's cable TV show, called "Andy Warhol's T.V.," was also a flop. In addition, the critics were saying that the Prince of Pop had lost his touch, becoming nothing more than a commercial, mass-producing, money machine--absent of all artistic expression. Even worse, people were agreeing. Andy's spirit and heart were broken.

In the mid-1980's, in an attempt to save his career, Andy completed many more series of art. One, entitled "Endangered Species", featured the worlds' animals that were at risk of becoming extinct. Another, "Reigning Queens," was nothing more than a series of current Queens from different countries, such as Denmark and Swaziland. Still, this was not exciting enough for the public. They wanted shock, intellectual stimulation, and fascination.

Andy's final painting was Leonardo DaVinci's The Last Supper. Andy had an appreciation of Renaissance artists, and Leonardo DaVinci was his favorite. Just months after The Last Supper was finished, Andy checked himself into a New York hospital to have his gallbladder removed. After the surgery, he fell asleep, never to awake again. In 1987, Andy Warhol was dead at age 59.

"I always thought I'd like my own tombstone to be blank. No epitaph, and no name. Well, actually, I'd like it to say 'figment'." -Andy Warhol, 1987

If one ponders the meaning of the word "figment," it seems so appropriate. After all, he was a creation; a creation formed by society, for society. The most common metaphor used to describe Warhol and his art has been that of a mirror. Like a mirror, he offers no judgements. Like a mirror, Warhol's art is a perfect reflection; a reflection of American culture; a reflection of us. Andy, and his art, will not soon be forgotten.

100.          Animal Farm 2

PG. 1

Animal Farm

Eric Arthur Blair, better known by his psuedonym George Orwell, is an English

author commonly known to write about political issues. Orwell has been highly acclaimed

and criticized for his novels, including one of his most famous, Animal Farm. In a satirical

form, George Orwell uses personified farm animals to express his views on stalinism in the

novel Animal Farm.

Throughout Orwell's early novels, democratic socialism kept the author from total

despair of all humans(Greenblatt 104). After his better experience in the Spanish Civil War

and the shock of the Nazi-Soviet pact, Orwell developed Animal Farm. The socialism

Orwell believed in was not a hardheaded "realistic" approach to society and polotics but a

rather sentimental, utopian vision of the world as a "raft sailing through space, with,

potentially, plenty of provisions for everybody"(Grennblatt 106).

Animal Farm is a satirical beast fable which has been heralded as Orwell's lightest,

gayest work(Brander 126). It is a novel based on the first thirty years of the Soviet Union, a

real society pursuing the ideal of equality. His book argues that this kind of society has not

worked and could not (Meyers 102). Animal Farm has also been known as a an enter-

taining, witty tale of a farm whose oppressed animals, capable of speech and reason,

overcome a cruel master and set up a revolutionary government(Meyers 103). On another,

more serious level, it is a political allegory, a symbolic tale where all the events and

characters represent events and characters in Russian history since 1917(Meyers 103).

Orwell uses actual historical events to construct Animal Farm, but rearranges them

to fit his plot. Manor Farm is Russia, Mr. Jones the Tsar, the pigs the Bolsheviks who led the

revolution. The humans represent the ruling class, the animals the workers and the peasants.

Old Major, the inspiration of the rebellion, is a combination of Marx, the chief theorist and

Lenin, the actual leader(Meyers 105). Old Major dies before the rebellion just as Lenin did in

the Russian revolution. In actuality Stalin and Trotsky argue over power after Lenin's death,

which Orwell satirizes in Napolean and Snowball.

In Animal Farm, Orwell immediately establishes the Soviet political allegory as Old

Major (Marx/Lenin) describes the exploitation of animals by humans and the statement "all

animals are comrades." The animals continuous singing of "Beasts of England" can be seen

not only as a symbol of the decay of communist notions of a perfect state, but also as

Orwell's more general comment on the decline of true liberty and equality in the west

(Gardner 99).

The progress of the revolution from a common idealism to a state system of leader,

police, and workers happens rather rapidly. The animals take over the farm and the pigs

( Bolsheviks ) emerge as natural organizers. The pigs rduce the principles of animalism in

seven simple commandments and develop a green and white version of the Russian hammer

and sickle flag. Instead, theirs has "a hoof and horn which signifies the future Republic of the

animals which would arise when the human race had been finally overthrown"(Orwell 89).

Orwell demonstrates both the greed and the hypocracy involved in the urge to power when

the clever pigs contribute to none of the work and keep for themselves all the milk and

apples.

During the novel, the pigs continue to gain more and more power. In the pigs uprise

of power, the Seven Commandments are an effective structural device. Their different

alterations resemble the pigs' progressive rise to power. The pigs' gradual acquisition of

priveleges- apples, milk, house, whisky, beer, clothes- leads to the final identification of pig

and human, Communist and capitalist(Gardner 101).

The blurring of the past and the hardening shape of the present, grim, greedy, or

just pragmatic, are accompanied by betrayal of the spirit of the revolution exemplified in the

ammendments made into the "Seven Commandments" of "Animalism"(Gardner 102).

Costantly these are changed by one of the deceiving pigs, Squealer. The puzzled animals

can not figure out with trying to keep pace with the pigs increasing authority. So the

commandments such as, "No animal shall sleep in a bed" becomes, when the pigs move into

the farmhouse, "No animal shall sleep in a bed with sheets." Also, after the savage killings

"No animal shall kill another" is modified by the addition of "without a cause."

Each event that occurs in Animal Farm has a historical parallel(Meyers 106).

The Rebellion is the October 1917 Revolution, the Battle of the Cowshed is the subsequent

Civil War, Mr. Jones and the farmers represent the loyalist Russians, the hen's revolt stands

for the brutally suppressed 1921 mutiny of the sailors, Napolean's deal with Whymper

represents Russia's 1922 Treaty of Rapallo with Germany(Meyers 106). The most

significant of all the events is the building of the windmill, which in Soviet terms represents

industrialization(Meyers 107). Orwell ends the novel with a satiric portrait of the Teheran

Conference of 1943, the meeting of Churchill, Roosevelt, and Stalin who are now allies

(Raymond).

Throughout the entire book, the pigs gradually gravitate towards the human world.

First, through trade and alliances with Mr.Frederick. The selling of timber to Mr. Frederick

of Pinchfield is the animal equivalent of the short-lived Nazi-Soviet nonaggression pact of

1939(Gardner 105). Then as the pigs celebrate the Pyrrhic victory at the Battle of the

Windmill, they drink alcohol. More and more has Napolean, now "elected" president,

become the remote object of a personality cult in a system marked by "readjustment"  of

rations for workers and the empty "dignity of" more songs, more speeches, and more

processions(Gardner 105). Despite this, all the animals, except the pigs, still hope for days

before the Rebellion. They figured if they worked hard, at least, they worked for themselves.

"No creature among them went upon two legs"(Orwell 36). "No creature called another

creature 'Master'"(Orwell 38). "All animals were equal"(Orwell 62).

Orwell finishes Animal Farm with a surprise ending. He demonstrates the pigs'

complete corruptness as they walk on their hind legs. The pigs train all the young sheep to

walk on their hind legs and chant "Four legs good, two legs better." Orwell throws in irony

throughout the novel to show that not all the animals are fair and equal.

On the whole, Orwell's intentions to discredit the Soviet system by showing its

inhumanity and its back-sliding from ideals is achieved. It is Orwell's sharpness of

visualization and emotional resonance that have ensured Animal Farm what seems to be

a permanent place in literature(Gardner 107). Graham Greene rightly noted in his review that

we "become involved in the fate of the animals. We care about them too much merely to

translate events into their historical equivalent." There is no such possibility in Animal Farm,

nor, by the end , can we escape the weight of the book's sadness by thinking that these things

have only happened to animals(Gardner 107). We look from the oppressed animals in the

book to the oppressed human beings outside and back again, and can see no difference

(Gardner 107).Work Cited

DISCovering Authors, Gale Research Inc., 1993 .[computer]

Gardner, Averil. George Orwell. Boston, G.K. Hall and Co.: 1987.

Meyers, Valerie. Modern Novelists George Orwell. St. Martin's Press: New York, 1991.

Orwell, George. Animal Farm. New York: Harcourt Brace Jovanovich Inc., 1946.

Schorer, Mark. "An Indigent and Prophetic Novel." The New York Times Book Review, 1949.

Williams, Raymond. George Orwell; A Collection of Critical Essays. New Jersey, Prentice- Hall, Inc.: 1974.

Woodcock, George. The Crystal Spirit: A Study of George Orwell. Little, Brownn, and Company, 1966.

101.          Animal Farm 6

Animal Farm: Comparison Between Book and Movie

Animal Farm is a novel about farm animals running a farm and becoming

self sufficient. It is a story with great detail and is a very good book to read

because of it surprising events. If you have seen Animal Farm the movie, you

would feel completely different. The movie has far less detail and events to

make it as interesting as the book.

Though the story is basically the same, the lack of details makes the movie

dull.

One thing that can make a book good is characters. In the book, there

were many more animals in the farm. The movie did not show many animals except

for the main animals. Even thought this is a small difference, it can be

noticeable. In the book, Mollie was a character. When she betrayed the animals

by being with a human it gave you a feeling that there were more animals that

could be traitors. In the movie since there was no Mollie,  you did not even

have a feeling of suspense for what was going to happen later on.

In the book, there was many surprises that shocked me. One of those

surprises was that Napoleon wanted Snowball ousted. Though Napoleon did not like

Snowball, the wasn't really any evidence that he would try to kill Snowball. In

the movie, Napoleon, had a bad image already. He had a mean look and shoved his

way in front when Old Major gave his speech. There was also gloomy music when

they had scenes of him. When the book showed of Napoleon as a bad guy, I was

surprised but I expected it in the movie because the movie showed him as a bad

person from the beginning.

Another detail that the movie missed was when all the animals could talk.

In the movie not all the animals could talk. This eliminated many important

things. Beasts of England was hummed when the animals sang it. When they could

talk, the words represented the hate they felt for the humans and the injustice

they felt was done to them. This is important because this greatly motivated the

animals to rebel. If they just hum the tune and call it Beasts of England, it

takes away from the mood of the story. Another reason speech is so important is

that in the book, animals sometimes questioned authority. Boxer had once

questions Squealer's actions. It also made it so the regular animals besides the

pigs could not communicate to each other and trying to guess their feelings was

not the easy.

The movie had a few more differences. The movie showed Mr. Jones being

killed in the windmill explosion. The book showed him dying at a relative's

house. The book did not show his death till the end so that before that, you

might have thought he would attack again. The movie show the windmill blown up

once when the book showed it being destroyed twice. Making it destroyed twice

show the animals hardships when they had to do many things over.

One last difference was that in the end, the animals finally rebelled.

This was a bad ending for that kind of story. The book showed it as a sad ending.

If the animals rebel, there is a small feeling of happiness for the animals.

This book was meant to show you that not everything ends as a happy ending.

Animal Farm was a good novel. Animal Farm the movie was a bad rendition

of the movie. It lacked in suspense, surprise, and mood. Though the story is the

same the details that help the story lacked in the movie. Animal Farm, the novel,

is a lot better than its movie version.

102.          Animal Farm Comparison

ANIMAL FARM COMPARISON

Animal Farm is a novel about farm animals running a farm and becoming self sufficient. It is a story with great detail and is a very good book to read because of it surprising events. If you have seen Animal Farm the movie, you would feel completely different. The movie has far less detail and events to make it as interesting as the book.

Though the story is basically the same, the lack of details makes the movie dull.

One thing that can make a book good is characters. In the book, there were many more animals in the farm. The movie did not show many animals except for the main animals. Even thought this is a small difference, it can be noticeable. In the book, Mollie was a character. When she betrayed the animals by being with a human it gave you a feeling that there were more animals that could be traitors. In the movie since there was no Mollie,  you did not even have a feeling of suspense for what was going to happen later on.

In the book, there was many surprises that shocked me. One of those surprises was that Napoleon wanted Snowball ousted. Though Napoleon did not like Snowball, the wasn't really any evidence that he would try to kill Snowball. In the movie, Napoleon, had a bad image already. He had a mean look and shoved his way in front when Old Major gave his speech. There was also gloomy music when they had scenes of him. When the book showed of Napoleon as a bad guy, I was surprised but I expected it in the movie because the movie showed him as a bad person from the beginning.

Another detail that the movie missed was when all the animals could talk. In the movie not all the animals could talk. This eliminated many important things. Beasts of England was hummed when the animals sang it. When they could talk, the words represented the hate they felt for the humans and the injustice they felt was done to them. This is important because this greatly motivated the animals to rebel. If they just hum the tune and call it Beasts of England, it takes away from the mood of the story. Another reason speech is so important is that in the book, animals sometimes questioned authority. Boxer had once questions Squealer's actions. It also made it so the regular animals besides the pigs could not communicate to each other and trying to guess their feelings was not the easy.

The movie had a few more differences. The movie showed Mr. Jones being killed in the windmill explosion. The book showed him dying at a relative's house. The book did not show his death till the end so that before that, you might have thought he would attack again. The movie show the windmill blown up once when the book showed it being destroyed twice. Making it destroyed twice show the animals hardships when they had to do many things over.

One last difference was that in the end, the animals finally rebelled. This was a bad ending for that kind of story. The book showed it as a sad ending. If the animals rebel, there is a small feeling of happiness for the animals. This book was meant to show you that not everything ends as a happy ending.

Animal Farm was a good novel. Animal Farm the movie was a bad rendition of the movie. It lacked in suspense, surprise, and mood. Though the story is the same the details that help the story lacked in the movie. Animal Farm, the novel, is a lot better than its movie version.

103.          Animal Farm Essay 5

Animal Farm - Movie

Animal Farm is a movie that uses animals to make fun of humans. The movie starts out with a the highest animal, Old Major, the pig, telling all the animals they must unite and leave the humans, and that the humans should not boss them around anymore. However, before that can happen, Old Major is killed. The animals do succeed, though, in scaring off the humans. Because O ld Major has died, it is time for a new leader. Snowball, a pig , and Napoleon, another pig, both try to lead the animals. Snowball wants to lead the animals just as Old Major did, but Napoleon wants to lead them as the humans did. Because Napoleon is smart, he makes it look to the other animals that Snowball is the bad pig, and eventually gets Snowball to leave. Napoleon then has complete control over the animals and things get really bad. In the end the animals come to their senses and leave. In this movie Napoleon is supposed to play the role of Hitler. Just how Hitler brainwashed people and took over, Napoleon did the same thing. Napoleon brainwashed the animals into thinking Snowball was the bad pig, while really it was Napoleon. Also, just as Hitler made new rules, like making his new race, Napoleon made new rules. He took the rules that Snowball had written after talking to Old Major, and changed them. The ending on the movie was a little bit different approach then normal. The whole movie was used to show how horrible it is when a dictator comes to power. So near the end the animals finally break away from the "dictator"- Napoleon and hide for many years. But then they go back after Napoleon leaves and build a new life together. So the happy ending ends up taking away from the message of a dictator being bad, because the outcome was happy.

All in all it was a good movie. Using the animals to portray animals has been done since the beginning of time. It is a good way to get the message across, and at the same time entertaining to watch.

104.          Animal Farm Essay

December 2, 1996

Period 5

Animal Farm Essay

The name of the book is Animal Farm, which is written by George

Orwell.  This book is about a farm with animals who dislike the treatment, and

overtake the farm and overthrow the humans of the farm.  As the revolution

took place, two leaders came about.   Their names were Snowball and

Napoleon, whose main goal was to have nothing to do with humans, and bring

communism into their society.

"Napoleon was a large, rather fierce-looking Berkshire boar, the only

one of those on the farm.  He was not much of a talker, but with a reputation

for getting his own way" (Ch.2, P. 25).

"Snowball was a more vivacious pig than Napoleon, quicker in speech

and more inventive but did not have the character depth that Napoleon did"

(Ch.2, Pgs. 24-25.)  Snowball was the one with the ideas like the committees

and the windmill.  He was a better thinker than Napoleon.

When all the animals helped kick Mr. Jones off the farm, Snowball led

the animals to the store-shed and served out a double ration of corn to

everybody with two biscuits going to each of the dogs.

Napoleon on the other hand was very selfish.  He stole milk that was

meant for everybody and drank it all, and he stole apples.  He doesn't care

about the work the animals do, just what would benefit him.

For example, Napoleon comes up with the building of the windmill that

would supply electricity so they would not have to work as hard.  Napoleon

was against this because he didn't come up with the idea.  When Napoleon

sees that Snowball is gaining more power with the speech of the windmill,

Napoleon sends his dogs to chase Snowball out of the farm.  After Snowball

was chased out of the farm, Napoleon gains more power by saying Snowball

was a bad person.  He told the animals that Snowball was with Mr. Jones

from the starting.  (Ch 6. P. 72) "We will teach this miserable traitor that he

cannot undo our work so easily."  He is now saying that Snowball was the

one who ruined the windmill, even though it was his idea.  He called him a

traitor.  And when Napoleon couldn't do the trash talking, he sent squealer.

"For we know now, it is all written down in the secret documents that

we have found-that in reality he was trying to lure us to our doom" (Ch. 7 P.

80).  He was telling all the animals that Snowball was a traitor and was with

Mr. Jones, because of the Battle of the Cowshed.  He told them that it was all

set up for them to be slaughtered.  One animal shouted that he was shot.  But

squealer was a smart one.  He told them that the shot only grazed him, and

Napoleon was the good guy.  He was the one that sank his teeth into Jones'

leg.

To me at least, it seemed that Snowball was always trying to do what

was best for the farm and all the other animals.  Snowball came up with the

ideas for the committees, the windmill, helped with the commandments.  He

was the courageous leader because the fact is that he was the one who led the

animals at the Battle of the Cowshed.  he was the one who was supplying the

animals with food during the rebellion.  Napoleon was stealing food.

Napoleon, since, has been changing the commandments that would

best suit him.  He has basically changed all the commandments with a few

words.  The seventh commandment has been changed to (Ch.10 P. 123) "All

Animals are Equal But Some Animals Are More Equal Than Others," meaning

of course, the pigs are more equal.  The commandments are being changed to

benefit them.  The alcohol commandment has changed with an addition of

two words.  "No Animal Shall drink Alcohol To Excess).  The bed

commandment has changed to where they can now sleep in beds, but without

sheets, but the only animals that sleep in the beds are the pigs.

Since the leader of the farm is a pig, none of the pigs have to follow the

commandments because when they break one, they just change it to what they

did.  I think that the animals are starting to act like humans more and more,

which they hated the most.  The chant that was four legs good, two legs bad,

had been changed to four legs good, two legs better, just because the pigs

wanted to walk like humans and have started walking like humans (Ch. 10 P.

122).

From this book, we learned that communism is very hard to bring to a

society where every person thinks that they are better then another.

105.          Animal Farm

Animal Farm

George Orwell's novel, Animal Farm, is a deceitfully simple story about a group of farm animals who, tired of toiling for the benefit of humans, rebel and create their own way of life only to find themselves, several years later, toiling for the benefit of one of their own kind, the pigs.  Because of the simplicity of this novel, many people consider it to be a children's story.  However, beyond it's lighthearted surface, it is truly a satirical attack against Stalinism.  "It is also a lament for the fate of revolutions and the hopes contained in them."  Adding to the complexity of the book, it also shows man's willingness to compromise the truth.  In the short scope of this novel, Orwell expresses many of his ideas about men and politics.

Major, an elderly pig, is the one who plants the seed of rebellion in the minds of the other animals by sharing with them a song which he had learned as a young pig, but which he has just recalled during a dream.  This song "Beasts of England" describes a peaceful life where all animals will live in harmony, no longer enslaved by humans.

Riches more than mind can picture,

Wheat and barley, oats and hay,

Clover, beans and mangel-wurzels

Shall be ours upon that day.

Bright will shine the fields of England,

Purer shall its waters be,

Sweeter yet shall blow its breezes

On the day that sets us free.  (pp. 7-8)

The character of Major symbolizes the Soviet Union leader, Vladimir Ilich Lennin.  Lennin too had caused his comrades to rise up in rebellion against the Czarist form of government in the hope of creating a country where everyone would be equal.  Before he saw his ideas fully enacted, he died.

After the death of Major, the power is left in the hands of two other pigs, Snowball and Napoleon.  Napoleon, who, without anyone else discovering, had raised a litter of puppies into fierce dogs, now uses them to chase Snowball off the farm.  This shares many similarities with the way a leader came into power to succeed Lennin.  Lennin's choice was Leon Trotsky, but Stalin, who is represented by Napoleon, uses tactful maneuvers to work his way into government and establish a totalitarian system.

As the only leader, Napoleon quickly begins to abuse his power.  Using his superior intelligence, he soon has the other animals doing all the farm work while he and the other pigs take on the roles of supervisors.  The attitudes of the animals, especially Boxer, with his motto, "Napoleon is always right," are representative of the way people in a totalitarian state blindly follow their leader.  One of the most important reasons for this blind faith is fear.  Napoleon creates this fear through the use of his dogs, who make sure there is no opposition to his rule.  Fear alone, though, does not keep the animals loyal; rather it is the combination of fear and the hope that their original dreams will still come true.

None of the old dreams had been abandoned.

The Republic of the Animals which Major had

foretold, when the green fields of England

should be untrodden by human feet, was still

believed in. (p. 85)

This is the general feeling of the animals and keeps them working hard to reach their goals.

Over time, we see the pigs becoming more and more like humans.  First we see them sleeping in beds, then drinking alcohol, and finally walking on two legs.  Everyone of these things is strictly prohibited in the seven commandments; however, Napoleon has bent the rules to help himself, so when the other animals check the rules, they have miraculously changed.  This is a trait inherent in most of mankind... they seem only to follow the truth when the truth suits them.  If it does not, they change it to meet their needs.

What begins as a wonderful dream where animals would control their own lives, free of human control, ends with the animals under the control of an even more oppressive ruler.  Lennin's overthrow of the oppressive Czarist government, in the end, led to the tyrannical and totalitarian reign of Stalin.  As long as there are such beliefs as, "All animals are equal, but some animals are more equal than others," (p. 88) all rebellions for equality will fail because there will always be some group to fill the role of superiority.

106.          Animal Instinct

Animal Instinct

What would life be like without a mother or a father?  What would life be like without any adult supervision?  How would a person act if they did not have society to tell them what is right and wrong?  Author William Golding believes that a person that wasn't brought up by society would only act using their basic human nature.  It is also a part of his believes that this nature is evil.  In his novel, Lord of the Flies, Golding proves his ideas on the evil at the base of the human nature through the lives of Piggy, Ralph, Roger, and Jack, whom are all young boys trapped on a deserted island in the Pacific.

Piggy was a nonathletic, fat child with glasses and asthma.  He was the child who was least effected by the evil inside of himself.  Piggy was also the most intelligent child on the island, and this intelligence is what kept him from giving in to his evil.  This intelligence was also thought by Jack to be a threat.  Piggy lived in fear of Jack because he knew what type of person he was and that he could not be trusted.  On page 93 Piggy expresses his fears by telling Ralph, "I'm scared of him and that is why I know him.  If your scared of someone you hate him but you can't stop thinking about him."  In this it is obvious that Piggy is scared of Jack, so much so that he thinks about him constantly and now he has him figured out.  This is why Piggy is unaffected by his evil.  He sees what is happening to everyone else through Jack.

The other person who wasn't overcome by their evil is Ralph.  Ralph was an older child, and he was an athletic born leader.  He was the leader of the tribe until the children began doing what Jack said.  Although he never completely surcame to it, Ralph was tempted by evil.  One instance happened when Jack and his hunters came back from a hunt and began to dance.  The story on page 75 says, "Ralph watched them enviously and resentful."  He was envious of the other children because they got to dance and chant, but he knew that it was wrong, so he did not join in, and during this time while he was being tempted he treated Piggy terribly.   He began to do what Jack said.  Once when Jack brought the meat back from one of the hunts he gave everyone a piece except for Piggy,  and when he complained Jack screamed at him, and instead of standing up for him as he did before Ralph sat quietly and gnawed on his meat.  At the beginning of chapter 5 Ralph takes a walk, and he begins not only to realize that the way he has been acting was wrong, but also to  realize how life should be lived.  At the beginning of the walk he was starring at his feet and was troubled by life.  Then he realizes that his problem was that he was starring at his feet.  When he began to look at the path in front of himself he began to think more clearly.  Just as he did on the path, he finds that in life you should always face forward.  After that, Ralph saw life more clearly and overcame that temptation from evil.  Ralph lived to be the sole survivor of the island that was not overcome by evil.

Roger was one of the hunters that followed Jack from the beginning.  He becomes almost totally driven by evil.  At first Roger was a quiet boy.  He barley even sputtered out his name when he was introducing himself.  Jack took him in though.  Every time that Jack went to do something Roger was right there with him.  Jack probably picked him because he was so shy and quiet.  He wanted someone who would follow orders and not ask questions, but Roger became more than that though.  He not only followed Jack's orders, but he followed the orders of his primitive instincts.  Roger in following his instincts killed Piggy.  When he did killed him it was for no reason at all.

Jack was the leader of the hunters.  The hunters were the evil children.  He was also the first child to become uncivilized or evil.  He wasn't always the evil child though.  Near the beginning Jack and Ralph were friends or at least friendly.  It was at the point when the tribe decided to choose a leader that he became the uncivilized and evil Jack.  On page 23, the book says that, "Jake and Ralph smiled at each other with a shy liking."  This came just after Ralph decided that Jack would be in charge of the choir, whom would all be the hunters.  Through the boys hunting they became less human and began to turn into their animal selves.  Jack was the worst of all at this.  He would get down on all fours and sniff the ground and wallow in the dirt.  Another thing he did was he painted his face.  This was a symbol of him losing his identity, and become an animal without passion, thoughts, or even a soul.

When Roger killed Piggy he was not a child. He was not a man.  He was an animal.  He didn't have the capability to think or reason.  When he killed Piggy, Roger was operating on pure survival instincts.  He was like a wolf or a bear.  In the end Golding proves that at our base we are just wild animals driven to evil by our instincts.

107.          Animatio1

Animation

My personal enjoyment with animation has inspired me to write this essay,

pertaining to animation. Since I was a child I have been fascinated with

cartoons; from when they started out to be black and white, and until now with

full colour and computer effects. To better perceive what my personal feelings

about animation are, I must first discuss in full detail, a general overview of

how animators bring traditional animation alive with motion.

Animation seems like a smooth movement of drawn sequences of artwork,

pasted together to form a single sequence of animation. This is the basis of

animation, but animation is far simpler than it may seem. "The true meaning of

animation is that it is a series of drawings strung together to create the

illusion of smooth fluent movement."1 But the process of creating this so-

called illusion, is a pain staking process during which artists must spend

tremendous hours of agony to produce only seconds of animated film.

Before an animator goes about creating an animation he or she must have

the knowledge of several rules of animation, which animators around the world

follow. The first rule of animation is that an animator must hold the

understanding of the techniques used to produce single cells of animation.

Second rule, and one of the most important ones is that, the animator must have

great patience, so that his or her piece of artwork is not rushed, to prevent

the animation from looking choppy and not as smooth as it should look. Finally

what is required from an animator is "it takes commitment and effort to make the

basis of animation come alive with fresh ideas."2 The following is not a rule of

animation, but is often taught to animators around the world. "Animators were

often taught that animation is only limited by the imagination and skills of its

creators."3 Using these rules animation companies hire artists who are familiar

with the rules previously discussed, but to create a feature full-length

animation you need more than just these rules. Below the process of creating a

feature full-length animation will be discussed in further detail.

To create a traditional animation requires a team of cooperative artists

and editors. It also demands a collective, creative approach, within which the

individual artists and editors of the team must harmonize and communicate well

with the other members of the team, for the final product to be successful.

Because so many personnel are involved in producing a single piece of animated

film, creation of this is very costly. Companies must create a team of animators

that are willing to work together to get the finished product perfect the first

time around. No matter how modest or ambitious the project, the team of

animators follow a strict number of structured procedures, and must possess the

understanding of the concepts and terminology in traditional animation.

When the team has been assembled. The team begins a long process of set

procedures, which all animators worldwide use. Below the many set procedures are

described in full detail.

1.Script

The script is the first stage in all film production. In an animation

script, the visual action in the plot and performance is far more important than

the dialogue.

2.Storyboard

The storyboard is a series of roughly drawn images that convey the

action described in the script. This scene-by-scene portrayal helps the writer,

director and animation team to access the content of the project and to correct

any deficiencies in the scripted story.

3.Soundtrack

After the script and storyboard are completed, the recording of any

dialogue or key music is undertaken. Since traditional animation relies on

perfect synchronization of the picture to the soundtrack, the animator must

receive the recorded track before beginning to draw.

4.Design

Designers create visual interpretations of all the actors in the script.

When these interpretations are approved, the actors are drawn from many angles

on a model sheet which the animators will use as a reference.

5.Leica Reel

A Leica reel is a filmed storyboard which can be projected in

synchronization with the soundtrack. It helps the director see how the film is

shaping up and make any changes to its visual aspects before animation is begun.

6.Line Tests

Line tests are animation drawings, produced in pencil on paper, filmed

to the precise timings of each scene. As line tests are approved they are cut

into Leica reel, replacing the original drawings and giving the director an even

better idea of how the final film will look.

7.Cleanup

Cleanup artists take the animation drawings now and clean them up, to

give them a consistent visual style.

8.Trace and Paint

When a cleaned-up line test is approved, each drawing is transferred to

a sheet of celluloid or acetate (a cell) and painted in the colours of the

original design.

9.Backgrounds

Background artists produce the animation's backgrounds, the background

is everything behind or, sometimes, in front of the actors that does not move.

10.Checking

The finished animation cells are passed to the checker, who makes sure

that everything is correctly drawn, traced, painted and prepared for the

cameraman who is to finally film it.

11.Final Shoot

When the checker is satisfied that all the artwork for each scene is

correct, the artwork is passed to the camera operator who shoots the final scene.

12.Dubbing

When the whole film exists in final form, and the director is satisfied

with it, the editor, with the director, chooses sound effects to go with the

action in the film. These sound effects are then laid in synchronization with

the action, and mixed with the voice track and music on one complete soundtrack.

13.Answer Print

Creating an answer print involves merging the sound and picture on one

piece of 24 frames per second film, the film is now ready for projection!

The above described how traditional animation is created. But now with

the computer becoming more useful and more tangible in its usefulness in

everyday society, animation is going through a dramatic change, with newer and

easier alternatives in creating and editing animations, on work stations and

home computers. Highly known animation studios like Disney and Silicon Graphics

are stepping up to a higher and more advanced level of animation, by using

computers to create animation effects that traditional animation techniques

would never be able to create. Special computer effects that were created on

computers were observed in the movies "Abyss", "Terminator 2", and "Jurassic

Park". All these movies had some computerized animation added to the film

producing special effects never seen previously on movies until now. This is

because computer-generated animations are more flexible than traditional

animations, because it can be altered, viewed, and manipulated in any way the

computer animator wishes by a click of the mouse. Furthermore computer-generated

animations appear to be more realistic, to the audience, because realistic

objects can be scanned into the animation by a computer scanner easily, and be

used as part of the animation. But the most attractive feature computer

animation holds is that "animations done on computer are cheaper and take less

time to produce."4

There are two major ways to go about producing a computer-generated

animation. The first and most used process is called "Stop-Frame

Cinematography", where an artist draws each cell of the animation or cuts out

pictures, then puts all the frames of still animation in an special scanner

which scans all the separate cells into the computer. Then the computer animator

arranges all the frames in the order, that it will be viewed in. Then the artist

colours and edits each frame of animation with a computer paint program. After

the animation on computer is completed the soundtrack and background voices are

digitized into the computer, and mixed synchronously together. The final process

of creation is where the foreground animation is merged with the background, and

the mixed sounds are synchronized with animation. After the animation is

completed it is printed to film by a computer film printer, and is ready for

viewing. The second process, which with the production of powerful high speed

computers is becoming more familiar in films with computer generated animation

and special effects, an example of this process is in the films "Jurassic Park"

and "Terminator 2". The process I am describing is referred in the industry as

"Computer Object Renderization". This is where a computer-generated actor is

created by a process called "Wire Framing". This process is like bending and

shaping metal wire to create a solid human figure or sculpture; at this point no

colour or texture has been created. After the wire framed actor is created, it

goes through a process referred as "Texture Mapping", where texture is added to

the wire framed actor, producing depth and dimension to the computer actor. This

process could be thought of as paper mashing a wire sculpture. Now the actor

appears to be three-dimensional with shadows and shades added to the actors

darker areas of the skeletal form. The computer actor is now ready for details

like toes, fingers, nose, eyes, etc... to be added, to make the appearance of

the actor more realistic. Now that the computer-rendered actor is completed

with all its human or animal like details. Its movement can be controlled by a

electronic suit which has several movement sensory devices located on key areas

of the suit. That means a human actor can put on the suit, and his or her

movement will be transferred to the computer and processed as digital

information. This causes the rendered actor to move on the computer monitor.

After the actor's movements have been acted out like the script needed, voices

are sequently merged together creating a single sequence of animation. Now the

actor can be printed to the film's background, creating full feature animation.

This is how animation studios produce computer rendered animations.

Due to the tremendous pace at which computers are becoming more widely

available in our everyday society today, almost anyone with some general

computer knowledge can now produce simple computer-generated animations, with a

home computer and some computer hardware, like a computer image digitizer,

computer drawing tablet with sensory drawing pen, colour film printer, sound

card with microphone receiver, and finally a video camera, these devices will

enhance the computer's graphics capabilities for doing computer generated

animations or movies. Secondly what is needed to create computer animation is

computer animation software which can execute fairly complicated graphics

applications. Finally, the most important piece of equipment which is needed, to

create sophisticated graphical animations is an abundance of external computer

memory or RAM. This is, because it takes enormous amounts of memory to animate

computer images which contain colour. This equipment has its limitations whereas

it can only produce simple computer animations, nothing like "T2" or "Jurassic

Park". "Long stringed sequences of animation like full-feature cartoons, contain

vast amounts of information that must be stored and manipulated."5 "This

enormous kind of digital computer information requires the kind of power and

storage capabilities that only industrial size supercomputers can provide."6

These sorts of computers, cost a significant amount of money, making it nearly

impossible for the general public to get at this technology.

Ever since the "first animated cartoons were produced in 1910,"7

involving such animals as "Felix the Cat" and "Mickey Mouse", and on to feature-

full length classics "Snow White and the Seven Dwarfs", "Fantasia", and many

more, the history of animation has been characterized by the almost constant

introduction of ever more complex forms of animation. "Beginning in the 1960's,

films showing abstract colour designs in motion were programmed by means of

computers that calculate intricate movements with amazing precision."8 Today

computer animation has achieved the ability to create moving images and

backgrounds of great complexity. This advanced innovation in animation, has

prompted the multimedia world to manipulate this technology to adapt to their

needs. Such as using computerized animation widely in their television

commercials, titles, and in producing more convincing music videos for the

consumers. Computer animation has just become popular in our society, it has not

even began to show its full capabilities. For in the near future we will be

graced with the presences of it in every technological medium; such as in

multimedia advertisement, video entertainment, and in the education system. We

must either accept this technology and learn to use it, or be left in the dark,

falling behind in the technological world.

Even though many companies are using computerized animations to promote

their product or film, old-style cell animation continues to be the sole

technique which quality animators, such as Disney Productions use, but with

computer-generated objects still often mixed with the traditional animation,

adding a new outlook to the animation. As we near the year 2000, and enter the

high-tech age of computer generated graphics and animation, I believe that the

true admirers of the art of animation will always have a nostalgia for the

techniques first used by the pioneers of animation.

Reference

1.Compton's Encyclopedia, 1991 edition, Vol.3, "Cartoons."

2.Randy McCallum, Cinemation (British Columbia: Motion Works Inc., 1992), p. 19.

3.ibid., p. 23.

4.Edward Desmond, "Beyond Mickey Mouse," Time (Nov.1.1993), p. 32.

5.Toolworks Encyclopedia, 1992 edition, CD ROM, "Animation."

6.ibid., CD ROM.

7.Compton's Encyclopedia, 1991 edition, Vol.3, "Cartoons"

8.Toolworks Encyclopedia, 1992 edition, CD ROM, "Animation."

Bibliography

1.Brown, Robert. "Cartoons." Compton's Encyclopedia, (1991), Vol.3, pp. 163-165.

2.Desmond, Edward W. "Beyond Mickey Mouse." Time, Sept.27,1993, pp. 42-47.

3.Elmer, Philip. "Video Game Boom." Time, Nov.1,1993, pp. 16-20.

4.McCallum, Randy. Cinemation. British Columbia: Motion Works Inc., 1992, pp. 1-

-193.

5.Redmond, John R. "Animation." Toolworks Encyclopedia, (1992), CD ROM.

6.Young, Harvill. "3D Imaging Technology." MacWorld, Sept.1,1992, pp. 276-285.

108.          Animation Essay

Animation

My personal enjoyment with animation has inspired me to write this essay,

pertaining to animation. Since I was a child I have been fascinated with

cartoons; from when they started out to be black and white, and until now with

full colour and computer effects. To better perceive what my personal feelings

about animation are, I must first discuss in full detail, a general overview of

how animators bring traditional animation alive with motion.

Animation seems like a smooth movement of drawn sequences of artwork,

pasted together to form a single sequence of animation. This is the basis of

animation, but animation is far simpler than it may seem. "The true meaning of

animation is that it is a series of drawings strung together to create the

illusion of smooth fluent movement."1 But the process of creating this so-

called illusion, is a pain staking process during which artists must spend

tremendous hours of agony to produce only seconds of animated film.

Before an animator goes about creating an animation he or she must have

the knowledge of several rules of animation, which animators around the world

follow. The first rule of animation is that an animator must hold the

understanding of the techniques used to produce single cells of animation.

Second rule, and one of the most important ones is that, the animator must have

great patience, so that his or her piece of artwork is not rushed, to prevent

the animation from looking choppy and not as smooth as it should look. Finally

what is required from an animator is "it takes commitment and effort to make the

basis of animation come alive with fresh ideas."2 The following is not a rule of

animation, but is often taught to animators around the world. "Animators were

often taught that animation is only limited by the imagination and skills of its

creators."3 Using these rules animation companies hire artists who are familiar

with the rules previously discussed, but to create a feature full-length

animation you need more than just these rules. Below the process of creating a

feature full-length animation will be discussed in further detail.

To create a traditional animation requires a team of cooperative artists

and editors. It also demands a collective, creative approach, within which the

individual artists and editors of the team must harmonize and communicate well

with the other members of the team, for the final product to be successful.

Because so many personnel are involved in producing a single piece of animated

film, creation of this is very costly. Companies must create a team of animators

that are willing to work together to get the finished product perfect the first

time around. No matter how modest or ambitious the project, the team of

animators follow a strict number of structured procedures, and must possess the

understanding of the concepts and terminology in traditional animation.

When the team has been assembled. The team begins a long process of set

procedures, which all animators worldwide use. Below the many set procedures are

described in full detail.

1.Script

The script is the first stage in all film production. In an animation

script, the visual action in the plot and performance is far more important than

the dialogue.

2.Storyboard

The storyboard is a series of roughly drawn images that convey the

action described in the script. This scene-by-scene portrayal helps the writer,

director and animation team to access the content of the project and to correct

any deficiencies in the scripted story.

3.Soundtrack

After the script and storyboard are completed, the recording of any

dialogue or key music is undertaken. Since traditional animation relies on

perfect synchronization of the picture to the soundtrack, the animator must

receive the recorded track before beginning to draw.

4.Design

Designers create visual interpretations of all the actors in the script.

When these interpretations are approved, the actors are drawn from many angles

on a model sheet which the animators will use as a reference.

5.Leica Reel

A Leica reel is a filmed storyboard which can be projected in

synchronization with the soundtrack. It helps the director see how the film is

shaping up and make any changes to its visual aspects before animation is begun.

6.Line Tests

Line tests are animation drawings, produced in pencil on paper, filmed

to the precise timings of each scene. As line tests are approved they are cut

into Leica reel, replacing the original drawings and giving the director an even

better idea of how the final film will look.

7.Cleanup

Cleanup artists take the animation drawings now and clean them up, to

give them a consistent visual style.

8.Trace and Paint

When a cleaned-up line test is approved, each drawing is transferred to

a sheet of celluloid or acetate (a cell) and painted in the colours of the

original design.

9.Backgrounds

Background artists produce the animation's backgrounds, the background

is everything behind or, sometimes, in front of the actors that does not move.

10.Checking

The finished animation cells are passed to the checker, who makes sure

that everything is correctly drawn, traced, painted and prepared for the

cameraman who is to finally film it.

11.Final Shoot

When the checker is satisfied that all the artwork for each scene is

correct, the artwork is passed to the camera operator who shoots the final scene.

12.Dubbing

When the whole film exists in final form, and the director is satisfied

with it, the editor, with the director, chooses sound effects to go with the

action in the film. These sound effects are then laid in synchronization with

the action, and mixed with the voice track and music on one complete soundtrack.

13.Answer Print

Creating an answer print involves merging the sound and picture on one

piece of 24 frames per second film, the film is now ready for projection!

The above described how traditional animation is created. But now with

the computer becoming more useful and more tangible in its usefulness in

everyday society, animation is going through a dramatic change, with newer and

easier alternatives in creating and editing animations, on work stations and

home computers. Highly known animation studios like Disney and Silicon Graphics

are stepping up to a higher and more advanced level of animation, by using

computers to create animation effects that traditional animation techniques

would never be able to create. Special computer effects that were created on

computers were observed in the movies "Abyss", "Terminator 2", and "Jurassic

Park". All these movies had some computerized animation added to the film

producing special effects never seen previously on movies until now. This is

because computer-generated animations are more flexible than traditional

animations, because it can be altered, viewed, and manipulated in any way the

computer animator wishes by a click of the mouse. Furthermore computer-generated

animations appear to be more realistic, to the audience, because realistic

objects can be scanned into the animation by a computer scanner easily, and be

used as part of the animation. But the most attractive feature computer

animation holds is that "animations done on computer are cheaper and take less

time to produce."4

There are two major ways to go about producing a computer-generated

animation. The first and most used process is called "Stop-Frame

Cinematography", where an artist draws each cell of the animation or cuts out

pictures, then puts all the frames of still animation in an special scanner

which scans all the separate cells into the computer. Then the computer animator

arranges all the frames in the order, that it will be viewed in. Then the artist

colours and edits each frame of animation with a computer paint program. After

the animation on computer is completed the soundtrack and background voices are

digitized into the computer, and mixed synchronously together. The final process

of creation is where the foreground animation is merged with the background, and

the mixed sounds are synchronized with animation. After the animation is

completed it is printed to film by a computer film printer, and is ready for

viewing. The second process, which with the production of powerful high speed

computers is becoming more familiar in films with computer generated animation

and special effects, an example of this process is in the films "Jurassic Park"

and "Terminator 2". The process I am describing is referred in the industry as

"Computer Object Renderization". This is where a computer-generated actor is

created by a process called "Wire Framing". This process is like bending and

shaping metal wire to create a solid human figure or sculpture; at this point no

colour or texture has been created. After the wire framed actor is created, it

goes through a process referred as "Texture Mapping", where texture is added to

the wire framed actor, producing depth and dimension to the computer actor. This

process could be thought of as paper mashing a wire sculpture. Now the actor

appears to be three-dimensional with shadows and shades added to the actors

darker areas of the skeletal form. The computer actor is now ready for details

like toes, fingers, nose, eyes, etc... to be added, to make the appearance of

the actor more realistic. Now that the computer-rendered actor is completed

with all its human or animal like details. Its movement can be controlled by a

electronic suit which has several movement sensory devices located on key areas

of the suit. That means a human actor can put on the suit, and his or her

movement will be transferred to the computer and processed as digital

information. This causes the rendered actor to move on the computer monitor.

After the actor's movements have been acted out like the script needed, voices

are sequently merged together creating a single sequence of animation. Now the

actor can be printed to the film's background, creating full feature animation.

This is how animation studios produce computer rendered animations.

Due to the tremendous pace at which computers are becoming more widely

available in our everyday society today, almost anyone with some general

computer knowledge can now produce simple computer-generated animations, with a

home computer and some computer hardware, like a computer image digitizer,

computer drawing tablet with sensory drawing pen, colour film printer, sound

card with microphone receiver, and finally a video camera, these devices will

enhance the computer's graphics capabilities for doing computer generated

animations or movies. Secondly what is needed to create computer animation is

computer animation software which can execute fairly complicated graphics

applications. Finally, the most important piece of equipment which is needed, to

create sophisticated graphical animations is an abundance of external computer

memory or RAM. This is, because it takes enormous amounts of memory to animate

computer images which contain colour. This equipment has its limitations whereas

it can only produce simple computer animations, nothing like "T2" or "Jurassic

Park". "Long stringed sequences of animation like full-feature cartoons, contain

vast amounts of information that must be stored and manipulated."5 "This

enormous kind of digital computer information requires the kind of power and

storage capabilities that only industrial size supercomputers can provide."6

These sorts of computers, cost a significant amount of money, making it nearly

impossible for the general public to get at this technology.

Ever since the "first animated cartoons were produced in 1910,"7

involving such animals as "Felix the Cat" and "Mickey Mouse", and on to feature-

full length classics "Snow White and the Seven Dwarfs", "Fantasia", and many

more, the history of animation has been characterized by the almost constant

introduction of ever more complex forms of animation. "Beginning in the 1960's,

films showing abstract colour designs in motion were programmed by means of

computers that calculate intricate movements with amazing precision."8 Today

computer animation has achieved the ability to create moving images and

backgrounds of great complexity. This advanced innovation in animation, has

prompted the multimedia world to manipulate this technology to adapt to their

needs. Such as using computerized animation widely in their television

commercials, titles, and in producing more convincing music videos for the

consumers. Computer animation has just become popular in our society, it has not

even began to show its full capabilities. For in the near future we will be

graced with the presences of it in every technological medium; such as in

multimedia advertisement, video entertainment, and in the education system. We

must either accept this technology and learn to use it, or be left in the dark,

falling behind in the technological world.

Even though many companies are using computerized animations to promote

their product or film, old-style cell animation continues to be the sole

technique which quality animators, such as Disney Productions use, but with

computer-generated objects still often mixed with the traditional animation,

adding a new outlook to the animation. As we near the year 2000, and enter the

high-tech age of computer generated graphics and animation, I believe that the

true admirers of the art of animation will always have a nostalgia for the

techniques first used by the pioneers of animation.

Reference

1.Compton's Encyclopedia, 1991 edition, Vol.3, "Cartoons."

2.Randy McCallum, Cinemation (British Columbia: Motion Works Inc., 1992), p. 19.

3.ibid., p. 23.

4.Edward Desmond, "Beyond Mickey Mouse," Time (Nov.1.1993), p. 32.

5.Toolworks Encyclopedia, 1992 edition, CD ROM, "Animation."

6.ibid., CD ROM.

7.Compton's Encyclopedia, 1991 edition, Vol.3, "Cartoons"

8.Toolworks Encyclopedia, 1992 edition, CD ROM, "Animation."

Bibliography

1.Brown, Robert. "Cartoons." Compton's Encyclopedia, (1991), Vol.3, pp. 163-165.

2.Desmond, Edward W. "Beyond Mickey Mouse." Time, Sept.27,1993, pp. 42-47.

3.Elmer, Philip. "Video Game Boom." Time, Nov.1,1993, pp. 16-20.

4.McCallum, Randy. Cinemation. British Columbia: Motion Works Inc., 1992, pp. 1-

-193.

5.Redmond, John R. "Animation." Toolworks Encyclopedia, (1992), CD ROM.

6.Young, Harvill. "3D Imaging Technology." MacWorld, Sept.1,1992, pp. 276-285.

109.          Animation

Animation:

My personal enjoyment with animation has inspired me to write

this essay, pertaining to animation. Since I was a child I have

been fascinated with cartoons; from when they started out to be

black and white, and until now with full colour and computer

effects. To better perceive what my personal feelings about

animation are, I must first discuss in full detail, a general

overview of how animators bring traditional animation alive with

motion.

Animation seems like a smooth movement of drawn sequences of

artwork, pasted together to form a single sequence of animation.

This is the basis of animation, but animation is far simpler than

it may seem. "The true meaning of animation is that it is a

series of drawings strung together to create the illusion of

smooth fluent movement."1 But the process of creating this so-

called illusion, is a pain staking process during which artists

must spend tremendous hours of agony to produce only seconds of

animated film.

Before an animator goes about creating an animation he or she

must have the knowledge of several rules of animation, which

animators around the world follow. The first rule of animation is

that an animator must hold the understanding of the techniques

used to produce single cells of animation. Second rule, and one

of the most important ones is that, the animator must have great

patience, so that his or her piece of artwork is not rushed, to

prevent the animation from looking choppy and not as smooth as it

should look. Finally what is required from an animator is "it

takes commitment and effort to make the basis of animation come

alive with fresh ideas."2 The following is not a rule of

animation, but is often taught to animators around the world.

"Animators were often taught that animation is only limited by

the imagination and skills of its creators."3 Using these rules

animation companies hire artists who are familiar with the rules

previously discussed, but to create a feature full-length

animation you need more than just these rules. Below the process

of creating a feature full-length animation will be discussed in

further detail.

To create a traditional animation requires a team of cooperative

artists and editors. It also demands a collective, creative

approach, within which the individual artists and editors of the

team must harmonize and communicate well with the other members

of the team, for the final product to be successful. Because so

many personnel are involved in producing a single piece of

animated film, creation of this is very costly. Companies must

create a team of animators that are willing to work together to

get the finished product perfect the first time around. No matter

how modest or ambitious the project, the team of animators follow

a strict number of structured procedures, and must possess the

understanding of the concepts and terminology in traditional

animation.

When the team has been assembled. The team begins a long process

of set procedures, which all animators worldwide use. Below the

many set procedures are described in full detail.

1.Script

The script is the first stage in all film production. In an

animation script, the visual action in the plot and performance

is far more important than the dialogue.

2.Storyboard

The storyboard is a series of roughly drawn images that convey

the action described in the script. This scene-by-scene portrayal

helps the writer, director and animation team to access the

content of the project and to correct any deficiencies in the

scripted story.

3.Soundtrack

After the script and storyboard are completed, the recording of

any dialogue or key music is undertaken. Since traditional

animation relies on perfect synchronization of the picture to the

soundtrack, the animator must receive the recorded track before

beginning to draw.

4.Design

Designers create visual interpretations of all the actors in the

script. When these interpretations are approved, the actors are

drawn from many angles on a model sheet which the animators will

use as a reference.

5.Leica Reel

A Leica reel is a filmed storyboard which can be projected in

synchronization with the soundtrack. It helps the director see

how the film is shaping up and make any changes to its visual

aspects before animation is begun.

6.Line Tests

Line tests are animation drawings, produced in pencil on paper,

filmed to the precise timings of each scene. As line tests are

approved they are cut into Leica reel, replacing the original

drawings and giving the director an even better idea of how the

final film will look.

7.Cleanup

Cleanup artists take the animation drawings now and clean them

up, to give them a consistent visual style.

8.Trace and Paint

When a cleaned-up line test is approved, each drawing is

transferred to a sheet of celluloid or acetate (a cell) and

painted in the colours of the original design.

9.Backgrounds

Background artists produce the animation's backgrounds, the

background is everything behind or, sometimes, in front of the

actors that does not move.

10.Checking

The finished animation cells are passed to the checker, who

makes sure that everything is correctly drawn, traced, painted

and prepared for the cameraman who is to finally film it.

11.Final Shoot

When the checker is satisfied that all the artwork for each

scene is correct, the artwork is passed to the camera operator

who shoots the final scene.

12.Dubbing

When the whole film exists in final form, and the director is

satisfied with it, the editor, with the director, chooses sound

effects to go with the action in the film. These sound effects

are then laid in synchronization with the action, and mixed with

the voice track and music on one complete soundtrack.

13.Answer Print

Creating an answer print involves merging the sound and picture

on one piece of 24 frames per second film, the film is now ready

for projection!

The above described how traditional animation is created. But

now with the computer becoming more useful and more tangible in

its usefulness in everyday society, animation is going through a

dramatic change, with newer and easier alternatives in creating

and editing animations, on work stations and home computers.

Highly known animation studios like Disney and Silicon Graphics

are stepping up to a higher and more advanced level of animation,

by using computers to create animation effects that traditional

animation techniques would never be able to create. Special

computer effects that were created on computers were observed in

the movies "Abyss", "Terminator 2", and "Jurassic Park". All

these movies had some computerized animation added to the film

producing special effects never seen previously on movies until

now. This is because computer-generated animations are more

flexible than traditional animations, because it can be altered,

viewed, and manipulated in any way the computer animator wishes

by a click of the mouse. Furthermore computer-generated

animations appear to be more realistic, to the audience, because

realistic objects can be scanned into the animation by a computer

scanner easily, and be used as part of the animation. But the

most attractive feature computer animation holds is that

"animations done on computer are cheaper and take less time to

produce."4

There are two major ways to go about producing a computer-

generated animation. The first and most used process is called

"Stop-Frame Cinematography", where an artist draws each cell of

the animation or cuts out pictures, then puts all the frames of

still animation in an special scanner which scans all the

separate cells into the computer. Then the computer animator

arranges all the frames in the order, that it will be viewed in.

Then the artist colours and edits each frame of animation with a

computer paint program. After the animation on computer is

completed the soundtrack and background voices are digitized into

the computer, and mixed synchronously together. The final process

of creation is where the foreground animation is merged with the

background, and the mixed sounds are synchronized with animation.

After the animation is completed it is printed to film by a

computer film printer, and is ready for viewing. The second

process, which with the production of powerful high speed

computers is becoming more familiar in films with computer

generated animation and special effects, an example of this

process is in the films "Jurassic Park" and "Terminator 2". The

process I am describing is referred in the industry as "Computer

Object Renderization". This is where a computer-generated actor

is created by a process called "Wire Framing". This process is

like bending and shaping metal wire to create a solid human

figure or sculpture; at this point no colour or texture has been

created. After the wire framed actor is created, it goes through

a process referred as "Texture Mapping", where texture is added

to the wire framed actor, producing depth and dimension to the

computer actor. This process could be thought of as paper mashing

a wire sculpture. Now the actor appears to be three-dimensional

with shadows and shades added to the actors darker areas of the

skeletal form. The computer actor is now ready for details like

toes, fingers, nose, eyes, etc... to be added, to make the

appearance of the actor more realistic. Now that the computer-

rendered actor is completed with all its human or animal like

details. Its movement can be controlled by a electronic suit

which has several movement sensory devices located on key areas

of the suit. That means a human actor can put on the suit, and

his or her movement will be transferred to the computer and

processed as digital information. This causes the rendered actor

to move on the computer monitor. After the actor's movements have

been acted out like the script needed, voices are sequently

merged together creating a single sequence of animation. Now the

actor can be printed to the film's background, creating full

feature animation. This is how animation studios produce computer

rendered animations.

Due to the tremendous pace at which computers are becoming more

widely available in our everyday society today, almost anyone

with some general computer knowledge can now produce simple

computer-generated animations, with a home computer and some

computer hardware, like a computer image digitizer, computer

drawing tablet with sensory drawing pen, colour film printer,

sound card with microphone receiver, and finally a video camera,

these devices will enhance the computer's graphics capabilities

for doing computer generated animations or movies. Secondly what

is needed to create computer animation is computer animation

software which can execute fairly complicated graphics

applications. Finally, the most important piece of equipment

which is needed, to create sophisticated graphical animations is

an abundance of external computer memory or RAM. This is, because

it takes enormous amounts of memory to animate computer images

which contain colour. This equipment has its limitations whereas

it can only produce simple computer animations, nothing like "T2"

or "Jurassic Park". "Long stringed sequences of animation like

full-feature cartoons, contain vast amounts of information that

must be stored and manipulated."5 "This enormous kind of digital

computer information requires the kind of power and storage

capabilities that only industrial size supercomputers can

provide."6 These sorts of computers, cost a significant amount of

money, making it nearly impossible for the general public to get

at this technology.

Ever since the "first animated cartoons were produced in 1910,"7

involving such animals as "Felix the Cat" and "Mickey Mouse", and

on to feature-full length classics "Snow White and the Seven

Dwarfs", "Fantasia", and many more, the history of animation has

been characterized by the almost constant introduction of ever

more complex forms of animation. "Beginning in the 1960's, films

showing abstract colour designs in motion were programmed by

means of computers that calculate intricate movements with

amazing precision."8 Today computer animation has achieved the

ability to create moving images and backgrounds of great

complexity. This advanced innovation in animation, has prompted

the multimedia world to manipulate this technology to adapt to

their needs. Such as using computerized animation widely in their

television commercials, titles, and in producing more convincing

music videos for the consumers. Computer animation has just

become popular in our society, it has not even began to show its

full capabilities. For in the near future we will be graced with

the presences of it in every technological medium; such as in

multimedia advertisement, video entertainment, and in the

education system. We must either accept this technology and learn

to use it, or be left in the dark, falling behind in the

technological world.

Even though many companies are using computerized animations to

promote their product or film, old-style cell animation continues

to be the sole technique which quality animators, such as Disney

Productions use, but with computer-generated objects still often

mixed with the traditional animation, adding a new outlook to the

animation. As we near the year 2000, and enter the  high-tech age

of computer generated graphics and animation, I believe that the

true admirers of the art of animation will always have a

nostalgia for the techniques first used by the pioneers of

animation.

Reference

1.Compton's Encyclopedia, 1991 edition,

Vol.3, "Cartoons."

2.Randy McCallum, Cinemation

(British Columbia: Motion Works Inc., 1992), p. 19.

3.ibid., p. 23.

4.Edward Desmond, "Beyond Mickey Mouse," Time

(Nov.1.1993), p. 32.

5.Toolworks Encyclopedia, 1992 edition,

CD ROM, "Animation."

6.ibid., CD ROM.

7.Compton's Encyclopedia, 1991 edition,

Vol.3, "Cartoons"

8.Toolworks Encyclopedia, 1992 edition,

CD ROM, "Animation."

Bibliography

1.Brown, Robert. "Cartoons." Compton's Encyclopedia,

(1991), Vol.3, pp. 163-165.

2.Desmond, Edward W. "Beyond Mickey Mouse." Time, Sept.27,1993,

pp. 42-47.

3.Elmer, Philip. "Video Game Boom." Time, Nov.1,1993,

pp. 16-20.

4.McCallum, Randy. Cinemation. British Columbia:

Motion Works Inc., 1992, pp. 1-193.

5.Redmond, John R. "Animation." Toolworks Encyclopedia,

(1992), CD ROM.

6.Young, Harvill. "3D Imaging Technology." MacWorld, Sept.1,1992,

pp. 276-285.

110.          Annie Hall

Annie Hall

In Annie Hall, there is an interesting mixture of the real and the fantastic. It is a very simple love story that is very ordinary and real to life, it could happen to anyone. It tells the story of Alvy Singer and Annie Hall, who fall in love for awhile, but things dont work out, so they break up. What makes this movie different is that it uses an unusual method of commentary to get its point across. During many parts of the movie, it is not really like a movie. It is just Woody Allen talking about his life in the movie to us, the audience. In other parts, it is similar to Wild Strawberries, where the old man would have flashbacks where he would walk through scenes from his childhood in that the characters appear in a scene, such as a party in Alvie's childhood. In these scenes, Woody and whoever else is with him are not participants; they are merely onlookers and commentators. These elements of impossible situations are also used as comic relief-- for example, the children in the classroom unexpectedly saying, as if they were grown adults, that they were plumbers and they beat their wives or whatever.

I think that the fantastical elements certainly added to the movie and helped to clarify and develop the characters of the movie, because instead of just seeing the characters actions and hearing what they were saying, we were able to see into their minds, what they were thinking and feeling.

111.          Another Reservoir Dogs

Another Reservoir Dogs

Gangsters, violence, murder and corruption !!!!! If these are some of

the things that you're into, then this is your kind of movie. Be ready to

watch it more than once to be sure to get all the movie has to offer because it

jumps from subject to subject and can be a little confusing.

The movie on the whole was really great. It was filled with some pretty

gory scenes and extreme violent content, Tarantinos' trademark. The way he

portrays the real life aspects of crime and violence are unbelievable. I

wonder if he experienced some of these things himself and that's why he has a

realistic view of them. Then again, I can't really gauge how realistic any

of these themes are because after watching this kind of movie it makes me feel

like I lead a really sheltered lifestyle.

Why does all the violence in Tarantinos' movies become so attractive

to us normal people? I think it's because most of his material is underworld

stuff. He deals with things we can barely relate to. Topics that are so far

fetched to a "normal" person that they kind of hypnotize us into watching.

Things happen in his movies that are so bizarre, we can't begin to imagine

them happening to us in real life.

The weird part is, many of these things DO happen every day. We all

know there really are gangsters, mobsters and really low-life people that

involve themselves in what we think of as underworld crime. Drug deals....

on a level so great... amounts we can't begin to comprehend. Murders, for

whatever reason. Even the thought of hiring someone to kill someone else

gives us a goose bump or three. In his movies it's almost like borrowing a

cup of sugar from your next door neighbor.

Chopping off someone's ear would repulse me and probably make me want to spew my lunch.

Tarantinos' characters chop off ears then talk into them as if they were

using ma bell. His characters attitudes are totally ruthless. They could give a shit if

you were the cousin of the president or a nanny. They have a job to do and

they do it. No holes barred, no questions asked, no thought given to actions

or consequences. They are almost like robots, zombies of the underworld

that have no emotions or respect for the value of life. You would think

these characters are drugged or brainwashed, but they're not. It amazes me that

people do this kind of shit as if it were just another day. It's as second

nature to them as brushing our teeth every morning is to us.

Belonging. Everyone likes to feel like they fit in. There is a certain

comfort level in belonging to something, anything. Even if it is to a gang

of criminal types. I think that's another reason we all relate or get captured

by viewing these kinds of movies. I can only compare it to a fraternity;

fraternity brothers all belong to an organized group. They have similar interests,

goals and acquaintances. All Tarantinos' characters have these things in common.

Although they aren't exactly what we would consider acceptable, they all

still feel this common bond. It's a sick kind of thing though. When you think of

all the things life has to offer, why would you want to involve yourself in

all this complicated criminal shit? They jeopardize their own existence because

even though they are considered members of the organization, they would

snuff each other out in the blink of an eye if the right person told them to

do it

!!!! I have to admit I was totally awed by his movie. I couldn't wait for the

next scene to start. As a movie maker, his ideas and the way he presents

them are phenomenal. He definitely captures his viewers. You don't even

want to blink for fear of missing something. I would like to see him do a

movie about topics that aren't so bizarre just to see if the movies would be

as good.

112.          Antigone or Creon the protagonist

Antigone

Critics have traditionally divided over the question of whether Antigone or Creon is the protagonist in the play, Antigone, by Sophocles.  The answer lies in ones interpretation of the play.  Is it a play about a woman doomed by the sins of her father,

r is it a play about a king who holds himself more powerful than the gods?

Antigone is the daughter of Oedipus.  Oedipus, once the king of Thebes, unwittingly killed his father and married his mother.  Four children, Polyneices, Etocles, Antigone, and Ismene were the products of that union.  When Oedipus learns the true ident

y of Iocaste, his wife and mother, he blinds himself and leaves Thebes.  His two sons, Polyneices and Etocles, wage war over the control of Thebes, and kill each other in doing so.

When the play opens, Antigone is speaking with her sister, Ismene, about Creon's (present king of Thebes) decree that Polyneices be denied a burial.  Polyneices' body will be put into the fields, unburied, as punishment for his attack on Thebes.  Antig

e decides she must bury the body.

If Antigone is the protagonist of this play, then the action is a further saga in the chapter of Oedipus.  Oedipus and his family are doomed for his sin against the gods.  Sophocles describes this in Ode II:

Where once the anger of heaven has struck, that house has shaken

For ever:  damnation rises behind each child

Like a wave cresting out of the black northeast,

When the long darkness under sea roars up

And bursts drumming death upon the whindwhipped sand (336).

Creon becomes a tool of the gods used to further the doom of the family of Oedipus.

Antigone knows that she is cursed.  In the prologue, Antigone says, ' . . . You would think that we had already suffered enough for the curse on Oedipus . . .' (322).  She decides that it is her duty to defy Creon's proclamation and bury her brother, P

yneices, so that his soul can rest in peace in the Underworld.  Antigone is not concerned with the punishment of death that he (Creon) has promised to impose on anyone who dares defy his edict, because her death has been foretold by the gods.  Antigone

ooses to bury Polyneices so that they can both die with honor.  She notes that life is short, but that death is forever.  Antigone remarks, 'It will not be the worst of deaths - death without honor' (325).

If Antigone is the protagonist, all the action of the play is derived from this choice.  Creon is the antagonist, the means by which Antigone makes the choice to die with honor.  Creon becomes a pawn between the struggle of Antigone and the gods.  Ant

one chooses to make her peace with the gods by sacrificing her life to uphold their laws of burial.  She tells Creon ' . . . all your strength is weakness itself against the immortal unrecorded laws of the gods' (333).

If Creon is the protagonist, this is a play about the hubris of a man who thinks himself more powerful, and more important than the gods.  He has decreed that Polyneices remain unburied to pay for his crimes against the state.  But in making this procl

ation, Creon defies the laws of the gods and prevents the gods from claiming Polyneices, after his death.  When Antigone is brought to Creon, after her crime has been discovered, Creon is enraged.  Antigone explains that there is a higher law than his,

at of the gods, and she is obeying the gods proclamation.  But Creon can only see that she has broken his laws:

The girl is guilty of double insolence,

Breaking the given laws and boasting of it.

Who is the man here,

She or I, if this crime goes unpunished (334)?

He condemns Antigone to death by entombing her in stone.  With this action, Creon seals his fate.

Creon listens to no ones advice.  His son Haimon and Charagos warn him against challenging the gods.  Creon, however, can not see past his own pride.  Teserias finally convinces him of his foolishness.  He tells Creon that ' . . . the Furies and the da

gods of Hell are swift with terrible punishment for you' (347).  Creon goes to set Antigone free, but it is too late, his fate has been written.  Antigone has hung herself, and Haimon is grief stricken that his love has taken her own life.  Haimon atte

ts to kill his father, but fails, and kills himself.  Creon returns home to find that his wife, grief stricken by her son's death, has also killed herself.  Creon realizes that all that has happened is a result of his arrogance.  'Fate has brought all m

pride to a thought of dust' (354).

If Creon is the protagonist, the action of the play is derived from Creon's choice to make his laws more important than the laws of the gods.  Antigone is the antagonist, the means by which Creon defies the gods.  He chooses to hold himself above the g

s, and is severely punished for this action.

While there is evidence for both Antigone and Creon being the protagonists, I believe the action of the play is centered around Creon.  While Antigone's basic character remains the same, Creon's character undergoes a profound change.  He begins as an a

ogant, proud king, and ends as a broken humble man.  Choragos states the theme of the play:

There is no happiness where there is no wisdom;

No wisdom but in submission to the gods.

Big words are always punished,

And proud men in old age learn to be wise (354).

113.          Antigone Summary of the Greek play Antigone and why its titled after her

The Greek playwrite, Sophocles, wrote many exceptional plays.  One of these is Antigone.  The play is named after Oedipus's daughter, although it is primarily about her Uncle Creon.  Creon is the focal point and it is his misjudgment and pride that causes his downfall.  Yet, the title of this story is still Antigone.  This is because it is her actions that lead to Creon's fall.  She is the catalyst for the  chain reactions that occur in the play.   All Antigone wants to do is give her brother, Polynices, a proper burial.  But King Creon says that burying Polynices was illegal and punishable with death.  He calls Polynices a traitor to Thebes because he had fought on the opposite side.   Yet, Antigone loves her brother   dearly and did indeed bury him.  She did not deny anything saying that, "even if I die in the act, that  death will be a glory" (63).  When Creon found out Antigone had buried Polynices, he sentenced her to death.  Creon was so convinced that a traitor must not have a proper burial that nothing would change his mind.  His pride would not let him see reason, that all Antigone wants is a burial for her beloved brother.  And so he ordered her death and this causes everything to fall apart for Creon.  However, Creon did finally realize his folly, but it was too late.   For Antigone was already died and when Creon's son, Haemon, sees his died fiancée, he kills himself.  Then, when Creon's wife, Eurydice, learns of Haemon's death, she in turn kills herself.  Creon is left with nothing, no family, no happiness, and wanting to die himself.   Clearly, it was Antigone's actions in life and her very demise that leads to Creon's catastrophic misfortune.  This is the reason why Sophocles titled the play Antigone instead of Creon.

114.          Apocalypse Now and Heart of Darkness

Apocalypse Now and Heart of Darkness

Inherent inside every human soul is a savage evil side that remains repressed

by society. Often this evil side breaks out during times of isolation from our

culture, and whenever one culture confronts another. History is loaded with

examples of atrocities that have occurred when one culture comes into contact

with another. Whenever fundamentally different cultures meet, there is often a

fear of contamination and loss of self that leads us to discover more about our

true selves, often causing perceived madness by those who have yet to discover.

The Puritans left Europe in hopes of finding a new world to welcome them and

their beliefs. What they found was a vast new world, loaded with Indian cultures

new to them. This overwhelming cultural interaction caused some Puritans to go

mad and try to purge themselves of a perceived evil. This came to be known as

the Salem witch trials.

During World War II, Germany made an attempt to overrun Europe. What happened

when the Nazis came into power and persecuted the Jews in Germany, Austria and

Poland is well known as the Holocaust. Here, humanís evil side provides one of

the scariest occurrences of this century. Adolf Hitler and his Nazi counterparts

conducted raids of the ghettos to locate and often exterminate any Jews they

found. Although Jews are the most widely known victims of the Holocaust, they

were not the only targets. When the war ended, 6 million Jews, Slavs, Gypsies,

homosexuals, Jehovah's Witnesses, Communists, and others targeted by the Nazis,

had died in the Holocaust. Most of these deaths occurred in gas chambers and

mass shootings. This gruesome attack was motivated mainly by the fear of

cultural intermixing which would impurify the "Master Race."

Joseph Conradís book, The Heart of Darkness and Francis Coppolaís movie,

Apocalypse Now are both stories about Manís journey into his self, and the

discoveries to be made there. They are also about Man confronting his fears of

failure, insanity,  death, and cultural contamination.

During Marlowís mission to find Kurtz, he is also trying to find himself. He,

like Kurtz had good intentions upon entering the Congo. Conrad tries to show us

that Marlow is what Kurtz had been, and Kurtz is what Marlow could become. Every

human has a little of Marlow and Kurtz in them.  Marlow says about himself, "I

was getting savage (Conrad)," meaning that he was becoming more like Kurtz.

Along the trip into the wilderness, they discover their true selves through

contact with savage natives.

As Marlow ventures further up the Congo, he feels like he is traveling  back

through time. He sees the unsettled wilderness and can feel the darkness of itís

solitude. Marlow comes across simpler cannibalistic cultures along the banks.

The deeper into the jungle he goes, the more regressive the inhabitants seem.

Kurtz had lived in the Congo, and was separated from his own culture for quite

some time. He had once been considered an honorable man, but the jungle changed

him greatly. Here, secluded from the rest of his own society, he discovered his

evil side and became corrupted by his power and solitude. Marlow tells us about

the Ivory that Kurtz kept as his own, and that he had no restraint, and was  " a

tree swayed by the wind (Conrad, 209)." Marlow mentions the human heads

displayed on posts that "showed that Mr. Kurtz lacked restraint in the

gratification of his various lusts (Conrad, 220)." Conrad also tells us "hisÖ

nerves went wrong, and caused him to preside at certain midnight dances ending

with unspeakable rights, whichÖ were offered up to him (Conrad, 208)," meaning

that Kurtz went insane and allowed himself to be worshipped as a god. It appears

that while Kurtz had been isolated from his culture, he had become corrupted by

this violent native culture, and allowed his evil side to control him.

Marlow realizes that only very near the time of death, does a person grasp the

big picture. He describes Kurtzís last moments "as though a veil had been rent

(Conrad, 239)." Kurtzís last "supreme moment of complete knowledge (Conrad,

239)," showed him how horrible the human soul really can be. Marlow can only

speculate as to what Kurtz saw that caused him to exclaim "The horror! The

horror," but later adds that "Since I peeped over the edge myself, I understand

better the meaning of his stareÖ it was wide enough to embrace the whole

universe, piercing enough to penetrate all the hearts that beat in the darknessÖ

he had summed up, he had judged (Conrad, 241)." Marlow guesses that Kurtz

suddenly knew everything and discovered how horrible the duplicity of man can be.

Marlow learned through Kurtzís death, and he now knows that inside every human

is this horrible, evil side.

Francis Coppolaís movie, Apocalypse Now, is based loosely upon Conradís book.

Captain Willard is a Marlow who is on a mission into Cambodia during the Vietnam

war to find and kill an insane Colonel Kurtz. Coppola's Kurtz, as he experienced

his epiphany of horror, was an officer and a sane, successful, brilliant leader.

Like Conradís Kurtz, Coppola shows us a man who was once very well respected,

but was corrupted by the horror of war and the cultures he met.

Coppola tells us in Hearts of Darkness  that Kurtzís major fear is "being white

in a non white jungle (Bahr)." The story Kurtz tells Willard about the Special

Forces going into a village, inoculating the children for polio and going away,

and the communists coming into the village and cutting off all the children's

inoculated arms, is the main evidence for this implication in that film. This is

when Kurtz begins to go mad, he "wept like some grandmother" when, called back

by a villager, he saw the pile of little arms, a sophisticated version of the

"escalating horrors." What Kurtz meant by "escalating horrors" is the Vietnamese

armyís senseless decapitation, torture, and the like. Kurtz is facing a new

culture and has a terrible time dealing with it. This was the beginning of his

insanity.

"All America contributed to the making of Colonel Kurtz, just as all Europe

produced Mr. Kurtz. Both Kurtzes are idealized in their function as eyewitnesses

to the atrocities. What is reflected is the threat of loss of self, loss of

centrality, and the displacement of Western culture from the perceived center of

history by those whom it has enslaved and oppressed (Worthy 24)." This tells us

that the evil side and the madness in both Kurtzes was brought out by the fear

of new cultures different from their own, and their inability to deal with this

fear. The disconnection between the opening words of Kurtz's report "By the

simple exercise of our will, we can exert a power for good practically

unbounded" and the note on the last page, "Exterminate all the brutes!"

illustrates the progressive externalization of Kurtz's fear of "contamination,"

the personal fear of loss of self which colonialist whites saw in the

"uncivilized," seemingly regressive lifestyle of the natives. Gradually, the

duplicity of man and reality merged for the two Kurtzes, one in the Congo,  and

one in Vietnam. As this happened, the well defined cultural values

masculine/feminine and self/other that had specific segregated roles, could not

be sustained in the Congo or in Vietnam. "For the Americans in Vietnam, as for

the colonialists in Africa, madness is the result of the disintegration of

abstract boundaries held to be absolute (Worthy 24)."

"As it attempts to confront the 'insanity' of the war through Kurtz' s madness,

that of the filmmakers, and the madness of U.S. culture, Hearts of Darkness

exposes the contradictions between the inherent hierarchy and inequality within

the cultural forces of the United States and official democratic principles,

which led to the perception that it could waste what it viewed as insignificant

little people and preserve its own image in the world. Along with that is the

growing realization, since the Tet Offensive of 1968, that the U.S. was somehow

way off the mark (Worthy 24)." American Culture views it self as "correct", and

we see ourselves as powerful police of the world. Our culture looked down upon

the Vietnamese because they were more simple than us, just as Europe and Marlow

looked down on the Africans. Believing ourselves to be superior, we had a lot of

trouble dealing with the discovery that we are not.

Coppola makes a point to show us that the Chief of a boat armed to the teeth was

killed by a native in a tree who threw a spear. Not even an "advanced" Navy boat

can defend itself against some "simple" natives armed only with spears. This

opens Captain Willardís  eyes to the horror of the situation he now finds

himself in.

Even more intriguing, however, is the similarity between the transformation of

the characters in Apocalypse Now, and the cast and crew that created it. In

Hearts of Darkness, (a documentary about the making of Apocalypse Now.) Eugene

Coppola becomes the narrator ( a Marlow or Captain Willard) and Francis becomes

Kurtz.

"Francis believed that only if he could duplicate Willardís experience, could he

understand his moral struggle. In other words, he had to lose control of his own

life before he could find the answers to the questions that his narrative asked

(Worthy 24)." Coppolaís main horror was his fear of producing a pretentious

movie. "Eleanor  repeatedly calls the making of Apocalypse Now a journey into

Coppola's inner self. Coppola, like Kurtz, is regarded as a deity. Moreover,

while Willard stalks Kurtz in Apocalypse Now, Coppola stalks himself, raising

questions which he feels compelled to answer but cannot, finally announcing his

desire to "shoot himself. " He means suicide, but the cinematic connotation of

the term, "to shoot," jointly criticizes both the U.S. and Coppola's film for

exercising a demented self-absorption (Worthy 24)." Coppola had to deal with

perhaps the most agonizing of his troubles: his shriveling self-confidence. As

the budget soared, as the producers worried, as the crew and actors grew

restless and dispassionate, Coppola worried that he did not have what it takes

to finish the film. He struggled with the ending, with his own creative ability,

and with his sense of purpose.

Martin Sheen, who plays Captain Willard, is the one who really faces the horror.

During the filming he has a nervous breakdown and later a heart attack. Some of

his co-actors believed that Martin was becoming Captain Willard, and was

experiencing the same journey of self discovery.

We live our lives sheltered in our own society, and our exposure to cultures

outside of our own is limited at best. Often, the more technologically advanced

cultures look down upon those that they deem to be simpler. On the occasion that

some member of one culture does come into contact with another, simpler culture,

a self discovery happens. Both cultures realize that deep down inside, all

humans are essentially the same. We all posses a good and an evil side, and no

culture, not matter how "advanced," is exempt from that fact.. This discovery

often causes madness as this evil side is allowed out. Only those who have

completed the "journey into self" can understand the actions of people such as

Kurtz. They are alone in this world of horror. The Horror!

Works Cited

1. Apocalypse Now. Dir. Francis Coppola. With Martin Sheen, Robert Duval, and

Marlon Brando. Zeotrope, 1979.

2. Conrad, James. Heart of Darkness and  Other Tales. Great Britain, BPC

paperbacks ltd.  1990.

3. Hearts of Darkness. Dir. Fax Bahr, George Hickenlooper. Paramount, 1991.

4. "HEARTS OF DARKNESS -- A FILMMAKER'S APOCALYPSE.", Magill's Survey of Cinema,

6-15-1995.

5. Worthy, Kim, "Hearts of Darkness: Making art, making history, making money,

making `Vietnam'.".,Vol. 19, Cineaste, 12-01-1992, pp 24.

115.          appalachian music

APPALACHIAN MUSICTIANS AND

SINGERS

AND THE SONGS THEY WRITE

Growing up in Appalachia and around its music has

made a great impact on my life.  I can remember, as if

it were yesterday sitting on grandpa's front porch with

my family singing along with Hillbilly songs on the

radio.  Along with entertaining the music eased the

tensions of living a meager existence in Appalachia.

By relating with these song writers and the stories in

there songs we somehow find our life less tedious and

more bearable.  Most country and gospel Appalachian

song writers find the words to there songs in the day

to day experiences of there lives.

One of the most prominent and popular types of

music to come out of the Appalachian region is gospel

music.  Writing about the religious experiences one

felt at the alter or the hope of seeing a lost family

member in the here after has been the subject of many

Appalachian gospel song.  Singers and song writers like

Tennessee Ernie Ford and Ernest Tub have left us with

joy in our harts and tears in our eyes.  Singing and

listening to songs like The Old Rugged Cross has

carried over from generation to generation in

Appalachia.

Another branch of Appalachian music that encircle

around religion is bluegrass.  One of the best known

Bluegrass artists (Bill Monroe)Known also as the father

of bluegrass music, dedicated a portion of every

performance to a gospel bluegrass harmony number.

Bluegrass became popular in the region for a number of

reasons. Not the least of which was the inexpensiveness

of home made instruments.(Ergood and Kuhre 189) The

relatively small size made the instruments easily

transported from home to home.

The  variance of topics in Appalachian music can

not be numbered.  The subject of a song can be anything

from the pine trees on the highest mountain to the cool

water in the stream at the bottom of the lowest holler

or any thing in between.  Anything seen heard or felt

might have a song written about it.  Another brand of

Appalachian music honky tonk music was made popular by

a man named Hiram (Hank) Williams.  Songs about

cheating harts and Honky Tonkin might no have been

popular with the churches, but they were with the

Appalachian workers in the city bars that couldn't be

down home with there loved ones.  Hank Williams,

although not mentioned in our text had a high pitched

pining sound that was common among Appalachian singers.

Blue grass instruments carried over into this style of

Appalachian music.  Hillbilly as it is referred to in

slang terms also known as country and western or just

country as it is referred to today is one of the most

popular styles of music.  Many of today's top country

artists got their start in churches or at family

gatherings with the old standard gospel and bluegrass

songs like In The Pines or The Circle Be Unbroken.  The

text mentioned Dolly Parton's song Coat Of Many Colors

and Loretta Lyne's Coal Miners Daughter for including

there Heritage in the songs(Ergood and Kuhre 189).

There are many Nationally known Appalachian Song

writers musicians and singers today.  Gospel,

bluegrass, country and western or rock whatever the

style of music it has some origins in Appalachia.  Most

Appalachians have been surrounded in the music since

birth.  In some Appalachian families, like the

Stonemans every member of the family has a role in the

performance.  Although these singers and song writers

and many more lesser known and those from times gone by

also.  Those not heard of yet have many differences

there will always be to common bonds.  There

Appalachian style of singing about the land that they

love.

116.          Appalachian Musicians And Singers and The Songs They Write

Appalachian Musicians And Singers and The Songs They Write

Growing up in Appalachia and around its music has made a great impact on

my life.  I can remember, as if it were yesterday sitting on grandpa's front

porch with my family singing along with Hillbilly songs on the radio.  Along

with entertaining the music eased the tensions of living a meager existence in

Appalachia. By relating with these song writers and the stories in there songs

we somehow find our life less tedious and more bearable.  Most country and

gospel Appalachian song writers find the words to there songs in the day to day

experiences of there lives.

One of the most prominent and popular types of music to come out of the

Appalachian region is gospel music.  Writing about the religious experiences one

felt at the alter or the hope of seeing a lost family member in the here after

has been the subject of many Appalachian gospel song.  Singers and song writers

like Tennessee Ernie Ford and Ernest Tub have left us with joy in our harts and

tears in our eyes.  Singing and listening to songs like The Old Rugged Cross has

carried over from generation to generation in Appalachia.

Another branch of Appalachian music that encircle around religion is

bluegrass.  One of the best known Bluegrass artists (Bill Monroe)Known also as

the father of bluegrass music, dedicated a portion of every performance to a

gospel bluegrass harmony number. Bluegrass became popular in the region for a

number of reasons. Not the least of which was the inexpensiveness of home made

instruments.(Ergood and Kuhre 189) The relatively small size made the

instruments easily transported from home to home.

The  variance of topics in Appalachian music can not be numbered.  The

subject of a song can be anything from the pine trees on the highest mountain to

the cool water in the stream at the bottom of the lowest holler or any thing in

between.  Anything seen heard or felt might have a song written about it.

Another brand of Appalachian music honky tonk music was made popular by a man

named Hiram (Hank) Williams.  Songs about cheating harts and Honky Tonkin might

no have been popular with the churches, but they were with the Appalachian

workers in the city bars that couldn't be down home with there loved ones.  Hank

Williams, although not mentioned in our text had a high pitched pining sound

that was common among Appalachian singers. Blue grass instruments carried over

into this style of Appalachian music.  Hillbilly as it is referred to in slang

terms also known as country and western or just country as it is referred to

today is one of the most popular styles of music.  Many of today's top country

artists got their start in churches or at family gatherings with the old

standard gospel and bluegrass songs like In The Pines or The Circle Be Unbroken.

The text mentioned Dolly Parton's song Coat Of Many Colors and Loretta Lyne's

Coal Miners Daughter for including there Heritage in the songs(Ergood and Kuhre

189).

There are many Nationally known Appalachian Song writers musicians and

singers today.  Gospel, bluegrass, country and western or rock whatever the

style of music it has some origins in Appalachia.  Most Appalachians have been

surrounded in the music since birth.  In some Appalachian families, like the

Stonemans every member of the family has a role in the performance.  Although

these singers and song writers and many more lesser known and those from times

gone by also.  Those not heard of yet have many differences there will always be

to common bonds.  There Appalachian style of singing about the land that they

love.

117.          April Morning Essay

I think that some of the reasoning behind Moses Cooper letting Adam

fight in the war was that Adam was no longer a small child like his brother

Levi. He was growing up, and if he told Adam not to fight in the war he

probably would have anyway. Quote "If I had forbade  him to sign that

muster book then and there, I would have lost a son. Is that what you want?

But I saw him there so tall and strong I could have wept. You can't shelter

him. There comes a time, and this is that time" (page 75.)

I think that Moses had to die in order for the story to continue because

if he had lived I don't think that the Battle would have been such a alarming

experience for Adam, and because of the traumaticness of watching his

father's death Adam was able to grow up and become more of a man.

Some of the actions of Moses's death were Adam went into a state of

almost shock, and wept and mourned over his father's death "I sat there and

cried. I hadn't cried so much since I was a small boy... Another result of

Moses's death was the meeting of Adam and Solomon Chandler even though

their good friendship only lasted for a brief time

118.          archetypes in a rose for emily

Melissa Clark

English 102

Oakes

4/9/97

Archetypes in A Rose for Emily

Archetypes are, by definition, previous images, characters, or patterns that recur throughout literature and though consistently enough to be considered a universal concept or situation.  Archetypes also can be described as complexes of experiences that come upon us like fate, and their effects are felt in our most personal life.  A Rose for Emily by William Faulkner contains many of this particular critical method.  Although there are several archetypes found, the most important is Emily's father.

Archetypes are like riverbeds which dry up when the water deserts them, but it can find it again at any time.  This short story offers many interpretations.  However, the structure of the story breaks down into two stages: past and present.  By examining the archetypes within the story, it can be suggested that Emily's over-protective father stands to represent Emily's feminist struggle, the ongoing battle for women to have an equal place in society.  Emily should be able to do as she pleases, but her dependence her father does not allow her to have that freedom.

Her father's over-protection is evident in this passage, "We remembered all the young men her father had driven away, and we knew that with nothing left, she would have to cling to that which had robbed her, as people will" (279).  Her father robs her from many of life's necessities.  She misses out on having friends, being a normal "woman," and her ability to be happy.  Emily is not able to live a normal life which she indirectly blames on her father.  Emily is so used to having her father be there for her, she figures that by keeping his body he can still be part of her life.

The Jungian archetype of this feminist struggle can be noted as: Emily is not able to live a normal life because her father keeps under his thumb.  In relation to keeping her father's body, she keeps Homer Barron's body so long because she feels that she has finally accomplished something in her life.  Emily is not ready to give up that feeling.  The feminist struggle is hard to detect but it is still there.

In conclusion, there are two archetypes in A Rose for Emily: Emily's father and Homer Barron.  Emily's father is the chief archetype because he is the reason for Emily's breakdowns.  She has been scarred for life which she obviously never over comes.

119.          Archetypes In the Lion King

John Berry

Edwards

Per. 2

4/18/96

The Lion King is a story containing many archetypes.  Archetypes are patterns or models of literature that reoccur in many stories.  In this paper I will discuss three of these archetypes.  They are the hero, death & rebirth of the hero, and the symbolism and associations of water vs. desert.  These archetypes can be noticed easily and help things come together.

The Lion King has a very evident hero, Simba.  Simba meets many of the characteristics of an archetypal hero.  Among these is the way that he is taken away from his home, the Pridelands, and grows up with Timon and Pumbaa.  After Simba arrives with Timon and Pumbaa, we see very little of his life until he is fully grown.  When the film returns to Simba, he soon decides to return to Pride Rock and face his past.  He returns to save his kingdom from its desolation caused by Scar and the hyenas, and to restore it to its glory.  The hero of a story commonly goes through some of these events.

Simba faces a common archetypal situation, death and rebirth.  Although Simba never physically dies, in spirit he does die.  The spiritual death of Simba is when he runs away from the Pridelands into the desert.  Everyone in the Pridelands thinks that he has physically died.  In fact, he nearly does die in the desert.  Luckily, Timon and Pumbaa find him and keep him alive.  The spiritual resurrection of Simba occurs when he returns to his home at Pride Rock.  Everyone discovers that Simba is alive.  It seems as if he has risen from the dead to them because for such a long time they believed that he was dead.  At Pride Rock, Simba returns to his previous life and faces all of his problems.

The symbolism of water and desert in the Lion King is very important.  Water often accompanies a change in a story.  Water can also be a sign of birth and rebirth.  An example of water foretelling a change is Simba's lie when he says that he and Nala are going to the water hole.  They actually visit the Elephant Graveyards.  This visit causes Simba to get a view of reality, not from his sheltered world.  When Simba is found by Timon and Pumbaa in the desert, they splash him with water to bring life back into him.  Another example of the symbolism of water is the rain when Simba defeats Scar and assumes his position on the throne of Pride Rock.  The rain symbolizes the rebirth of the Pridelands.  They go from the desolation that Scar brings to the prosperity that comes with Simba.  On the other hand, the desert is symbolic for spiritual defilement and desiccation.  This occurs on Simba's flight from the Pridelands.  He loses his spirit, and spiritually dies.

There is many cases of archetypes of characters, situations, and symbolism and associations in the Lion King.  This paper discussed several of them.  They included the heroic qualities of Simba, the spiritual death and rebirth of Simba, and the associations of water and the desert in the story.  These archetypes are very important to the story and help give the viewer a better understanding.

120.          Are celebrities to blame

"When you see your idols having gorgeous skin, perky breasts and slender thighs, isn't it almost impossible to look at your body and believe its perfect just the way it is." Mr Dickins and class an article taken form the April edition of 'Girlfriend' magazine argues just that.

This article uses the contentions of a well experienced plastic surgeon, to help support this argument. Dr Alfred Lewis, president of the Australian Society of Plastic Surgeons states "I believe the number of teens having plastic surgery has increased because they're being bombarded every minute of their waking hours with information from television, magazines, and radio about what is considered as attractive." Although this argument may sound extreme, fairly generalised and is a great example of a subjective argument, it is very strong as it is an opinion coming from a well experienced professional. However, when one really contemplates on his words, it is hard to prove him wrong. Teenagers are constantly surrounded by ideas of what's considered to be attractive and it is extremely difficult to escape the powerful grasp of the media.

This article also uses examples of emotive language, such as the words "I used to pray my boobs would get bigger" arouses our emotions and helps us empathise with her situation, although this can be considered as a weak point in most cases, in this article emotive language is a powerful technique used to persuade the target audience, to spice up the article, add a little flavour to it. This doesn't however necessarily make it a good argument, but it does make it very effective.

This article occasionally uses sharp, direct arguments to get straight to the point, for example "a bag of silicon or saline does not guarantee confidence, greater self-esteem or success." Which is a skilful technique as it gets the message across to teenagers openly.

Dr Lewis also believes that part of the problem with the media is that we only see good-looking reading the news and adverting clothes. This argument implies that to be famous and successful you must be physically appealing. Jenna Franklin, a teenager is quoted "Every other person you see on TV has implants. If I want to be successful I need to have them to." This evidence is in full agreement with Dr Lewis' views.

This article is also supported by visual evidence providing a picture of Dannii Minogue. Just look at her! She's absolutely flawless, great skin, deep eyes, nice curves, this enough to make me have plastic surgery; but that's not even the bad part, Dannii has confessed to boosting her breasts and has openly told the press how much she loves them, which in turn influences teens to go through with it.

The strongest component that this argument has used is the addition of true examples. This forces the reader to believe, as there is real-life evidence of cases where teenagers have resorted to surgery thus making the article more personal. The article is comprised of a few of Dr Hodgkinson recent jobs. He completed a $20,000 operation 'refining the whole figure of a 17-year-old girl, a nose job on an 18-year-old-girl, and liposuction on a 15-year-old girl.

This article demonstrates the use of sound arguments through using techniques such as the 'cause and effect' method, the media is the cause, teenagers getting plastic surgery is the effect it has. There is also the use of emotive language, quotes, objective analysis, expert opinion and real-life cases, and the use of both visual and scientific evidence.

Overall this article powerfully argues that media through all its mediums pushes teenagers to take that extra step to have surgery and that celebrities play a major role in the decisions the youth make.

121.          Are You Experienced

Are You Experienced?

The Jimi Hendrix Experience released its first album in early 1967. Popular music had been leaning towards psychedelics for a couple years

already and Are You Experienced? came out at about the same time as the Beatles' Sergeant Pepper's Lonely Hearts Club Band. Are You

Experienced? far exceeded the Beatles' triumph in complexity, capturing the essence of the late 1960's culture. Naturally the newer band did not

share the immediate success of the Beatles. But its staying power has been testified to by several generations.

The British version of Are You Experienced? contained a few subtle differences. Most prominent were the absence of "Purple Haze" and the

addition of Hendrix standard "Red House". "Purple Haze" caught fire in America after the Monterey Pop Festival and became Jimi's signature

song. Although it was said to have endless verses, Jimi generally sang only the shortened version from the album (with a few ad lib changes).

The single was sent to radio stations with a note: "This song was intentionally distorted. Do not adjust."

Are You Experienced?, as with most of the Experience's music, sounds heavy no matter how many times you listen to it. In actuality, the stony

"Purple Haze" is about as close as they ever come to hard rock. The next song, "Manic Depression" comes in strong with the opening chords

and then reveals Mitch Mitchell's trademark rolling drums. It also contains another of Jimi's solos worth listening to by any new or Experienced

fan.

Chas Chandler chose the quietest song on the album to give the world its first taste of Jimi Hendrix's talents. Its first single, "Hey Joe", a song

written by turn-of-the-century bluesman Billy Roberts debuted at number on the pop charts. No other song written or performed by Jimi

Hendrix had as much success as this one. It topped out at number 2, behind the Beatles' "Lucy In the Sky With Diamonds".

When there are other people around, it makes you feel alive. But when you sit alone and listen to the music, every chord catches in your throat.

"Love or Confusion" has happened upon me more than once when I was suddenly realizing the dispair of yet another relationship. If the

answer to his question is not obvious during the song itself, Jimi answers it for you with his very last whisper. "Love or Confusion" is a wicked

twister of emotion. It shakes you up and when you lose your sense of direction, it drops out from under you, leaving you to fall mercilessly to

the depths of reality.

That's when "May This Be Love" enters to let you down easily. Mitch turns on the soft roll. Jimi sings sweetly about his waterfall. The pace

picks up, getting hectic for a moment when Jimi recalls the other people. But they can laugh, as long as he has his waterfall. And it is oh, so

nice.

"I Don't Live Today" goes through a couple of lead in verses, but it wastes little time getting to one of the most psychedelic minutes in rock. At

the apex, Jimi cries, "Ah, There ain't no life nowhere!" When you hear it the statement is oddly comforting. The song leads out with Jimi

pleading repeatedly to you: "Get Experienced."

If a thousand bands haven't covered "The Wind Cries Mary", it is out of reverence. Short and simple (okay, I'm not a musician), this song is like

a dream. The colorful descriptions (the traffic lights turn blue tomorrow.) are a hint of what is to become Axis: Bold as Love - the Experience's

second album.

"Fire" was one of Jimi's favorite tunes to play live. The lyrics petrified three hundred middle class mothers of teen-aged girls. The rest didn't

hear it. Fast paced and funky, this song leaves no guessing about Jimi's desires. A little advice: move over, Rover.

"Third Stone From the Sun" stands alone in my mind, as the only instrumental song in history with words. It tells the story of an alien race

which comes down to check out the planet Earth (Mercury Venus Earth, get it?). It sees humans for what we are and comes to a natural

conclusion. Obviously a case of supreme intelligence. Anyone who is trying to master guitar sound effects or feedback should start here.

The next song was written for every girl who thought it might be about her. She isn't paranoid. She's just a "Foxey Lady." And she makes "me

feel like saying 'Foxey'."

The album closes with the title song. Once again, Jimi wants to know, "Are You Experienced?" If your answer is no, you've been listening to

the singles on the radio. Buy the album and a pair of headphones. It won't be long now.

122.          Aristotles Beliefs 691

Aristotle believed that all people by nature desire to know. A sign of one who knows is that that person can teach, while the person of experience without knowledge cannot. He defined wisdom as knowledge of principles and causes. In his Physics and Metaphysics Aristotle discussed the material and formal causes Plato used and also the efficient and final

causes. The material cause explains what something is made of (out of which), the formal cause how it is made (into which), the efficient cause who made it (by which), and the final cause why it is made (for which purpose). For Aristotle the final cause or purpose of anything analyzes the metaphysical cause which is studied in teleology. Aristotle also perceived God in the beginning as well as the end as the prime mover and in the present as completely actual in contrast to the concept of potential. Aristotle also gave many lectures on the sciences of astronomy, meteorology, and biology. Aristotle analyzed the faculties of the soul as nutritive, perceptive, and intelligent, and he also discussed memory, sleep, dreams, and aging. At the Lyceum 158 Greek constitutions were gathered, and Aristotle's work On the Athenian Constitution has been useful in understanding the history of Athenian politics.

Although Aristotle agreed with his teacher Plato that poetry and drama are imitations, he disagreed in finding redeeming value for these arts and did not wish to censor or ban them. In his Poetics he noted that tragedy tends to portray those who are better and comedy those worse than people of the present day. Humans are the most imitative animal, delight in imitating, and learn much this way. Aristotle believed that learning is the greatest pleasure and is not just for philosophers but for all humanity. Thus the imitative arts are not just entertaining but educational as well. Aristotle found that tragedy aroused the emotions of pity and fear in order to accomplish a purification of those feelings. The six elements of a play he analyzed are the plot (story), character, theme (thought), language, spectacle, and music. The plot, like a fable, conveys meaning; characters portray moral qualities, and thought enunciates general truths. In a tragedy a good man must not be seen passing from happiness to misery or a bad man from misery to happiness, because these are morally repugnant nor does the falling of an extremely bad person from happiness to misery arouse pity or fear. In tragedy a person of intermediate character suffers misfortune not from vice or depravity but from an error of judgment. Aristotle held that moral goodness could be shown in any personage, even in women and slaves.

Aristotle classified the elements on whether they were hot or cold and whether they were wet or dry.

&amp;middot; Fire and earth were dry.

&amp;middot; Air and water were wet.

&amp;middot; Fire and air were hot.

&amp;middot; Earth and water were cold.

Aristotle was born in 384 BCE. at Stagirus, a Greek colony and seaport on the coast of Thrace.He was Plato's student.

He studies in the academy in Athens and later on he opened a school in the Athenian Lyceum where he tought in it.

The works of Aristotle fall under three headings: (1) dialogues and other works of a popular character; (2) collections of facts and material from scientific treatment; and (3) systematic works.

Aristotle viewed women as being inferior to male race.Although he hels that moral goodness could be shown in any personage even in women and slaves.

He taught that knowledge of a thing requires an inquiry into causality and that the final cause(which is the purpose or the function of the thing) is primary.

Although Aristole agrees with his teacher Plato that drama and poetry are imitations,he didn't wish to cencor or ban them.

He also believed that humans are the most imitative animals delight in the imitating and learns that way,thus imitative arts are not just for entertaining but educational as well, because he belived that learning is a pleasure for all humanities.

In the first year of his residence at Chalcis he complained of a stomach illness and died in 322 BCE.

123.          Arnold Schwarzenegger

His gap-toothed grin is one of the most recognized in the United States and the world.  Broad shoulders on top of an abnormally muscular torso with legs of steel are also trademarks of the man.  For most people, the sight of his bulging biceps wielding ridiculously large arsenal of weapons is not an uncommon phenomenon.  The strange, thick accent that escapes his lips does not seem ludicrous anymore.  Labeled as king of mayhem and mass destruction, he proclaims to the world he has a sense of humor.  He backs up his word with an image-shattering vehicle that automatically thrusts him to the top of the comedy A-list.  Arnold Schwarzenegger is, arguably, the number one American Icon and movie box office draw not only in America, but in the entire world; although he represents different concepts to different people, the result is usually the same, staggering box office receipts.  The violence of his films speak a universal language, ensuring that international markets are ripe prospects.  His identification with young children, politics, bodybuilding/fitness enthusiasts, hollywood, and most importantly, an inseparable bond with the American Dream make a superstar of the man who is Arnold Schwarzenegger.

Born in the tiny village of Thal-By-Graz , Austria, young Arnold Schwarzenegger did not seem destined for grandeur.  'In the beginning Arnold seemed an unlikely figure to become a cultural icon' (Flynn 10).  Living in poor, medieval-like conditions, Schwarzenegger was raised alongside his older brother Meinhard in a strict, Catholic household.  His father, a police chief, often put his two sons through rigorous physical tests, as well as mental.  Schwarzenegger credits these tests and his father's strictness as a contribution to his strong self-discipline.  As a child, Schwarzenegger often spent many hours in a movie theater watching Hercules films portrayed by various bodybuilders such as Reg Park and Steve Reeves.  An encounter with former Olympic Swimmer and Hollywood star, Johnny Weissmuller left a deep impression on young Arnold.  It would seem that years later, Arnold patterned his career path after Weissmuller's.

During his youth, Schwarzenegger was active in soccer, but he soon abandoned the sport to pursue bodybuilding, due to a random run-in with a weight room.  'When I saw those animals climbing around...doing 20 chin-ups...and squatting 200 kilos [440 pounds]...snatching up 315...it outweighed by far everything that I'd seen on the soccer field' (Shaw 142).  Schwarzenegger's infatuation with America further cemented his resolve.  '...it was a very American sport, and I thought, 'If I do well, it could take me to America'' (Hoberman 23).  He has gone as far as to say that American was always his true country.  'I always felt I had an American mentality.  I was born in the wrong country' (Flynn 20).  His family and friends urged him to give up a sport which they deemed perverted and narcissistic.  Their opposition made no difference, however, as Schwarzenegger pursued the sport with a vengeance.  After collecting an impressive stack of bodybuilding magazines, he soon littered his wall with images of bodybuilders he wanted to emulate.  'Within a year, I had a very clear vision of where I wanted to go...I began to work out, and from that moment on, my goals were clear!' (Flynn 18).  Bodybuilding became an obsession to Schwarzenegger.  He worked out seven days a week, at least three hours per day.  When his parents tried to restrict his workouts to three days per week, a rebellious Schwarzenegger made a crude gym in his basement and worked out there.  The gym in which Schwarzenegger trained in was open only six days a week.  One Sunday, the owner came by to check the gym and discovered that a window had been broken into.  Inside, he found Arnold working out in a mad fury.  Various sources state that at this time, when he was a young teenager, Schwarzenegger started to use anabolic steroids to supplement his intense training schedule (Walsh 63).  He continued to use them throughout his professional bodybuilding career but claims that he suffers no side-effects because he was always under the supervision of a doctor.

At age eighteen, a 200 pound plus Schwarzenegger enlisted in the Austrian Army for his mandatory one-year service.  Unfortunately, it was at this time that the Junior Mr. Europe Bodybuilding Contest took place.  Schwarzenegger received an invitation to compete and did so by going AWOL (Absent WithOut Leave).  After winning the contest, he was caught sneaking back into base.  Schwarzenegger was released after serving some time in the stockade, and, ironically, praised by his officers for winning the contest.  In fact, the military had him work out all day for the rest of his service so that he could represent the military as a bodybuilder.  With his time in the Army complete, Schwarzenegger went on to win a string of titles in Europe, including the Mr. Universe, and eventually settled in Munich, Germany.  However, Schwarzenegger looked overseas and saw America and it's superior bodybuilders.  'While I was battling for titles in Europe, I was very much aware of the competitions in the United States...In the 1960s there were two distinct worlds in bodybuilding: Europe and America.  My Universe titles in '67 and '68 established me as the preeminent bodybuilder in Europe...but the question still remained as to how well I would do against the American champions' (Schwarzenegger 48).

Schwarzenegger eventually immigrated and settled in Santa Monica, California, to pursue bodybuilding in America.  From 1970 to 1975, Schwarzenegger reigned as the king of Bodybuilding, winning the Mr. Olympia titles an unprecedented six consecutive times, and once more in 1980.  After 'retiring' from bodybuilding in 1975, Schwarzenegger focused his energies in other endeavors, specifically, real estate investment, and a film career.  Schwarzenegger's  first film, Hercules In New York (a.k.a. Hercules Goes Bannanas) was a made-for -Italian-television spoof that eventually made its way to America.  The low quality of the film did not help Schwarzenegger's movie career.  However, Schwarzenegger's stock value skyrocketed with the documentary Pumping Iron, a film which follows various bodybuilders, including Schwarzenegger, on their quests for the Mr. Universe and Mr. Olympia titles.  'The success...gave my career a big boost and helped bodybuilding find its way...' (Schwarzenegger 61).  This led to a leading role in Stay Hungry, a film in which he portrays a Mr. Universe contender who is involved in a love triangle between himself, his girlfriend (Sally Field), and a investor (Jeff Bridges).  Many critics were impressed with Schwarzenegger's performance and he received a Golden Globe award for Most Promising Male Newcomer.  He went on to make several blockbusters such as Conan The Barbarian, The Terminator, Commando, Predator, The Running Man, Total Recall, and Terminator 2.  'He [Schwarzenegger]...has both outlived and outgrown his image of a cult celebrity of the bodybuilding craze and has attained a level of respectability as Hollywood's biggest star' (Flynn 13).  This accomplishment is made more remarkable by way of the fact that Schwarzenegger was born in a foreign country, he never changed his name, and he originated from an obscure professional background (Bodybuilding).

Although Schwarzenegger is a born Austrian, speaks with a German accent, has an almost unpronounceable last name, and is freakishly large, he is accepted as a part of American Culture, and looked upon as an American Icon.  'While generations of would-be movie stars were compelled to Anglicise their names, this one sports the least pronounceable, most problematic moniker ever to emblazon an American movie marquee' (Hoberman 24).  Despite Schwarzenegger's resolve to leave his name unchanged, he goes on to embody the American Spirit.  '...Arnold has willed the return of the American Dream' (Hoberman 24).  Arnold Schwarzenegger came to The United States with only a gym bag, and single-handedly worked his way to fame and fortune.  Arnold is a perfect example of the American Dream realized.  Perhaps his struggle is the reason that Schwarzenegger appeals to the world.  The symbolic representation of the American Dream is a powerful force.  '...Time's...Richard Corliss called him 'the most potent symbol of worldwide dominance of the US entertainment industry'' (Hoberman 24).  People see Schwarzenegger as an American Icon because he achieved the American Dream, thus making him an American in both body and spirit.  'Arnold has achieved what many fantasize but few often realize-the riches of the American dream' (Flynn 10).  Only by paying the price in the gym and studying hard at schools such as UCLA and the University of Wisconsin, did he rise above the many obstacles in his path.  'By embracing the traditional values of hard work, perseverance, and adaptability-the very cornerstones that America was built upon-Arnold has achieved a much deserved place in our popular culture' (Flynn 16).  Interestingly, Schwarzenegger claims that he feels that he is a born American.  He says he 'felt deep down inside of me that I was an American' (Shaw 142).  Other countries look at America and see Schwarzenegger as the embodiment of the United States, making Schwarzenegger an internationally-appealing star.  'He [Schwarzenegger] is the most bankable star in the US, Germany, and Japan' (Hoberman 22).  Additionally, Schwarzenegger's films appeal over international waters because of their violent content.  '...he has become such a huge box-office star abroad primarily because action is understandable everywhere...Everyone gets Arnold.  If he hits somebody, they fall down.  If he shoots them, they die' (Shaw 149).  Even young children are familiar with Schwarzenegger's films, despite the usual 'R' ratings that are associated with his movies.  While filming Kindergarten Cop, Schwarzenegger thought that the children would generally be ignorant of his status, but they proved otherwise.  'I was in a state of shock.  Ivan would ask the kids, 'Does anyone know who this is?'  And they would all go, 'Yeah!  Predator!  Terminator!  Twins!  He's Danny DeVito's twin brother!  What happened to your twin brother?'' (Flynn 176).  Again, Schwarzenegger's appeal oversteps boundaries such as race and age.

Schwarzenegger is portrayed in several different manners during his career, he is shown as a freakish, dumb, muscle-head, a macho gun-wielding hero, a relentless killing machine, a good-hearted, naïve Samaritan, and so on.  As a bodybuilder, many people did not take Schwarzenegger seriously.  '...many Hollywood producers had dismissed him as a muscle-bound freak...' (Flynn 22).  George Butler, the maker of Pumping Iron, recalled that Schwarzenegger was often the subject of ridicule due to his unusual body composition.  'It was particularly hard for Arnold because he was treated as a complete freak...he had a physique that people were repulsed by...if I was sitting opposite him at a restaurant, I could see people at the tables behind laughing at him.  Of course he noticed it, but he was never impolite' (Flynn 34).  Probably most recognized as a heroic figure, Schwarzenegger is the physical manifestation of the modern-day Hercules.  '...Schwarzenegger has come to represent the image of a hero for the eighties and nineties' (Flynn 13).  However, the most important portrayal of Schwarzenegger is his comedic personality.  This portrayal is what sets him apart from other action stars (Stallone, Van Damme, Segal, etc.).  'Even in his most brutal action films, it's his sense of humor that distinguishes him from Sylvester Stallone, Chuck Norris and other denizens of the death and destruction genre' (Shaw 146).  The huge success of the comedy vehicles Twins, and Kindergarten Cop showed the world that Arnold was not a one-dimensional killer, but a misunderstood brute with a heart.  In other words, they showed that he had a healthy sense of humor.  The two comedies expanded his audience to include young children, and the family in general.  Today, Schwarzenegger acknowledges that he has two particular audiences, the action-hungry audience, and the family audience.  In turn, he now rotates his film schedule by alternating action films with lighter comedies (Shaw 146).

The many representations that are a part of Schwarzenegger an integral part of the reason why he is so extremely popular among the masses.  To the common layman, he is the Hollywood movie star, an object of entertainment.  To bodybuilders around the world, Schwarzenegger represents the ultimate bodybuilding ideal, a man who has conquered bodybuilding with an incredible physique and has advanced to other more prestigious areas.  To a lesser degree, fitness enthusiasts see him as an figurehead, leading them to the promised land of washboard abs and firm buttocks.  In 1990, Schwarzenegger was named Chairman of the President's Council On Physical Fitness and Sports  ( Stoddard 43).  Strategically, this is a masterful move on Schwarzenegger's part in regards to increasing his appeal among the people.  Physical fitness and sports are universal concepts that everyone can identify with and almost no one can oppose.  Choosing such a non-controversial concept and associating his name with it is guarantees an increase in popularity.  In terms of politics, Schwarzenegger is a unique individual, having ties to both the Republicans and Democrats.  A staunch supporter of the Republican party and its causes, yet pledging loyalty to the Democrats via his relationship with his wife, Maria Shriver of the infamous Kennedy Clan.  In addition, Republicans look to Schwarzenegger as a potential political candidate for office.  'During... 1988...Schwarzenegger was nicknamed, 'Conan the Republican'...Both the New York Daily News and the Chicago Sun-Times have run articles suggesting that Arnold's destiny lies in politics, possibly as governor...of California' (Flynn 25).  Schwarzenegger is also actively involved in real estate development.  The most notable of his investments lies in the Planet Hollywood franchise which he co-owns with Sylvester Stallone and Bruce Willis.  The franchise is world-wide, with locations in Paris, France and Tokyo, Japan, ensuring that Schwarzenegger's fans around the world will not be left out.

Arnold Schwarzenegger is recognized universally because he is an Icon that appeals to everyone through the various aspects of his personality and image.  The proof of his appeal lies in the impressive numbers that follow his name.  'Since the 1980s, his films have grossed more than $1.5 billion world wide' (Shaw 149).  Schwarzenegger has successfully conquered Hollywood and,  in a sense, the world.  The vast majority of the consumers do not seem to mind his faults any longer.  '...most ticket buyers have simply accepted the worldwide stardom of Arnold Schwarzenegger as such an inevitable part of our popular culture...' (Flynn 10).  Americans have accepted him into their culture as one of their own.  Each viewer may see Schwarzenegger a different way, as a different representation, but they all see him as a star.  In the end, the name Schwarzenegger sounds American.

Bebbington, Jim.  'Getting Classic With Arnold,' The Saturday Evening Post, 7/8 (1993) 36-39, 83-85.

Flynn, John L.  The Films Of Arnold Schwarzenegger.  New York: Carol Publishing Group, 1993

Goldstein, Patrick. 'The Arnold Era,' Los Angeles Times, 6/16 (1996) 9-20.

Hoberman, J.  'Nietzche's Boy,'  Sight & Sound, 8 (1991), 22-25.

McGough, Peter.  'Conversation With An Icon,' Flex, 11 (1995)135-140, 186-191.

Schwarzenegger, Arnold.  Encyclopedia Of Modern Bodybuilding.  New York: Simon & Schuster, 1985

Shaw, David.  'The World According To Arnold,' Cigar Aficionado, 6 (1996) 134-164.

Stoddard, Maynard Good, and Cory SerVaas, M.D.  'Marketing Fitness With The President And Arnold Schwarzenegger,' The Saturday Evening Post, 7/8 (1990) 43-49, 108, 110.

Walsh, K.T.  'Pumped Up,' U.S. News & World Report, 6 (1992) 55-63.

124.          Arnold Swarzenneger

When you're old and grey and you look back on your life and think about what you have done and the things that you achieved are you gonna say I have reached the highest level of success in my life or are you gonna say I should have done this and changed that.  If you are Arnold Schwarzenegger, you would think about your success.  He is famous all around the world because of the 3 main careers in his life, bodybuilding, acting, and politics and business.  You know him with a strong accent and many one-liners in his movies such as "ill be back"  "take my hand"  "get to the chopper"  hasta la vista baby"  But how did he become the man that we know him as today?

My case study of Arnold Schwarzenegger is from reading one of the books he wrote and countless numbers of weightlifting publications and other magazines, also by many of his movies.

On June 30th 1947, Arnold was born in the small village of Graz, Austria.  His father was a local police officer and did not make much money, so the Schwarzeneggers were very poor.  When Arnold and his brother began playing team sports, their father pushed them to work harder and become better athletes.  When he was 13, Arnold started becoming fascinated with bodybuilding and the physiques that those athletes could attain.  He told his parents that he wanted to be the best built man in the world.So when he turned 14 years old, he started a weight training regiment.  He liked the fact that it was an individual sport and if the results were good or bad it was because of only his hard work or lack of. By age 15 he had developed a very impressive physique which astounded the former Mr. Austria Kurt Marnul, whom Arnold met at a gym.  Marnul realized that Arnold had great potential in the sport of bodybuilding so he asked him to be his training partner.  He began competitive bodybuilding at age 17, had to mandatorily join the army when he was 18 and was thrown in jail for being AWOL because he left his post to go compete and win the Mr. Europe Junior.  After 7 days he was released from prison and was reassigned to be a professional bodybuilding and spend the rest of his time in the army preparing for competitions.    When he got out of the army it seemed as if nothing could slow him down.  He stopped competing in the amateur division and stepped up to the professional division and won the Best Built man in Europe contest at 19 years old.  He entered many contest and won such as 5 mr. universe titles and 1 mr world title.  He than prepared for the grand daddy of all bodybuilding contest, the 1970 Mr. Olympia.  Arnold went toe to toe with the reigning mr Olympia Sergio Oliva and at age 23 won the contest and achieved his goal of being the best built man in the world.  He continued to enter and with the mr. Olympia a total of seven times throughout his career and that made him very famous worldwide.

Because of his size and fame in bodybuilding, he landed an acting role in the film Hercules in New York.  His voice had to be dubbed over because producers said that he was incomprehensible because of that thick accent.  That did not set Arnold back, it only made him have the new goal of being the best actor in the world and gave him the realization that if he wanted to achieve that goal he would have to work on his speaking and acting skills with the same intensity that he had when working on his muscles.  He got help from voice trainers and acting teachers and landed a role in "Stay hungry"  with jeff bridges.  His hard work paid off and he won a golden globe award for best newcomer in 1976.  Soon after he won his 6th mr. Olympia title, he starred in the movie Pumping Iron, which was adored by critics.  It is basically a bodybuilding documentary and is very interesting and kinda funny because you get to see the real Arnold and see him do and say a few things that you wouldn't expect.  His first big hit as the lead role came when he played in Conan the Barbarian.  Soon after the movies release, he was in high demand for lead roles in Action adventure type movies.  He played the hero and sometimes the villain and was very generously paid for those rolls.  Commando, the running man, total recall, true lies, eraser, batman and robin, the predator, and his most famous roll in terminator, T2, and T3 were all big hit movies because of him. The death toll in his movies is 466 not including T2 and t3.  He liked his roles in these types of movies yet also wanted to try his luck in comedy/action movies such as Twins and kindergarden cop.  Six of the movies that he starred in grossed 100 million dollars in the box office with his comedic role in twins being the highest money maker of them all.  He achieved his goal and became one the the worlds top actors, and the highest paid actor in history.  Despite his goal, he was a very smart capitalist and built a business empire.

Before he ever made a film, when he was 21 and moved to America, he quickly bought many office complexes and apartment buildings to make money.  He took business courses at night during his bodybuilding and acting career and eventually earned a degree from the University of Wisconsin in business and fitness.  He currently owns shopping malls, a 747 that he leases to an airline, and a large portion of Santa Monica real estate.  Arnold was what many would call the American dream when he was appointed by President Bush to chair the President's Council on Physical Fitness, traveling to schools throughout the country to check on their physical education programs and at times finding none existed.  He reached out to the kids and steered them away from drugs and towards a healthy lifestyle with a heavy emphasis on physical fitness.  Throughout Arnolds business ventures, he took a strong interest in politics and began making connections with politicians because of that and his fame.  He wanted to give back to the state of California which had given him so much and so many opportunities.  For a few years, he contemplated running for the position of governor of California and with the approval of his wife, Maria Shriver, he announced on August 7th 2003 with host Jay Leno that he was running for governor.  He vigorously campaigned and beat Grey Davis on October 7th.  He can not become the President of the U.S. because he was not born here, so he once again reached the highest possible level in his career.  Arnold is like a modern day Ronald Reagan in being an actor who became the Governor of California.

He grew up in poverty, yet through perseverance, hard work, and dedication, Arnold Schwarzenegger has lived the American dream.  He's world famous from his bodybuilding, acting, and business and political career and had made hundreds of millions of dollars throughout his lifetime.  His hard work paid off and he has held the highest positions available in his careers.

125.          Art 100 visual art piece of paleolithic era

&lt;Tab/&gt;            Art100

&lt;Tab/&gt;Since the change of apes evolving into intellectual human beings, hand-made creations have come to fascinate man through the generations. Since the start, art has played in the role of 1) recording history and 2) giving a view of the type of styles that have come and gone. As seen in contemporary art today, we see these many styles from the past. The Dream Beginning is a contemporary art piece that can be compared from Paleolithic times of Hall of the Bulls in the Lascaux caves. The past provides a blue print to the future; the future provides new styles to future generations to come.

&lt;Tab/&gt;While visiting the Guggenheim Hermitage Museum in Las Vegas, I stumbled upon the Dream Beginning. It is a contemporary piece from Jicao Feng, this piece is oil on canvas, width: 29.1 (74 cm) height: 23.2 (59 cm) in 2000. The techniques are solid shape drawing and contour drawing. The background has a lime stone look. The colors are a rusty reddish orange mixture, the rest of the colors that belong to the people and animals are black, white and red. This style of art piece reminds me of the Paleolithic style. There are five figures; two figures appear to be a man and woman, the other three are a turtle, bird and a catfish. The skinning of animals is the theme of this contemporary piece. The mood is lifeless and unreal. The man is about to strike the red white turtle, and the woman is skinning a black bird while her feet restrain the catfish.

The figure appears to be doing hard and dirty work. The full side view of the woman is located on the left side of the piece; she is in a seated position with no support. Her upright rectangle medium size white body is half way covered by animal's skins of black and red undetailed rectangles. Stick figure arms are reaching the black triangle shaped white beak bird. With a side view appearance, the eyes are eight times larger than the woman's dot eyes, because the seated woman is choking it to death. Her head is circular no detail of bone structure and life-less. There is no mouth, nose, ears nor wrinkles on her face but two black dot eyes. Her hair rounded from three sides, having two gaps from the left and right side, as tho she has three black mounds. Her feet stretch across the right side of the picture as tho her feet coil a catfish. The catfish has no details of whiskers nor fins or tail but just a body. Its wearing a round top hat, out lined in red and black following with a half sided red star. It's trying to escape from the woman but there is no detail or lifeless struggle to get away.

&lt;Tab/&gt;The appearance of a man is located in the middle of the piece. He very much looks like ET's tall cousin because of his peanut shaped head and long frame. His face has three shades of red, black and white colors. His head is in a full side view. The left eye is black and the right side is red, both eyes are large, compared to the suffocating bird. His body is also in an upright side rectangle position. Stick figure arms, the left arm is hanging and the other is above his head, having the arms forming an S shape figure. On the right arm, there is an upside down triangle on the end, which represented as a weapon. There is no hand painted as well as gripping the triangle weapon. The weapon, held high, is below the turtle. There is indication of the man about to strike the turtle but there is no realism involved. The turtle appears to struggle as the head extends from the body. It is trying to avoid its murdered. Its white shell body holds the turtles in its place. Its red feet and head are direct towards the man as if it's trying to beg for its life.

&lt;Tab/&gt;This art piece from Las Vegas is compatible to Hall of the Bulls. This piece is located in Lascaux caves, France. The picture and information was gathered from the textbook of ART content and criticism. Both art pieces are the Paleolithic art style, which means Old Stone Age. The mood for these pieces are both lifeless and show lack of intellectual thinking towards creating realism. This is traced back to the 1600-1400 b.c which the art style is very lifeless, solid shape and contour drawing. The black bull has these features, which are the same as the Dream Beginning.  The picture from the textbook and picture from Las Vegas is the same style because the contemporary artist Jicao Feng took the style that was in use from the past, during the Old Stone Age, into his masterpiece of 2000. For these reasons, Dream Beginning can be called Paleolithic because of its ancient style of lifeless and stick figure style.

&lt;Tab/&gt;The Paleolithic styles are viewed as the stepping-stones of art. I like this project because it helped use my imagination to see the art pieces differently. The only problem was that this style is lifeless and hard to picture what is a limb or an object. The purpose that the artist created was to imagine himself at prehistoric times and draw as our ancestors once did. The reason I picked this was because the piece reminded me of Hall of the Bulls and since then, I began work on my paper. Like I said, things can come and go but one way or another it will come back.

&lt;Tab/&gt;

126.          Art Deco Studio Concept Basic Concept for Interior Design Ideas in a small space

This piece is a detailed description of a "studio concept" for an interior design student.  When any student begins a project they have to create an idea or feeling for the space.  This is the tool for someone designing a retro or art deco interior, it is well versed in the use or elaborate and detailed words, my teacher loved it and it was just what he was looking for.  I am a newyork school of interior design student, very tough school, so this should work just about anywhere!  Godd Luck

Art Deco Studio Concept

&lt;Tab/&gt;In today's busy world of hustle and bustle one will often seek shelter and relief from their home.  "Work" is the professional marketplace daunted with blue collars, whereas "home" becomes a soothing retreat that let's everyone breath a sigh of relief as you grace the front door.  In some cases paths cross and what is usually divided, well, it may need to become one!  Such is the case with my client.  My client works in special events planning in his own personal business.  He has single handedly began his own business years ago, and is now flourishing, as he creates the most fabulous galas around!

&lt;Tab/&gt;What my client would like is to touch back to what first inspired him to get into special events coordination; the extraordinary parties of the art deco period, dawned through the 1930's-1940.  The extravagance, the glamour, and the sophistication were all personal invites for him into this world and style of entertaining.  My client has worked hard to maintain these characteristics in all of the work he produces.  As my client works from home, I thought such should the case be at his apartment, after all, what better inspiration, than in your front door?

&lt;Tab/&gt;I plan to enhance the interior of my client's apartment with rich materials, sparkling metals, and sophisticated touches exclusive to the whirlwind of the 1930's and 1940's.  Once in place, the setting for work and home will merge, and my client will indulge in a world that has now become full circle, instead of marketplace and front door.

127.          Art Spiegelman 1445

Until Art Spiegelman arrived on the scene, comics had not truly been acknowledged as art. Never, until Art Spiegelman came along, had anyone won a Guggenheim Fellowship award in order to complete a work of cartoon art. In 1986, Art Spiegelman, hailed by some as the "new Kafka," published Maus: A Survivors Tale, a graphic-novel depiction of his troubled relationship with his father, a Jewish survivor of Hitler's Death Camps. Then, in 1991, he published Maus II: And Here My Troubles Began, which earned him a Pulitzer prize for both volumes.

Biography

Art Spiegelman was born on February 15, 1948, in Stockholm, Sweden, to Vladek and Anja (Zylberberg) Spiegelman. Three years after his birth, his family immigrated to the United States, to the Rego Park area, in Queens, New York. His father, Vladek, was a wealthy textile salesperson and manufacturer in Poland. Before World War II, he worked in the garment trade and later in the diamond business.

Both of his parents survived confinement to the Jewish ghettos and imprisonment in the famous Nazi Concentration camp in Auschwitz, Poland. His mother, Anja, suffered from periodic depression, and his father, perhaps acting on instincts that had once been necessary for survival, was obsessively frugal.  His mother committed suicide in 1968 after barely surviving Auschwitz, and then coming to America. Spiegelman was the youngest child to Vladek and Anja; he had a brother named Richieu. Richieu had been poisoned by an aunt who also killed two of Art's cousins and herself just before the Nazi's came to take them away.

Spiegelman began drawing as a child, spending time with a doodling game his mother had developed. She scribbled a little on a paper, and he would turn it into something. The game led to his drawing cartoons, and he began spending much of his time drawing. "At that point, I stopped wanting to be a fireman, policeman, or a cowboy--and opted for cartoonist."  One day when he was about ten, he asked his mother to buy him a book on how to draw cartoons. Because of her husband's frugality, she made a deal with him: she would buy the book for him, if he could prove that he had benefited from it. If not, it would be deducted from his future allowance. After that, Spiegelman began filling notebooks with his drawings and cartoons, copying styles from his favorite artists, like those who drew for MAD MAGAZINE, which he called a "terrific influence."

Cartooning History

Despite his parent's objection, Spiegelman intended to become a professional cartoonist. He wanted to go to High School of Art and Design, whereas his parents "wanted me to become a dentist." "For them, dentist was halfway to doctor, I guess... They'd point out how if I become a dentist, I could always do drawing on the side, whereas if I became a cartoonist, I couldn't very well pull people's teeth during my off hours. Their logic was impeccable, just irrelevant. I was hooked."  In the early 1960's, he produced his own magazine, Blasé, an imitation of MAD. By the age of fourteen, he was selling cartoons and illustrations to the Long Island Post.

Today, Spiegelman and his wife Francoise Mouly make Raw ("The 'graphix' magazine that overestimates the taste of the American public")  in which Spiegelman first introduced Maus, and to which he and other artists contribute work. It is basically a magazine devoted to new and unusual work in the graphic story medium. For example, one of the most famous "practitioner of the underground," Robert Crumb, has provided cover art, and more. Raw was preceded by a magazine, also published by Spiegelman, called Arcade, a magazine started in the mid 1970's for people involved in underground comics. Then when Spiegelman met Mouly, they started Raw together.

Comics as Art

For the past thirty years, the development of the typical American comic, a Superman and Batman type of comic, has been very different from that of its Japanese and European equivalent. Whereas American educators for many years considered comics as children's entertainment of dubious literary value, European and Japanese comics soon developed a more adult and more serious content. For that reason, people become offended when others refer to these  more serious works as "comics."

Spiegelman became one of the first major artists of "adult" comics since the first graphic novel-comic called "Barefoot Gen" was written about Hiroshima and the atomic bomb. Spiegelman, who felt that Barefoot Gen was one of the most memorable works he had ever read, won America's premier award for literature for Maus I & II, the Pulitzer Prize, in 1992.

Maus

Having learned in film class in college that in early animated cartoons, rodent characters often represented black people, he thought of using mice to tell a story of blacks in America. As he explained in an interview, "That idea lasted for about forty-five minutes. Because what did I know about blacks in America? And then suddenly the idea of Jews as mice just hit me full force, full-blown. Almost as soon as it hit me, I began to recognize the obvious historical antecedents--how Nazi's had spoken of Jews as 'vermin,'  for example, and plotted their 'extermination.'"  Inspired by that, he began his work with a three-page cartoon which he gave to his father about the Holocaust that ends with mice being taken to a concentration camp called "Mauschwitz."

Then, in about 1978, Spiegelman felt that he had come to a turning point in his cartooning work, and he decided to further develop his three-page comic strip, Maus. He turned the three-page comic strip into a 295 page book which ultimately consumed 13 years work. For his research, Spiegelman had moved back to New York City, where he talked at length with his father about his Holocaust experiences.

Styles in Maus

Although the style of the finished book is deceptively simple, a delayed process was required to complete each page. Starting with his father's taped memories, Spiegelman condensed remarkable scenes and scraps of dialogue, which in turn were refined to fit a comic-strip's relatively restricted framework. The artist deliberately adopted an austere, pared-down style in order to make his mouse and cat metaphor as clear as possible and to create a seamless flow between word and image.

Spiegelman uses a "comic-book" medium to convey a story of the Holocaust, and he succeeded in completely changing the way stories of the Holocaust were told. It also changed the way comic books have traditionally been used. It changed the way the comics had always been presented, and this change represents a historical milestone from the way that they had always been used as  super-hero construction and morality plays.

He reduces the people to cats, mice, and pigs (Nazis, Jews, and the Poles), in order to offer a conscious, intentional miniaturization and reduction, pointing up not merely the way the Jews were treated during the Holocaust, but it also represents the present day response to the Holocaust. Throughout the book there are also dialogue boxes, images, commentary, as well as maps of Poland and the camps, diagrams of hideouts, real photographs from his family archive, detailed plans of the crematoria, and exchange table for goods at Auschwitz, and even a manual for shoe-repair.

My Conclusions

Maus encompasses many small narratives, not merely the story of Vladek and Anja, but of Spiegelman himself, in his struggle to understand his family origins and himself. He continuously discusses the traumatic and "unmastered" past on a number of levels: the death of his brother, the suicide of his mother, and the murder of the European Jews. In Maus, the image is never left to stand alone, but is always caught up in the differential between narrative, image, dialogue, and reflection. In this manner, an opening for critical thinking on the transmission of past trauma is created.

Maus enacts the difficulty of working through a traumatic historical past that defies attempts at mastery, and is a presentation of the postmodern fragmented self, struggling to come to terms with this damaged and wounded history in a conscious manner.

BIBLIOGRAPHY

· Current Biography Yearbook, 1994.

· Art Spiegelman's Maus, "Art Spiegelman's Maus: Working-Through The Trauma of the Holocaust" http://jefferson.village.virginia.edu/holocaust/spiegleman.html.

· Art Spiegelman Talks to the Fish Rap: 1992 "The Man Behind Maus" http://arts.ucsc.edu/derek/Art.html

· Alt.Culture: Spiegelman, Art, "Spiegelman, Art" http://www.altculture.com/site/entries/spiegelmanxa.html

· Art Spiegelman Interview, "Comix as Art: The Man Behind The 'Maus' http://www.inlink.com/~sbolhaf/ispiegel.html

· Alt.Culture: Comics, "Comics" http://www.altculture.com/site/entries/comix.html

· Maus (Review), "Maus: Graphic Chronicle of a Holocaust Survivor" http://www.inlink.com/~sbolhaf/maus.html

· Maus, "Art Spiegelman" http://libertynet.org/~iha/maus/maus3.html

· Maus: A Survivors Tale, Art Spiegelman, 1986

· Maus II: And Here My Troubles Began, Art Spiegelman, 1991

128.          Artists that commit suicide 222

Lots of artist commit suicide due their successful.e.g:Kurt Cobain,Leslie Cheung Kwok Wing.When you become an international artist,you get lots of money,you have a fancy car,an up-to-date clothes and things,but it can't buy you a happiness.

Its recall me of the dead of Leslie Cheung (the legend,famous actor and singer in Hongkong)who commits suicide on Tuesday,April 1st.He commits suicide by jump from mandarin hotel,HK on 24th floor.His leg was break and his head were broken.

Lots of issue due his death,such as:he's suffering a big depression after he finished his last movies,Inner Sense,in that movie he play a physiatrics who try to help his patient whom see ghost,and after the patient recover,Leslie turnover the one who can see ghost.His gay cartner,Mr Tong,tell the media that Leslie change into someone else when the movie finish.And afterthat he become stress,and depress for 1 year.

I guess,the actor and the actress have a great ability to sing or to act on camera,but they can't controlled hows they feel,lots of pressures from the media,the fans,and the critism.They judge his life,get in to his personal life,and they messing around with the actor and the actress.

When you become an international and famous star,you should travel all around the world,you get jetlag,homesick,faraway from your country,famil,best friend,or even boyfriend and girlfriend.Thats why lot of artist only flirtation with their couple.

129.          As I Lay Dying

Fulfilling a promise they had made to their mother,

Addie, Cash, Darl, Jewel, Dewey Dell, and Vardaman, in

William Faulkner's As I Lay Dying, journey across the

Mississippi countryside to bring her body to be buried in

Jefferson, alongside her immediate family.  Each one, in

turn, narrates the events of this excursion as they are

perceived.  Though all of the family members are going

through the same experiences, each one expresses what they

see and how they feel by exercising their individual powers

and limitations of language.  What each character says as

well as how he/she says it gives insight into that

character's underlying meanings.

Darl, for example, uses his linguistic skills to gain

power as narrator.  He possesses the ability to pick up on

things unsaid and to read other people's actions.  Dewey

Dell describes his intuitiveness when she says that "he said

he knew without the words, and I knew he knew because if he

had said he knew with words I would not have believed...and

that's why I can talk to him with knowing with hating with

because he knows" (27).  He uses his gift of realizing

things without them having to actually be told to him to

gain credibility with the reader.  Who would doubt a

narrator who possesses that type of adroitness?  Also, his

language is clear and reflective.  He uses similes and

metaphors and appears to have an acute awareness of spatial

relationships.  Darl's sophisticated perception and poetic

linguistics give him the means of reaching for and

maintaining his role as a competent observer and reporter.

However, his position does create certain problems for his

siblings.

Tull describes Darl's "look" as being uncanny.

"He is looking at me.  He dont say

nothing; just looks at me with them

queer eyes of  hisn that makes folks

talk.  I always say it aint never

been what he done so much or said or

anything so much as how he looks at

you.  It's like he had got into the

inside of you, someway.  Like somehow

you was looking at yourself and your

doing outen his eyes."  (125)

It is the same penetrating gaze that gives Darl so much

power that makes the others around him so uncomfortable,

especially Dewey Dell.  She feels that his strange knowledge

of what has not been said is an invasion of her privacy.

"The land runs out of Darl's eyes; they swim to pin points.

They begin at my feet and rise along my body to my face, and

then my dress is gone:  I sit naked on the seat above the

unhurrying mules, above the travail" (121).  If Dewey Dell

interprets his "knowing" as crossing some personal boundary

that she created then that would explain her fantasizing

about killing Darl and why she reported his setting fire to

the barn.  In fact, everything about Dewey Dell is extremely

personal.  Whereas her brothers report what happened, she

tells how she feels about it.  She uses language not as a

means of describing but rather as expressing.

"He could do so much for me if he just

would.  He could do everything for me.

It's like everything in the world for

me is inside a tub full of guts, so

that you wonder how there can be any

room in it for anything else very

important.  He is a big tub of guts and

I am a little tub of guts and if there

is not any room for anything else

important in a big tub of guts, how can

it be room in a little tub of guts.

But I know it is there because God gave

women a sign when something has happened

bad."  (58)

She is not describing the sun as "poised like a bloody

egg upon a crest of thunderheads" (40) like Darl would or

explaining how to do something in a step by step manner like

Cash.  Dewey Dell is attempting to express her confusion and

her fears.  She is a young girl who became pregnant and

doesn't know what to do about it.  She knows  she can't tell

her family and she has no means of taking are of herself.

Instead of using language to describe the world around her,

she uses it to show how she feels on the inside.  Language

is a personal thing to Dewey Dell and though she does not

possess Darl's polished quality of speaking, she

demonstrates its power as well as he does.

Cash, like Darl, uses language as a means of gaining

authority.  He begins the novel as not having any control

because Darl possessed the role of narrator.  His first

narration is in the form of a list.  The second and third

are not even complete thoughts because nobody takes him

seriously.  He has no power as a narrator; he is simply a

character.  It is not until Darl goes insane, losing his

role.  The weight of that role is then passed onto Cash who,

in his last two narrations, finally has the ability to tell

things as he sees them.  Language has importance to Cash in

of itself.  It gives him what he previously lacked - the

simple right to express what he thinks.

"Sometimes I aint so sho who's got ere

a right to say when a man is crazy and

when he aint.  Sometimes I think it aint

none of us pure crazy and aint none of

us pure sane until the balance of us

talks him that-a-way.  It's like it aint

so much what a fellow does, but it's like

the way the majority of folks is looking

at him when he does it."  (233)

Whereas language is a power to Darl, Dewey Dell, and

Cash, it is a limitation to their mother.  She feels that

words made up to describe certain experiences are inadequate

to the experiences themselves.  She says that "words dont

ever fit even what they are trying to say at" (171).

Phrases like "motherhood" and "love" according to Addie, are

completely separate from what they actually mean; they are

simply tools.  How could the balding man wearing glasses who

spent hours staring at the alphabet to spell out the word

"pride" know that that's what a mother would feel when she's

watching her child act out the lead part in the school play?

And how could that brilliant young woman just out of college

possibly understand the word "death."  It has no meaning to

her - it is only a term used to describe the transition from

living to nonliving.  Language is crucial to all of Addie's

children, except Jewel, to mark who they are but it is

experience that matters to their mother.

The power and limitation of language can be used to

explore different perspectives of the same events.  Although

Darl, Dewey Dell, Cash, and Addie all saw the same things,

they each use different methods of expressing them to

portray what is important.  The funcion of language is

different for each character but plays an equal part for

each.

130.          At the Height of His Career

At the Height of His Career, Why?

Kurt Cobain was citied in the Seattle area with a shotgun. Days later on the fifth of April, Kurt Cobain went into the small room above his garage in his Seattle home and ended it all. Fans across the world were stunned by the news of Kurt Cobain's sudden and shocking suicide. Kurt was the leader of the multiplatinum grunge band Nirvana, and was widely hailed as the " John Lennon of his generation." He was a gifted song writer and erratic performer. However, Cobain's name was presented at times with

disillusionment and unhappiness. Kurt had spoken, written lyrics, and even sung in his songs about suicide. Yet, one question could almost be echoed around the world - Why?

Cobain' s fans struggled with the huge loss of their " poet of pain." It was as

though they had lost a close friend. They felt that Kurt was an artist who could read their minds, knew their problems, and spoke their language. No one seemed to understand why at the height of his popularity a twenty-seven year old rock sat would put a twenty-two gauge shotgun in his mouth and pull the trigger.

The media attacked the incident. Every type of media from MTV to the entire local Newspapers spoke something of Kurt Cobain's suicide. Some blamed the suicide on his unhappy childhood and how he was a Ritalin child. While others blamed it on his drug addiction that he had spent all of his young life trying to relieve himself from. But why

the reasoning for the unpredictable suicide, Cobain left behind millions of fans asking why he's gone.

Why? Most people who commit suicide do so for personal reasons, such as despair, fears of the future, fears of failure or of not being loved. Society plays a huge part in a lot of suicides. As society becomes more complex a person's stress level rises which follows loneliness.

Following the initial shock came the inevitable soul searching for those closets to him- what more should or could we have done? Cobain left behind a fairly new family. He had recently married Courtney Love, the leader of the grunge band Hole, in 1992. Later in 1993 they conceived a baby girl together, Frances Bean which was about two years old at the time of Kurt's death. Some say that Courtney did not grieve but there is no way possible that she didn't, because of the fact that they reached stardom together as a couple. One of Cobain's biggest regrets said by the media was leaving his family behind. He wrote his suicide note to Courtney and Frances exclaiming his love. The suicide note ended with the words, " I Love You, I Love You, and I Love You Always."

Consequences of Kurt Cobain's suicide was the let down to all of his fans, his family, and his friends. This proves the fact that suicide can happen to the best of us. It can happen to the homeless man on the street or the rock star of the decade.

131.          Audio Format Wars Essay

Audio Format Wars

By: Sheldon Khan

Before buying a new car, getting married, or adopting a new audio format

it is wise to ask a few questions, peer under the hood, and ask the advice of

someone you trust.  Will the new format satisfy your needs not only now but,

also in the future?  Will it look (and sound) as good on all the mornings after

you first met?

The analogue cassette is an old and trusted versatile friend  that went

with you on those morning jogs and cruised in the car with you on Friday nights.

However, the powers that be, have declared our trusted friend to be in the last

phase of the life cycle.  It's successor must sound better, work better, and

have new features such as a digital display for song titles.  There are

currently two formats competing to be the consumers next choice for sound on the

go.  They are Philips' Digital Compact Cassette (DCC) and Sony's Mini Disc (MD).

What exactly is digital recording?  The definition is, "An electronic

format that is designed to duplicate sound, while affording extremely accurate

control over any changes you might wish to make in the recording" (Mclan &

Wichman,1988).  In simple terms it means that the digital circuitry samples the

signal and then reproduces what it has seen.  The quality of the recording

depends on the sampling rate of the machine.  The sampled signal is then encoded

to the tape or disc in 1's and 0's, just like a computer disk drive would encode

information.  However, the biggest advantage of digital recording is the fact

that it eliminates tape "hiss" that is usually found present in analogue

recordings.

In the Eighties, a Philips invention captured the limelight.  The

Compact Disc introduced us to a new era of digital sound, or  "perfect sound."

In the nineties another Philips invention has taken centre-stage, the Digital

Compact Cassette (DCC).  DCC is the marriage of the analogue cassette to Digital

Audio. Together they form a union that combines perfect sound, high convince and

greater versatility. " DCC is a medium on which audio information is digitally

encoded and which reproduces CD quality sound" (Philips Electronics, Sound &

Vision, 1995).  A number of features have been incorporated into DCC tapes and

decks to achieve CD like sound and convince.  DCC decks can locate a chosen

track on either side of the tape because track and time codes are recorded on

the tape.  This combined with autoreverse, which is standard on all DCC decks,

makes track access effortless but, not as fast as a CD.  Another attractive

feature of DCC is the text mode.  Text mode allows the deck to display support

information about the recordings on the tape such as the album title, a complete

list of track titles, names of the artists on each track, and lyrics (displayed

in sync with the music).  Television screens or remote control units can also be

connected to the deck to display more extensive information.   The tapes have

recording and playback times of 60, 90, and 100 minutes. "The well known

durability of cassettes is enhanced by the use of videochrome tape: chromium

dioxide- or cobalt- doped ferric-oxide" (Philips Electronics, Sound & Vision,

1995).  With the new tape shell, the tape and tape drive wheels, which are

exposed on the analogue tape, are concealed by a metal sliding panel called a

"slider".  The slider helps protect the tape from dirt and dust which

contributes to tape breakdown.  This along with the videochorme tape and DCC's

digital error correction system help prevent tape dropout.  Numerous digital

first generation DCC to DCC copies can be made.  Any further copies (ie. 2nd,

3rd, etc generation) made from the first generation copy will not be digital.

The biggest advantage that DCC has over the competition is its compatibility

with its analogue predecessor.

Sony's Mini Disc is a miniature version of the compact disc that comes

in a plastic shell like that of a 3 1/2 computer floppy.  "Unlike CD's,

MiniDiscs can be recorded using magneto-optical technology" (Dmytryk, 1993, p.

62).  Mageto-optical technology allows a MiniDisc to be recorded on many times.

A MiniDisc is smaller than a DCC tape and has random track access like a CD.  It

also gives the user the capability to edit songs, and the order that they appear

in on the disc.  To record on a partially full disc, simply hit Record, with no

concern for cueing.  Recording starts immediately and the new material is added

as a new track.  It is also simple to remove dead air and unwanted material.

The deleted time is added to the total time remaining on the disc.  All of this

makes it very easy to create your own custom compilations.  The MiniDisc, like

the DCC allows the user to make multiple first generation digital copies. But

second and third generation copies will not be digital.  One of the biggest

advantages that MD has over DCC is it's small slim size and durability.  By

comparison the sharp edged DCC cassette seems a bit clunky and less durable .

Both MD and DCC use data-compression techniques to squeeze digital audio

data into a fraction of the space required by a CD or a Digital Audio Cassette

(DAT). " DCC's Precision Adaptive SubCoding (PASC) achieves slightly better than

4-to-1 compression.  While Mini Disc's Adaptive TRansform Acoustic Coding

(ATRAC) is slightly worse at 5-to-1" (Dmytryk, 1993, p. 65). Both developers

justify the use of compression with these statements,

"The human ear only hears sounds above a certain loudness (dB)

level, called the           hearing threshold.  The threshold of hearing depends on

the frequency of the    sound.  Therefore, only sounds           above this

dynamic threshold need to be             recorded."(Philips Electronics, Sound & Vision,

1995)

Loud sounds can completely mask softer sounds that are close in

frequency.       Because our hearing is far more acute in the mid-range than at

the high or low            end of the spectrum, what you hear is defined by the

frequency content during each           time slice." (Dmytryk, 1993 p. 65). In other

words no one will know the difference if certain frequencies are missing.

What will all of this new technology cost the average consumer?  Well, a

Philips DCC deck cost about $600, pre-recorded DCC tapes cost about $20, and

blank tapes cost about $8.  While a MD player cost about $500, the pre-recorded

discs cost about $20 and the blank disc cost about $10.  Of course as the

popularity of the format grows, the cost will drop.

Manufacturers are trying to give the public a more durable and better

sounding medium for those of us that are always on the go.  However, since their

introduction about three years ago very few MD and even fewer DCC players have

been sold.  Some audio experts feel that the reason they have not sold many

units of either format is because the average person thinks that there is

nothing wrong with the sound quality of a good CrO2 (Maxell's XLII) or metal

(Sony's CDit IV) analogue cassette.  Many people still live by the old saying,

"If it ain't broke, don't fix it."  Manufacturers have built up these new

formats as "the greatest thing since slice bread," in the hopes of changing the

way people listen to music.  Yet, the public has not jumped on the band wagon of

either of these new formats.  However, one thing is certain, the days of the

analogue cassette are numbered.

It is only a matter of time before either MD, DCC or some new digital

format such as the recordable CD takes the place of the analogue cassette.

BIBLIOGRAPHY

Ballou, Glen. Handbook For Sound Engineers (2nd ed.).  Indiana: Sams, 1991.

Davis, Don & Carolyn. Sound System Engineering. Indianapolis, Indiana: Howard W.

Sams & Co Inc, 1975.

Dmytryk, George. "Digital Debate." Electronic Musician, Vol 9 No.8,  1993,

August: 62-70.

Mclan, Peter & Wichman, Larry. The Musican's Guide To Home Recording.  Toronto:

Simon & Schuster Inc, 1988.

Robertson, Patrick. The Book Of Firsts. New York: Bramhall House, 1974.

Sony Home Page. www.sony.com.  e-mail: webmaster@sony.co.jp Digital Compact

Cassette. Philips Electronics N.V. (1995).

132.          Audio Format Wars

Audio Format Wars

By: Sheldon Khan

Before buying a new car, getting married, or adopting a new audio format it is wise to ask a few questions, peer under the hood, and ask the advice of someone you trust.  Will the new format satisfy your needs not only now but, also in the future?  Will it look (and sound) as good on all the mornings after you first met?

The analogue cassette is an old and trusted versatile friend  that went with you on those morning jogs and cruised in the car with you on Friday nights.  However, the powers that be, have declared our trusted friend to be in the last phase of the life cycle.  It's successor must sound better, work better, and have new features such as a digital display for song titles.  There are currently two formats competing to be the consumers next choice for sound on the go.  They are Philips' Digital Compact Cassette (DCC) and Sony's Mini Disc (MD).

What exactly is digital recording?  The definition is, "An electronic format that is designed to duplicate sound, while affording extremely accurate control over any changes you might wish to make in the recording" (Mclan & Wichman,1988).  In simple terms it means that the digital circuitry samples the signal and then reproduces what it has seen.  The quality of the recording depends on the sampling rate of the machine.  The sampled signal is then encoded to the tape or disc in 1's and 0's, just like a computer disk drive would encode information.  However, the biggest advantage of digital recording is the fact that it eliminates tape "hiss" that is usually found present in analogue recordings.

In the Eighties, a Philips invention captured the limelight.  The Compact Disc introduced us to a new era of digital sound, or  "perfect sound."  In the nineties another Philips invention has taken centre-stage, the Digital Compact Cassette (DCC).  DCC is the marriage of the analogue cassette to Digital Audio. Together they form a union that combines perfect sound, high convince and greater versatility. " DCC is a medium on which audio information is digitally encoded and which reproduces CD quality sound" (Philips Electronics, Sound & Vision, 1995).  A number of features have been incorporated into DCC tapes and decks to achieve CD like sound and convince.  DCC decks can locate a chosen track on either side of the tape because track and time codes are recorded on the tape.  This combined with autoreverse, which is standard on all DCC decks, makes track access effortless but, not as fast as a CD.  Another attractive feature of DCC is the text mode.  Text mode allows the deck to display support information about the recordings on the tape such as the album title, a complete list of track titles, names of the artists on each track, and lyrics (displayed in sync with the music).  Television screens or remote control units can also be connected to the deck to display more extensive information.   The tapes have recording and playback times of 60, 90, and 100 minutes. "The well known durability of cassettes is enhanced by the use of videochrome tape: chromium dioxide- or cobalt- doped ferric-oxide" (Philips Electronics, Sound & Vision, 1995).  With the new tape shell, the tape and tape drive wheels, which are exposed on the analogue tape, are concealed by a metal sliding panel called a "slider".  The slider helps protect the tape from dirt and dust which contributes to tape breakdown.  This along with the videochorme tape and DCC's digital error correction system help prevent tape dropout.  Numerous digital first generation DCC to DCC copies can be made.  Any further copies (ie. 2nd, 3rd, etc generation) made from the first generation copy will not be digital.  The biggest advantage that DCC has over the competition is its compatibility with its analogue predecessor.

Sony's Mini Disc is a miniature version of the compact disc that comes in a plastic shell like that of a 3 1/2 computer floppy.  "Unlike CD's, MiniDiscs can be recorded using magneto-optical technology" (Dmytryk, 1993, p. 62).  Mageto-optical technology allows a MiniDisc to be recorded on many times.  A MiniDisc is smaller than a DCC tape and has random track access like a CD.  It also gives the user the capability to edit songs, and the order that they appear in on the disc.  To record on a partially full disc, simply hit Record, with no concern for cueing.  Recording starts immediately and the new material is added as a new track.  It is also simple to remove dead air and unwanted material.  The deleted time is added to the total time remaining on the disc.  All of this makes it very easy to create your own custom compilations.  The MiniDisc, like the DCC allows the user to make multiple first generation digital copies. But second and third generation copies will not be digital.  One of the biggest advantages that MD has over DCC is it's small slim size and durability.  By comparison the sharp edged DCC cassette seems a bit clunky and less durable .

Both MD and DCC use data-compression techniques to squeeze digital audio data into a fraction of the space required by a CD or a Digital Audio Cassette (DAT). " DCC's Precision Adaptive SubCoding (PASC) achieves slightly better than 4-to-1 compression.  While Mini Disc's Adaptive TRansform Acoustic Coding (ATRAC) is slightly worse at 5-to-1" (Dmytryk, 1993, p. 65).

Both developers justify the use of compression with these statements,

"The human ear only hears sounds above a certain loudness (dB)     level, called the           hearing threshold.  The threshold of hearing depends on the frequency of the    sound.  Therefore, only sounds           above this dynamic threshold need to be   recorded."(Philips Electronics, Sound & Vision, 1995)

Loud sounds can completely mask softer sounds that are close in frequency.          Because our hearing is far more acute in the mid-range than at the high or low end of the spectrum, what you hear is defined by the frequency content during each    time slice." (Dmytryk, 1993 p. 65).

In other words no one will know the difference if certain frequencies are missing.

What will all of this new technology cost the average consumer?  Well, a Philips DCC deck cost about $600, pre-recorded DCC tapes cost about $20, and blank tapes cost about $8.  While a MD player cost about $500, the pre-recorded discs cost about $20 and the blank disc cost about $10.  Of course as the popularity of the format grows, the cost will drop.

Manufacturers are trying to give the public a more durable and better sounding medium for those of us that are always on the go.  However, since their introduction about three years ago very few MD and even fewer DCC players have been sold.  Some audio experts feel that the reason they have not sold many units of either format is because the average person thinks that there is nothing wrong with the sound quality of a good CrO2 (Maxell's XLII) or metal (Sony's CDit IV) analogue cassette.  Many people still live by the old saying, "If it ain't broke, don't fix it."  Manufacturers have built up these new formats as "the greatest thing since slice bread," in the hopes of changing the way people listen to music.  Yet, the public has not jumped on the band wagon of either of these new formats.  However, one thing is certain, the days of the analogue cassette are numbered.

It is only a matter of time before either MD, DCC or some new digital format such as the recordable CD takes the place of the analogue cassette.

BIBLIOGRAPHY

Ballou, Glen. Handbook For Sound Engineers (2nd ed.).  Indiana: Sams, 1991.

Davis, Don & Carolyn. Sound System Engineering. Indianapolis, Indiana: Howard W.      Sams & Co Inc, 1975.

Dmytryk, George. "Digital Debate." Electronic Musician, Vol 9 No.8,  1993, August: 62-70.

Mclan, Peter & Wichman, Larry. The Musican's Guide To Home Recording.  Toronto:       Simon & Schuster Inc, 1988.

Robertson, Patrick. The Book Of Firsts. New York: Bramhall House, 1974.

Sony Home Page. www.sony.com.  e-mail: webmaster@sony.co.jp Digital Compact Cassette. Philips Electronics N.V. (1995).

133.          Auguste Rodin 1750

August Rodin &#8211; Life Timeline:

1840 Birth of Auguste Rodin on 12 November in Paris.

1850 10 years oldHe started to draw.

1854 14 years oldHe attended a special school for drawing and mathematics, known as "la Petite Ecole", and followed courses given by Lecocq de Boisbaudran and the painter Belloc.

1855 15 years oldRodin discovered sculpture.

185717 years oldHe left "la Petit Ecole" and sought admission to the Ecole des Beaux-Arts. He was rejected three times.

1858 18 years oldRodin worked for several decorators and ornamentalists.

1862 22 years oldStricken by the death of his sister Maria, he withdrew to the Monastery of the Order of the Holy Sacrament, where he stayed until 1863.

1864 24 years old He started to work with Carrier-Belleuse. He met Rose Beuret, aged 20. Birth of Camille Claudel.

1866 26 years oldBirth of his son Auguste-Eugène Beuret.

186727 years oldHe worked as a practicien (sculptor's assistant) for several ornamentalists.

1870 30 years oldRodin accompanied Van Rasbourgh to Brussels. On his return to Paris, he was enlisted in the Garde Nationale as a corporal but was subsequently discharged because of his myopia.

1871 31 years oldAfter his discharge, he joined Carrier-Belleuse in Belgium. Death of his mother. Rose joined Rodin in Brussels at the end of the year.

1872 32 years oldHe stopped working for Carrier-Belleuse who returned to Paris.

1873 33 years oldHe associated himself with the Belgian sculptor Antoine-Joseph Van Rasbourgh.

1874 34 years oldWhile in Belgium, he participated in the decoration of the Palais des Académies in Brussels, painted a series of landscapes of the Soignes forest and made some lithographs to illustrate the satirical magazine Le Petit Comique.

1875 35 years oldRodin travelled to Italy where he studied the work of Michelangelo.

1877 37 years oldHe exhibited The Bronze Age at the Cercle Artistique et Littéraire in Brussels, then the Salon des Artistes Français in Paris. Rodin was accused of having cast his statue directly from life. In autumn, Rodin undertook his first tour of cathedrals in central France. Rodin and Rose left Belgium and returned to France.

187939 years oldRodin worked at the Manufacture de Sèvres until December 1882.

1880 40 years oldHe moved into his first studio at the Dépôt des Marbes, 182 Rue de l'Université, which he kept until he died. The French State bought The Bronze Age and commissioned him to sculpt a monumental door for the future Museum of Decorative Arts. Although he worked on it until the end of his life, it was never delivered and was only cast in bronze after he died.

1881 41 years oldThe French State bought a bronze model of Saint John the Baptist. He visited England for the first time and learned the techniques of engraving from Alphonse Legros in London.

1882 42 years oldHe sculpted the figures of Adam, Eve and The Thinker.

1883 43 years oldHe met Camille Claudel, who was then 19 years of age. Death of his father.

1885 45 years oldThe city council of Calais commissioned a monument to commemorate Eustache de Saint Pierre, which was to become known as The Monument to the Burghers of Calais and was inaugurated in 1895 in the presence of Rodin.

1886 46 years oldHe received orders for monuments to Benjmin Vicuna Mackenna and General Patricio Lynch for Santiago in Chile. The Kiss.

1887 47 years oldHe was appointed Knight of the Légion d'Honneur. He illustrated a copy of Les Fleurs du Mal by Baudelaire belonging to Gallimard.

1888 48 years oldThe State commissioned The Kiss in marble for the Universal Exhibition of 1889.

188949 years old He became a founding member of the Société Nationale des Beaux-Arts. He received a commission for a Monument to Claude Lorrain, which was inaugurated in Nancy in 1892. He exhibited with Claude Monet at the Galérie Georges Petit. He received an order for a Monument to Victor Hugo to be placed in the Pantheon.

1890 50 years oldThe project for the Monument to Victor Hugo (Victor Hugo seated) was turned down.

1891 51 years oldWhile he prepared a new maquette for the Pantheon (Victor Hugo standing), the first project for a Monument to Victor Hugo was ordered for a garden. The Société des Gens de Lettres commissioned a Monument to Balzac.

1892 52 years oldRodin was promoted Officer of the Légion d'Honneur.

1893 53 years oldRodin succeeded Dalou as President of the Sculpture Department and Vice-President of the Société Nationale des Beaux-Arts. He hired Bourdelle as a practicien.

1894 54 years oldOn 28 November, Rodin was invited by Monet to Giverny where he met Cézanne. He received an order for a Monument to Sarmiento for Buenos Aires (Argentina), which was inaugurated in 1900.

1895 55 years oldHe bought the Villa des Brillants in Meudon, which he had rented since 1893 and started to build up his collection of antiques and paintings. Inauguration in Calais of The Monument to the Burghers of Calais.

1896 56 years old"Rodin, Puvis de Chavannes, Carrière" exhibition at the Rath Museum in Geneva.

1897 57 years oldAn art patron, Maurice Fenaille, published a series of 142 drawings by Rodin, with a preface by Octave Mirbeau, known as the "Goupil Album" (named after the publisher). The Monument to Victor Hugo was displayed at the Salon of the Société Nationale des Beaux-Arts.

1898 58 years oldHe broke up with Camille Claudel who was then 34 years old. The Société des Gens de Lettres refused the plaster statue of Balzac, which was presented at the Salon of the Société Nationale des Beaux-Arts.

1899 59 years oldHe received a commission for a Monument to Puvis de Chavannes. First exhibition devoted to him in Brussels, then Rotterdam, Amsterdam and The Hague. The large-scale Eve was shown at the Salon of the Société Nationale des Beaux-Arts.

1900 60 years oldRodin was appointed Knight of the Order of Leopold of Belgium. Inauguration of the Rodin Pavilion at Place de l'Alma in Paris on the occasion of the Universal Exhibition.

1901 61 years oldThe Rodin Pavilion for the Universal Exhibition was dismantled and re-installed in Meudon, on the grounds of the Villa des Brillants. It was converted into a studio. Major photographic exhibition of Rodin's works by Eugène Druet at the Galerie des Artistes Modernes.

1902 62 years oldMajor exhibition of Rodin in Prague. Rodin met the poet Rainer Maria Rilke (1875-1926). He was Rodin's secretary from 15 September 1905 to 12 May 1906. Illustrations for the second edition of Mirbeau's Jardin des Supplices, with lithographs by Auguste Clot.

1903 63 years oldRodin was appointed Commander of the Légion d'Honneur.

1904 64 years oldRodin met the Duchesse de Choiseul (their friendship broke up in 1912). First exhibition of a large-scale plaster of The Thinker at the International Society of Painters, Sculptors and Engravers in London, then a bronze version at the Salon in Paris. Friendship with Gwendolen Mary John (1876-1939), an English painter, woman of letters, and sister of the painter Augustus John. She became the mistress of Rodin and was his model for the Whistler Muse. International exhibition in Dusseldorf.

1905 65 years oldRodin was appointed member of the Conseil Supérieur des Beaux-Arts and awarded an Honorary Doctorate by the University of Iéna.

1906 66 years oldRodin was awarded an Honorary Doctorate by the University of Glasgow. The Thinker was placed in front of the Pantheon. Rodin was appointed titular member of the Berlin Academy of Fine Arts. He painted a series of watercolours of Cambodian dancers who performed at the Colonial Exhibition in Marseilles. He met the Japanese dancer Hanako (1868-1945) who posed for him for the first time in 1907.

1907 67 years oldRodin was granted an Honorary Doctorate by Oxford University. The first major exhibition devoted exclusively to his drawings at the Galerie Bernheim Jeune in Paris. The Walking Man (large model) was exhibited at the Salon of the Société Nationale des Beaux-Arts.

1908 68 years oldThe Cathedral. Thanks to Rilke, Rodin discovered the Hôtel Biron (now the Rodin Museum in Paris) and moved in. Major exhibitions of drawings in Vienna, Leipzig and Paris.

190969 years oldDecision to sell the Hôtel Biron. Major exhibition of drawings at the Galerie Devambez in Paris. First draft of a donation to the State drawn up by Paul Escudier.

1910 70 years oldRodin was appointed Grand Officer of the Légion d'Honneur. Exhibition of drawings at the Gil Blas Salle des Fêtes in Paris.

1911 71 years oldRoyal exhibition of the Berlin Fine Arts Academy. The State commissioned a Bust of Puvis de Chavannes for the Pantheon. Acquisition of The Burghers of Calais by England for the Westminster garden. The Walking Man was installed in the Palazzo Farnese in Rome. L'Art, Entretiens Réunis, by Paul Gsell, was published by Bernard Grasset, Paris.

1912 72 years oldRodin exhibition in Tokyo. Display of drawings at the Nouvelle Bibliothèque in Lyons. Inauguration of the Rodin Room in the Metropolitan Museum of New York.

1913 73 years oldInternment of Camille Claudel in an asylum. Exhibition at the Faculty of Medicine in Paris where Rodin's collection of antiques were shown for the first time. Rodin went to London to supervise the installation of The Burghers of Calais in front of the Parliament.

1914 74 years oldPublication by Armand Colin of the Cathédrales de France, illustrated with 100 facsimiles by Auguste Clot, and a preface by Charles Morice. Rodin fled the war and left France for England with Rose, in the company of Judith Cladel. He stayed in Rome with the Marshalls.

1915 75 years oldAnother trip to Rome during which Rodin sculpted a Bust of Pope Benedict XV. The Burghers of Calais was unveiled officially in London without a ceremony. Exhibition of sixteen of the eighteen works donated to England at the Royal Scottish Academy of Edinburgh.

191676 years oldRodin fell seriously ill. Three successive donations (1st April, 13 September and 25 October) of Rodin's collections to the State. The Chamber of Deputies and then the Senate accepted the donation, and the National Assembly voted for the establishment of the Rodin Museum in the Hôtel Biron. Rodin received an order for a monument to commemorate the soldiers of Verdun.

1917 77 years oldRodin married Rose Beuret on 29 January in Meudon. Rose died on 14 February and Rodin died on 17 November. He was buried in Meudon on 24 November, next to Rose. Their tomb is dominated by The Thinker.

1919 . A decree officially established the Rodin Museum, which opened its doors to the public on 4 August 1919.

134.          Aul Cezanne 597

Paul Cézanne was born as the son of a wealthy banker in a southern French town called Aix-en-Provence on January 19, 1839.  His closest boyhood friend was Emile Zola, who later gained fame for his novels and letters.  Both boys developed artistic interest early in their lives.  This idea greatly dismayed Cézanne's father.   No one could have guessed it then, but Cézanne would be become a famous French painter who would come to be called the father of modern art.

After a variety of heated family disputes, Cézanne was finally given a small allowance and sent to study art in Paris in 1862.  Zola had already gone there, and was still studying there.  Paul was most intrigued by the more radical elements of the art world.  He admired the romantic painter Eugene Delacroix, and some younger artists including Gustave Courbet and &#8249;douard Manet.  These painters exhibited realistic paintings that were unexpected and shocking in both style and subject compared to other contemporary artists.  Cézanne adopted similar styles at first.

Cézanne's early works were usually painted with dark tones and heavy, fluid pigments, which reflected the moody and romantic expressionism of earlier generations.  He gradually developed a method of the representation of contemporary life.  He painted the world as he saw without concern for idealistic themes or stylish affectation.   The most significant influence on Cézanne at this time was Camille Pissaro who not only provided Cézanne with the moral encouragement that he needed, but he introduced Cézanne to a new impressionistic technique for rendering outdoor light.  Because of Pissaro's influence, Cézanne shifted from dark tones to bright hues concentrating greatly on scenes of farmland and rural villages.

Cézanne seemed to be less technically accomplished than other impressionists at that time, and received some of the harshest critical commentary.  He drifted away from many of his Parisian contacts, and spent much of his time in Aix-en-Provence during the late 1870s and 80s. He became withdrawn, embitter, and paranoid over criticism because of what he took to be references to his own failures in one of Zola's novels.  He broke off from Zola and Pissaro, and soon inherited his father's wealth, which made him still more socially isolated.  This isolation seemed to greatly increase his development, and he designed his own techniques for painting outdoor light.  He himself spoke of "modulating" with color rather than "modeling" with dark and light.

He sometimes thought of himself as a failure.  He left most of his works unfinished or destroyed them.  He complained of his inability of rendering the human figure.  This was displayed especially in the Large Bathers.

No matter how dissatisfied he may have been with himself, there was no lack of support from the next generation of painters.  During the majority of his life, he was mostly unknown.  This ended when in 1904 he was featured in a major exhibition, and by the time of his death in Aix-en-Provence on October 22, 1906, he had gained the status of a legendary figure.  Many aspiring artists traveled to Cézanne's home to observe him at work and to receive and advice he may have had to offer.

Both his style and theory remained mysterious and cryptic.  To some he seemed naïve and primitive, but to others her was a sophisticated master of impressionism.  Among the artists of his time, Cézanne had perhaps the most profound effect on the art of the 20th century.  He was the greatest single influence on Henri Matisse and Pablo Picasso.  He was particularly well known for his use of color and his structure in the cubist style.

135.          Bach

Johann Sebastian Bach

Johann Sebastian Bach was one of the greatest

composers in Western musical history. More than 1,000 of his

compositions survive. Some examples are the Art of Fugue,

Brandenburg Concerti, the Goldberg Variations for

Harpsichord, the Mass in B-Minor, the motets, the Easter and

Christmas oratorios, Toccata in F Major, French Suite No 5,

Fugue in G Major, Fugue in G Minor ("The Great"), St.

Matthew Passion, and Jesu Der Du Meine Seele. He came from a

family of musicians. There were over 53 musicians in his

family over a period of 300 years.

Johann Sebastian Bach was born in Eisenach, Germany

on March 21, 1685. His father, Johann Ambrosius Bach, was a

talented violinist, and taught his son the basic skills for

string playing; another relation, the organist at Eisenach's

most important church, instructed the young boy on the

organ. In 1695 his parents died and he was only 10 years

old. He went to go stay with his older brother, Johann

Christoph, who was a professional organist at Ohrdruf.

Johann Christoph was a professional organist, and continued

his younger brother's education on that instrument, as well

as on the harpsichord. After several years in this

arrangement, Johann Sebastian won a scholarship to study in

Luneberg, Northern Germany, and so left his brother's

tutelage.

A master of several instruments while still in his

teens, Johann Sebastian first found employment at the age of

18 as a "lackey and violinist" in a court orchestra in

Weimar; soon after, he took the job of organist at a church

in Arnstadt. Here, as in later posts, his perfectionist

tendencies and high expectations of other musicians - for

example, the church choir - rubbed his colleagues the wrong

way, and he was embroiled in a number of hot disputes during

his short tenure. In 1707, at the age of 22, Bach became fed

up with the lousy musical standards of Arnstadt (and the

working conditions) and moved on to another organist job,

this time at the St. Blasius Church in Muhlhausen. The same

year, he married his cousin Maria Barbara Bach.

Again caught up in a running conflict between

factions of his church, Bach fled to Weimar after one year

in Muhlhausen. In Weimar, he assumed the post of organist

and concertmaster in the ducal chapel. He remained in Weimar

for nine years, and there he composed his first wave of

major works, including organ showpieces and cantatas.

By this stage in his life, Bach had developed a

reputation as a brilliant, if somewhat inflexible, musical

talent. His proficiency on the organ was unequaled in Europe

- in fact, he toured regularly as a solo virtuoso - and his

growing mastery of compositional forms, like the fugue and

the canon, was already attracting interest from the musical

establishment - which, in his day, was the Lutheran church.

But, like many individuals of uncommon talent, he was never

very good at playing the political game, and therefore

suffered periodic setbacks in his career. He was passed over

for a major position - which was Kapellmeister (Chorus

Master) of Weimar - in 1716; partly in reaction to this

snub, he left Weimar the following year to take a job as

court conductor in Anhalt-Cothen. There, he slowed his

output of church cantatas, and instead concentrated on

instrumental music - the Cothen period produced, among other

masterpieces, the Brandenburg Concerti.

While at Cothen, Bach's wife, Maria Barbara, died.

Bach remarried soon after - to Anna Magdalena - and forged

ahead with his work. He also forged ahead in the

child-rearing department, producing 13 children with his new

wife - six of whom survived childhood - to add to the four

children he had raised with Maria Barbara. Several of these

children would become fine composers in their own right -

particularly three sons: Wilhelm Friedmann, Carl Philipp

Emanuel and Johann Christian.

After conducting and composing for the court

orchestra at Cothen for seven years, Bach was offered the

highly prestigious post of cantor (music director) of St.

Thomas' Church in Leipzig - after it had been turned down by

two other composers. The job was a demanding one; he had to

compose cantatas for the St. Thomas and St. Nicholas

churches, conduct the choirs, oversee the musical

activities of numerous municipal churches, and teach Latin

in the St. Thomas choir school. Accordingly, he had to get

along with the Leipzig church authorities, which proved

rocky going. But he persisted, polishing the musical

component of church services in Leipzig and continuing to

write music of various kinds with a level of craft and

emotional profundity that was his alone.

Bach remained at his post in Leipzig until his death

in 1750. He was creatively active until the very end, even

after cataract problems virtually blinded him in 1740. His

last musical composition, a chorale prelude entitled "Before

They Throne, My God, I Stand", was dictated to his

son-in-law only days before his death.

136.          Balance Dicusses Symmetrical and Asymmetrical balances as well as Imbalance

Balance

Balance refers to the distribution of visual weight in a work of art. In painting, it is the visual equilibrium of the elements that causes the total image to appear balanced. Balance can be symmetrical (also referred to as "formal"), and asymmetrical balance (also called "informal balance"). Balance is usually a desirable characteristic of a composition. However, deliberately throwing off the balance of a piece in order to call more attention to some aspect of an image is, at times, desirable. For this reason, it is also necessary to discuss the concept of imbalance.

Symmetrical balance is a type of visual balance where the overall composition is arranged to look like it is the same on both sides of the center of the design. In other words, it is a design which could be folded in half, and as the design folds, each part of the design would match up with its symmetrical counterpart on the opposite side of the center. Symmetrical balance is easiest to see in perfectly centered compositions or those with mirror images. When elements on both sides of a central horizontal or vertical line appear to be about equal in shape, weight, value, and color, the design is in symmetrical balance. In a design with only two elements they would be almost identical or have nearly the same visual mass. Symmetrical balance produces paintings that are restful, calming, and visually stable.  An excellent example of symmetrical balance is Leonardo Da Vinci's Proportion of the Human Figure &#64830;Fig. 1&#64831;. This rather hopeful drawing illustrates that the human body can be vertically divided down the middle and the left and the right sides will correspond. When the sides of a piece match exactly, as Da Vinci would have us believe, it is referred to as pure or formal symmetry &#64830;Fichner-Rathus&#64831;.

Another type of balance is called asymmetrical balance. In this case, balance is achieved by arranging related or unrelated objects of differing visual weights that counterbalancing one another. The advantage of asymmetrical balance is that it seems more casual, and less frigid. Asymmetrical balance can be more intricate and complicated; it can heighten interest, bring informality, or even produce tension in a painting. Joan Miró's The Birth of the World &#64830;Fig. 2&#64831; is an example of asymmetrical balance. Fichner-Rathus explains this piece, "Against a washed, intermediate space, a figural form on the left--loosely described by a stack of black and white geometric shapes--is balanced on the right by a simple sphere of highly saturated red" &#64830;p. 77&#64831;. Fichner-Rathus goes on to explain that the placement and color of the objects achieve "the sense of overall balance," if the red sphere is covered up, changed to black or white, or changed it to another shape, the piece would be thrown into imbalance.

While both symmetrical and asymmetrical balances offer different advantages, and have been used to create fantastic pieces, imbalance has been employed to create many incredibly visually appealing works of art. Such imbalance is a characteristic of works of art in which the areas of the composition are unequal in actual weight or pictorial weight. Imbalance can also allow the viewer to sense movement. &#64830;Fichner-Rathus&#64831; In the case of Robert Capa's photograph "Death of a Loyalist Soldier" &#64830;Fig. 3&#64831; it looks as though the soldier was trying to make it to the center of the frame but he has been shot and is stumbling backwards from the force of the bullet. As Fichner-Rathus argues about Niki de Saint-Phalle's Black Venus, imbalance can do similar work while accomplishing very different effects. She indicates imbalance here "suggests a precariously balanced body ..." &#64830;Fig. 4&#64831;. In addition to this view, the imbalance in this piece also possibly offers to the viewer a look at this Venus as though she were standing in water without physically submerging her in a pool.  The artist actually is addresses the narrow field of what is considered to be an attractive woman, especially Western stereotypes. It's interesting that Saint-Phalle's Venus mirrors images of the Hottentot Venus &#64830;Fig. 5&#64831;. Being able to do two very different readings of this piece speaks to the versatility of imbalance; it allows the viewer to play more of an active role in their viewing.

The distribution of visual weight in a work of art is referred to as symmetrical and asymmetrical balances. These methods produce pieces that are restful and calming or tense and informal. In addition to these methods, throwing off the balance of a piece, using imbalance, to call more attention to some aspect of the piece can add many more dimensions to it and allow the viewer to draw his of her own conclusions from the piece.

Works Cited

Understanding Art 6th edition, Lois Fichner-Rathus, Harcourt College Publishers, Fort Worth, TX.

http://www.csupomona.edu/~plin/women2/stphalle.html

www.edmarimba.co.uk/ capa/spanish.html

www.kirkwood.co.za/ news/augustus.html

http://faculty.ehshouston.org/dlafranca/Friday%20AFTERNOON_page_1.htm

http://www.oceansbridge.com/shop/skin1/images/thumb-oil/the_birth_of_the_world_1925.jpg

137.          Barney vs Sesame Street The Ultamate Educational Battle

Sesame Street and Barney The Dinosaur are two popular educational shows for children.  Are they really teaching kids with the right techniques?  Are they teaching kids anything at all?  It's a battle to see which is better: Barney or Sesame Street.

Sesame Street and Barney have totally different teaching techniques.  Sesame Street captivates the audience with high joltage and fast scenes.  The child barely understands what is going on and when they understand that scene, it's over and the next scene is almost done.  The child does not learn well under these circumstances.  Barney does not have the same JPM as Sesame Street but it still attracts the audiences' attention.  The show is slower and more understandable than Sesame Street.

Barney focuses on one topic for every show.  The one that I watched, entitled "Up We Go", was about flying.  You learn about kites, birds, planes and more.  You get more out of the show than if it was about many topics like Sesame Street.  The one we saw had many topics like eating healthy, dental hygiene, the airport and more.  The child can have an overload of ideas for one day and get all mixed up.

Both Barney and Sesame Street have songs in them.  I found that Barney had many more songs than Sesame Street.  The songs are used as jolts and they work well in getting the attention of the child.  I found that the Barney songs were much catchier than the Sesame Street songs.  They were slower, and other than the dancing, there was not much else happening.  On Sesame Street, the background was changing, things were flying and colors were jumping.  The attention was not put on the song by the kids, it was put on the actions on the screen.

Barney, like Sesame Park, showed minimal biases regarding sex and race.  The cast consisted of three boys and three girls.  One boy was disabled but was as able as the other kids.  The races on the show were mixed.  They consisted of a Latino boy, a Chinese girl, an African-American girl and more.  On Sesame Street there was less of a mix of races.  They just had the primary races of the United States like African-Americans and Latinos.

While watching Barney, I noticed that a main focus was imagination and 'Playing Pretend'.  This shows that the show is aimed at four and five year old children and h that much  younger.  Sesame Street is aimed for all ages.

Who won the battle?  I think it was Barney.  They are both great children shows but Sesame Street is to much energy for kids, and it does not teach about friendship and politeness as Barney does.  That is one of the most important things in life.  Barney also taught about reading, math, shapes and colors.  Barney has solid educational value, and without the overuse of jolts, they teach the kids.

138.          Bartleby The Failure

Bartleby, the Failure

It is not rare, sometimes it is even common, that an author speaks about his or her self in their works.  Herman Melville's "Bartleby, the Scrivener" is often considered such a story.  Many of the characters in the story and images created allude to Melville's writing career, which was generally deemed a failure.  The main character in the story can either be Bartleby or the narrator, but Melville partially embodies both of them.

We are understanding towards the narrator's reasoning for keeping Bartleby and for the sympathy he shows for Bartleby. After the general failure of Moby Dick, at least in Melville's time, he immediately wrote Pierre, which was a deeply personal novel.  This self pity could have been continued in "Bartleby, the Scrivener".  In addition, Bartleby seemed to feel that continuing copying was worthless, possibly from spending many years in a dead letter office.  Melville probably felt this way, but needed to continue writing to support his family.  When Bartleby is in prison, he wastes away without abruptly dying, a degeneration until the point no one notices his absence.  Melville had reached the prime of his popularity early in his career, so when he published Moby Dick, his career was already in decline.  His disappointment was only to increase as his career diminished until his death which was hardly noticed in the literary community.

The narrator also resembles Melville, but in a different way.  Melville uses the narrator to view his own situation from a 3rd person perspective.  He attempts, and is somewhat successful, in getting readers to feel sympathy for Bartleby, therefore, sympathy for him.  On the contrary, the narrator also scorns Bartleby's persistence after he stops copying: "In plain fact, he had now become a millstone to me..."(1149).  In this respect, the narrator also represents Melville's literary critics.

Behind the relationship between Melville, the narrator, and Bartleby, one can also see the relationship between the narrator and an ideal audience that Melville would have wanted.  He probably wished that his writing would be more popular among the readers, although he professed his own demise with Bartleby's atrophy.  His other employees, Turkey, Nippers, and Ginger Nut, were similar to other writers who inspired Melville, such as Nathaniel Hawthorne.  The narrator describes them as "most valuable" and "accomplishing a great deal"(1133).  However, this inspiration from other authors could have depressed Melville, who was not nearly as successful.

In "Bartleby, the Scrivener", Melville tries to relate to the reader and explain his declining situation.  This story, on an allegorical level represents Melville, his life, and what he wished his reading audience would understand about him.  This is probably what he wanted, but readers, initially, see a melancholy story about the condition of humanity.

139.          Baz luhrman

Baz Luhrman was made famous by his three films that come under the title of the 'Red curtain trilogy'. These three films are Strictly Ballroom, Romeo + Juliet, and Moulin Rouge. Red curtain cinema is a term made up by Luhrman. It is about breaking cinematic rules and boundaries. It is a refreshingly new and unique style of movie making that gets the audience to take part and enjoy the film. Luhrman has established a degree of adaptability in all his works. Luhrman devised the Red Curtain style of film making with these specifics in mind: 1) the audience knows how it will end right from the start; 2) the storyline is thin and simple; 3) the world formed in the film is one of heightened realism; and 4) there is to be a specific tool driving the story, whether it be dance, iambic pentameter or characters bursting out in song. Red curtain cinema is a technique of theatrical conventions that put new heart into film.

Strictly Ballroom is the first and probably lesser know of the three films. It is a typical story of the underdog. SB uses both the David and Goliath and the ugly duckling myths. And as the title would tell is set in the heightened world of ballroom dancing, where it is almost a crime to think outside the square.  Ballroom dancing is incorporated beautifully into the film and all important scenes are danced.

The second of the trilogy is the remake of William Shakespeare's classic play Romeo + Juliet. This tells the tale of two star crossed lovers. This film is at another level than SB. It is more advanced in red curtain cinema and it manages to use more avant grade shots and mixing of a lot of scenes. Luhrman has managed in this film to undoubtedly to adapt this story into the modern day world, with a modern Verona without the audience wanting to question the 'loop holes'. The newscaster telling the prologue at the beginning of the film sets the scene straight away. The audience is pulled into the Shakespearian language straight away without noticing too much in the first scene. This goes on the age old saying 'actions speak louder than words' the actions and expressions in the first scene speak louder than the language. Someone who does not speak a word of English would have been able to understand what was going on. This scene sets the audience for the rest of the film; it introduces them to the language and lets them understand it. One example of this is how Luhrman managed to adapt by improvising with props, using guns with the brand sword instead of swords.

In R+J all of the important scenes are full of thick Shakespearian language. This intrigues the audience and gives the idea that the scene is important. An example of this is at Sycamore grove, just before the Montague boys leave for the party. Romeo and Mercurio talk about dreams and fate.

Moulin Rouge represents the rules of red curtain cinema at their most advanced; it is the third and final of the three films. MR is a musical based in Paris at the turn at the century. The story is about love. Like the other two films the story follows two young lovers. In MR one of them a prostitute and the other a penniless writer full of bohemian ideals. The young writer bewitches the prostitute and the result is chaos in the Moulin Rouge. MR is all about using over the top effects and beautiful imagery. MR highlights love and the feel of old time movies.

In MR in all important scenes the characters break out in song. An example of this is when Christian and Satine are on the top of the elephant. This is where they first make the decision to become lovers.

Moulin Rouge approaches the subject matter in an ironic way. It's almost as though there is unwillingness for the film to be taken seriously, this is shown in the deliberate use of old-fashioned songs, scenery and attitudes. Moulin rouge isn't a musical or a straight film, it isn't a tragic or comic film, it mixes elements from both.

While watching Moulin Rouge the audience is never let forget that it is watching a film. Moulin Rouges superficiality is an essential element in its post-modern attitude.

Baz Lehrman has made the story or Romeo and Juliet have relevance to the new generation, who are more likely to understand it when they see modern things and scenes in the film. Baz has incorporated into the film new modern props and scenery. By making the appearance of the film modern Baz has highlighted the timelessness of the story.

Luhrman has opened the eyes of many of his audiences to ballroom dancing; he has in his film made the rivalry and politics obvious to the audience and thus interesting them into the concept of ballroom dancing. The fact that it is a love story has also helped open peoples eyes to ballroom dancing in a way that they perhaps wouldn't of thought of.

140.          Beatlemania in the 60s

Beatlemania in the 1960s

The Beatles were a mystical happening that many people still

don't understand. Phenomenoligists had a ball in 1964 with

Beatlemania, a generally harmless form of madness which came from

Britain in 1963. The sole cause of Beatlemania is a quartet of young

Englishmen known as the Beatles. In the less than one year that they

achieved popularity in England to the time they came to America, The

Beatles achieved a popularity and following that is unprecedented in

the history of show business in England. They became the first

recording artists anywhere in the world to have a record become a

million-seller before it's release. They became the target of such

adoration by their fans that they had to cancel all one-night bookings

because of riots in early 1964. Beatlemania had reached unbelievable

proportions in England, it became a form of reverse lend-lease and

spread to the United States. Capitol records followed the Beatles'

single record with the release of an album, "Meet the Beatles," in

late January of 1964. That event was followed by the Beatles

themselves, who arrived in New York February 8, 1964 for three

appearances with Ed Sullivan. The first show was scheduled for Sunday,

February 9, the second was telecast from Miami a week later, and the

third pre-taped for an airing in March. These concerts were the most

watched television programs ever (70 million viewers) until recently.

The Beatles' arrival in the United States was presaged by a deluge of

advance publicity. Newsweek, Time, and Life have chronicled

Beatlemania, UPI, and the AP(Associated Press) had done their part for

the cause (including an AP wirephoto of J. Paul Getty sporting a

Beatle wig), and even Vogue shoved high fashion aside momentarily in

it's January, 1964 issue and carried a full-page photo of the group.

Baltimore's respected Evening Sun took notice of the coming of the

Beatles on it's editorial page at that time. Said the Sun: "The

Beatles are coming. Those four words are said to be enough to jelly

the spine of the most courageous police captain in Britain... Since,

in this case, the Beatles are coming to America, America had better

take thought as to how it will deal with the invasion... Indeed, a

restrained 'Beatles, go home,' might be just the thing." Precisely

how, when, and where Beatlemania got started nobody- not even their

late manager Brian Epstein(who died of a drug overdose in 1967) can

say for sure. The Beatles are a product of Liverpool, which had a

population of some 300 rock and roll bands( or "beat groups," as

Liverpudlians are wont to call them). The beat groups hawked their

musical wares in countless small cellar clubs, old stores and movie

houses, even in a converted church, nearly all of which are in

proximity to the Mersey River. Out of all these groups came, somehow,

the Beatles. And they had to go to Germany to do it. In order to

better their Liverpool take-home pay of around $15. per week apiece,

John Lennon, Paul McCartney, George Harrison, and Ringo (so called

because of his penchant for wearing at least four rings) Starr took a

tramp steamer to Hamburg and a job which moved them up a bit

financially, if not in class. There, in a raucous and rowdy strip

joint, the Indra Club, the Beatles became the first entertainers to

play louder than the audience. There, too, they were "discovered" by

English promoter and talent agent, Brian Epstein, who has since become

deservedly known as "the fifth Beatle." Under Epstein's shrewd

guidance, the Beatles soon found themselves signing a contract with

Britain's giant Electric & Musical Industries, Ltd., the largest

recording organization in the world and major stockholder in Capitol

Records, Inc.; headlining concerts throughout Britain; and appearing

on television. Their first recording, "Love Me Do," was issued by

EMI's Parlophone label in October, 1962. It sold a respectable 100,000

copies, and it was the last time a Beatle single sold less than half

million copies. The first million-seller, "She Loves You," came out in

the spring of 1963. It was followed by two albums, "Please, Please Me"

and "With the Beatles." Both LP's sold over 300,000 copies.1 Then,

finally, came the unprecedented success of the newest single record,

"I Want to Hold Your Hand." In between there was three extended play (

a 45 r.p.m. disk containing four tunes) recordings which also racked

up sales of several hundred thousand apiece. All this resulted in what

is universally known in Britain as Beatlemania and, as Newsweek said

of young Liverpudlians, "the sound of their music is one of the most

persistent noises heard over England since the air-raid sirens were

dismantled." Their popularity reached a head of sorts when, in

November of 1963, at the request of the Royal Family, The Beatles

headlined the annual command performance at the Prince of Wales

theater. It was a glittering affair and, probably out of deference to

attending royalty (including the Queen Mother-she found them "young,

fresh, and vital" - and Princess Margaret), notable for the absence of

even a small riot. Despite their apparent appointment as Purveyors of

Rock and Roll to the Crown, the Beatles have taken the whole thing in

stride. Said Beatle John Lennon to the lords and ladies at the command

performance: "People in the cheaper seats clap your hands, the rest of

you just rattle your jewelry." It was not only their good looks and

wonderfully unique music that made them so popular with the young

ladies (and men too!). It was their witty charm that was reflected in

the quote from the Royal Command Performance. Here is part of what was

said at LaGuardia airport on February 7, 1964: "Will you sing for us?"

someone asked. "We need money first," John Lenin shot back. "What's

your message for American teenagers?" "Our message is...buy some more

Beatle records," returned Paul McCartney. "What about the movement in

Detroit to stamp out the Beatles?" "We're starting a movement to stamp

out Detroit." "Do you hope to take anything home with you?"

"Rockefeller Center." "What do you think of Beethoven?" "I love him,"

said Ringo Starr. "Especially his poems." "Don't you guys ever get a

haircut?" "I just got one yesterday," retorted George Harrison. Added

Ringo: "You should have seen him the day before." There's a little bit

of Beatle history. One could say that they did not just come out of

nowhere , like many people believe. It took hard, diligent work to go

where they went. Because of this "Came out of nowhere to steal the

hearts of young girls" quote that was often used in the 1960's, many

psychiatrists felt the need to examine further. Anthony Corbett, a

noted English psychologist praised the Beatles as having provided "a

desperately needed release for the inhibitions which exist in all of

us."2

Dixon Scott of the London Daily Mirror interviewed a

well-known psychiatrist (unnamed because of medical ethics) in an

attempt to get to the root of Beatlemania. "We are all chaotic and

mixed up inside," the psychiatrist told Scott. "We are anxious to have

a greater freedom to live. We have a greater feeling of the need to

express ourselves...in the past we have been controlled

automatons...but you cannot hold nature back forever. All the parts in

use had to seek an outlet and rhythm is one of these outlets...then

along came the Beatles with their fresh beat and fresh innocence." The

psychiatrist then came to the crux of the problem: "A revolution is

taking place," he said. "It amounts to freedom with a sense of

responsibility and honesty. The fans recognize the honesty that shines

from the Beatles." "While other pop stars have thought in artificial

terms of reaching out to their audiences, the Beatles are giving

honestly, as well as receiving." In a lengthy article in the New York

Times, Frederick Lewis of that paper's London bureau, examined the

sociological implications of Beatlemania and came up with other

theories. "They (The Beatles) are working class and their roots and

attitudes are firmly of the north of England. Because of their

success, they can act as spokesman for the new, noisy,

anti-establishment generation which is become a force in British

life," Lewis wrote. "The Beatles are part of a strong-flowing reaction

against the soft, middle class south of England, which has controlled

popular culture for so long." Beatlemania has touched all corners of

English and American life and all types of people. Obviously , it had

an enormous effect on America. The proof can be shown in the millions

upon millions of records they have sold in the last 32 years that they

have been making records (in the present tense because they are still

releasing records today). In the first Beatles fanzine in America, it

shows how crazy America was at this time over the Beatles. It has life

stories, full page pictures, how to do the Beatle dance, and the

Beatle haircut. The big contest was to win a call from the Beatles.

And at the end there was some wallet size photos for the girl's

purses. It is obvious that the Beatles influenced everyone's lives.

From the shrieking girls, to the parents of those girls, and the

police officers that tried their best to contain the

uncontrollable(girls). Their popularity diminished after they stopped

touring in 1966, which was due to the strain and stress of touring

that they had endured. But their impact was to last forever. The

wanting of the reunion has been so big that they are reuniting to

collaborate for a new album. It will undoubtedly be a best seller.

After all these years, people still love them. 1 According to "The

Beatles"- The first American Beatle Fan-zine. 2 All quotes courtesy of

"The Beatles"- The First American Beatle Fan-zine.

141.          Beatles and rock music

How The Beatles Changed Rock Music

Rock music consists of many individual styles.  Even though there is a common spirit among all music groups, all music made by them are very different.  Rock music evolved in the 1950s and the early 1960s.  At that time that Beatles entered the world of music from Liverpool.  Rock music was a large piece of the centerpiece of a largely rebellious group of young people.  Before the era of the Beatles, Elvis Presley first took Rock 'n' Roll to the public.  Elvis blended the black and white music influence to create this style of Rock 'n' Roll.  He commanded a large group of faithful fans.  Elvis was the only singer who was able to rival the Beatles.  Even so, the Beatles admired his music and were greatly influenced by him.  The Beatles were pace setters.  Their ensemble were supplemented with solo guitar, rhythm guitar, bass guitar, drums, sitar, and violins.  They took advantage of the creative possibilities afforded by the multiple track tape recording.  They made rock music into music that were produceable in studios but were not possible to produce in live performances.

They were the "Greatest show on Earth."  They were the biggest concert draws on Earth.  Their music and lyrics changed the lives of a generation and the generation that followed.  Rock 'n' roll was a mixture of blues and country.  Its rhythm seemed to have an amazing power over young people that couldn't be understood by anyone born before 1940.  John Lennon joined Paul McCartney, Pete Best, and George Harrison to form the hottest group that was around at that time.  Their first hit music was the very well known song My Bonnie.

In 1962, Ringo Starr replaced Pete Best as the drummer and joined the group on continuing their wonderful future.  The sum of four talents had come together and critical mass has been achieved when the Epstein published their tape.

Their second single received much more attention from the public and they were given an invitation to appear live on BBC.  The Beatles moved quickly to expand their national exposure in Britain with a pair of back to back nationwide tours.  By mid 1963, the Beatles had reached nationwide stardom in England.  Even the hairstyle of them became major trends at that time.  They held large concerts and performed at clubs.  They became the hottest things on the pop music scene in England.

They began as a modestly successful musician group and ended the year as show business legends.  John Lennon and Paul McCartney were named composers of the year.  They decided on a tour to United States in 1964 without knowing how the Americans would react to the new type of music.  Beatlemania hit New York on February 7, 1964.  Hundreds of people jammed at the airport.  They performed their first concert in America at CBS television's 53rd street studio.  The concert was broadcast live and attracted the largest one night audience in the history of television up to that time.  The Beatles were described as a British invasion by local and nationwide newspaper at that time.  Their conquest of America was still remembered as a major turning point in the history of rock 'n' roll.  Thanks to the Beatles, a large amount of opportunities were opened up to new faces on the market.  Many rock bands were able to follow in the footsteps of the Beatles.

Once the Beatles opened up the market in the United States, this led to further "invasions" of other British rock groups such as the Kinks and the Rolling Stones.  The 1960s rock scene has begun in February of 1964 when Bob Dylan first met the Beatles.  After that day, nothing in the music world would ever be the same.

142.          Beatles Influence in the studio

Beatles Influence in the studio

The Beatles music has moved every generation with their rhythmic sound and their intoxicating lyrics. Each song has it's own spirit and life force that radiates The Beatles unique musical talents. Throughout their short lived career they created song after song, taking their inspiration from various artists and worldly figures.  The Beatles songs began to take on a new energy when they stopped touring and focused on recording in the Abbey Road Studio. Here the Beatles transformed themselves and their music into something that would grasp the world by the ears and shout that it must be heard.

In the studio each member of the band was able to relax and sit down with his ideas, taking the time to mold them into something grand. John Lennon took his inspiration for 'A Day in the Life' from the English newspaper the Daily Mail. There were two articles that intrigued John. One was about the Guinness heir Tara Browne, who drove through some red lights at 110 mph and smashed into the back of a parked van in South Kensington. The other story was about how four thousand holes had been found in Blackburn, Lancashire. Paul McCartney also contributed to this song. He wrote the middle section using lyrics that he had intended for another song. With the lyrics in place, the real magic was about to begin.

Lennon's voice on 'A Day in the Life' was achieved with tape echo. The feed from the vocal mike would be sent into a mono tape machine. They had separate record and replay heads, so the vocals would be recording, and then you would have to take the replay and feed it back through the machine. This method of tape echo suited John's voice very well, because he has a cutting voice that used to trigger it so well.

There were several other elements that contributed to this song that could never have been performed on stage. For instance the use of a symphony orchestra for the last 24 bars of the song. Each orchestra player was given the range of notes they were allowed to play, but they could move freely to any note they wanted until the end of the song. It gave the song a dramatic and chaotic closing, ending the piece with the entire orchestra hitting one crisp, clear note that reverberated for 40 full seconds. 'A Day in the Life' is one song among many that is full of sounds and equipment that only could have been played in a studio, where they could stop recording and change instruments. A live performance of this song could have been performed, but the effect would have been reduced drastically.

Recording numbers in the studio such as 'A Day in the Life' gave the Beatles a creative outlet to explore the mechanics of the soundboard and create new sounds using the studio itself. The number 'Come Together' was composed in the Abbey Road Studios by John. He was trying to come up with a campaign song for Tim Leary, when he got the idea for 'Come Together'. The studio brought out John's imaginative side, digging into his deep admiration for the great artists like Chuck Berry. There are several subtle additions to the song that are unnoticeable unless you know what you're looking for. For instance each exclamation of "shoot" one hears Lennon singing is actually "shoot me!" followed immediately by a handclap. These little additions to the song make it unique to the Beatles studio recordings.

Another song that was altered in the Abbey Road studio was the Beatles 1965 hit 'Help!'. 'Help!' was written by John Lennon for their second feature film. This song was actually supposed to have a much slower tempo, but was speeded up in the studio to make the song more commercial. "Later, I knew I really was crying out for help. So it was my fat Elvis period. You see the movie: He-I-is very fat, very insecure, and he's completely lost himself." -John Lennon. If The Beatles had had more time in the studio to record this song, it would have turned out much more acoustical and with a slower beat.

Each one of the studio songs whether it is created inside the studio walls or merely recorded their takes on its own life. The Beatles needed this studio time to rest and explore themselves mentally to gain a greater understanding of their music. The Beatles had more time to talk things over with each other and pursue other creative outlets than their conventional instruments. They were trying to send a message to the world through their songs. The studio allowed them to do so, and ever since then we have been learning from the greatest rock n roll group of all time.

143.          Beatles The 2438

Probably the most popular, influential and enduring rock group of all time, the Beatles almost single-handedly reshaped rock 'n' roll from a genre of throwaway singles by faceless stars to an artistic medium with memorable images and idols. The Beatles placed the emphasis on a group, rather than a single individual, like Frank Sinatra or Elvis. They also set an example for all rock n roll bands to follow with their strong sense of self-determination, going against their record company and management on many issues, even refusing to tour at the height of their popularity. Of course, their countless hit singles have become modern-day folk songs, covered by hundreds of individuals and groups and inspiring countless more, and have sold more copies than those of any other band in history. The roots of the Beatles date back to Liverpool, England in the late 1950s. Inspired by the growing skiffle craze, John Lennon bought a guitar in March 1957 and formed a skiffle group called the Quarrymen, named after his high school, Quarry Bank. The lineup changed frequently, but by October 1959 it consisted of Lennon, his younger classmate Paul McCartney, George Harrison and drummer Colin Hanton. By March of 1960, Lennon's art school classmate Stuart Sutcliffe joined the band on bass and suggested the name the Beetles, a play on Buddy Holly's group the Crickets. By that summer they were the Silver Beatles, settling on the Beatles in August. That month the Beatles left for Hamburg, West Germany, with their new drummer Pete Best, to try to establish themselves in Europe. The band became a popular local act, performing at various clubs until they were expelled from the country in November because George Harrison was underage. The Beatles returned to Germany in early 1961 to record as a backup band for singer Tony Sheridan; these sessions were later released during the mid-'60s as "new" Beatles material, taking advantage of unsuspecting fans. Meanwhile Sutcliffe had left the band to pursue his art career and relationship with German photographer Astrid Kircherr. Paul took over on bass. Ironically, Stu died of a brain hemorrhage the following year, right before the Beatle's third Hamburg visit. Throughout 1961 the Beatles played clubs in Britain, becoming an underground sensation; they were particularly famous at the Cavern Club in Liverpool. Though they played mostly covers, Lennon and McCartney began writing original songs together, agreeing to forever share songwriting credits, even though they only co-wrote a handful of tunes during their entire career as the Beatles. By the end of the year, Liverpool record store owner Brian Epstein had become the band's manager, and quickly began trying to find them a record contract. On January 1, 1962 the Beatles auditioned for Decca Records, performing 12 covers and three originals for A&R assistant Mike Smith. The group was rejected, however, and told that "guitar groups are on the way out." Undaunted, Epstein got the group an audition at Parlophone, an EMI subsidiary, with producer George Martin, who signed the Beatles on May 9, 1962. After one recording session, Martin suggested that drummer Pete Best be replaced, and the Beatles brought in Ringo Starr (born Richard Starkey), a well-known local drummer, as his replacement. By October 1962 their first single, Love Me Do" b/w "P.S. I Love You, was a U.K. Top 20 hit, allegedly because Epstein bought 10,000 copies himself to ensure that it would chart. The band became regular guests on the BBC, performing over fifty times between 1962 and 1964. In February of 1963 the Beatles returned to the studio to record 10 songs (in one day!) for their first album, Please Please Me, which was released the following month. It became an instant hit, staying at No. 1 in Britain for 30 weeks and by October, female fans were screaming at their performances , the start of "Beatlemania." Following an early November performance before the royal family, Parlophone released a second Beatles album, With The Beatles. By the end of the year the group had sold over 2.5 million albums in Britain, and had a string of million-selling singles. Naturally, word about this amazing new act soon spread to America. Yet, ignoring the British success of the Fab Four, EMI's U.S. partner, Capitol, refused to issue the first few Beatles singles, which were instead picked up by the Chicago-based indie label Vee Jay Records. Vee Jay packaged the early singles as Introducing the Beatles, their first U.S. LP. During the second half of 1963 it was the only Beatles material available in America, and sold incredibly well; by 1964 a court awarded the rights to all Beatles recordings to EMI/Capitol, and the record went out of print, only to become one of the most counterfeited albums in music history. In January of 1964 Capitol released their first U.S. Beatles LP, Meet the Beatles, containing remixed material from their two British albums. Following a landmark three weekend stint on the Ed Sullivan show in February of 1964 (viewed by over 73 million people), the Beatles were the biggest band in America, "Beatlemania" had taken hold of the U.S., also paving the way for other "British Invasion" groups. To capitalize on their incredible popularity, the Fab Four were made the stars of a comedy film, "A Hard Days Night", which, surprisingly, earned good reviews and, not surprisingly, produced a hit soundtrack album. Following the release of the movie in July, the band left for their first North American tour, performing 25 stadium dates in the U.S. and Canada. By the end of the year Beatles For Sale was in British stores, part of EMI's plan to have a new Beatles album out every six months, while their previous albums and singles still clogged the U.S. and U.K Top 10. In 1965 the band appeared in a second movie, the James Bond spoof "Help!", which also spawned a soundtrack album. Another huge U.S. tour followed. Not content with their unprecedented commercial success, the Beatles began to take their music more seriously, shifting from covers and upbeat pop love songs to more thoughtful, experimental material, highlighted on December 1965's Rubber Soul. The next U.S. Beatles album, Yesterday...And Today, was released on June 15, 1966 and featured a shocking cover featuring the handsome Fab Four surrounded by raw meat and butchered baby dolls, a protest against Capitol's "butchery" of their albums in the U.S.. Complaints from retailers immediately rolled in, and the album was withdrawn, reissued the following week with a new, mundane cover of a steamer trunk. (Today copies of the album with the original cover are worth thousands of dollars.) Further controversy plagued the group when John Lennon claimed in a newspaper interview that the Beatles were "more popular than Jesus." Many radio stations stopped playing their songs, and protesters appeared outside their concerts. Meanwhile the group was increasingly under the influence of the Maharishi Mahesh Yogi, an Indian guru; this flirtation with Eastern religion soon became common among '60s rock stars, and, more interestingly, lead the Beatles to experiment with Indian sitar music on their next few albums. The band also began using large amounts of psychedelic drugs, foreshadowing the "flower children" of the next few years. Following the release of Revolver, their most mature effort to date, in August 1966, the Beatles embarked on their final U.S. tour, playing their last live show at San Francisco's Candlestick Park on August 29th. From then on, the band announced, they were going to keep away from live performances to concentrate on more elaborate studio productions. Rumors were spread in the media as the band disappeared from the public. The Beatles spent much of early 1967 in the studio, recording their amazing, Sgt. Pepper's Lonely Hearts Club Band. This groundbreaking concept album completely changed the way rock albums were created. It used numerous studio effects, placed the emphasis on the album as a whole rather than on singles, and rewrote the standard for cover art with its famous cardboard cutout-based photo collage. Sgt. Pepper's Lonely Hearts Club Band later won four Grammys, including Best Album. On August 27, 1967 Beatles manger Brian Epstein was found dead of a drug overdose, possibly intentional. The band was shaken, but decided not to hire a new manager, assuming complete control over their own career. Their first project without Epstein's guidance, the concept album and BBC TV special Magical Mystery Tour, was attacked by critics, and was probably the beginning of the end for the Beatles. By 1968 the group had formed its own record label, Apple, and they were recording tracks for a new double album. Sessions were filled with tension as members of the group periodically stormed out and often failed to record together, turning in tracks recorded independently. The bizarre result, popularly referred to as The White Album but officially called The Beatles, was released in November of 1968, and featured a guest appearance by Eric Clapton on the single "While My Guitar Gently Weeps." That same month John Lennon released a solo album recorded with his controversial new lover, Japanese artist Yoko Ono, entitled Unfinished Music No. 1 - Two Virgins. Late in 1968 an animated film inspired by the song "Yellow Submarine" was released in theaters. Despite the cheery tone of the film, created with little band involvement, the real Beatles were hardly speaking, spending more time on their personal lives and their own musical projects than on the group. In January 1969 the weary band began preparing to record a new album live in the studio, without any overdubs, tentatively entitled Get Back. For an accompanying film, the Beatles performed on the roof of their studio, their last public appearance ever. While preparing the album, the group began to fight over creative issues, and the project was shelved, while the group continued to deteriorate. On March 12, McCartney married American photographer Linda Eastman; several days later Lennon formally married Yoko Ono. By May the Beatles' situation worsened when the group appointed Allen Klein as their new business manager, despite objections by Paul McCartney, who wanted to give the job to his new father-in-law. Though conflict continued to haunt the group, the Beatles returned one last time to EMI Studios to record Abbey Road with George Martin, an amazingly together album. By early 1970 each of the four Beatles was working on a solo album, but each publicly denied rumors of a split. In September 1969, Lennon told his bandmates that he wanted to quit, but because the group was renegotiating with EMI at the time, the breakup was temporarily put aside. Meanwhile, rampant rumors spread across America that Paul McCartney had died in an auto accident several years earlier and had been secretly replaced by a look-alike; the alleged "clues" hidden in lyrics and cover art were quickly proved to be the product of overactive imaginations. Sadly, internal tension resurfaced in the Beatles when Allen Klein brought in Phil Spector to produce and overdub Get Back (released in May 1970 as Let It Be) against Paul's wishes, also demanding that Paul delay the release of McCartney, his solo debut, in order to avoid detracting from sales of Let It Be. In anger, McCartney released his album in April, before Let It Be, and publicly announced that he was quitting the group. On December 31, 1970 McCartney filed suit against Klein to break up the Beatles, which upset the other three, who had considered periodically recording as a group while continuing their solo careers -- now any chance of a reunion was gone, at least for quite a while. Apple Records became a financial and legal mess. During the 1970s each of the Beatles released solo albums. Paul, performing with wife Linda in the group Wings, was the most commercially successful. John recorded on and off with Yoko Ono, and continued to attract attention for his radical politics (though he semi-retired from music in 1975 to spend time with his newborn son, Sean). Throughout the decade there was idle talk of a reunion, peaking around 1976 when a Beatlesque Australian group named Klaatu was rumored to be the Fab Four under a false name (they weren't, though their manager and record company encouraged the rumor) and Saturday Night Live producer Lorne Michaels half-seriously offered the Beatles $3,000 to perform on his show. Though all four Beatles did contribute to the 1973 Ring Starr song "I'm the Greatest," no real reunion ever took place. On December 8, 1980 all chances of that happening were ended when a deranged fan, Mark David Chapman shot and killed John Lennon outside his New York apartment. Although the Beatles had not released any new albums since 1970, interest in the group remained high into the '90s, their backcatalog selling millions of copies a year and providing Capitol with a large part of their annual income. Publishing rights to all Lennon-McCartney compositions were sold during the '80s for hundreds of millions of dollars, at one point passing through the hands of Michael Jackson. Though Capitol issued singles/out-takes compilations such as Past Masters and Rarities, a lot more unreleased material remained unavailable due to ongoing legal problems, and ended up on illegal bootlegs. By the early '90s Paul, George, Ringo and Yoko Ono settled their disagreements about contracts, permitting the re-release of long unavailable recordings. In 1994 Capitol issued a double CD of early Beatles recordings for the BBC. Phenomenal sales of Live at the BBC inspired more exploitation of the Beatles legacy. In 1995 the surviving Beatles came together to contribute to a TV documentary about the group and select material for a planned rarities anthology of out-takes and demos. While together, Paul, George and Ringo laid down music for two John Lennon demo out-takes, "Free as a Bird" and "Real Love." Though the sound quality was often abysmal, the material inferior, and the surrounding hype insulting, America's aging Beatles' fans ate up the three 1996 double-album releases, Beatles Anthology 1, 2, and 3, which sold over 15 million copies in less than a year. Capitol once again insists that there is no more Beatles material that will be released. Even though one of the Fab Four has passed away, they live on, almost vividly, in the hearts of the youth in the world. Nothing before or since the Beatles has affected people in such a huge way. Forty years ago, four young lads from Liverpool, England got together and grew and grew until they were bigger than anything that's ever been seen in the music industry. They live forever in me, the world, in music, in everything. Love surrounds them for eternity

144.          Beethove

B

Ludwig van Beethoven

eethoven's importance lies not only in his work, but also in his life (Tames, 4).  Included in my report is proof that Beethoven was one of the greatest composers of the Romantic era.  In this proof is a brief description of his life.  This will help you understand how he felt when he wrote his music.  Also, there will be a description of all his symphonies.

_________________________________________________________________________________________Life_____________________

Mozart

On December 16 or 17, 1770, (date uncertain) at 515 (now 20) Bonngasse Bonn, Germany Beethoven, like Mozart, was born into a small family (Comptons, 1).  He took his first lessons on March 26, 1778, (Schmit, 10).  In 1787, he went to Vienna to study with Mozart, but he went back to Bonn due to the nature of his mother's sickness (Schmit, 15). This would be the composers last visit to Bonn.

Hayden

After his mother's death on July 17, 1787, Beethoven went back to Vienna to study with Hayden in November of 1792, where he lived for 35 years (Tames, 14).  He was unsatisfied with Hayden because he was preoccupied and commonly missed many mistakes made by Beethoven (Schmit, 17).  Beethoven, then, went to Neffe who himself started composing at the age of 12.

In the late 1700's, Beethoven began to suffer from early symptoms of deafness, and by 1802, Beethoven was convinced that the condition was not only permanent but was getting much worse.  The cause of his deafness is still uncertain (Comptons, 1).  He was determined to prove that deafness was not a handicap to him (Thompson, 25).  Beethoven's deafness started to be noticeable, and by 1818 Beethoven was completely deaf (Schmit, 28).

In the year of 1812, Beethoven fell in love with the "Eternally Beloved."  Nobody knew her name except Beethoven, who did not mention it in any letter or to friends.

_____________________________________________________________

__________________Music___________________

Under his first patron, Prince Karl Lichnowsky, Beethoven wrote his first symphony.  The first symphony was wrote in 1795, and was a set of three Trios.  Beethoven believed that his income came from the successful sale of these works, but it actually came from Lichnowsky (Tames, 12).  This symphony was reflective of the classical era.  He did not publish this symphony until he was 31.

In 1802, Beethoven wrote a second symphony.  Beethoven named this symphony "Grande Sinfonie" while in Hiligenstadt where he wrote the symphony (Schmit, 35).  The second symphony is a work noted for sunny and optimistic tone (Tames, 15).

Napoleon Bonaparte

Beethoven's third symphony, made in 1803, is the one where he started writing his style which was quite recognizably his own, rather than based on a previous composer (Tames, 16).  The third symphony, originally called Bonaparte, was named after Napoleon Bonaparte.  Later, Beethoven changed the name to "Sinfonia Eroica" (Schmit, 36).  Two times as long as any one of Mozart's or Hayden's symphonies, the third symphony challenged the idea of what a symphony is.

The fourth Symphony was written in 1807.  This symphony shows Beethoven as a good humored person (Schmit, 39).  This symphony was smaller and more appealing than the third symphony, and had a more lively style (Thompson, 25).

In the year of 1808, he wrote the fifth symphony.  He went with Hayden to Esterházy Palace at Eisenstadt.  His fifth is one of his most famous symphonies.  Work on the fifth was started before the fourth and was published after the fourth.  This is one of the most popular symphonies of all time, and was performed on the 22 of December 1808. (Schmit, 41)  This symphony was made popular because he used many instruments that were not normally use in orchestral works at that time (Thompson, 26).

The sixth symphony, is in a class of its own.  Named "Sinfonia Pastrella," this symphony is based on scenes from the country, and expressed Beethoven's love for the nature that surrounded him (Schmit, 41).  This piece started the bridge between the Classical era and the Romantic era (Thompson, 28).

The seventh symphony was written in the summer of 1811, and the start of 1812, and was performed on December 8, 1813, at the University of Vienna (Schmit, 42).  This is a smaller piece, and presented a very happy mood reflecting dance like rhythms (Thompson, 33-35).

The eighth symphony, named "Sinfonia-Linz," was composed during 1812, while at the spas in Bohemia.  This was performed on the 27 of February 1814.  At first, the eighth received little notice, but then it gradually began to get the fame it deserved (Schmit, 42-44).

The ninth Symphony (completed in 1823) was his best and his last symphony.  By this time he finally understood his own mind speaking:

"I carry out my thoughts about with me for a long time...before I set them down...my memory is so faithful to me that I am sure not to forget a theme which I have passed.  I make many changes, reject and re-attempt until I am satisfied.  Then the working-out begins in my head...It rises, grows upward, and I hear and see the picture as a whole take shape and stand before me as though cast in a single piece, so that all that is left is the work of writing it down" (Tames, 25).  He performed the ninth at the Kärntenerthor Theater.  When he directed the performance his back was to the audience (Thompson, 41).  When the audience went wild, the alto soloist had to tug at his sleeve so that he could turn and see the ovation he had earned (Mlt. Beethoven)  The famous "Ode to Joy" (coral) is included in this symphony.

Beethoven's works include nine symphonies, one opera, two coral masses, 48 sonatas, ten overtures, and dozens of trios, quartets, and songs.  Many of these works were sketched out during long walks (Tames, 12). "His greatest breakthroughs in composition came in instrumental work, including his symphonies" (Comptons, 1).

Beethoven had a great influence on music.  Not only did he create a bridge between the 18th-century classical period and new beginnings of Romanticism, but he started a new era of music.

_______________________________________________________________________________________________________Death_________________________________

Beethoven's last years were marked with illness.  On March 24, 1827, Beethoven died in Vienna.  A crowd of almost 30,000 people attended his funeral and burial at Vienna Central Cemetery (Schmit, 31).  The bicentennial of his death was celebrated with performances and recordings of all the masters' works (Comptons, 2).  At the funeral, Beethoven's friend wrote a moving address which stated:

"We, the representatives of an entire nation, come to mourn the passing of the gracious mouth by which music spoke, the man who inherited and enriched the immortal fame of Handel and Bach, of Hayden and Mozart.  He was an artist, and who shall stand beside him?  Because he shut himself off from the world, they called him hostile and callous... He withdrew from his fellow-men after he had given them everything, and received nothing in return.  But until his death, he preserved a father's heart for mankind.  Thus he was, thus he died, thus he will live to the end of time!" (Thompson, 46).

145.          Beethoven

Beethoven

BEETHOVEN, Ludwig van

(1770-1827)

The composer of some of the most influential pieces of music ever

written, Ludwig van Beethoven created a bridge between the 18th-century

classical period and the new beginnings of Romanticism. His greatest

breakthroughs in composition came in his instrumental work, including

his symphonies. Unlike his predecessor Wolfgang Amadeus Mozart, for whom

writing music seemed to come easily, Beethoven always struggled to

perfect his work.

Ludwig van Beethoven was born in Bonn, Germany, and was baptized on

Dec. 17, 1770. (There is no record of his birth date.) His father and

grandfather worked as court musicians in Bonn. Ludwig's father, a

singer, gave him his early musical training. Although he had only meager

academic schooling, he studied piano, violin, and French horn, and

before he was 12 years old he became a court organist. Ludwig's first

important teacher of composition was Christian Gottlob Neefe. In 1787 he

studied briefly with Mozart, and five years later he left Bonn

permanently and went to Vienna to study with Joseph Haydn and later with

Antonio Salieri.

Beethoven's first public appearance in Vienna was on March 29, 1795,

as a soloist in one of his piano concerti. Even before he left Bonn, he

had developed a reputation for fine improvisatory performances. In

Vienna young Beethoven soon had a long list of aristocratic patrons who

loved music and were eager to help him.

Onset of Deafness

In the late 1700s Beethoven began to suffer from early symptoms of

deafness. The cause of his disability is still uncertain. By 1802

Beethoven was convinced that the condition not only was permanent, but

was getting progressively worse. He spent that summer in the country and

wrote what has become known as the "Heiligenstadt Testament." In the

document, apparently intended for his two brothers, Beethoven expressed

his humiliation and despair. For the rest of his life he searched for a

cure, but by 1819 his deafness had become total. Afterward, in order to

have conversations with his friends, Beethoven had them write down their

questions and replied orally.

Beethoven never married. Though he had many friends, he seemed to be

a lonely man. He continued to appear in public but spent more and more

of his time working on his compositions. He lived in various villages

near Vienna and took long walks carrying sketchbooks in which he would

write down his musical ideas. Scholars who have studied these

sketchbooks have discovered the agonizingly long process that the

composer went through in order to perfect his melodies, harmonies, and

instrumentations.

Three Periods of Work

Most critics divide Beethoven's work into three general periods,

omitting the earliest years of his apprenticeship in Bonn. Although some

pieces do not fit exactly into the scheme, these divisions can be used

to categorize the composer's work.

The first period, from 1794 to about 1800, consists of music whose

most salient features are typical of the classical era. The influence of

such musicians as Mozart and Haydn is evident in Beethoven's early

chamber music, as well as in his first two piano concerti and his first

symphony. Beethoven added his own subtleties, including sudden changes

of dynamics, but in general the music was well constructed and not far

from the sensibilities of the classical period.

The second period, from 1801 to 1814, includes much of Beethoven's

improvisatory work. His Symphony No. 3, known as the "Eroica," and the

'Fourth Piano Concerto' are fine examples of this period.

The final period, from 1814 to the end of his life, is characterized

by even wider ranges of harmony and counterpoint. The last string

quartets contain some of the composer's most vivid new ideas. Beethoven

created longer and more complicated forms of music. In his symphonies

and string quartets, he often replaced the minuet movement with a

livelier scherzo. He also used improvisatory techniques, with surprise

rhythmic accents and other unexpected elements.

Many critics and listeners regard Beethoven as the finest composer

who ever lived. His music was unique and emotional. Never before had

instrumental music been brought to such heights. He also made great

strides with chamber music for piano, as well as for string quartets,

trios, and sonatas. His works include nine symphonies, 32 piano sonatas,

five piano concerti, 17 string quartets, ten sonatas for violin and

piano, one opera ('Fidelio'), the 'Mass in C Major', 'Missa Solemnis',

and other chamber music.

Beethoven died in Vienna on March 26, 1827. His funeral was attended

by hundreds of mourners. The bicentennial of his birth and the

sesquicentennial of his death were celebrated with new performances and

recordings of all of the master's works.

Word Count: 769

146.          Beethovens Ninth Symphony

Beethoven's Ninth Symphony

It has been called the greatest audio entity one

could ever listen to; a song which can pierce the soul of

even the most dedicated music-hater: Beethoven's Ninth

Symphony.  Not only has it been designated thus; also, as

one of the few truly divinely inspired works, one which most

men can only marvel at, as they wallow in their appropriate

humility.  These creations, however, are definitely not the

only aspects of entities beyond the scopes of men; there are

far more examples, which are seen every day, but often

overlooked.

I was walking outside, with this song echoing in the

recesses of my mind, on a dismal, overcast day in the

Autumnal quarter, a day when where the streets blended with

the atmosphere, when one could hardly look up without

feeling the singe of the wind against one's face.  To me,

these days have always conjured up images of some distant,

looming storm, some silent tempest which, if not otherwise

distracted will soon wreak mayhem and disaster on my

environs.

This day had an intense air about it, as do others

of its ilk.  This is most likely the fault of the storm

under which it is shadowed, as though it and its inhabitants

are uneasy and harrowed about the imminent predator waiting

overhead to pounce.

As the sky overhead swam with deeper and deeper

shades of gray and hopeless black, the song in my mind was

reaching some vocal crescendo in the fourth movement, a

better foreteller of the gale I could not imagine.  While

the winds bullied and tormented the defenseless

neighborhood, I started for my house.

Unexpectedly, as the crescendo was losing speed, a

quiet, pacific violin entered the musical fray in my brain,

and the entire mood of the symphony mellowed, the winds

themselves pacified, seemingly under Ludwig's fickle

dominion.  Thinking the storm had passed, I continued

blissfully onward to the meadows which were my destination.

Again I was assaulted, this time by a different part

of the symphony; not too long after the first chorale.  This

was the startling and almost fearful, but still uplifting,

part in which the female and male vocals collided like two

huge tidal waves with the power to splinter a fleet of ships

with the German Alle Menschen repeated several times.  Upon

this onslaught of euphony, I turned from whatever I might

have been thinking before, and looked at some violently

twisting and rising leaves and other debris, and gazed at

the playful heavens, again ominous.

Annoyed with Beethoven and the cruel elements, I

stood there, unmoving; indecisive, not knowing whether to

turn around or pursue my present course, I felt the excited

chorale still striking some unknown and inexplicable fear

within me, as though some divine creature were about to

strike me down in some vehemence which lies well beyond the

realms of verbal description.  So, as the chorus continued

repeating its faithful mantra, the winds again rose up

stronger than before, as twigs began to snap and fall about

me; I was still, yet deeply moved.

Perplexed at the whimsy antics of nature, I was

about to retreat to my home, when, in the remarkable

symphony, a single male vocal broke through the complicated

entanglement of godly voices, and I, despite the protests of

my superego, decided to continue on with some alien, renewed

vigor against the gusty weather, as though I were the bearer

of news about the winner of a war or some other momentous

aftermath.  At this, as though impressed with my display

of singular determination, the wind made itself placid,

laying down before me.

Violins were heard, along with the driving, male

voice. Suddenly, completely without warning and all at once,

what seemed like throngs of angelic, female voices sang as

though sent on an appeal to God on the eve of apocalypse.

They continued, soon joined by male voices, and other

instruments, in the most spiritual and epiphytic

reverberation I've ever had the pleasure of witnessing, and,

seemingly, all in my favor, against cruel and remorseless

nature, pleading to let me pass.  I, however, felt like only

a petty bystander in this competition between the symphony

and the elements, completely unable to comprehend, let alone

justify either side's wish, only able to observe the outcome

and obey it as the gospel that I knew it was.

Thus, whether or not I ever achieved my destination

is beside the point. My sojourn in that small neighborhood

taught me perhaps what is life's most important lesson.

This lesson is clear: there are many things in this world

completely beyond most men's small intellects.  They may

manifest themselves in certain artworks, novels, or musical

masterworks; however, these manifestations only serve as

reminders to arrogant man.  While it is true that these

manifestations are created by singular members of the

selfsame race, these members serve only as conduits of a

greater, nearly incomprehensible power; something which

they, themselves, may often forget.

147.          Beowulf 2

BEOWULF

In epics, the main character is usually a hero. This is a person who expresses courage and superhuman strength. These people are recognized as the epitome of all people in this time. In Anglo-Saxon literature the role of a hero is to protect good.

There were many great pieces of literature during Anglo-Saxon times. Perhaps one of the best was Beowolf. In this story the main character is Beowolf, a man who protects the Herot from a terrible monster, and later on in his life protects his own castle. Beowolf is a hero who represents good in this story.

During Beowolfs time people spoke very highly of heroes. An example from the story of Beowolf protecting good is when the king is speaking of him. He says of Beowolf, "Until that curving prow carries/Across the sea to Geatland a chosen/warrior who bravely does battle with the/creature haunting our people, who survives/that horror unhurt, and goes home bearing/our love."(208-212) The king speaks of Beowolf as a great hero and hopes that he will be able to defeat Grendel, the monster that has been terrorizing Herot.

Before his confrontation with Grendel, he did many other things to assist his people. An example of him doing this is when he speaks of himself killing the giants and wiping them off the earth. He says, "They have seen my strength for themselves,/have watched me rise from the darkness/of war, dripping of my enemies' blood/I drove five great giants into chairs, chased/all of that race from the Earth." (246-250) Beowolf proves his strength to others and to himself.

In his fight with Grendels' mother Beowolf proves many things. An example of Beowolfs heroism is when he is battling her. "That mighty protector of men/meant to hold the monster 'till its life/leaped out ..." (366-367) Beowolf is described as the "protector" of his people and proves this by defeating Grendels' mother. She had recently killed a close friend of the king in defiance to the slaying of her son. To prevent further killing, Beowolf went to an arena under a lake and destroyed her.

Later on in his life he kills a fire-breathing dragon because he wants to protect his kingdom. He was king for over 40 years and had done all he could to protect his kingdom.

Beowolfs best asset is his strength. He uses his superhuman power to defeat any monster that stands in his way. He also possesses great courage, which allows him to face great dangers and peril, where other warriors would turn and go the other way.

The reasons for Beowolf helping his people are simple, fame and fortune. Grendel is loved by his people and collects great treasures from his battles. However, Beowolf is most admired because he is a hero and protects anyone in need. That is why Beowolf represents the hero portrayed in epics, as well as Anglo-Saxon literature, very well.

148.          Beowulf Short Story

In the beautiful town of Ventaria, which is located near the southern-most point of Ireland, a once proud colony of people enjoyed the magnificent surroundings and a simplistic life.  Brian the Great, beloved ruler of the Ventarians, had been killed by the evil Filth-Sammich.  This vile creature, with a crocodile-like build, had a head larger than the immense church in the center of the town.  When fully-opened, the mouth of the Filth-Sammich could open wide enough to fit a large tree.  It's powerful jaw and razor sharp teeth were feared by all that knew about it.  The beasts' torso looked large enough to contain the entire population of Ventaria, and still have room for an elephant or two.  Finally, the tail of the Filth-Sammich was so long and powerful, it could wrap around and crush the massive castle of Brian the Great.  Although Ventaria no longer had a ruler, fear of the Filth-Sammich kept the locals in line.  In order to keep their town, the people had to bring food to the creature, as soon as it was available.  They also had to give him all their precious valuables.  The Filth-Sammich allowed the Ventarians to eat enough to stay healthy, but nothing more. Before the Filth-Sammich arrived, the people were loyal and faithfully devoted to their respected ruler.  The monster lived in a gigantic cave which was a ten-minute walk to the edge of town.  It was rumored that when the Filth-Sammich swallowed you, you were slowly digested over a week or two.  The beast also made it clear that it had powers beyond the forces of nature that allowed him to mentally witness the actions of anyone within the borders of Ventaria simply by thinking about it.  With this in mind, townspeople were obedient and compliant towards the wishes and demands of the Filth-Sammich.

Warriors that were still loyal to their deceased king, had developed a secret signal that the Filth-Sammich didn't pay any attention to.  When a warrior asked another about his harvest for the Filth-Sammich, it meant that there was a meeting in the abandoned farmhouse on outside town limits that night.  Here, the monster could not detect or observe.  When these meetings were held, the soldiers would relax and speak of rebellion against the Filth-Sammich.  Drinking and socializing took place in this farmhouse, giving the men a sense of security.  They would talk about how they could slay the mighty monstrosity evil-eradicators.  One soldier in named Urther announced that he could defeat this terrible fiend.  Although Urther was the strongest and most skilled warrior in the group, his comrades were skeptical.  So, Urther told them that he was going to go slay the beast, proving his worth.  The other warriors made futile attempts to convince him not to, but he was determined.  So, Urther's fellow soldiers gave him the finest equipment they had.  They gave him the strongest armor, a superior helmet, and finally, the sword of Brian the Great. With this, Urther set out to achieve an inconceivable task.  He knew that his odds were stacked, but, with a fearless and determined state of mind, he made the trek to the cave of the Filth-Sammich. He knew that when he defeated the monster, he would be known as the greatest of all warriors.

When he reached the cave, he snuck behind the beast while he was admiring and sorting the riches it had taken from the Ventarians.  What Urther had forgotten, was that the Filth-Sammich could see him now that he was in town limits.  With amazing speed, the creature spun around and swung its tail at Urther.  Urther was not ready for this, and the Filth-Sammich's tail knocked the sword out of his hand, while at the same time breaking his leg.  Urther tried to fight the huge monster, but he was in quite a predicament.  The beast picked up the brave warrior and flung him into his enormous mouth.  Quickly, Urther grabbed hold of the monsters tongue and held on for dear life.  Flying back and forth, the Filth-Sammich tried to fling Urther from his tongue, but Urther's grip was holding.  Urther kept hitting some hard object at the back of the creatures throat.  He realized that this was the beast's spinal cord.  With an overwhelming feeling of determination and confidence, Urther punched at this bone structure with every ounce of strength in him.  A shattering noise sounded throughout the cave as the cord was severed.  The Filth-Sammich let out a scream that was heard miles away.  With a broken leg and bloody fist, Urther managed to free himself from the mouth of the dead monster.  He got the sword of the king and painfully crawled his way back to town where his victory was celebrated.  The astonished Ventarians unanimously appointed him king.  The story of Urther and the Filth-Sammich circulated around the world; giving Urther the glory he worked so hard to achieve.

149.          beowulf

Alan Spivak                                               9-18-96

Beowulf and His Pride

One of Beowulf's main characteristics is his ever present pride.  To most protagonists their pride is usually explained by a friend or narrator.  However,  Beowulf is one who likes to show the whole world how important and valuable he is to them.  Through out the chapters which we have read it seems as though the whole point in the book is to show off his strength.  He presents himself before a fight with boasting and an ostentatious manner of fighting.

When Beowulf was a little boy he wanted to show his strength and entered a race with his friend Breeca.  He knew that he would win with no effort at all,  but then,  due to a storm, he lost his way.  While Beowulf was trying to return to land he managed to kill nine sea monsters with his bare hands and still caught up to Brecca.  He apparently bragged to such an extent that everyone in Scandinavia knew about this race and the courageous way he cleared the sea of evil.  He,  at this young age,  had no need to think about death.  All he thought about was foolishly having fun and proving himself to the spectators.

When Beowulf fought with Grendel,  the demon who was terrorizing Herot Hall,  he came there boasting about how worthy he was to fight for Denmark.  The people accepted him as a deserving warrior and permitted him to do what ever he needed to rid them of Grendel.  Beowulf wanted to fool Grendel into thinking that he was sleeping so that Grendel would try to kill him,  but instead Beowulf would terminate him.  That night Grendel did come and fell right into Beowulf's trap.  Beowulf had Grendel in his hands,  but no matter how strong Beowulf was the demon escaped missing only an arm.  Grendel would soon die in his lair because of blood loss,  but Beowulf was unhappy that he could not stretch Grendel's body on the floor.  However,  he still hung Grendel's arm,  just to show how only he was strong enough to kill the monster.  This time when Beowulf went to fight he told the king that if he would die then the king should give Beowulf's armor to its rightful owner.

In Beowulf's next fight with Grendel's mother,  he showed once more that he was capable of such an adventurous task.  There was no soldier brave enough to take on a monster that lives in the pits of hell and thrives on the bodies of innocent men.  However,  Beowulf ostentatiously jumped into the fiery lake and once more showed to the whole world that he was the greatest warrior of all time.  Beowulf,  maturing, told the king to take care of his armor and more importantly,  to make sure that his soldiers don't remain leaderless.  He realized that there are other people he has a responsibility for besides himself.

Throughout Beowulf's three fights he constantly  had self pride and showed his worth to everyone.  However,  as he got older and fought more battles he realized that there was a possibility that he could die.   As Beowulf gets closer to death,  he sees that his pride won't watch over his men or wear his armor.  After he realized that with fame came responsibility,  he still was a proud and boastful man.

150.          Bernadette

Fear, it has a way of controlling everything that it comes in contact

with.  As young children we are introduced to this intimidating desire

with intrigue and suspicion.  As we age, the thoughts of fears become

more like realities, ideas of loneliness and death enter the picture as

comprehensible thoughts and views of the future.  These issues make

up the foundation of the Mavis Gallant story "Bernadette".   In this story

we are presented with the image of a young French Canadian girl, who

finds herself pregnant and without a husband.  The context of the story

explores the relationships between the members of the household in a

fear associated manner.  The relationship between the Knights and

Bernadette is the base of the story.  These three people relate to each

other in an intimidating fashion and this is what makes Bernadette's

predicament so difficult to overcome.  As well, the family ties between

Nora and Robbie are explored.  Their family relationship is one based on

dependence, and without this one factor the connection between the two

results in fearfulness of being alone.  Fear has a way of attacking our

judgment and this is what makes associations between people an

apprehensive and hard act.

The story is set in Quebec during the 1940-1950, when what you

were was the definition of who you were.  As the story opens we are

presented with the main character Bernadette, who is concluding that

she is one hundred and twenty-six days pregnant.  At this time in history

it was quit common for young rural girls to bare children at a young

age.  However, Bernadette is a single French Canadian girl who is

working and living in a urban community, where things like that do not

take place.  We are here introduced to the first fear presented in the

story:   --How will Bernadette tell the Knights that she is pregnant? --

The answer to the question is what haunts her, and the reaction of the

Knights is the anxiety that builds up inside of her.  These intimidating

fears places Bernadette in a compromising situation, she is in a position

of abandonment by her family and the shame she thinks she has

brought on to the Knights.  These fears have forced her to react in

an unusual fashion.  Bernadette is so fearful of what they might think

that she tries to hide herself in her work so that she is not placed in the

position where she will have to interact with the Knights.

The fear of failure and disappointment took control over her mind.

When around the Knights she worked as a robot in order not to arouse

ideas of her current condition.  Her nervous fears brought her to the

point of giving in to their expectations and allowing herself to lie to them

about the books she read and the men she saw.  Her images of her dead

siblings as angels would comfort her fears at time, but would also bring

up new ones.  She would wonder about her child and the life that was

waiting for it; would it live a life like hers or would it pray for her in the

heavens.

The Knights were a couple that were brought together by

convenience and fears.  Nora was concord by the fear of not being in

control, she had to be the one person everyone depended on in time of

need.  From her positions on committees to the forgiving attitude she

showed Robbie about his many affairs, Nora always had the upper hand

in any given situation.  The affairs that Robbie had, showed Nora that he

wasn't as dependent on her as she wanted him to be, that is why she

would treat the problem as a solvable condition, in order to keep Robbie

under her control.  We are told about Robbie's dreams of being a

playwright  and fears of failure and the poverty that might follow.  These

fears were reinforced by Nora; her fears of failure, allowed herself to place

her children into private boarding school, so that would not have to

suffer the thoughts of bringing up her children wrong.

All the fears that controlled their lives affirmed their ideas of how

life was to be lived.  The fears of being alone brought Nora to the point

where she was ready to do everything that she could to keep Robbie

apart of her life.  This point is proven at the end of the story when Nora's

suspicions about Robbie and Bernadette bring her to suggesting that

they pay for Bernadette to be placed in a home so that she  can

continues her life with Robbie as if undisturbed.

As well, the anxiety she experiences is tested at the party she holds

where her total control is lost by all the disturbing news she is given

about her husband and Bernadette.  She is forced to continue with the

party in confusion and despair.

This intertwined relationship between the Knights and Bernadette

illustrate how people are fearful and deceitful to each other even when

living under the same roof.  The fabrications of tales and unseen

conditions brought out the anxieties in each of the characters.  These

fears are manifested at the initial start of the relationships and continue

to grow if not put to rest.  This is seen when the pressure of the unborn

child is released from Bernadette's conscience when Nora is forced to

corner Bernadette in the kitchen to question her about the suspicions of

her pregnancy.

Bernadette and the Knights are characters that display for us the

results of what may happen when we let our fears control us to the point

that they are seen more as truth instead of obstacles.   Fears are great

deterrents and allow us to see things not for what they are.  In

conclusion, we must all face the fact that fears and anxieties will forever

be present in our lives, but we must progress to the stage where we can

see them for what they are instead of allowing them to enter our existing

routines.

151.          Berthe Morisot 767

Christine Malfitano

Art 402

Berthe Morisot, a French painter was born in 1841 into a wealthy family. Morisot

started to receive painting lessons from Joseph-Benoit Guichard, and soon became

interested in Impressionism. Morisot had married Eugene  Manet and was declared

sister in law of Edouard Manet. Though she was inspired by him and he was her mentor,

she clearly showed her own distinct style in every painting. "If we had to define Berthe

Morisot's originality, the quality that really distinguishes her from the contemporaries- we

might describe her as a painter of the early morning light. Better than any other painter,

she captured, but that is almost to strong- conveyed on the canvases the pale gold of

dawn "(Rey 85).  Although she wasn't a very popular featured impressionist, she still held

a place among the greats  such as Manet, Monet and Renoir.

Manet had a profound impact on Morisot and her style of painting. "Morisot learned a

great deal about her painting from Manet, whose art she esteemed perhaps more than that

of any other contemporary" (Farwell 46).  Many say she followed his style to some degree

and respected his ideas. He would often assist her in some pieces as so did she. One can

say it was a mutually beneficial relationship. "Naturally the aspiring artist was attracted by

the personality of the famous older man and admired his work. Manet,  in turn, was

dazzled by the young woman, for he was able to see not only her own promise but how

much she could inspire in others" (Rye 15) . She was a French female artist of the 1860's

who yearned to pursue a career in art, in which she had done successfully. One must fully

understand  that this was an age where female painters were not in abundance and there

were many barriers.  In 1860 she joined the impressionist group, which at the time

consisted of Manet, Monet, Renoir, Pissaro, Van Gogh, and Degas. "Morisot became

involved in the impressionist movement through personal connections" (Higonnet 23).

Impressionism mainly focuses on  capturing a moment and what the eye sees.

The impressionists wishes to portray an image, letting the paint convey an image or an

impression. The main characteristic is that they used broken brush strokes , or marks

which were swatches of paint. These are applied in a way that the eye forms an image.

Morisot became interested in observing the effects of light and atmosphere. She liked

working outdoors, which one may assume helped her to be able to capture the

immediacy of the moment.

She mainly focused upon female subjects, usually mother and child. "The portrayal of

family life within the domestic setting, formed, understandably, the most important

element in the iconography of all the women impressionists. Morisot's paintings celebrates

bourgeois  womanhood in all its stages: from pregnancy, through the first months of

motherhood through the years of caring. The world of women's labor very often forms the

subject of her paintings" (Adler & Garb 85). However this was not all she focused on.

She painted nature scenes, landscapes, and  aspects that were usually around her, such as

family paintings, especially her sister Edma who is greatly featured in her art. She also

painted familiar aspects that indicated her social position, and events that were considered

normal for her, like balls and social events.

She rarely painted male figures other than her husband. "Morisot also symmetrically

excludes men from her paintings. Not for want of knowledge, obviously, since she was

married, and had several close male friends. Yet her husband, Eugene Manet, figures

independently in only five of her pictures and is the father of their child in only a few

more" (Higgonet 74). In some of her art  clear details are seen, and in other paintings

there are vague images with light brush strokes. One can only wonder if this was a

technique she had demonstrated , but there is no mention of this. It could not have been a

progression of her skills because the difference in her style varied throughout her career.

"Toward the end of her career she made a few attempts at more professionally

ambitious themes, like nudes" (Higgonet 102). Many people have found that she had

remarkable talent yet she failed to continue professionally. If she had gone forth with her

career she would have been  given more recognition than Mary Cassat. Her work focused

upon creating femininity, and her art as a whole consumed the idea. She was a

determined woman who was very serious about her art, and it was portrayed in the way

she painted.

152.          Bessie Smith

Bessie Smith

Bessie Smith was born in a shack in Chattanooga, Tennessee around 1894. Black birth certificates were not kept very well back then, but that is the assumed date. In those times black women did not have many choices for careers, but Bessie's talent proved to be more than enough to give her a life as an entertainer.

She began singing on street corners, her brother playing the guitar. In 1912 Bessie's brother got her an audition with Vaudeville, a traveling group of entertainers. She got the job and was befriended by Ma Rainy, who was called the mother of the blues. Ma Rainy gave Bessie the guidance to become the Blues legend she is today.

1923 was a big year for Bessie, she got married to a man named Jack G. and she recorded her first album for Columbia records, which sold 780,000 copies. Despite her success she did not receive as much money as she should have, but more than most blacks did. Bessie also starred in "St. Louis Blues" as movie about a woman named "Bessie" who was driven to drink because of her cheating husband. A story which rang true to her real life.

During the depression she divorced because her husband had found a new woman. She also lost her contract with Columbia. She later remarried, a man named Richard Morgan.

In 1937 Bessie was singing again and there were promises of more movie parts. One day as the couple left Memphis they had a fatal car crash. The details surrounding the accident are fuzzy, but it is rumored that Bessie was taken to a white hospital and refused treatment, then she was taken to a black hospital where she was said to be dead on arrival.

It is a shame that such a promising life was cut short. It is even sadder if the rumors are true. Racism is a sick, sad thing, makes you wonder how big Bessie Smith could have been if those boundaries had not been there.

153.          Beware of Television Essay

Beware of Television

It is considered that one of the greatest inventions of the twentieth

century-the television-completely changed the way of a person's life.

Television has brought into every home a lot of information and easy-to-reach

entertainment.  Is its influence on the personality, family, or children

positive only or is there another side of the coin?  Yes, there is.  A negative

one.  The effect of television depends not only on the content of its programs,

but there are more general aspects of influence of TV viewing on intellectual

activity.  To make sure of that we need to look scrupulously at every aspect of

this phenomenon in general, not emphasizing on the quality and content of its

production.

An abundance of information pouring into a person's consciousness at a

fast pace does not allow him to analyze and comprehend it properly.  For example,

let us make a comparison between reading and viewing.  The pace of reading,

clearly, depends entirely upon the reader.  He may read as slowly or as rapidly

as he can or wishes to read.  If he does not understand something, he may stop

and reread it, or go in search of elucidation before continuing.  The reader can

accelerate his pace when the material is easy or less than interesting, and slow

down when it is difficult or enthralling.  He can put down the book for a few

moments and cope with his emotions without fear of losing anything.

Unlike reading, the pace of the television experience cannot be

controlled by the viewer; he cannot slow down a delightful program or speed up a

dreary one.  The images move too quickly.  He cannot use his own imagination to

invest the people and events portrayed on the screen with the personal meanings

that would help him understand and resolve relationships and conflicts in his

own life; he is under the power of the show creators' imagination.  He becomes a

passive consumer of the TV production; like drugs or alcohol, the television

experience allows the participant to blot out the real world and enter into a

pleasurable and passive mental state.  Like an addict, he puts off other

activities to spend hour after hour watching TV and finds television almost

irresistible.

Television affects family life.  In the early sixties almost each

magazine articles about television was accompanied by a photograph or

illustration showing a family cozily sitting together before the television set:

Dad with his arm around Mom's shoulder, children sitting around the parents.

Who could have guessed that thirty or so years later Mom would be watching a

drama in the kitchen, the kids would be looking at cartoons in their room, while

Dad would be taking in the ball game in the living room?  Nor did anyone imagine

the number of hours children would eventually devote to television or the common

use of television by parents as a child pacifier.

The adult has a vast backlog of real-life experience, the child has not.

So, the influence of television on a child's consciousness is considerably

greater.  "Suppose there wasn't any TV-what do you think your child would do

with the time now spent watching TV?"  This question was asked to a large number

of mothers of first graders in survey published in the Surgeon General's Report

on Television and Social Behavior.  Ninety percent of mothers answered that

their child would be playing in some form or another if he were not watching

television.  Play is one of the most important activities to develop a child's

abilities.  Playing with others requires the child to suppress his own wishes

and desires to a certain degree, self-control must be learned.  Not only must

each child discover the need to suppress certain of his own impulses, but he

must also discover the difficulties that attend the varying levels of aggression

normally existing among his playmates.  The more aggressive child must learn to

find less aggressive ways to achieve his ends, while the milder-natured child

must learn to protect himself and to maintain his integrity in the face of a

more forceful companion.  This horrible time-eater, the television set, has

robbed the child of his normal opportunities to play, to talk, to do.

Why don't parents restrict their children's TV consuming?  Of course,

they should not prohibit it because that would create an image of "forbidden

fruit" and thus make it more attractive.  Only a wrong conception of democracy

may help to explain why they have such difficulties controlling TV.  But do you

allow your three-year-old son to walk around with a sharp knife or allow your

little daughter to cross the street by herself?  What's the difference between

restricting television and protecting your child from other danger that they say

they cannot control?  Both are equally dangerous.

I do not deny television has its positive qualities.  I would like to

say only that it is a double-edged weapon and needs to be used with caution.

Some say that everything is medicine and everything is poison, and only dose

determines what it would be.  We should learn to control that real and tangible

machine in our homes, so that it does not control us.

154.          Beware of Television

It is considered that one of the greatest inventions of the twentieth century-the television-completely changed the way of a person's life.  Television has brought into every home a lot of information and easy-to-reach entertainment.  Is its influence on the personality, family, or children positive only or is there another side of the coin?  Yes, there is.  A negative one.  The effect of television depends not only on the content of its programs, but there are more general aspects of influence of TV viewing on intellectual activity.  To make sure of that we need to look scrupulously at every aspect of this phenomenon in general, not emphasizing on the quality and content of its production.

An abundance of information pouring into a person's consciousness at a fast pace does not allow him to analyze and comprehend it properly.  For example, let us make a comparison between reading and viewing.  The pace of reading, clearly, depends entirely upon the reader.  He may read as slowly or as rapidly as he can or wishes to read.  If he does not understand something, he may stop and reread it, or go in search of elucidation before continuing.  The reader can accelerate his pace when the material is easy or less than interesting, and slow down when it is difficult or enthralling.  He can put down the book for a few moments and cope with his emotions without fear of losing anything.

Unlike reading, the pace of the television experience cannot be controlled by the viewer; he cannot slow down a delightful program or speed up a dreary one.  The images move too quickly.  He cannot use his own imagination to invest the people and events portrayed on the screen with the personal meanings that would help him understand and resolve relationships and conflicts in his own life; he is under the power of the show creators' imagination.  He becomes a passive consumer of the TV production; like drugs or alcohol, the television experience allows the participant to blot out the real world and enter into a pleasurable and passive mental state.  Like an addict, he puts off other activities to spend hour after hour watching TV and finds television almost irresistible.

Television affects family life.  In the early sixties almost each magazine articles about television was accompanied by a photograph or illustration showing a family cozily sitting together before the television set: Dad with his arm around Mom's shoulder, children sitting around the parents.  Who could have guessed that thirty or so years later Mom would be watching a drama in the kitchen, the kids would be looking at cartoons in their room, while Dad would be taking in the ball game in the living room?  Nor did anyone imagine the number of hours children would eventually devote to television or the common use of television by parents as a child pacifier.

The adult has a vast backlog of real-life experience, the child has not.  So, the influence of television on a child's consciousness is considerably greater.  "Suppose there wasn't any TV-what do you think your child would do with the time now spent watching TV?"  This question was asked to a large number of mothers of first graders in survey published in the Surgeon General's Report on Television and Social Behavior.  Ninety percent of mothers answered that their child would be playing in some form or another if he were not watching television.  Play is one of the most important activities to develop a child's abilities.  Playing with others requires the child to suppress his own wishes and desires to a certain degree, self-control must be learned.  Not only must each child discover the need to suppress certain of his own impulses, but he must also discover the difficulties that attend the varying levels of aggression normally existing among his playmates.  The more aggressive child must learn to find less aggressive ways to achieve his ends, while the milder-natured child must learn to protect himself and to maintain his integrity in the face of a more forceful companion.  This horrible time-eater, the television set, has robbed the child of his normal opportunities to play, to talk, to do.

Why don't parents restrict their children's TV consuming?  Of course, they should not prohibit it because that would create an image of "forbidden fruit" and thus make it more attractive.  Only a wrong conception of democracy may help to explain why they have such difficulties controlling TV.  But do you allow your three-year-old son to walk around with a sharp knife or allow your little daughter to cross the street by herself?  What's the difference between restricting television and protecting your child from other danger that they say they cannot control?  Both are equally dangerous.

I do not deny television has its positive qualities.  I would like to say only that it is a double-edged weapon and needs to be used with caution.  Some say that everything is medicine and everything is poison, and only dose determines what it would be.  We should learn to control that real and tangible machine in our homes, so that it does not control us.

155.          Beyond the Hori

In Beyond the Horizon and Diff'rent, Eugene O'Neill reveals that dreams are necessary to sustain life.  Through the use of the characters Robert Mayo, Andrew Mayo, Ruth and Emma Crosby, O'Neill proves that without dreams, man could not exist.  Each of his characters are dependent on their dreams, as they feed their destiny.  When they deny their dreams, they deny their destiny, altering their lives forever.  O'Neill also points out, that following your dreams, brings you true happiness, something all of his characters do not experience.

The characters of Rob, Andy and Emma are stripped of their dreams and their destinies, by the ones who profess to love them.  Rob and Andy unknowingly allowed Ruth to lead them down a path, they were not meant to travel.  Emma is the same as Rob and Andrew in this respect, because she let Caleb's actions control her ability to follow her dream.  Rob is a dreamer.  His only wish is to go `beyond the horizon' and discover the mystery of life.  Andy, however, is Rob's opposite.  Andrew is practical and down-to-earth.  His deepest desire is to spend his life farming.  "One constructs the world out of fact, the other out of pure imagination." Rob's quest is strange to Andy; it goes beyond anything he can comprehend.  Andrew, who is "A Mayo through and through." does not think in the imaginative terms Rob does.  "It's just beauty that's calling me-the beauty of the far off and unknown...in quest of the secret which is hidden over there, beyond the horizon." (Horizon, 85)  Andy does understand, that his brother could never be happy living on the farm, because his heart is elsewhere.  Emma is like Rob in a few ways.  Both characters have idealistic views.  Rob believes in the secret beyond the horizon and Emma in Caleb's fidelity.  Neither of them consider the fact things may not be as they perceive them.  For Emma, this innocence is her undoing.  Emma considers Caleb to be `diff'rent'.  This difference is what makes him special to her.  She trusts he will always be this way and that they will always have a future.  "But you're diff'rent.  You just got to be diff'rent from the rest."  Andrew is not like Rob or Emma.  He is always logical.  He considers Rob's dreams to be a result of his College education, something Andy does not have.  Andy has no desire to go anywhere beyond the farm, because it has everything he needs.  He is the one to tell Rob that "we've got all you're looking for right on this farm." (Horizon, 85)  This is his nature and to change it, alters the course of his life, as well as that of the people around him.

In Beyond The Horizon, Ruth is the catalyst for the changes that occur.  She convinces Rob she loves him and that he should stay on the farm, instead of going in search of his dreams. "Oh, Rob!  Don't go away!  Please!  You musn't now!  You can't!  I won't let you!  It'd break my --my heart!" (Horizon, 91)  Rob does not consider the long-term effects of this decision, he sees only momentary satisfaction.  Rob does not realize the impact his decision will have on Andy, who is also in love with Ruth.  Andy, thinks he could never stand to live on the farm, with Ruth and Rob married.  He feels in time he would grow to hate it.  "I can wish you and Ruth all the good luck in the world...but you can't expect me to stay around here and watch you two together, day after day." (Horizon, 110)  So, Andy defies his own nature and sets out on the boat, Rob was to travel on, in search of happiness.  This is a point that Andy is similar to Emma, in the way that she reacted to someone else's actions.  Caleb cheated on her when he was away at sea.  Emma being a highly moral person, cannot love him the same way any more.  "I can't Ma.  It makes him another person--not Caleb, but someone just like all the others." (Dif, 512)  Emma made Caleb out to be the perfect man and made him totally infallible in her eyes.  She did not fall in love with Caleb the person, but with Caleb the ideal, that never actually existed.  Many people try to save her from making the biggest mistake of her life, like Rob tried to stop Andy, but to no avail.  Emma remains firm in her decision, despite her mother's warnings.  "It'd be jest like goin' agen an act of nature for you not to marry him." (Dif, 512)  By rejecting Caleb, Emma denies herself a future, because she knows she could never marry anyone else.  "She loses her only chance for happiness because of her wilfulness and her tragic flaw, an overweening pride."  In essence Emma cannot live with Caleb and cannot live without him.  Rob is Emma's opposite, because he does not need another person to make him happy, he only needs to be free, to go where he wishes.  However, even he does not realize it till the end.

For each of the characters, tragedy results, because they did not follow their destinies.  Ruth because of her haste in deciding to marry Rob, has grown to hate him.  She realizes that she never loved him and wishes Andy would come home and save her from her prison of a marriage.  "Ruth Mayo, having married the wrong Mayo brother... must see her marriage fall apart, along with the farm.  Her consolation is that the absent Andy still loves her and he will be a final refuge for her."  Andy does not give Ruth the response she desires and she becomes more bitter and cold as the years pass.  Rob, because of Ruth's treatment of him, has grown depressed and no longer dreams.  He realizes what he has been deprived of and thinks he still has a chance to reclaim it.  Rob was a failure as a farmer, just as Andy predicted.  "Farming ain't in your nature... as a place to work and grow things, you hate it." (Horizon, 84)  His true nature tried to lead him down the right path, but he refused it.  Rob's life could never work out as long as he is trapped behind the hills surrounding his farm.  "For Robert Mayo the hills surrounding the Mayo farm are a physical symptom of the restrictions, the limitedness and the monotony of farm life."  The restrictions slowly suffocate him and eventually destroy his imagination, so he can even no longer dream of a happier life.  Andy's punishment, is that he is never truly happy.  He spent eight years running from who he is and where he belongs.

"Andrew, who has changed during the eight or so years of the play's action from a healthy young farmer into a tense, hard, even ruthless--and unsuccessful-speculator, is the greatest failure of all, for he has spent eight years running away from himself and has been changed from creator to parasite."

This is Andrew's sad fate, which is intensified when Ruth

admits she loves him.  Knowing his brother is dying because of Ruth's admission, Andy must live with the guilt of knowing he had a part in his brother's suffering and eventual death.  Ruth's interference in the course of the Mayo brothers' lives ruined the lives of all three, Ruth included.  Ruth and Caleb seem to have the same role, however, Caleb was not the one that revealed his infidelity.  Emma's brother Jack told her, which makes him the catalyst in Emma and Caleb's destruction.  Benny, merely took advantage of the situation.  Emma's involvement with Benny, was her last feeble attempt to find happiness, even though she knew, it was not what she is looking for.  She only thought she loved him, because she was so desperate to be loved.  But because of her own stubbornness, her chances of happiness are again thwarted.  Caleb, asks her one last time to marry him and still indignant, Emma turns him down.  With that, she sends Caleb over the edge and he kills himself, ruining her last chance to be happy.  Only then does Emma realize what she has done and kills herself in guilt. "Only after Caleb's death does she realize that his love for her remained untarnished, while hers for him was flawed."  Emma's flaw is her high moral standards, whereas Rob's is his lack of foresight.  "It is ironic, but the stress is on emptiness, not on the irony."   The emptiness, as the audience realizes, is all that is left of the characters of both plays.

Emma Crosby and Rob Mayo were both physically destroyed by the decisions they made in life.  Ruth and Andy, although they survive, they have little left in them.  Ruth is no longer capable of love and Andy is no longer capable of being a farmer.  Instead of a creator he is the destroyer.  But unlike Emma and Rob, Andy and Ruth have the chance to correct their mistakes and get back on their proper path.  If Ruth can get past her bitterness and Andy past his grief they can still live a happy life.  Rob and Emma however, have paid the price in full, for neglecting their dreams, proving that without their dreams they were nothing.  They were merely the vessel in which their dreams would be realized.  When the dream died, the vessel no longer had a purpose and they were slowly destroyed.

Bibliography

Bigsby, C.W.E.  A Critical Introduction To Twentieth Century Drama.  London:  Cambridge University Press, 1982.

Floyd, Virginia.  The Plays Of Eugene O'Neill.  New York:  Frederick Ungar Publishing, 1985.

Leech, Clifford.  O'Neill.  London:  Oliver & Boyd, 1966.

O'Neill, Eugene.  "Beyond The Horizon".  The Plays Of Eugene O'Neill.  New York:  Random House Publishing, 1954.

O'Neill, Eugene.  "Diff'rent".  The Plays Of Eugene O'Neill.  New York:  Random House Publishing, 1954.

Raleigh, John.  Eugene O'Neill The Man And His Works.  Toronto:  Forum House Publishing Company, 1969.

156.          Biggie Smalls Notorious BIG 680

Christopher Wallace stood a large man at standing 6" 3' and weighing 300 some pounds .Christopher aka "Biggie Smalls" named himself after a hustling character in Bill Cosby's "Lets Do it Again" action-comedy. He felt that the name fit him well and said in an interview with John Farley, Author of  Parents aren't supposed to Like it, "It suits my flashy life style" (388). Biggie struggled financially growing up. He was teased and considered "just another fat kid" he dropped out of high school and couldn't get a good job. When he was 15 he began selling crack on a street corner. He did this on and off for several years to make a living, until one day he discovered "Gangsta Rap" which brought him to quick fame, success, and money. His first album, "Ready to Die" sold over one million copies. Biggie's American dream career and lifestyle, in the end, is what brought him to his demise.

March 9, 1997 Biggie was a guest of  the after-party for the Soul Train Music Awards. Biggie and a few friends decided to leave the festivities a little early, and got into Biggie's GMC Suburban. Biggie's friend got in the drivers seat and biggie sat in the back seat on the passengers side. Biggie had lost his license due to drug possession.  An observer noted and stated for Susan Waxman's Washington Post article "More Critics Allege LAPD cover-up", that "Biggie appeared breathless and altered, suffering a broken leg at the time"(A-13).  He was a frequent drug user which resulted in his health issues and license suspension.  They left the parking lot and began driving, when a passing car pulled next to the suburban and fired several shots at Biggie. One witness reported "A lone gunman in a passing car fired several shots from a 9 mm handgun...hitting the 24 year old rapper" (Farley, 45). The other passengers called 911 and Biggie was put in an ambulance, however unfortunately Biggie didn't make it to the hospital and died on the way.

The main reason Biggie was killed was the East coast vs. West coast rapper rivalries. Biggie "represented" the east coast and was with Sean "Puffy" Combs record company, Bad Boy Records. Biggie's main rival was 2Pac Shakur who was from the West coast and was signed with Sug Knight's Death Row Records. Both rappers sang and "predicted" their murders. It is believed that Biggie was killed in retaliation to 2Pac's death. It is believed that Biggie was responsible for 2Pac's murder because they were constantly  competing through the media. 2Pac claimed that he had slept with Biggie's wife at the time, Faith Evans, who dined this. Weather or not it is true this is a prime example of their competition. In 1994 2Pac was outside a record studio, which Biggie was currently inside. 2Pac was attacked and blamed Biggie. Sug Knight and Sean "Puffy" Combs are often associated in the murders.

On April 9, 2002 a civil lawsuit was filed against LAPD police chief Bernard Parks and two former chiefs, David Mack and Amir Muhammad, for "deliberate indifference" of Biggie's murder. It is believed that the two former chiefs murdered biggie and were paid off by Sug Knight. It is also believed that   the LAPD covered up the accusations and deliberately ignored leads. This is the reason that no progress has been made on the case. Lawyer Sullivan believes "Wallace's  case is being  ignored because the suspicious officers were black. If they were white, the case would be brought back up." (Waxman, A-13) He believes the cover-up is related to racism.

Biggie would have enjoyed the great lifestyle he made for himself if didn't get so deeply and aggressively involved in the coast rivalries. He brought himself up from having to sell drugs to get paid to living a very posh lifestyle. What probably began as a conflict for how ended up fatal. There are a few ideas on the death of Biggie, none of which have been proven. Biggie's murder illustrates how far people take things and how aggressive people are.

157.          Billy BuddWas Captain Vere Right

CaptainVere makes the right decision by executing Billy Budd.  If CaptainVere lets Billy

live the rest of the crew might get the impression that they will not be held accountable for

their crimes.  If the crew feels that they can get away with what ever they want then there

is a chance that they might form a rebellion and have a mutiny.  A mutiny would destroy

the stability and good name of the ship and the crew.  Captain Vere does not want to see

this happen.  There are three main reasons Captain Vere makes the right decision by

executing Billy Budd.  These reasons are that if Billy lives then a mutiny might occur,

because the law states that a crime as severe as Billy's is punishable by death, and Captain

Vere feels sorry for Billy and does not want Billy to suffer with guilt until a martial court

could give a decision.

If Billy is not executed then corruption might occur on the ship and cause a

mutiny.  Captain Vere knows that a mutiny might occur and does not want it to happen.

Captain Vere could possibly be using Billy's execution for his crime of  killing Claggart as

an example for the rest of the crew.  It shows the crew what will happen to them if they

try to start a mutiny.  After Billy's death CaptainVere obviously feels regret for executing

Billy.  Captain Vere's last words are "Billy Budd, Billy Budd" (p. 76) show an example of

this.  Those last words might symbolize that Captain Vere killed Billy for the wrong

reasons.  If CaptainVere uses Billy's death for an example to the rest of the crew then it

might not necessarily be the wrong reason.  CaptainVere has to decide between one life

and the lives of the entire crew.  No matter what Captain Vere's reasons are he does make

the right decision.

Another reason CaptainVere might of executed Billy Budd is because CaptainVere

follows the law to the letter.  The law states that mutiny is punishable to by death.  Some

readers might not see this accidental murder as mutiny, but killing a superior officer in the

British navy is considered mutiny.  In Captain Vere's decision he shows the crew that no

infractions of the law will be tolerated.  In the story CaptainVere is described as "never

tolerating an infraction of discipline" (p. 16).  This trait could be the reason for Billy's

death.

Another reason Captain Vere might execute Billy Budd is that he does not want

Billy to suffer with his extreme guilty until a martial court can see his case.  Captain Vere

probably had a personal attachment to Billy.  This is evident when Captain Vere says,

"struck dead by an angel of God!  Yet the angel must hang!" (p. 51).  This statement

implies Captain Vere's true feelings for Billy.  If Captain Vere had let a martial court try

the case then they would most likely come to the same conclusion.  Because of this fact

Captain Vere did not find it necessary to make Billy wait for a trial.

Captain Vere made the right decision by executing Billy for his crimes.  Although

the decision was controversial it kept stability among the crew.  The crew's fate is more

important than any individual sailor's fate.  If Captain Vere had made the opposite

decision than there probably would be a very horrible fate for the Bellipotent.  Billy Budd

could be considered a tragic hero.  In his short life Billy touched more lives than most

people do in there entire lives.  Billy is somebody that most readers would agree is a tragic

hero.  Even though Billy Budd is so great, Captain Vere made the right decision.

158.          biography of Alfred Hitchcock

The Life Of Alfred Hitchcock...

Intro

Rolling up your window at the sight of a passing bird, quickly pulling open your shower curtain when the slightest shadow is seen, and the constant worry of nuclear war with other countries.  Birds will most likely never go on a killing rampage, a murder taking place in a shower isn't far fetched, and the threat of war is always present.  So, by this we can see the wide range of films directed by the "Giant in Horror", the "Master Of Suspense", and the "Protagonist of Terror", Mr. Alfred Joseph Hitchcock.

His early life

On August 8, 1899, in Leytonstone, London, William Hitchcock and wife Emma had a son, they named him Alfred J. Hitchcock.  His parents, both Irish and Catholic, also had two other children, William Hitchcock and Ellen Kathleen Hitchcock.  Young Mr. Hitchcock attended the Jesuits' St. Iganatius College during his early school years.  His parents were both very strict. Once when he was young and did something his father didn't approve of, he was forced to stay in a jail cell for ten minutes.  Ever since that day he had had a phobia of police officers.  At the age of fourteen (1913) a tragedy struck Alfred's life, his father died, this forced him to quit school and search for a job.  At age sixteen (1915) Mr. Hitchcock was studying once again at the University of London, however he was studying engineering and navigation, as oppose to what a future director should study.  At age nineteen (1918) he took a job at the Henley Telegraph Center as an estimator. Of course as most teens would he managed to go to the cinema regularly, and he fell in love with the silver screen.  While working he took night classes in art, and he read as many technical magazines as possible to learn more about filmmaking.  From that point on his abilities and talent continued to grow.

The middle years

At the age of twenty-one (1920) Mr. Hitchcock made one of the wisest career decisions of his life.  He heard of a paramount pictures branch called Players-Lasky opening in London.  He immediately got an interview for a job, and due to his knowledge of filmmaking he was given a job as an assistant director.  A year later (1921) he met his future wife Alma Reville, a co-worker at the office, whom he married five years later at Brompton Oratory. Alma also helped him with the initial script development all the way to the final post-production of most of his films.

Two years after working at the office Alfred directed his first film, Mrs. Peabody, however it was never completed.  In 1925 Alfred was promoted from assistant director to the position of a full-fledged director.  His second film failure occurred in 1925, he directed the film "The Pleasure Garden", although Alfred poured his heart, soul, and even his uncanny wit into this film it was never a success.   At the age of twenty-eight (1927) Alfred directed his first successful film, "The Lodger".  At that time the film was considered pretty out of the ordinary. A boarder was suspected of murdering several woman. Such topics as murder, suspicion, and even sexual attraction were unheard of in the cinemas.  This of course spurred Alfred's long and prosperous career as the Titan of terror.   A year after his first film (1928) his wife gave birth to a daughter, Patricia, who later appeared in three of Alfred's major movies.  Patricia appeared in "Stage Fright", "Strangers on a Train" (which was later remade as throw momma from the train, with Danny Devito), and Psycho.

Later Years

In his life Alfred made a total of fifty-three major films, however the first nine were silent films.  In 1939 after being acclaimed as one of Britain's greatest directors, he moved to America to start fresh.  However his movies weren't his only passion, in fact he only once went to see one of his own movies.  Alfred loved practical jokes, one of his favorite being his "elevator confession". He would find an elevator with a number of people in it and confess to one of them that he had committed a brutal murder.  He always loved to keep an audience entertained.

Alfred also liked to be misunderstood, and had many abstract comments to confuse people. One of his most famous quotes was, "Once a man commits himself to murder, he will soon find himself stealing. The next step will be alcoholism, disrespect for the Sabbath and from there on it will lead to rude behavior. As soon as you set the first steps on the path to destruction you will never know where you will end. Lots of people owe their downfall to a murder they once committed and weren't too pleased with at the time".

Many of his films in the 1950's to the 1970's had to do with the wars at the time.  "Torn Curtain" was an espionage story set during the cold war.  Another such film, "Topaz", was one of his most unwieldy and least witty films, which was set during the Cuban missile crisis.  Alfred continued to make movies up until his death at the age of 81 (1980), his last film being "Family Plot" in 1976.

The 3 Greats

1.Psycho

Probably the most well known of Alfred's movies and most likely any 35mm black and white film, was Psycho, the top horror movie of the 1960's.  The movie was written by Joseph Stephano, was based on the book by Robert Bloch.  The tale was that of Marion Crane who had just stolen a large sum of money from the company she worked for.  She decides to stay at the Bate's Motel along the way, there she is greeted by the oh-so friendly Norman Bates.  Norman Bates, however, lives under the domineering specter of his deceased mother.  Marion is feeling a bit grimy from her long trip and decides to take a shower. Of course this is were everything spirals down the drain.

The blood was easy to fake in black and white, with a little dab of Hershey's syrup in the water.  The house and motel still stand at Universal Studios Hollywood.

As in all of his films Mr. Hitchcock had a small appearance as an unknown character.  Alfred's cameo appearance occurs four minutes into the movie with him climbing through Janet Leigh's window wearing a cowboy hat.

2.The Birds

Another memorable Hitchcock movie was "The Birds", Alfred got the idea from a Santa Cruz newspaper headline reading "Seabird invasion hits coastal homes".  "The birds" was written by Evan Hunter, and the story idea was by Daphne Du Morier.  This is the story of Melanie Daniels who had just moved to Bodega Bay with her new boyfriend played by Red Taylor.  But before she can enjoy her new home marauding birds attack the entire town.

The birds attack in very organized and vicious assaults, which some believe to have a deeper meaning behind.  One speculation is that the birds represent soldiers raiding towns.

Melanie Daniels wasn't an actor at the time, but was actually a model.  However that didn't stop Mr. Hitchcock from using her as the lead in his new film.  This wouldn't have been such a bad idea had she have known how to act, unfortunately she just wasn't working well with the screaming aspect, so the directors and other workers pelted her with stuffed birds.  Alfred appears in this film as a man leaving a pet shop with two white terriers.

3.Vertigo

Our little tour of terror stops with the story "Vertigo", based on a book called "D'entre les morts" by Pierre Boileau.  Although Alec coppel is given credit for writing the script it was actually written by Samuel Taylor who was forced to sign it over for legal reasons.  The entire movie is complicated on the literal level, psychological level, and allegorical level.  The story is that of Gavin Elster and his wife Madeleine. Gavin is worried about the strange behavior of his wife and hires Scottie (an old college friend) to tail her.  He follows her through forests, graveyards, and museums, only to find out that she believes that she is the reincarnated soul of Carlotta.  This is the ancient tale of a man who has lost his wife and wishes to join her in the underworld.  Alfred's cameo in this film appears eleven minutes in with him walking down the street in a gray suit.

159.          Birth of a Nation Art or Propaganda

Mankind, engaging in war, driven by whatever instincts guide him, seeks to keep the defeats and victories of battle in his memory and on his conscience.  To accomplish this men have used paint and canvas, ink and paper, or instrument and song in their effort to communicate the tragedy and glory of war.  Never, before the career of D.W. Griffith had anyone attempted to bring the subject to film.  The result of his efforts, weaknesses aside, mark a change in attitude towards film as a media.  Perhaps audiences previously going to a picture expected emotional manipulation.  After all, years before the film Birth of a nation, makers of film employed techniques to evoke pathos from viewers; whether through the use of a sobbing mother, a frightened child or what have you.  In this respect the film was not a ground-breaker; However, through its effective use of devices such as symbolism, foreshadowing and allusions, as well as building on and arguably perfecting film techniques such as continuity editing, intercutting and close-ups, he transformed film from mere entertainment to art and propaganda.

To present and explore a theme, symbolism is used everywhere in literature.  Whether the image is subtle or obvious it is regardless a sign of considerable calculation and effort.  In Birth of a nation Griffith places symbols everywhere, in doing this he merges literary devices of written works with his own visual works.  For instance, the parched corn symbol in the scene where the southern army is eating symbolizes their desperation in the face of defeat.  This imagery proves that Griffith wasn't just presenting actors and a plot, he intended to dig far deeper than that, into the realm of a clever storyteller.

Another example of his unique style is the use of foreshadowing, another literary device now commonly employed in film.  The most prominent example of this is the scene where two gentlemen are talking, and as the camera pans down, we see a puppy struggling with a kitten.  This is another strong example of symbolism; however, even more importantly it foreshadows the coming war.  It is expertly placed to add to the building tension between sides which the audience already knows results in confrontation.  Its placement reflects Griffiths desire to advance the complexity and diversity of film beyond entertainment to higher levels in society.

To manipulate his audience's emotions, he first had to draw them into the story and in turn into the stories underlying theme.  He accomplished this by using numerous virgin film tools, much as an artist uses his own tools to create a believable painting.  Among these tools he uses panoramas to illustrate setting, to paint, if you will - a moving picture.  To show the swell of heated gunfire on a crowded battlefield i.e.the scene of the battle of Petersburg, or to bring across image of the delicate beauty of his native southern land to those who had never been there or seen a picture of it.  This was the substance that transformed film into a genuine art form.

Once he had the attention and anticipation of the audience, as well as their almost guaranteed acceptance of his word, he merely had to feed them a easily grasped, recognizable message to sway their emotions his way.  This method of classic propaganda was used to fuel the audience's already considerable ill-founded hatred of blacks.  It comes in the form of a rebel black group who terrorizes the Cameron family, the film's main characters.  By placing blacks in this position it isn't difficult to imagine the reaction of an average theatre goer.  The film spawned riots, fired up racism, built stronger the negative stereotypes of blacks.  It portrayed them as lazy, as illustrated in the black parliament, where a man rests his bare feet on a desk, alluding to uselessness in the employment environment.  More horrifyingly than that it portrayed them as ultimately evil with the seizing of the Cameron's home and the attempted rape of one of their daughters. The obvious bias presented, although appalling, demonstrates just how effective Griffith was at utilizing film not with the intention to merely entertain, but to spread propaganda and affect the perceptions of society itself.

Griffith exploited his audience, he turned them against minorities and themselves.  The film Birth of a nation exemplifies ignorance and hate at its worst.  Although it stands for something that today is looked on as morally wrong, it proves by this very reaction that the film is not just mere entertainment, but something with a far more serious purpose.  Since Griffith was the first to accomplish something of this nature, Birth of a nation therefore marks the transformation of film from pure entertainment into art and propaganda.

160.          Birth of A Nation

Birth of A Nation: Art or Propaganda

Mankind, engaging in war, driven by whatever instincts guide him, seeks

to keep the defeats and victories of battle in his memory and on his conscience.

To accomplish this men have used paint and canvas, ink and paper, or instrument

and song in their effort to communicate the tragedy and glory of war.  Never,

before the career of D.W. Griffith had anyone attempted to bring the subject to

film.  The result of his efforts, weaknesses aside, mark a change in attitude

towards film as a media.  Perhaps audiences previously going to a picture

expected emotional manipulation.  After all, years before the film Birth of a

nation, makers of film employed techniques to evoke pathos from viewers; whether

through the use of a sobbing mother, a frightened child or what have you.  In

this respect the film was not a ground-breaker; However, through its effective

use of devices such as symbolism, foreshadowing and allusions, as well as

building on and arguably perfecting film techniques such as continuity editing,

intercutting and close-ups, he transformed film from mere entertainment to art

and propaganda.

To present and explore a theme, symbolism is used everywhere in

literature.  Whether the image is subtle or obvious it is regardless a sign of

considerable calculation and effort.  In Birth of a nation Griffith places

symbols everywhere, in doing this he merges literary devices of written works

with his own visual works.  For instance, the parched corn symbol in the scene

where the southern army is eating symbolizes their desperation in the face of

defeat.  This imagery proves that Griffith wasn't just presenting actors and a

plot, he intended to dig far deeper than that, into the realm of a clever

storyteller.

Another example of his unique style is the use of foreshadowing, another

literary device now commonly employed in film.  The most prominent example of

this is the scene where two gentlemen are talking, and as the camera pans down,

we see a puppy struggling with a kitten.  This is another strong example of

symbolism; however, even more importantly it foreshadows the coming war.  It is

expertly placed to add to the building tension between sides which the audience

already knows results in confrontation.  Its placement reflects Griffiths desire

to advance the complexity and diversity of film beyond entertainment to higher

levels in society.

To manipulate his audience's emotions, he first had to draw them into

the story and in turn into the stories underlying theme.  He accomplished this

by using numerous virgin film tools, much as an artist uses his own tools to

create a believable painting.  Among these tools he uses panoramas to illustrate

setting, to paint, if you will - a moving picture.  To show the swell of heated

gunfire on a crowded battlefield i.e.the scene of the battle of Petersburg, or

to bring across image of the delicate beauty of his native southern land to

those who had never been there or seen a picture of it.  This was the substance

that transformed film into a genuine art form.

Once he had the attention and anticipation of the audience, as well as

their almost guaranteed acceptance of his word, he merely had to feed them a

easily grasped, recognizable message to sway their emotions his way.  This

method of classic propaganda was used to fuel the audience's already

considerable ill-founded hatred of blacks.  It comes in the form of a rebel

black group who terrorizes the Cameron family, the film's main characters.  By

placing blacks in this position it isn't difficult to imagine the reaction of an

average theatre goer.  The film spawned riots, fired up racism, built stronger

the negative stereotypes of blacks.  It portrayed them as lazy, as illustrated

in the black parliament, where a man rests his bare feet on a desk, alluding to

uselessness in the employment environment.  More horrifyingly than that it

portrayed them as ultimately evil with the seizing of the Cameron's home and the

attempted rape of one of their daughters. The obvious bias presented, although

appalling, demonstrates just how effective Griffith was at utilizing film not

with the intention to merely entertain, but to spread propaganda and affect the

perceptions of society itself.

Griffith exploited his audience, he turned them against minorities and

themselves.  The film Birth of a nation exemplifies ignorance and hate at its

worst.  Although it stands for something that today is looked on as morally

wrong, it proves by this very reaction that the film is not just mere

entertainment, but something with a far more serious purpose.  Since Griffith

was the first to accomplish something of this nature, Birth of a nation

therefore marks the transformation of film from pure entertainment into art and

propaganda.

161.          blood lactate and training to improve threshold

Type II muscle fibers oxidize lactate at a very fast rates.  When muscle contraction produces a significant amount of lactate, it is then released into the central circulation of the blood, and within seconds it is made available to that muscle for energy.  Therefore, 75% of the lactate produced from high intensity exercise is made available for energy production in type II muscle fibers.  The remaining 25% of lactic acid is used for energy in the heart, the make up of liver glycogen, and the supply of energy to inactive muscles.  A good example of this would be a runner who is exceeding his or her planned race pace in a 10k.  The excess lactic acid accumulated in the contracting muscle from insufficient oxygen is then made available to inactive muscles (e.g., the arms) from the central circulation of blood.

The remaining lactic acid that is not directly oxidized for fuels is sent to the liver, where it is stored as glycogen.  In the process of exercise, glycogen is released into the blood stream to form glucose.

Lactate is Good

As coach and athlete you must learn how to teach the body to handle lactic acid.  It is imperative, if you want successes in today's highly competitive field of athletics to train your muscles, body and mind to accomplish gains in performance even in the presence of lactic acid.  Coaches and athletes should design training programs with this being a primary focus.  This is done by two basic components of training.

Long Slow Distance (LSD) training beyond the normal racing distance, will develop tissue enzyme adaptations that will rely upon the use of free fatty acids for energy production, which will result in less lactic acid being produced.  LSD training will also increase the rate of lactic acid removal from the blood and muscles.  During continuos steady state exercise, you increase capillary density and mitochondria function in skeletal muscle,  These two peripheral adaptations brought on by LSD training will enable your body to handle lactic acid much more efficiency.

High intensity training will develop the cardiovascular system to increase the rate of oxygen transport to the contracting muscles so there is less reliance on carbohydrate breakdown to lactic acid.  High intensity training such as intervals.,  and variable pace workouts, will increase your functional capacity (Max VO2).  This means that in actual competition you will produce less lactic acid, because your muscles are relying mostly on the use of free fatty acids for fuel.  The lactic acid that is produce will be removed by the tissues that can use it as fuel, such as the heart and type II muscle fibers.

More On Aerobic Type Training

When it comes right down to it, the main way to increase oxygen uptake is to do distance, plain and simple.  Generally speaking, Type I muscle fibers (the endurance fibers) are the fibers which must be trained in order to raise VO2 Max,  But, what exactly does raising VO2 Max entail and what is happening.

VO2 Max is comprised of several factors:  VO2 = Q X (A-Vo2 difference) where Q = Heart rate * volume of blood pumped per beat and (A-Vo2 difference) is the amount of oxygen extracted by the muscle.   So, there are three things involved.  Well, since, by definition VO2 Max will be highest at maximum heart rate, it would be great if you could raise this.  Unfortunately, maximum heart rate is genetically determined and does not change with training (although it does decrease with age).

One of the effects of prolonged endurance training is an increase in heart size and pumping strength.  These two factors see to raise the volume of blood which can be pumped per beat.  Incidentally, this is also part of why aerobic athletes have very decreased resting heart rates.  Actually, their Q values are the same as sedentary people, it's just that since their heart can pump more blood in a given beat, the heart doesn't have to beat as often at rest.

Well, another adaptation to endurance exercise is an increase in aerobic enzymes in the muscles and an increase in mitochondria density and number.  This serves to increase the (A-V02 difference) as the muscles are now capable of extracting more oxygen from the blood.  This increase generally occurs the most in the Type I fibers which have the most aerobic enzymes and mitochondria to begin with.  Hence, in order to improve VO2 Max, it is necessary to both stress the heart to improve stroke volume and also the Type I muscle fibers to get the necessary enzymatic changes to occur.  Basically, the key to both of these is duration.

Also, note that, in order to be competitive in endurance events, you cannot do only distance work.  Although much of the race may be done at low intensities, there will be times (hills, final sprints) when you need to go faster than your easy pace.  If all you've done is distance work, you'll get blown away during these times. That's' why its imperative to include an anaerobic component to your training (intervals) to compliment the aerobic conditioning to race successfully.

AT Training

Anaerobic Threshold Conditioning works in two ways.  The first is an increase in maximal heart rate due to a rise in cardiac output and stroke volume. The second is the specific training of Type IIa muscle cells, which have some aerobic capacities, unlike Type IIb (which is also a Fast Twitch muscle fiber, but has no aerobic capabilities).  AT training enhances aerobic enzyme activity and muscle density in the Type II cells, giving them a greater ability to supply O2 for the energy you need when racing at high speeds. The way to achieve these gains is through intervals. Intervals are designed to bring heart rate, cardiac output  and 02 intake to maximal values, which help you obtain those last little gains in VO2 your economy. We all reach a point in our fitness  where it is very difficult to improve our performance even the slightest bit. Intervals will work on your cardiovascular system, improving O2 delivery and efficiency rates, giving you a boost in ability. More importantly, they will allow you to exercise continually at a higher percentage of your functional capacity.

AT Training Can Improve Performance By 7-8%

Researches have shown that a trained endurance athlete can improve his or her performance by 7-8% by including AT work in the weekly workout.  A 7% increase in aerobic capacity could mean a considerable time difference in a 10k performance.  For example, if you complete the 10k in 38 minutes, a 7% increase in your aerobic capacity could allow you to better your best time by a little over 2 minutes.  The reason for this increase is that with AT training you train your 02 system to work more efficiently.  In order to improve your oxygen delivery system adequately enough to get these benefits it's necessary to perform anaerobic conditioning which, contrary to popular belief, does not necessarily mean exercising without oxygen.  Anaerobic simply means that you can't supply enough 02 or energy to the active muscles in order for them to constantly rely upon fat and glycogen as their sole energy source.  At high intensity exercise there is not enough 02 provided.  Thus you slip into anaerobic metabolism, which involves the breakdown of glucose to pyruvic acid and lactate acid without the presence of 02.  This makes up the difference and supplies additional energy to your muscles to keep them going.  There are several different types of AT training that one can do to enhance the oxygen delivery system, including Long Fast Distance Variable Pace, Fartleks, and Tempo runs.

162.          Blood Violence and Gore as Entertainment

Blood, violence and gore as entertainment

The Texas Chainsaw massacre, Braineaters from outer space and

Bloodfeast are all films were the title can speak for itself. The are films were

violence, blood and gore play an important role. It is obvious that someone

has to action, but who?

Since the dawn of man people have used violence for entertainment. In

Rome they had the Colluseum, nowadays we have the cinema. Violent films

are being produced all the time, no one seems to care. Even though there

aren't many people who are harmed from these films, there are a lot of

children who do. It is a question of separating reality and fiction, and that is a

problem for many children. After the Superman films in the 1980's, there

were a series of children jumping off tall buildings, because they though they

were Superman. As you grow older, this doesn't seem to be a problem any

longer, even though there have been incidents were adults have started to kill

people after watching a violent film. An example of this is the controversial

film Natural Born Killers. Over twenty people lost their lives because of this

film. In this film murder and violence are justified, and it is these films that

affect children the most.

Computer violence is a quite new phenomenon. It was introduced with

the launch of Wolfenstein in 1990. In "Wolfenstein" you are trapped in a

maze among an army of nazis. You'll have to kill your way out. This kind of

violence probably has a deeper influence on children, because they do the

killings themselves. It is interactive violence. In several countries the follow-

up game, Doom, was banned. The software company claimed that it didn't

have a negative affect on children, because they killed mutants, not humans.

But is cutting up a mutant with a chainsaw good entertainment?

There is no question about it, some children and adults suffer serious

damage from watching films and playing computer games with extreme

violence. The government should take immediate action and stop the

distribution of these films and computer games. Parents must also try to gain

control over their children. That is the only way we can stop the

development.

163.          Blood

Blood, Violence and Gore As Entertainment

The Texas Chainsaw massacre, Braineaters from outer space and Bloodfeast

are all films were the title can speak for itself. The are films were violence,

blood and gore play an important role. It is obvious that someone has to action,

but who?

Since the dawn of man people have used violence for entertainment. In

Rome they had the Colluseum, nowadays we have the cinema. Violent films are

being produced all the time, no one seems to care. Even though there aren't many

people who are harmed from these films, there are a lot of children who do. It

is a question of separating reality and fiction, and that is a problem for many

children. After the Superman films in the 1980's, there were a series of

children jumping off tall buildings, because they though they were Superman. As

you grow older, this doesn't seem to be a problem any longer, even though there

have been incidents were adults have started to kill people after watching a

violent film. An example of this is the controversial film Natural Born Killers.

Over twenty people lost their lives because of this film. In this film murder

and violence are justified, and it is these films that affect children the most.

Computer violence is a quite new phenomenon. It was introduced with the

launch of Wolfenstein in 1990. In "Wolfenstein" you are trapped in a maze among

an army of nazis. You'll have to kill your way out. This kind of violence

probably has a deeper influence on children, because they do the killings

themselves. It is interactive violence. In several countries the follow-up game,

Doom, was banned. The software company claimed that it didn't have a negative

affect on children, because they killed mutants, not humans. But is cutting up a

mutant with a chainsaw good entertainment?

There is no question about it, some children and adults suffer serious

damage from watching films and playing computer games with extreme violence. The

government should take immediate action and stop the distribution of these films

and computer games. Parents must also try to gain control over their children.

That is the only way we can stop the development.

164.          Blues Music And Its Influence On Integration

Blues Music And Its Influence On Integration

From years 1505 to 1870, the world underwent the largest forced migration in history:

West Africa was soon to be convulsed by the arrival of Europeans and become the advent of the transatlantic slave trade. Ships from Europe, bound for America, appeared on the horizon, and their captains and sailors-carrying muskets, swords, and shackles-landed on the coast, walked up the beach in their strange clothes, looked around, and demanded slaves. A horrific chapter in history had begun, and neither Africa nor America would be the same again. (Awmiller 14)

Approximately ten million Africans were brought across the seas to the Americas to be manipulated into slavery (14). It became apparent that these African men, women and children were meant to generate money. They were meant to work harsh labor, yet they were no longer meant to have a voice. A few Americans took the time to appreciate the hard work performed by the slaves; however, appreciation is a short step in the long road to equality. It was not until the late 19th century that America began to repair the damages done by this immoral trading of human beings. Once the slaves were "freed" after the Emancipation Proclamation in 1863, it did not do much to end the oppression and prejudice against their race. Their freedom did not give them a heart; it did not prove they had soul. This is where their music becomes significant, and this is Blues music (How the Blues Overview). Throughout their music, it took much less time for the black race to prove that they were not unlike the rest of humanity; in fact, they did have a voice, and a haunting one. Once Blues music was not only recognized, but also comprehended, admired and imitated, it opened the gates of immigration, and the nation to this day has matured in its ability to see gray.

Included in the mass of faceless slaves, the boats entrapped and migrated a large number of griots. A griot was an African version of the European wandering minstrel. They spent their lives traveling from village to village, playing the role of a musician, storyteller and wise man. They typically carried an instrument similar to a guitar or banjo (Awmiller 13). However, due to their rapid change in environment, they could no longer sing the songs that they used to sing in their old villages; they invented new songs. The griots invented new songs that addressed their new and terrifying circumstances:

Songs about being chained on the ships below deck like animals, about those who did not survive the brutal crossing to New World, and about the homes they would never see again. And once in America, there were other hardships to sing about: the ignominy of the auction block, the separation of family members, the remorseless treatment at the hands of landowners. (15)

Even though their masters, and most slave owners at the time, continued a wave of new laws and restrictions to suppress the threatening culture of Africa, these griots and these slaves used their new style of music to cry out against these blatant wrongdoings to their race. They needed an escape to retain the essentials of their culture, of their motherland of which they undoubtedly could not suppress the memories of values and of experiences known previously to them. By the end of the Civil War, these slaves had blended African and European influences to recreate their own culture. This neo-African culture included African-American styles of dance and storytelling, work and spirituality, conversation and community. "By sifting among the many elements of this vibrant, life-sustaining world, we can trace the specific musical roots of what would be known, by the end of the century, as 'the blues'"(15).

Blues music originated in the cotton fields of the southern United States where the majority of the slave hands were put to work. "The earliest folk-blues were sung by nameless African-Americans living and working in the South's cotton belt in the early 1880's and 1890's- in particular, the region from the Mississippi Delta to East Texas"(Barlow 3). It was believed that this began as a call and response style, which matured into the work song. From that standpoint, after the release of the slaves, the work song then matured into their Spirituals, and later was introduced to the whites through black-faced Minstrel of Medicine shows (How the Blues Overview). As the music matured and became more renowned, its influence became prominent in the music styles of the time, and in the intertwining relationships between the races. "The music was a unique and cultural offering that whites could not deny. It was something new and intriguing to whites that shed a new light on blacks and their place in American culture and society"(Overview). The music did not seem to have the same color restrictions as the music previously performed. It drew blacks and whites together in a place where everyone could leave the Jim Crow laws at the door (Overview). This offered a new and beneficial lifestyle for the blacks as well as the whites. Maybe the interest was that the white people had found a new talent to exploit and from which to make easy money, or perhaps, maybe it was because the whites genuinely understood the cultural significance in the music and respected this talent of the black race enough to overcome racial and cultural differences.

"The white slave owners were intrigued by the slaves'...music...[and] encouraged the slaves to sing and play...because they felt that the slaves were happier-and less rebellious-if they were allowed to make their music"(Haskins 9). While their music was obviously something these slaves were using to keep their African heritage, the whites believed that their music was an expression of happiness and contentment. They believed that their singing was an expression of their acceptance of their hard fate. Former slave Frederic Douglas wrote that the music of these slaves reflected an expression of the opposite:

"I have often been utterly astonished, since I came to the North, to find persons who could speak of the singing among slaves as evidence of their commitment and happiness. Slaves sing most when they are most unhappy. The songs of the slaves represent the sorrows of his life; and he is relieved by them only as an aching heart is relieved by tears."(Douglas 97)

"In the early 19th century, advertisements would point out the musical talents of these slaves who were for sale knowing that would put them in higher demand"(Davis 27-28). It was due to the whites' misconception that those slaves who displayed musical talent were typically given easier work and rewards for their talent and their seeming obedience of their labor. At times these slaves were bought specifically for their musical talent and were never subjected to harsh fieldwork. Sometimes, these black workers were invited to weekend parties, asked to perform, and were given whiskey, food and other rewards for their services. "Blues music was not only an essential element of many religious and secular events for blacks, but it was a substantial source of entertainment for whites as well" (How the Blues Appreciation). This displays historically the establishment of the white man's genuine appreciation for black music.

In 1903 Mr. W.C. Handy, later referred to as the 'Father of the Blues,' hears his inspiration. He notices a ruggedly dressed old black man sitting on a bench, playing guitar. Handy wrote the notes of the old man's down:

Rather than strumming and picking the strings, the man was sliding an open pocketknife up and down the guitar's neck making the notes bend and slide, the strings moan and wail. The sound was so much like a human voice that you could almost say the guitar was crying. (Awmiller 12)

Gertrude "Ma" Rainey, a professional vaudeville singer, told a similar experience. She heard a young woman singing outside her vaudeville tent, a strange and "poignant song," about her man who left her. In addition, further away, a white violin player named Hart Wand was playing a melody that an African-American employee of his father's said gave him 'the blues' (12). So, what is it that exactly constitutes the Blues? Cross rhythms were used extensively in the Blues. This was also prominent within the old West African drumming. This was popularly created by separating the melodic line from the groundbeat, which then puts the two in rhythmic conflict, and was done by a solitary musician singing or playing emphasizing the offbeat. Possibly the most prominent innovation was their melodic tendency to express rising emotions with falling pitch. This became such a trademark with the African expression of Blues, that it is now referred to as playing "blue notes." Finally, Blues musicians rarely used the same style of voice. Blues was a mixture of coarse guttural tones and slurs to falsetto and melisma, and this was all used to color the melodic line and give it identity and expressiveness; which all of these trademarks they innovated from their old West African music (Barlow 4). With this entire struggle from the white folks to weaken the African's African heritage, it seems implausible to believe that the slaves' music was what threw the first stone at the barriers between the blacks and whites. It was the Minstrel and Medicine shows from the 1830's that gave the whites their first opportunity to delve into the culture of the slaves and their music- in the beginning with the lingering alibi of show business. A minstrel show was a musical event where white folks got the chance to paint their faces black with burnt cork and perform in the persona of a black man. This gave the white Americans their first taste of the black man's music in a harmless environment free of the black man. Many white American's in blackface and black attire were able to travel around the country, spreading the musical style of the blacks they had heard before to others who may not have had the opportunity. This may have aided in the increasing popularity of a stereotyped black man, "...however, if it is true that imitation is the utmost form of flattery, then these shows were evidence of white's attraction and fondness for black culture"(How the Blues Minstrel and Medicine). "The first minstrel tune identified as such to make a dent

in the national consciousness was Tim Rice's 'Jump Jim Crow,' published in 1830 ... [first] sung by a black stable hand in Louisville, Kentucky"(Davis 36). These medicine shows were "an entry into a world in which black could be white, white could be black, anything could be itself and simultaneously opposite"(37). There were many white men who thought the show's purpose was to make a joke at the black man's expense; however, most of the white actors performing at these shows sincerely wished to be able to portray the musical style, and obtain and imitate the culture possessed by the black race. Although this information of the black music and its culture was second hand, it insinuated the presence of the black man, and foreshadowed the arrival of black men and women musicians into the music business. Therefore, it seems almost ironic again that while some of these white men were trying to discriminate against the blacks with these shows, they were unknowingly aiding in the blacks capability to later repossess the same rights as the white men had. In fact, it was these black-face minstrel shows that later gave the blacks the right to play in the same shows. After Minstrel shows, the Medicine shows then became popular around the turn of the century. They became the first shows to feature and entertain both white and black Americans. This was possibly the most influential in respect to race relations. These shows still offered the whites a chance to put on a black face; however, both the blacks and whites were finally agreeing on something-music. This is where country and blues came together, and both grew to be a highly vital and influential landmark in music history. These shows remained popular after the Civil War and onward after the Reconstruction period, a time span from 1860 until 1877(How the Blues Minstrel and Medicine). These shows confirmed the common objective of both races and secured the flourishing business between the two. While both black and white musicians borrowed freely from each other's style of music, the black's Blues music proved to be the most indispensable in style with its grainy vocal texture and its distinctive emphasis on rhythmic momentum. "It was this distinction that made black entertainers indispensable and continued to cultivate white appreciation for black music"(Minstrel and Medicine). This is now years after Lincoln's Emancipation Proclamation, and it was around this time that some white citizens were beginning to see their former slaves as important contributors to American culture. "Whites began recording the blues in the early 20th century thus extending the typical relationship between blacks and whites in a positive direction"(White Interest). As both races began to work together, they began to develop the same ideals and goals, and realizing it or not, began to change history to better the future for humanity. The black musicians had already been playing in the medicine shows and for some time had begun to travel around and perform for the white folk who appreciated their music. The white businessmen took notice of this and, after a while, decided to market this private operation. The blues music of the blacks was gaining popularity throughout the United States, and white business saw this as an opportunity to make a profit. (Thank heavens for capitalism!) Although this seems to possess a negative affect on the black race and their music, it really helped develop their rights, especially in the music business and their ability to grow as musicians. The record companies sent out scouts to find these talented musicians and record them. With the success of one blues artist, there came the success of the rest. This flourished in the 1920's especially. With the successes that these blues men were having, it was

decided that they probably did know a few things about music. These record companies, owned by white men, were hiring these black Blues musicians to be consultants on which albums to promote and the style in which to promote it. Despite displaying a stereotypical black, advertisements were selling their Blues albums. It was displaying to the public that these black men and women did have talent and were being viewed more as (nearly equal) human beings, and less and less as simple workers. "Making music is a circumstance under which people of both races could mix without raising very many eyebrows"(Integration of Musicians). This later assisted to break open civil rights barriers due to the slow change in the national consciousness of the time. "Rumor has it that the local chapter of the Ku Klux Klan managed Jaybird Coleman, an early Blues harmonica player"(Integration of Musicians). It was about this time period, around the late1930's, that Blues no longer was being played strictly by black musicians, but was being imitated, accurately, by white Blues musicians. Some white musicians imitated the black music style of Blues so well that in some instances it is undecided today who was white and who in fact was truly black upon listening to old recordings. This proves that this imitation was done now strictly by admiration, and no longer was being imitated by the whites simply as a spoof as much as the Minstrel music was. In addition, not only were the whites imitating the Blues music, but also the country music style of white music was being integrated into the black style of Blues. This proves that the culture between the blacks and whites was beginning to mix and blur, and this was due to the affects of the intrigue of Blues music.

Although it was socially acceptable for the Blues musicians to write, compose and produce their music, it was frowned upon, until the late 1950's, that the teenage generation be exposed to black Blues musicians. However, white Blues musicians were another story. The distribution of Blues music was eased into the public by using white covers of black artists (Covers and Dances). Ironically enough, the white covers of these black artist's music never climbed as high on the top-seller list as the ones originally put out by the black musicians themselves. In 1956, white musician Pat Boone did a cover of the black Blues artist Little Richard's "Tutti Frutti" that reached number 18 on the bestseller chart. However, when Little Richard put out his own release of "Long Tall Sally" later in that same year, before Boone put out his cover of it, Little Richard already had it at number six. This simply proves that, however attempting to slow the eventual rise of black artists, they were in fact hastening the inevitable. "Nothing did more than the cover phenomenon to facilitate a mass market for r&b and extend the opportunities for black artists..."(Ward 44). These covers simply expedited the process of the mass exposure of the public, and this quickly developed a curious fondness for Blues and its African culture. Eventually, it did not matter who was singing, as long as it was performed well. This Blues phenomenon created a neutral ground for both blacks and whites to share and, henceforth, improve their relationship. Although the black slaves had long been freed, notably there remained in the southern United States an excessive number of restrictions on the black population. These were the infamous "Jim Crow" laws. However, when the blacks and whites got together at dances, these seemed to begin to falter and then disappear. The dances would begin with the officials stringing a rope dividing the dance floor in half to keep the races from mingling. "As the evening wore on, the music was able to swallow up the Jim Crow laws ... [and] it was always the whites who instigated the crossover because a black man doing so risked being lynched"(How the Blues Covers & Dances). Another beautiful display of this liberalism was when the radio became integrated. About 80 members of the Ku Klux Klan were beating down the doors of an Alabama radio station for playing the talent of black Blues artist Shelley "Playboy" Stewart. Their aim that night was to kill the owner sitting inside. The owner, Ray Mahoney, suggested that the Ku Klux Klan did not think that "The Playboy" was good enough to play for them. All 800+ of the white kids inside jumped out the doors of the station and proceeded to assault the Klan, the same race as they, to fight for one black man (Integrated Radio). Literally, they saved the poor black man's life that night; symbolically, they helped save the entire black race from such persecution. While this sort of activity seemed to happen while the music was playing, and playing good, this remains symbolic of the whites' willingness to deconstruct the racism and prejudice prominent of the time. After Elvis, the barriers between black and white music were broken down entirely. The majority of white teenagers, and those within other age brackets, began to see the significance of the Blues in music and lifestyle, and all were worshipping the music and its musicians-white and black. It was because of Blues music that white kids ventured into black areas and had a sense of "fair play" long before the civil rights movement (Blues and Rock). As there will always be, there were those people who were disgusted with this sort of music, behavior, belief, and lifestyle. However, historically and recently, this is disregarded as "conservative fluff" and discarded in a hurry. Once the Blues got this far, there was no mercy and no turning back. It seemed as though Blues music did more for the civil rights movement than Brown vs. the Topeka Board of Education (Blues and Rock). Blues was similar to a small leak on a dam, and once the water broke through, it was best to watch it run its course.

Traditional Blues music is reflected in modern music, which displays vague or blatant Blues influences. However, the Napoleons of the Blues shall never be forgotten because they fought a war America had at one time decided it could never win. The music instilled faith into the hearts of many black Americans and at the same time instilled empathy and passion in the white Americans. It not only congregated people, it congregated two separate cultures, both as different as black and white.

165.          Bobs World

Bob's World

"Bobby," yelled his mother in a shrill voice. "Bobby, you have to get up and go to school today!"

"But mom, I have to work at school and I can't watch TV there," Bob pleaded. "Besides I get the lowest marks in my class because the work is so easy that I get bored."

"Just come and have your breakfast and go to school," she ordered him.

As Bob headed towards school, he saw one of his friends skateboarding down the street.

"Yo Bob, you wanna try my board, man?" the youth asked.

"No thanks, my knee is acting up again," Bob replied.

"Sure man, whatever you say dude," was the reply he got as the youth skated away at top speed.

"Hi Bob," came the voice of Lucille as she came up to walk to school with him.

"Hi Lucille," Bob replied shyly.

Bob and Lucille were good friends. Bob wished that they could go out on a date but, he knew there was several reasons why they would not make a good couple. First Lucille had told him that she did not like it if her boyfriend was a lot smarter and better at sports than her. After-all they were so different. She worked so hard to get stuff done while he needed very little time if any at all. She was the captain of the soccer and basketball teams while, if his knee was better, he could beat her at any sport. He knew they were just so different they were fated not to be together.

The two friends chatted their way to school. She talked about her sports games and practices and how much homework she had while he talked about the TV shows he had watched.

When they got to school they said their good-bye's -- she had trigonometry and he had basic computers.

As the teacher started her usual rant about this and that, Bob turned to his brilliant (like him) friend John when he said.

"Hey man didn't I see you walking with that Lucille chick?" John asked him.

"Ya I mean she isn't smart or as good at sports like you and me but I like her anyway," Bob replied.

"But Bob man, she just smacks of effort, how does one person do so much work?" John asked Bob.

"I know that is a serious letdown, doing stuff sucks, I don't know why she does it," Bob used his usual drowsy voice.

"She should just hang out like us and stop doing so much and trying so hard," John while leaning back on his chair so that it was up on two legs. You could tell that he was trying his hardest to look cool.

"Mister Smith, could you please keep all four legs of your chair on the floor and stop talking with your friend Mr. Simpson!" the teacher ordered.

"But Miss we weren't doing anything  ... honestly," John said in his whiny little voice.

"It is no use John, I can always tell when you talk because only you are that incoherent."

THE END

166.          Book Brief Mary Shelleys Frankenstein

Book Brief

Frankenstein

Mary Shelley

Novel

Brief Synopsis:

The book opens with a scene of a ship in the Arctic Ocean.  The ship is stuck in

the ice and unable to move.  Robert Walton, the ship's captain, is writing letters to his

sister back home.  The letters tell of his explorations and the events that occur on the ship.

Walton's crew pulls abord a lifeless body and revive the man back to life.  This man is

Victor Frankenstein.  Walton and Frankenstein talk about why Victor is in the Arctic and

Victor explains the horrible and tragic story of the past few years of his life.

Victor was born to a very wealthy and popular family.  While he was still young

his parents adopted a young girl with whom Victor would grow up with and eventually

fall in love with her.  Victor goes through medical school and becomes very good friends a

classmate, Henry Clerval.  Even though Victors young life seams perfect it is all about to

change.

Victor's mother died when he was still young and her death would change him for

the rest of his life.  After Victor's mother's death Victor swore he would conquer the

mortality of humans.  Victor, once he was out of medical school, he began to work on his

theory of conquering death.  He collected numerous body parts and put them together and

used a special technique to bring the corpse to life.  At first Victor thought he had failed,

but the creature sat up and was alive.  Victor was horrified by his own creation and fled

his laboratory.  The monster then disappeared into the city.

Two years pasted and the monster wasn't heard from, until something terrible

happened.  Victor's younger brother William was strangled to death.  It was believed that

William's nanny and close friend of the family, Justine, had murdered him.  A lynch mob

gathered and drug her off and hanged her.  Later on Victor saw his creature and realized

that the monster murdered his brother not Justine.  Victor still in shock after his brother's

death went to the mountains.  The monster followed him there.  When Victor stopped the

monster confronted him.  The monster explained to Victor how he survived while in

hiding.  He told Victor of the family he watched through a crack in the wall of the

abandoned shack he stayed in and how he learned to read, write, and talk from these

people.

After a long and detailed conversation the monster told Victor of his deal.  The

monster wanted Victor to create another being similar to himself.  The monster realized

that he was hideous and that no normal human could or would ever love him.  The

creature that Victor would create for him would be his lifelong partner and they would

flee civilization never to return.  The other side of the deal was if Victor did not agree the

monster would haunt Victor the rest of his life.  Since the monster would not have anyone

to love neither would Victor because the monster would torture Victor by killing all the

people that he loved.

At first Victor agreed to the deal.  Days went by and Victor began his project.

Half way through he realized that he regretted the first time he did this and he swore to

himself that he would not repeat the same mistake again.  Victor destroyed the remains of

the project and as he was doing this the monster came in the room.  Once the monster saw

Victor wreaking his laboratory, he became furious.  The monster promised Victor he

would regret his actions and threatened that Victor should be careful because the monster

would be with him on his wedding night.

The monster's threat did not stop Victor from his plans of marrying Elizabeth, his

childhood love.  After the wedding Victor hired the best men to guard him and his wife

that night.  As Victor was checking the guards he heard his wife scream.  They rushed into

the room, saw the monster fleeing the room, and saw his wife strangled on the bed.

Victor then swore that he would track the monster to the ends of the Earth and kill him.

The monster lead Victor to the Arctic.  This is where Victor was pulled aboard by Capt.

Walton and his crew.

After Victor finished telling his story to Walton and his crew he fell asleep and

died.  Sometime later a rather large and hideous man came aboard the ship and asked if

they had seen his "father."  The men pointed toward Victor's body and the man/monster

wept.  The monster built a raft and placed Victor's body on it and floated out to sea on it.

As the crew watched the monster set fire to the raft burning the raft, Victor's body, and

himself to death.

Theme/Author's Message:

The theme was that we, as humans, should not "play God."  We should also not

interfere with nature because it is far more powerful than we can possible fathom.

Main Characters:

Victor Frankenstein -- Young doctor, wealthy family, and creator of "the monster"

The Monster -- Creation of Victor Frankenstein, kills William Frankenstein, Henry

Clerval, and Elizabeth directly, he indirectly kills Justine, and Victor's father.

Elizabeth Lavenza (Frankenstein) -- adopted sister and later wife of Victor.

Robert Walton -- Captain of a ship that is exploring the Arctic and he nurses

Victor to life and is there went Victor dies.

Henry Clerval -- Friend of Victor.

Justine Moritz -- Lynched by a mob because it was believed that she killed William

Frankenstein.

William Frankenstein -- Victor's youngest brother, killed by monster.

Tone:

The tone here is dark, mysterious, and eerie.  A typical setting for a horror story.

Critical Review:

I did enjoy reading Mary Shelley's Frankenstein.  It is one of the few horror books

I have actual read.  I chose this book because a friend of mind recommended when I said I

had to read a book for school.  I had already seen the movie and enjoyed it, so I thought I

would also like the book.  I did like the ending better in the movie than the book though.

The reason is that Vincent actual gets to confront the monster other than running all over

the Arctic looking for it.  I wish though that Victor would have been able to get rid of the

monster.  Victor should have never let the monster out of his sight, but if that happened

there would not be a story.  I felt sorry for Victor because of the lose of his wife, but the

monster promised he would take away his loved ones.

I would recommend this classic to anyone who is in the mood for a good classic.  I

do say that if you are going to watch the movie though, watch it after reading the book.

The movie does spoil the book, because the movie does have a better ending.

167.          Book Report on novel UhOh by Robert Fulghum

Uh-Oh

SOME OBSERVATIONS

FROM BOTH SIDES OF THE

REFRIGERATOR DOOR

Book By Robert Fulghum

Report by (Your Name Here)

Uh-Oh

Uh-Oh was written by Robert Fulghum, it is 244 pages long and was published by Villard Books.

This book is a collection of small stories pertaining to the life of the author, and also his opinions, thoughts, and philosophies. There are no specific characters that are through the book except the author. This is not a novel, but yet it does continue some of the ideas written in his previous books, All I Really Need To Know I Learned In Kindergarten and It Was On Fire When I Lay Down On It. Some people may ponder the author's decision on the title, but it is explained quite thoroughly in the book. At any time you may pick up this book and read a section of it without having to read it from the start, and yet every story and idea in the book flows right into the next. The sheer simplicity and ease of reading is a pro, but still it is very detailed in every way. Here's one thing though: if you didn't like the style of writing in his previous books, chances are not much will change your opinion on this book from your opinion on the last. The style of writing is very laid back, sort of a Sunday reader or one that you can pick up in the bathroom from time to time.

I enjoyed reading this book so much the first time I had to read it again. The second time was even better than the first, because of all the new things I could understand. I love how nowhere on his book does it say "New York Times Bestseller" because every other book on the shelf has it, but the author chooses to be different. He knows he's a winner, and as long as the people know that, he doesn't have to show it off. I also love that when I finish reading one of his books it's like I've just been sitting right next to him for about 4 hours and had a big conversation. But that's not all of what his book is. He's a minister, so in his writings you can see traces of church lecture here and there, and there's also an element of the book that everyone can relate to, you know, read something in the book that sparks an old memory, and say, "Gee, I can remember when...." If there is any author that is more inspiring, uplifting, or downright hilarious than Robert Fulghum, I'd like to meet that person and kiss their feet.

168.          Book review 2

Animal Farm

by: George Orwell

Book Review by George Lacy

Mrs. Spain Fall '96

Character Analysis of  Napoleon

"Napoleon was a large rather fierce looking Berkshire boar," that was spoiled and always got his way.  He was the only pig of the kind on the farm.  Napoleon was a great rival to Snowball.  Snowball was very outspoken while Napoleon was very secretive and did not talk much.  Napoleon and Snowball prepare for the Rebellion in a very similar manner, and have many goals alike.  Old Major's vision was important to both Napoleon and Snowball and develop his ideas into a plan.  The society was to be set-up after the Rebellion.  Napoleon's plan benefits himself while Snowball's are benefiting to all the animals.

After the Rebellion Napoleon takes charge of the milk and the apples, at this time the plan that benefits him is put into action.  Napoleon does not take part in the activities for the animals.  As part of Napoleon's plan he disagrees with Snowball on most of the issues.  Napoleon is a secretive plotter that works behind the scenes and someday plans to eliminate Snowball as a rival.  For example he secretly trained the guard dogs in secret, keeping them completely hidden from view.  Napoleon was also very good at developing support for his ideas, after meetings he would talk to the other animals one on one and "psychologically brainwash" them.  He is very kiniving in his ways to get more power and is always trying to discredit and undermine the other animals.  One time he urinated on Snowball's plans for the windmill.

Napoleon's sense of timing is keen and this is very useful is his quest for more power.  At just the right time he implies that Snowball's teachings are not beneficial to the other animals.  Then the time comes when Napoleon has to carry out the rest of his plan, getting rid of Snowball.  But by the time the animals realize what is going on Napoleon has taken control and is ready for any objections.  Napoleon eventually gains total power and symbolizes a despotic ruler.  In this book Napoleon represents "Stalin and his counterpart in the Russian Revolution.  Napoleon always has to have the best produce, best quarters, whiskey, and clothing.  He distracts the other animals from the fact that he is modifying the original Animal Farm visions.  He ruthlessly kills anyone who protests his actions.  He keeps the animals working long hours at immense projects like building the windmill and a new school.  Napoleon keeps the animals busy for one reason, so they don't think about what is happening to them and their lives.  He also had the animals give him credit for every good thing that happens to them.  Then Napoleon decides he needs a scapegoat and of course he chooses Snowball.  Napoleon character does not change throughout the novel, he is greedy and always gets his way.  And he also wants more and more because he has a never ending greed

169.          Book Review The Day of the Jackal

Josh Holloway

Period 2, English 3-4

A Review: The Day of the Jackal

The Day of the Jackal, written by Fredrick Forsyth, is a fictional novel that displays the author's brilliance by setting a mood and connecting you with the characters. The Day of the Jackal takes place in post World War II in France. The Jackal is a professional assassin, whose name is not revealed, who is hired by a French terrorist group to kill Charles de Gualle, the President of France. This terrorist group has had several failed attacks on the President, and the Jackal is their last hope.

The mood the author sets is exceptionally suspenseful. When Rodin, the leader of the terrorist group hears of the failed attacks, the reader can feel his frustration and hatred towards the French government. When Jean-Marie Bastien is vigorously preparing for the first assault on de Gualle, the reader can sense the tension in the air and the feeling of accomplishment when Bastien says, "That's it! One hundred and fifty bullets will have passed through the presidential car by the time it comes abreast of the van. By God we've got it." All this points to Fredrick Forsyth's amazing mood setting talent in this novel.

The reader feels at one with the many characters as they each take part in the many small ventures that give rise to the climax. In a scene where the Jackal is purchasing a fake identification card, the reader can tell that the man making the card is an expert. Not because it was mentioned, but because the man has such a large amount of information about I.D. cards to offer. This same writing talent that displays the characters with subtle suggestion instead of giving specific details is also shown when the Jackal goes to purchase his sniper rifle. It is not mentioned earlier, but the way the armorer talks about the mechanics involved with making a gun in which the Jackal described shows that he is one of the best in the business. Forsyth takes characterization to new level with the Jackal. The reader gets to know the Jackal with a detached understanding of him. Forsyth keeps him a mysterious being with no past and, as far as the rest of the characters in the book are concerned, no present. The reader gets to know the Jackal's meticulous personality and his great care for every slight detail. This machine like personality, added to the fact that no personal history beyond slight background was given, keeps the reader from caring about the Jackal's well being. One can feel a detached fondness to this character, and want him to succeed, but if, for instance, he was to die, one would feel no remorse.

Fredrick Forsyth has mastered some key literary elements in a way not thought possible before. This author, although not on the "classic book list," is one of the greatest writers of modern times and should, with out a doubt, be added to that list.

170.          Book Review

Book Review

For Whom The Bell Tolls

Ernest Hemingway

Pages Read: 74 (really busy)

For Whom The Bell Tolls begins with a pyrotechnic for the Russian army reviewing the land where he must blow a bridge to stop enemy movement.  He is a little overwhelmed by the task he is assigned to complete yet he is mentally sound in his manner and seems to know exactly how to handle himself in the situation.  The book, so far,  is believed to be set in Spain as everyone speaks in Spanish and is set around the time of World War II ('carbine': gun used about that time).

The main character of the book is a man named Robert Jordan.  He is the soldier or 'partizan' (Russian word for guerrilla) who is sent to take out a bridge during a frontal attack on the enemy.  He is, as mentioned, a little overwhelmed by what he is ordered to do but he knows so much about the way people work and think that he can spot when a man is about to fold.  He is very brave and cunning from what has been read so far and is very skilled at his job.  Jordan's guide in the jungle is a man of 68 years named Anselmo.  Anselmo is very agile and strong for his age and is a good guide.  In addition to this, he is also very wise and provides meaningful insight when a situation arises.

There has been no turning point in the book other than Robert Jordan getting his mission orders which is really the beginning and not a turning point.  My personal opinion of the book so far is good.  I like the usage of language, the way a character speaks, the lack of contractions, and where the story is headed.  The start has been good and I hope it carries through to the end.

171.          Bowling for Columbine

Bowling For Columbine was an intense experience for me. Horrific images flew across the screen making my heart drop a few beats. The movie was laid out throwing humor at us at every available moment, I noticed that throughout most of the movie people were laughing, but then when the movie got out the realization of what they just watched hit them. The crowd that seemed so cheery and uppity came out of the small cramped theatre with a sullen look on their faces.

This movie was a roller coaster ride of human history, violence, and paranoia, touching on so many issues I would have to go back and see it several more times before I could even begin to see them all. For a movie with a title that includes an even as powerful and earth shattering as the Columbine High School shootings were, the movie surprisingly had very little to do with that event itself. Instead it was Michael Moore's quest to find an answer to the high rate of gun violence in the United States.

What is it that is different about the US that makes it as a Nation more violent than so many others? So many people have so many different answers, they range from simple and ridiculous ones such as Marilyn Manson music corrupting the minds of our youth, to complex theories that will go into detail about how the media through the use of violence to create an audience that is so paranoid they respond with violence towards each other.

I don't believe there is an easy answer to this question. There are so many issues surrounding this controversial issue. I am a true believer in the right to bare arms, but I also believe there should be some kind of system in place to better teach the young about the responsibilities of being around them.

There are so many other things in our world that are at least just as dangerous as guns, take poison for example. Just about everyone in the country has some type of poison in his or her homes, but we don't see thousands of people dying each and every year from poison. I feel that this is mainly because of the education that we put into teaching people about the hazards of such things. Sure there are programs that pop up from time to time that will work to educate people on safe handling of guns, but they will be short lived and the people who start such programs are to scared to teach all of the important issues. I propose this, Teach citizens to handle guns, emphasize the reality of what a gun is capable of and responsible ways to use them. Every time I see a campaign about gun safety  it will focus on locking away the gun in a safe box that makes the gun useless for personal safety.

As a result of watching this movie I started to think about my role as a graphic design in this issue. In our field we create designs for other people to see, graphic designers have a great deal of influence about how people see the world, or at least those things that can be conveyed in such things as packaging, posters, advertisements and so on. It is our duty to represent the products or companies that we work for in a way that can better the world around us. I don't know how this can be done but I believe that it is our obligation to do our best in figuring it out.

172.          Braveheart 5

Very rarely in a historically based film is every action fact but rather there is a mix of fact and fiction in the film. Braveheart follows this mold since it is a historically based film that includes fiction intertwined with true history. These fictious additions to the film make it a better film cinematically but can make the film too over the top, which would take away from the film. Braveheart is able to tell the true tale of William Wallace in a way that is mostly true and the fictions parts only add to the plot and do not take away from Wallace and are easy to point out and don't adversely degrade him. However, in Braveheart, there is a lot of false information regarding the battle scenes. Therefore, Braveheart is a semi historically accurate movie but some details are false.

William Wallace, the patriot fighter for Scotland, was a real person who really fought heroically for his country. Wallace was an outlawed because he did not the sign Ragman Roll, which bound signatories in loyalty to England's King Edward I, which is true. Wallace like the movie showed organized other outlawed men into an army, however what was not shown was that he had a partner, Andrew Moray, who was killed at Stirling Bridge. The most glaring and important piece of fiction pertaining to Wallace was the fact that he was a landed commoner with a good education, and in peaceful times he might have been a scholar. However, in the movie he was portrayed as a poor man who was secretly married right before he got in trouble with the English. So in the respect of Wallace the movie did truthfully show his greatness but added some fictions information to make him seem more "middle class". (Sullivan)

The other main component of the film was the battle scenes. It is true that Scotland did not win every battle, and the English were not immediately cast out of Scottish territory.   Only after Wallace was killed, did Scottish victory come. One part of the film showed that Wallace invented the use of spears against horses however this tactic is literally ancient. Also, they didn't stand in one big mob, but in circular formations called schiltrons. Another inaccurate part of the film was the Scottish painting their faces. It is true that it was a Celtic practice but it was during Roman times, over a thousand years before. In the film Irish troops switched sides, as they were suppose to charge against the Scottish however this too is false. (Sullivan)

Braveheart does a wonderful job tell the story in a accurate matter and the only time false information is used it is obvious that it was added by Hollywood. Braveheart in general is a accurate film and can be used to discuss its time period.

173.          Braveheart Essay

Braveheart

Braveheart is a realistic portrayal of the power

struggle between England and Scotland. The film starts by

showing William Wallace as a boy, losing his father to

Edward the Longshanks, King of England. William Wallace

leaves Scotland with his uncle to live with him. Years

elapse and William Wallace returns to Scotland, the place of

his birth, to take over his family's farm. Wallace finds his

childhood love, Marin, and marries her secretly. When one of

the feudal lords kills Marin for striking a guard, Wallace

then begins a revolt against the English.

Wallace's army of Scots march against the English

armies time and again. Until William Wallace is captured by

Robert the Bruce's fathers plan and is sent to London before

King Edward the Longshanks. Wallace faces trial for high

treason from which he is found guilty. Wallace is then given

the choice of confessing or being purified. To show his

patriotism to Scotland Wallace chooses not to confess.

Therefore Wallace experiences a slow, painful death as his

last word "Freedom" still rings in the ears of the audience,

as they cut his head off. The last scene in Braveheart is

the battle between the English and Scottish armies where the

Scots win their freedom.

The theme for Braveheart is betrayal. It is shows all

through the movie. The Princess Isabelle betrays her husband

and country of marriage by helping and falling in love with

William Wallace. Whereas it is the same when Robert the

Bruce betrays William Wallace by giving his word to unite

their clans against the English then turns to Edward the

Longshanks for a title, land and more money. A final act of

betrayal is that of father against son. The act is Robert

the Bruce's own father plans against this son and plays a

part n getting William Wallace captured for the King.

Two of the most interesting characters to analyze is

Edward the Longshanks and the Princess of Wales. Edward the

Longshanks seems to have no weakness. Though through the

movie, in my opinion, I think he has one and that is

underestimating William Wallace and Scotland. It can also be

said that his strength lays in his ruthlessness. No matter

what the obstacle Edward was able to surmount it though

sheer coldness of character. Edward the Longshanks

relationship toward his son is probably the only thing even

comparably compassionate about his persona. Whereas for

instance if anyone else had been the fool his son is they

would have met death. The Princess of Wales has a turning point in Braveheart. It

is when she meets William Wallace for the first time.

174.          Braveheart

The movie Braveheaert is a Scottish tale. It starts off by showing Scottish men and

women going into a meeting in a barn to discuss truce amongst the war that they are

having with the English. What they didn't know was that they were being lowered into a

trap where they were hung. William as a young boy saw what had happened to them. His

father was a leader in the rebel forces of the Scottish to try to help free his people from the

English king. On an occasion, his father goes off to fight but never makes it out alive.

William is a young boy and his anger inside of him is growing. At his father's funeral, his

uncle from his mom's side comes to take him away and teach him the arts of war, how to

read Latin, and to speak other languages as well. The story never really talks about his

mother. He is an orphan and his uncle came to take him away. Many years now pass and

William Wallace returns home as grown well mannered and taught man. He seeks the love

of his life and finds her, many years after he left. There's one problem. His love's  father is

now a rebel leader as well and the only way that he can be with is if he joins the rebels.

William only wants to make a family and live in peace. He in secret dates her and

eventually marries her. But the English knew who he was, and killed his wife to get to

him. William goes on a rampage and kills the guards and the lord of the town with the

other rebels. From that moment on, William is now the leader of the Scottish people.

&lt;Tab/&gt;William now fights to defend his people and gain their freedom. On the other hand,

the Scottish's heir to the throne wants to make agreements with the English king instead

of helping his people fight for freedom. William is disgraced and fights with the rebels. He

keeps fighting and fighting and keeps winning and winning. His triumphs are so great that

he makes his way to York, England and is able to take over the greatest city of England at

this time. The English king is in awe of what he was capable of doing and sets up military

councils to gain speed behind the rebels. But while all of this is going on, the Princess

which she is the wife of the king's son, is helping Wallace in his escapes. She loves him.

Her husband is gay and she sees the truth that is going on. Wallace's people are being

oppressed and she helps him in by guiding him to places  to hide and seek shelter from

danger.

&lt;Tab/&gt;There is a great battle at the end where the Scottish army and rebels join to fight

the English. To the surprise, the Scottish army betrays Wallace and the rebels and he

rebels are on their own against Thousands and thousands or English army men. Many

rebels die but Wallace survives. The Scottish leaders have a meeting of what happened and

Wallace kills the leaders of Scotland one by one for what they have done. This worries the

king of Scotland and tries to make truce with William Wallace. William buys it and  goes

to a meeting with him. As William enters the fortress he is betrayed and captured by the

English soldiers. He is tried in the court and is proven guilty. He goes to prison waiting for

them to take him and torture him. The princess goes to see him and tries to give him an

antidote to numb his nerves, then she kisses him and leaves but he spits out the potion. He

is now taken to be tortured and humiliated in front of the English people. He is tortured

and laid down on cross where he is going to be killed. But before that happens, he yells

"FREEDOM" and the people are amazed. Then they decapitate him. The legend of William Wallace has died.

&lt;Tab/&gt;"Every man dies, but not every man really lives" (William Wallace)

175.          Britney Spears 525

There are many women that have an impact on my life; however, the question is how many of them do I look up to? Of course the most obvious person is my very own mother, but that made me think who else deserves to join this circle of reverence. Some names entered my mind, but do I really admire them? It is clear that women that enter my daily life like Oprah Winfrey have an impression on me, but impact and admiration do not always go hand in hand. Then I realized who I really admire: Britney Spears.

The teen pop idol singer Britney Spears is a woman that I look up to for many reasons. She has tantalized the entire world's youth with her incredible voice. By doing so, she serves as a role model for many of the young people growing up in today's society. Although Britney is only 19, she already has had a major effect on a multitude of people. Not only does she reach the eyes of the five year old, but she also influences teenagers and adults alike. There are not many people who you have accomplished this phenomenon, which is why I give her my full respect. Britney is not only a singer, she is a mentor as well. Through her song writing, she has passed along her ideas and life experiences. In her song "Dear Diary," Britney gives a personal account of her encounter with a boy. "Dear diary/I can't get him off my mind/And it scares me/

'Cause I've never felt this way." Growing up, many of us have to face certain social anxieties and pressures. Through this song, it shows that she also has to deal with these feelings. This is an important message to send because many kids feel alienated growing. This song shows them that they are not the only ones experiencing these feelings. She has helped many people in this way through her singing. I also admire her because it is not easy for her to sing about her personal accounts knowing that she has such a large audience. This shows that she cares about the people she affects; the quality of a true role model. Another instance where this aspect of Britney shines through is in her song, "My Only Wish This Year" from the album Platinum Christmas. In one part of the song, Britney says, "Last night I took a walk in the snow/Couples holding hands, places to go/Seems like everyone but me is in love." This helps many kids with the process of growing up and maturing into adults. She shares her emotions with them which shows them that other people have similar struggles.

Through her brilliant writing and singing, Britney has proven to me that she has the true aspects of a role model. She utilizes the influence she has by using it as a medium to give advice. The combination of her amazing voice and her lyrics along with her important messages are what have caused her to bloom into a sensation. In my mind, Britney is a true role model which is why I admire her.

176.          Bruce Lee

Introduction

Bruce Lee was born in the Chinese year of the dragon, in the hour of the dragon on November 27, 1940.  From the beginning, it was obvious he was a remarkable and unique child with tremendous energy.  His mother named him Lee Jun Fan, which meant 'return again.'  She felt he would return to the United States where he was born while his parents were on tour with the Cantonese opera.  A nurse suggested he be called Bruce as an American name for him.

Childhood

Bruce Lee was born in San Francisco at the Jackson Street Hospital in Chinatown.  When he and his family returned to Hong Kong in 1941, he was called Sai Fon, which meant 'small phoenix', a feminine name.  Bruce had an older brother who died as a baby.  The Chinese blamed this on evil spirits or demons who take the lives of male babies to destroy the family's name.  So they dressed Bruce in little girls clothing and called him Sai Fon.

When they returned to Hong Kong, the Lee household consisted of Mr. Lee, his wife Grace Lee, Bruce's two sisters, Agnes and Phoebe, his older brother Peter, and later to be joined his little brother Robert.

Bruce grew up in a very crowded house.  He lived in a two bedroom flat.  Upon the death of Mr. Lee's brother, he, as in Chinese custom, had to taken in his whole brother's Family and had to be the provider.  This meant nearly 20 people lived in the flat.

It was through his father's connection that Bruce ultimately became a child film star.  His own acting ability was clear from the beginning.  Bruce posed as a great natural actor and possessed a great natural ability for acting.  His father used to take him backstage.  As a young boy, Bruce always hung around the set where his father was working on film.

Few people have started a major film career as early as Bruce did.  He was barely three months old when he was given the part in a Chinese movie made in San Francisco.  Another movie called 'The Beginning of a Boy' he made in Hong Kong when he was six.

Bruce's favorite saying from when he was just starting Kung Fu up to when he died was, 'As long as I can remember, I feel I have had this great creative and spiritual force within me that is greater than faith, greater than ambition, greater than confidence, greater than determination, greater than vision.  It is all combined.  My brain becomes magnetized with this dominating force, which I hold in my hand.'  Bruce had learned this from Master Sifu Yip Man.

Influences

Shortly after Bruce entered La Salle College of China (middle school to us), he came home one day and told his mother he was being bullied around after school.  He wanted to be trained in the martial arts.  His father practiced Tai Chi Chuan, which is a series of exercises and moves carried out in slow motion.  Bruce had joined his father once or twice doing Tai Chi, but the slowness of the movements did not appeal to him.  His teacher became Master Sifu Yip Man, a master at Wing Chun system of Kung Fu.

Yip Man showed Bruce a way to find direction in life, he interested his young student in the philosophical teachings of Buddha, Confucius, Lao-Tze, the founders of Taoism, and other great spiritual Leaders.  As a result, Bruce's mind became a sponge of the wisdom of such teachers, specifically, but not exclusively, the deep teachings of the Yin-Yang principle.  Yin-Yang is generally represented by the double fish symbol, the foundation of which stayed with Bruce and guided him through his adult life.

Hardships

When Bruce Lee was eighteen years old, his family feared that he would join a gang, so they decided that he should return to San Francisco.  This hurt and broke Bruce's heart to be away from his family.  He always made the best out of impossible situations.  The trip took eighteen days on a steamship.

Bruce was also an expert dancer, and had won a crown for the cha-cha in 1958.  So to pass the time away, he spent most of his it in first class performing and demonstrating the cha-cha.  He even showed a few passengers a few dance moves.

Upon arriving to the United States, he wanted to be the first to teach any martial arts, particularly Kung Fu, to the people in his new country.  He felt that what he had to offer was far greater than physical martial arts techniques.  He soon realized he did not have the necessary manpower of instructors to teach his principles to such a group.  Nor would he ever.

Bruce always had a training regiment, one day he disregarded a part of his routine.  He failed to warm up properly before beginning his weight lifting routine.  He bent over to pick up weights, and he injured his fourth sacral nerve permanently.  He was told to give up Kung Fu.  Bruce stayed in bed with no movement at all for three months.  This made Bruce angry and full of rage.  He controlled his anger very well by writing a book with the exclusive help from his wife.   While he spoke the words to write, she wrote them down because of his handicap.  Bruce worked himself back to normal very slowly.  He died at the age of 32 of hypersensitivity to a combination of ingredients contained in a headache pill someone had given him.  But Bruce Lee's death today is still a controversy, because different people think he died  of different ways.  Nobody has been proven right, yet no one has been proven wrong.

Accomplishments

Bruce Lee had finally found a way in which he could show the vast majority his extraordinary talents.  Bruce starred in the  show 'Green Hornet'.  A very popular show in the United States and in Hong Kong.  He also starred in a television show called 'Longstreet.'  'Longstreet' was one of the best martial arts shows of all time on the air.  Bruce Lee was also involved with a popular TV show called 'Kung Fu,' starring David Carradine.

The essence of Lee's life was not in the skills he had achieved, nor the money he made, nor the fame he created.  To him, his greatest achievement was he made himself, himself.  Physically, he turned a skinny frame into a deadly or gentle tool.  Mentally, he gave deep wisdom.

Whatever Bruce Lee decided to do, whether it was to be a fighter, an actor, a dancer, or being a friend, he always gave it his all.  And in a lot of cases, his all was the best.

Reflections

I find Bruce Lee is both idolized and magnificent.  He is one of the world's best martial artist that ever lived.  Maybe even to some people he was, is, and will always be the greatest martial artist that ever lived.  He is a great man that can be looked at by many different angles: he was a martial artist, a dancer, an actor, and a very wise person.  He has taken everything bad that fate had given him and turned to be a marvelous feat, such as: racism, because he was Chinese, there was a lot of put-downs, and stuff that people said he couldn't do.  Yet he was the first and the best martial art teacher there ever was, and is.  He was the first to teach all different races.  In one case mentioned earlier in this report, doctors said he would never walk, let alone fight, dance, or act again.  Yet slowly but surely he walked, fought, danced, and acted better than he ever did.

In my own opinion, Bruce Lee is the greatest example of what a Everything...  human being should be.

177.          Bryon s Childe Harold s Pilgrimage

Bryon's "Childe Harold's Pilgrimage": The Byronic Hero

Boozer

English

11/4/95

In Byron's poem, "Childe Harold's Pilgrimage" the main character is

portrayed as  a dark brooding man, who doesn't like society and wants to escape

from the world because of his discontent with it.  Through the poem we see the

strong resemblance the Byronic hero has to many of todays popular characters,

such as Batman.

In the third stanza of the poem we learn that Childe Harold is the product

of a long line of nobility.  ?Childe Harold, was he hight-but whence his name

and lineage long.Ó  Bruce Wayne who is Batman is too the product of an extremely

wealthy family.      As with Bruce Wayne, Childe Harold is bothered by his

family ties.  ?But one sad lose ruins the name for ay.Ó  This line shows that

Childe Harold is upset with the reputation that he has inherited from his family.

Just as Bruce Wayne d   Üoes Childe Harold strives to break this mold and

become someone who isn't associated with the likes of his ancestors.  In Childe

Harold's case he breaks this mold by running away from his father's castle and

exploring nature. Bruce Wayne on the other hand invents himself a new identity

that differs in every way from the preset mold into which he was born.

In the fourth stanza Harold tells us that Childe Harold is unhappy and

upset with the society around him.  ?Then loathed he in his native land to dwell,

which seemed to him more lone than Eremite's sad cell.Ó  Childe Harold is

extremely miserable with the societyin which he is forced to live.  He feels so

isolated that he compares his life to that of a hermit's.  Stanza ten reads ?If

he had friends, he bade adieu to none.Ó  This proves that Childe Harold did not

have many friends, and if he did their friendship was not highly valued.  Bruce

Wayne too comes across as an extremely depressed and alone individual.  He has n

×o friends in the films, except for Alfred his butler.  Both characters share

the same feeling of disassociation.  Neither has the desire to associate with

others than themselves.

There is a woman in the lives of Childe Harold's life and Bruce Wayne.  ?

Had sighed to many but though he loved but one, and that loved one, alas could

ne'er be his.Ó  This woman as explained in the passage is the only woman that

Childe Harold will think about.  Although he has had the chance for many others

one woman will always win his affection.  The one problem with this love is that

the woman for whom he strives can never be his.  In Bruce Wayne's case Michelle

Pheifer is the woman whom he loves.  Although he would do anything for her she

never seems to show a great interest toward him.  Every time he seems to have

the chance to win her over something intervenes, and his chance is taken away.

Out of his disgust and discontent with society Childe Harold leaves to find

another way of   ÿ life.  ?And e'en for change of scene would seek the shades

below.  The Childe departed from his father's hall.Ó  He flees the society and

place in which he lives to seek something better in nature.  Bruce Wayne as well

leaves the protection of his extravagant life to become something other than

himself.  Both these characters escape in hope to find something more fulfilling

and interesting than the society that they are forced to live.  Although this is

a good reason for leaving both men have a secret past that they care not to

share with others.  This past may be the reason for their discontent and unrest.

We are told of Childe Harold's secretive past in stanza eight.  ?Often

times in his maddest mirthful mood strange pangs would flash along Childe

Harold's brow, as if the memory of some deadly feud or disappointed passion

lurked below.Ó   Childe Harold does indeed have a dark past.  Although the

nature of his past is never directly stated, it seems to have something to do

with his family.  Bruce Wayne    ÷suffers from the same affliction.  His past is

haunted by the murder of his parents when he was young.  His dark past is what

caused him to take on the alternate life.  In this alternate life he is able to

fight against villains similar to the ones who killed his parents.

In contrast to both Childe Harold's and Bruce Wayne's passion for the

unknown, we see in both characters someone who enjoys beauty.  Byron describes

Childe Harold's moment in which he witnesses a sunset in stanza thirteen.  ?But

when the sun was sinking into the sea he seized his harp, which he at times

could string, and strike, albeit with untaught melody.Ó  We see Childe Harold's

feelings towards beauty.  When he witnesses this sunset he begins to strum his

harp.  Bruce Wayne as   ˆ well has a taste for beauty.  In the first movie a

reporter and Michelle Pheifer are talking in a room that he has filled with art

from around the world.  The reporter makes an ignorant comment and Bruce Wayne

is quick to step in and defend his liking for the art by correcting the

reporters ignorance.

Batman and the character of Bruce Wayne are influenced greatly by the

traits of the Byronic hero.  Both characters share a bad ancestry, a dislike for

society, a woman that they lust for but can not have, a dark and secretive past,

the love for art and beauty, and the decision to take on a different lifestyle

in order to escape the society they dislike to much.  These factors make the

foundation of these two characters almost identical.  There can be no doubt that

the character that Byron created in ?Childe Harold's PilgrimageÓ was directly

linked to the forming of the character

178.          Bull Durham

Bull Durham: To the True Meaning of The First Fight Scene

The theme of this paper is to dissect the first fight scene; in the

movie Bull Durham, between Crash Davis; who is played by Kevin Costner; and

"Nuke" LaLoosh; who is played by Tim Robbins.  The fight takes place in a bar

scene between these two men who have never met before.  The reason for the fight

is that Crash Davis is talking to a women by the name of Annie Savoy who is

sitting at one of the tables.  Nuke already believes that Annie is going to be

with him all season long, but Crash believes otherwise.

In the beginning of the scene Nuke is dancing with all of the women in

the bar while Crash is sitting alone in the corner of the bar.  Crash then

orders a drink for Annie, and is then asked by Annie to come over and sit by her.

Crash introduces himself to Annie and tells her that he is the new catcher on

the Durham Bulls baseball team.  At the same time Nuke comes over and ask Annie

to dance, but Crash stands up and says that she is dancing with him.  When Crash

stands up in front of him, Nuke takes this as a challenge and he asks Crash if

he wants to take it outside.  At this point Nuke still does not know that Crash

is his new catcher.  While Nuke is waiting for Crash outside, Crash begins to

wonder how he is going give Nuke his first lesson to make it to the majors.

When Crash finally comes outside he sees that Nuke is standing in the

middle of the street.  Nuke is not alone he has the entire baseball team

standing behind him.  First, Crash says that he does not want to fight him.

When Crash says this everyone else begins to tease Crash.  Next, Crash tells

Nuke to throw the first punch, but Nuke refuses to.  So instead, Crash tells

Nuke to throw a baseball as hard as he can right at Crash's chest.  When Nuke

hears this everyone around him including himself begin to laugh, because they

know how hard Nuke can throw and that it could kill Crash if it hit him in the

chest or the head.

During this entire time Crash is keeping a cool head.  He knows that the

chance of Nuke hitting him is very small.  Also, he tells Nuke that he won't be

able to do it because he is beginning to think about it.  Crash goes so far as

to say that Nuke's aim is so bad that he could not hit water if he fell out of a

boat.  Crash also says that his million dollar body could do it, but its his

five cent head that is holding him back.  Finally, Nuke becomes so upset that he

throws the ball at Crash, but misses and ends up breaking a window.  Crash looks

at the hole that Nuke just made and say ball four.  When Crash says this, Nuke

comes at him and tries to punch him.  Before he can, Crash punches him right in

the nose and causes him to fall to the ground.  After Crash knocks him to the

ground, he introduces himself to Nuke as his new catcher and helps him up.  In

the end, Crash invites Nuke back inside for a beer and to talk.

The number of communicational concepts that appear in this short

interaction is very high.  The mental distractions that are present in this

argument are factual distractions and semantic distractions.  A factual

distraction occurs when someone focuses so intently on details that they miss

the main point.  This is exactly what Crash's intentions were when he was trying

to make fun on Nuke in front the rest of the baseball team.  Nuke was so angry

at Crash for calling him names and insulting him that he could not hit Crash

with the baseball.  The other mental distraction that occurs is semantic.  A

semantic distraction occurs when someone over responds to an emotion-laden word

or concept.  Crash also brings this upon Nuke when Crash says to Nuke "Your just

pissing away that million dollar body of yours with that five cent head."

Another very common event in today's society is stereotyping.  The

stereotyping that occurred in this engagement was categorizing or when someone

looks at another person and they think they know what kind of person they are.

When Crash stands up to Nuke in the beginning of the scene, Nuke thinks that

Crash is just a washed up old man who could not hold his own in a fight.  Nuke

also thinks that because of his size and weight advantage that he will

automatically win any fight.  Another stereotyping of Nuke is that he believes

that Crash is saying these things because the has been drinking and when people

drink they cannot control themselves in a fight.  Nuke's beliefs made him asks

Crash if he wants to take it outside.  More categorizing occurs when Crash first

sees Nuke, Crash is thinking that he is just a immature man who thinks that one

day he will be in the Majors.  Crash also thinks that he should be respected by

Nuke just for thinking that he is older.  Crash also believes that the is a

better man and that Annie would rather be with him than Crash.  Just because he

thinks that he is older and more mature.  Both of these men's first impressions

of each other are very close.

Another problem with listening is ourselves.  One of Nuke's big problems

was experiential superiority.  Which is when someone looks down on another

because their experiences with life is not as good or as extensive as his own.

When Crash stands up to Nuke, Nuke automatically thinks that he is better, since

he is younger and is going to be in the majors.  At the same time Crash thinks

he is better since he is older and more mature.           Besides experiential

superiority another problem with ourselves is defensiveness.  This is a

characteristic of people who act threatened, as if they must defend what they

have said or done.  Both characters display this feature while talking with

Annie.  First, Crash displays this when he tries to defends his claim, when Nuke

comes up to Annie and asked her to dance right in front of Crash.  Nuke then

displays this characteristic when Crash stands up saying that Annie is going to

dance with him.  Nuke then retaliates by asking Crash if he wants to go outside

and fight about it.  Nuke also experiences this feeling when he is being

pressured by Crash to throw the ball.  Because of Crash, Nuke is feeling

pressure in front of all of his teammates and friends.  Because of Nuke's

attitude he could not refuse to go after Crash with vengeance.

Besides the men's verbal actions there nonverbal communications are just

as important.  During the entire conversation Nuke tried to show a

higher status.  He was constantly either crossing his arms or standing with his

head and shoulders back.  The was especially evident when they were outside of

the bar.  Crash took on an entirely different approach to the situation.  When

Crash came outside his kinesics were in a likely manner.  Crash came out and

wanted to talk the situation over instead of fighting.  Crash had his arms open,

tried to look Nuke in the eyes, and had a smile on his face; yet they all went

unnoticed.  When Crash realized that he was not going to get out of the

confrontation, he decided that he would have Nuke throw a baseball at him since

he new Nuke could not do it.  Another nonverbal action that is only seen by the

audience occurs when Nuke has left after asking Crash to step outside.  At this

point Crash has a look on his face of wonder and fright.  How is he going to get

out of this without getting killed.  The nonverbal communication between the two

men start the entire conflict, not only in this one sequence, but throughout the

entire movie.

Another nonverbal communication that could be seen in both characters

was nervousness.  When Nuke told Crash that to come outside, nervousness could

instantly be seen in his face.  Crash was both nervous and scared.  He was

wondering how is he going to survive this situation without having to fight Nuke.

Nuke started to become nervous when Crash started to make fun of him and call

him names.  Since Nuke was standing outside by all of his friends he had to hold

up his reputation as a bad guy.

One small hand shake that took place after Crash punched Nuke had a lot

of meaning.  First, Crash introduced himself and changed the entire

meaning of the confrontation.  Nuke just believed that he was some guy that

wanted Annie, but in the end, he realized who Crash was and what he stood for.

After Crash introduced himself he tells Nuke that this is his first lesson

"Don't think, you'll only hurt the tea."  Nuke respects the way that he went

about getting his point across.  He could of either been beat up very badly or

he could of been killed by the baseball.

When Crash stands up and grabs Nuke's arm he is trying to defend his

asking of Annie to dance and instantly invades Nukes space.  Nuke's attitude

towards this is not to back down, but to stay where he is and to fight about it.

When Crash grabs Nuke's arm he is also using touch to get his message across.

By grabbing the arm Crash instantly places more emphases on his words.

Not only were there misunderstandings in this conversation, but if they

had not happened the argument never would have taken place.  The first

misunderstanding was that Nuke did not know that Crash was his new teammate and

catcher.  Another misunderstanding was that they both did not know that Annie

had already choose which man she was going to take under her arm for the season.

The misunderstandings that occurred in this confrontation, tells us that

one main problem is men and the way that they act towards each other.  Also, if

humans would try to communicate instead of fighting changes could be make.

179.          BullDurham 5

To the True Meaning

The theme of this paper is to dissect the first fight scene; in the movie Bull Durham, between Crash Davis; who is played by Kevin Costner; and 'Nuke' LaLoosh; who is played by Tim Robbins.  The fight takes place in a bar scene between these two men who have never met before.  The reason for the fight is that Crash Davis is talking to a women by the name of Annie Savoy who is sitting at one of the tables.  Nuke already believes that Annie is going to be with him all season long, but Crash believes otherwise.

In the beginning of the scene Nuke is dancing with all of the women in the bar while Crash is sitting alone in the corner of the bar.  Crash then orders a drink for Annie, and is then asked by Annie to come over and sit by her.  Crash introduces himself to Annie and tells her that he is the new catcher on the Durham Bulls baseball team.  At the same time Nuke comes over and ask Annie to dance, but Crash stands up and says that she is dancing with him.  When Crash stands up in front of him, Nuke takes this as a challenge and he asks Crash if he wants to take it outside.  At this point Nuke still does not know that Crash is his new catcher.  While Nuke is waiting for Crash outside, Crash begins to wonder how he is going give Nuke his first lesson to make it to the majors.

When Crash finally comes outside he sees that Nuke is standing in the

middle of the street.  Nuke is not alone he has the entire baseball team standing behind him.  First, Crash says that he does not want to fight him.  When Crash says this everyone else begins to tease Crash.  Next, Crash tells Nuke to throw the first punch, but Nuke refuses to.  So instead, Crash tells Nuke to throw a baseball as hard as he can right at Crash's chest.  When Nuke hears this everyone around him including himself begin to laugh, because they know how hard Nuke can throw and that it could kill Crash if it hit him in the chest or the head.

During this entire time Crash is keeping a cool head.  He knows that the chance of Nuke hitting him is very small.  Also, he tells Nuke that he won't be able to do it because he is beginning to think about it.  Crash goes so far as to say that Nuke's aim is so bad that he could not hit water if he fell out of a boat.  Crash also says that his million dollar body could do it, but its his five cent head that is holding him back.  Finally, Nuke becomes so upset that he throws the ball at Crash, but misses and ends up breaking a window.  Crash looks at the hole that Nuke just made and say ball four.  When Crash says this, Nuke comes at him and tries to punch him.  Before he can, Crash punches him right in the nose and causes him to fall to the ground.  After Crash knocks him to the ground, he introduces himself to Nuke as his new catcher and helps him up.  In the end, Crash invites Nuke back inside for a beer and to talk.

The number of communicational concepts that appear in this short interaction is very high.  The mental distractions that are present in this

argument are factual distractions and semantic distractions.  A factual distraction occurs when someone focuses so intently on details that they miss the main point.  This is exactly what Crash's intentions were when he was trying to make fun on Nuke in front the rest of the baseball team.  Nuke was so angry at Crash for calling him names and insulting him that he could not hit Crash with the baseball.  The other mental distraction that occurs is semantic.  A semantic distraction occurs when someone over responds to an emotion-laden word or concept.  Crash also brings this upon Nuke when Crash says to Nuke 'Your just pissing away that million dollar body of yours with that five cent head.'

Another very common event in today's society is stereotyping.  The stereotyping that occurred in this engagement was categorizing or when someone looks at another person and they think they know what kind of person they are.  When Crash stands up to Nuke in the beginning of the scene, Nuke thinks that Crash is just a washed up old man who could not hold his own in a fight.  Nuke also thinks that because of his size and weight advantage that he will automatically win any fight.  Another stereotyping of Nuke is that he believes that Crash is saying these things because the has been drinking and when people drink they cannot control themselves in a fight.  Nuke's beliefs made him asks Crash if he wants to take it outside.  More categorizing occurs when Crash first sees Nuke, Crash is thinking that he is just a immature man who thinks that one day he will be in the Majors.  Crash also thinks that he should be respected by

Nuke just for thinking that he is older.  Crash also believes that the is a better man and that Annie would rather be with him than Crash.  Just because he thinks that he is older and more mature.  Both of these men's first impressions of each other are very close.

Another problem with listening is ourselves.  One of Nuke's big problems was experiential superiority.  Which is when someone looks down on another because their experiences with life is not as good or as extensive as his own.  When Crash stands up to Nuke, Nuke automatically thinks that he is better, since he is younger and is going to be in the majors.  At the same time Crash thinks he is better since he is older and more mature.  Besides experiential superiority another problem with ourselves is defensiveness.  This is a characteristic of people who act threatened, as if they must defend what they have said or done.  Both characters display this feature while talking with Annie.  First, Crash displays this when he tries to defends his claim, when Nuke comes up to Annie and asked her to dance right in front of Crash.  Nuke then displays this characteristic when Crash stands up saying that Annie is going to dance with him.  Nuke then retaliates by asking Crash if he wants to go outside and fight about it.  Nuke also experiences this feeling when he is being pressured by Crash to throw the ball.  Because of Crash, Nuke is feeling pressure in front of all of his teammates and friends.  Because of Nuke's attitude he could not refuse to go after Crash with vengeance.

Besides the men's verbal actions there nonverbal communications are just as important.  During the entire conversation Nuke tried to show a

higher status.  He was constantly either crossing his arms or standing with his head and shoulders back.  The was especially evident when they were outside of the bar.  Crash took on an entirely different approach to the situation.  When Crash came outside his kinesics were in a likely manner.  Crash came out and wanted to talk the situation over instead of fighting.  Crash had his arms open, tried to look Nuke in the eyes, and had a smile on his face; yet they all went unnoticed.  When Crash realized that he was not going to get out of the confrontation, he decided that he would have Nuke throw a baseball at him since he new Nuke could not do it.  Another nonverbal action that is only seen by the audience occurs when Nuke has left after asking Crash to step outside.  At this point Crash has a look on his face of wonder and fright.  How is he going to get out of this without getting killed.  The nonverbal communication between the two men start the entire conflict, not only in this one sequence, but throughout the entire movie.

Another nonverbal communication that could be seen in both characters was nervousness.  When Nuke told Crash that to come outside, nervousness could instantly be seen in his face.  Crash was both nervous and scared.  He was wondering how is he going to survive this situation without having to fight Nuke.  Nuke started to become nervous when Crash started to make fun of him and call him names.  Since Nuke was standing outside by all of his friends he had to hold up his reputation as a bad guy.

One small hand shake that took place after Crash punched Nuke had a lot of meaning.  First, Crash introduced himself and changed the entire

meaning of the confrontation.  Nuke just believed that he was some guy that wanted Annie, but in the end, he realized who Crash was and what he stood for.  After Crash introduced himself he tells Nuke that this is his first lesson 'Don't think, you'll only hurt the tea.'  Nuke respects the way that he went about getting his point across.  He could of either been beat up very badly or he could of been killed by the baseball.

When Crash stands up and grabs Nuke's arm he is trying to defend his asking of Annie to dance and instantly invades Nukes space.  Nuke's attitude towards this is not to back down, but to stay where he is and to fight about it.  When Crash grabs Nuke's arm he is also using touch to get his message across.  By grabbing the arm Crash instantly places more emphases on his words.

Not only were there misunderstandings in this conversation, but if they had not happened the argument never would have taken place.  The first misunderstanding was that Nuke did not know that Crash was his new teammate and catcher.  Another misunderstanding was that they both did not know that Annie had already choose which man she was going to take under her arm for the season.

The misunderstandings that occurred in this confrontation, tells us that one main problem is men and the way that they act towards each other.  Also, if humans would try to communicate instead of fighting changes could be make.

180.          BullDurham

To the True Meaning

The theme of this paper is to dissect the first fight scene; in the movie Bull Durham, between Crash Davis; who is played by Kevin Costner; and "Nuke" LaLoosh; who is played by Tim Robbins.  The fight takes place in a bar scene between these two men who have never met before.  The reason for the fight is that Crash Davis is talking to a women by the name of Annie Savoy who is sitting at one of the tables.  Nuke already believes that Annie is going to be with him all season long, but Crash believes otherwise.

In the beginning of the scene Nuke is dancing with all of the women in the bar while Crash is sitting alone in the corner of the bar.  Crash then orders a drink for Annie, and is then asked by Annie to come over and sit by her.  Crash introduces himself to Annie and tells her that he is the new catcher on the Durham Bulls baseball team.  At the same time Nuke comes over and ask Annie to dance, but Crash stands up and says that she is dancing with him.  When Crash stands up in front of him, Nuke takes this as a challenge and he asks Crash if he wants to take it outside.  At this point Nuke still does not know that Crash is his new catcher.  While Nuke is waiting for Crash outside, Crash begins to wonder how he is going give Nuke his first lesson to make it to the majors.

When Crash finally comes outside he sees that Nuke is standing in the

middle of the street.  Nuke is not alone he has the entire baseball team standing behind him.  First, Crash says that he does not want to fight him.  When Crash says this everyone else begins to tease Crash.  Next, Crash tells Nuke to throw the first punch, but Nuke refuses to.  So instead, Crash tells Nuke to throw a baseball as hard as he can right at Crash's chest.  When Nuke hears this everyone around him including himself begin to laugh, because they know how hard Nuke can throw and that it could kill Crash if it hit him in the chest or the head.

During this entire time Crash is keeping a cool head.  He knows that the chance of Nuke hitting him is very small.  Also, he tells Nuke that he won't be able to do it because he is beginning to think about it.  Crash goes so far as to say that Nuke's aim is so bad that he could not hit water if he fell out of a boat.  Crash also says that his million dollar body could do it, but its his five cent head that is holding him back.  Finally, Nuke becomes so upset that he throws the ball at Crash, but misses and ends up breaking a window.  Crash looks at the hole that Nuke just made and say ball four.  When Crash says this, Nuke comes at him and tries to punch him.  Before he can, Crash punches him right in the nose and causes him to fall to the ground.  After Crash knocks him to the ground, he introduces himself to Nuke as his new catcher and helps him up.  In the end, Crash invites Nuke back inside for a beer and to talk.

The number of communicational concepts that appear in this short interaction is very high.  The mental distractions that are present in this

argument are factual distractions and semantic distractions.  A factual distraction occurs when someone focuses so intently on details that they miss the main point.  This is exactly what Crash's intentions were when he was trying to make fun on Nuke in front the rest of the baseball team.  Nuke was so angry at Crash for calling him names and insulting him that he could not hit Crash with the baseball.  The other mental distraction that occurs is semantic.  A semantic distraction occurs when someone over responds to an emotion-laden word or concept.  Crash also brings this upon Nuke when Crash says to Nuke "Your just pissing away that million dollar body of yours with that five cent head."

Another very common event in today's society is stereotyping.  The stereotyping that occurred in this engagement was categorizing or when someone looks at another person and they think they know what kind of person they are.  When Crash stands up to Nuke in the beginning of the scene, Nuke thinks that Crash is just a washed up old man who could not hold his own in a fight.  Nuke also thinks that because of his size and weight advantage that he will automatically win any fight.  Another stereotyping of Nuke is that he believes that Crash is saying these things because the has been drinking and when people drink they cannot control themselves in a fight.  Nuke's beliefs made him asks Crash if he wants to take it outside.  More categorizing occurs when Crash first sees Nuke, Crash is thinking that he is just a immature man who thinks that one day he will be in the Majors.  Crash also thinks that he should be respected by

Nuke just for thinking that he is older.  Crash also believes that the is a better man and that Annie would rather be with him than Crash.  Just because he thinks that he is older and more mature.  Both of these men's first impressions of each other are very close.

Another problem with listening is ourselves.  One of Nuke's big problems was experiential superiority.  Which is when someone looks down on another because their experiences with life is not as good or as extensive as his own.  When Crash stands up to Nuke, Nuke automatically thinks that he is better, since he is younger and is going to be in the majors.  At the same time Crash thinks he is better since he is older and more mature.  Besides experiential superiority another problem with ourselves is defensiveness.  This is a characteristic of people who act threatened, as if they must defend what they have said or done.  Both characters display this feature while talking with Annie.  First, Crash displays this when he tries to defends his claim, when Nuke comes up to Annie and asked her to dance right in front of Crash.  Nuke then displays this characteristic when Crash stands up saying that Annie is going to dance with him.  Nuke then retaliates by asking Crash if he wants to go outside and fight about it.  Nuke also experiences this feeling when he is being pressured by Crash to throw the ball.  Because of Crash, Nuke is feeling pressure in front of all of his teammates and friends.  Because of Nuke's attitude he could not refuse to go after Crash with vengeance.

Besides the men's verbal actions there nonverbal communications are just as important.  During the entire conversation Nuke tried to show a

higher status.  He was constantly either crossing his arms or standing with his head and shoulders back.  The was especially evident when they were outside of the bar.  Crash took on an entirely different approach to the situation.  When Crash came outside his kinesics were in a likely manner.  Crash came out and wanted to talk the situation over instead of fighting.  Crash had his arms open, tried to look Nuke in the eyes, and had a smile on his face; yet they all went unnoticed.  When Crash realized that he was not going to get out of the confrontation, he decided that he would have Nuke throw a baseball at him since he new Nuke could not do it.  Another nonverbal action that is only seen by the audience occurs when Nuke has left after asking Crash to step outside.  At this point Crash has a look on his face of wonder and fright.  How is he going to get out of this without getting killed.  The nonverbal communication between the two men start the entire conflict, not only in this one sequence, but throughout the entire movie.

Another nonverbal communication that could be seen in both characters was nervousness.  When Nuke told Crash that to come outside, nervousness could instantly be seen in his face.  Crash was both nervous and scared.  He was wondering how is he going to survive this situation without having to fight Nuke.  Nuke started to become nervous when Crash started to make fun of him and call him names.  Since Nuke was standing outside by all of his friends he had to hold up his reputation as a bad guy.

One small hand shake that took place after Crash punched Nuke had a lot of meaning.  First, Crash introduced himself and changed the entire

meaning of the confrontation.  Nuke just believed that he was some guy that wanted Annie, but in the end, he realized who Crash was and what he stood for.  After Crash introduced himself he tells Nuke that this is his first lesson "Don't think, you'll only hurt the tea."  Nuke respects the way that he went about getting his point across.  He could of either been beat up very badly or he could of been killed by the baseball.

When Crash stands up and grabs Nuke's arm he is trying to defend his asking of Annie to dance and instantly invades Nukes space.  Nuke's attitude towards this is not to back down, but to stay where he is and to fight about it.  When Crash grabs Nuke's arm he is also using touch to get his message across.  By grabbing the arm Crash instantly places more emphases on his words.

Not only were there misunderstandings in this conversation, but if they had not happened the argument never would have taken place.  The first misunderstanding was that Nuke did not know that Crash was his new teammate and catcher.  Another misunderstanding was that they both did not know that Annie had already choose which man she was going to take under her arm for the season.

The misunderstandings that occurred in this confrontation, tells us that one main problem is men and the way that they act towards each other.  Also, if humans would try to communicate instead of fighting changes could be make.

181.          byron

Boozer

English

11/4/95

The Byronic Hero

In Byron?s poem, ?Childe Harold?s PilgrimageÓ the main character is portrayed as  a dark brooding man, who doesn?t like society and wants to escape from the world because of his discontent with it.  Through the poem we see the strong resemblance the Byronic hero has to many of todays popular characters, such as Batman.

In the third stanza of the poem we learn that Childe Harold is the product of a long line of nobility.  ?Childe Harold, was he hight-but whence his name and lineage long.Ó  Bruce Wayne who is Batman is too the product of an extremely wealthy family.      As with Bruce Wayne, Childe Harold is bothered by his family ties.  ?But one sad lose ruins the name for ay.Ó  This line shows that Childe Harold is upset with the reputation that he has inherited from his family.  Just as Bruce Wayne d   Üoes Childe Harold strives to break this mold and become someone who isn?t associated with the likes of his ancestors.  In Childe Harold?s case he breaks this mold by running away from his father?s castle and exploring nature. Bruce Wayne on the other hand invents himself a new identity that differs in every way from the preset mold into which he was born.

In the fourth stanza Harold tells us that Childe Harold is unhappy and upset with the society around him.  ?Then loathed he in his native land to dwell, which seemed to him more lone than Eremite?s sad cell.Ó  Childe Harold is extremely miserable with the societyin which he is forced to live.  He feels so isolated that he compares his life to that of a hermit?s.  Stanza ten reads ?If he had friends, he bade adieu to none.Ó  This proves that Childe Harold did not have many friends, and if he did their friendship was not highly valued.  Bruce Wayne too comes across as an extremely depressed and alone individual.  He has n   ×o friends in the films, except for Alfred his butler.  Both characters share the same feeling of disassociation.  Neither has the desire to associate with others than themselves.

There is a woman in the lives of Childe Harold?s life and Bruce Wayne.  ?Had sighed to many but though he loved but one, and that loved one, alas could ne?er be his.Ó  This woman as explained in the passage is the only woman that Childe Harold will think about.  Although he has had the chance for many others one woman will always win his affection.  The one problem with this love is that the woman for whom he strives can never be his.  In Bruce Wayne's case Michelle Pheifer is the woman whom he loves.  Although he would do anything for her she never seems to show a great interest toward him.  Every time he seems to have the chance to win her over something intervenes, and his chance is taken away.

Out of his disgust and discontent with society Childe Harold leaves to find another way of   ÿ life.  ?And e?en for change of scene would seek the shades below.  The Childe departed from his father?s hall.Ó  He flees the society and place in which he lives to seek something better in nature.  Bruce Wayne as well leaves the protection of his extravagant life to become something other than himself.  Both these characters escape in hope to find something more fulfilling and interesting than the society that they are forced to live.  Although this is a good reason for leaving both men have a secret past that they care not to share with others.  This past may be the reason for their discontent and unrest.

We are told of Childe Harold?s secretive past in stanza eight.  ?Often times in his maddest mirthful mood strange pangs would flash along Childe Harold?s brow, as if the memory of some deadly feud or disappointed passion lurked below.Ó   Childe Harold does indeed have a dark past.  Although the nature of his past is never directly stated, it seems to have something to do with his family.  Bruce Wayne    ÷suffers from the same affliction.  His past is haunted by the murder of his parents when he was young.  His dark past is what caused him to take on the alternate life.  In this alternate life he is able to fight against villains similar to the ones who killed his parents.

In contrast to both Childe Harold?s and Bruce Wayne?s passion for the unknown, we see in both characters someone who enjoys beauty.  Byron describes Childe Harold?s moment in which he witnesses a sunset in stanza thirteen.  ?But when the sun was sinking into the sea he seized his harp, which he at times could string, and strike, albeit with untaught melody.Ó  We see Childe Harold?s feelings towards beauty.  When he witnesses this sunset he begins to strum his harp.  Bruce Wayne as   ˆ well has a taste for beauty.  In the first movie a reporter and Michelle Pheifer are talking in a room that he has filled with art from around the world.  The reporter makes an ignorant comment and Bruce Wayne is quick to step in and defend his liking for the art by correcting the reporters ignorance.

Batman and the character of Bruce Wayne are influenced greatly by the traits of the Byronic hero.  Both characters share a bad ancestry, a dislike for society, a woman that they lust for but can not have, a dark and secretive past, the love for art and beauty, and the decision to take on a different lifestyle in order to escape the society they dislike to much.  These factors make the foundation of these two characters almost identical.  There can be no doubt that the character that Byron created in ?Childe Harold?s PilgrimageÓ was directly linked to the forming of the character

182.          C SPAN the Cable TV channel

C-SPAN, the Cable TV channel

C-SPAN, the Cable-Satellite Public Affairs Network is a medium that

truly brings the government to the people.  By presenting live and uncut footage

of our government in action, the citizens of the United States can get a bit

closer to what the founding fathers had in mind when they created our government.

C-SPAN is truly a unique channel amongst the mass of today's viewing options.

C-SPAN was launched March 19, 1979, "to provide live, gavel to gavel coverage of

the United States House of Representatives."1, but the enterprise has been

expanded beyond the original one channel and now utilizes several mediums to

reach its goal.  The originator of this idea of bringing government into

peoples' homes was Brian Lamb, who in addition to being the chairman and CEO of

C-SPAN, is also a host on many of C-SPAN's programs.  Brian's primary belief is

that people should be able to see government in action without soundbites,

computer maps, models, images, music, and news anchor commentary.  Brian feels

that if people can see government in action without the normal clutter, then

they can more easily make decisions for themselves about politics and the

workings of their government.  In addition to C-SPAN, a second channel, C-SPAN2

has also been created.  C-SPAN2 is committed to providing live and uncut

coverage of the U.S. Senate when it is in session.  C-SPAN2 continues the

tradition of the original channel by giving an even wider unfiltered and

unplugged view of our government in action.  In addition to video, C-SPAN also

has 2 different audio networks that broadcast international and American

political content, unfiltered and uncut. Also, C-SPAN has moved into the

computer world and has established a homepage to provide information to people

about its services, as well as receive feedback from viewers via email. One of

the most unique aspects of C-SPAN is that all of its services are offered

totally commercial free.  C-SPAN is paid for by cable and satellite operators

who each pay a per-subscriber fee to C-SPAN when the channels are carried on

their cable systems.  C-SPAN does sell merchandise bearing its logo, such as

coffee mugs, T-shirts, and hats, however these are certainly intended as

advertising for the network itself rather than a direct source of income.

As of July 1995, C-SPAN is received by over 64.3 million or 71 percent

of U.S. households, and C-SPAN2 is received by over 41.1 million or 46 percent

of U.S. households.  C-SPAN is distributed primarily through cable TV systems,

however it can also received by both analog and digital satellite receivers.

The C-SPAN Audio 1 network is received by 5.1 million households, and 3.2 of

these also receive the Audio 2 network.2

When the House is not in session,  C-SPAN airs a variety of original

programs to round out its 24-7 schedule.  "Washington Journal" is a magazine

format morning program that focuses on the events of capital hill.  The show

features public officials commenting on the morning's news articles as well as a

viewer call-in portion in which viewers comment on articles and speak with the

guests.  "Booknotes" focuses on in-depth conversations with the authors of

recently published books about history, politics, and public policy.  "Road to

the White House" was an ongoing series that looked at various aspects of the

1996 presidential campaign including fundraising, debates, advertisements, and

party conventions.   "Prime Time Public Affairs" is a program that airs the most

important public policy issue of the day.  From the President speaking in the

White House to a State Department hearing on an important issue, a range of

events are covered in their entirety.  "American Perspectives" is labeled as a

"special public affairs program"3 that presents special events and speeches.

This program airs only on the weekends.  Past programs have included a lecture

series on U.S. presidents, a James Carville and William Safire debate, and a

look at the Library of Congress' famous Lincoln papers.  "America and the

Courts" covers the inner workings of the federal judiciary.  This program offers

court coverage as well as  speeches and appearances by Supreme Court justices.

C-SPAN also airs all National Press Club luncheon addresses.  Previous speakers

have included Bob Dole, Boris Yeltsin, Coretta Scott King, Attorney General

Janet Reno, and U.S. Poet Laureate Rita Dove.  One of the more novel programs

aired on C-SPAN is The Close Up Foundation.  In this programs, high school

students gather with senior Americans to discuss current events and policy with

the nation's leaders.  Finally, C-SPAN airs many international programs.

Coverage of the British House of Commons Question Time is aired once a week.

This provides coverage of the question and answer session between the British

Prime Minister and his own party and the opposition party.  C-SPAN also airs

programming from the legislatures in Japan, Poland, Israel, Germany, and Canada.

All of these additional programs are presented, "to the audience without

filtering or otherwise distorting their points of view", and, "without editing,

commentary, or analysis, and with a balanced presentation of points of view."4

A New Yorker magazine article summed up the C-SPAN experience by this

commentary:

"The rest of TV news looks very odd when you come back to it after

watching C-SPAN.  Rituals long practiced with a great air of authority- the

sign-ons, standups, and sign-offs; the drumbeat that attends the announcement of

the story of the day; the the gotcha questions that hardly ever get anyone-

suddenly look like nervous tics.  The whole rhythm of TV news begins to seem

jerky and unnatural..."5 One recent innovation of C-SPAN is the C-SPAN school

bus.  This is a full-sized tour bus that contains a complete video production

facility.  The bus travels around the country and gathers reports on current

event topics.  Often, interviews are conducted inside the bus using the small

interview set.  A second bus has recently been added.  For the future, C-SPAN

would like to add one, two, or even three more channels.  Because its news

reporting ability is limited by the erratic hours of the House and Senate, a new

channel that has 24 hours free time would be useful.  According to the New

Yorker article: "If [Brian] Lamb has his way, there will be a C-SPAN3, a C-SPAN4,

and a C-SPAN5 in a few years- networks devoted, respectively, to domestic

politics, (political programming apart from the sessions of the Senate and

House), to business and economics, and to internatinal affairs.  Those ideas,

however, are on hold for now, pending the must-carry dispute, and, more

importantly, the advent of the 'five-hundred channel universe'."6

In today's fast paced society, it is difficult to watch more than 30

minutes of traditional television news, and C-SPAN's uncut style is certainly

different from anything we normally expect because it does not fit into an

average news paradigm.  People often complain when the government does things

they don't like, but when you agree to let your representatives represent you,

you give up a large amount of control over the way the government operates.  If

one takes the time to watch the coverage that C-SPAN provides, however, it is

possible to be just a bit closer to government and regain a bit of control by

watching and reacting to the motions of who you've elected to represent you.

Sources

Pamphlet, All About C-SPAN, 1996, pages ii, 1, 6.  Received from C-SPAN public

relations department via mail.

C-SPAN Press release, May 1995, pages 2 and 4. Received from C-SPAN public

relations department via mail.

Lardner, James, "The Anti-Network," The New Yorker, March 14, 1994, pages 53,

54.

1 Pamphlet, All About C-SPAN, 1996, page 1.

2 C-SPAN Press release, May 1995, pages 2 and 4.

3 Pamphlet, All About C-SPAN, 1996, page 6.

4 Pamphlet, All About C-SPAN, 1996, page ii.

5 Lardner, James, "The Anti-Network," The New Yorker, March 14, 1994, page 53.

6 Lardner, James, "The Anti-Network," The New Yorker, March 14, 1994, page 54.

183.          Camelot Merlin

Camelot: Merlin

We all at one point or another dream.  Imagine you are in another place

or a another time, the future maybe, even maybe the past where years, days,

centuries, minutes all irrelevant if you have imagination.  I now dream of a

time and place were men have such things as bravery and honor.  I now speak of

Camolot. The legendary castle wear Merlin the priest, Merlin the magie, and

Merlin the wise is supposed to have lived.  I am not the only person to dream

this dream, many play writers and actors have shared this wonderful trip through

time and space to where we may all  interpret an event as we see fit.  I will

now show you who the real Merlin was and whom actors have made him out to be.  I

will then draw a parallel between the two times.  I shall also tell you how

merlin him self became part of this dream...

Merlin, a man, or just stories to amuse everyone , myths, legends, or

tall tails such as Santa Clause or the Easter bunny.  Like the real King Arthur

who was (really a 6th century ruler) transported through time to better fit the

needs of the populas.  The "transporting"  begins in and around the 15th century.

A man by the name of  Thomas Malory felt the extreme need to give France, his

country, a hero(s) in a time of great disappear. He felt it necessary to do this

because the feudalist time in which he was living in, was slowly dying.  He

thought that if he could show people how many great hero(s) came out of this

time period it would revive and flourish once more.  He then turned to history

to find such a hero. As needed to remedy the situation he found King Arthur of

Britain.  Even though a English man or a Britainian, he was said to be the best

ruler to date (1500's.)  Now that King Arthur has been chosen and changed a

little to fit in with chivalry, part of feudalism he now needed a teacher.

Researching even further he found a Druid priest by the name of Merlin.

Druidism is and was a religion that delt with nature.  There temple,

church, meeting place, what ever you would like to call it, was a grove or

thicket.  They made sacrifice of animals and offered wheat, rice, and other

grains.  It was believe that Druid people were magical or even demons and

monsters of some sort.  Merlin was (as said before) infact a Druid priest.

Merlin was a thinker and a very wise man.  It was said that Merlin was the son

of a demon, his father was not very popular man so to speak.  He was a count and

was not loved by his people for his choise of religion.  It was also said that

he was all knowing and all seeing.  For this reason he was choosen  and hand

picked to be a part in the Legends of King Arthur.  He was estimated to have

lived some time in the 4 or 500's.  So now the whole process of transportation

has been explained.

Movies have portrayed Merlin in so many ways that I shall only pick a

few to share with you.  The first film that I shall share  and review for you is

The Sword in The Stone, a cute and amusing animated story for all ages but never

the less it shows a side of Merlin that is not seen any were else.  Yes of

course it shows the person who uses magic and all that kind of stuff, but he is

a comedian, he helps the young King Arthur learn to be a fair ruler and how also

to be a well respected man.  Even though it is a cartoon it is still a little

comical about the part.  Merlin uses his magic to turn a bad lady in to a number

of silly animals.  The real Merlin did not use magic.  Nor to the best of  any

body's knowledge did he turn any body into a number of silly animals.  This

shows that as said in the first paragraph some one just made him out to be from

there imagination.

Next on the line up is Excaliber.  In this story Merlin is portrayed as

a unsung hero.  If it were not for him King Arthur would have lost a war.  He

went out on his own battled the evil Morgana sister of the king.  She had put a

spell on her son (years ago she tricked Arthur into sleeping with her and bore a

son form the event) so that no man could ever hurt him when he was wearing this

one suit of armor.  Merlin, since he is all seeing and all knowing found out

about this and went to do something about it.  He, well teliporteted  himself to

the cave were Morgana and child were living (the day before the battle or war

was to take place) and changes the spell and removes another spell Morgana had

put on her self to keep herself young.  Also Merlin looks different in this film

he is not very old and has very short hair, so he wears a metallic cap that

covers the very top of his head.  Now to show you the differences between the

real Merlin and the Merlin in this movie,  first of all Merlin was a humble

person and would not go out and fight.  And as said before he did not use magic.

As my last movie comparison I choose to talk about Camolot.  This film

is the same film as viewed in class.  In this film Merlin is more what like the

real Merlin would have been like.  He trains Arthur to think not fight.  He

tells Arthur to "IMAGINE"  he was other things such as animals. For example

Merlin says be a hawk, and Arthur becomes a hawk flying through the sky, When

Merlin asks "What do you see?"  As an answer Arthur says "I can see everything."

"Can you see camalot?" asked Merlin.  "Yes I can !"  "Can you see the next

county?"  Asked Merlin.  "Yes I can! But only the center not the edges." "What

dose this mean" asks Merlin?  As a story this comes very very close to being

what the real Merlin was like.  Ecept THE REAL MERLIN DID NOT USE MAGIC as said

before.

In conclusion I submit to you that there was a Merlin that lived in

Camolot and was funny as well as fought a woman named Morgana, as long as movie

people can twist the truth.

Actors played a major role of course in the portrayal of the many Merlins.

In The Sword in The Stone  there was alot of people working on Merlin.  He was a

cartoon so there was many animators and three different people worked on the

voice.  In Excaliber, actor who played the part of Merlin was Nicol Williamson.

I do not know who played the part of Merlin in Camolot that information I did

not have access to at this time.

BIBLIOGRAPHY

1. "Merlin"  Encyclopedia America

vol. 18  copy write 1984  pages 726-727

MOVIES(FILMS)

2. Excaleber  (Blockbuster video)

3. The Sword in The Stone (Blockbuster video)

4. Camalot (Blockbuster video)

184.          Camila Essay

Camila

Camila is an Argentinean film set in the mid 19th century, during the Rosas

regime.  The film focuses on the lives of a young girl, Camila, and her Jesuit

priest Ladislao Gutierrez.  Camila and Ladisalo fall in love and the film

follows their troubles.  Through following the events that happen with Camila

and Ladisalo, the director shows how restrictive and devout followers of Rosas

were and of the resentment against him.

The unjust ways of the Rosas regime were illustrated passively.  Instead

of having Rosas a central character issuing orders to be carried out, Rosas was

instead placed in the background of the film.  You would see Rosas through the

actions of the church, military, and of the common people.  His picture adorned

the towns, everyone was to wear a red ribbon symbolizing their loyalty to Rosas.

His supporters spoke of him proudly while those against him had to hide in

silence.  To illustrate the inherent problems of the Rosas era, the director

chose to show the injustices through the ordeals of Camila and Ladislao.

First of all, in everyday life, Rosas demanded public showings of

loyalty.  Every citizen had to wear a bright red ribbon symbolizing their faith

in their leader.  Slaves, commoners, and even priests had to wear this ribbon.

Through the execution of the bookseller, the tyranny of the Rosas regime is

clear.  He will tolerate to questions to his authority or allow anyone with a

dissenting opinion to speak without fear of retribution.  At the end of the film

when the two young lovers are captured, Rosas rears his head again.  Wishing to

set an example to inspire terror into the masses, he doesn't hold Camilas

execution even with the knowledge that she is pregnant.  To further illustrate

this point, the film makes it appear that Rosas is operating directly in

contrast with the blessings of god.

While never specific in historical events, overall the films third

person look into the regime of Rosas does provide interesting historical insight

about life in mid 19th century Argentina.  Costumes and settings in Camila

illustrate the lengths that the director made to make the film historically

accurate.  Entertainment wise, Camila isn't the worst foreign film that I have

seen, but isn't the best.  The story is a bit jumbled at the beginning and for

the most part, the plot is entirely predictable.

185.          Camila

Camila is an Argentinean film set in the mid 19th century, during the Rosas regime.  The film focuses on the lives of a young girl, Camila, and her Jesuit priest Ladislao Gutierrez.  Camila and Ladisalo fall in love and the film follows their troubles.  Through following the events that happen with Camila and Ladisalo, the director shows how restrictive and devout followers of Rosas were and of the resentment against him.

The unjust ways of the Rosas regime were illustrated passively.  Instead of having Rosas a central character issuing orders to be carried out, Rosas was instead placed in the background of the film.  You would see Rosas through the actions of the church, military, and of the common people.  His picture adorned the towns, everyone was to wear a red ribbon symbolizing their loyalty to Rosas.  His supporters spoke of him proudly while those against him had to hide in silence.  To illustrate the inherent problems of the Rosas era, the director chose to show the injustices through the ordeals of Camila and Ladislao.

First of all, in everyday life, Rosas demanded public showings of loyalty.  Every citizen had to wear a bright red ribbon symbolizing their faith in their leader.  Slaves, commoners, and even priests had to wear this ribbon.  Through the execution of the bookseller, the tyranny of the Rosas regime is clear.  He will tolerate to questions to his authority or allow anyone with a dissenting opinion to speak without fear of retribution.  At the end of the film when the two young lovers are captured, Rosas rears his head again.  Wishing to set an example to inspire terror into the masses, he doesn't hold Camilas execution even with the knowledge that she is pregnant.  To further illustrate this point, the film makes it appear that Rosas is operating directly in contrast with the blessings of god.

While never specific in historical events, overall the films third person look into the regime of Rosas does provide interesting historical insight about life in mid 19th century Argentina.  Costumes and settings in Camila illustrate the lengths that the director made to make the film historically accurate.  Entertainment wise, Camila isn't the worst foreign film that I have seen, but isn't the best.  The story is a bit jumbled at the beginning and for the most part, the plot is entirely predictable.

186.          Camille Claudel 2901

Research Paper: Camille Claudel

"Look at how lovely she is, oh, you can't imagine how lovely:...

But what is loveliest about her is her hair, red as gold."

Paul Claudel, L'Endormie

Camille Rosalie Claudel was born on December 8, 1864 into a modest family, and she was the first daughter; Henri was the oldest, but died in infancy. Louise was born in 1866 and Paul in 1868. The family moved to Paris from the Champagne region in 1881. Camille didn't quite get along with her mother and sister. They never really understood her personality and her art, and it was obvious that the preferred daughter was Louise. Luckily, they never had the power to smother Camille's talent and ambition.

On the other hand, Camille was always close to her brother Paul, and her father, who recognized her desire to create. Camille and Paul had more in common, especially their imaginative minds. She began to work with clay as a small child, and no single event can be attributed to her passion. "Sculpture consumed her and drew in everyone around her- her father, her mother, her brother and sister; all had to pose for her even before she had taken a single lesson ." In an outstanding biography, "Camille: a Life", author Odile Ayral-Clause explains that Camille's early work attracted the attention of the sculptor Alfred Boucher. Boucher, like Camille, had started to sculpt as a child. A scholarship to the École des Beaux-Arts helped him mature into a successful sculptor who exhibited regularly at the Salon in spite of his young age. Intrigued by Camille's sculptural activities, he eventually dropped by to visit her studio. "What he saw impressed him, and since he had a generous nature, he returned to give her the much-needed guidance that she had yet to receive ." Under these exceptional circumstances, Camille received the same education as her bother. The readings she discovered during this period led her to question the social values of the French middle class, and eventually caused her to reject established religious beliefs. Hence, Paul would later blame her for steering the Claudel family away from religion. But it was a fact that Camille learned to think critically and especially to think for herself.

"Although Camille progressed rapidly under the supervision of her two mentors, Colin and Boucher, she faced an important limitation in Nogent: the lack of facilities offering serious advanced studies in art for women. In many provincial towns, art instruction was provided by schools of design modeled after the École Gratuite de Dessin pour les Jeunes Filles in Paris. Most of these schools, however, focused on giving women the tools to earn a living either in manufacturing or in teaching, and none of them permitted women access to nude models. Propriety was an important concern, but the lack of confidence in women's ability to produce any kind of serious art work played a major part in upholding this tradition." Ayral- Clause also points out that in the 19th century, the naked body was the center of all art. When women were barred from nude studies, they were also excluded from the main stream of art. Paris, however, offered a variety of art schools and ateliers where women had the opportunity for serious art studies as well as access to nude models.

So, in 1881, Madame Claudel reluctantly moved with her three children to the Montparnasse apartment, Paul was enrolled in the prestigious Lycée Louis-le-Grand, and Camille started her studies at the Académie Colarossi She rented her first studio on rue Notre-Dame-des-Champs, which she shared with three English girls, students she probably met at the academy.

Camille Claudel and Rodin probably met in 1883. Soon after that Camille left her studio to work at Rodin's as his assistant. Much attention has been focused on Claudel's relationship with her teacher and lover.  The relationship became important as it affected both artists' work. Camille during this period affirmed and fixed her own style. Working with Rodin Camille had the chance to study the nude figure, an usual opportunity for a woman in the 19th century. This chance gave her a profound understanding of the anatomical forms, which shows in her work. She modeled hands and feet for Rodin's Burghers of Calais and posed for figures in his Gates of Hell.

During this period, Rodin's and Camille's styles were very similar, and two of Camille's work are worth mentioning: Young Woman with a Sheaf (1890) and Study for a Head. Although her work was influenced by Rodin, it shows none of the tension characteristics of Rodin. "Yet simple, semi-naturalistic style of this young girl is pure Camille Claudel ." Camille specialized in small scale sculptures, and she produced multiple editions of the same work to meet the demand from the private collectors. Young Girl with a Sheaf was one of the many that she produced in several versions.

In 1892 Camille made the Bust of Rodin which was considered a masterpiece. In 1893, another masterpiece was created, The Waltz.

But it was not until the 1890s that Camille demonstrated the full measure of her art, at a time that her relationship with Rodin was beginning to deteriorate. In 1983 Camille started to separate her work and her daily life from Rodin, and she moved into her own studio. "Rodin's work and stature occupied front stage in French culture; Camille secluded herself in her studio to disassociate herself from him and try to establish her own reputation. "

At this point, Claudel was determined to break with the style of Rodin's school, a courageous move since she had no other influences or sources to fall back on . Also, Camille started to realize that with Rodin she would always be his mistress, and that he had no intentions of marrying her. On the top of it, her work was always connected to his name and influences, and she wanted to be recognized by her own talent and achievements. She understood that her work would never grow under Rodin's shadow and she refused to settle.

However, dealing with the separation was not easy for Camille. The work she produced through these years expressed her pain and the lost love.  Sakountala, from 1905, shows two lovers, a theme very present from the beginning to the end of her career. This is one of her most famous work, which perfectly portrays her passion and pain. It is one of my personal favorites, in which Camille's feelings and personality are so well portrayed. Another piece of art from this time is The Age of Maturity (1902), which shows an man standing in front of a woman and she is on her knees, as if begging for his love, and another one, standing up next to him. Many read this man to be Rodin between Camille, on her knees begging for the love she never fully received from him, and the woman he would eventually marry, Rose Beuret. Some say that Camille was too proud to portray herself on her knees, but I think that she was also very honest about her feelings and that time of her life was very hard, she felt really alone. The Age of Maturity is one of Camille's most moving pieces of art, in my opinion. It shows love, despair, and all the craziness of her relationship with Rodin.

Maturity, 1902.

Another pieces of work that were inspired by her tumultuous relationship with Rodin: The Prayer and God flown Away, which shows her anguished state, in which the "God", her love for Rodin, had flown away.

Her love for portraying the human form resulted in certain sculptures that the state and the infuriated press censored as overly sensual and inappropriate for public display. These circumstances may have contributed to the decline of her career and her mental state, but fortunately Camille was strong enough to not let critics tell her what to do, and she continued to pursue her own style.

In spite of The Gossipers, in 1895, Camille's career was not making much headway nor could she prove to the critics that she was no longer just a pupil of Rodin, or that, from now on, her art was entirely her own. There is not a clear explanation to her self-seclusion, but it is obvious that in her mind her enemy was not the public or the critics, but Rodin himself.  There are still a few different hypotheses to the reason that led Camille believe in a "Rodin conspiracy". She had an obsession with plagiarism, and one of the explanations is that Camille had during her life given away part of her genius to Rodin and now she could not get it back from him. Rodin's critics agree that the style he developed in the 1880s coincides with his meeting Camille. That makes a lot of sense in my personal opinion.

In the book "Camille: The life of Camille Claudel", the author explains:

"This small number of statues- they can be counted on the fingers of one hand- that Camille actually signed while she was working with Rodin is in a way astounding. By all accounts, she worked long and hard and not just on beginner's exercises but on works of great quality. What happened then to all those days, months, years of sculpting unless she was creating works for Rodin? Probably, too, it did not matter to her at the time for, typical of a woman, she was ready to give Rodin everything- not only her life but her art. But once his hold was broken and affection had turned into hate, despair set in. Camille was certain that she had been robbed of her vital energy, in a sense of her life. How else to explain that she considered it an insult to be taken for one of Rodin's students when it was meant as a compliment? " Well, Camille was simply tired of being compared to Rodin, as if her work by itself wouldn't be "good enough". She wanted to be herself and create her own art, and show to a world of men that she was a talented young woman.  Her work wasn't a mere "copy" of Rodin's, as many judge her to be. She was much more than that, she portrayed emotions from a woman's point of view.

In my opinion these ideas make sense, but I have to comment on the passage that says ""typical of a woman"; I think that the author should have explained more the concept of what would be the typical behavior of a woman of the 19th century, not only " a woman". I doubt that today a woman artist would be happy to only be recognized as a man's student and spent years of her career creating for him and not signing anything for herself. I think that Camille saw that too, and refused to conform to what society expected from her. She knew she had an amazing talent and that if her work was going to be recognized as Rodin's, she would probably rather not have any recognition at all. In 1902, Camille refused an invitation to show in Prague largely on the grounds that she did not want to see her work exhibited next to Rodin's. She wrote to the organizer of the exhibition:

"It is true that in Prague, if I agreed to show next to M. Rodin, he would act as he pleased to keep me under his protection and pretend that my works were his inspiration; that way my chances of being successful, since they come from him, would return to him directly. (...) " Camille knew that by working with Rodin, or exhibiting her works next to his, she would only contribute to his success, and she was determined not to let him become even more popular at her expense, even if that would jeopardize her own career.

Regardless of the reasons, it was a fact that Camille was very depressed and neglecting herself, living in bad conditions. From 1905 on, her obsessions turned into psychoses. She would create her sculptures on a state of euphoria and then destroy them when depressed. Her letters to Paul, to whom she confided everything while begging him not to reveal her thoughts to anyone, indicated not only confusion but a real paranoia. It was really hard for her to see the man whom she had inspired with her own talent advance toward fame; that may have been too much for Camille.

Her father and brother helped her financially, but she had no real emotional support from her family; her mom and sister didn't care much about her situation, her dad was a conservative business man who probably had no time for her either. And Paul, although always close to his sister, had a career as a diplomat to worry about. From 1895 to 1909 Paul Claudel was far from Europe. This separation from her brother during the most painful time in Camille's life, a time she most required tenderness and help, must have been a determining factor.  It just seemed more "convenient" for everybody if she was sent away, as a problem nobody wanted to deal with. She clearly needed some help and no one stepped up, so finally her brother committed her to a lunatic asylum in 1913. But the main question that no one seems to be able to answer is: was Camille really "mad"? Some people think that she was locked up at this mental institution because she was seen as a "disgrace to society", especially to her family. She was a strong woman who lived her life according to her own principles, not what people imposed on her. She had a strong sense of independence and a firm belief in her own considerable talent, so she challenged the social and artistic limitations imposed upon women of her time; this caused problems with her family (especially her mother and sister, who disapproved of her free spirit), with Rodin, with the critics and her public in general. Camille did become mentally ill because of the circumstances of her life, but the 30 years she spent locked up were not intended to help her or "cure" her in any way. Apparently, her family was not interested in seeing Camille out, because she became a "threat" to their image because of her unconventional way of life; Rodin also didn't try to help her since Camille was very much a "threat" to his ego and career- the woman he taught and actually became his inspiration.

For her last 30 years of life the gifted French sculptor lived secluded from society. She was "crumbled beneath the combined weight of social reproof, deprivation, and art-world prejudices. " From the asylum, Camille wrote letters to her mother, her brother, her friend Maria Paillette and Eugene Blot. "This correspondence- taking into the excesses caused by her psychosis- reveals a sharp mind, a memory that is intact and shows that with the passage of years Camille grew more accepting of her sufferings. " Her life simply no longer interested her.

Camille died at age 82, in 1943. But her life would be rediscovered in the 1980s, even though neglected for years in France. For a long time her name was simply associated as "Rodin's mistress". It is such a shame that it took so long for her to finally be accepted and appreciated for her own talent and the amazing work she produced over the years. It is important to notice that "because her illness kept her from venturing very far, her work may, in fact, appear timid and from another era. Some will reproach her for not having known how to break off completely from Rodin- with her reason rather than just her emotion. " But these accusations are quite false. Camille did acquire her own style and uniqueness. Her themes were passionate and mostly connected to the female soul: her family, her love, her fears.

Today, Camille Claudel is known to be one of the last of the great humanist sculptors. A fortune has been made on her tragic story: movies, biographies, endless studies on who was the talented French sculptor who refused to settle for anything less.

I think any person, would have a lot to learn from the life of this amazing woman. I really like this quote, which helps one understand who Camille Claudel was:

" Her work stands alone and will appeal only to those for whom art is still the representation of human emotions. For them, the lively freshness of her busts, the natural and almost earthy sensuality of her bodies and faces that contrasts with the quasi- Asiatic elegance of the surfaces and the gesticulation of the figures- therein is expressed the bittersweetness of life, as savored by a woman. "

Bibliography

Ayral-Clause, Odile. Camille Claudel: A Life.

New York: Abrams, 2002.

Paris, Reine-Marie. Camille: The Life of Camille Claudel.

Trans. Liliane Emery Tuck. New York:

Arcade Publishing, 1984.

Camille Claudel. Artcyclopedia.

http://www.artcyclopedia.com/artists/claudel_camille.html

Koenigsmann, Wendy. Camille Claudel, of Dreams and Nightmares.

http://www.angelfire.com/goth/poe/camilleclaudel_index.html

Ebert, Roger. Camille Claudel. Chicago Sun Times. 9 March, 1990.

http://www.suntimes.com/ebert/ebert_reviews/1990/03/535406.html

Some Beautiful (if Tortured) Works of Camille Claudel. Washington University

in St. Louis. http://www.cs.wustl.edu/~loui/camille.html

Vilain, Jacques. Camille Claudel. Musee Rodin.

http://www.musee-rodin.fr/claud-e.htm

Deters, Sigrid.  Strong Emotions.  Feb 16, 2001.

http://www.rnw.nl/culture/html/claudel010216.html

The National Museum of Women in the Arts, Camille Claudel (artist profile).

http://www.nmwa.org/collection/Profile.asp?LinkID=147

187.          Can Manufactured Bands Ever be Classified as

Can Manufactured Bands Ever be Classified as 'Good' Art?  The Effect of the Market

on the Construction of Music

Introduction

Manufactured bands now make up a major percentage of chart music today,

not least of them Take That, Boyzone, Bad Boys inc., East 17 and other all-boy

pop bands. In this essay I would like to discuss how the standard of art has

been lowered by the capitalistic system of the music industry, using a specific

example - "Upside Down", which is maybe the latest addition to this genre of

music.

By this genre of music, I mean the all-boy bands which have been

specifically manufactured and targeted at the 'teenybopper' age class (and also

the gay market?).

Personal Opinions

To argue that this form of art is 'bad' art, one must have a reference

point - a set of values by which to judge. This is almost always a personal

opinion, and I would first of all like to explain my personal opinion.

I believe that 'good' art has something to offer to the individual

perceiver, be it painting, book, film, dance or music. These are all different

forms of art, but one thing binds them all together - the fact that they are

creations, created and crafted to the personal specifications of the artist.

This makes the product original.

Two values by which I judge music are creativity and originality. I

believe that good art provides 'food for thought' - that special something which,

after the tape has finished, after leaving the cinema or closing a book, leaves

an 'aftertaste' - something to think about, be it, 'how did he/she play that' or,

'what was he/she trying to say with that piece,' the list goes on.

Basic Market Analysis

For the purposes of this essay, I want to split marketing into two

general strategies. The first of these is where the designers make a "product"

to their own specifications and then look to see where and how they will be able

to sell it in the overall market. The second strategy is the opposite of the

first - the designers examine the general market, target a certain area and

tailor make a product to fit this area exactly.

The latter of these strategies is the one employed when a band is going

to be manufactured. The designers have studied the market and worked out what

they think they can sell a certain group of consumers.

Hirschman's 'three market segments' model (see figure 1) can be used to

explain which type of bands fall into which category. The first segment is

titled "Self-orientated Creativity." The primary audience is the person who

creates the piece and the primary objective is that person's self-expression.

This is art for the sake of art and is sometimes called "selfish" art. The

second segment is titled "Peer-orientated creativity"; the primary audience are

peers and industry, the primary objective is recognition and acclaim. The third

segment is "Commercialised Creativity "and focuses on the general public with

the primary objective of money and profit.

The people who create art for the sake of art may not even approach a

record label, as it is solely for themselves. This approach is focused on the

product, made their way, not taking the commercial aspect into consideration.

The people who fall into the category of peer-orientated creativity do

want to publish their work but do not tailor their product to increase its

marketing potential. An example of this could be any band that has its own

distinctive style, e.g. Led Zeppelin, which when it was first published,

definitely did not fall into the category of pop music. Although they became a

success and sold millions of records, they did not compromise their music to do

so.

The third group are one hundred percent commercially based. Any music

made by a band in this category is produced for a pre-specified area of the

market with the sole intention to make money. The product is tailored according

to what the mass audience wants, therefore any aspect of art is compromised.

Case Study - Upside Down

Upside Down fit perfectly into the third category in Hirschman's Three

Market Segment Model. Put together by two managers, they use the second of the

general strategies I have described above - first check the market to find an

opening and then tailor a product to fit  it.

In this case young girls aged roughly between 11 and 16 have been targeted.

Having decided this, the next part of the process is, based on what the managers

think the consumers want (or what they think they can tell them they want), to

tailor make a product to suit the market. In this situation, the question is,

"What do girls aged between 11 and 16 want to see when they go to a concert?"

The answer is, having experienced the reaction to Take That, Boyzone etc., that

they want young boys, in nice clothes, very good looking, very sexy looking, who

are going to look great on their bedroom walls when they get their posters out

of Smash Hits. So this is exactly what the managers design and produce for them.

The four boys that were eventually chosen were picked from the

applicants who had responded to this advertisement:

"Are you between 17 and 21 and good looking? (We're only looking for

the best!)"

"Do you want to be in a teenage all-boy band sensation?"

"Do you want to follow performers like Take that, East 17, Bad Boys inc.

and Boyzone into the covers of Just 17 and Smash Hits?"

"Do you want to be part of a band selling millions of records?

From the seven thousand applicants, a shortlist of 250 was drawn up from

their photographs alone.  These 250 were auditioned in one day, each audition

lasting about as long as it took for the managers to discuss how the individuals

looked.

Once the four boys had been trained by a voice trainer, the next step

was to find material for them to perform. Their first single-to-be was bought by

the managers from a firm selling previously unreleased songs. Several different

potential hits were played to the managers before they eventually picked one to

record in the studio.

Upside Down's first studio sessions yielded a different sound than their

released single. It was described in the documentary as having nearly a white

soul-music quality, but the managers were not happy with it at all. They

proceeded to record the single again with Stuart Levine - well known for his

success in achieving a more 'commercial' sound for music of this type, and his

was the recording that they finally used.

Upside Down's first public performance took place on the Smash Hits Tour,

which, not surprisingly, was attended  and practically consisted only of girls

aged between 10 and 15!

Evaluation

Figure 2 is a diagram which can be used to define the difference between an

object or work of art in the traditional sense (art for the sake of music) and a

cultural industry (art for the sake of making money).

The horizontal axis represents the range of products from works of art

which are aesthetically or artistically orientated to the works of art which are

market orientated. At the right hand side, the product is determined by the

market,  and at the left hand side by the artist. The vertical axis shows the

range from prototypes, i.e. a unique piece of work, through to cultural

production on a mass scale.

As I described above, in the context of peer-orientated creativity, Led

Zeppelin became a big-selling band, but did not compromise their music to  do so.

On the model, they would be represented by the 'Work of Art' (upper left

quadrant) which would then move down to the lower left quadrant where the work

is still orientated towards the artist, but reproduced because it has become

popular (i.e. moved down the vertical axis).

Upside Down, on the other hand, stay firmly in the lower right-hand

quadrant of the diagram, represented by 'Cultural Industries'. As their product

is tailor-made for the market, and always intended for mass reproduction, it

cannot be said that they have ever produced a prototype.

This whole attitude suggests and promotes the idea that money is more

important than art. This (business) venture is geared towards nothing else than

making money. In the documentary interview run by the BBC, The managers stated

that their aim was purely commercial, to quote one of them, "Launching a band is

launching a product. Identify your market, package your product as nicely as

possible, target your audience and sell it to them." They also stated that only

then would they have achieved anything when "Ten thousand girls are screaming at

the boys on stage, some passing out from excitement and being taken away by the

St John's Ambulance Brigade.

To create an image, the managers put the word out that the four boys from

England's next Mega-band would be in such and such a place at such and such a

time. They then turned up with the band in the designated places and times to

allow the 'fans' to kiss or be kissed by, or get an autograph from the stars of

the next biggest band in England.

The boys, however, are also in it only for the money, if not at first then

definitely now. They were given an allowance (not very much), and told that the

serious money would start rolling in as soon as the records were starting to

sell. In an interview with the boys, just after they had had several thousand

pounds worth of clothes bought for them, one said, "We haven't really got used

to having all these expensive clothes bought for us yet, but hopefully we will."

I find this approach to making music a very manipulative one. The pre-

targeted market of eleven to sixteen year olds must be one of the easiest to

manipulate. In this age, people are trying to find themselves or make themselves

into the type of people that the media tell them they should be - if someone

placed an advert in Just 17 or Smash Hits stating that every cool teenager now

bought their fashion clothes from Marks & Spencer's, this store would probably

record a 300% increase of sales in the Womenswear Department.

On the other side of the stage, however, the boys in the band are also

being manipulated. They are still, after over a year of being signed to the

managers, receiving the pitiful allowance assigned them by  their managers. They

have been led to believe that they will be very rich, have given up university

studies and jobs to do so and yet have come no further financially. The records

are selling but until a certain number have been sold, they do not receive any

royalties, to allow the managers to recoup the quarter of a million pounds they

have invested. And when that sum is reached, will they still be around or will

the public have gone crazy about another four or five sexy-looking boys who are

essentially no different, just something new?

Apart from the dubious financial situation, the band have absolutely no say

in what they want their sound to be like. After the recording of the single

(which, incidentally the band had no hand in picking), one of the boys was asked

what he thought of the finished product; he answered, "I liked the sound of the

first recording better - it was less commercial-sounding, but it depends if

you're doing it for yourself or a prospective audience."

With his own recording technique, Stuart Levine obviously managed to get a

more 'poppy'  and commercial sound which the managers preferred. This ties in

with one of Frans Birrer's definitions of pop music, "Popular music is music

that is not something else. This ties in, in turn, to the 'McDonald's' Method -

McDonalds actually deflavour their  burgers so that less people will dislike

them. In exactly this way, and for exactly the same reasons, Upside Down, or

their managers at any rate, have deflavoured their music - diluted it so that no

one element is too strong for people's musical tastebuds.

What the band have also been led to believe is that they possess a lot of

talent, and have accordingly acquired quite a high opinion of themselves and

what they are doing:

"I think that masterminded bands are much better - it means that the best

talent, from a large area, is brought together and concentrated,"(!):

The performers themselves were obviously  not chosen for any musical talent

or creativity, but on the strength of their looks. During the auditions, the

managers discussed the potential of the applicants. Comments ranged from, "No,

absolutely not - I don't like his style," ; "Pity about him, he's got a good

voice but look at his skin - we won't be able to do anything with his acne," to

"Looks great - bad voice, but nothing the studio can't fix," or  "Yeah, he's not

bad, but I don't know about his hair. Maybe with some dye and matching coloured

contact lenses...."

If the band were so talented, as they have come to think they are, then

surely the managers would not have needed to send them to a professional voice

trainer, when the only 'live' singing they have to do is in the studio? (All

'gigs' are mimed) The voice trainer also did say,(rather dubiously I thought),

"We-ell, they have hope; they aren't the worst I've ever had."

It seems that the managers have achieved one of the earliest goals they set

themselves - "What we're basically looking for is four or five good-looking boys

who are eager to be moulded, well, guided, you know - given a helping hand to do

what we want them to do."

I want to conclude by saying that, based on my personal opinions of what

'good' art should be, Upside Down are a good example of 'bad' art. The art in

this venture lies not in the music but in the management. The question is, is

management an art.?

References:

BBC Omnibus Documentary on the Process of Manufacture of Upside Down, 1996

LEDA Circuit on New Opportunities for Employment Creation through the Cultural

Sector, 1995

Phil Saxe's Notes on Marketing Strategies

188.          Can Media Inspire Violent Crimes Essay

Can Media Inspire Violent Crimes?

One problem that many corporations ignore is the possibility that

aggressive type people seek reinforcement for their own destructive acts, either

against themselves or other people.  Television violence, for instance, and the

widespread public concern accompanying it have led to calls for strict controls

on the depiction of violent programs.

In their decision making, some producers do not take responsibility for the

equally important minority.  Instead, they may gear their content toward the

masses, who crave sexually explicit and violent action.  Fortunately, this group

has the ability to disseminate violent action rationally, realizing that in

reality, people who commit acts of violence have to compensate for their actions

by taking full responsibility for the harm they cause others.

Not everyone can distinguish fact from fantasy.  Not only is it the

irrational people who commit the crimes in our country, but our own children who

may errantly be learning from day one that nothing bad will happen to them if

they shoot their brother in the head with Daddy's pistol.

Studies show that in one week of content analysis of prime-time output on

seven New York City channels, there were 3,421 acts and threats of violence

observed.  Children's fictional entertainment programs had three times the

frequency of violent acts or threats recorded in adult programs.   (Gunter,

p.13).  many of these acts were committed without any compensation for the

action without responsibility, then it must be acceptable behavior.  Similarly,

aggressive adults are seeking reinforcement for their own anti-social behavior

from seeing attractive television characters behave in the same way.

Behavioral evidence has indicated that the anti-social effects of violent

television portrayals are strongest and are most likely to occur among

individuals who are already aggressive.  (Palmer, p. 10).

The ethical question is, should television submit to mass appeal or take

into consideration the affects on certain members of society, including

children?  The consequences of televising violence are not only harmful to some

viewers but concurrently affect the television stations in the form of loss of

viewers and possibly gaining a bad reputation.  There are many sources,

including viewers' associations and popular journalism, which have been

condemning the depiction of violence in television programs as a potentially

dangerous and anti-social act on the part of those who make and transmit

programs.  (Gunter p. 2).  Still, even though these associations have been

condemning television violence, their efforts have had little effect on the

large money-making corporations.  Therefore, the decision, on the part of those

in charge of the programs, should be one of social responsibility.

In his article, "Sex and Violence", Joe Saltzman states, "If, as producers

argue, violence is a part of the human condition, then so is responsibility.  In

real life, you just do not commit mayhem and then go on to the next scene."

It is also necessary to realize that violence is part of our nature and of

our life.  Almost everyday we are participants and observers of violence,

whether it is natural violence, theatrical or fictional violence, sporting event

violence, or political violence.  To exclude all scenes of violence form

television would be to falsify the picture of life.

Television media can "encourage or aid" destructive behavior, not "cause"

it.  There are usually many more casual factors involved.  To tell people what

they can and can not say, write, and televise is unconstitutional; however, it

can be controlled and we can hope that the decision makers will promote strong

moral, ethical values in their decision making or at least consider them, in

order to help prevent violent or self-destructive behavior.

Bibliography

Gunter, Barrie;  Dimensions of Television Violence, p. 2, 13.

Palmer, Edward; Children in the Cradle of Television, p. 10.

189.          can media inspire violent crimes

Can media inspire violent crimes?

One problem that many corporations ignore is the possibility that aggressive type people seek reinforcement for their own destructive acts, either against themselves or other people.  Television violence, for instance, and the widespread public concern accompanying it have led to calls for strict controls on the depiction of violent programs.

In their decision making, some producers do not take responsibility for the equally important minority.  Instead, they may gear their content toward the masses, who crave sexually explicit and violent action.  Fortunately, this group has the ability to disseminate violent action rationally, realizing that in reality, people who commit acts of violence have to compensate for their actions by taking full responsibility for the harm they cause others.

Not everyone can distinguish fact from fantasy.  Not only is it the irrational people who commit the crimes in our country, but our own children who may errantly be learning from day one that nothing bad will happen to them if they shoot their brother in the head with Daddy's pistol.

Studies show that in one week of content analysis of prime-time output on seven New York City channels, there were 3,421 acts and threats of violence observed.  Children's fictional entertainment programs had three times the frequency of violent acts or threats recorded in adult programs.   (Gunter,  p.13).  many of these acts were committed without any compensation for the action without responsibility, then it must be acceptable behavior.  Similarly, aggressive adults are seeking reinforcement for their own anti-social behavior from seeing attractive television characters behave in the same way.

Behavioral evidence has indicated that the anti-social effects of violent television portrayals are strongest and are most likely to occur among individuals who are already aggressive.  (Palmer, p. 10).

The ethical question is, should television submit to mass appeal or take into consideration the affects on certain members of society, including children?  The consequences of televising violence are not only harmful to some viewers but concurrently affect the television stations in the form of loss of viewers and possibly gaining a bad reputation.  There are many sources, including viewers' associations and popular journalism, which have been condemning the depiction of violence in television programs as a potentially dangerous and anti-social act on the part of those who make and transmit programs.  (Gunter p. 2).  Still, even though these associations have been condemning television violence, their efforts have had little effect on the large money-making corporations.  Therefore, the decision, on the part of those in charge of the programs, should be one of social responsibility.

In his article, "Sex and Violence", Joe Saltzman states, "If, as producers argue, violence is a part of the human condition, then so is responsibility.  In real life, you just do not commit mayhem and then go on to the next scene."

It is also necessary to realize that violence is part of our nature and of our life.  Almost everyday we are participants and observers of violence, whether it is natural violence, theatrical or fictional violence, sporting event violence, or political violence.  To exclude all scenes of violence form television would be to falsify the picture of life.

Television media can "encourage or aid" destructive behavior, not "cause" it.  There are usually many more casual factors involved.  To tell people what they can and can not say, write, and televise is unconstitutional; however, it can be controlled and we can hope that the decision makers will promote strong moral, ethical values in their decision making or at least consider them, in order to help prevent violent or self-destructive behavior.

Gunter, Barrie;  Dimensions of Television Violence, p. 2, 13.

Palmer, Edward; Children in the Cradle of Television, p. 10.

190.          Canticle For Leibowitz

Walter Miller, in the novel A Canticle For Leibowitz,  mocks the way we are as humans, particularly in those ways that lead to regressive thinking.  The novel pokes fun at the attention to impractical details, such as to the spent copying the Leibowitz blueprints.  Miller also mocks humans by describing the inordinate amount of attention and energy given to a spiritual being such as Leibowitz, as today's society worships God.  Finally, the most absurd way Miller mocks today's society occurs when he describes how they do not give something very important the considered attention that it deserves.  These are three examples how Walter Miller mocks and shows today's society their faults.

Miller mocks the way we are as humans when Francis gives too much attention to impractical details to the Leibowitz blueprints.  Brother Francis spends many years copying the blueprints of the circuit design.  Francis copies the design so carefully he mistakenly believes the color of the paper is important to the design of the circuit.  Francis is set on mindlessly copying the blueprint he does not realize what the circuit design is for, and what is does.  Brother Francis thinks regressively.  The monks copy out the blueprints, and then do nothing with them.  As a society we do the same thing today.  In school students copy notes off the blackboard blindly, they do not know what they are copying.  Therefore, they do not understand the content.

Not only does Miller also poke fun at impractical details, Miller also pokes fun at the way today's society revolves is the importance of a spiritual being such as Leibowitz.  Today's society is strongly set on the existence of God.

Today's society is mocked due to the importance of a spiritual being, like Leibowitz.  The monks do not really know who Leibowitz is.  All of the information about Leibowitz are only rumors.  No concrete evidence surfaced to prove that Leibowitz exists.  It is the same in today's society with the belief of God.  No proof that God physically exists is evident today.  Most people still believe in God spiritually on the other hand.  In comparison to the book's society, Leibowitz is their God.  When Brother Francis accidently stumbles upon possible genuine evidence of the existence of Leibowitz, they ignore it.  The Monks concentrate on the most illogical things.  The only thing that they believe is important is a  mysterious pilgrim spotted in the desert.  The Monks believe that the pilgrim is Leibowitz himself.  The Monks are looking past concrete evidence wondering if it is Leibowitz who is seen desert.  It seems that the monks do not concentrate on what is really important.  They concentrate on the most absurd things.  If we discover a fallout shelter in the desert that housed Jesus, we would not brush it off like the monks did.  We would protect, and display it in a museum for years to come.  The monks did not protect these documents when they sent Brother Francis to New Rome with sacred documents.  The Monks, and sadly, Brother Francis has to suffer to this misfortune.

Finally Miller mocks the monks regressive way of thinking when they send Brother Francis to New Rome with the Leibowitz designs.  The monks did not think ahead in sending Francis to New Rome without protection.  The fact that they failed to provide protection for Brother Francis is absurd.  Francis is transporting the most important documents ever found half way across the country all by himself without protection.  Many dangers are apparent on the way to New Rome, including robbers, and the monks failed to think ahead to see this.  Today's society is the same.  Our society sometimes rushes to judgments when we get excited.  We fail to look ahead at the consequences.  A good example is the deterioration of the ozone layer from pollution.  During economic highs factories were pumping pollution into the air at an enormous rate.  No one realized the damage it was doing to the ozone.  Today's society is left to fix the problem that we were not responsible for.  The factories only thought of money and failed to think ahead of what the pollution would do to the air.

Reading the book, A Canticle For Leibowitz, it is apparent that today's society is an image of the monks society.  We copy things out mindlessly without thinking, an example is homework, and we do not really know what we are really doing.  The monks also copy mindlessly when Francis copies the blueprints.  Today's society is also dependant on a spiritual being that could or could not exist.  The monks gave too much attention to canonizing Leibowitz.  We fail to look past these things, like the Monks, and wonder if they really exist.  We also realize our society thinks too regressively and do not think ahead when we make a decision.  Instead we let the spur of the moment determine our decisions in most cases.  The monks also did this when the failed to offer adequate protection for Brother Francis.

191.          Capra is No Fascist

Webster's Dictionary defines fascism as a one-party system of government marked by a centralized dictatorship, stringent socioeconomic controls, and often belligerent nationalism. In other words, an extreme form of ideology that celebrates a certain nation or nationality being greater than all others. It calls for a revolution against moral decay and wants to rid itself of any groups that threaten its uniform community. Fascism applaudes masculinity, youth, unity, the power of violence, racial superiority, ethnic pursecution, and imperialist expansion. It also supports male supremacy, but sometimes promotes female solidarity and new opportunities for the women of that community.

&lt;Tab/&gt;Fascism's approach to politics is populist and elitist. Populist in that it tries to make the people gather as a whole against the oppressors and elitist in that it the people's will is embodied in a select group or in one leader in authority. It seeks to organize mass movement to seize power and mass organizations as a system of control. Sometimes it even goes so far as to use violene to suppress opposition. Fascism incorporates ideas and beliefs of Marxism, liberalism, and conservatism, although as a whole they are looked down upon. It defends capitalism but also pursues an agenda that clashes with the capitalist interest.

&lt;Tab/&gt;In Mr. Smith, Capra puts a young, naive politician in a place of leadership. There are so many good things that Mr. Smith wants to do for his country, and he is very patriotic. With the help of his smart and witful secretary, he begins to pull together things that he wants to bring before the senate. When the idea of a boys camp enters his mind, he unknowingly steps on a few toes. As the corrupted politicians strain to pull him into the mix of things, he notices exactly what is going on. They offer to gurantee him a seat in the senate for years to come, if he drops his bill and goes along with their dishonest dealings. He refuses to go along with the croud and stands up for himself which temporarily proves to be a disadvantage. They realize that he actually has a chance to have his bill passed and he is gaining support, so they hit him with a brick wall. Accused of misappropriation of funds, a trial is held to determine whether or not Mr. Smith is guilty.

&lt;Tab/&gt;When it becomes evident to Mr. Smith and his secretary, Clarissa Saunders,

that he will be accused, they compose a plan to change the minds of those in power. She explains to Mr. Smith that as long as he speaks and does not yeild the floor, then he will be able to speak and everyone will be forced to listen to him. Hoping that this will prove his innocence to the president of the senate and the rest of his peers, he begins his long speaking effort. When he collapses, the senator in charge of framing him admits that he set Mr. Smith up. All charges are dropped against Mr. Smith and good prevails.

&lt;Tab/&gt;Many times Capra has been accused of being a  fascist or that his movies portrayed a fascist underline. In my opinion, he never portrayed that in his film Mr. Smith, unless it was in the crooked senators. Although Mr. Smith wanted to improve the current state of the senate and rid it of moral decay, he never used violence or forceful tactics. His method was very upfront and he was only trying to make things better for his country. He saw a need and tried to fill the spot.

&lt;Tab/&gt;I think that if fascism was showed in this film, it was characterized by the twisted ideas of the senators. They were trying to form a mass movement against Mr. Smith when he refused to follow them, and used force to do that. They threatened him and only wanted to be in control of his every move.

&lt;Tab/&gt;Another thing that I noticed about the film was that Clarissa was a very intelligent woman. She always knew what the best move was and seemed extremely educated in the ways of the Senate. Even with all this knowledge, she was at a very low spot, meaning that she was only a secretary when she had the desire and the ability to do so much more. This is something sometimes associated with fascism. Fascists are dominated mainly by men, and women are not normally given the oppertunity to move up in the world, regardless of their possible contributions and talents.

&lt;Tab/&gt;All in all, I do not believe that Capra was a fascist and I do not think that his films portrayed a fascist view. I think that he displayed his true feelings and character into his movies, and even though some aspects of this film were strangly like some of the fascist beliefs, there was not enough of the kind of proof need to say that he was a fascist. His films did not represent anything negative or bad. I think that they were very inspirational and the only thing that I could think of that would make people believe that he was fascist, is that times were different and people were more suspicious.

192.          Capras Effect

The Great Depression was a period of lowered economic activity and extensive unemployment. In general, times were hard and most people lived in a state of hopelessness. There was a much-needed entertainment that arose during this time, and that was the work of Frank Capra. His dream of goodwill was expressed through his memorable works and was uplifting to the people of this era. It balanced this time period that was so consumed with despair, with laughter and optimism. Capra once said that the purpose of filmmaking was, "First to exalt the worth of the individual. Second, to champion man. And third to dramatize the viability of the individual." His films displayed patriotism and celebrated all-American values. These standards are completely evident in Capra's film "Mr. Smith Goes to Washington".

&lt;Tab/&gt;Jefferson Smith is just an average guy pulled into something that he is not quite sure that he can do. When a former senator dies and he is asked to serve the remaining time in his place, Smith finds out about dirty politics. He gets rather bored of just going along with the everyday schedule of being a senator. He is the kind of politican that the public admires. Since he does not really understand the procesess going on around him, he decides to work on his little project. He has the wonderful idea of forming a boys camp, and he plans on buying a piece of property through the contributions of others. Unbeknowst to him, some crooked senators are already after this property to make money for themselves. Mr. Smith makes his debut of his little project and many of the senators are visably upset. Later he is confronted by them and learns of their wayward plans. When he refuses to back down and go along with the crowd, the senators decide to attack him in the most vulnerable ways. When Mr. Smith yields the floor his partner senator, he bashes Mr. Smith and accuses him of taking the people's contributions for himself. With this false information the Senate must do an investigation. After long hours of trial, they come to the conclusion that Mr. Smith is guilty, although in reality he has never compromised his beliefs or done anything wrong. When they begin to formally charge him, Mr. Smith decides to fight for the ideals of American Democracy right there. "Mr. President, I stand guilty as framed because section 40 is graft!"  Mr. Smith refuses to yield the floor and speaks for over twenty-three hours. When it becomes apparent to him that he is just fighting a "lost cause", he collapses.  Senator Paine runs from the room with shame and tries to kill himself. In the end, he confesses that everything was a setup and that Mr. Smith is truly a good man with the right intentions.  "Mr. Smith Goes to Washington" demonstrates how large and scandalous bureaucratic machines ran poitics in the early 1900's.

&lt;Tab/&gt;Though it would not be fair to say that the Great Depression was caused by scandalous bureaucratic machines, it is fair to say that politics played a huge role in this event in our country's history. As we see in "Mr. Smith Goes to Washington", many of the politicians in this era had selfish intentions and were in fact very wrong in their way of doing things. I think that the most important thing to look at is the idea that this movie inspired people in a time of total helplessness. Although most people had no control over the Depression or the effect that it had on their jobs or family life, they did have control over their character during this time period. Mr. Smith is our knight in shining armor; our hero who displays commitment and sacrifice. He was basically up against a brick wall and had no place to go and no way of defending himself against the bullies of the Senate. Still he held fast and did not compromise his morales. He fought for his rights and the rights of those that he represented, and displayed dignity in a situation where no others did that.

&lt;Tab/&gt;The strongest link that I can see between the Great Depression and "Mr. Smith Goes to Washington", is the challenge faced by the individuals involved. Times were hard for the people who lived during the Great Depression. Challenging would not begin to describe the era that these peole had to live through. In the same way, Mr. Smith had to fight his way through dirty politics and sacrifice to make things happen. Even when he put all of his effort into a good thing it backfired and cost him a lot momentarily. It was very difficult for him to stand up for himself when he faced so much opposition. He could have went back on everything that he believed in, and guranteed himself a seat in the Senate for many years. Mr. Smith realized that if he allowed the scandalous senators to turn him into their personal puppet that he would not be accomplishing anything by being a senator in the first place. In the end "little David" slew the giant. The only difference was that this time the giant was the corrupted world of politics. Because Mr. Smith chose not to back down, he made a differnce in his environment and in his world. I think that this was the message that Capra was tring to send out. His ideals of integrity and dignity were displayed through his character Mr. Smith. Capra once said,"I thought that drama was when the actors cried. But drama is when the audience cries." In his own way he did exactly that. He caused a generation to see the big picture of things in a time when most people could not see past all the bad happening around them.

If I would have had more time when writing this essay then I would have put a better ending on it.

193.          Captain Corellis Mandolin

Captain Corelli's Mandolin

Why it took four major production entities- Universal, Studio Canal, Miramax and Working Title- to turn that admired novel into a phlegmatic, middlebrow romantic drama so stodgy that even the goats look bored? How John Madden, the same director who brought "Shakespeare in Love,to life, could have been responsible for this comatose effort; how star Penelope Cruz manages to emerge unscathed, like some cinematic Wonder Woman, from the wreckage of film after film?" That is what Kenneth Turan, Times Film Critic had to say about "Captain Corelli's Mandolin." The movie was based on a Louis de Berniére's best-selling tale of love and war. I did not know what to expect when I went to see this movie; I had read various unfavorable reviews.

While certainly not an Oscar winning film, it was not anywhere as bad as the reviewers said. I was surprised at how much I enjoyed this movie. It is long but keeps the audience attention throughout. John Hurt turns in an excellent performance, as does Christian Bale. Nicolas Cage could have used a little more help with the Italian accent.

I believe Capt. Corelli's Mandolin has suffered the same disease as the British Tourist Industry did over Hoof & Mouth disease. The press blew it clear out of proportion. Turan, Times Film Critic, said " A film without a true note, an undemanding picture-postcard production heavy with " I don't know how to say what I fell inside," dialogue from screenwriter Shawn Slovo. Things do improve in the film's more dramatic final third, when the war gets closer and unpleasant things start to happen, but the production never loses its quality of exasperating bogusness." Poor reviews such as this have emptied the theaters around here. This is a good movie that actually has a story and character development instead of just special effects and it is unfair to criticize a great work in such an unrelenting manner.

This film is meant to capture a moment in history, both for several people and the world. "Forget the inconsequential details such as precise accents and dwell on the story and the actors (Ebert 2)." It is a simple story told straightforward about loving and losing, about honor and responsibility, about wondering 'what if' and making do with 'what is'. The film successfully strikes a chord of passion with its audience, and we find poignancy, tenderness, heartbreak, and poetry along the way.

The story place in a beautiful Greek island, Cephallonia, it's so pretty and endearing, the picture perfect village, and all the beautiful people. Pelagia, the doctor's daughter, is betrothed to Mandras, a handsome fisherman, who goes off to fight the Germans on the Albanian border. Meanwhile, the Italians occupy the island and Captain Corelli is billeted at the doctor's house. Pelagia wants nothing to do with Corelli. She is serious and proud. He is fun loving and musical. She worries about the war and treats him as an enemy. As the months pass, he finds himself drawn to Pelagia. The feeling is soon mutual and the two become lovers.

Unfortunately, the real war eventually rears its ugly head, forcing the two lovers into making difficult decisions about themselves and their future together. Although the love story is the focus of the film, there is much to be admired of the scenery and the historical depiction of the Greek Island of Cephalonia. "The film captures the magic of the Greek people and their fierce battle in WWII (Clark 1)."

The acting contributes remarkably to this picture. This movie builds the great deal of emotional investment in its characters. The singing, the dancing and the mandolin playing, Nicholas Cage combines it all to create a well-established character. He is handsome and tantalizing. Along with Cage is Penelope Cruz, an actress who absorbs emotion. Clark said, "Her eyes question the very idea of happiness (C1)." Cruz adequate for the part, and often during the movie it is more what she does not say that comes across well. And as a supporting actor, John Hurt is outstanding as usual casting along with Irene Papas, whose performance was extraordinary. Roger Ebert said, " Mandras' mother is played by the fierce Irene Papas, great spirit of the Greek cinema."

This movie carried along its beautiful and charming screenplay, scenery and drama in a war-torn coastal Greek village. It has wonderful cinematography and beautiful settings. The film crew seemed to capture a timeless mood to the island. The war sequences were quite entertaining and the dialogues are witty and extremely poetic and passionate. The plot is fascinating. On one level, this film is a light and easy moralizing story, which is both, thought provoking and very easy on the eyes. " Only a very odd war movie would revolve around a gentle-eyed romantic and his mandolin (Elliott 1)." Based on a true war crime, Captain Corelli's mandolin focuses more on the love of life, music and people than on the atrocities of WWII. It is a story of human triumph and unfortunately Elliott fails to comprehend that.

Even though many critics complain of this movie having bad accents and belittlement of nations and such. While these statements many indeed be true; I found that the story and acting were quite strong, the scenery for the movie was absolutely fantastic. While the movie did not make me cry, or strike my heart with potent emotion like I would have enjoyed, I found that this movie generally got the job done well. I anticipated a sloppily done, cookie-cutter love story. I was pleased that the movie provided much more, and like I said, I thoroughly enjoyed the movie. I gave it a 3.5 star, because a 3 does not do it justice, while 4 may be a bit strong of a rating.

My rating system is based on overall opinion of the artistic merits, quality and theme of the work.

To achieve a four star, I feel audiences will not only find the title entertaining, but will benefit from the interplay or other content, such as positive messages. An excellent movie must be intellectual, but very easy to watch. Enjoyable and thought provoking, at the same time stimulate emotions. Seminal and outstanding, which worth seeing again and again.

Three stars, this grade indicates a product that is entertaining, but lacking the positive elements found in a four stars-title. Though a very good and solid movie which contains compelling features, yet not outstanding creatively. A three star movie, defiantly worth going out of your way to see it.

A two star movie is an efficient time-killer with some entertainment value, but overall a mediocre experience. It's probably redeemed by a few good lines and interesting camera work, nothing special but some how watch-able.

Least but not last, a one star movie is pretty bad, consistently poor and fatuous. A Movie with out a point. Defiantly, worth going out of your way to miss it.

Regardless of what some critics had to say about Captain Corelli's Mandolin, I found the movie entertaining and gratifying. While the movie is a little long, it's very possible to get so engrossed in the story, the time passes quickly. Overall, it is a solid story line depicting the loves and tragedies of WWII on an absolutely idyllic and beautiful Greek island.

194.          Carl Orffs philosophies in Music Education

Carl Orff's philosophies in Musci Education

While Carl Orff is a very seminal composer of the 20th century, his greatest

success and influence has been in the field of Music Education.  Born on July

10th in Munich, Germany in 1895, Orff refused to speak about his past almost

as if he were ashamed of it.  What we do know, however, is that Orff came

from a Bavarian family who was very active in the German military.  His

father's regiment band would often play through some of the young Orff's

first attempts at composing.  Although Orff was adamant about the secrecy of

his past, Moser's Musik Lexicon says that he studied in the Munich Academy of

Music until 1914.  Orff then served in the military in the first world war.

After the war, he held various positions in the Mannheim and Darmstadt opera

houses then returned home to Munich to further study music.  In 1925, and for

the rest of his life, Orff was the head of a department and co-founder of the

Guenther School for gymnastics, music, and dance in Munich where he worked

with musical beginners.  This is where he developed his Music Education

theories.  In 1937, Orff's Carmina Burana premiered in Frankfurt, Germany.

Needless to say, it was a great success.  With the success of Carmina Burana,

Orff orphaned all of his previous works except for Catulli Carmina and the En

trata which were rewritten to be acceptable by Orff.

One of Orff's most admired composers was Monteverdi.  In fact,  much of

Orff's work was based on ancient material.     Orff said:

I am often asked why I nearly always select old material, fairy tales and

legends for my stage works.  I do not look upon them as old, but rather as

valid material.  The time element disappears, and only the spiritual power

remains.  My entire interest is in the expression of spiritual realities.  I

write for the theater in order to convey a spiritual attitude.1

What Orff is trying to say here is that he does not use "old" material, but

material that is good enough to be used again.  If one eliminates the fact

that this material was written many years ago, then there is nothing to stop

that material from being any less legitimate in recent times.

Orff's work in Music Education has been astounding.  In the early 1920's,

Orff worked with Mary Wigman.  Wigman was a pupil of Emile Jaques-Dalcroze,

another very influential name in Music Education.  In fact, Orff's approach

to music is very similar to Dalcroze's, but Orff focuses on education through

percussion instruments.  In 1924, Orff joined Dorthee Guenther and together

they founded the Guenther School.  The schools focus was coordinated teaching

of gymnastics, dance, and music.  Orff believed that music, movement, and

speech are not separate entities in and of themselves, but that they form a

unity that he called elemental music.  When Orff refers to elemental music,

he means the music, movement, or speech created by children that requires no

special training, or in other words, the things that children do without

really thinking about it.  The basis for the Orff method is the belief that

the historical development of music is reenacted in the life of every

individual.  This means that, when a child is young, he is similar to a

primitive human being - at least musically - in that both are naive and rely

primarily on natural rhythms and movement to make music.  Although this

theory has not been very widely accepted by most music educators, this is

where the Orff method of teaching music begins.  The Orff method was so

impressive to the public that the Ministry of Culture recommended the

adoption of the Guenther-Orff experiments in the elementary schools in

Berlin.  Unfortunately, the rise of Hitler and the outbreak of war stunted

the growth of these plans.  Finally, in 1948, the German broadcasting

authorities urged Orff to resume his educational activities.

The Orff approach, not unlike the Suzuki method, begins with the idea that

music should be learned by a child the same way a language is learned.

Suzuki calls this the "mother tongue approach".  A child learns to speak

simply by listening and then imitating and then, later in life, the child

learns to interpret symbols as a written form of that language.  So, then, a

child should learn music in the same way.  At an early age, a child is

exposed to music and learns to sing and play percussion instruments, then,

later in the child's musical development, he learns to interpret the symbols

on a score as music.  The music a child learns during this time of his life

is very simple melodies that involve a lot of moving.  Orff believed that

rhythm was the most important part of music.  This is because rhythm is what

movement, speech, and music all have in common.  Rhythm is what ties these

all together to make what Orff called elemental music.  Orff uses this

approach because it is believed that children must feel and move to music

before they are asked to conceptualize about it.

Speech is one of the key elements in the Orff approach not only because

speech is an inherently rhythmic action, but because Orff was the only one of

the major educational philosophers (Dalcroze, Kodaly, and Suzuki) to use

speech in this way.  Orff's thought was that a transition from speech to

rhythmic activities and then to song was the most natural for a child.  So,

the student moves from speech to body rhythms such as clapping or tapping,

and then finally leads to the playing of an instrument.  Orff's philosophy

continues on in this way even after a child has developed a skill for an

instrument.  For example, concepts such as meter, accent, and anacrusis are

introduced in speech patterns, reinforced in other activities, and  then

studied in a musical context.  A specific example of this is the teaching of

the concept of a canon.  A simple yet varied chant or other form of rhythmic

speech is taught to the class.  The students then use the idea of a "round"

to explore how each entrance by each different part is achieved.  Finally,

the teacher notates the rhythmic pattern and shows how each part of the

pattern works with the other parts.

Orff's approach to Music Education notes that speech, chant, and song are

all points along the same line.  That is to say that one leads directly to

the next.  Children's experiences with singing follow directly from speech.

This means that melody is actually an extension or an outgrowth of rhythm.

When children begin to learn to use their voices as musical instruments,

they enter another pre-planned part of Orff's method.  There is a very

specific order in which students learn to use solfege.  As with most other

theories that involve singing, the descending minor third, sol-mi, is the

first interval that is taught.  Other tones follow in succession in this

order: la, re, do, to complete the pentatonic scale, and then finally fa and

ti.  The Orff method uses the pentatonic scale because Orff believed it to be

the native tonality of children.  This is cohesive with Orff's belief that

music history is relived in the development of each individual because he

considered the pentatonic mode appropriate to the development of each child.

The use of the pentatonic scale also gave the students confidence.  After

all, it's very difficult to improvise and sound bad when the only notes

available are those in the pentatonic scale.  This kind of constant

affirmation is crucial to a child's development.

The last part of Orff's elemental music is elemental movement.  As stated

earlier, the word elemental in this sense refers to the kind of action, in

this case movement, in which the child participates with no prior training or

instruction.  Orff said that this kind of activity made it easier for

children to become expressive.  This is because children are more able to

express their thoughts and feelings through movement and painting than

through words.  Allowing children to express themselves in this way allows

them to use their imagination because, as we adults often forget, children

have the most vivid imagination.  After observing these actions, the teacher

then relates them in some way to music and build musical concepts out of

them.  Unfortunately, many of the activities that adults scold their children

for are the same ones that are the most suitable for expressing feelings,

such as walking on tiptoe, hoping over imaginary obstacles, or spinning to

the point of dizziness.  These are actions that adults would react to as

being 'fidgety' or 'squirmy' when, in fact, they are simply natural movements

that children use to express themselves.  The ideal Orff educator would

encourage these behaviors and use them to teach musical concepts.

The end goal of the Orff method is to develop a child's musical creativity.

Where traditional Music Education dictates that  a child must learn to read

music right away in order to be a self-guided and independent musician, the

Orff method focuses on the creative and expressive side of music.

The instruments that are commonly associated with the Orff method

distinguish it from other methods.  Orff uses xylophones and various

metalophones that use removable bars.  This allows an educator to change bars

for different modes or to remove unnecessary bars to keep from confusing

young students.  The Orff instruments are modeled after and are closely

related to the Indonesian gamelans.  These instruments allow great

flexibility for children who have handicaps.  For example, students with

visual handicaps or hearing handicaps can hit just about anywhere on an Orff

instrument set up to use a pentatonic scale so he can feel like he is being

included.

In conclusion, the Carl Orff has been a very influential person in the field

of Music Education.  He has demonstrated to us that the way to teach music to

children is to let then go back to the basics, or elements, of speech,

movement, and singing.  He has reminded us how much we really expect children

to learn music differently in the traditional method than it is natural for

them to learn.

195.          Carl Sandburg 454

Carl August Sandburg:Artist and Poet of the 1900's

Carl Sandburg, a poet of the early 1900's, wrote about Chicago, war, and other witty, simple facts of life. Born to two poor Swedish immigrants he decided early on this poor lifestyle was unfitting, and so he quit school at the age of thirteen to get a job in journalism. He was twenty-four when he received his first job as a journalist in Milwaukee. This gave him the drive he needed to become a successful poet which better fit his way of life.

Sandburg grew up in the countryside of Illinois in the small town of Galesburg. He was a Lombard College graduate who worked in many fields beyond journalism. He served in the Spanish-American War, and became a firefighter, truck driver, barbershop porter, house painter, movie director, and even held a political job as the mayor's secretary. Because he accomplished all of this and then began to look into his real passion, writing, he had all of this as his past to influence his poetry. His other influence was his childhood. He grew up learning to take nothing for granted, and shared the little he had with seven other siblings. This experience made him write about ordinary people and their everyday lives.

Carl Sandburg was unknown to the world of literature until a collection of his poems was featured in a poetry magazine. Two years later his real breakthrough was made when he published a book called Chicago Poems. In these free verse poems he used phrases like "Of my  city" to describe his connection with Chicago. He wrote folk songs, Abraham Lincoln's biography, and his autobiography to complete his journalism career. When Sandburg was at the brink at his career, he felt he needed to slow down. This is considered his only setback and was resolved by making better choices to benefit his newly formed family. He received the Pulitzer Prize two times, once for his biography and once for his completed poems.

Carl Sandburg's many literary works are similar in their format and rhyme scheme, but they all have a different plot and themes to learn from. Each time he writes a poem the most outlandish images appear to the reader because of his ability to write free verse poetry. In the poem Who Am I? the line, " I reach my hands and play with pebbles of destiny," is a primary example of this imagery.

Overall Carl Sandburg made a great impression on literature and all poets. He stepped away from tradition and wrote not only poetry, but wrote the preferred biography of Abraham Lincoln. This and his many other accomplishments make him not just an excellent poet but an admirable journalist.

196.          Carl Sandburg Accomplishments 2453

Carl Sandburg

"What is instinct? What is thought? Where is the absolute line between the two. Nobody knows-as yet" (Allen Fire 3).  Sandburg thought hard while he wrote using only his quick instinct, which made his writings come alive, free, flowing poetry on themes he developed while living in the Midwest.  Sandburg loved and wrote in detail about the beauties of everyday items in the Midwest such as the workforce, that no one at the time truly paid attention too.  The romantic naturalist who focused on simple splendors of life created free verse poems with passionate and naturalistic values (Crowder 1).  A theme that appears in most of his poems is respect to the common man (Allen Fire 1). He created most of his themes by growing up poor and neglected by his parents in the Midwest, where the poor blue-collars and farmers worked.  He decided to fight in the war after he left his home but got out of the war as soon as possible and started working low paying jobs. He got his first real job, as a Chicago Daily News writer, which allowed him to work on his poetry and allowed him the ability to gather connections that would help him succeed in the poetry scene.  He eventually got his poems published in popular poetry publications and was recognized by many event organizers (Carl 1).  He was soon reading his poetry to large crowds of poetry enthusiasts, children, and just the common man.  In the beginning he would read a few of his poems and then he would read a barrage of Walt Whitman poems to show his admiration of the man (Crowder 1).  Later in his life he wrote some award winning books, but was more notable for his poetry.  Sandburg was criticized throughout his life for being more of a writer then a poet, but Carl Sandburg was really an innovator that wasn't ready for his time (Allen Fire 1).  Formal of all free-verse poets, Carl Sandburg created themes that praised ordinary people and exemplified the beauty that surrounded the common man in the early 1900's effectively influencing the upper class to pay more attention to it's other classes.

Carl Sandburg's free-verse prose writing style is very similar to Walt Whitman's style, but on the other hand the themes and lengths of the poems created by Sandburg are very different compared to Whitman (Allen Fire 4).  Both poets write using a style called free-verse prose, which allows the poet to be free and not constrained by a specific structure.  Whitman and Sandburg, being a successor and admirer of Whitman, both relished and used the idea of being able to write free poetry.  You can see this style used best in "Chicago" by Sandburg in which he writes, "Fierce as a dog with tongue lapping for action, cunning/ as a savage pitted against the wilderness,/ Bareheaded,/ Shoveling,/ Wrecking,/ Planning,/ Building,/ breaking, /rebuilding" (Carl 2).  Just like Sandburg, Whitman created short spurts and long spurts of words in his poetry but the poetry was always free causing the reader to get a specific feeling while reading it.  The feeling is different between the two poets because the two write about completely different topics and also write different length poems (Allen Carl 2).  The length of the poems are longer in Sandburg's poems in contrast to Whitman's short spurted but both are still written with emotional feelings These short lines can be seen in the poem "Full of Life" in which

Whitman writes, " Full of life now, compact, visible,/ I, forty years old the eighty third year of the States" (Allen Fire 2).  That short poem by Whitman had the feeling still intact but was short enough to read in a few seconds.  Sandburg always gets the feelings across but he usually uses a longer stretch of lines and a bigger poem.  This style by Sandburg can be seen in his poem "Questionnaire" in which he wrote, "Have I told any man to be a liar for my sake?/ Have I sold ice to the poor in summer and coal to the poor in winter for the sake of daughters/ who nursed brindle bull terriers and led with a leash their dogs clothed in plaid wool jackets?/ Have I given any man an earful too much of my talk--or asked any man to take a snootful of/ booze on my account?" (Exploring 3).  The poem has a feel of an essay because of the long lines and lengthy body but also has the feeling of a deep emotional poem that describes a man's life in which the man is questioning what he is doing with his life.   A working man thinking about his life is a big theme mentioned in a lot of Sandburg's poems as opposed to the themes represented with Whitman, who mainly focused on nature and god.  The reason why these two poets have the same style of writing but have two completely different themes is because the two of them grew up during different time periods and in different locations (Allen Sandburg 2).  Yet both of them were poor growing up and not well educated while working jobs for the newspaper, they found themselves as popular poets late in their primes (Williams 2).  Although the poetry themes were completely together, you can know see why the two are so similar.  Carl Sandburg began the trend in the early 1900's of free prose poetry but Whitman was the leading light; the only thing that separates them is the theme and trend that Sandburg created.

Growing up poor, going to war, and working in the Midwest have all contributed to Sandburg's free-prose writing trend towards the common man and the need for him to collect his dues.  Sandburg grew in rural Illinois where the Populists and Progressive were trying to get a grasp on the rights as farmers in America and rights that all American's should deserver. In the early 1900's many of the people bought the surrounding land to make family farms (Conlin 2).  He watched closely as his family tried hard to acquire money to pay for food, housing, and other bills.  This gave Sandburg the gratitude towards Cornhuskers and other farmers in the Illinois area; which showed up in poems like "Illinois Farmer".  He wrote lines in his poems to described the farmer as someone that paid his dues in life with a Puritan Work Ethic, "BURY this old Illinois farmer with respect/ He slept the Illinois nights of his life after days of work in Illinois cornfields./ Now he goes on a long sleep" (Exploring 4).  After he got out the devastating life of farming, he had to witness death and war in the Spanish American War.  Sandburg developed a dark rich feeling for his poetry, which included many similes and metaphors to bring a more earthly surrounding to his poems (Allen Fire 4).  A great poem that uses these metaphors and similes is "Gargoyle" in which he describes a creature, "I SAW a mouth jeering. A smile of melted red iron ran over it. Its laugh was full of nails rattling. It/ was a child's dream of a mouth/ A fist hit the mouth: knuckles of gun-metal driven by an electric wrist and shoulder. It was a child's/ dream of an arm" (Sandburg 10).  After the war, Sandburg got a job as a reporter, which caused him to see the common working man.  He saw how the common working man work all day long and then he didn't paid quite as much as a big guy in a suit telling the work what to do (Carl 1). Seeing this, Sandburg in effect wrote many poems about the situation about common working man that influenced a lot of people but the one poem that stands out in most people's eyes is "Grass" in which he says, "Two years, ten years, and passengers ask the conductor:/ What place is this?/ Where are we now?/ I am grass/ Let me work" (Exploring 3)  After working successfully and gaining respect in the community as a poet, Sandburg was hit just as hard as his fellow man; when the stock market crashed in 1929. Sandburg fell to the lower class when he couldn't afford the supplies to produce his poetry (Rijord 10).  When the stock market crashed, it caused a lot of problems for the common man, and Sandburg dictated this in his poetry with a poem called, "To A Contemporary Bunkshooter" which showed the impact of the problem, "You tell the poor people they don't need any more money/ on pay day and even if it's fierce to be out of a job,/ Jesus'll fix that up all right, all right--all they gotta/ do is take Jesus the way you say" (Exploring 5).  While Sandburg lived many social and economical junctions, he helped set themes and trends in his writing to create an overall feeling of hope towards the common man.

Sandburg's free structured prose symbolized a hope driven style towards protecting and rewarding the common man's effort while focusing on the life around us.  As Sandburg grew older and worked more with the public he realized that he was making an impact on some people's lives (Hoffman 2).  The people of Illinois have received most of his praise, with poems like "Skyscrapers" that talk about the daily struggle and routine the people put up with, "Prairie and valley, streets of the city, pour people into/ it and they mingle among its twenty floors and are/ poured out again back into the streets, prairies and/ valleys" (Carl 14).  He said the idea for "Skyscrapers", came from just watching and living with his own experiences of the daily struggles of a rigid schedule of Chicago (Allen Fire 6). He was so well received by his audience that he was awarded a day of honor in Illinois, which most government officials take off (Carl 1). Sandburg's poems still speak to people in the city, in the ghetto, and the industrial workforce.  The reason why his poetry sticks around is because of his amazing skill of tying folklore, observations, and general life into his poetry (Crowder 3).  His poem, "The People, Yes", does this the best, "The people learn, unlearn, learn/ a builder, a wrecker, a builder again,/ a juggler of shifting puppets" (Allen Fire 6).  These observations provide a certain change of pace among his poetry and his feelings toward the common man.  The use of the words and form of this poem is almost the same way the common man speaks which makes it very appealing to many (Allen Fire 7).  His words provided the hope for the workers to have adversity, and strength that they will survive and endure the worse. His poems seek escape from easy analyst to a more complicated look into the depth of what Sandburg is trying to say.  The poetry is Sandburg's expression to the world but it is undetermined in time and space alike (Allen Carl 2).  This expression provides us with many observations into lands we have never seen, such as the poem, "From the Shore", which helps us see the ocean in a way we never really look at it, "A lone gray bird,/ Dim-dipping, far-flying,/ Alone in the shadows and grandeurs and tumults/ Of night and the sea/ And the stars and storms" (Sandburg 17).  The poetry brings back memories of what America use to be, and what America looks like in the eyes of an artist. The America Sandburg wants us to remember is a simple observation of America where nature is as important as the common work.  The worker is focused more in Sandburg's poetry, because he was more immersed with situations of the workforce (Hoffman 4).  In the poem, "Masses", he tells us of a journey where he observers things such as, "Great men, pageants of war and labor, soldiers and workers,/ mothers lifting their children--these all I touched, and felt the solemn thrill of them" (Exploring 11). These observations tie in with all his other themes: nature, man, work, and hardships.  The hardships are so lovely compared in his poetry to nature, which causes you to think in a way you didn't think was possible (Allen Fire 8).  Sandburg's poetry has opened many doors for the common man, because of his influenced and feelings toward America's higher powers.  The influence that he has created on the upper-class and on the era of the 1930's has giving many people hope.

The free-structured artist, Sandburg, populates his poetry with ideas on how to express the idea of the common man working for nothing but his pursuit to happiness.  Though he grew up poor and under educated he became one of the most popular contemporary poet in the 19th century.  The focus towards the common man was sincere, but more with an observational side.  This observational side allowed him to see the workman and the common man in his natural setting, either in the city or in the country.  Threw these observations he has won acclaim and has influenced many.  He is a perfect explain of Americana, he should belong in your heart, your mind and your soul for he has created poetry at its finest.  His style was obtained through another American symbol, but his free-verse style has made a lasting mark by making the theme more effective.  The people that don't like Sandburg don't have a good reason why, and the people that like Sandburg don't even know why they like him.

Works Consulted

Allen, Gay W. "Carl Sandburg: Fire and Smoke." South Atlantic Quarterly. Spring, 1960: 315 - 31. <http://galenet.gale.com>.

Allen, Gay W. "Carl Sandburg." University of Minnesota Press. Spring, 1972:Contemporary Literary Criticism. Ed. Dedria Bryfonski. Vol. 10. Detroit: GaleResearch Inc. 1979.

"Carl Sandburg." Adventures in American Literature. Ed. Gerald Bighess. New York:Prentice Hall, 1987.

Conlin, Joseph. "Streessful Times Down Home." A People's History of the United States.New York: Houghten Publishing, 1981.

Crowder, Richard H. "Carl Sandburg: Overview." Refrence Guide to American

Literature. Spring, 1994: <http://galenet.gale.com>.

Duffey, Bernard. "Carl Sandburg and the Undetermind Land." The Centennial Review. Summer, 1979: 295-303. <http://galenet.gale.com>.

Hoffman, Daniel. "'Moonlight Dries No Mittens': Carl Sandburg Reconsidered." The Georgia Review. Summer, 1978: Contemporary Literary Criticism. Ed. Sharon Gunton. Vol. 15. Detroit. Gale Reasearch Inc. 1980.

Exploring Poetry. Gale Research, 1997.

Sandburg, Carl. Early Moon. New York: Harcourt, 1930.

Risjord, Norman K. "The Depression: Hoover to Roosevelt." America: A History of the

United States. New Jersey: Prentice - Hall Inc, 1985.

Williams, William C. "Carl Sandburg's Completed Poems." Selected Essays of William

Carlos Williams. Fall, 1954: Contemporary Literary Criticism. Ed. Sharon

Gunton. Vol. 15. Detroit. Gale Reasearch Inc. 1980.

197.          Casablanca

"Casablanca:" A New Perspective

Throughout history, the film industry has seen many directing styles and techniques. The early part of the 20th century saw a factory style of film production, but as the years went by, director's began to employ new and untried techniques in their pictures.  One such technique which these director's implemented was a new approach to the use of the camera and camera angles.  "Casablanca," an Academy Award winning film of 1942 saw director Michael Curtiz manipulate the camera in ways others had not.  He uses the close-up, point-of-view shot, and creative shot motivation methods in his film starring Humphrey Bogart and Ingrid Bergman, to create an American cinema classic.

The first camera technique Curtiz uses to help narrate the film is the close-up shot.  The close-up can effectively convey the story to the viewer without the use of excessive dialogue. In this instance, the viewer is introduced to the main character, Rick, through the use of the close-up.  The first scene in "Rick's Cafe," shows people gambling and making illegal deals to leave Casablanca.  An employee of the cafe bring a check to a man seated at a chess table to sign. The signature reads, "OK. Rick." By using this shot, the director makes clear to the reader, without any dialogue, that the man signing the check is Rick.  This technique, however, is just the first of many used by Curtiz.

The point-of-view shot is used by director Michael Curtiz to place the audience directly into the action.  By placing the camera at the exact location and height of the character, the viewer of the film is 'inserted' into the character's body, making the scene more personal.  Curtiz uses a slight variation of this type of camera placement when Capt. Renault and Rick are having a discussion about Victor Laslo's arrival in Casablanca.  The camera is placed just above and aft of Renault's shoulder.  The audience can now see Renault's body reactions, as well as having Renault's perspective on Rick's response.  In this episode, the point-of-view shot helps to set the viewer into the action, which will in turn motivate a better response from the viewer.

A third camera technique used by the director is not a camera angle, but is shot motivation.  Shot motivation creates a purpose for the camera to move to another action.  For example, as Major Strasse and his men enter Rick's cafe, the camera pans from left to right, following them. As the camera moves right, Rick is spotted sitting at a table and the camera stops.  This example of shot motivation, shows how one action can lead the camera to the beginning of another scene.  This technique of shot motivation is an effective one which is found in many current pictures as well.

The close-up, point-of-view shot and shot motivation technique help the director to narrate the film and to keep the audience more interested in the story.  Michael Curtiz uses these methods is "Casablaca" to add to this award winning film, and to make it a classic in America cinema.

198.          Catcher in the Rye

The Catcher in the Rye, starts off with the main character, Holden Caulfield being expelled from school once again.  Holden is a sixteen year old boy who has been expelled on numerous occasions from other schools.  This time he is being expelled from Pency Prep.  Before Holden goes home to his parents, he plans to spend a few days in New York.  His parents do not know of the expulsion, so he spends the weekend in a hotel.  Holden is a pretty strange kid who can always find a way to get himself into trouble.  Holden constantly talks about how he hates phony people and phony words.  He complains of how the head master Thurman of Pency Prep is a phony person.  Holden says he is the kind of guy who will treat you bad, but will act polite and nice to your parents when they visit.  Holden basically decides that almost everyone he meets in his life is a phony.  He even gets disgusted with the advertisement for Pency Prep.  The picture of the horse jumping over a fence is a false image in his opinion.  He says that he has never even seen a horse on the campus.  Holden is also very curious.  Of all things, he wonders where the ducks go when the pond freezes over in the park.  He loves his red hunting cap that he bought for a dollar.  The cap serves as his way to be an individual.  Stradtler is his roommate and they are fairly good friends.  Stradtler is two years older than him so he is always going out on dates and has to listen to Holden question him.  One time Stradtler goes out with one of Holden? long time friends, Jane Gallagher, and he has to listen to an earful from Holden.  Ackley is Holden? neighbor and they are all right friends.  Ackley is the kind of guy though who can get on anybody? nerves in a heart beat.  Ackley and Stradtler despise of each other and rarely talk.  Ackley is very nosy and Holden does not understand why he puts up with Ackley? nonsense.  Holden

has a dead brother Allie, an older brother D.B., who is a writer, and a younger sister Pheobe.  He does not talk much with D.B. and he really likes to ?hoot the bull?with his sister.  While in New York, Holden tries to get in touch with many of his former acquaintances.  He spends a couple of nights in some night clubs and one night with a prostitute.  After the night with the prostitute, Maurice the elevator man beats Holden up pretty bad.  This is the first time that Holden has ever stood up for himself.  Holden is the kind of person who lies naturally.  On a train, Holden sees his friend? mother and tries to impress her with vivid talk and telling lies.  Holden once again fails at becoming an adult.  He does not know how to act in the ?dult world.? Holden meets Sally Hayes, and takes her places, like the skating rink but all they ever do is argue.  Holden has a hard time expressing himself, and though he loves Sally, he manages a way ruin things.  He consults one of his friends Carl Luce, who is an expert at sex, but not at love.  Carl suggests that Holden under go psychoanalysis.  With too much time on his hands before he must break the news to his parents, he has the urge to talk with Pheobe, so he sneaks into his house.  He wakes her up and they ?hoot the bull?for a while.  In their conversation, Holden says some really absurd things.  The most absurd thing he says is that he wants to be a catcher in the rye when he becomes older.  He wants to make sure kids do not fall over the cliff when they play.  The story ends with Holden visiting his sister? school, and going to the museum.  At the end of the book, Holden says he wishes he never told anyone about anything, because when one tells something to someone, one misses them.  Holden indeed missed everyone he talked to, including Maurice.

199.          Cathedrals of the 12th Century

For nearly four hundred years Gothic style dominated the architecture of Western Europe.

It originated in northern France in the twelfth century, and spread rapidly across England and the

Continent, invading the old Viking empire of Scandinavia.  It confronted the Byzantine provinces

of Central Europe and even made appearances in the near East and the Americas.  Gothic

architects designed town halls, royal palaces, courthouses, and hospitals.  They fortified cities and

castles to defend lands against invasion.  But it was in the service of the church, the most prolific

builder of the Middle Ages, that the Gothic style got its most meaningful expression, providing the

widest scope for the development of architectural ideas.1

Although by 1400 Gothic had become the universal style of building in the Western world,

its creative heartland was in northern France in an area stretching from the royal domain around

Paris, including Saint-Denis and Chartres, to the region of the Champagne in the east and

southward to Bourges.  Within this restricted area, in the series of cathedrals built in the course of

the 12th and 13th centuries, the major innovations of Gothic architecture took place.2

The supernatural character of medieval religious architecture was given a special form in

the Gothic church.  'Medieval man considered himself but an imperfect refraction of Divine Light

of God, Whose Temple stood on earth, according to the text of the dedication ritual, stood for the

Heavenly City of Jerusalem.'3  The Gothic interpretation of this point of view was a cathedral so

grand  that seems to belittle the man who enters it, for space, light, structure and the plastic effects

of the stonework are made to produce a visionary scale.   The result of the Gothic style is

distortion as there is no fixed set of  proportions in the parts.  Such architecture did not only

express the physical and spiritual needs of the Church, but also the general attitude of the people

of that time.  Gothic was not dark, massive, and contained like the older Romanesque style, but

light, open, and aerial, and its appearance in all parts of Europe had an enduring effect on the

outlook of succeeding generations.4

Gothic architecture evolved at a time of profound social and economic change in Western

Europe.  In the late eleventh and twelfth centuries trade and industry were revived, particularly in

northern Italy and Flanders, and a lively commerce brought about better communications, not only

between neighboring towns but also between far-distant regions.    Politically, the twelfth century

was also the time of the expansion and consolidation of the State.  Along with political and

economic developments, a powerful new intellectual movement arose that was stimulated by the

translation of ancient authors from Greek and Arabic into Latin, and a new literature came into

being.  Gothic architecture both contributed to these changes and was affected by them.5

The Gothic style was essentially urban.  The cathedrals of course were all situated in

towns, and most monasteries,  had by the twelfth century become centers of communities which

possessed many of the functions of civic life.   The cathedral or abbey church was the building in

which the people congregated on major feast days.  It  saw the start and the end of splendid and

colorful ceremonies, and it held the earliest dramatic performances.   The abbey traditionally

comprised at least a cloister, a dormitory and a refectory for the monks.  But the cathedral also

was around a complex of buildings, the bishop's palace, a cloister and the house of canons, a

school, a prison, and a hospital.  However the cathedral dominated them all, rising high above the

town like a marker to be seen from afar.6

The architectural needs of the Church were expressed in both physical and iconographical

terms.  Like its Romanesque predecessor, the Gothic cathedral was eminently adaptable.  It could

be planned larger or smaller, longer or shorter, with or without transepts and ambulatory,

according to the traditions and desires of each community.  It had no predetermined proportions or

number of parts, like the Roman temple or the centrally planned church of the Renaissance.  Its

social and liturgical obligations demanded a main altar at the end of a choir where the chapter and

the various  dignitaries would be seated, a number of minor altars, and an area for processions

within the building.7  There were rarely more than about two hundred persons participating in the

service, even though the smallest Gothic cathedral could easily contain that number.  The rest of

the building simply supplemented this core and provided space for the laity, who were not

permitted to enter the choir or sanctuary.  Still, after the middle of the twelfth century, the choir

was usually isolated by a monumental screen that effectively prevented laymen from even seeing

the service, and special devotional books came into use to supply the congregation with suitable

subjects of meditation during mass.8

The program of the Gothic church fulfilled iconographical as well as social requirements.

The intellectual centers of the Middle Ages had long been associated with the Church, and the

tradition of learning that had been preserved in monastic and cathedral schools gave rise to

universities such as Paris and Oxford in the late twelfth and thirteenth centuries.  Such an

association obviously had an effect on the arts, which were still primarily religious in nature.

Scholarly clerics, for instance, were appointed to arrange the intricate, theological programs for

the sculpture and the stained glass that decorated the church.  The relationship is thought by some

historians to have been even closer, for scholastic thinking first took shape in Paris early in the

twelfth century, at the very time that Gothic architecture came into being there.  It is possible that

architects, who were 'abstract' thinkers in their own right, may occasionally have absorbed some

of the habits of thought of the philosophers.  In the absence of written documents, however, it

cannot be proved whether these habits  were consistently embodied in the design of the buildings.9

The Gothic age, as has often been observed, was an age of vision.  The supernatural

manifested itself to the senses.  In the religious life of the twelfth and thirteenth centuries, the

desire to behold sacred reality with bodily eyes appeared as the dominant theme.  Architecture

was designed and experienced as a representation of an ultimate reality.10  The Gothic cathedral

was originated in the religious experience and in the political and even physical realities, of

twelfth-century France.  It was described as an illusionistic image of the Celestial City as evoked

in the Book of Revelation.  The essence of Gothic style was most fully developed in its conquest

of space and its creation of a prodigious, visionary scale in the cathedrals of the twelfth century.11

Bibliography

Branner, Robert.  The Great Ages of World Architecture: Gothic Architecture.  New York:

George Braziller,  1967.

Gimpel, Jean.  The Cathedral Builders.  New York: Grove Press, 1983.

Mitchell, Ann.  Great Buildings of the World: Cathedrals of Europe.  Feltham: The Hamlyn

Publishing Group,  1968.

Panofsky, E.  Gothic Architecture and Scholasticism.  Latrobe: Faber and Faber Limited, 1951.

Simson, Otto von.  The Gothic Cathedral.  New York: Bollingen Foundation,  1956.

Worringer, Wilhelm.  Form In Gothic.  New York: Alec Tiranti Limited,  1957.

200.          Caves

The video I reviewed was a National Geographic film called Mysteries Underground.

This video was about extraordinary sites there are to see in underground caves.  You traveled

along with cave explorers and got to see all the beautiful untouched natural formations such as

gypsum chandeliers, gnarled calcite columns, and jewel-like lakes.  It showed and talked about all

the careful proceders the cave explorers go through.  It also talked about how the formations

were made over such a long time.

I learned many interesting things that would never seem possible.  In the world's new

most exotic ,Lechuguilla, cave there lied water so clean and clear that the cave explorers were

forced to take all there clothes off  before they swam acrossed it because the littlest dirt from any

clothing would contaminate the pureness of the water.  All the cave explorers are very cautious as

to what they touch or where they step because some of the crystal formations are so fragile that

the slightest vibration from a voice or a footstep could ruin millions of years of forming.  In some

parts of caves there are giant and very smooth ice formations that must be slid down very

carefully because if they are not taken cautiously you will pick up to much speed while sliding and

finally hit some kind of stone wall or something.  One lady was not careful enough and boy did

she pay.  She was only a mile and a half or so in the cave and she broke her leg.  It took almost

five days to get who to the surface of the cave where she could be attended to.  Also I found out

that caves were much larger then I had originally thought.  The largest cave now, Mammoth

Cave, is over 200 miles long.  And if you are exploring a cave being miles and miles from the

entrance it is very important that you be careful because if you break your leg that far from the

entrance it would probably take  months to get you out safely.  One safety precaution I learned

was that when the explorers are traveling through cold water they must make sure they don't get

their upperbody wet because that will cause them to freeze and get many sicknesses that are

caused by the cold.  One thing that I found interesting was that with the technology today you

would think that we would have all the caves discovered and explored.  We aren't close at all.  In

fact some caves have been being explored for years and there is still no end in sight.  That just

goes to show that there is still much more to learn and discover.

I would recommend this video to anyone who is fascinated by the amazing things mother

nature can create.  This one hour video will give you a lifetime of information.  It reminds you

that anything is possible and to keep an open mind.  You would enjoy this video because it is most

of the very rare film footage ever made on some of the amazing formations.  Since no other films

or shows are out there like this one, everything they say and show you is new, so you learn a

great amount.

Friedberg, L (Producer), & Friedberg, L (Director). (1992). National Geographic Video:

Mysteries Underground [Videotape]. (Available from National Geographic Society).

201.          CENSORSHIP WHO GIVES A FK

Brad Miska

Period 8 English

CENSORSHIP...Who gives a F**k!!!

My life has been nothing but censorship since the time I was born. When I was very young and lived in Chicago there were all sorts of interesting things around to play with. My parents physically censored me by putting me in "baby prison." They felt that certain things needed to be censored from me because of their potential danger. So I was kept out of harms way in the playpen or crib. As I grew older and was no longer watched by my parents 24 hours a day, I realized that I was censored by others.  In school, it was constantly no to this and no to that.  All that negativity is not good for children, all day long.  It was always interesting to me as to why we recited the pledge of allegiance in school, what if you are not American? I also was not allowed to watch the news. My parents felt it was "real violence", and not appropriate for me, that was parental censorship. When I was old enough to go out with my friends I became confused when  my parents said I could see an "PG-13" rated movie but the theater wouldn't let me in. When I argued that "my parents said I could go see it!!", the theater management always said things like I need to be 13 or must be accompanied by a parent and so on. I then proposed this question, my parents said I could see it, now why can't I see it?  The answer to that question is the government doesn't think I am old enough. My mom said live with it, there is nothing you can do. I think that made me more inquisitive.

That was just the beginning, I was too young to go on certain rides and too young to go into stores like Sharper Image and I was too young to purchase the music that I really enjoyed.  When I was able to get my hands on a Compact Disc I had wanted, it sometimes had a "Explicit Lyrics" warning sticker on it. I would go home, listen and enjoy only to get lectured by my parents.  They said things such as; you can't have anything that contains profanity, or any type of objectionable material. "Then again I am only going to encounter it in the real world!!!", I would reply. Obviously there are many different views to take on this issue, and I knew there was a long and difficult battle ahead of me until I was 18.

I contend that censoring music is a necessary evil but, it should be allowed to a minimal degree. Instead it is the parents that need to be the censor for their children. With proper "tools", such as Advisory stickers, I believe parents can effectively control objectional material in they household. Also there is much controversy on whether or not the government is playing the part of the parent.

A Censor, from the Latin word censere, to judge,  is an official with the power to examine literature, mail, etc. and remove or prohibit anything considered obscene, objectionable, etc.-to subject to censorship. What a censor edits, might violate the First Amendment.  The First Amendment to the Constitution of the United States of America states that "Congress shall make no law respecting an establishment of religion, or prohibiting the free exercise thereof; or abridging the freedom of speech, or of the press; or the right of the people peaceably to assemble, and to petition the government for a redress of grievances."  In my opinion and the opinion of countless others, censorship is unconstitutional. The general wording in the First Amendment allows many different interpretations. Because of these various interpretations, ProCensorship and Anticensorship organizations/factions have formed. One of the most powerful groups you want on your side for anti-censorship is the American Civil Liberties Union (ACLU).  From 1925 to the present, the ACLU "has been on the forefront of the fight to protect constitutional freedoms through the court systems." 

Legislation has been proposed for the prevention of explicit lyrics with a multitude of bills never passing or if they had, not being enforced. In the state of Washington there was a law passed called "The Erotic Music Bill." This 1992 law stated that store owners had to place an "adult only" label on certain recordings.  It was also stated that it was a crime for anyone to sell a CD or tape that had an "adult only" label on it to a person under the age of eighteen." The law was passed but was never put into effect because the State Court declared it Unconstitutional, violating the First Amendment to The Constitution of the United States.  That is just an example of why restricting the sale of controversial music or video will never work! Pro-censorship groups are lobbying for legislation to attempt to censor music right now. In Montana, lawmakers are trying make some money on so-called obscene music/art by fining up to $50,000 and 10 years in prison for purchasing and selling music that has the "sticker" on it. In Pennsylvania, they want you to be at least 18 years  old to purchase a CD with explicit lyrics and being caught could get you up to 25 hours of community service. In South Carolina, the retailer would get fined for a third offense which is considered a felony which is up to $2000 and five years in jail.

The Parent's Music Resource Center (P.M.R.C.) does not want recordings that include topics of sexuality, violence, drug or alcohol abuse, and suicide to be produced. They also want store owners to be punished if they produce or sell any music that contains these previous topics. Many people think it objectionable to have unlabeled CDs available to parents and children. Tipper Gore is the leader of the P.M.R.C and is working non-stop to get censorship into effect in conjunction with the RIAA (Recording Industry Association of America). The issue of censorship was pushed constantly by PMRC so that the RIAA, as a compromise, made up a sticker in 1990,  that warned of obscenities in musician's lyrics. The "Parental Advisory-Explicit Lyrics" sticker also known as "Tipper Stickers", was introduced but that still wasn't good enough for Tipper Gore and her P.M.R.C. It is also the belief that the stickers make children more curious and then they want them more, but there is no evidence supporting that yet. The P.M.R.C. seem to think that parents can't do the job of parenting, They want more than the "Tipper Sticker", they want all obscenities vanquished from the face of the planet.  They think that if they continue to push, they will win. The government obviously doesn't think it will work, even if a law does pass, it would be repealed because it would be unconstitutional. The FCC (Federal Communications Committee), created in 1934 to regulate communication by radio, wire and cable, has fined many bands and radio stations for profanity used on the air. They are being hassled by groups such as the P.M.R.C. who feel a much larger fine would decrease the use of profanity.

Not everyone believed in the P.M.R.C. In 1989, ROC (Rock Out Censorship) was founded and they began to set up booths, with the approval of the band management, at concerts to educate the music fans about what is going on with all of the censorship battles. In 1992, they gathered more than 35,000 signatures in a bold attempt to remove the warning labels, and now have well over 50,000 signatures. They have sent numerous letters to MTV and radio stations in hopes of getting support for their cause. Here is a great quote from a letter to MTV from ROC-"..The Government Subcommittee basically told the industry that "either you clean up your industry, or we'll [the Government] clean it up for you". This is hardly the language of a voluntary system. It is the language of censorship. It is not voluntary when you are put under the barrel of a gun....Today the censors target violence and sex, tomorrow it will be opposing political thoughts."  ROC contends that the First Amendment states there is freedom of speech, so it's wrong to censor.  They will continue to fight the "Tipper Sticker" and censorship. They will go as far as the P.M.R.C. will go, but in the other direction.

The ROC members are not the only ones who are against censorship and the P.M.R.C., bands such as Megadeth write songs showing their view. They wrote a song against censorship called "Hook in Mouth" on their CD called So Far So Good So What.  Here are some lines from the song, "Hook in Mouth", "A little man with a big eraser, changing history...Altering facts and figures, events and every issue...Rewrites every story, every poem that ever was...Replacing rights with wrongs...You say you've got the answers, well who asked you anyway? Ever think it was meant to be this way?" These lines show they are against Censorship. The next lines which are the chorus are really interesting, "F, is for fighting, R is red, ancestor's blood in battles they've shed. E, we elect them, E, we eject them, in the land of the free, and the home of the brave. D, is for your dying, O, your overture, M is for money and you know what that cures. This spells out FREEDOM, it means nothing to me, as long as there is a P.M.R.C....IM not a fish, IM a man, Hook in mouth!!!!!!!" They believe that the P.M.R.C. takes away our freedom and we are caught on their "Hook". I really like this song. Soundgarden had things to say as well.  Soundgarden's Matt Cameron interviewed by Angie Beardslee in the Rock Out Censorship Website in 1996 said he feels censorship is un-American. He also was very clear on his opinion that "Every kind of music is art. Music is art!" Kids have been put right in the middle of this mess.

Who are their parents? Most children were raised by their parents, who fed them, clothed them and took them to the park. So who bought the kids their CD's before they were old enough to buy them themselves? Their parents did. That is why kids feel that if something is going to be censored from them, it should be done by their parents. They say that the Government gave us the freedom, now they shouldn't try and take it back.  The kids are always hit with the thought that they buy CD's for the Lyrics. They say that they don't purchase the music for the lyrics, they buy it for the music, but when they mess with the words it messes with the full version of the song, it is considered art and should not be tampered with. When a authority figure censors something, not only does it affect the "art" but it affects the enjoyment of the music as well. The

government is acting as the parent of all of the children out there. Is it necessary to tell the parents that they aren't doing a good job raising their children? There are parents on both sides of this issue. Is it true that many parents can't control their children and need help by government? Kids say that it should be the parents job. It is proven that the way a child will act as an adult is not only because of the way they were brought up, but also by the environment in which they were raised. Music, wel

202.          Censorship

Censorship...Who gives a F**k!!!

Brad Miska

Period 8 English

My life has been nothing but censorship since the time I was born. When

I was very young and lived in Chicago there were all sorts of interesting things

around to play with. My parents physically censored me by putting me in "baby

prison." They felt that certain things needed to be censored from me because of

their potential danger. So I was kept out of harms way in the playpen or crib.

As I grew older and was no longer watched by my parents 24 hours a day, I

realized that I was censored by others.  In school, it was constantly no to this

and no to that.  All that negativity is not good for children, all day long.  It

was always interesting to me as to why we recited the pledge of allegiance in

school, what if you are not American? I also was not allowed to watch the news.

My parents felt it was "real violence", and not appropriate for me, that was

parental censorship. When I was old enough to go out with my friends I became

confused when  my parents said I could see an "PG-13" rated movie but the

theater wouldn't let me in. When I argued that "my parents said I could go see

it!!", the theater management always said things like I need to be 13 or must be

accompanied by a parent and so on. I then proposed this question, my parents

said I could see it, now why can't I see it?  The answer to that question is the

government doesn't think I am old enough. My mom said live with it, there is

nothing you can do. I think that made me more inquisitive.

That was just the beginning, I was too young to go on certain rides and

too young to go into stores like Sharper Image and I was too young to purchase

the music that I really enjoyed.  When I was able to get my hands on a Compact

Disc I had wanted, it sometimes had a "Explicit Lyrics" warning sticker on it. I

would go home, listen and enjoy only to get lectured by my parents.  They said

things such as; you can't have anything that contains profanity, or any type of

objectionable material. "Then again I am only going to encounter it in the real

world!!!", I would reply. Obviously there are many different views to take on

this issue, and I knew there was a long and difficult battle ahead of me until I

was 18.

I contend that censoring music is a necessary evil but, it should be

allowed to a minimal degree. Instead it is the parents that need to be the

censor for their children. With proper "tools", such as Advisory stickers, I

believe parents can effectively control objectional material in they household.

Also there is much controversy on whether or not the government is playing the

part of the parent.

A Censor, from the Latin word censere, to judge,  is an official with

the power to examine literature, mail, etc. and remove or prohibit anything

considered obscene, objectionable, etc.-to subject to censorship. What a censor

edits, might violate the First Amendment.  The First Amendment to the

Constitution of the United States of America states that "Congress shall make no

law respecting an establishment of religion, or prohibiting the free exercise

thereof; or abridging the freedom of speech, or of the press; or the right of

the people peaceably to assemble, and to petition the government for a redress

of grievances."  In my opinion and the opinion of countless others, censorship

is unconstitutional. The general wording in the First Amendment allows many

different interpretations. Because of these various interpretations,

ProCensorship and Anticensorship organizations/factions have formed. One of the

most powerful groups you want on your side for anti-censorship is the American

Civil Liberties Union (ACLU).  From 1925 to the present, the ACLU "has been on

the forefront of the fight to protect constitutional freedoms through the court

systems." 

Legislation has been proposed for the prevention of explicit lyrics with

a multitude of bills never passing or if they had, not being enforced. In the

state of Washington there was a law passed called "The Erotic Music Bill." This

1992 law stated that store owners had to place an "adult only" label on certain

recordings.  It was also stated that it was a crime for anyone to sell a CD or

tape that had an "adult only" label on it to a person under the age of

eighteen." The law was passed but was never put into effect because the State

Court declared it Unconstitutional, violating the First Amendment to The

Constitution of the United States.  That is just an example of why restricting

the sale of controversial music or video will never work! Pro-censorship groups

are lobbying for legislation to attempt to censor music right now. In Montana,

lawmakers are trying make some money on so-called obscene music/art by fining up

to $50,000 and 10 years in prison for purchasing and selling music that has the

"sticker" on it. In Pennsylvania, they want you to be at least 18 years  old to

purchase a CD with explicit lyrics and being caught could get you up to 25 hours

of community service. In South Carolina, the retailer would get fined for a

third offense which is considered a felony which is up to $2000 and five years

in jail.

The Parent's Music Resource Center (P.M.R.C.) does not want recordings

that include topics of sexuality, violence, drug or alcohol abuse, and suicide

to be produced. They also want store owners to be punished if they produce or

sell any music that contains these previous topics. Many people think it

objectionable to have unlabeled CDs available to parents and children. Tipper

Gore is the leader of the P.M.R.C and is working non-stop to get censorship into

effect in conjunction with the RIAA (Recording Industry Association of America).

The issue of censorship was pushed constantly by PMRC so that the RIAA, as a

compromise, made up a sticker in 1990,  that warned of obscenities in musician's

lyrics. The "Parental Advisory-Explicit Lyrics" sticker also known as "Tipper

Stickers", was introduced but that still wasn't good enough for Tipper Gore and

her P.M.R.C. It is also the belief that the stickers make children more curious

and then they want them more, but there is no evidence supporting that yet. The

P.M.R.C. seem to think that parents can't do the job of parenting, They want

more than the "Tipper Sticker", they want all obscenities vanquished from the

face of the planet.  They think that if they continue to push, they will win.

The government obviously doesn't think it will work, even if a law does pass, it

would be repealed because it would be unconstitutional. The FCC (Federal

Communications Committee), created in 1934 to regulate communication by radio,

wire and cable, has fined many bands and radio stations for profanity used on

the air. They are being hassled by groups such as the P.M.R.C. who feel a much

larger fine would decrease the use of profanity.

Not everyone believed in the P.M.R.C. In 1989, ROC (Rock Out Censorship)

was founded and they began to set up booths, with the approval of the band

management, at concerts to educate the music fans about what is going on with

all of the censorship battles. In 1992, they gathered more than 35,000

signatures in a bold attempt to remove the warning labels, and now have well

over 50,000 signatures. They have sent numerous letters to MTV and radio

stations in hopes of getting support for their cause. Here is a great quote from

a letter to MTV from ROC-"..The Government Subcommittee basically told the

industry that "either you clean up your industry, or we'll [the Government]

clean it up for you". This is hardly the language of a voluntary system. It is

the language of censorship. It is not voluntary when you are put under the

barrel of a gun....Today the censors target violence and sex, tomorrow it will

be opposing political thoughts."  ROC contends that the First Amendment states

there is freedom of speech, so it's wrong to censor.  They will continue to

fight the "Tipper Sticker" and censorship. They will go as far as the P.M.R.C.

will go, but in the other direction.

The ROC members are not the only ones who are against censorship and the

P.M.R.C., bands such as Megadeth write songs showing their view. They wrote a

song against censorship called "Hook in Mouth" on their CD called So Far So Good

So What.  Here are some lines from the song, "Hook in Mouth", "A little man with

a big eraser, changing history...Altering facts and figures, events and every

issue...Rewrites every story, every poem that ever was...Replacing rights with

wrongs...You say you've got the answers, well who asked you anyway? Ever think

it was meant to be this way?" These lines show they are against Censorship. The

next lines which are the chorus are really interesting, "F, is for fighting, R

is red, ancestor's blood in battles they've shed. E, we elect them, E, we eject

them, in the land of the free, and the home of the brave. D, is for your dying,

O, your overture, M is for money and you know what that cures. This spells out

FREEDOM, it means nothing to me, as long as there is a P.M.R.C....IM not a fish,

IM a man, Hook in mouth!!!!!!!" They believe that the P.M.R.C. takes away our

freedom and we are caught on their "Hook". I really like this song. Soundgarden

had things to say as well.  Soundgarden's Matt Cameron interviewed by Angie

Beardslee in the Rock Out Censorship Website in 1996 said he feels censorship is

un-American. He also was very clear on his opinion that "Every kind of music is

art. Music is art!" Kids have been put right in the middle of this mess.

Who are their parents? Most children were raised by their parents, who

fed them, clothed them and took them to the park. So who bought the kids their

CD's before they were old enough to buy them themselves? Their parents did. That

is why kids feel that if something is going to be censored from them, it should

be done by their parents. They say that the Government gave us the freedom, now

they shouldn't try and take it back.  The kids are always hit with the thought

that they buy CD's for the Lyrics. They say that they don't purchase the music

for the lyrics, they buy it for the music, but when they mess with the words it

messes with the full version of the song, it is considered art and should not be

tampered with. When a authority figure censors something, not only does it

affect the "art" but it affects the enjoyment of the music as well. The

government is acting as the parent of all of the children out there. Is it

necessary to tell the parents that they aren't doing a good job raising their

children? There are parents on both sides of this issue. Is it true that many

parents can't control their children and need help by government? Kids say that

it should be the parents job. It is proven that the way a child will act as an

adult is not only because of the way they were brought up, but also by the

environment in which they were raised. Music, wel

203.          Ceremony

The novel Ceremony, written by Leslie Silko deals with the actions of a Native American youth after fighting, and being held captive during World War II. The young mans name is Tayo and upon returning to the U.S., and eventually reservation life he has many feelings of estrangement and apathy towards society. The novel discusses many topics pertaining to Native Americans, through the eyes of Tayo and

a few female characters. The novel is one that you must decide for yourself what you believe, and why certain ideas or characters points of view are important.

When reading the novel Ceremony, you must decide what you actually believe, and what situations were only figments of Tayo's stressed mind. Many of these situations occur throughout the book, some are very clear and others have hidden meanings. On a whole I believed what Tayo had to say about the world from his shoes. There are certain instinces that I know what Tayo is seeing is completely impossible a

In Ceremony one must decide why and how the women's perspective is of importance. I believe the reason the women's view is to put a different perspective upon everything that goes on in the book, as compared with the perspective of Tayo. There are two women in the book who put their perspective into the story, one of them is the elderly mistress of Josiah and the other one is Helen Jean who went on one of the many joyrides that Harley and the others went on. These women are actually just a way for the author to explain how the rest of society viewed Tayo. An example of this is when Helen Jean describes Tayo "Too quiet, and not very friendly(161)". Another thing this allows the author to do is to show how the War affected the young women from the reservations. She is able to show you how Helen Jeans life was in just a few pages. Silko was able to show how the Native American war veterans looked to anyone who happened to look upon them, but that wasn't one of them. The perspective of the women also helped to debunk a lot of the stories the men told about the war and their various conquests etc.

Another item for discussion that comes up in Ceremony is what did you as a reader actually learn? Well I learned many things that I found to be interesting, and that I had not known previously. One of these many things that I learned was the fact that during World War II, white America actually "accepted" Native Americans into its culture. White women slept with the Native Americans, as if they were any other military personnel. Even the elderly of society (who are often the most prejudiced) began to come around and accept the Native Americans into society. But this was short lived, once the war was over (and there usefulness to the army) they were returned to the reservation and quickly forgotten by white society.

204.          Character Analysis for The Portable Phonograph

1-29-97

Essay #2: Character Analysis for The Portable Phonograph

Walter Van Tilburg Clark's short story, The Portable Phonograph, is a

tale about the last survivors in the world after the total destruction of a war.

The author gives clues and hints of this throughout the beginning by writing in

a narative voice and describing the scene in dark war-like terms. The

characters are then introduced as a group of men huddled around a fire. The

older of the men, Doctor Jenkins,  is the leader and his character is full of

personality that can be analyzed by the reader.  He is the owner of the shelter

that they meet in. This paper will point out the different aspects of the old

man in this story and state conclusions that can be drawn from them.

The men in this story are obviously amused by the slightest little things.

They occupy themselves through book readings from a collection that one

man has. Each of the men has their contribution to the group and together

they endure a time of devastation by entertaining each other. The older man

has a record player that he brings out once a week for the listening pleasure

of the group. He is very proud of this treasure. It has sustained through these

hard times just as he has and he limits his use of it to make it last. He owns

only three steel needles and he gets one out to use because on this particular

occasion, their is a musician visitor with them. The other men act as excited

as children. They listen to the record and then leave the doctor's house.

Doctor Jenkins is nervous and suspicious at the end of the story when

the other men leave. "With nervous hands he lowered the piece of canvas

which served as his door, and pegged it at the bottom. Then quickly quietly,

looking at the piece of canvas frequently, he slipped the records in the case..."

(Clark, page 241).  He feels that "everything he has" is at risk with the greed

that a time like this could produce in the other men. He is secure and

comfortable with the things that he has and he doesn't trust the others. He

then hides his treasures away in a safe place after they leave. As he gets into

his bed he feels the "comfortable piece of lead pipe" with his hand. The

doctor has no problem resorting to violence and that actually makes him feel

more comfortable.

The greed that the doctor sees in the others is a reflection of the

feelings and thoughts that he himself has. His views are distorted through his

thick shell and he sees himself in the men. He invites them back every week,

it seems, so it is quite possibly that his possessions do not make him as happy

as the company he receives every week.

The contrast between the happiness that the men get from his musical

device and the lack of fulfillment this provides for him is interesting. In the

world that this story describes, the reader expects the the doctor to be happy

with all that he has. As the story unfolds, you gain an understanding of the

feelings behind his possessions.

Doctor Jenkins is a normal character. His feelings are presented in a

real manner. The reader can conclude that his personality is not unlike anyone

else. What he sees is influenced by the way he is and how he feels. He views

things in a way that ultimately makes his feelings of suspicion and greed

stronger. Therefore never breaking the cycle of how he judges those around

him.

205.          Character Sketch of John Proctor

John Proctor

A character is an elaborate  blend of emotions and characteristics. Even though the character's emotions are significant because they make an individual feel for the character may it be sympathy or anger. The characteristics are very also important because they make the character. They describe the character's nature even if they are good hearted or if they are evil incarnate. Many times there is one word that can single-handedly describe the character's reaction or behavior toward some other anomaly. In John Proctor's case the word that illustrates him in entirety is ethical.

Bravery is a trait that suits John Proctor well. When Proctor tried to convince everyone that the girls were lying, was an instance of bravery because children were thought of as the vice of god and they were pure of blemishes. Proctor also fought the court trying to keep them from convicting his spouse even though nobody else would dare to do. Another quality that made him brave was when he confessed to the court that he had an affair with Abigail just to save his life.

That John Proctor is brave, is obvious but ha can also be very extreme at some times. An instance of Proctor's extremity was when he shouted, 'I say - I say - God is dead!'(Pg. 119), and that he will see all of them burn in hell. That statement implied to the court that Proctor worshipped the Devil and committed perjury. When Proctor tore the warrant issued for the arrest of Elizabeth showed his ability to defy the court and in a way his religion because the court was controlled by religion. Keeping Mary Warren from court was extreme because he was keeping her from doing her duty and from feeling important for the first time.

Even if one is brave or extreme, doesn't mean that they cannot be dignified too. Proctor acted dignified when he tries to please his wife in every way after he admitted to having an affair with Abigail. He did this by doing what she said and not complaining and acting nice and calm. He also exhibits dignity when he signs the confession and then later tears it up. This showed that he cared more about his belief than he did about his life. By not buckling under pressure, Proctor was able to refuse to give into Danforth's and Abigail's power of persuasion, which showed a great deal of dignity.

It is certain then that Proctor is an individual of many characteristics but only one stands out, that is that he is ethical. Due to being ethical he is also brave, extreme, and dignified. These characteristics tend to make a good character.

206.          Characterization of Uncle Henry

Characterization of Uncle Henry

This characterization of Uncle Henry focuses on the two main ways that he is portrayed in "Luke Baldwin's Vow."  These two ways are: what Morley Callaghan, the author, reveals through the narrator and what other characters say about Henry.  In this short story, Henry is usual referred to as Uncle Henry because he is Luke's uncle.

The narrator of this story portrays Henry in many physical and psychological descriptions.  He is the manager of a sawmill, where  he employs four men.  When working in his sawmill or anywhere else for that matter, he never wastes anything, big or small. Henry is very organized when it comes to the business of running his sawmill.  He even keeps a little black book to record every single transaction of the sawmill.  Henry is big and burly, weighing in at more than two hundred and thirty pounds.  He has a black, rough-skinned face.  Luke's uncle is said to look like a powerful man, but his health is not good.  Henry has aches and pains in his back and shoulders, which his doctor cannot explain.  He is respected by his family and friends, and no one ever disobeys him.  Uncle Henry thinks that everything has to have a specific purpose.  For example, he thinks that his old dog, Dan, is ". . . not much good even for a watchdog now," and  is ". . . no good for hunting either."  The narrator's description of Henry is so well done that one can picture him in one's mind or even compare him to someone in one's day to day life.

The second main way that Henry is portrayed throughout "Luke Baldwin's Vow" is what other characters say about Henry.  In this story Henry has a wife named Helena.  She says that her husband is "wonderfully practical."  Helena also says that Henry takes care of everything in a sensible and easy way; therefore, that would make him an efficient worker.  Secondly, Luke, Henry's nephew, looks up to him as a role model.  One reason that Luke does this is because "he had promised his dying father he would try to learn things from his uncle"; so he watches him very carefully.  Finally, Mr Kemp, Henry's neighbour, says that he is a practical and straightforward man.  The other characters in this short story describe Henry just as well, but not as thoroughly as the narrator.

207.          Charles Foster Kane Who Was he

Charles Foster Kane -  Who Was He?

The story of Citizen Kane drew many people to the theatres since they wanted to find out who this Kane fellow is or was.  It is unarguably one of the best films ever produced.  Orson Wells portrays Kane as mysterious person but also a sad person. The different accounts are shown throughout the movie through the reporter wanting to find out who or what Rosebud is.  Rosebud was Kane's last dying words.

The first person the reporter Jerry Thompson sees is the owner of Walter Parks Thatcher's estate and holdings.  Thatcher is long dead and who? visits his library and is allowed to inspect the financier's memoirs in manuscript. Through Thatcher's words we see Kane as a boy playing with his sled on a snow-swept Colorado farm. Through his mother, the boy has just inherited a great fortune. Unable to settle his bill, a prospector who boarded with the Kanes left behind stock certificates that make Mrs. Kane  the sole owner of one of the world's great silver mines. She then makes her son the ward of the bank that administers her estate, and Thatcher, whom the angry young Kane bashes with a sled, takes the boy East to be raised.  The movie then shows Kane growing up, making life miserable for Thatcher. The mature Kane decides to take direct control of a small, struggling newspaper, and immediately begins using it to attack Thatcher  and others among America's financial elite.  This displays the mystery with Kane as he wants to expand on something small into something big, but we don't know what.

The next account was given by Bernstein, Kane's devoted assistant.   He explains the beginnings as a newspaper czar and his takeover of the New York Enquirer, in which he fired its editor, hired an expensive, top-notch staff, and enlisted his college friend Jedediah Leland  as the drama critic. Kane is at first a crusader for the understanding, opening his first editorial with a "declaration of principles." He becomes a champion of the little person, hyping his circulation with juicy scandals, crime exposes, etc. In a surprise move Kane marries Emily Norton, the president's niece.  For the first time here we see Kane starting a love story.  However this wasn't to last and it paved the way for the second-love.

The reporter then visits a half-drunk Susan Alexander in a nightclub.  She recalls her meeting and eventual affair with the married Kane and their discovery by Leland, who is led to their love nest by Kane's political rival, "Big Jim" Gettys. Until that point, Kane is heavily favored to defeat Gettys in an upcoming senatorial election, but Gettys warns that unless the publisher withdraws from the race, he'll take the story to the media. Furious, Kane refuses, and the following day his political aspirations are dashed by newspaper accounts. He does not have to deal with an ugly divorce, however, since his wife and son are killed in an auto accident.   It seems that the love story began to intensify at this point since his first wife was now dead and he begins a new love with Alexander.  However, Kane had to realize that her singing talents were not the best and despite building Xanadu their lives would become miserable and hapless.

At the conclusion,  we find out what Rosebud was and how Kane's last requests were not fulfilled.  He was betrayed by all and no one cared for the last wish.  By the end, we can see Kane as a depressed, unsatisfied man brought up with power and greed but no love.  Overall Citizen Kane was a mysterious man with ambitions to become famous, a lover to things and people, and a sad man without satisfaction in life.

208.          Charlies Angels

Thomas Kim The film, "Charlie's Angels" was a visually motivated movie. This film fit under the genre of action/comedy. The action and camera work moved the story forward while keeping the audience attentive. The primary characters were Dylan, a rebellious tomboy, Natalie, a ditzy encyclopedia, Alex, a no nonsense achiever and Eric Nox, a criminal mastermind. Dylan, Natalie and Alex are the main protagonists who work as detectives for a mysterious figure known as Charlie. Dylan's motivation is her yearning to have a father figure, which ultimately leads her to protect her boss, Charlie. Natalie and Alex's motivations are tied to Dylan's while Natalie is also searching for love and Alex is trying to open up to her boyfriend. Eric Nox's motivation is to have revenge for the death of his father. Our three heroines, Alex, Dylan and Natalie are highly trained super detectives who are hired to find a missing voice recognition computer program and the program's creator, Eric Nox. The three girls determine through some detective work that their main suspect is Nox's main competitor, Redstar Communications. The three go undercover and plant a link to Redstar's main computer network. They soon discover that they have been double crossed by Eric Nox who only used the girls to gain access to Redstar's communication satellites which he will use in conjunction with his voice recognition program to locate the elusive Charlie whom he blames for the death of his father. Bosley, the liaison between the girls and Charlie, is kidnapped in order to locate Charlie. The girls must now find Bosley and Eric Nox and prevent Eric from locating Charlie. The girls free Bosley but Eric Nox has already located Charlie and flies to kill him in an attack helicopter. Alex, Dylan and Natalie manage to get aboard the helicopter and reprogram the missile, which Eric Nox is planning on using to kill Charlie. The missile instead of destroying Charlie is diverted and kills Eric Nox instead. Charlie is saved and the girls go on vacation. The primary source of conflict is that the girls are pressed for time in locating Eric Nox before he locates Charlie. The need to protect Charlie is the main drive in the girls' actions. The characters were exposed through situations which revealed their inner beings. Dylan's mother died when she was young and she never had a chance to meet her father. The lack of a father figure creates a need for Dylan to protect the one father figure she has in Charlie. Natalie wants to find a good man who she can love. When she meets a man who understanding and supportive she wants everything to work out. Alex has not been completely honest with her boyfriend and she wants to open up to him. Eric Nox's father was killed while he was serving in the army. He believes that Charlie, who was best friends with Eric's father, killed him. Now he wants revenge. I give the movie one and a half thumbs up. The movie was entertaining albeit unrealistic. The action scenes were like eye candy. Through the use of slow motion, stop motion and intricate choreography the fight scenes are reminiscent of the antigravity duels in "The Matrix". The witty lines in the script, undoubtedly credited towards scribe, Ed Solomon, helped to alleviate the ridiculousness of the action scenes. Overall the movie's main goal is to entertain the eyes with a feast of special effects and chop-socky battles between the characters and the movie delivers with a flash-poppy eye candy film.

209.          Children and Television Essay

Children and Television

The children of America spend their time on many different activities.

One of the most time consuming activities is watching television.  Television

plays a large role in the social and emotional development of children today.

One good quality that television has is that it conveys information and

happenings around the world that they may not otherwise know about, but some

people have been questioning whether television does more harm than good.  Many

have been analyzing what affect violence in adult shows as well as children's

shows may have on children.

Most parents allow their children to watch so called "kid's shows"

without even thinking about what might be contained within them.  How many times

has a certain hunter been seen hunting a certain "wascally wabbit"?  Most people

would say "how can a cartoon about a man hunting affect a child?"  At first it

may seem that it has no effect, but, looking closer, it is easy to see that Bugs

Bunny has many human traits. Two of these traits are speaking English and

walking upright.  Something else that adds to this is that sometimes children

cannot make the distinction between fantasy and reality.  Quickly a cartoon

about a man hunting a rabbit can turn into a story of murder.    Another cartoon

character that may harm children is Yosimite Sam.  When he becomes angry, he

begins to fire his pair of guns into the air and at other characters.  This

could cause children to act violently to appease their anger.  This includes

hitting and throwing things.  This is an extreme view of the situation, but who

is to say that at least part of it is not true?

Children see violence everyday in their cartoons, but what about shows

that they watch in which people star.  These shows will more than likely cause

more violence than cartoons would.  While watching a show such as "Mighty

Morphin Power Rangers" a child sees almost 30 minutes of non-stop fighting.  The

show also has a fantasy story that appeals to children.  After watching the show,

a child may become bored because the reality of the television show is more

interesting.  The child then imitates what was seen on television.  This is

where the actual violence may begin.  Adult shows and movies that are seen by

children could have even worse effects than children's shows.  In one documented

case, a Californian boy that was seven years old watched a movie one night.  In

the movie, a man put glass into soup that a colleague of his was to eat.  The

very next night, the boy put crushed glass into the stew that his family was to

eat for supper.  He said that he wanted to know if it would do the same thing in

real life that it did on television.  The danger with violence on television

begins with imitation and escalates with experimentation.  This is an extreme

case, but it is a case.

Television violence is a major problem in our society.  Some people are

working to end it, others are simply ignoring it, hoping that will somehow go

away, and some people are trying to tell America that what a child sees on TV

will not affect him.  We must work to eliminate the problem now. Watching

cartoons on television may not make him grow up to be a cold-blooded murderer,

but the total impact of witnessing repeated acts of violence may slowly cause

our society to become more and more aggressive until there are too many killings

to list on the news and watching one while you walk down the street is a common

occurrence.  We will never actually be able to tell what the ultimate impact of

violence on television is until it actually happens, but will that be too late

for us to recover from it?  Only time will tell...

210.          CHildren and Television

Children and Television

The children of America spend their time on many different activities.

One of the most time consuming activities is watching television.  Television

plays a large role in the social and emotional development of children today.

One good quality that television has is that it conveys information and

happenings around the world that they may not otherwise know about, but

some people have been questioning whether television does more harm than

good.  Many have been analyzing what affect violence in adult shows as well

as children's shows may have on children.

Most parents allow their children to watch so called "kid's shows"

without even thinking about what might be contained within them.  How

many times has a certain hunter been seen hunting a certain "wascally

wabbit"?  Most people would say "how can a cartoon about a man hunting

affect a child?"  At first it may seem that it has no effect, but, looking closer,

it is easy to see that Bugs Bunny has many human traits. Two of these traits

are speaking English and walking upright.  Something else that adds to this is

that sometimes children cannot make the distinction between fantasy and

reality.  Quickly a cartoon about a man hunting a rabbit can turn into a story

of murder.    Another cartoon character that may harm children is Yosimite

Sam.  When he becomes angry, he begins to fire his pair of guns into the air

and at other characters.  This could cause children to act violently to appease

their anger.  This includes hitting and throwing things.  This is an extreme

view of the situation, but who is to say that at least part of it is not true?

Children see violence everyday in their cartoons, but what about shows

that they watch in which people star.  These shows will more than likely

cause more violence than cartoons would.  While watching a show such as

"Mighty Morphin Power Rangers" a child sees almost 30 minutes of non-stop

fighting.  The show also has a fantasy story that appeals to children.  After

watching the show, a child may become bored because the reality of the

television show is more interesting.  The child then imitates what was seen on

television.  This is where the actual violence may begin.  Adult shows and

movies that are seen by children could have even worse effects than children's

shows.  In one documented case, a Californian boy that was seven years old

watched a movie one night.  In the movie, a man put glass into soup that a

colleague of his was to eat.  The very next night, the boy put crushed glass

into the stew that his family was to eat for supper.  He said that he wanted to

know if it would do the same thing in real life that it did on television.  The

danger with violence on television begins with imitation and escalates with

experimentation.  This is an extreme case, but it is a case.

Television violence is a major problem in our society.  Some people

are working to end it, others are simply ignoring it, hoping that will somehow

go away, and some people are trying to tell America that what a child sees on

TV will not affect him.  We must work to eliminate the problem now.

Watching cartoons on television may not make him grow up to be a cold-

blooded murderer, but the total impact of witnessing repeated acts of violence

may slowly cause our society to become more and more aggressive until there

are too many killings to list on the news and watching one while you walk

down the street is a common occurrence.  We will never actually be able to

tell what the ultimate impact of violence on television is until it actually

happens, but will that be too late for us to recover from it?  Only time will

tell...

211.          Children TV and Violence Essay

Children, TV, and Violence

America has the largest crime rate in the world.  Along with that crime

rate is also the substantially high violence rate.  Why? Why is violence

becoming and everyday common happening in our society?  When you flip on the

"tele" and tune into the news,  the highlight of every show is somehow directly

related or connected to violence.  We see it every evening and perhaps say "Oh

my gosh, how terrible." and then forget all about it two minutes later.  Or

perhaps we don't even make any comments at all,  just a simple grunt or

"..huh..".  This numbness to violence is very scary and very real.  Why is it

then that America has the most crime and violence. Why not Switzerland or

Australia.  Are we not as civilized and advanced as they?  I believe it is this

numbness to violence that has made America so violent.

When I think back to my childhood and remember television I remember

watching such programs as "Sesame Street",  "Mr. Rogers", and "Scooby - Doo".  I

have nothing but pleasant memories filled with happiness,  peace,  understanding,

and learning.  When you watch children's programs today you see senseless

violence often as the first means of solving a problem.  The classic view of

"good" versus "evil" is the basis of these shows with violence as the answer.

When children watch these programs they copy the actions and "morals" of these

shows depicting "good" and "evil".  Children do not know what "good" is or what

"evil" is, how can they?  This world is not broken into "good" and "evil".

"Evil" to children is what opposes them,  what does not agree with them,  or any

other person or thing that poses a possible difficulty.  Children must be taught

that there are differences in this world.  This world is filled with many people

holding different beliefs,  ideas,  and morals.  That is what makes this world

so unique and colorful. Children need to learn to respect these differences from

a very young age.  They need to learn to talk out and solve any disagreements or

problems through other means than violence.  They must not "know" violence as an

answer,  as if violence was never even an option to consider in solving a

problem.

I recently became aware of the problem of violence in children when I

started observing small children at play at my apartment complex.  I had known

one small child in particular when he was just learning to speak.  I had watched

him and talked with him for several years and noticed nothing "violent" nor

aggressive about him.  Back then he played more outdoors rarely ever going

inside (except when his mother called for dinner),  but as he got older and more

interested in television I noticed that he was becoming much more aggressive

especially as he played outside with his friends and sisters.  He would punch

and copy the moves of the cartoon shows he watched even to the point of copying

their war cries and sayings.  The media claims that they have no influence on

children,  that could not be further from the truth.  Children are the easiest

to manipulate and take advantage of because they are innocent and because they

are innocent they are also ignorant.  Some people say that the boy was merely

maturing,  becoming more like a man.  But how many five year old boys do you

know that have testosterone flowing through their body?  The main problem was

the television shows that he was watching.  That is very obvious.

The problem with the above mentioned case was not just television itself

but the combination of television and child. Children are very susceptible and

easily persuaded as we all know. In the early 1960's,  Albert Bandura of

Stanford was the first to present the theory that children not only learned from

their parents through imitation but also through imitating television.  So when

children imitate what they see on television,  especially when it is something

that is rewarded,  and knowing how violent television is these days,  television

can and does influence children in violent and aggressive means.  When children

are raised with violent television "...they become desensitized to real people's

suffering..." (Leland 47).  When children watch a man get blown up across the

screen and see the hero prevail from the conflict it encourages the thought that

when you want something, it's alright to obtain it through violence because you

will be rewarded in the end.  This along with the fact that a murder on

television shows is so common that children begin to project what they see on

television onto the world they live in and resulting in confusing fantasy with

reality.

Most psychologists believe that media alone is not the sole problem of

violence in children,  but one in particular,  Dr. Leonard Eron disagrees.  He

has done a 22 year study of children as they mature from the age of eight to

adulthood to prove his theory that television has a greater affect on children

than most think. His results are shocking.  The studies conclude that the single

best predictor of adulthood violence and aggression is not due to violent homes,

poverty,  poor school performance,  single parent homes,  nor to real life

violence,  rather to heavy amounts of television/media violence.  But "...of

course not every youngster is affected." (Qtd. Leland 47).  The reason for this

is because children with fewer natural aggressive tendencies are less affected

by television violence,  in other words,  if a child is naturally aggressive,

violent television tends to bring these traits out. Eron also discovered that

the content of the television doesn't need to be violent to have a violent

affect on children.  In fact television shows with high amounts of action and

tension had the same results as those with violence,  adding to the large

spectrum of television programs that can have effects on children.  Researchers

have also found that the affects of violence in television on adults is much

lower to that of children because adults know the difference between what is

real and what is "tv land".  Eron also states that though television does not

affect adults as much,  they are nevertheless affected,  though in other ways.

Another view presented by Walter Wink,  a professor of biblical interpretation

at Auburn Theological Seminary in New York City,  states that:

Children identify with the good guys so that they can

think of themselves as good.  This enables them to project

out onto the bad guy their own repressed anger, violence,

rebelliousness,  or lust... Salvation is guaranteed through

identification with the hero. (Qtd. Levine 24)

Another interesting tid-bit about television violence: by age 18,  a child will

have seen at least 150,000 acts of violence on the television. By age six,  most

children will have watched 5,000 hours of television and by the end of high

school,  over 19,000 hours.  That is a lot of television.

What would happen without television? One epidemiologist named Brandon S.

Centerwall claims that without television the United States would have nearly

10,000 fewer murders per year,  almost 70,000 fewer rapes,  and 700,000 fewer

assaults.  Although many disagree Centerwall's statements and predictions,

there is not doubt that without television there would be fewer aggressive

actions in the United States. Proving the "no television,  fewer crimes" theory

will be very difficult but the evidence will eventually surface in the years to

come. Perhaps then the television companies and corporations will begin to see,

but perhaps it will be too late and television will be planted to deep into the

roots of American society.

Children need to be more creative and television certainly does not give

children the opportunity to be creative, Henry Alptrum puts it best with "The

absence of television spawns creativity." (Alptrum).  Television gives the

viewer both sight and sound at once leaving only three senses to imagine.  Radio

leaves four senses. Books leave all five senses to imagine.  In fact a study in

Canada conducted by Tannis MacBeth 20 years ago on the effects of television on

a small town produced results that were not surprising at all.  She discovered

that with the introduction of television to this small town creativity dropped

and within two years the number of incidents of pushing,  shoving,  hitting,

biting,  and all other forms of aggressive actions by children increased as much

as 160 percent.  This cannot simply be coincidence.  In another related study

directed by Centerwall murder rates and in the United States,  South Africa,

and Canada doubled ten to 15 years after the introduction of television.  There

are hundreds of documented tests and experiments relating to the fact that

violence on television has a very negative effect on children.

Is the media to take all the blame?  Of course not.  After all, this is

America and I believe nothing more strongly than freedom of speech and

expression. The solution to this problem is censorship. Censorship not at the

governmental level, nor at the state level, nor at the cable company level,

rather at the level of the parents. They and they alone are the ones who need

to decide what is best for their children for only they know what is best. When

I was a child my mother was always there to tell me what I could and could not

watch.  Of course when I was smaller I hated it,  but now that I am older I am

so grateful and thankful that my mother censored what was fed into my brain.

But another problem arises!  In today's society, two working parents is the norm.

For many children there is no one at home to tend them,  to tell them what to

do and enforce it. Children are left to their own.  A baby sitter as an "adult"

replacement is fine for watching over the safety of the children, otherwise

they could care less what the children watched because they undoubtedly watched

or still watch the same program or consider it harmless because it is an "after

school kids cartoon".

What has the media done to counteract this?  Very little to nothing.

They deny that the problem actually exists.  But the problem does exist and is

very real,  and they can help stop it. They can help change it.  What then is

preventing it?  What is preventing the media from trying to help?  Money of

course.  What could be more important than money?  These children's shows are

big money makers and that says it all.  The media has done very little in the

actual solving of the problem,  in fact about the only thing they have done is

to add a special 30 second warning before a show or television movie that may

contain scenes that require "parental supervision".  Although this is a step in

the right direction,  more action is needed.

So where does the solution lay?  There are several options some are

obvious and some are just mere ideas.  One way to control the television is to

not turn it on.  Another idea is to not purchase a television,  but that is

ridiculous because television can be informative and educational.  Just when it

seems that all hope is lost technology finds an answer: The V-Chip.

The V-Chip was invented by a Canadian several years ago with the purpose

of censoring what can be seen on television by youngsters.  This chip could be

inserted into all new television sets and would enable the owner to define what

type of television shows could be viewed at home.  This gives the parents total

control over what is viewed on the set when no one is home to keep an eye on the

nest.  The chip is complete with a password to stop the little computer genius

from overriding any settings.  Ratings include such topics as,  violence (in

several levels),  sex,  language,  mature content,  etc..  It offers quite an

expansive array of options and certainly has it's benefits.  But with every new

idea there is opposition.  There are some that claim that it will never help in

the battle against violence,  but these are the same people who believe that

more real type violence should be shown on television because of the supposed

fact that it would have a cathartic affect on the populace.  Others are weary

about who decides what television show is violent or what movie is too risqu‚.

They fear the government will take control over what the people will see and for

that reason the V-Chip is unconstitutional.  But the V-Chip should be offered

nevertheless to those who want to take advantage of what it has to offer not

unlike television sets that are mandated to have equipment for the hearing

impaired.

Dr. Eron,  a well known and well accredited psychologist,  adds another

possible problem to the V-Chip.  He believes that the V-Chip is too easy.  The

V-Chip actually takes away the responsibilities of being a parent.  The

temptation for parents to merely block something out with a chip and hiding the

truth is much too great with the V-Chip.  When parents simply use the chip to

block out the unwanted information children's curiosity is heightened.  The

parent's responsibility should include talking and discussing the problems of

television violence.  They should discuss the feelings of victims of real

violence and draw a distinct line between what is seen on television and what is

reality.  Family rules and regulations should be made on how much,  when,  and

what television programs can be viewed.  The V-Chip helps in setting these

guidelines but is in no way designed as a stand-alone apparatus.

One thing is for certain and that is tv does have an affect of children

today.  It has been proven over and over again in the many hours of research and

years of testing that in the long run tv affects people. None are more affected

than children. This problem of the affects of television is just recently

becoming a known and well established health issue. A handful of scientists and

psychologists had predicted that this nation would turn into "...a nation of

morons." (Qtd. Davies 36). America went from a nation with the highest standards

of education and excellence in education to a nation with some of the lowest

scores in education in the third world. This prediction of a "...a nation of

morons." (Qtd. Davies 36) is sadly becoming true.  When headlines like 'Six-

year-old charged with battering baby' are written across the front page of the

daily newspaper that is when we should realize that there is something wrong

going on in this nation.  Children learn from watching television.  Whether it

is something morally sound or something criminally sound children take in

everything they see and learn it.  Parents must be the first line of attack

against television taking over the children because they can no longer ignore

the problem and hope that the television stations will somehow come up with a

solution.  The stations have done very little to help. The V-Chip offers some

help but must be reinforced with parental discussions. There is always one other

alternative to censoring what is fed into the minds of our children. Peter

Goddard states it well with "You can turn the damn thing off, you know." (25)

212.          Children TV and Violence

Children, TV, and Violence

America has the largest crime rate in the world.  Along with that crime rate is also the substantially high violence rate.  Why? Why is violence becoming and everyday common happening in our society?  When you flip on the "tele" and tune into the news,  the highlight of every show is somehow directly related or connected to violence.  We see it every evening and perhaps say "Oh my gosh, how terrible." and then forget all about it two minutes later.  Or perhaps we don't even make any comments at all,  just a simple grunt or "..huh..".  This numbness to violence is very scary and very real.  Why is it then that America has the most crime and violence. Why not Switzerland or Australia.  Are we not as civilized and advanced as they?  I believe it is this numbness to violence that has made America so violent.

When I think back to my childhood and remember television I remember watching such programs as "Sesame Street",  "Mr. Rogers", and "Scooby - Doo".  I have nothing but pleasant memories filled with happiness,  peace,  understanding,  and learning.  When you watch children's programs today you see

senseless violence often as the first means of solving a problem.  The classic view of "good" versus "evil" is the basis of these shows with violence as the answer.  When children watch these programs they copy the actions and "morals" of these shows depicting "good" and "evil".  Children do not know what "good" is or what "evil" is, how can they?  This world is not broken into "good" and "evil".  "Evil" to children is what opposes them,  what does not agree with them,  or any other person or thing that poses a possible difficulty.  Children must be taught that there are differences in this world.  This world is filled with many people holding different beliefs,  ideas,  and morals.  That is what makes this world so unique and colorful. Children need to learn to respect these differences from a very young age.  They need to learn to talk out and solve any disagreements or problems through other means than violence.  They must not "know" violence as an answer,  as if violence was never even an option to consider in solving a problem.

I recently became aware of the problem of violence in children when I started observing small children at play at my apartment complex.  I had known one small child in particular when he was just learning to speak.  I had watched him and talked with him for several years and noticed nothing "violent" nor aggressive about him.  Back then he played more outdoors rarely ever going inside (except when his mother called for dinner),  but as he got older and more interested in television I noticed that he was becoming much more aggressive especially as he played

outside with his friends and sisters.  He would punch and copy the moves of the cartoon shows he watched even to the point of copying their war cries and sayings.  The media claims that they have no influence on children,  that could not be further from the truth.  Children are the easiest to manipulate and take advantage of because they are innocent and because they are innocent they are also ignorant.  Some people say that the boy was merely maturing,  becoming more like a man.  But how many five year old boys do you know that have testosterone flowing through their body?  The main problem was the television shows that he was watching.  That is very obvious.

The problem with the above mentioned case was not just television itself but the combination of television and child. Children are very susceptible and easily persuaded as we all know. In the early 1960's,  Albert Bandura of Stanford was the first to present the theory that children not only learned from their parents through imitation but also through imitating television.  So when children imitate what they see on television,  especially when it is something that is rewarded,  and knowing how violent television is these days,  television can and does influence children in violent and aggressive means.  When children are raised with violent television "...they become desensitized to real people's suffering..." (Leland 47).  When children watch a man get blown up across the screen and see the hero prevail from the conflict it encourages the thought that when you want something, it's alright to obtain it through

violence because you will be rewarded in the end.  This along with the fact that a murder on television shows is so common that children begin to project what they see on television onto the world they live in and resulting in confusing fantasy with reality.

Most psychologists believe that media alone is not the sole problem of violence in children,  but one in particular,  Dr. Leonard Eron disagrees.  He has done a 22 year study of children as they mature from the age of eight to adulthood to prove his theory that television has a greater affect on children than most think. His results are shocking.  The studies conclude that the single best predictor of adulthood violence and aggression is not due to violent homes,  poverty,  poor school performance,  single parent homes,  nor to real life violence,  rather to heavy amounts of television/media violence.  But "...of course not every youngster is affected." (Qtd. Leland 47).  The reason for this is because children with fewer natural aggressive tendencies are less affected by television violence,  in other words,  if a child is naturally aggressive,  violent television tends to bring these traits out. Eron also discovered that the content of the television doesn't need to be violent to have a violent affect on children.  In fact television shows with high amounts of action and tension had the same results as those with violence,  adding to the large spectrum of television programs that can have effects on children.  Researchers have also found that the affects of violence in television on adults is much lower to that

of children because adults know the difference between what is real and what is "tv land".  Eron also states that though television does not affect adults as much,  they are nevertheless affected,  though in other ways.  Another view presented by Walter Wink,  a professor of biblical interpretation at Auburn Theological Seminary in New York City,  states that:

Children identify with the good guys so that they can          think of themselves as good.  This enables them to         project out onto the bad guy their own repressed anger,        violence,  rebelliousness,  or lust... Salvation is             guaranteed through identification with the hero. (Qtd.         Levine 24)

Another interesting tid-bit about television violence: by age 18,  a child will have seen at least 150,000 acts of violence on the television. By age six,  most children will have watched 5,000 hours of television and by the end of high school,  over 19,000 hours.  That is a lot of television.

What would happen without television? One epidemiologist named Brandon S. Centerwall claims that without television the United States would have nearly 10,000 fewer murders per year,  almost 70,000 fewer rapes,  and 700,000 fewer assaults.  Although many disagree Centerwall's statements and predictions,  there is not doubt that without television there would be fewer aggressive actions in the United States. Proving the "no television,  fewer

crimes" theory will be very difficult but the evidence will eventually surface in the years to come. Perhaps then the television companies and corporations will begin to see, but perhaps it will be too late and television will be planted to deep into the roots of American society.

Children need to be more creative and television certainly does not give children the opportunity to be creative, Henry Alptrum puts it best with "The absence of television spawns creativity." (Alptrum).  Television gives the viewer both sight and sound at once leaving only three senses to imagine.  Radio leaves four senses. Books leave all five senses to imagine.  In fact a study in Canada conducted by Tannis MacBeth 20 years ago on the effects of television on a small town produced results that were not surprising at all.  She discovered that with the introduction of television to this small town creativity dropped and within two years the number of incidents of pushing,  shoving,  hitting, biting,  and all other forms of aggressive actions by children increased as much as 160 percent.  This cannot simply be coincidence.  In another related study directed by Centerwall murder rates and in the United States,  South Africa,  and Canada doubled ten to 15 years after the introduction of television.  There are hundreds of documented tests and experiments relating to the fact that violence on television has a very negative effect on children.

Is the media to take all the blame?  Of course not.  After all, this is America and I believe nothing more strongly than

freedom of speech and expression. The solution to this problem is censorship. Censorship not at the governmental level, nor at the state level, nor at the cable company level,  rather at the level

of the parents. They and they alone are the ones who need to decide what is best for their children for only they know what is best. When I was a child my mother was always there to tell me what I could and could not watch.  Of course when I was smaller I hated it,  but now that I am older I am so grateful and thankful that my mother censored what was fed into my brain.  But another problem arises!  In today's society, two working parents is the norm.  For many children there is no one at home to tend them,  to tell them what to do and enforce it.

Children are left to their own.  A baby sitter as an "adult" replacement is fine for watching over the safety of the children,

otherwise they could care less what the children watched because they undoubtedly watched or still watch the same program or consider it harmless because it is an "after school kids cartoon".

What has the media done to counteract this?  Very little to nothing.  They deny that the problem actually exists.  But the problem does exist and is very real,  and they can help stop it. They can help change it.  What then is preventing it?  What is

preventing the media from trying to help?  Money of course.  What could be more important than money?  These children's shows are big money makers and that says it all.  The media has done very little in the actual solving of the problem,  in fact about the

only thing they have done is to add a special 30 second warning before a show or television movie that may contain scenes that

require "parental supervision".  Although this is a step in the right direction,  more action is needed.

So where does the solution lay?  There are several options some are obvious and some are just mere ideas.  One way to control the television is to not turn it on.  Another idea is to not purchase a television,  but that is ridiculous because television can be informative and educational.  Just when it seems that all hope is lost technology finds an answer: The V-Chip.

The V-Chip was invented by a Canadian several years ago with the purpose of censoring what can be seen on television by youngsters.  This chip could be inserted into all new television sets and would enable the owner to define what type of television shows could be viewed at home.  This gives the parents total control over what is viewed on the set when no one is home to keep an eye on the nest.  The chip is complete with a password to stop the little computer genius from overriding any settings.  Ratings include such topics as,  violence (in several levels),  sex,  language,  mature content,  etc..  It offers quite an expansive array of options and certainly has it's benefits.  But with every new idea there is opposition.  There are some that claim that it will never help in the battle against violence,  but these are the same people who believe that more real type violence should be shown on television because of the supposed

fact that it would have a cathartic affect on the populace.  Others are weary about who decides what television show is

violent or what movie is too risqu‚.  They fear the government will take control over what the people will see and for that reason the V-Chip is unconstitutional.  But the V-Chip should be offered nevertheless to those who want to take advantage of what it has to offer not unlike television sets that are mandated to have equipment for the hearing impaired.

Dr. Eron,  a well known and well accredited psychologist,  adds another possible problem to the V-Chip.  He believes that the V-Chip is too easy.  The V-Chip actually takes away the responsibilities of being a parent.  The temptation for parents to merely block something out with a chip and hiding the truth is much too great with the V-Chip.  When parents simply use the chip to block out the unwanted information children's curiosity is heightened.  The parent's responsibility should include talking and discussing the problems of television violence.  They should discuss the feelings of victims of real violence and draw a distinct line between what is seen on television and what is reality.  Family rules and regulations should be made on how much,  when,  and what television programs can be viewed.  The V-Chip helps in setting these guidelines but is in no way designed as a stand-alone apparatus.

One thing is for certain and that is tv does have an affect of children today.  It has been proven over and over again in the many hours of research and years of testing that in the long run

tv affects people. None are more affected than children. This problem of the affects of television is just recently becoming a known and well established health issue. A handful of scientists and psychologists had predicted that this nation would turn into "...a nation of morons." (Qtd. Davies 36). America went from a nation with the highest standards of education and excellence in education to a nation with some of the lowest scores in education in the third world. This prediction of a "...a nation of morons." (Qtd. Davies 36) is sadly becoming true.  When headlines like 'Six-year-old charged with battering baby' are written across the front page of the daily newspaper that is when we should realize that there is something wrong going on in this nation.  Children learn from watching television.  Whether it is something morally sound or something criminally sound children take in everything they see and learn it.  Parents must be the first line of attack against television taking over the children because they can no longer ignore the problem and hope that the television stations will somehow come up with a solution.  The stations have done very little to help. The V-Chip offers some help but must be reinforced with parental discussions. There is always one other alternative to censoring what is fed into the minds of our children. Peter Goddard states it well with "You can turn the damn thing off, you know." (25)

213.          Chronic Swamp Murders

The Chronic Swamp Murders

One day while Joe and Jill Hemp were walking through Chronic swamp they came

across a trail of blood in the water.  They followed the trail until it stopped at a dead body.

The body was of a man who was wearing a camouflage outfit.  They immediately ran back

to their house, which was not far from the murder site and called the police.  Their house

was located right on the edge of the swamp.

When the police got there they roped off the whole area so they could start their

investigation.  At first it looked as if it was definitely a murder, but after a few days of

investigation the police concluded that the man was probably a hunter who had either fallen

out of a tree or just tripped and broken his neck.  A broken neck was definitely what killed

the man.  The only problem with this hypothesis was that it left a few unanswered

questions.  If the man was a hunter where did his gun or bow go?  How often did you find

a dead hunter just lying in the middle of a swamp?  Even with these questions police told

the Hemps that it was an accident and they were in no danger.

The Hemp's life went on with no interruptions until about two weeks after the

hunter was found.  Another body had been found in the swamp.  This time the body was a

male whom had a business suit on.  The police came back and investigated this death.

After about a week they concluded again that it was a broken neck that had killed the

victim.  There were no signs of a struggle so the investigators said that it was some type of

freak accident.  They also told the Hemps to stay out of the swamp.

The Hemps never went back into the swamp again, but one night they were

awakened by a loud pounding noise on the front door.  When Mr. Hemp got up to see

what it was, all he saw was something large running into the swamp.  He then made sure

that all the doors were locked and he got his shotgun out of the closet.  He waited in his

dark living room for about an hour and then went back to his bed.  He didn't tell his wife

what had happened so she wouldn't be scared .

The next day when Joe was coming home from work he noticed the door was wide

open.  When he got closer he noticed that the door frame was broken and the door had

been kicked in.  He ran inside looking for his wife.  He couldn't find her anywhere, so he

ran to their bedroom for his gun.  On his way to the bedroom he heard his wife scream and

the scream was coming from the bedroom.  He then saw a huge man who was at least

seven feet tall and weighed about 300 pounds.  This man was beating up Joe's wife.  Joe

ran and jumped on his back.  The man stopped hitting his wife and just tossed Joe to the

ground.  The huge man then started beating Joe.  Joe was unconscious and the man was

getting ready to break Joe's neck when his wife shot the monster-sized man right in the

chest with their shotgun.  He instantly fell to the ground dead.  Joe made a full recovery

and the Hemps were credited with solving the mystery of the Chronic swamp murders.

214.          Citizen Kane Charles Foster Kane

Citizen Kane: Charles Foster Kane -  Who Was He?

The story of Citizen Kane drew many people to the theatres since they

wanted to find out who this Kane fellow is or was.  It is unarguably one of the

best films ever produced.  Orson Wells portrays Kane as mysterious person but

also a sad person. The different accounts are shown throughout the movie through

the reporter wanting to find out who or what Rosebud is.  Rosebud was Kane's

last dying words.

The first person the reporter Jerry Thompson sees is the owner of Walter

Parks Thatcher's estate and holdings.  Thatcher is long dead and who? visits his

library and is allowed to inspect the financier's memoirs in manuscript. Through

Thatcher's words we see Kane as a boy playing with his sled on a snow-swept

Colorado farm. Through his mother, the boy has just inherited a great fortune.

Unable to settle his bill, a prospector who boarded with the Kanes left behind

stock certificates that make Mrs. Kane  the sole owner of one of the world's

great silver mines. She then makes her son the ward of the bank that administers

her estate, and Thatcher, whom the angry young Kane bashes with a sled, takes

the boy East to be raised.  The movie then shows Kane growing up, making life

miserable for Thatcher. The mature Kane decides to take direct control of a

small, struggling newspaper, and immediately begins using it to attack Thatcher

and others among America's financial elite.  This displays the mystery with Kane

as he wants to expand on something small into something big, but we don't know

what.

The next account was given by Bernstein, Kane's devoted assistant.   He

explains the beginnings as a newspaper czar and his takeover of the New York

Enquirer, in which he fired its editor, hired an expensive, top-notch staff, and

enlisted his college friend Jedediah Leland  as the drama critic. Kane is at

first a crusader for the understanding, opening his first editorial with a

"declaration of principles." He becomes a champion of the little person, hyping

his circulation with juicy scandals, crime exposes, etc. In a surprise move Kane

marries Emily Norton, the president's niece.  For the first time here we see

Kane starting a love story.  However this wasn't to last and it paved the way

for the second-love.

The reporter then visits a half-drunk Susan Alexander in a nightclub.

She recalls her meeting and eventual affair with the married Kane and their

discovery by Leland, who is led to their love nest by Kane's political rival,

"Big Jim" Gettys. Until that point, Kane is heavily favored to defeat Gettys in

an upcoming senatorial election, but Gettys warns that unless the publisher

withdraws from the race, he'll take the story to the media. Furious, Kane

refuses, and the following day his political aspirations are dashed by newspaper

accounts. He does not have to deal with an ugly divorce, however, since his wife

and son are killed in an auto accident.   It seems that the love story began to

intensify at this point since his first wife was now dead and he begins a new

love with Alexander.  However, Kane had to realize that her singing talents were

not the best and despite building Xanadu their lives would become miserable and

hapless.

At the conclusion,  we find out what Rosebud was and how Kane's last

requests were not fulfilled.  He was betrayed by all and no one cared for the

last wish.  By the end, we can see Kane as a depressed, unsatisfied man brought

up with power and greed but no love.  Overall Citizen Kane was a mysterious man

with ambitions to become famous, a lover to things and people, and a sad man

without satisfaction in life.

215.          Citizen Kane

Citizen Kane: Hearst or Welles

"Any man who has the brains to think and the nerve to

act for the benefit of the people of the country a

radical by those who are content with stagnation and

willing to endure disaster."(48 Williams) This quote

applies to two men, who in their lives were enemies, but

were more alike than either thought possible. Two men

whose names are recognizable even today, years after

both of their deaths. Two kings of the trade who used

different methods in trying to exploit the other.

William Randolph Hearst and Orson Welles were both

powerful men in history in their own right. One was a

pioneer of journalism, while the other revolutionized

the movie industry. The film Citizen Kane, one of Orson

Welles' and the film industries greatest

accomplishments, could be said was a film that used the

main character to exploit the personality of Hearst,

which can easily be pointed out, but it was also a film

depicting the personality of Orson Welles, as well. "It

is hard to see one's self as to look backwards without

turning around."(57 Williams)

William Randolph Hearst was born on April 29, 1863.

His father was a multi-millionaire miner named George

Hearst. His mother, Phoebe Hearst, was a school teacher

from Missouri. George Hearst became a multi-millionaire

by traveling through the West and becoming partners in

three of the largest mining discoveries in American

history.

As a repayment of a gambling debt, George Hearst, in

1880, accepted a small newspaper. During the

mid-1800's, William Randolph Hearst, now a student at

Harvard University, wrote to his father demanding to

take over the newspaper. His father, on the other hand,

preferred William to manage his mining industries, but

William overlooked his fathers wishes and took over the

San Francisco Examiner in 1887. William Hearst showed a

lot of adaptability and was determined to make the

Examiner popular and a big selling newspaper. Hearst

used his wealth to create a very powerful newspaper. He

hired the best writers and acquired the best equipment

possible at the time. He went on to publish and expose

corruption and stories filled with drama and

inspiration, or sensationalism.

In the late 1800's, Hearst ended up into a

head-to-head circulation war with his former mentor

Joseph Pulitzer, owner of the New York World. To

increase their popularity, they both started to include

about the Cuban insurrection. Many stories in both

newspapers greatly exaggerated their claims to make

their stories even more sensational, such as stories

publishing the images of Spanish troops placing Cubans

into concentration camps where they suffered and died

from disease or hunger. Hearst beat out Pulitzer in the

circulation race, when he published a story of how the

Cubans sunk the U.S.S. Maine. This was only days after

Hearst was quoted saying that if you want war, you will

get one. This kind of publicity for the American

entrance into war, caused Congress to declare war on

Spain. This showed the world the power that one man

had.

Years went by, and Hearst met and soon married a want

to be star named Marion Davies. Marion Davies would

have never been known if she was never married to

Hearst. With his money, he tried to make her a star,

but the talent just was not there.

Orson Welles was born in Kenosha, Wisconsin, on May

6, 1915. His father was a well-to-do inventor, his

mother a beautiful concert pianist. He was gifted in

many arts, such as playing the piano, doing magic, and

painting, as a child. Soon, however, two hardships hit

young Orson. His mother died, when he was only eight

years old. He ended up having to travel with his

father, but it did not last long forever. His father

died only four years later. He became the ward of

Chicago's Dr. Maurice Bernstein.

In 1931, he graduated from Todd School in Woodstock,

Illinois. Several years later, recommendations from a

couple of significant people, gave Orson an admittance

into Katherine Cornell's Road Company, with which he

made his New York debut as Tybalt, from Shakespeare's

Romeo and Juliet, in 1934. That same year, he married

and appeared on radio for the first time.

In radio, Welles became famous for his "War of the

Worlds", where he created paranoia by making people

believe that there were aliens that were attacking the

Earth. Radio also helped him in movies. In radio,

Welles had developed a special technique using a variety

of voices, each saying a sentence or sometimes merely a

fragment of a sentence. This he carried over into film,

photographing the various speakers in close-up against a

blank background. Put together in quick succession, the

shots gave impression of a whole town talking.

Welles also pioneered the extremely efficient

technique of positioning the camera at a particular

angle to the character so that the character can appear

to be important or weak. By placing the camera below

the person, he would seem taller and more threatening.

If the camera was placed above the person, it would make

the character seem small and weak. He also created,

which was shown in the movie Citizen Kane, that shows a

character talking engulfed in shadows, instead of the

spotlight. These were just some of the techniques, that

Welles created, that helped to revolutionize the film

industry.

The film had great writing, great directing, and had

especially great actors. The actors were all extremely

talented and worthy of the stage, yet most impressive

was the fact that most of them, including Welles, had

never set foot on a movie set before. They had the

voices that America had been listening to for years from

the Mercury Theater, which Welles became founder of in

1937, but whose faces were never seen before. This

great movies is Citizen Kane. A movie that was used to

exploit the personality of a journalism giant, or the

mind of a genius.

Citizen Kane was Welles' greatest achievement and a

landmark of cinema history. "The narrative charts the

rise to power of a newspaper publisher whose wealth and

power ultimately leave him alone in his castle-like

refuge, Xanadu. Every aspect of the production marked

an advance in film language: the deep focus, deeply

shadowed cinematography; the discontinuous narrative;

the innovative use of sound and score; the ensemble

acting forged in the fires of Welles' Mercury Theater,

made this movie great."(19 Murray)

Citizen Kane is, what some would consider, the

greatest film ever made. It is about Charles Foster

Kane, a wealthy and powerful man who owns the Inquirer.

It tells the life of Kane from his childhood to his

death. The movie starts with the death of Kane, and

with a group of people who want to know what Kane meant

with his dying words, ROSEBUD. While they are looking

for the answer, they come across several friends of Kane

and former wives, and the audience is told the story of

Kane's life through these people.

"Citizen Kane is a brutal portrait of newspaper

magnate William Randolph Hearst."(19 Murray) There are

many things in common with Charles Foster Kane, who is

played by Orson Welles, himself, and the media Mongol,

William Randolph Hearst. Both, for example, were born

into wealth. Hearst's father was a millionaire because

of his mining industries and Kane was given, as a child,

to a wealthy banker. Their education was also similar,

in that both attended the distinguished Harvard

University, even though Kane was also in many a student

at many other distinguished universities, having been

expelled from many of them. Many similarities come when

these two are adults as well.

"This above all: to thine own self be true. And it

must follow as the night the day, thou canst not be

false to any man."(40 Williams) This is one thing that

both Hearst and Kane did not do. They put on a show for

people, never showing who they really were. Hearst did

it by wanting to destroy the movie, Citizen Kane, not

wanting anyone to know that he was like the main

character. Kane showed it by always telling people his

truth, making them think that he was an "honest man," as

his friend Leland said. Even their negative qualities

were similar.

Hearst was married and then cheated on his wife for a

younger woman who had dreams of becoming a star, Marion

Davies. Kane was married and cheated on his wife with a

younger woman who also had the dream of becoming a star,

Susan. Both gave up doing what their guardians told

them to become to become publishers of newspapers. The

two men bought the best writers in the world and used

sensationalism to sell their newspapers and to enlarge

their circulation. Finally, the last thing these two

men had in common was that they named their children

after themselves. Hearst's son and Kane's son were both

juniors.

Another person that Kane can be used to represent is

the man who played Kane, Orson Welles. "People only see

what they are prepared to see."(59 Williams) The

people, at the time when Citizen Kane first came out,

only thought that the main character, Charles Foster

Kane, was a portrayal of William Hearst. Kane, however,

is also a representative of Orson Welles. There are

many similarities between the two, but the movie must be

closely watched to notice them.

One of the many similarities between Kane and Welles

is that both lost their parents. Kane lost his

parents because they gave him to the wealthy banker

and Welles lost both of his parents because of their

deaths. Kane and Welles were both very cocky and

headstrong. They both believed that they were able to

make people do think the same way that they do. Kane

had his newspaper which he used to try to get votes

when he ran, he used it to boosts Susan's career, and

he used it to create wars and make news happen.

Welles had his radio and movies. He used radio to

cause chaos when he broadcasted his "War of the

Worlds", he used Citizen Kane to exploit the

personality of William Randolph Hearst, and he used

his techniques with the camera to make people think

who were the weak and who were the strong in his

movies.

Finally, the last thing that were similar between

these two characters were that they lost their

childhood and missed it more than anything else.

Kane's last words, ROSEBUD, was the name of his sled

when he was a child, showing the audience that, though

he was rich and was powerful as an adult, the fact

that he lost his parents was still with him. Welles

lost his childhood as soon as his mother died. After

that, all he did was travel with his father, and then

his father died. Welles shows people that he misses

his childhood because he tries to have as much fun

with what he is doing. This is seen with the radio

broadcast, "War of the Worlds."

Who does Charles Foster Kane represent? Is it

William Randolph Hearst or is it Orson Welles? The

answer seems to be that he represents both men. At

first, it seems that Kane is a portrayal of Hearst,

which in fact he is, that is what Orson wanted Kane to

be. Kane, however, has many traits that Welles has as

well. This shows us that two men, who in their lives

were enemies, but were more alike than either thought

possible, came to create one of the greatest movies

ever, with a very strong central character who has

qualities that both possess.

216.          Civil Disobdience Right or Responsiblity

The short play, Antigone, was written in 441 B.C. by the Greek playwright Sophocles. It deals with some of the most basic problems that affect a society. One of them is Civil Disobedience.  Civil Disobedience  both a right and responsibility of a person to fight an unjust law.

Government is given the right to control a group of people by the people composing the group. If an individual has a problem with an injustice they feel has been placed against them, then they have a right to convey this. Civil Disobedience allows one to convey their thoughts and ideas in a passive, nonviolent way. It can be used when one believes that they are morally right, and that others will agree with them. Antigone conveys this thought when she tells, "No one will ever convict me for a traitor" (Page 61). In a nonviolent from, Civil Disobedience is a basic human right.

Often society has laws that individuals feel is immoral, or unjust. Antigone decided to bury Polynices, for she was obeying the gods, even though it was declared illegal by Creon.  "Look on me, you noble sons of Thebes-  the last of a great line kings, I alone, see what I suffer now at the hands of breed of men- all for reverence, my reverence for the gods!" (page 106) This quote illustrates how Antigone believed that the power of the gods was greater than the power of any king. If she had obeyed Creon, she would have disobeyed the stronger power of the gods which could have had more of a devastating result on her.

Antigone shows us, thru Civil Disobedience, that breaking some of societies laws is both a right and responsibility.

217.          Claude Oscar Monet 395

Short essay about the painter Good, very descriptive, well put together

The most famous of the impressionist painters, Claude Oscar Monet, born, November 14, 1840 and died. December 5, 1926, was also the most committed to recording the effects of light and atmosphere on art work. This idea led Monet and his colleagues to develop the techniques of impressionism  Monet advised his fellow painters to concentrate on the play of light and color of the objects that they had before them.  The goal was to capture temporary phenomena, and this was pursued in a systematic manner, according to the laws of optics and complementary color relationships;  yet the result was often a sheer celebration of painting itself, an expression of Monet's delight in the colors, textures, and shapes of the landscape.

In 1859, Monet moved to Paris and attended the Academie Suisse, where he met Camille Pissarro. After a break for military service  and a brief return to Le Havre, he returned to Paris to enroll in the studio of Charles Gleyre, where he met Pierre Auguste Renoir, Frederic Bazille, and Alfred Sisley.  By 1865 he had embarked on a program of outdoor painting of marine and forest subjects, townscapes, and figures in landscape settings.

In the summer of 1869, Monet worked alongside Renoir and began to emerge as the leading figure in the creation of the techniques of outdoor impressionism.

Until the 1880s, Monet endured extreme poverty, during this decade,  his works began to sell at higher prices, allowing him to live and paint as he wished.  In the early 1890s, he again took up the idea of producing a series of views of the same subject which he intended to be shown as a group. His subjects included haystacks, poplars, the facade of Rouen Cathedral as it altered from dawn to dusk, the Seine at Giverny, and views of the Thames and the Houses of Parliament. But Monet's key subject after 1890 was the lily pond he had built at his home in Giverny.   These now hang in the Museum of Modern Art, New York City, and in the Musee de l'Orangerie, Paris.   Sky, water, and vegetation are transformed into swirling, vibrant masses of color, Claude Monet used every element of color to transform his art into a pieces of beauty.

Bibliography:    Isaacson, Joel, Claude Monet (1978);  Joyes, Claire, Monet at Giverny (1976);

218.          Claude Oscar Monet Life Of 434

Claude Oscar Monet was born November 14, 1840 in Paris, France. The initiator, advocate, and leader of the Impressionist style, Claude Monet's many works of art serve as the definition of the Impressionist's artwork.

His father, Adolphe Monet, a grocer in Paris, brought the family to Le Havre when Claude was five. Struck by the constantly changing sea and sky on the coast, Claude would go on to put these onto a canvas. Before this however, he started to paint caricatures for locals.

Probably to the disappointment of his parents, Claude decided not to go to l'Eglise de Beaux-Arts in Paris. Instead, he studied art under local artists and developed much promise. One of these was Eugene Louis Boudin, who painted coastal landscapes.

Despite this, he would move to Paris in 1859 to attend l'Academie Suisse, where he met Camille Pissaro. He was sent to Algeria for military service from 1860-62. After his return he enrolled in the studio of Charles Hleyre, where he would meet Pierre Auguste Renoir, Frederic Bazille, and Alfred Sisely. It was at the studio that Claude would participate in a rare practice.

Many European artists of the day painted landscapes, but they were most often painted in the studio, with a basic feeling of what the scene looked like. Monet painted outdoors. By 1865 he was painting marine and forest subjects, townscapes, and figures in landscape settings, all outdoors.

In the summer of 1869, he worked with Renoir to lead the creation of outdoor impressionism. In what is now known as a signature of impressionism, he favored rivers with light dappled water and scenes in which brushstrokes dissolve the forms of objects by breaking brushstrokes and patches of color into their contours.

Then in 1876 he enacted his plan to paint a single object from several viewpoints. He picked as his subject Gare Saint-Lazare, a train station in Paris.

Despite his talent, Monet had to endure extreme poverty. This was like this until the 1880s when Monet's works began to sell for a higher price. He was then free to paint as he pleased. He once again started doing studies of objects. Some of his subjects included haystacks, poplar trees, the facade of Rouen Cathedral, the Seine at Giverny, and view of the River Thames and the Houses of Parliament. But after 1890 his main subject was the lily pond in his backyard.

Monet died December 5, 1926. Behind him he left his works and a new style of art - impressionism.

SOURCE:

Roskill, Mark. "Monet, Claude." 2002 Grolier Multimedia Encyclopedia. New York City: Grolier Interactive, Inc., 2001. CD-ROM.

219.          Clear Vision in King Lear

Clear Vision in King Lear

In Shakespeare's classic tragedy, King Lear, the issue of sight and its relevance to clear vision is a recurring theme.

Shakespeare's principal means of portraying this theme is through the characters of Lear and Gloucester. Although Lear

can physically see, he is blind in the sense that he lacks insight, understanding, and direction. In contrast, Gloucester

becomes physically blind but gains the type of vision that Lear lacks. It is evident from these two characters that clear

vision is not derived solely from physical sight. Lear's failure to understand this is the principal cause of his demise, while

Gloucester learns to achieve clear vision, and consequently avoids a fate similar to Lear's.

Throughout most of King Lear, Lear's vision is clouded by his lack of insight. Since he cannot see into other people's

characters, he can never identify them for who they truly are. When Lear is angered by Cordelia, Kent tries to reason

with Lear, who is too stubborn to remain open-minded. Lear responds to Kent's opposition with, "Out of my sight!," to

which Kent responds, "See better, Lear, and let me still remain" (I.i.160). Here, Lear is saying he never wants to see

Kent again, but he could never truly see him for who he was. Kent was only trying to do what was best for Lear, but

Lear could not see that. Kent's vision is not clouded, as is Lear's, and he knows that he can remain near Lear as long as

he is in disguise. Later, Lear's vision is so superficial that he is easily duped by the physical garments and simple disguise

that Kent wears. Lear cannot see who Kent really. He only learns of Kent's noble and honest character just prior to his

death, when his vision is cleared. By this time, however, it is too late for an honest relationship to be salvaged.

Lear's vision is also marred by his lack of direction in life, and his poor foresight, his inability to predict the consequences

of his actions. He cannot look far enough into the future to see the consequences of his actions. This, in addition to his

lack of insight into other people, condemns his relationship with his most beloved daughter, Cordelia. When Lear asks his

daughters who loves him most, he already thinks that Cordelia has the most love for him. However, when Cordelia says,

"I love your Majesty/According to my bond, no more nor less" (I.i.94-95), Lear cannot see what these words really

mean. Goneril and Regan are only putting on an act. They do not truly love Lear as much as they should. When Cordelia

says these words, she has seen her sisters' facade, and she does not want to associate her true love with their false love.

Lear, however, is fooled by Goneril and Regan into thinking that they love him, while Cordelia does not. Kent, who has

sufficient insight, is able to see through the dialogue and knows that Cordelia is the only daughter who actually loves Lear.

He tries to convince Lear of this, saying, "Answer my life my judgment,/Thy youngest daughter does not love thee least"

(I.i.153-154). Lear, however, lacks the insight that Kent has. He only sees what is on the surface, and cannot understand

the deeper intentions of the daughters' speeches. As his anger grows from the argument, his foresight diminishes as he

becomes increasingly rash and narrow minded . When Lear disowns Cordelia, he says, "we/Have no such daughter, nor

shall ever see/That face of hers again" (I.i.264-266). He cannot see far enough into the future to understand the

consequences of this action. Ironically, he later discovers that Cordelia is the only daughter he wants to see, asking her to

"forget and forgive" (IV.vii.85). By this time, he has finally started to gain some direction, and his vision is cleared, but it is

too late for his life to be saved. His lack of precognition had condemned him from the beginning.

Lear depicts Shakespeare's theme of clear vision by demonstrating that physical sight does not guarantee clear sight.

Gloucester depicts this theme by demonstrating clear vision, despite the total lack of physical sight. Prior to the loss of his

eyes, Gloucester's vision was much like Lear's. He could not see what was truly going on around him. Instead, he only

saw what was presented to him on the surface. When Edmund shows him the letter that is supposedly from Edgar, it

takes very little convincing for Gloucester to believe it. As soon as Edmund mentions that Edgar could be plotting against

him, Gloucester calls him an "Abhorred villain, unnatural, detested, brutish villain" (I.ii.81-82). He does not even stop to

consider whether Edgar would do such a thing because he cannot see into Edgar's character. At this point, Gloucester's

life is headed down a path of damnation similar to Lear's because of a similar lack of sight.

When Gloucester loses his physical sight, his vision actually clears, in that he can see what is going on around him. When

Gloucester is captured by Cornwall, Gloucester provokes him to pluck out his eyes:

But I shall see

The wingèd vengeance overtake such children.

Cornwall. See't shalt thou never. Fellows, hold the chair.

Upon these eyes of thine I'll set my foot. (III.vii.

66-69)

When Gloucester is saying this, he still lacks clear vision, and would never have seen vengeance taken upon Cornwall.

When Cornwall puts out his eyes, Gloucester's vision becomes clear from this point on, and he later discovers that

Cornwall was killed. Ironically, Gloucester does not see vengeance until after he is blinded. In this sense, Cornwall also

suffers from clouded vision because his death is a direct result of his blinding of Gloucester, when a servant kills him. As a

result, Gloucester is spared and his vision is cleared, while Cornwall is left a victim of his own faulty vision.

From this point onwards, Gloucester learns to see clearly by using his heart to see instead of his eyes. It is evident that he

realizes this when he says:

I have no way and therefore want no eyes;

I stumbled when I saw. Full oft 'tis seen,

Our means secure us, and our mere defects

Prove our commodities. (IV.i.18-21)

In this, he is saying that he has no need for eyes because when he had them, he could not see clearly. He realizes that

when he had eyes, he was confident that he could see, while in reality, he could not see until his eyes were removed.

Afterwards, he sees with his mind instead of his eyes.

Gloucester's vision can be contrasted with that of Lear. While Lear has the physical sight that Gloucester lost, Gloucester

has the clearer vision that Lear will never gain. When Lear and Gloucester meet near the cliffs of Dover, Lear questions

Gloucester's state:

No eyes in your

head, nor no money in your purse? Your eyes are

in a heavy case, your purse in a light, yet you

see how this world goes.

Gloucester. I see it feelingly. (IV.vi.147-151)

Here, Lear cannot relate to Gloucester because his vision is not clear, and he wonders how Gloucester can see without

eyes. Although Lear has seen his mistakes, he still believes that sight comes only from the eyes. Gloucester tells him that

sight comes from within. Vision is the result of the mind, heart, and emotions put together, not just physical sight. This is a

concept that Lear will never understand.

In King Lear, clear vision is an attribute portrayed by the main characters of the two plots. While Lear portrays a lack of

vision, Gloucester learns that clear vision does not emanate from the eye. Throughout this play, Shakespeare is saying that

the world cannot truly be seen with the eye, but with the heart. The physical world that the eye can detect can accordingly

hide its evils with physical attributes, and thus clear vision cannot result from the eye alone. Lear's downfall was a result of

his failure to understand that appearance does not always represent reality. Gloucester avoided a similar demise by

learning the relationship between appearance and reality. If Lear had learned to look with more than just his eyes, he

might have avoided this tragedy.

220.          Clockwork Orange And The Age Of Mechanical Reproduction

Clockwork Orange And The Age Of Mechanical Reproduction

For Walter Benjamin, the defining characteristic of modernity was mass assembly and production of commodities, concomitant with this transformation of production is the destruction of tradition and the mode of experience which depends upon that tradition. While the destruction of tradition means the destruction of authenticity, of the originally, in that it also collapses the distance between art and the masses it makes possible the liberation which capitalism both obscures and opposes. While commodity fetishism represents the alienation away from use-value and towards exchange-value, leading to the assembly line construction of the same--as we see relentlessly analyzed by Horkheimer and Adorno in their essay The Culture Industry. Benjamin believes that with the destruction of tradition, laboratory potentialities are nonetheless created. The process of the destruction of aura through mass reproduction brings about the "destruction of traditional modes of experience through shock," in response new forms of experience are created which attempt to cope with that shock. "Even the most perfect reproduction of a work of art is lacking one element: its presence in time and space, it's unique existence at the place where it happens to be. This unique existence of the work of art determined the history to which it was subject throughout the time of its existence. The authenticity of a thing is the essence of all that is transmissible from its beginning" when substantive duration ceases to matter, he says, the authority of the object is threatened. (Think, for example of Alex's response to high art...) "technology has subjected the human sensorium to a complex kind of training. There came a day when a new and urgent need for stimuli was met by the film. In a film, perception in the form of shocks was established as a formal principle. That which determines the rhythm of production on a conveyor belt is the basis of the rhythm of reception in a film." (Motifs in Baudelaire) Benjamin distinguishes between two kinds of experience: Erfahrung something integrated as experience, and Erlebnis, something merely lived through. Erlebnis characterizes the modern age and refers to the inability to integrate oneself and the world via experience. Erlebnis, then, is the form of experience of late capitalism, and our relation to commodities is characterized by ahistoricity, repetition, sameness, reactiveness, all the categories which the Culture Industry will describe as liquidating culture in the present post-holocaust era. "The desire of the contemporary masses to bring things 'closer' spatially and humanlyis just as ardent as their bent toward overcoming the uniqueness of every reality by accepting its reproduction." The fact of this desire for the reproduction over and above the original is precisely what Horkheimer and Adorno believe is destroying culture, for contrary to Benjamin, Horkheimer and Adorno assert that any emancipatory possibilities are re-absorbed into capitalism, and fascism turns out to be the midget in the Chess-playing machine of capitalist oriented democracy. They set out, like Poe in his article "Maelzel's chess player," to show that capitalism has a hidden motor and it is none other than fascism. Benjamin's essay "The Work of Art in the Age of Mechanical Reproduction" provides us with an outline of the history of the work of art and the historical changes, which have led to the transformation of experience from Erfahrung to Erlebnis. It is only in the post-modern or so called post-industrial age that the concept of autonomy handed down to us from Kant, among others, begins to reveal it ideological nature. Benjamin's analysis of autonomous art not only destroys our notions of the wholistic work, but also dispels the illusion of the artist as transcendental creator. Let us look for a moment at his comparison of the painter to the cameraman. "The painter maintains in his work a natural distance from reality, the cameraman penetrates deeply into its web. There is a tremendous difference between the pictures they obtain. That of the painter is a total one that of the cameraman consists of multiple fragments, which are assembled under a new law. Thus, for contemporary man the representation of reality by the film is incomparably more significant than that of the painter, since it offers, precisely because of the thoroughgoing permeation of reality with mechanical equipment, an aspect of reality which is free of all equipment. And that is what one is entitled to ask from a work of art.' (Walter Benjamin, Illuminations, The Work of Art in the Age of Mechanical Reproduction, p. 230) Benjamin informs us that the surgeon and cameraman share in common the apparent act of penetrating into the web of reality to come up with fragments assembled under "new laws," something which neither the magician nor the painter are capable of doing. The magician and the painter refer to a wholistic totalizing representation of reality. They are the producers of what has become a fetishized autonomous work. By way of contrast the figures of the surgeon and cameraman, and nowadays the cybernetician or genetic engineer plunge into reality itself and reassemble it from the bottom up. Along with the global controller who is responsible for the behavior of every part, any possible way of understanding the whole from these reassembled fragments is impossible. The maker vanishes at the moment reality is reassembled. "Art escapes the gravitational pull of ritual and aura by virtue of its thoroughgoing technization of representation and, importantly, the complementary technization of perception itself. Other modes of representation allow their equipmentality, the residue of their technique to remain strictly visible, whereas film, by virtue of its extreme technization makes the technical aspects invisible. Film provides the illusion of a more direct apprehension of reality." Distraction replaces concentration. "Evidently a different nature opens itself to the camera than to the naked eye if only because an unconsciously penetrated space is substituted for a space consciously explored by man. Even if one has a general knowledge of the way people walk one knows nothing of a person's posture during the fractional second of a stride. The act of reaching for alight or a spoon is familiar routine, yet we hardly know what has really gone on between hand and metal, not to mention how this fluctuates with our moods. Here the camera intervenes with the resources of its of its lowerings and liftings, its interruptions and isolations, its extensions and accelerations, its enlargements and reductions. The camera introduces us to unconscious optics as does psychoanalysis to unconscious impulses." (236-237) As mechanically mediated dreams, film and photography and now Virtual Reality are all about the interpenetrating of human and image with equipment; the trajectory of futurism, the dreamt of metallization of the body is completed in our own era where it will be impossible to know whether one is experiencing reality or VR. "The equipment-free aspect of reality here has become the height of artifice; the sight of immediate reality has become an orchid in the land of technology." (233) Individuality itself breaks down and the individual viewer becomes equivalent to mass culture through mass reproduction. The destruction of uniqueness renders even the western metaphysical subject obsolete...it is this obsolescence of the unique which is reflected in our own culture of commodity obsolescence. Horkheimer and Adorno (p. 126) rail against the emancipatory imagery of Benjamin, for "real life is becoming indistinguishable from the movies." For Horkheimer and Adorno this means a "stunting of the mass-media consumer's powers of imagination and spontaneity" although as Benjamin asserts "quickness, powers of observation, and experience are undeniably needed to apprehend [film] at all." Horkheimer and Adorno show that nevertheless "sustained thought is out of the question if the spectator is not miss the relentless rush of facts. Even though the effort required for his response is semi-automatic, no scope is left for the imagination. Those who are so absorbed by the world of the movie by its images, gestures, and words that they are unable to supply what really makes it a world, do not have to dwell on particular points of its mechanics during a screening."(127) "The culture industry as a whole has molded men as a type unfailingly reproduced in every product. (127)" Clockwork Orange, is a film which analyses this process, "film forces its victims to equate it directly with reality" this is the conditioning process which is 'chosen' by Alex, his formally astute powers of observation are perverted in the forced viewing of films (see the image at the header of this article) so that he equates violence, and the capacity to respond to violence with an 'unconscious' linking to a feeling of death. Because the apparatus presents not a world to explore, but a screen upon which images are projected, Alex, like a prisoner in Plato's cave, is afflicted, willingly/unwillingly, with a type of motor paralysis which makes the reality test impractical him. He is reduced to a subject remotely controlled by the cinematic apparatus and science. That this is perceived pleasurably for the mass audience might be linked to regression to a state of infant-like passivity. As passive subjects, the camera's eye becomes our eye, and its distortions become, possibly, the truth. It is not his mind but his body, which learns this connection. (Disk1B, 5, 27:40) Here, that chosen passivity is revealed to be what it denies, Alex like us, is a willing victim. The treatment becomes a punishment because coming into contact with the treatment perverts music, the image of high culture. Beethoven's 9th Symphony is perverted (Disk1B chapter 5 29:25) by coming in contact with it's scientific use in a conditioning treatment. The ninth above all in Beethoven's work represents his attempt to find a universally acceptable message. The first movement reflects the 'desperate condition' of mankind and alludes to Tartarus (the place where the worst offenders would go in Hell) as a symbol, the second movement depicts the search for happiness with diversions, and the third movement emotes piety a turning towards religion. The finale, in recounting all that has gone before arrives at fulfillment. This is precisely the organization, which Kubrick creates for his film. We see a reverse of the development of society, we move from a universal dystopia, toward an individual fulfillment, universal in the every man. That this fulfillment is only for the individual and not for the masses is one of the driving forces of the film. Now, Horkheimer and Adorno never really move away from endorsing high culture (rather than a breakdown in individuality and autonomy, they seem to want its re-incorporation, probably the result of failing to be willing to really give up the enlightenment project) Alex with his ultra-violence represents the breakdown of culture itself (for example the opening scene with the bum) Alex understands the post-industrial society, he is both a product of it, and a means for its further production. Seeking idle de-contextualized violence as entertainment becomes a means of extremely temporary control, fulfillment, and emancipation from the horrors of a dystopian society in the throws of cancerous emptying of meaning. The bum says in first scene: "The problem is there is no law and order, there are men on the moon and circling the earth, but there is no care taken here below." --Technology has progressed but left the earth behind, no morality, and no ethics... The old has failed to adapt to the changes; the violence of modern technology sees its reflection in Ultraviolence, beyond violence. Labor in this age is no longer that of production, but of destruction without purpose violence without a referent. Thus we see Dim's statement after the first ultraviolence (chapter 4 opening): "We've been working hard too." It is the expenditure of energy for its own sake. Labor in the Post-industrial age. In moving beyond mere violence, toward ultra-violence, Alex has incorporated and mastered the post-industrial age. As a post-modern pastiche of learnedness and stupidity, he is the inside-out reflection of the enlightenment subject. His language is the comprised of odd bits of rhyming slang "a bit of gypsy talk, too, but most of the roots are Slavic. Propaganda. Subliminal penetration" (from the book.) A clockwork orange, in the words of the Author within the book: "A Clockwork Orangethe attempt to impose upon man, a creature of growth and capable of sweetness, to ooze juicily at the last round the bearded lips of God, to attempt to impose, I say, laws and conditions appropriate to a mechanical creation, against this I raise my sword-pen." I'd like to turn now to a very fascinating scene, the turning point of the film as it were, when he murders the Cat Lady: One will notice that the room abounds in modern art, which depict scenes of sexual intensity and bondage. The Cat Women is the only real force of resistance to Alex, and the scene presents us with a struggle between high-culture which has aestheticized violence and sex into a form of autonomous art, and the very image of post-modern mastery, Alex, who understands all to well the meaning which is obscured from the Cat Women. She inhabits a private sphere, the image of enlightenment individuality (cat women are always introverts who are obsessively non-social) in a sort of delusional satellite from the city where it is all hoodlums. (Note the inversion of the polis...Alex brings the horror of the cities into the suburbs--Cyberbia). Denied the historical context of Art (the ninth is 'misunderstood') he actually understands the meaning of modern art very well indeed as violence, in fact he turns it literally into the tools of violence, she is killed, as it were by her own instruments of aesthetic decontextualization. The sculpture phallus (a "very important piece of art," ritualized and de-politicized) is made into a weapon, and the scene of her death is a nearly subliminal orgy of modern-art. Whereas she, as with the use of all high-art among the Bourgeoisie, finds only exchange value in the phallus, phallus as pure sign, Alex initiates the violent reversal of that commodification. He turns it into a tool, here a tool of violence; what she has done is to inject exhibition value into forms of art which have only exchange value, the work of art in the hands of the Bourgeoisie is reinjected with a type of aura, which only lead it further in the direction of losing control (like the reinjection of aura in the robot --Maria's aura--in Metropolis). Control is lost and the phallus becomes a weapon, a violent recontextualization by Alex. He proves to understand well this process. There are also similarities here with the State's control of his mind through conditioning. The state attempts to gain control by turning Alex into a robot (a clockwork orange), thus commodifying him (isn't this the struggle at the end for control of Alex--the liberals and state?). His use-value is a function of his exchange-value.

221.          Close Encounters of the Third Kind 5

Society & Entertainment

Film Review

Close Encounters of the Third Kind

What do you get when you combine aliens, a little bit of mystery, tasteful

comedy, good acting, and award-winning direction?  A wonderful film from one of the

most celebrated directors of our time, Stephen Spielberg.  'Close Encounters' places

Richard Dreyfuss and Melinda Barro in roles of regular suburbanites who both believe to

have seen a UFO.  The plot thickens and the intrigue begins when these two determined

people try to find out what is really going on in their town.  Dreyfuss, obsessed with the

UFO sightings, nearly drives his family away, and destroys his home in suburbia because

of his unrelinquished need to answer his own questions.  Although this is obviously a

science fiction film, Dreyfuss also turns in just the right amount of delightful comedy to

keep boredom from the audience's grasp.  Spielberg has won a hit with his heartfelt,

intriguing, sci-fi flick that has that patented Spielberg ending we all have grown to love

over the years.

The reason for the greatness of this movie lies firmly in the outstanding

performances by Dreyfuss, Barro, and co-star Terri Garr.  Dreyfuss has a knack for being

able to portray an erratic man who in one instant is completely normal, and at other times

becomes utterly insane.  Melinda Barro also puts in an extremely believable performance

as Dreyfuss's side-kick in search of her abducted son.  But perhaps the most hidden

success of this movie is the very underrated actress Teri Garr, who put in her two cents as

Dreyfuss's wife.  Garr did play a small role, yet it was effective, it produced a gauge of

just how crazy Dreyfuss was really getting.  The wonderful acting carried the film over

the obvious special effects that Spielberg uses.

This film was pretty much original for it's time, but once you see the special

effects, you are instantly reminded of films like E.T., Star Wars and other such science

fiction slash space odyssey's of our time.  But since this movie was made before many of

these others, I believe it was just a draw off all of the stories and possibilities of

encountering another life form.

'Close Encounters' has a good mixture of character and film cinematography.

Spielberg relies on the actors to make the special effects seem that much more special.

He also uses several very effective camera techniques, like tilt shots to convey the

message of power or insignificance, or a series of jump-cuts to relay the feel of

intenseness to the audience.  In one particular scene, a chase scene, Spielberg effectively

uses jump-cutting between the protagonists, Dreyfuss and Barro, and the government,

who are trying to keep these two away from a rendezvous with the aliens.  During most

of the movie the shots were straight up full shots with some interesting close-ups to bring

significance to character or object, relying on the special effects to wow the audience.

I believe that Spielberg wanted simply to make the audience think.  He wanted us

to ponder the possibilities of an encounter with another life form as well as to think of the

many things that we are naive to.  He wanted us to realize that we know very little of

what the government does, and far less about the rest of the universe.  'Close

Encounters' is not another one of those no-brainers that spoon feed everything to you; the

film makes you think and formulate your own opinions.  For me, this flick was very

interesting and extremely worth the time and money I spent to watch it.  Hooray for

Spielberg!!!

222.          Close Encounters of the Third Kind

Society & Entertainment

Film Review

Close Encounters of the Third Kind

What do you get when you combine aliens, a little bit of mystery, tasteful

comedy, good acting, and award-winning direction?  A wonderful film from one of the

most celebrated directors of our time, Stephen Spielberg.  "Close Encounters" places

Richard Dreyfuss and Melinda Barro in roles of regular suburbanites who both believe to

have seen a UFO.  The plot thickens and the intrigue begins when these two determined

people try to find out what is really going on in their town.  Dreyfuss, obsessed with the

UFO sightings, nearly drives his family away, and destroys his home in suburbia because

of his unrelinquished need to answer his own questions.  Although this is obviously a

science fiction film, Dreyfuss also turns in just the right amount of delightful comedy to

keep boredom from the audience's grasp.  Spielberg has won a hit with his heartfelt,

intriguing, sci-fi flick that has that patented Spielberg ending we all have grown to love

over the years.

The reason for the greatness of this movie lies firmly in the outstanding

performances by Dreyfuss, Barro, and co-star Terri Garr.  Dreyfuss has a knack for being

able to portray an erratic man who in one instant is completely normal, and at other times

becomes utterly insane.  Melinda Barro also puts in an extremely believable performance

as Dreyfuss's side-kick in search of her abducted son.  But perhaps the most hidden

success of this movie is the very underrated actress Teri Garr, who put in her two cents as

Dreyfuss's wife.  Garr did play a small role, yet it was effective, it produced a gauge of

just how crazy Dreyfuss was really getting.  The wonderful acting carried the film over

the obvious special effects that Spielberg uses.

This film was pretty much original for it's time, but once you see the special

effects, you are instantly reminded of films like E.T., Star Wars and other such science

fiction slash space odyssey's of our time.  But since this movie was made before many of

these others, I believe it was just a draw off all of the stories and possibilities of

encountering another life form.

"Close Encounters" has a good mixture of character and film cinematography.

Spielberg relies on the actors to make the special effects seem that much more special.

He also uses several very effective camera techniques, like tilt shots to convey the

message of power or insignificance, or a series of jump-cuts to relay the feel of

intenseness to the audience.  In one particular scene, a chase scene, Spielberg effectively

uses jump-cutting between the protagonists, Dreyfuss and Barro, and the government,

who are trying to keep these two away from a rendezvous with the aliens.  During most

of the movie the shots were straight up full shots with some interesting close-ups to bring

significance to character or object, relying on the special effects to wow the audience.

I believe that Spielberg wanted simply to make the audience think.  He wanted us

to ponder the possibilities of an encounter with another life form as well as to think of the

many things that we are naive to.  He wanted us to realize that we know very little of

what the government does, and far less about the rest of the universe.  "Close

Encounters" is not another one of those no-brainers that spoon feed everything to you; the

film makes you think and formulate your own opinions.  For me, this flick was very

interesting and extremely worth the time and money I spent to watch it.  Hooray for

Spielberg!!!

223.          Collection of Works Original

Collected Works, Vol. 1

The Collected Works of Nicholas Cottrell

Disclaimer and Copyright Notice:

All works within are copyrighted to Nicholas Cottrell, hereafter known as "the author".

Unauthorized copying is prohibited.  Each reader is authorized to make five (5) copies and

distribute them in any manner as long as profit is not gained.

This contains subject matter that you may find disturbing or inappropriate.  Please do not read

it if you think you may become offended.

Table of Contents:

0. Introduction

1. "Spring" - The one romance poem in here.

2. "Spiral's End" - a poem of revenge

3. "Of Teenage Sorrow" - A short story

4. "Nomad" - loneliness in writing

5. "Frat Boys" - anti-drinking

6. "Reflected Waves" - a poem of surprise at oneself

7. "Phoenix" -  a poem of redemption

8. "My Friend In Misery: An Ode to Missa" - a poem of thanks

9. "Bleeding" - a poem of being drained

10. "Observations of Corporations" - A partial view of life.

11. "Fallen Hero" - Read the disclaimer

12. "Singularity" - the one way out

13. "Short Views" - More views on life

Introduction

A while back, my poetry won me a statewide award.  Ever since, I've been pressured to make a

compilation of some of my crap and send it around to be published.

This collection is just a bunch of stuff I threw together, not much thought to it.  If you like

it, tell me so!  My e-mail address is GAFreak@aol.com, write me.  I'll write back each and every

person by hand, I promise.

Well, on with the show, I suppose.

1.  "Spring"

A rose with gentle petals

in the garden grows

amongst the weeds

Love, like the rose

thrives in life's turmoils

like the carefully planted seed

- Nicholas Cottrell

2. "Spiral's End"

Too long have I spent

Explaining what I've meant

Too long have you heard

my ominous words

Whimpering, you cry

on your knees, you die.

-Nicholas Cottrell

3.  "Of Teenage Sorrow"

A child's cries in the night awaken the mother, who stumblingly finds her way to the crib.  Is it a bottle, or a diaper change?  The mother does not know.  Inadequacy fills the teenage mother, and blinds her to the child's needs.  "Rot in Hell, kid." she mutters, crawling back into a bed where a father should be but wasn't.  The child's unrelenting tears force her from her nighttime reverie, abd drag her back to the nursery.  "Shut up, kid!" she growls drowsily.  "Don't you know I have school tomorrow?"  But the baby does not know, and her howls fill the night.  Lights come on in neighboring apartments, and shouts reach her ears.

"Shut that kid up!"

"Some of us are trying to SLEEP!"

As much as she does not know how to help her tiny child, she remembers how to defend her.

A torrent of curses and insults streams unladylike from her lips, and vanquishes the neighbor's

screams.  Breaking into tears at her inadequacy to help her child, she drags herself to her small

refrigerator and withdraws a beer.  "I just need more money... I just need more time..."  she

mutters, and almost believes herself in her half-drunken state.

In the morning she awakes, seeing that the baby cried itself to sleep.  Kicking over the

beer cans from the previous night, she looked at her alarm clock.  Too late to go to school now.

Might as well spend time with the brat to make up for last night.

Dragging out a stroller from beneath half-eaten TV dinners and beer cans, she reflected on

the time when she still loved her child.  When Stephen was with her... when she had money to

spend... when life was good.  She packed the child into the stroller, and rolled out the door

and down the road to a little park.

Stopping at the pond, she threw stones into the water and watched the ripples rise.  She

pondered how easy life would be without her little brat.  How easy... and that pond was so deep..

and so dark.... her knuckles whitened around the stroller's handle.  So easy...

-Nicholas Cottrell

4. "Nomad"

Across the Earth I stride,

wandering

These sands I'm cursed to ride,

thirsting

Alone I nurture pride,

crawling

And with myself I die,

smiling.

-Nicholas Cottrell

5. "Frat Boys"

Amongst the company of others,

I find myself alone.

These men who act like brothers,

it chills me to the bone.

In salute they raise their beer cans,

(I alone stand without one)

and dub each other "Man"

thinking that getting drunk is fun.

-Nicholas Cottrell

6. "Reflected Waves"

A river flows

beneath my feet

reflection glows

and life seems sweet

I smile at myself and see

the person smiling back

is... not.... me....

-Nicholas Cottrell

7. "Phoenix"

I am impure

for me,

there is no cure

I crawl to light

to try

and fight

the dark within

consumed

by my sin

I see the light

it is so bright

wash over me

and make me be

I become one

my sins are gone

the darkness lost

this light has taught

my life is new

enemies few

I come to terms

my flesh not burn

I look to the sky

and wonder not why

Because I made peace.

-Nicholas Cottrell

8. "My Friend In Misery: An Ode to Missa"

In darkness I shone

Held by Death's bones

Fingers around my throat

Thrown into the acid moat

It ate away my flesh

with darkness and death I meshed

Inside refused to die

because then no one would ask why

On brink I stood and stumbled

around me world did crumble

With friends I went

to you I spoke

My darkness spent

Courage awoke

Inside I live

and to you I give

this little rhyme

in immortal time.

-Nicholas Cottrell

9. "Bleeding"

Can give no more

My flesh is spent

Feel like a whore

To home I went

and ask they did

for more of me

I'm just a kid!

They don't agree.

A man they made

of just a child

To them I've said

"Give me a while"

But time is what

I do not own

that door is shut

freedom, gone.

-Nicholas Cottrell

10. "Observations of Corporations"

Swords locked in a battle of the titans, unknowing people standing beneath continue with their

lives.  Those that buy and sell us continue the petty squabbles that to us are financial wars.

CEOs send their army of lawyers and accountants to do battle on the market, a more bitter field

of battle than any foreign soil ever has been.  And the foot soldiers of the war go home every

day to a wife and two kids who love him only for what he brings in, not for what he is.

-Nicholas Cottrell

11. "Fallen Hero" ***This one is graphically psychotic***

Black trenchcoat flapping in the wind

Dear Lord I know that I have sinned

But I still do my very best

to protect her, and all the rest

from the deepest darkest black

Oh dear God he's coming back

this evil thing that should not be

the responsibility falls to me

from deepest shadows he appears

fills everyone's hearts with fear

Oh my God he has a gun

I'm screaming at them all to run

fast enough is what I'm not

blood is all those bullets bought

filled with rage, I turn around

because now I hear another sound

he raises the gun to come at me

I guess that he cannot see

Everything I care about

Already gone, their lives snuffed out

He is the very worst

he'll kill me, unless I get him first

leaping with a single bound

over the bodies on the ground

I've become a complete wreck

My hands reach out, and break his neck

I won't think about what I've done

After all... I just killed my son.

-Nicholas Cottrell

12. "Singularity"

Above a void I ride, stumbling

and on the ledge I stride, crumbling

inside the hole I fall, screaming

I wish for a quick way back, dreaming

There is no quick way, this I know

The straight and narrow way to go

is the only way back to life

if only I can survive the strife

Kicked in the side, to ground I fall

Stabbed in  the back, for help I call

None rush to aid, none come to help

No one loves this discarded whelp

I look up and see a man

hung on a cross, and to me,

he smiles.

I ascend.

-Nicholas Cottrell

13. "Short Views"

Every day is a trial by fire that each man must face to reach the true freedom, the dreams of

the next night that bless a monotone world with a little color.  Trapped inside himself, the

men of the world look to nothing as guidance.  A little bud on a little plant gives freedom to

some, and death to others.  Is it worth it?  Kids die every day wondering if it is.  Freedom

comes with a price.  With a car, you can choose where to go, but you cannot choose when to die.

Pain gives freedom from reality by making reality so harsh it cannot be faced.  Love gives

freedom from reality by making reality so rosy that it no longer exists.  Greediness lets you

see everything through hundred-dollar-green tinted glasses and everything changes into a $.

Music and writing gives freedom by putting your entrapment onto paper and passing it onto other

unsuspecting people.  And thus the world goes round, the trapping of one man going to another.

-Nicholas Cottrell

If you liked anything you read, write me at GAFreak@aol.com or my home address:

Nicholas Cottrell

5888 Fornof Rd.

Columbus, GA

31909

224.          Comedy techniques which were explained by Rowan Atkinson

Discuss three comedy techniques which were explained by Rowan Atkinson and then used in Dads army"

Comedy is a part of life displayed naturally in daily tasks and professionally in movies and

theatres. Comedy has so many types, the most prominent of which is visual comedy. There

are various comedy techniques displayed in Dads army, which were explained in Funny

business. Visual comedy plays a significant part in forming the basis which Dads

army revolves around, as well as Physical, verbal comedy and the use of clothes. The

comedian's acts usually related to the audiences' fantasies.

Visual comedy plays a significant part in Dads army. Visual comedy liberates human beings

from reality, objects are given new meanings and values, it explores the subconscious of the

audiences' minds giving them freedom to create. For example, in one scene, the highest

officer is explaining how to board a small boat to his soldiers, constantly accusing them of not

being able to do things right. As soon as he places his foot on the boat a breeze blows the boat

further into the water thus making the officer fall. This scene consists of many branches of

visual comedy, hypocrisy and contradiction. The social expectation

was completely, unexpectedly broken, making it more humorous. The comedians'

engagement with the audience in terms of desire was very effective, in other words the

comedians did what the audience wanted to happen, not what they expected. The fact that the

high officer was accusing the soldiers of basically being clumsy supplied him with a more

humorous but unexpected contradiction .The imitated faces, although not exaggerated made

this scene more realistic, "the more realistic the comedy is the funnier"

Rowan Atkinson, funny business.

Physical and verbal comedy was part of Dads army and was explained in funny

business.

The highest officer is an example of a physical comedian, very different and always

Counter-acting problems in a unique but strange way. On the other hand his

"helper" is a good example of a verbal comedian, sharper and smarter. Between these two

actors there is an on going competitiveness, which the helper does not even realise. The high

officer is jealous of his helper simply because he is more accepted in the society. This is

childish, and childishness falls into the category of physical comedy. For example, in another

scene an old soldier falls asleep on the chair while an officer is calling him and demanding

that he gets up. Suddenly he wakes up and says "did anyone call me", the old man was acting

as though he were a child, giving life a whole new meaning. There is another person who,

when is in a vulnerable position and gives up, he always expresses his pessimistic attitude

towards the rest of his platoon, which is, again, a childish attitude. In Rowans' documentary

he mentions " with every new attitude their is a new joke". Placing the high officer with the

helper displayed a number of comedy techniques, also how the high officer counter-acted the

sharp helpers' comments was very effective. The childish techniques were applied

through giving an old man a childish character, because the bond that old men carry with

children is much stronger than young men with children.

Clothes shape the way audiences' perceive the character. Clothes helped convey humorous

hints. In another scene a platoon marches out with a few of their men wearing wedding

dresses for no obvious reason. "Unexpectedness proves humorous" in Rowan Atkinson's

video. Clothes can also be a way of hiding emotions or deceiving the audiences' expectation.

The effectiveness of the use of clothes was important in making the scene more appealing.

The way of applying this type of comedy was simply through the clothes being worn in the

wrong situation.

There are various comedy techniques displayed in Dads army, which were explained in

Funny business. Visual comedy plays a significant part in Dads army as well as physical,

verbal comedy and the use of clothes.

By: Theo Saidden

225.          Coming To America Essay

Coming To America: Adjusting to a Culture

Prince Ahkeim Jahfar wakes up on his twenty-first birthday and realizes

that he is to be wed to a woman he has never met before.  This is a custom that

is traditional in the royal family of  Zamoonda, Africa.  His father, King

Jahfi Jahfar had been planning this wedding for many years.  The woman who is

groomed to be the prince's wife has been trained since birth to learn

everything about the prince and what he likes.  She is trained to fill his

every desire.  As it turned out, the Prince was not satisfied with his wife to

be because her intellect did not meet his standards.  He decides to travel to

America to find his bride to be.

Prince Ahkeim and his servant Simi fly to Queens, New York to fill out

the Prince's dreams.  They arrive in a suburban area of Queens wearing very

expensive suits and animal skins around their chest.  Soon they find out that

they need to change their wardrobe to fit in with the rest of the population.

Prince Ahkeim plans to meet a woman that will love him for who he is and not

for the wealth he has.  He must make everybody he meets believe that he is an

ordinary person from New York so that his cover will not be "blown".  The

Prince even gets a job at a fast-food restaurant and works like a peasant would

from his home.  When asked where he is from,  he simply replies "I'm an African

student who is studying here at the University".

Prince Ahkeim learns that there are many things that go on in America

that are different from his world.  He seems to be amused that people dump

trash on the streets and greet each other by shouting curse words at each other.

The apartment that he moves into is almost a complete opposite of the palace

he left.  Rats and roaches crawl around the floor as if they owned the building.

This doesn't seem to bother the Prince even though he is used to petal girls

throwing rose petals to cover the floor before him and girls to bathe him.

He soon meets a girl that he is very interested in but she is already

engaged to marry someone.  Daryl, her fiance is the son a wealthy entrepreneur

and comes across as very superficial to the Prince.  Prince Ahkeim worked hard

at his new job and tries to come in contact with Lisa as much as possible.

Lisa invites Ahkeim to go on a double date with her sister.  During the game,

Daryl asked Ahkeim "I bet wearing clothes is a new experience for you."  Lisa

gradually becomes aware of the Prince's charm and prestige.  Slowly but surely,

Lisa starts to fall in love with Ahkeim.  As far as she knows, Ahkeim is the

son of a goat herder.

King Jahfi comes to find out that his son is living poorly and decides

to visit America to find out what exactly is going on.  When he arrives, he

finds Prince Ahkeim's servant Simi at the roach infested apartment and learns

that his son has betrayed his wealth and fortune for a girl.  The King then

goes to Lisa McDowell's house to find his son.  King Jahfi is very disturbed

about his son's behavior and refuses to allow him to marry the woman he loves.

The King finally retrieves his son and brings him back to the palace of

Zamoonda to marry the woman chosen to be his wife.

At the wedding, Prince Ahkeim lifts the vail from the bride's face to

find out that it is Lisa and becomes overwhelmed with joy.  King Jahfi changed

a tradition of many generations to bring true happiness to his son.

226.          coming to America

Adjusting to a Culture

Prince Ahkeim Jahfar wakes up on his twenty-first birthday and realizes that he is

to be wed to a woman he has never met before.  This is a custom that is traditional in the

royal family of  Zamoonda, Africa.  His father, King Jahfi Jahfar had been planning this

wedding for many years.  The woman who is groomed to be the prince's wife has been

trained since birth to learn everything about the prince and what he likes.  She is

trained to fill his every desire.  As it turned out, the Prince was not satisfied with his wife

to be because her intellect did not meet his standards.  He decides to travel to America to

find his bride to be.

Prince Ahkeim and his servant Simi fly to Queens, New York to fill out the

Prince's dreams.  They arrive in a suburban area of Queens wearing very expensive suits

and animal skins around their chest.  Soon they find out that they need to change their

wardrobe to fit in with the rest of the population.  Prince Ahkeim plans to meet a woman

that will love him for who he is and not for the wealth he has.  He must make everybody

he meets believe that he is an ordinary person from New York so that his cover will not

be "blown".  The Prince even gets a job at a fast-food restaurant and works like a peasant

would from his home.  When asked where he is from,  he simply replies "I'm an African

student who is studying here at the University".

Prince Ahkeim learns that there are many things that go on in America that are

different from his world.  He seems to be amused that people dump trash on the streets

and greet each other by shouting curse words at each other.  The apartment that he moves

into is almost a complete opposite of the palace he left.  Rats and roaches crawl around

the floor as if they owned the building.  This doesn't seem to bother the Prince even

though he is used to petal girls throwing rose petals to cover the floor before him and

girls to bathe him.

He soon meets a girl that he is very interested in but she is already engaged to

marry someone.  Daryl, her fiancé is the son a wealthy entrepreneur and comes across as

very superficial to the Prince.  Prince Ahkeim worked hard at his new job and tries to

come in contact with Lisa as much as possible.  Lisa invites Ahkeim to go on a double

date with her sister.  During the game, Daryl asked Ahkeim "I bet wearing clothes is a

new experience for you."  Lisa gradually becomes aware of the Prince's charm and

prestige.  Slowly but surely, Lisa starts to fall in love with Ahkeim.  As far as she knows,

Ahkeim is the son of a goat herder.

King Jahfi comes to find out that his son is living poorly and decides to visit

America to find out what exactly is going on.  When he arrives, he finds Prince Ahkeim's

servant Simi at the roach infested apartment and learns that his son has betrayed his

wealth and fortune for a girl.  The King then goes to Lisa McDowell's house to find his

son.  King Jahfi is very disturbed about his son's behavior and refuses to allow him to

marry the woman he loves.  The King finally retrieves his son and brings him back to the

palace of  Zamoonda to marry the woman chosen to be his wife.

At the wedding, Prince Ahkeim lifts the vail from the bride's face to find out that

it is Lisa and becomes overwhelmed with joy.  King Jahfi changed a tradition of many

generations to bring true happiness to his son.

Adjusting to a Culture

Prince Ahkeim Jahfar wakes up on his twenty-first birthday and realizes that he is

to be wed to a woman he has never met before.  This is a custom that is traditional in the

royal family of  Zamoonda, Africa.  His father, King Jahfi Jahfar had been planning this

wedding for many years.  The woman who is groomed to be the prince's wife has been

trained since birth to learn everything about the prince and what he likes.  She is

trained to fill his every desire.  As it turned out, the Prince was not satisfied with his wife

to be because her intellect did not meet his standards.  He decides to travel to America to

find his bride to be.

Prince Ahkeim and his servant Simi fly to Queens, New York to fill out the

Prince's dreams.  They arrive in a suburban area of Queens wearing very expensive suits

and animal skins around their chest.  Soon they find out that they need to change their

wardrobe to fit in with the rest of the population.  Prince Ahkeim plans to meet a woman

that will love him for who he is and not for the wealth he has.  He must make everybody

he meets believe that he is an ordinary person from New York so that his cover will not

be "blown".  The Prince even gets a job at a fast-food restaurant and works like a peasant

would from his home.  When asked where he is from,  he simply replies "I'm an African

student who is studying here at the University".

Prince Ahkeim learns that there are many things that go on in America that are

different from his world.  He seems to be amused that people dump trash on the streets

and greet each other by shouting curse words at each other.  The apartment that he moves

into is almost a complete opposite of the palace he left.  Rats and roaches crawl around

the floor as if they owned the building.  This doesn't seem to bother the Prince even

though he is used to petal girls throwing rose petals to cover the floor before him and

girls to bathe him.

He soon meets a girl that he is very interested in but she is already engaged to

marry someone.  Daryl, her fiancé is the son a wealthy entrepreneur and comes across as

very superficial to the Prince.  Prince Ahkeim worked hard at his new job and tries to

come in contact with Lisa as much as possible.  Lisa invites Ahkeim to go on a double

date with her sister.  During the game, Daryl asked Ahkeim "I bet wearing clothes is a

new experience for you."  Lisa gradually becomes aware of the Prince's charm and

prestige.  Slowly but surely, Lisa starts to fall in love with Ahkeim.  As far as she knows,

Ahkeim is the son of a goat herder.

King Jahfi comes to find out that his son is living poorly and decides to visit

America to find out what exactly is going on.  When he arrives, he finds Prince Ahkeim's

servant Simi at the roach infested apartment and learns that his son has betrayed his

wealth and fortune for a girl.  The King then goes to Lisa McDowell's house to find his

son.  King Jahfi is very disturbed about his son's behavior and refuses to allow him to

marry the woman he loves.  The King finally retrieves his son and brings him back to the

palace of  Zamoonda to marry the woman chosen to be his wife.

At the wedding, Prince Ahkeim lifts the vail from the bride's face to find out that

it is Lisa and becomes overwhelmed with joy.  King Jahfi changed a tradition of many

generations to bring true happiness to his son.s traditional in the

royal family of  Zamoonda, Africa.  His father, King Jahfi Jahfar had been planning this

wedding for many years.  The woman who is groomed to be the prince's wife has been

trained since birth to learn everything about the prince and what he likes.  She is

trained to fill his every desire.  As it turned out, the Prince was not satisfied with his wife

to be because her intellect did not meet his standards.  He decides to travel to America to

find his bride to be.

Prince Ahkeim and his servant Simi fly to Queens, New York to fill out the

Prince's dreams.  They arrive in a suburban area of Queens wearing very expensive suits

and animal skins around their chest.  Soon they find out that they need to change their

wardrobe to fit in with the rest of the population.  Prince Ahkeim plans to meet a woman

that will love him for who he is and not for the wealth he has.  He must make everybody

he meets believe that he is an ordinary person from New York so that his cover will not

be "blown".  The Prince even gets a job at a fast-food restaurant and works like a peasant

would from his home.  When asked where he is from,  he simply replies "I'm an African

student who is studying here at the University".

Prince Ahkeim learns that there are many things that go on in America that are

different from his world.  He seems to be amused that people dump trash on the streets

and greet each other by shouting curse words at each other.  The apartment that he moves

into is almost a complete opposite of the palace he left.  Rats and roaches crawl around

the floor as if they owned the building.  This doesn't seem to bother the Prince even

though he is used to petal girls throwing rose petals to cover the floor before him and

girls to bathe him.

He soon meets a girl that he is very interested in but she is already engaged to

marry someone.  Daryl, her fiancé is the son a wealthy entrepreneur and comes across as

very superficial to the Prince.  Prince Ahkeim worked hard at his new job and tries to

come in contact with Lisa as much as possible.  Lisa invites Ahkeim to go on a double

date with her sister.  During the game, Daryl asked Ahkeim "I bet wearing clothes is a

new experience for you."  Lisa gradually becomes aware of the Prince's charm and

prestige.  Slowly but surely, Lisa starts to fall in love with Ahkeim.  As far as she knows,

Ahkeim is the son of a goat herder.

King Jahfi comes to find out that his son is living poorly and decides to visit

America to find out what exactly is going on.  When he arrives, he finds Prince Ahkeim's

servant Simi at the roach infested apartment and learns that his son has betrayed his

wealth and fortune for a girl.  The King then goes to Lisa McDowell's house to find his

son.  King Jahfi is very disturbed about his son's behavior and refuses to allow him to

marry the woman he loves.  The King finally retrieves his son and brings him back to the

palace of  Zamoonda to marry the woman chosen to be his wife.

At the wedding, Prince Ahkeim lifts the vail from the bride's face to find out that

it is Lisa and becomes overwhelmed with joy.  King Jahfi changed a tradition of many

generations to bring true happiness to his son.

Adjusting to a Culture

Prince Ahkeim Jahfar wakes up on his twenty-first birthday and realizes that he is

to be wed to a woman he has never met before.  This is a custom that is traditional in the

royal family of  Zamoonda, Africa.  His father, King Jahfi Jahfar had been planning this

wedding for many years.  The woman who is groomed to be the prince's wife has been

trained since birth to learn everything about the prince and what he likes.  She is

trained to fill his every desire.  As it turned out, the Prince was not satisfied with his wife

to be because her intellect did not meet his standards.  He decides to travel to America to

find his bride to be.

Prince Ahkeim and his servant Simi fly to Queens, New York to fill out the

Prince's dreams.  They arrive in a suburban area of Queens wearing very expensive suits

and animal skins around their chest.  Soon they find out that they need to change their

wardrobe to fit in with the rest of the population.  Prince Ahkeim plans to meet a woman

that will love him for who he is and not for the wealth he has.  He must make everybody

he meets believe that he is an ordinary person from New York so that his cover will not

be "blown".  The Prince even gets a job at a fast-food restaurant and works like a peasant

would from his home.  When asked where he is from,  he simply replies "I'm an African

student who is studying here at the University".

Prince Ahkeim learns that there are many things that go on in America that are

different from his world.  He seems to be amused that people dump trash on the streets

and greet each other by shouting curse words at each other.  The apartment that he moves

into is almost a complete opposite of the palace he left.  Rats and roaches crawl around

the floor as if they owned the building.  This doesn't seem to bother the Prince even

though he is used to petal girls throwing rose petals to cover the floor before him and

girls to bathe him.

He soon meets a girl that he is very interested in but she is already engaged to

marry someone.  Daryl, her fiancé is the son a wealthy entrepreneur and comes across as

very superficial to the Prince.  Prince Ahkeim worked hard at his new job and tries to

come in contact with Lisa as much as possible.  Lisa invites Ahkeim to go on a double

date with her sister.  During the game, Daryl asked Ahkeim "I bet wearing clothes is a

new experience for you."  Lisa gradually becomes aware of the Prince's charm and

prestige.  Slowly but surely, Lisa starts to fall in love with Ahkeim.  As far as she knows,

Ahkeim is the son of a goat herder.

King Jahfi comes to find out that his son is living poorly and decides to visit

America to find out what exactly is going on.  When he arrives, he finds Prince Ahkeim's

servant Simi at the roach infested apartment and learns that his son has betrayed his

wealth and fortune for a girl.  The King then goes to Lisa McDowell's house to find his

son.  King Jahfi is very disturbed about his son's behavior and refuses to allow him to

marry the woman he loves.  The King finally retrieves his son and brings him back to the

palace of  Zamoonda to marry the woman chosen to be his wife.

At the wedding, Prince Ahkeim lifts the vail from the bride's face to find out that

it is Lisa and becomes overwhelmed with joy.  King Jahfi changed a tradition of many

generations to bring true happiness to his son.

227.          Commentary of the play Amadeus

"The play 'Amadeus' is mainly concerned

with the destructive nature of jealousy"

This passage is all too true, both in Peter Shaffer's 'Amadeus' and in life in general.  However the play is also concerned with the destructive nature of ignorance and naivety. Salieri is jealous not just of Mozart's talent, but of the fact that God gave the talent to "Mozart ... spiteful, sniggering, conceited, infantine Mozart".  He is envious of the vessel of God's laughter at the 'patron saint of mediocrity' as he had dubbed himself.  Not only did God double-cross Salieri, but he did it using this "obscene child".  It was this jealousy and the rage it inspired that caused Salieri to attempt to kill Mozart by starving him of work and students, and thus, money and food.  If Salieri had not restricted the amount of work actually shown to the general public, then Mozart could have been wealthy, and quite possibly selected as the new Kapellmeister.

Mozart doesn't understand the importance of pleasing members of the Viennese court.  He has no comprehension of the value of money, for when he successfully earns any, he spends it on lavish food and clothes immediately, instead of saving it.  He spends all his time churning out music in final copy, which, although beautiful, doesn't earn money as would teaching music.

Mozart is really the one who should be jealous, as he has little in the way of money or assets, or even respect.  All he has is his talent and his priceless music, but not the sense he needs to capitalise on it.

It isn't the fact that someone has more talent than him, the problem is, as he sees it, that he isn't as good as someone else after making a bargain with God, which should guarantee that he is the best in the world at least until he dies.  But no.  "I know myself forever mediocre" he cries as he realises that the gift given to him by God only exists to allow him to recognise the greatness and incomparable beauty of the music of God.  It is at this moment he resolves to condemn God in everything he does.  He cancels all his appointments to help poor musicians, to break his vow of social virtue.  He then seduces Katherina Cavalieri to break his vow of sexual virtue.  He makes the conscious decision to destroy God through Mozart in everything he does.  He declares God, through Mozart, to be "Nemico Eterno", the eternal enemy.  His life is now devoted to the destruction of God.

I believe that Antonio Salieri is also jealous of God's ability to dole out talent as he sees fit, without Salieri being able to stand in his way.  He has had enough!  So he snaps, and attempts to destroy Mozart's name and reputation, which wasn't that high to start with.  His name wasn't incredibly well known because only Salieri had the ability to recognise his greatness.  Because the rest of the Court, and indeed, Vienna, relied almost solely on the opinions of Herr Salieri, he was able to prevent Mozart's music from becoming popular to a degree.  He won his fight with God, but the knowledge lived in him still, he knew he would forever be, the patron saint, of mediocrity.

228.          Communication Between Men and Women

Communication Between Men and Women: They Can't be the Same

In communication between men and women, the two genders always

communicate differently.  Traditionally men communicate facts directly and are

less likely to discuss details that have little to do with the conversation.

Women traditionally are more careful about what they say and seek to build

relationships by the way they communicate.  These two forms of communication,

direct (traditional male) and indirect (traditional female), are consistent

throughout most cultures.  There are cases where the men communicate indirectly

and the women directly but not where both the genders communicate in the same

way. (Lakoff 627)  If the two genders do communicate in the same way, there is

bound to be serious conflict that usually involves violence.

The movie Thelma and Louise tells the story of two women who have run

away from their traditional roles as women.  They have been put under too much

pressure from society and especially men.  Both Thelma and Louise feel a need to

change their position in society and they do it by changing the way they

communicate.  This change in communication between men and women causes the

women to take on a stronger and more direct language which also included robbery

and murder.  They change from the traditional female forms of communication to a

more masculine form of communication.  Once they change, the men who they come

into contact with change the way they communicate as well, or they face serious

consequences.  This demonstrates the fact that men and women are bound to

communicate differently.  In the movie, Thelma and Louise react violently to men

who communicate directly to them after they have changed their form of

communication.  These violent reactions are a result of  the men breaking the

cultural ideal that men and women are bound to communicate differently. At the

beginning of the movie Thelma and Louise, Thelma and Louise were women who lived

lives of typical American women and communicated like one would expect a woman

communicate.  They were concerned mainly about their relationships with men and

tried not to make them mad.  However, they needed a break from their lives and

the two women decided to take a quick vacation.  Their lives change when Thelma

is raped by a man she meets at a bar.  When Louise shoots and kills the rapist,

after he mocks them, they change the way they communicate and act with other men.

They can no longer afford to seek or further emotional ties with men because

they are forced to make quick and decisive decisions. This creates a clear goal

they must achieve, and that is to get to Mexico to avoid being caught by the law.

Once they have this clear and concise goal (a trait that a man would have),

they begin to communicate with men more directly.  They are less concerned with

the emotional ties they have with men, and they become focused on a single goal,

which is leaving the country.

The two cases where Thelma and Louise cause serious pain and sorrow to

men are the result of men not understanding that Thelma and Louise have changed

the way they communicate.  These cases are when the Thelma and Louise pull the

truck driver over and when Louise shoots the rapist.  The only chance any man

has to convince them of something, was if a man communicated like a woman

usually would.  But since Thelma and Louise have changed their communication

style to a more direct style, they see the direct form of communication towards

them as a threat and act to eliminate that threat.  In the case of the rapist

Harlen, he got caught in the cross over.  Louise decided to communicate very

directly to the rapist which included shooting him in the heart.  By threatening

to shoot him, it displays that she changed from an indirect form of

communication to a direct form of communication.  Though violence is not

generally thought a form of communication, it conveyed the her feelings towards

him very directly and clearly.  Harlen did not know that Louise had changed her

form of communication and preceded to communicate to her very directly by

insulting her and using very obscene language.  When she changed the way she

communicated, she felt compelled to shoot him.  If he would have changed his

communication style to one which is more understanding and concerned, he would

have not been shot because Louise would have not felt threatened by the him.

In the other case where a man does not recognize that Thelma and Louise

have changed their form of communication is when the two women pull the rude and

obscene truck driver over and blow up his truck.  By this time in the movie,

Thelma has obviously changed her form of communication to the same style that

Louise changed to.  When they ask this old truck driver to pull over, he is

thinking that the two women are physically attracted to him and that they will

communicate like traditional women.  Thelma and Louise are obviously not, and

are just planing to get some revenge on him.  The truck driver communicates with

the two women throughout the movie.  Every time they pass him on the road, he

makes many of totally un-called-for comments and gestures towards them.  He does

not strive for any emotional connection to them like he would if he truly knew

and understood their style of communication.  So when he is conned by Thelma and

Louise to pull over, they decided to blow up his truck and communicate the fact

that they did not appreciate the way that he treated them.

These two examples show that communication styles between men and women

are different.  If they are not different, something bad is bound to happen.

The two genders must have different communication styles because they have

learned through culturalization that men and women communicate differently.

There has been some kind of understanding or force that keeps the two genders

from communicating in the same way.  Lakoff  describes this understood force as

being "...some deep intrinsic physical and/ or psychological distinction that

irrevocably divides the sexes: The need for polarization is very strong."  It

may not be consciously understood by all people, but it is subconsciously

understood by most since in nearly every culture, men and women are treated

differently from birth to the end of their lives (Lakoff 625-626).

When men did change their style of communication when they communicated

with Thelma and Louise they were more successful in communicating with them.

With Thelma and Louise communicating more directly, men could not communicate

with them directly because this would result in violent consequences.  Most men

in Thelma and Louise do change their style when they communicate with them.

Louise's boyfriend, Jimmy, changes his form of communication fast and is

basically used by the two women to help them escape  Also there is the Police

officer, Hal, who is tracking down the Thelma and Louise who uses a more

indirect style in communicating with the two.  Though the ultimate situation for

these two men turned out negatively, they were able to communicate better with

Thelma and Louise than the two men who communicated directly to them.

In the case of Hal, the FBI agent, he is forced by Thelma and Louise to

communicate indirectly because the two women are speaking directly to him.  He

switches over to the indirect form as soon as he begins to communicate with

Thelma and Louise.  He appears too be "soft" and to have some kind of emotional

connection with Thelma and Louise.  He genuinely does not want anything to

happen to them and seems to believe the two's story.  Hal has taken this case

personally.  One can see this in the concern on his face when he speaks to the

suspects on the phone and when he runs after them as they drive over the cliff.

He asks them  "Can't we sit down and talk about it?"  This sounds like something

a woman would say rather than a man would say, demonstrating that Hal has

changed his form over to a more feminine from of communication.

Louise's boyfriend, Jimmy, also takes a more indirect and feminine style

of communication with Thelma and especially Louise.  He takes this feminine

style to an extreme by letting Thelma and Louise use him.  He gives them money

for their escape even though he does not want them to go.  He is trying anything

to keep his connection with Louise.  Jimmy can communicate the best with Louise

because he approaches her with this feminine style.  This is shown by the long

conversations they have while they exchange the money and the clear

understanding they have about each other when they separate.  He even asks

Louise to marry him while he is giving her the money.  Jimmy shows a great need

for intimacy with his proposal and also he shows his feelings for Louise.  This

proposal is the ultimate expression of connection with Louise and shows his

emotional tie he has to her.  He is very open and shows his emotions in his body

language, which are also characteristics of traditional feminine communication

(Lakoff 627).

The contrast that exists in communication between men and women is shown

clearly in Thelma and Louise.  The movie shows what happens when the two genders

communicate similarly and differently.  When they communicate differently their

is a good understanding of each other and a greater sense of connection between

the two people communicating; which was  shown well by the FBI agent Hal and

Louise's boyfriend Jimmy.  When a man and a woman communicated in the same way,

there was conflict between the two.  This was illustrated well by the truck

driver and the rapist Harlen and the conflicts they had with Thelma and Louise;

proving the point that men and women must communicate differently.

229.          Communist politics in china and films relationship

Breaking with Old Ideas is a product of Chinese Community Party chairman Mao Zedong's concept of a new world in which all social relationships are transformed.  Li Wen-Hua made the film during the last years of the Cultural Revolution in the PRC, People's Republic of China.  The film dramatizes the struggle for proletarian control of education at an agricultural college during the Great Leap Forward and makes it clear that the leading party members can still promote bourgeois ideas and only the masses can rectify these leaders to ensure that education truly helps to build socialism.  Breaking with Old Ideas shows an introduction to the politics of the Great Leap Forward and the Cultural Revolution with concrete examples of how class struggle continues under socialism and how communists can wage that struggle successfully by mobilizing the masses to criticize those in positions of authority taking the capitalist road.

Mao launched the Cultural Revolution during his last decade in power to renew the spirit of the Chinese revolution.  "We must reform the arts faculties in the universities.  The students must go down and engage in industry, agriculture and commerce" (201, Reader), said Mao.  Mao shut down China's schools, and during the following months he encouraged Red Guards to attack all traditional values and "bourgeois" things and to test party officials by publicly criticizing them.  Mao believed that this measure would be beneficial both for the young people and for the party cadres that they attacked.  Breaking with Old Ideas show how Mao's program works and encourages low class peasants to do the same.

"[Breaking with Old Idea is about] a teacher whose spectacles and manner suggest he is a backward element undergoes a late but speedy conversion to the cause of educational popularization.  Such changes, however, were but sideshows to the main thrust of the plot" (139, Reader), said Clark.  The film suggests that Mao's idea of Cultural Revolution will make the country better for the poor peasants and will offer everything they need to make a living including punishing the capitalist-minded bourgeois. For example, the film starts with the main character smiling and laughing out loud.  The late 1950s brought the forced collectivization of agriculture and the campaign for the Great Leap Forward, which was to boost China's industrial production.  The happy, energetic, and idyllic scenes contrast with the grim reality of mismanagement in industry and agriculture, which resulted in a horrible famine in which millions of people starving to death.

In order to supply the people with food and consumer durables as well as the structure of a socialist society, labor college was created.  Students worked and studied at school to learn socialism and produce food for their village.  In the film, students face a struggle against bourgeois-minded teachers who do not care about the village but trying to catch up to other colleges and countries.  "We cannot follow the old paths of technical development of every other country in the world, and crawl step by step behind the others" (195, Reader), said Mao.  To encourage people, film shows the victory of peasants against bourgeois-minded elite by following what Mao have said.

Mao encouraged students to rebel against authority and inform on their politically incorrect seniors, and join the Red Guard, the ideological militia that pushed the Cultural Revolution forward.  At one point, Red Guards were fighting pitched battles with government troops outside of the foreign ministry building.  Later on, Red Guard units ended up fighting each other for supremacy, not completing Mao's unity-criticism-unity.  Breaking with Old Ideas show how people can stand up to the authority and fix what is wrong.  A female student stands up for herself and what she believes in during the criticism meeting.  By doing so, people have agreed and helped her express her opinion to fix their authorities who were controlled by capitalist minds.  Not only that, others were able to gain confidence in what they believe in and stood up for themselves as well.  For example, a student who made money from castrating pigs criticized himself in front of the whole town.  A young girl, the daughter of the vice principle, also showed the unfairness of her father by showing the letter of recommendation to a famous college in the city.

Breaking with Old Ideas worked as an advertisement film supporting Mao's new policy, Cultural Revolution.  By showing how the policy can work and give power to the people will help building a new country gave the poor people hope and dreams to become more than what they currently are.  People were able to participate in the government by criticizing so called "closet capitalists" who were hiding in government posts and within the CCP itself.  In reality, the targets for Mao's wrath were those he saw as his political enemies.  Eventually, the campaign spread to include targeting members of the scientists and influential professors of universities who were accused of putting technical expertise ahead of correct political thinking.  Unlike the film, the Cultural Revolution had a disastrous effect on the educational system and the scientific community within China.

230.          Compare abd Contrast Stanley from A Street Car Named Desire a

Lago and Stanley are villains in Othello and A Street Car

Named Desire. They both plan a tragic scheme to draw the main

Characters, Othello and Blanche to their "downfall" in their plays and they start it by their their hatred. Iago is absolutely inhuman being while Stanley showed his little conscience. They are both the master and are brilliant. Nevertheless Lago seem tp be much smarter than Stanley in comparsion.

Iago and Stanley plan a tragic scheme to draw Othello and Blanche to their downfall because Othello promotes Cassio to lieutenancy, a position that he wants and it causes him to plan a tragic plan. Othello has suppossed affair to Emilia who is Lago's wife. Thus, Lago constructs a plan to revenge. Stanley hates Branche because she destroys the good relationship between him and his wife , Stella. He thinks that she has sold the Belle Reve which he thinks it's a part of partly him, but she does not give him any money. The most important one, he "assume" that Blanche describes him as "common" and bestial.

Thus, he plots a plan to revenge. In all, both Lago and Stanley start tragic plan their hatred.

Lago is absolutely inhuman while Stanley has little consciences in his heart. In order to achieve the target, Iago does everythings that will benefits himself even killing other's. He kills Roderigo who helps him a lot in his paln. He persuade Othello to kill his Desdemona. Furthermore he kills his wife at the end. Stanley has not yet totally lost his humanity. Although he has raped Branche, he does not kill her or other people. Moreover, at the end of the play he settles her into a asylum, but he does not just forsakes her. This reveals that someone will look after her in the future, and she will not be living alone. In

short, Stanley still has little emotions of love in her heart, but Lago is absolutely inhuman, these two villains have a different level at different period.

As the villians in their plays, Iago and Stanley are both brilliant, but Iago's tragic plan is almost perfect. He is able to use other Charater's "flaw" in his well constructed plan. The smartest thing he does is that able to hide his identify from others. He appears to be "noble" to others, but in fact, he is evil "nderworth". Thus, he can gain other characters's trust. For Stanley, his plan is not as well constructed as Lago " ". Actually, his plan is quite straight forward. He just find out the train and tell it to Stella and Mitch. Stanley is an impetuous person, it can be showed by the action that be "thorus" the radio out in the poker night(detail explain). This is his weakness. He make fault in his plan by this, so he cannot as smart as Lago.

Lago and Stanley are both the master in their plays, they can control every other characters. Iago can control Others because he is able to gain trust form other characters. He seems loyal in front of everyone so he can easily control others. Stanley is the " " among his friends. He is the leader of the bowling team and the "plant". Thus, he can control his friends. Also he can "control" Stella and Blanche because man is alwys the King. There is no doubt that Lagoo are Stanley are the master in the play.

Lago and Stanley are both an evil person, they both start their tragic scheme by their hatred. Lago is seemed to be much smarter than Stanley, but ironically, Iago cannot completely finish his trgic plan while Stanley can. Furthermore, Iago ends up with death. Anyway, they both cannot use their brilliant on the good side: otherwise the world will be more beautiful.

231.          Compare and Contrast Stanley from A Street Car Named Desire

Lago and Stanley are villains in Othello and A Street Car

Named Desire. They both plan a tragic scheme to draw the main

Characters, Othello and Blanche to their 'downfall' in their plays and they start it by their their hatred. Iago is absolutely inhuman being while Stanley showed his little conscience. They are both the master and are brilliant. Nevertheless Lago seem tp be much smarter than Stanley in comparsion.

Iago and Stanley plan a tragic scheme to draw Othello and Blanche to their downfall because Othello promotes Cassio to lieutenancy, a position that he wants and it causes him to plan a tragic plan. Othello has suppossed affair to Emilia who is Lago's wife. Thus, Lago constructs a plan to revenge. Stanley hates Branche because she destroys the good relationship between him and his wife , Stella. He thinks that she has sold the Belle Reve which he thinks it's a part of partly him, but she does not give him any money. The most important one, he 'assume' that Blanche describes him as 'common' and bestial.

Thus, he plots a plan to revenge. In all, both Lago and Stanley start tragic plan their hatred.

Lago is absolutely inhuman while Stanley has little consciences in his heart. In order to achieve the target, Iago does everythings that will benefits himself even killing other's. He kills Roderigo who helps him a lot in his paln. He persuade Othello to kill his Desdemona. Furthermore he kills his wife at the end. Stanley has not yet totally lost his humanity. Although he has raped Branche, he does not kill her or other people. Moreover, at the end of the play he settles her into a asylum, but he does not just forsakes her. This reveals that someone will look after her in the future, and she will not be living alone. In

short, Stanley still has little emotions of love in her heart, but Lago is absolutely inhuman, these two villains have a different level at different period.

As the villians in their plays, Iago and Stanley are both brilliant, but Iago's tragic plan is almost perfect. He is able to use other Charater's 'flaw' in his well constructed plan. The smartest thing he does is that able to hide his identify from others. He appears to be 'noble' to others, but in fact, he is evil 'nderworth'. Thus, he can gain other characters's trust. For Stanley, his plan is not as well constructed as Lago ' '. Actually, his plan is quite straight forward. He just find out the train and tell it to Stella and Mitch. Stanley is an impetuous person, it can be showed by the action that be 'thorus' the radio out in the poker night(detail explain). This is his weakness. He make fault in his plan by this, so he cannot as smart as Lago.

Lago and Stanley are both the master in their plays, they can control every other characters. Iago can control Others because he is able to gain trust form other characters. He seems loyal in front of everyone so he can easily control others. Stanley is the ' ' among his friends. He is the leader of the bowling team and the 'plant'. Thus, he can control his friends. Also he can 'control' Stella and Blanche because man is alwys the King. There is no doubt that Lagoo are Stanley are the master in the play.

Lago and Stanley are both an evil person, they both start their tragic scheme by their hatred. Lago is seemed to be much smarter than Stanley, but ironically, Iago cannot completely finish his trgic plan while Stanley can. Furthermore, Iago ends up with death. Anyway, they both cannot use their brilliant on the good side: otherwise the world will be more beautiful.

232.          Comparing and Contrasting The Lottery and The Ones Who Wal

The differences between "The Lottery" by Shirley Jackson and "The Ones Who Walk Away from Omelas" by Ursula K. Le Guin seem relatively minor when compared to the striking similarities they contain in setting, symbols, and theme.

Each of the stories begin with a description of a beautiful summer day.  "The flowers were blooming profusely and the grass was richly green"(para 1) in "The Lottery" is quite comparable to "old moss-grown gardens and under avenues of trees"(para 1) in "...Omelas."  These descriptions (along with several others) provide positive connotations and allow the reader to relax into what seems to be a comfortable setting in either story.  Both stories also contain a gathering of townspeople.  In "...Omelas there is music, dance, and special attire incorporated in the gathering, whereas in "The Lottery," the women show up "wearing faded house dresses and sweaters."  Although Le Guin's environment seems more festive, all the folks in both stories are coming together for what seems to be  enjoyable, even celebratory occasions.  However, I believe the major similarity lies in the fact that  these many pleasant details create a facade within each story.  The reader is then left ill-prepared when the shocking, brutally violent, ritualistic traditions are exposed.

Children are an important focus in both stories.  Jackson makes it easy for us to imagine their "boisterous play"(para 2), and Le Guin writes "their high calls rising like swallows' crossing flights over the music and the singing"(para1).  I see these children being used to symbolize perceived states of happiness in both stories.  I also believe they are vital necessities in each story because they are taught and expected to carry traditions into the future.  For instance, in "The Lottery,"  "someone gave little Davy Hutchinson a few pebbles"(para 76),  he is then able to participate in the stoning of his own mother, and in "...Omelas," the tradition "is usually explained to children when they are between eight and twelve"(para 10), and of course, the victim in this tale is a child.

The fact that both authors include references to farming may be due to the association between farming and tradition.  I know many people who believe that farming is a way of life that is handed down from generation to generation, it is very much a tradition to them. The men in "The Lottery" are "speaking of planting and rain, tractors and taxes"(para 3) and in "...Omelas," the farmer's market is described as nothing less than "magnificent"(para 3).  The most obvious reason for these references is that the rituals performed in both stories are suppose to have an effect on harvest.  "Lottery in June, corn be heavy soon"(para 32) in "The Lottery" used to be a saying heard in their community.  And in "...Omelas," "the abundance of their harvest"(para 9), along with many other things,  supposedly depended upon their performing the certain  ritual.

Although the reasons for the traditions are slightly different in each story, the rituals  themselves are very much alike.  Both are shocking and both involve the sacrifice of a human being.  Because the sacrifice in "The Lottery" is chosen strictly by chance, age is not a determinant, whereas in "...Omelas" the sacrifice is always a child.  However, regardless of this difference, when the time comes, victims in each of these tales begins  pleading  for release from their inevitable doom. The child in "...Omelas" says "Please let me out.  I will be good!"(para 8), while in "The Lottery," Tessie screams, "It isn't fair, it isn't right"(para 79).  In Le Guin's story, death comes through slow, twisted torture.  The naked child sacrifice is locked in a dark cellar room, fed only a small portion of cornmeal and grease once a day, and is allowed no desirable human contact or communication.  In "The Lottery" the sacrifice is simply stoned to death by the remaining community, including friends and family, although this isn't quite as sickening as the method in the other story,  it is horrible and wicked nonetheless.

Although it is stated in "...Omelas" that "they all understand that their happiness, the beauty of their city, the tenderness of their friendships, the health of their children, the wisdom of their scholars, the skill of their makers, even the abundance of their harvest and the kindly weather of their skies, depend wholly on this child's abominable misery,"(para 9) there is evidence that not all agree with it.  In fact, after young people see the victim in it's abhorrent condition, they are described as "shocked  and sickened at the sight"(para 10), and "often the young people go home in tears, or in a tearless rage"(para 12).   In "The Lottery," many parts of the ritual had been altered or long forgotten by most of the people, this fact in itself, along with a few other clues tell me that not everyone agrees with it either.  One of the characters says "seems like there's no time at all between lotteries anymore"(para 22), which leads me to believe that she wishes they weren't performed as often, or at all, and another states that she hopes it's not one of her friends that is chosen(para 66).

Based in part on the afore mentioned statements, I have interpreted the themes in each story to be identical to one another.  Not only do I believe that many disagree with the practice of both rituals, I also think that the individual feels helpless in putting a stop to them.  The actions of each community as a whole seems much greater than the sum of its inhabitants.  For example, Le Guin writes that some  youngsters and "sometimes also a man or women much older" will walk alone "straight out of the city of Omelas, through the beautiful gates"(para 14).  Instead of standing up and saying they don't believe the ritual is right, they do what is easier for them, they just leave.  In "The Lottery," Mrs.  Adams mentions to  Old Man Warner "that over in the north village they're talking of giving up the lottery"(para 31) and that "Some places have already quit the lotteries"(para 33), and he replies as a defender of the ritual by referring to the quitters as a "Pack of crazy fools" and says "There's always been a lottery"(para 32).  Although she doesn't say it in so many words, I find it obvious that she feels that the ritual is outmoded and should be put to an end. This in combination with the fact that the majority of townspeople don't even remember the reasons behind the ritual, has led me to the conclusion that they only continue the process  for "tradition's sake." Parallel in these two stories is the fact that certain individuals may feel like it, but no one is able to stand up against the action of their community.

It just goes to show that humans are creatures of habit and that sometimes we continue to participate in (or tolerate) harmful practices, simply because as individuals we feel powerless and unable to stand up against societies in which the behaviors have always been accepted.

The differences between "The Lottery" by Shirley Jackson and "The Ones Who Walk Away from Omelas" by Ursula K. Le Guin seem relatively minor when compared to the striking similarities they contain in setting, symbols, and theme.

Each of the stories begin with a description of a beautiful summer day.  "The flowers were blooming profusely and the grass was richly green"(para 1) in "The Lottery" is quite comparable to "old moss-grown gardens and under avenues of trees"(para 1) in "...Omelas."  These descriptions (along with several others) provide positive connotations and allow the reader to relax into what seems to be a comfortable setting in either story.  Both stories also contain a gathering of townspeople.  In "...Omelas there is music, dance, and special attire incorporated in the gathering, whereas in "The Lottery," the women show up "wearing faded house dresses and sweaters."  Although Le Guin's environment seems more festive, all the folks in both stories are coming together for what seems to be  enjoyable, even celebratory occasions.  However, I believe the major similarity lies in the fact that  these many pleasant details create a facade within each story.  The reader is then left ill-prepared when the shocking, brutally violent, ritualistic traditions are exposed.

Children are an important focus in both stories.  Jackson makes it easy for us to imagine their "boisterous play"(para 2), and Le Guin writes "their high calls rising like swallows' crossing flights over the music and the singing"(para1).  I see these children being used to symbolize perceived states of happiness in both stories.  I also believe they are vital necessities in each story because they are taught and expected to carry traditions into the future.  For instance, in "The Lottery,"  "someone gave little Davy Hutchinson a few pebbles"(para 76),  he is then able to participate in the stoning of his own mother, and in "...Omelas," the tradition "is usually explained to children when they are between eight and twelve"(para 10), and of course, the victim in this tale is a child.

The fact that both authors include references to farming may be due to the association between farming and tradition.  I know many people who believe that farming is a way of life that is handed down from generation to generation, it is very much a tradition to them. The men in "The Lottery" are "speaking of planting and rain, tractors and taxes"(para 3) and in "...Omelas," the farmer's market is described as nothing less than "magnificent"(para 3).  The most obvious reason for these references is that the rituals performed in both stories are suppose to have an effect on harvest.  "Lottery in June, corn be heavy soon"(para 32) in "The Lottery" used to be a saying heard in their community.  And in "...Omelas," "the abundance of their harvest"(para 9), along with many other things,  supposedly depended upon their performing the certain  ritual.

Although the reasons for the traditions are slightly different in each story, the rituals  themselves are very much alike.  Both are shocking and both involve the sacrifice of a human being.  Because the sacrifice in "The Lottery" is chosen strictly by chance, age is not a determinant, whereas in "...Omelas" the sacrifice is always a child.  However, regardless of this difference, when the time comes, victims in each of these tales begins  pleading  for release from their inevitable doom. The child in "...Omelas" says "Please let me out.  I will be good!"(para 8), while in "The Lottery," Tessie screams, "It isn't fair, it isn't right"(para 79).  In Le Guin's story, death comes through slow, twisted torture.  The naked child sacrifice is locked in a dark cellar room, fed only a small portion of cornmeal and grease once a day, and is allowed no desirable human contact or communication.  In "The Lottery" the sacrifice is simply stoned to death by the remaining community, including friends and family, although this isn't quite as sickening as the method in the other story,  it is horrible and wicked nonetheless.

Although it is stated in "...Omelas" that "they all understand that their happiness, the beauty of their city, the tenderness of their friendships, the health of their children, the wisdom of their scholars, the skill of their makers, even the abundance of their harvest and the kindly weather of their skies, depend wholly on this child's abominable misery,"(para 9) there is evidence that not all agree with it.  In fact, after young people see the victim in it's abhorrent condition, they are described as "shocked  and sickened at the sight"(para 10), and "often the young people go home in tears, or in a tearless rage"(para 12).   In "The Lottery," many parts of the ritual had been altered or long forgotten by most of the people, this fact in itself, along with a few other clues tell me that not everyone agrees with it either.  One of the characters says "seems like there's no time at all between lotteries anymore"(para 22), which leads me to believe that she wishes they weren't performed as often, or at all, and another states that she hopes it's not one of her friends that is chosen(para 66).

Based in part on the afore mentioned statements, I have interpreted the themes in each story to be identical to one another.  Not only do I believe that many disagree with the practice of both rituals, I also think that the individual feels helpless in putting a stop to them.  The actions of each community as a whole seems much greater than the sum of its inhabitants.  For example, Le Guin writes that some  youngsters and "sometimes also a man or women much older" will walk alone "straight out of the city of Omelas, through the beautiful gates"(para 14).  Instead of standing up and saying they don't believe the ritual is right, they do what is easier for them, they just leave.  In "The Lottery," Mrs.  Adams mentions to  Old Man Warner "that over in the north village they're talking of giving up the lottery"(para 31) and that "Some places have already quit the lotteries"(para 33), and he replies as a defender of the ritual by referring to the quitters as a "Pack of crazy fools" and says "There's always been a lottery"(para 32).  Although she doesn't say it in so many words, I find it obvious that she feels that the ritual is outmoded and should be put to an end. This in combination with the fact that the majority of townspeople don't even remember the reasons behind the ritual, has led me to the conclusion that they only continue the process  for "tradition's sake." Parallel in these two stories is the fact that certain individuals may feel like it, but no one is able to stand up against the action of their community.

It just goes to show that humans are creatures of habit and that sometimes we continue to participate in (or tolerate) harmful practices, simply because as individuals we feel powerless and unable to stand up against societies in which the behaviors have always been accepted.

The differences between "The Lottery" by Shirley Jackson and "The Ones Who Walk Away from Omelas" by Ursula K. Le Guin seem relatively minor when compared to the striking similarities they contain in setting, symbols, and theme.

Each of the stories begin with a description of a beautiful summer day.  "The flowers were blooming profusely and the grass was richly green"(para 1) in "The Lottery" is quite comparable to "old moss-grown gardens and under avenues of trees"(para 1) in "...Omelas."  These descriptions (along with several others) provide positive connotations and allow the reader to relax into what seems to be a comfortable setting in either story.  Both stories also contain a gathering of townspeople.  In "...Omelas there is music, dance, and special attire incorporated in the gathering, whereas in "The Lottery," the women show up "wearing faded house dresses and sweaters."  Although Le Guin's environment seems more festive, all the folks in both stories are coming together for what seems to be  enjoyable, even celebratory occasions.  However, I believe the major similarity lies in the fact that  these many pleasant details create a facade within each story.  The reader is then left ill-prepared when the shocking, brutally violent, ritualistic traditions are exposed.

Children are an important focus in both stories.  Jackson makes it easy for us to imagine their "boisterous play"(para 2), and Le Guin writes "their high calls rising like swallows' crossing flights over the music and the singing"(para1).  I see these children being used to symbolize perceived states of happiness in both stories.  I also believe they are vital necessities in each story because they are taught and expected to carry traditions into the future.  For instance, in "The Lottery,"  "someone gave little Davy Hutchinson a few pebbles"(para 76),  he is then able to participate in the stoning of his own mother, and in "...Omelas," the tradition "is usually explained to children when they are between eight and twelve"(para 10), and of course, the victim in this tale is a child.

The fact that both authors include references to farming may be due to the association between farming and tradition.  I know many people who believe that farming is a way of life that is handed down from generation to generation, it is very much a tradition to them. The men in "The Lottery" are "speaking of planting and rain, tractors and taxes"(para 3) and in "...Omelas," the farmer's market is described as nothing less than "magnificent"(para 3).  The most obvious reason for these references is that the rituals performed in both stories are suppose to have an effect on harvest.  "Lottery in June, corn be heavy soon"(para 32) in "The Lottery" used to be a saying heard in their community.  And in "...Omelas," "the abundance of their harvest"(para 9), along with many other things,  supposedly depended upon their performing the certain  ritual.

Although the reasons for the traditions are slightly different in each story, the rituals  themselves are very much alike.  Both are shocking and both involve the sacrifice of a human being.  Because the sacrifice in "The Lottery" is chosen strictly by chance, age is not a determinant, whereas in "...Omelas" the sacrifice is always a child.  However, regardless of this difference, when the time comes, victims in each of these tales begins  pleading  for release from their inevitable doom. The child in "...Omelas" says "Please let me out.  I will be good!"(para 8), while in "The Lottery," Tessie screams, "It isn't fair, it isn't right"(para 79).  In Le Guin's story, death comes through slow, twisted torture.  The naked child sacrifice is locked in a dark cellar room, fed only a small portion of cornmeal and grease once a day, and is allowed no desirable human contact or communication.  In "The Lottery" the sacrifice is simply stoned to death by the remaining community, including friends and family, although this isn't quite as sickening as the method in the other story,  it is horrible and wicked nonetheless.

Although it is stated in "...Omelas" that "they all understand that their happiness, the beauty of their city, the tenderness of their friendships, the health of their children, the wisdom of their scholars, the skill of their makers, even the abundance of their harvest and the kindly weather of their skies, depend wholly on this child's abominable misery,"(para 9) there is evidence that not all agree with it.  In fact, after young people see the victim in it's abhorrent condition, they are described as "shocked  and sickened at the sight"(para 10), and "often the young people go home in tears, or in a tearless rage"(para 12).   In "The Lottery," many parts of the ritual had been altered or long forgotten by most of the people, this fact in itself, along with a few other clues tell me that not everyone agrees with it either.  One of the characters says "seems like there's no time at all between lotteries anymore"(para 22), which leads me to believe that she wishes they weren't performed as often, or at all, and another states that she hopes it's not one of her friends that is chosen(para 66).

Based in part on the afore mentioned statements, I have interpreted the themes in each story to be identical to one another.  Not only do I believe that many disagree with the practice of both rituals, I also think that the individual feels helpless in putting a stop to them.  The actions of each community as a whole seems much greater than the sum of its inhabitants.  For example, Le Guin writes that some  youngsters and "sometimes also a man or women much older" will walk alone "straight out of the city of Omelas, through the beautiful gates"(para 14).  Instead of standing up and saying they don't believe the ritual is right, they do what is easier for them, they just leave.  In "The Lottery," Mrs.  Adams mentions to  Old Man Warner "that over in the north village they're talking of giving up the lottery"(para 31) and that "Some places have already quit the lotteries"(para 33), and he replies as a defender of the ritual by referring to the quitters as a "Pack of crazy fools" and says "There's always been a lottery"(para 32).  Although she doesn't say it in so many words, I find it obvious that she feels that the ritual is outmoded and should be put to an end. This in combination with the fact that the majority of townspeople don't even remember the reasons behind the ritual, has led me to the conclusion that they only continue the process  for "tradition's sake." Parallel in these two stories is the fact that certain individuals may feel like it, but no one is able to stand up against the action of their community.

It just goes to show that humans are creatures of habit and that sometimes we continue to participate in (or tolerate) harmful practices, simply because as individuals we feel powerless and unable to stand up against societies in which the behaviors have always been accepted.

The differences between "The Lottery" by Shirley Jackson and "The Ones Who Walk Away from Omelas" by Ursula K. Le Guin seem relatively minor when compared to the striking similarities they contain in setting, symbols, and theme.

Each of the stories begin with a description of a beautiful summer day.  "The flowers were blooming profusely and the grass was richly green"(para 1) in "The Lottery" is quite comparable to "old moss-grown gardens and under avenues of trees"(para 1) in "...Omelas."  These descriptions (along with several others) provide positive connotations and allow the reader to relax into what seems to be a comfortable setting in either story.  Both stories also contain a gathering of townspeople.  In "...Omelas there is music, dance, and special attire incorporated in the gathering, whereas in "The Lottery," the women show up "wearing faded house dresses and sweaters."  Although Le Guin's environment seems more festive, all the folks in both stories are coming together for what seems to be  enjoyable, even celebratory occasions.  However, I believe the major similarity lies in the fact that  these many pleasant details create a facade within each story.  The reader is then left ill-prepared when the shocking, brutally violent, ritualistic traditions are exposed.

Children are an important focus in both stories.  Jackson makes it easy for us to imagine their "boisterous play"(para 2), and Le Guin writes "their high calls rising like swallows' crossing flights over the music and the singing"(para1).  I see these children being used to symbolize perceived states of happiness in both stories.  I also believe they are vital necessities in each story because they are taught and expected to carry traditions into the future.  For instance, in "The Lottery,"  "someone gave little Davy Hutchinson a few pebbles"(para 76),  he is then able to participate in the stoning of his own mother, and in "...Omelas," the tradition "is usually explained to children when they are between eight and twelve"(para 10), and of course, the victim in this tale is a child.

The fact that both authors include references to farming may be due to the association between farming and tradition.  I know many people who believe that farming is a way of life that is handed down from generation to generation, it is very much a tradition to them. The men in "The Lottery" are "speaking of planting and rain, tractors and taxes"(para 3) and in "...Omelas," the farmer's market is described as nothing less than "magnificent"(para 3).  The most obvious reason for these references is that the rituals performed in both stories are suppose to have an effect on harvest.  "Lottery in June, corn be heavy soon"(para 32) in "The Lottery" used to be a saying heard in their community.  And in "...Omelas," "the abundance of their harvest"(para 9), along with many other things,  supposedly depended upon their performing the certain  ritual.

Although the reasons for the traditions are slightly different in each story, the rituals  themselves are very much alike.  Both are shocking and both involve the sacrifice of a human being.  Because the sacrifice in "The Lottery" is chosen strictly by chance, age is not a determinant, whereas in "...Omelas" the sacrifice is always a child.  However, regardless of this difference, when the time comes, victims in each of these tales begins  pleading  for release from their inevitable doom. The child in "...Omelas" says "Please let me out.  I will be good!"(para 8), while in "The Lottery," Tessie screams, "It isn't fair, it isn't right"(para 79).  In Le Guin's story, death comes through slow, twisted torture.  The naked child sacrifice is locked in a dark cellar room, fed only a small portion of cornmeal and grease once a day, and is allowed no desirable human contact or communication.  In "The Lottery" the sacrifice is simply stoned to death by the remaining community, including friends and family, although this isn't quite as sickening as the method in the other story,  it is horrible and wicked nonetheless.

Although it is stated in "...Omelas" that "they all understand that their happiness, the beauty of their city, the tenderness of their friendships, the health of their children, the wisdom of their scholars, the skill of their makers, even the abundance of their harvest and the kindly weather of their skies, depend wholly on this child's abominable misery,"(para 9) there is evidence that not all agree with it.  In fact, after young people see the victim in it's abhorrent condition, they are described as "shocked  and sickened at the sight"(para 10), and "often the young people go home in tears, or in a tearless rage"(para 12).   In "The Lottery," many parts of the ritual had been altered or long forgotten by most of the people, this fact in itself, along with a few other clues tell me that not everyone agrees with it either.  One of the characters says "seems like there's no time at all between lotteries anymore"(para 22), which leads me to believe that she wishes they weren't performed as often, or at all, and another states that she hopes it's not one of her friends that is chosen(para 66).

Based in part on the afore mentioned statements, I have interpreted the themes in each story to be identical to one another.  Not only do I believe that many disagree with the practice of both rituals, I also think that the individual feels helpless in putting a stop to them.  The actions of each community as a whole seems much greater than the sum of its inhabitants.  For example, Le Guin writes that some  youngsters and "sometimes also a man or women much older" will walk alone "straight out of the city of Omelas, through the beautiful gates"(para 14).  Instead of standing up and saying they don't believe the ritual is right, they do what is easier for them, they just leave.  In "The Lottery," Mrs.  Adams mentions to  Old Man Warner "that over in the north village they're talking of giving up the lottery"(para 31) and that "Some places have already quit the lotteries"(para 33), and he replies as a defender of the ritual by referring to the quitters as a "Pack of crazy fools" and says "There's always been a lottery"(para 32).  Although she doesn't say it in so many words, I find it obvious that she feels that the ritual is outmoded and should be put to an end. This in combination with the fact that the majority of townspeople don't even remember the reasons behind the ritual, has led me to the conclusion that they only continue the process  for "tradition's sake." Parallel in these two stories is the fact that certain individuals may feel like it, but no one is able to stand up against the action of their community.

It just goes to show that humans are creatures of habit and that sometimes we continue to participate in (or tolerate) harmful practices, simply because as individuals we feel powerless and unable to stand up against societies in which the behaviors have always been accepted.

The differences between "The Lottery" by Shirley Jackson and "The Ones Who Walk Away from Omelas" by Ursula K. Le Guin seem relatively minor when compared to the striking similarities they contain in setting, symbols, and theme.

Each of the stories begin with a description of a beautiful summer day.  "The flowers were blooming profusely and the grass was richly green"(para 1) in "The Lottery" is quite comparable to "old moss-grown gardens and under avenues of trees"(para 1) in "...Omelas."  These descriptions (along with several others) provide positive connotations and allow the reader to relax into what seems to be a comfortable setting in either story.  Both stories also contain a gathering of townspeople.  In "...Omelas there is music, dance, and special attire incorporated in the gathering, whereas in "The Lottery," the women show up "wearing faded house dresses and sweaters."  Although Le Guin's environment seems more festive, all the folks in both stories are coming together for what seems to be  enjoyable, even celebratory occasions.  However, I believe the major similarity lies in the fact that  these many pleasant details create a facade within each story.  The reader is then left ill-prepared when the shocking, brutally violent, ritualistic traditions are exposed.

233.          Comparing And Contrasting The Two Videos Of Romeo and Juliet

We have watched two versions of 'Romeo and Juliet'. One was made in 1968 by a man called Franco Zeffirelli and was set in Verona, in the Middle Ages. A man named Baz Luhrmann made the other movie in 1996. This version was set in America and is very modern. The stars in the Zeffirelli version were Olivia Hussey and Leonard Whiting. The Luhrmann version starred Leonardo DiCaprio and Claire Danes.

One of the main differences between the two versions of 'Romeo and Juliet', was the opening. The Zeffirelli movie had quite a slow opening, in contrast to fast and furious opening of Luhrmann's version. Both films used Shakespeare's play properly, but their outcomes were very, very different. Zeffirelli's version of the opening was set in a market square, whereas Luhrmann's opening was in a petrol station. When the Montagues and Capulets have a confrontation in Zeffirelli's film, the argument is quite courteous, in a mocking way. But in Luhrmann's version, everyone is frantic, especially the 'Montague Boys, but they still manage to put a shouted 'Sir!' at the end of each sentence. Also, before the 'Montague Boys' were shown at a petrol station, a newsreader is saying the prologue of 'Romeo and Juliet'. The newsreader then fades out and the viewer is shown empires, belonging to the Capulets and Montagues. This is meant to show you that the reason for the Montagues and Capulets rivalry is down to the business empires, belonging to the two families. In Zeffirelli's film, there was no reason for the bitter, prehistoric feud.

Both films used suitable techniques and props for the film. By that, I mean the Zeffirelli version couldn't have a newsreader and in Luhrmann's film the people had to wear normal clothes, for this time and age. In Zeffirelli's film, the actors and actresses wore wonderful, extravagant costumes. These were perfect for the Middle Ages, and looked very impressive. Just by looking at the clothes, the viewer would understand the importance of the two families. In Luhrmann's film everybody was wearing normal, everyday clothes, so there was no way that, you could tell the people were from important families. Also, in the two versions, the weapons used were different. Luhrmann's film used guns and Zeffirelli's film used swords. Another technique that Luhrmann used, was the old language. The whole film was very, very modern, but Luhrmann decided to keep Shakespeare's old English in his motion picture. I found this really good, but it was also really confusing. I had just finished studying the book, so this helped me to understand the film.

The two films are set in different locations, and this small factor changes the outcome of the two movies completely. If you watched the two movies, one after the other, you would be thinking, "This was based on the same play?", and amazingly the answer would be "YES!" Actually, you can tell the films are based on the same play, as they both have the same plot, but look ENTIRELY different. It's amazing!

In both films, I liked particular actors and actresses. In Zeffirelli's film, I liked the Prince and the Nurse. In Luhrmann's film, I liked Mercutio, Benvolio and Romeo. All these actors and actresses, named above, were exceptionally good. Well, at least I thought that they portrayed their characters well! Leonardo (Romeo) didn't impress me much, but I thought he did quite well. He wasn't as good as the others, but he was one of the better actors. I thought both Benvolios were good, but I preferred the Benvolio in Luhrmann's film. He was just very different to how I imagined Benvolio. Now, I didn't like the Nurse in Luhrmann's version, at all! She just seemed very boring, cold and not like a lifelong friend to Juliet. Also, Olivia (Juliet in Zeffirelli's version), wasn't that good. She was only fourteen when she did the film and that is impressive, because she wasn't bad at doing Juliet's part. The only thing was, I thought that she couldn't cry and sounded very fake. Which was a shame because she did the rest of Juliet really well.

In both films, scenes were missed out. In Zeffirelli's movie, the scenes missed out were when Lord Capulet and Lord Montague, make up and become friends again; the Apothecary, which was when Romeo was buying the poison and the other scene missed out was when Paris was killed by Romeo in the monument. Scenes missed out in Luhrmann's film were also the Lord Montague and Lord Capulet scene and Paris's murder was also missed.

To conclude this essay, I am going to tell you what I liked in both motion pictures. Firstly, in Zeffirelli's film, I LOVED the costumes. It would be worth watching the movie just for the costumes! I also liked the way certain characters were portrayed. In Luhrmann's movie liked the way Leonardo was acting in the scene where Romeo and Juliet have just spent their wedding night together. He was rushing about, grabbing his clothes and looked so frantic, it added humour to the heavy scene! Another thing that I really liked in this film was the ending. I loved the way Juliet woke up just as Romeo took the poison, because it filled everyone with dread and it was very sorrowful. Then when Juliet shot herself in the head, it was really dramatic, as you heard the sound of the shot.

To summarise the two films, all I can say is that I loved them both, because they are so different, but if I had to choose, I'd choose the Luhrmann version, starring Claire Danes and Leonardo DiCaprio, just because I loved the ending.

234.          comparing hollywood and bollywood

Film industry is the world of dreams. It is a multi billion industry. You can create what you can't create in real life. It's the world of fantasy and creation. There are many kinds of films that are being released nowadays. Hollywood is the American film industry. Next to Hollywood is Bollywood, which is Indian film industry. In Bollywood films are made in Hindi.

Hollywood and Bollywood are the two main locations where commercial and art films are made. Bollywood produces nearly 98 percent commercial films and the remaining 2 percent makes up the art films. Hollywood however makes approximately 80 percent commercial films and 20 percent art films.

Commercial and Art cinema are two kinds of films. Commercial films are in turn divided into many types. In commercial cinema there will be a hero, heroin and a villain, whereas in art films we will find only common characters, which are close to nature and real.

Art films are generally made with a low budget, while commercial films are generally made with a high budget. Art films are somewhat close to nature like daily life, for example "1947 EARTH", which is an Indian film and it is an art film. In this movie there are big stars like Amir khan and Rahul khanna but they are not the heroes of the film and there are no heroes in that movie. It is the story of the partition of Bharth after independence. And the movie runs only according to the subject and human emotions.

Commercial films are generally made for making money. Commercial films are thrillers, horror, comedy or action. Seldom, do we find Hollywood commercial films without sex and vulgarity. Without any reason, some of the filmmakers are keeping sex in the movie just for making money. But there are some directors who make clean films without vulgarity. For instance, Steven Spielberg is one who makes clean movies like Jurassic park, Amistad, Saving private Ryan etc, in which he concentrates only on the subject of the movie; he never diverts the story by keeping sex and vulgar language. An example of a commercial film is "Final destination", which is suspense thriller .An example of complete action film is "Die hard", and for comedy is "The Mask".

In Bollywood a typical commercial film means the film with songs, action, comedy and romance. In other words, a Hindi movie is called "masala" which means a "mixture". In Bollywood sex is not shown in the movies since the culture will not allow. There are strict rules by the censor board for removing sexual content and vulgar language. Whereas in Hollywood, the censor board just rates the film as an adult or a children movie, but nobody follows it.

Commercial movie lovers say art films are boring and slow. Art films have subjects related to human emotions and are made in a poetic vision. Generally art films never make as much money as commercial movies do, but art movies get more awards than commercial ones when compared to their percent of production. Thus, these are the features of Hollywood and Bollywood art and commercial cinema.

235.          Comparing Oedipus and Othello

When comparing and contrasting the character's Oedipus and Othello by means

of the different theatrical practices, one must take in account that there have been

many interpretations, and productions of each of their respected plays.  The differing

presentations of each may lead someone to think differently about the play than

another would.  In comparing and contrasting the dramatic representation of the

protagonists Oedipus and Othello, theatrical presentation, costume design, and

character will lead the reader, and viewer, to have a greater insight into the theatrical

practices of their times and their approaches to the issue of verisimilitude.

The theatrical presentation of both plays are very similar.  The two plays would

both be presented on a thrust stage, which is a platform surrounded on three sides by

the audience.  Except for the backdrop which would have some element of scenery,

the stage itself would be bare apart from a few scenic elements and props.  Othello,

like most of Shakespeare's plays, had what is called an abstract setting.  That is a

setting in which the locale may change rapidly, it may not be indicated by the script

that it has changed, and was most likely suggested by a few props.  Abstract settings

place more emphasis on the language and the performer, which causes the spectator

to use their imagination.  It also places more emphasis on costuming.  This type of

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setting helped set up the style of representational theater, which places high emphasis

on the realistic.  The style used in classical Greece was presentational which, because

of the use of the mask, gave no illusion that this story is happening before their eyes.

The audience is reminded that they are watching a play, and not merely observing

life.  Thus, the use of the thrust stage is the only similarity of the two types of

presentation.  Othello is a purely illusionistic play, whereas Oedipus Rex is one that

when watched, the viewer knows that they are watching a performance.

Costumes convey information about the character and aid in setting the tone or

mood of the production.  Because most acting involves impersonation, most

costumes are essential to re-create historical or to the period in which the production

takes place.  Costumes like that of William Shakespeare's Othello maybe abstract,

ever-changing, like it's setting.  When using the costume design of the latest film

version of Othello, he is usually seen in a toga-like uniform which may have stemmed

from his moor background.  Since costume elements were formalized in classical

Greek theater, the costumes would be that of everyday dress with slight additions of

colour, designs, all of which created a larger meaning in the context of the play.  The

additions on the toga also contributed to accentuating the setting , which in Oedipus'

case was Thebes.  His toga could have been coloured like the sand and have an

ornament like a Sphinx tooth, signifying his bravery for killing the beast.  In the case

of Othello his toga-like uniform, may have had a general's insignia on the shoulders,

and much like in the film, the scars and tattoos showing the suffering he has gone

through.  On the issue of verisimilitude, actors in Oedipus Rex would be required to

wear a mask bearing an expression that would stay throughout the place, making the

character's seem flat and general.  Oedipus is a round character, but because of the

mask, he has a one dimensional projection to the audience.  The costumes worn in

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Othello would be that of clothing of that time.  This is common in both plays, but the

absence of the mask in Othello, meant that the actor provided their own expressions.

Thus, the costumes worn in both plays would be life-like to the audience, but the use

of the mask in classical Greece robbed the viewer of a three dimensional projection

and withheld the expressions, by the actor.

When an actor acts, they impersonate to believably re-create a historical or

fictional character. The character's of Oedipus and Othello are developed into round

characters.  Round characters are those that are well developed three dimensionally

with multiple meaning to their characters.  Oedipus is a character who's fate cannot

be avoided, and which ever path he seems to take leads him to more trouble than

what he had to deal with before.  Even though his character is well-rounded, he is

not believable.  It would be highly unlikely that Oedipus would marry a woman who

looked as if she could be his mother without asking a few questions about her past

marriages and about her children.  It could have caused some insight in their

characters, and questions could have arisen about the first child which was sent away

and thought of as dead.  Othello on the other hand is a well-rounded character, and

he is believable.  Othello is a man who is filled with jealousy and mistrust he learns

that his wife may be sleeping with another man.  Anyone who has been in love has

had this feeling once and a while, and that feeling is being fed by the person of whom

they most trust it can be devastating for that person.  As Iago continually feeds

Othello's suspicion, his hurt and mistrust grows for his wife, until he finally kills her.

This is seen in the news everyday...a jealous lover kills the other half because they

were seen with another man, or with their ex.  Thus, the character of Oedipus is a

round characters, but cannot be believed due to the absurd circumstances of his

marriage

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with Jocasta.  Othello's round character can be believed, because jealousy invades all

of us at one time or another and for Othello, he chose to act upon it much like those

who act in our society today.

In conclusion, when comparing and contrasting the dramatic representation of the

protagonists Oedipus and Othello, the differences in their theatrical presentations ,with

regard to the styles of presentational and representational theater, the similarities in

approach to costume design, and their approaches to the validity of realistic characters,

gives great insight on these two different dramatic periods.

236.          Comparing two documentaries One day in September and Nanook of the north

These documentaries were produced in different decades, firstly One day in September was released on the 4th September 2000, and this was a documentary on the tragic events of the Munich Olympics.

The second documentary I watched was Nanook of the north, a story of an Inuit and his family's life. This documentary is said to be the first feature length documentary ever, it was released in the USA in 1922. The documentary looks at real life situations the family come up against living in North Pole; it is a story of love, life and survival.

The Olympic Games in 1972 were in Munich, at these games the tragic events that produced the one day in September documentary. The film is about a group of Palestinian's who kidnapped 12 of the Israeli athletes at the Olympics. The documentary is produced through archive material and interviews. The documentary on Nanook of the North is the complete opposite because all the images were put together at the same time and were produced in 1922. If a past event documentary was produced today we would not be able to attract the audience without archive material to back up the evidence and points.

Nanook of the north is in black and white due to the time it was produced, but colour was not produced until Disney's first film of Snow white made almost a decade after.  The one day in September archive footage is in colour but not perfect condition because the event happened in the 70's and the footage was used 30 years later, where today technology has improved.

Nanook of the north is one continuous story with short pauses for information to flash up so we understand what is happening. There was no sound in this documentary, although sound make documentaries more interesting and dramatic/emotional, Nanook of the north still achieved this by emotive shots and meanings through the flash ups of information.

Interviews are used in One day in September these interviews bring the story together and give the audience a chance to see his feelings and thoughts that were not in the archive material. Although there is a problem with this, because interviews are produced later than the archive material which was taken at the time, with interviews information could have been forgotten or the view could be bias or they may just not want to add a bit in. A positive aspect to the interview is that we don't see the interviewer this makes the person on camera seem as through they are talking to the person watching the film, so makes the audience feel more involved. This is harder in Nanook because no sound or interviews appear as this was the first documentary the concept was simple, There was Footage and information.

In one day in September more complex factors are used to attract the audience, it uses interviews, archive material, sound, sound effects, imagery, a narrator and eye-witness accounts.

In both documentaries there is a good range of visual effects, these included emotional chronological images, so in One day in September they would have been each hour of the event and in Nanook of the north it would have been each day, although we are unaware if the shots were daily because they are all edited to produce a length of 87 minutes.

In both documentaries they used the images that they know will attract the attention and keep the audience watching, for example in Nanook of the north there could have been days were they did nothing and this would be edited because the audience would not be interested.

The visual images are usually the most dramatic or tragic ones, this is evident in both documentaries. In one day in September, the used of dead bodies and people faces at the event shows how intense and tragic the situation was, and in this documentary the narrator connects the image with what he says for example as the camera panned across the crowd the narrator said "There was fear among their faces." In Nanook of the north the same idea was used but without sound. For example a key event in the documentary is when they are running low on food and hunting for survival. Information comes up in black and white simple font to tell us this; it then shows a close up of them killing a walrus at the sea edge and eating it raw due to starvation.

Another problem with Nanook is that we don't get to learn much background on the family because in comparison to One day in September which uses lots. For example In the documentary we meet Jamal al gashey a terrorist from the event and we get to no what he was like when he was young, what he's like now and what he was like then.

In comparison One day in September is a better informing piece than Nanook because it uses more factors to keep the audience interested, although both pieces are informing. One day in September is more developed due to time it was produced. The two show a big difference in the development of documentaries but I think Nanook was a very influential film to start of the documentary genre.

237.          Comparison between Osar Romero and Oscar Schindler

Even though Oscar Romero and Oscar Schindler were of different races and social status, their attitudes towards others were very strong and appreciative. Both man saved many lives in protesting against governments that opposed their views. Both men showed their love to their neighbors as a sign of justice in society. Oscar Romero and Oscar Schindler dedicated their lives to people with no empowerment, protested against the killing of innocent people and left behind the courage and influence for other people to follow their steps.

Oscar Romero offered his own life to the people of his country that had no power, people that were not involved with the military, guerillas and the oppressive government. His actions were intended to help others when in need, to protect them for unfair rule and to lead his country and people to a state of liberation. Oscar Schindler presented his money and power as a Fascist Nazi to save hundreds of Jews from the Holocaust during World War II. He saved their lives, by giving them opportunities to work and save their families from the harsh reality of war.

Oscar Romero protested at the killings of men and women who had taken the streets in orderly fashion to petition for justice and liberty. He wanted his country to be what God send as the message for him to distribute. This message was that all people are the same in likeness to God and that everyone must have equal justice and opportunity. Oscar Schindler rallied against killing the Jews, to save them from the murder and sufferings that were brought upon them.

Oscar Romero and Oscar Schindler are two people with a heart that can be felt by thousands of people. Both characters have a God's view to protect the vulnerable and to change the views of the government against murder, destruction and domination. Oscar Romero took it upon him self to use the Church as a light of hope and to challenge the oppressors. Oscar Schindler took it upon him self to use the money he had and the power as a Nazi Ruler to save the lives of innocent people. Both, Oscar Romero and Oscar Schindler made large contributions to society where their actions will not be forgotten.

238.          Comparison Between Piano Concert by Barbara Wieman and Sacramento Chamber

Comparison Between Piano Concert by Barbara Wieman and Sacramento Chamber

Orchestra

On Feb 20,1997, I attended a piano concert that was performed by Barbara

Wieman. The performance was held at the American River College Music Department

choir room. The choir room holds about 100 people and every seat was taken and

students were seated on the floor. The audience was dressed casual as everyone

was students trying to do their concert papers. Barbara Weiman was also dressed

casual but nice. The piano concert started at 12:20pm and was finished at 1:05pm.

The program started with a piece from L.V.

Beethoven called Sonata in F minor, Op.57. This piece can be characterized by an

intense, dramatic use of fluctuating dynamics. It was as if the crescendo was

not allowed to climax, then is aborted by a sudden change to pianissimo. The so

called Beethoven motif was used throughout the piece, very effectively I might

add. Barbara Wieman was very animated performing this piece and seemed to be

very emotional while playing. This piece was very distinct and there was an

effective use of rests that was displayed. I would call this piece very serious.

After Beethoven we were treated to F. Schuberts Impromptu in G flat Major, Op.

90, No.3. This piece was very pleasing to the ear so we could call this

consonant. The music seemed to flow and had a great rhythm. This piece was

romantic in nature and probably that is why it was written in the romantic era.

C. Debussy 's Feux d'artifice (fireworks)  was the next piece played. The

harmony was very obscured in this piece of music. The theme trying to be

presented in this piece was as if fireworks were going off. The notes were

ever changing and there was a very good uses of all the keys of the piano.

This piece was not very pleasing at all and I did not care for it at all.

From looking around the room it seemed other people would agree. After that

unpleasant piece was played we were lead into La Cathedrale engloutie (The

Sunken Cathedral). It was very slow starting but eventually started building the

tempo and then seemed to drop off and become very slow in tempo. This piece

seemed as if it were trying to tell a story. Alot of people seemed as if the

were going to sleep.

The last piece was changed from S. Prokofieff to Chopin's Ocean Atrium piece.

This piece had rhapsodic melodies giving the illusion that the piece might

have been improvised. It was very moving and flowing using melody and harmony.

Very pleasing and also from the romantic era. What a great way to end the

piano concert. Everyone enjoyed the music so much that she provided us with an

encore. She played another piece by Chopin. I would definitely recommend to

anyone wanting to learn more about music to take your class. This has been a

great experience for me.

On Feb 15,1997, I attended a concert put on by the Sacramento Chamber

Orchestra. The performance was held at the Dietrich Threatre, Sierra College in

Rocklin. Dietrich Threatre seats about 500 people, and on that evening there was

about 300 people present. The concert dress was casual for the audience but the

Sacramento Chamber Orchestra performers were dressed in tuxedo's for the men and

black outfits for the women. The performers consisted of 8 women and 10 men. The

orchestra was conducted by Zvonimir Hacko. Programs were provided and the

concert followed the printed program very well. The starting time was 8:00pm and

finished at 10:00pm.

The style of music played varied because of all the different musical

era's represented. Mozart from the classical era, Dvorak from the romantic era,

Bartok from the early 20th century, and Copland from our present. The Sacramento

Chamber Orchestra consisted of Violin 1, Violin 2, Viola, Violoncello, Double

Bass, Piano, and Harp. When combined, the performance was outstanding and

uplifting.

The concert opened with Mozart's marvelous miniature, "Eine Kleine

Nachtmusik" which stands for ("A Little Serenade"). Mozart's Serenade, which is

like a tiny symphony, was conducted and played with exemplary care. The tempo of

the music was upbeat, it's dynamics were managed thoughtfully, and the musical

form presented consisted of alterations that were superb. The "romance" of the

second movement was hushed and tender, the finale was as light as air.

After the finale of Mozart's we were treated to the Dvorak Serenade in E

opus 22. The Dvorak was in five movements lasting a little over half an hour.

The waltzes of the second were a bit of folk flavor, and were quite beautiful.

The third movement, Scherzo, was dance like and soulfully romantic. The fourth

movement,Larghetto, was even more soulful in mood, which deepened as its melody

passed from the violas to the cellos. The finale brought us back with a touching

recollection of the very beginning of the work.

The Bartok Divertimento was in three movements. It can be best described as

continuous, fascinating, exciting and full of action. The melodies were strong,

as were the rhythmic pulses and dissonance's. So much was happening that all you

could do was go for the ride and enjoy it. The last major piece was by Copland,

called Concerto for Clarinet and String Orchestra with Harp and Piano.

The Copland piece was in two movements bridged by an unusually long cadenza

(Soloist), that lasted over three minutes. The soloist seemed to dwell on

the lyric sweetness of the first movement and then signaled the merriment of

the second movement. The first part struck me as very slow but the second part

was very rhythmic,very perky, and was passed around appreciatively by all,

while the piano and clarinet were trading ideas with each other. All in all,

this piece signaled excitement and was made very enjoyable with the clarinet

and piano. As this was my first Chamber Concert I was not sure what to expect.

I thoroughly enjoyed myself and I'm looking forward to my next concert.

239.          comparison between two guitars

The paper I have written and know alot about is a contrast on two really well known

and popular guitars. One which is the Gibson Les Paul, and the other which is the Ibanez 453

RVC. Both guitars may look alike to some, and to some they may sound alike as well,  but are

they really alike?

Starting with the bodys,  the Gibson Custom Les Paul is made of solid mahogeny wood,

which gives the guitar a more Classical look and feel and also a much better and clearer sound.

The Gibson is a more luxiourous guitar for which it is better for classical rock and light heavy

metal as opposed to the Ibanez which is excellent for hard rock and heavy metal.

Going further up the guitar,  you have what are called the pickups.  A pickup is a really

sensative box that is attached to the body in between the bottom of the neck and the bottom of

the bridge.  The purpose of a pickup is to "pick up" the sounds of the notes or chords that are

being strummed.  There are many different types of pickups; for instance, the Gibson Les Paul

has pickups that are called Humbuckers, which are much higher and of a better quality than the

pickups on an Ibanez.  The Ibanez comes with regular music store pickups that are not bad but

do not have the quality of the Humbuckers.  So having better quality means that the pickups are

more sensative; being more sensative means that the guitar can put out clearer and higher quality

sound.Moving to the lower part of the guitar, both guitars have knobs.  The purpose of these knobs are to

control the different types of sounds that you want to produce. The Gibson has four controls, but

the Ibanez only has two; having only two knobs instead of four means that the Ibanenz has less of

a selection or variety on the sound that you want opposed to the Gibson having more control over

the sound that you like and the sound that you need.  The Gibson having volume and tone for

each pickup allows you to adjust the sound to the way you like it, while the Ibanez has volume and

tone for only the one pickup, which controls the sound.

The next piece that is connected to every guitar is the neck.  Many guitars have many

different types of necks varying from length, width, thickness, and different types of wood.

The wood on the neck of the Ibanez is poplar wood, which makes a rougher and more rugged

neck.  The Gibson, on the other hand, is made of mahogany wood which produces a smoother

neck and has a comfortable feel to it.  Having a better feel allows the guitar player to increase his

or her speed when just practicing or maybe even accidentally when performing live.  The radius of

the neck on a Gibson is much smaller than the neck of the Ibanez: having a smaller neck also lets

the musician have more control of what they are playing.

The fret board is located on the neck of the guitar.  The fret board on an Ibanez is made

of rosewood as opposed to the ebony fret board on the Gibson.  Having an ebony fret board, the

frets are a lot stronger, more precise (tighter), and better quality.  The Ibanez, having rosewood,

is not as strong, and from too much playing of the guitar wears the frets down and are dead in a

couple of years.  So, when the frets are so worn out, you can't just buy a new fret board, you

have to buy a whole new guitar.

Then we have the head of the guitar which is located at the very top of the guitar.  On the

top of the guitar, we have what are called tuning pegs, used, obviously to tune our guitars.  The

tuning pegs on the Gibson are much stronger and they won't go out of tune as easy as the Ibanez

would.  The reason the Ibanez goes out of tune is because the pegs are a different type of metal,

and the metal that the Ibanez has is much weaker than the Gibsons.

So having the Gibson makes it much easier on the musician from constantly having to tune the

guitar.

Then we have the bridge which is at the bottom of the guitar to hold the strings in place.

You connect the string from the tuning peg down along the fret board till you fit them into the

bridge.  The bridge on the Gibson has better intanation, which means that the strings will last

longer, as the Ibanez has the Floyd Rose tremel bridge which won't stay in tune as long as the

Gibson would.  The strings have a tendancy to wear out a lot quicker from constantly having to

tune them. The reason the strings wear out is because, everytime you tune a guitar the strings

stretch.  From too much stretching, the strings end up either popping or not being able to tune  to

the key you want them in.

Some well known musicians that use the guitars are:  Jimmy Page from Led Zepplin, and

Slash from Guns-n-Roses, both prefer the Legendary Gibson Les Paul over any other guitar.

And then we have Joe Santriani, and well Known Steve Via who prefer the Ibanez.

The prices between these two guitars vary in a big price range.  The Iast time I

checked up on the GibsonLes Pual was listed for $3199. which drastically overtowers the Ibanez

453 RVC listed at $599.

240.          Comparison of the Met and Guggenheim Museum New York

New York City has been called "the greatest city in the world" numerous times by its own people and visitors to the city. New York is civilization's greatest world within a city. It gives the overpowering impression of being a magnet and mirror for all of humanity and all that humanity does. For a city so young, New York is home to number of architectural classics. Two of these masterpieces of architecture are the Metropolitan Museum of Art and the Guggenheim Museum. Both continue the metaphor of New York being a world within a world and possess the latent fusion of form and function, one dependent on the other. The Metropolitan Museum is the epitome of neo-Classical style while the Guggenheim is a modernist powerhouse. Each museum serves the same purpose: displaying humanity's greatest achievements. By comparing and contrasting their history, location, façade and interior, I will investigate how they arrive at this goal in contrasting styles

Location of a building is significant, often giving an insight into the edifice's function. The Solomon R. Guggenheim Museum is located on Fifth Avenue between 88th and 89th streets (picture1). It was commissioned by Solomon Guggenheim in 1943. Guggenheim chose Frank Lloyd Wright to design a new building to house Guggenheim's four-year-old Museum of non objective painting. Wright was reluctant on New York being chosen as the city to house the museum but he finally decided on its current location. Its proximity to Central Park was a vital factor in his decision - the park offers a respite to the hustle and bustle of the city and gets as close to nature as possible in the City (picture 2). Like Robie House and Falling Water, the museum is a product of its environment and finds its inspiration from nature. As is stated on the official website, the Guggenheim Museum is an "embodiment of Wright's attempts to render the inherent plasticity of organic forms in architecture." People visit the museum as much for its architecture as its art; it is an icon of modern architecture and designed specifically to showcase and complement modern art.

The Metropolitan Museum of Art was founded in 1870 by wealthy American businessmen and artists of the time with the sole purpose to create a museum bringing art and education from around the world to the citizens of America. The original central pavilion was designed by Richard Hunt, with the newer Lehman, Sackler, American, Rockefeller, Wallace and Kravis wing's designed by Kevin Roche John Dinkeloo and Associates. Located on Fifth Avenue and 83rd street (just inside Central Park), it is a living encyclopedia of world art (picture 12). Every culture from every part of the world, from past to present is represented and is in fact the largest collection of art work in the entire Western Hemisphere. Let us now take a look at the impression each building gives the viewer.

The Met and the Guggenheim possess two of the most famous museum façade's in the world. Upon first glance at the Guggenheim Museum, one is both impressed and intrigued by its design (pictures 1-4). It is an organic form that derives its source from Central Park located just opposite. The best impression of the structure is obtained from just across the street (picture 1). The attention to detail is evident everywhere - the circular pattern of the sidewalk outside the museum, the porthole-like windows on its south side (picture 4), and the smoothness of the hand plastered concrete. The main component on the west façade (facing Fifth Ave) is represented by an upward spiraling helix (pictures 1-3). Horizontal lines are stressed throughout the exterior, with the museum being longer than it is tall. There are very few corners, with smoothness and blending of form the focus. The museum gives an impression of stacked shapes with its long horizontal base, the viewing room capped by a steel structure on the north façade, the spiraling helix and the rectangular core. Like his other constructions, Wright makes use of cantilever architecture where the corners are free.

As is seen in Robie House, the Museum seems to take the overall shape of a ship or locomotive - hallmarks of the industrial revolution. The south façade slightly juts out from the main structure with 'porthole' windows cleverly placed at the bottom. These windows serve to enhance the steam ship analogy that is characteristic of Wright's architecture. The core of the building emanates from the central pillar that is seen just atop the spiraling structure. Like Robie House, this gives support to the overall structure (top of pictures 1, 2).

The Metropolitan Museum is a colossus (relative to museums) and upon first inspection of the Fifth Avenue facade, the viewer is immediately struck by its awesome size (pictures 12, 15). As aforementioned the Museum houses the largest collection of art in the western hemisphere and is built of limestone. The neo-Classical style hails back to the great civilizations of Greece and Rome. The area surrounding the entrance is the main component of the façade. The steps leading up to the entrance is reminiscent of the Parthenon and gives the building a sense of grandeur (picture 15). This façade has three grand arches defined by pairs of Corinthian columns. There is a cornice directly above the capitals . At the uppermost section of the entablature there is another cornice that outlines the roof of the entire building (picture 16).

The main component of the façade is flanked by the west wing and east wing. The eastern section is characterized by large dome shaped windows interrupted in between engaged Corinthian columns (picture 13). Above the columns is another cornice that surrounds the length of the building. There is a stepped in section that is perhaps designed to hold a sculpture. The south façade is modernist and contrasts the classical style of the rest of the museum (picture 18). It is composed of glass with a pyramidal dome in the central section. Each façade of the Met conveys a sense of symmetry and order, in contrast to the Guggenheim Museum which is a fusion of different forms.

The interior of both the Met and Guggenheim continue the theme of contrasting styles. The Guggenheim Museum is a work of art itself and is as much a sculpture as it is architecture. Reinforced concrete is used to create a soaring spiral that swells as it rises, culminating in an open window rooftop. The viewer enters the museum through the central section of the façade and arrives at the ground floor (picture 6). The entrance blends in with the surrounding sidewalk and is difficult to perceive at first glance. Once inside, one sees the ramps of the building spiraling upwards with the artwork displayed within each ramp (picture 5). Light streams down from the glassed rooftop bathing the interior in sunlight giving the museum a warm ambience (picture 8,9,11). Wright designed the museum so that the art-goer could take the elevator on the left side of the ground floor to the top ramp and gradually descend around an open court (picture 7). This gives the viewer the option to skip levels and finally, at the end of the exhibition, find himself on the ground floor, near the exit. By doing this, the viewer is made to experience the entire building, from the top ramp, to the bottom and perceive the overall effect of the museum as a whole. One of the consequences of this multi-ramp, open design is that the viewer can witness artwork on multiple levels from one spot (picture 7). This is a unique attribute of the Guggenheim that is not featured in other museums. However, a drawback to this is that walls of the interior are angled, making it sometimes difficult to display conventionally shaped paintings. By using this style, Wright conveys a very modernist sense to a building designed to display modern art. The Met takes an almost completely opposite stance in performing its function.

The entrance to the Met is grand and inviting. Whereas the Guggenheim's entrance is almost imperceptible with the sidewalk, the Met features nine ceremonial elevated staircases on which stand Corinthian columns and grand arches (picture 15). As you enter the building through the steps on the Fifth Avenue façade, you arrive at the Great Hall, one of the landmark rooms in New York, comparable to Grand Central Station (pictures 19-23). The Great Hall is a huge, open room with high domed ceilings, continuing the classical style (in particular, Romanesque) of the exterior. Ionic columns flank the Great Hall on all four sides (picture 22). Above the columns there is a cornice, above which is a balcony on the second floor. There are three directions in which the viewer can access the displays, north, east, and west. If one continues straight (from the entrance), there is a large grand staircase leading directly up to the second floor. Surrounding this staircase is a set of parallel columns (picture 21). Just above the start of the staircase is a grand statue of Perseus with the Head of Medusa. Unlike the Guggenheim museum, the Met offers a more conventional method to view art. The art-goer walks through a number of interlocking rooms with paintings on the sides and sculptures generally in the central area of the rooms. There is an impression of class, symmetry and grandeur given by the Great Hall, viewing rooms and the architecture of the Met.

The Guggenheim Museum and the Metropolitan Museum of New York are both masterpieces of architecture that communicate their form and function in contrasting styles. The Met gives the viewer a sense of grandeur and hails back to classical styles and forms while the Guggenheim Museum intrigues and appeals to the aesthetic side of the viewer. Both Museum's are products of their environment and accomplish the aesthetic effect that the art works inside them possess. If the Met is considered graceful, the Guggenheim can be characterized as simply beautiful. Both are priceless elements of the New York City architectural landscape.

241.          CONCERT PAPER 3

February 20, 1997

William Strang

Music 6

Concert Paper #3

On Feb 20,1997, I attended a piano concert that was performed by Barbara Wieman. The performance was held at the American River College Music Department choir room. The choir room holds about 100 people and every seat was taken and students were seated on the floor. The audience was dressed casual as everyone was students trying to do their concert papers. Barbara Weiman was also dressed casual but nice. The piano concert started at 12:20pm and was finished at 1:05pm.                        The program started with a piece from L.V. Beethoven called Sonata in F minor, Op.57. This piece can be characterized by an intense, dramatic use of fluctuating dynamics. It was as if the crescendo was not allowed to climax, then is aborted by a sudden change to pianissimo. The so called Beethoven motif was used throughout the piece, very effectively I might add. Barbara Wieman was very animated performing this piece and seemed to be very emotional while playing. This piece was very distinct and there was an effective use of rests that was displayed. I would call this piece very serious.          After Beethoven we were treated to F. Schuberts Impromptu in G flat Major, Op. 90, No.3. This piece was very pleasing to the ear so we could call this consonant. The music seemed to flow and had a great rhythm. This piece was romantic in nature and probably that is why it was written in the romantic era.                                    C. Debussy 's Feux d'artifice (fireworks)  was the next piece played. The harmony was very obscured in this piece of music. The theme trying to be presented in this piece was as if fireworks were going off. The notes were ever changing and there was a very good uses of all the keys of the piano. This piece was not very pleasing at all and I did not care for it at all. From looking around the room it seemed other people would agree. After that unpleasant piece was played we were lead into La Cathedrale engloutie (The Sunken Cathedral). It was very slow starting but eventually started building the tempo and then seemed to drop off and become very slow in tempo. This piece seemed as if it were trying to tell a story. Alot of people seemed as if the were going to sleep.                          The last piece was changed from S. Prokofieff to Chopin's Ocean Atrium piece. This piece had rhapsodic melodies giving the illusion that the piece might have been improvised. It was very moving and flowing using melody and harmony. Very pleasing and also from the romantic era. What a great way to end the piano concert. Everyone enjoyed the music so much that she provided us with an encore. She played another piece by Chopin. I would definitely recommend to anyone wanting to learn more about music to take your class. This has been a great experience for me.

February 17, 1997

William Strang

Music 6

Concert Paper #2

On Feb 15,1997, I attended a concert put on by the Sacramento Chamber Orchestra. The performance was held at the Dietrich Threatre, Sierra College in Rocklin. Dietrich Threatre seats about 500 people, and on that evening there was about 300 people present. The concert dress was casual for the audience but the Sacramento Chamber Orchestra performers were dressed in tuxedo's for the men and black outfits for the women. The performers consisted of 8 women and 10 men. The orchestra was conducted by Zvonimir Hacko. Programs were provided and the concert followed the printed program very well. The starting time was 8:00pm and finished at 10:00pm.

The style of music played varied because of all the different musical era's represented. Mozart from the classical era, Dvorak from the romantic era, Bartok from the early 20th century, and Copland from our present. The Sacramento Chamber Orchestra consisted of Violin 1, Violin 2, Viola, Violoncello, Double Bass, Piano, and Harp. When combined, the performance was outstanding and uplifting.

The concert opened with Mozart's marvelous miniature, "Eine Kleine Nachtmusik" which stands for ("A Little Serenade"). Mozart's Serenade, which is like a tiny symphony, was conducted and played with exemplary care. The tempo of the music was upbeat, it's dynamics were managed thoughtfully, and the musical form presented consisted of alterations that were superb. The "romance" of the second movement was hushed and tender, the finale was as light as air.

After the finale of Mozart's we were treated to the Dvorak Serenade in E opus 22. The Dvorak was in five movements lasting a little over half an hour. The waltzes of the second were a bit of folk flavor, and were quite beautiful. The third movement, Scherzo, was dance like and soulfully romantic. The fourth movement,Larghetto, was even more soulful in mood, which deepened as its melody passed from the violas to the cellos. The finale brought us back with a touching recollection of the very beginning of the work.     The Bartok Divertimento was in three movements. It can be best described as continuous, fascinating, exciting and full of action. The melodies were strong, as were the rhythmic pulses and dissonance's. So much was happening that all you could do was go for the ride and enjoy it. The last major piece was by Copland, called Concerto for Clarinet and String Orchestra with Harp and Piano.                                           The Copland piece was in two movements bridged by an unusually long cadenza(Soloist), that lasted over three minutes. The soloist seemed to dwell on the lyric sweetness of the first movement and then signaled the merriment of the second movement. The first part struck me as very slow but the second part was very rhythmic,very perky, and was passed around appreciatively by all, while the piano and clarinet were trading ideas with each other. All in all, this piece signaled excitement and was made very enjoyable with the clarinet and piano. As this was my first Chamber Concert I was not sure what to expect. I thoroughly enjoyed myself and I'm looking forward to my next concert.

242.          concusion

English 10                                                                                      Nate Pike

Period. 9                                                                                         /     / 96

Concusion

" Ding , Ding, Ding." School had just ended. My butt had been just freed from the oppression of that chair for the rest of my life. Never again was I planning to sit down in  Mr. Dicksons room again. But that was the least of my concerns. Because, today I couldn't wait to get riding on the Bike trails. These were old paths of a railroad track that had jumps built on them. By the time I got out to the bikeracks and met my friends, we were exhilerated.  "To the bike trails?" I asked.

"to the bike trails" they replied. We had been going to the bike trails for weeks now. Every day we came back for another thrill. So, with haste we sped away from school. Our first stop was my house. " going to the bike trails , Mom" I said while grabbing a box of little debbie snacks.

"O.K., be home for supper" she said. This was in code it meant be home at five. Well who cares on to the second stop, Dons Deli.

I went in and grabbed the usual.  A pink lemonade Snapple and one of those huge pixie sticks. I got to the counter. "The usual" the cashier said

"Yup" I said realizing that this recognition was a product of the last few weeks.

"That will be two dollars" she said. But that was needless because I had already left the money and was half way out the door. I mounted my bike and rode the steed while sucking down as much sugar as possible. We finally arrived at the bike trails. We then  Infiltrated the left over food that we bought from Dons Deli. We were all on a sugar high, it's now time to ride. We did the usual. Had jump contests, fix jumps, and practiced new tricks. I had a good day, my jumps were perfect. And we would soon would move on to the hardest jump.... The big double. This jump was about three and a half to four feet high. And a proximately  eleven feet long. Not only that, if you messed up their was a ditch in the middle. I jumped it at least ten times, missing trees on the landing every time. And because of this we decided to move it over.

This process only used about an hour of precious  jumping time. We had made the jump better than ever. I tried the jump first of course. We couldn't have made it any better. It was about five now. The day was ending so we decided it was time to time laps around the track. The usual lap was about thirty seconds. But I was thinking about changing that. So I left the starting position and pedaled as hard and as fast as I could. The first jump was in sight, the big double. I jumped , but I was too high and going so far that I went over the landing. But the shock to my knees didn't bother me because I was used to it. I then rode the corner on the top edge. From experience,  I knew that this gets you more speed . Then the little double, and another large jump were easy. I rode in to the finish. "What's my time." I asked knowing that I had beaten the record.

"Oh we kinda screwed it up. Just go again". One of my friends said. So I swiftly set off. Not knowing that this time something would go terribly wrong. I remember jumping the big double and in mid air I looked to the side. My friend was giving me a thumbs up.

I then remember having sort of a dream. I was riding down the street with people I don't know, on bikes jiggling  like Jell-O.  The wheels were bending and reshaping. And the frames swung side to side.

Smack! Consciences hit me like a Mack truck. I couldn't see , where am I, how'd I get here, I needed answers   . " What happened" I asked. I heard voices but my mind was  in to much shock to translate it. " Where am I" I asked hoping for better luck. But still the people spoke in a foreign language. " What happened" I repeated starting to over load my own brain.

" Nate wash your face". A chorus sang . But why should I do this. " Mom will get home soon"  They said.

"What happened" I said again.

"Oh my god! What do you mean. You were there too. Nate just wash your face" some one said. But I knew who this was. It was my little dipstick brother.

"Nate your mom is coming down the street". Some one announced. I then rubbed my eyes. And my vision was restored. My first sight was my mom pulling in to the drive way.

"Nate whats wrong" she asked me while pulling me towards the house.

"I don't know" I told her. I then was interrogated for about five minutes where no questions were answered. I was out of it for the rest of the night. And nobody wanted to talk to me because  they claimed that I asked them the same questins over and over again.

I finally did find out what happen though. Upon the landing my wheel caught a rut. I then flipped over the handle bars and shot like a torpedo head first in to the ground. I laid on the ground motionless for a minute or so. After that I started to moan and roll back and forth. After that I jumped to my feet and so disgracefully " Where's mom" I then picked up my bike and started to walk it home.

243.          Conflict in Successful Drama

We live in a world where, without conflict, there is no entertainment. It is a convention of drama that there must be conflict between characters in order for it to be entertaining, and thus be successful. We can consider a text to be successful if the playwright is able to convey a view of a theme or issue to the audience that challenges our views as he or she originally intended. Through the conflicting views of characters, the audience is often exposed to attitudes and opinions different to their own. The One Day of the Year, by Alan Seymour, is a play that examines how through both the internal and external conflicts of different characters, we are exposed to an array of contrasting opinions, therefore validating the statement that this is successful drama.

The main conflict between characters in The One Day of the Year is between Alf and his son, Hughie. Alf is a steadfast believer in Australia's superiority over other nations. He is jingoistic, xenophobic and stubborn. In fact, the first impression the reader gains of Alf is from his opening statement: "I'm a bloody Australian and I'll always stand up for bloody Australia." (Pg 27) But more importantly, he believes that Anzac Day is the one day of the year where he, and others like him, are considered heroes, and consequently can celebrate their heroism by getting blind drunk. Hughie, on the other hand, works towards exposing Anzac Day for what he believes it truly is- an excuse to get drunk. Hughie has been brought up with Alf's version of Anzac Day celebrations, and it is this which has shaped his anti-Anzac Day views. These two points of views are in direct conflict with each other, and are made all the more shocking by the fact that they belong to father and son- a relationship that is not traditionally in opposition. This conflict brings the audience's attention to the issues being explored, because these issues are the source of the conflict, and cannot be dismissed. By placing the opinions of Alf and Hughie towards Anzac Day at the extremes, Seymour forces the audience to consider a different point of view regardless of what their previous stance on the matter was.

While it is evident that through this conflict we are introduced to different views, it is important to examine the individual character to fully understand why they hold these convictions. The reasons why both Hughie and Alf so strongly uphold their opinions is because of their own internal conflict. Alf, for example, feels so passionately about his own superiority on Anzac Day because he is insecure about himself. He feels ashamed about his own social background and education, and consequently overcompensates for this by both heightening his status on Anzac Day and putting greater expectations on Hughie to make up for his own failed schooling. The former can be seen when Alf proclaims to Jan, "I'm in a very good job, you know. This lift-driving, it's only temporary, see- [his family is surprised] and I've got a very good chance of getting into something better soon." (Pg 42) Here he is trying to prove to Jan that he is better than he assumes she thinks he is. He is obviously embarrassed and insecure about his status in the workforce, and must exaggerate in order to both impress Jan and feel better about himself. As aforementioned, Alf's insecurity causes him to act out his hopes though Hughie. Alf feels like he has wasted his chance for education so instead he forces Hughie to go through university in order to balance out his own lack of education. This is shown by Alf's reaction to the idea that Hughie wants to quit university: "You're gunna stay at that University till y've done the lot. And if it's a battle for you, right, it's a battle." (Pg95) Alf's attitude towards both his own status and Hughie's education due to his own insecurity is a source of conflict between Hughie and the other characters; it is Alf's inflated sense of ego on Anzac Day which Hughie objects to most. Thus through examining the basis of the conflict, we can better understand the character and the view they hold.

This same analysis of character can be applied to Hughie. The audience knows that the main conflict he holds with Alf is due to his objection to the way Alf celebrates Anzac Day. However, for The One Day of the Year to be classified as a successful drama, the audience must be able to recognise and understand Hughie's point of view. Seymour does this by allowing us a glance into Hughie's childhood with his own recount of why he disagrees with the Anzac Tradition: "It's here. Encyclopaedia for Australian kids. You gave it to me yourself. Used to make me read the Anzac chapter every year. Well, I read it. The official history, all very glowing and patriotic. I read it... enough times to start seeing through it. [He has been leafing through book, finds place.] Do you know what the Gallipoli campaign meant? Bugger all." (Pg 78) In this ironic situation we discover that Alf's determination to model Hughie into what he himself wanted to be is the cause of Hughie's scepticism towards the subject Alf prizes perhaps most highly of all. This also explains a lot of Alf's resentment towards Hughie's education. He continually refers to Hughie's schooling in a derogatory manner, some examples of which are, "[with deepest contempt]: Book-learnin'." (Pg 78) and, "Y'c'n get too smart for y'r own good. That's what that boy's doin'." (Pg 87) Hughie's inner conflict stems from the fact that he is more educated than the rest of his family, and this makes him an outcast in his own home. Without this conflict, the audience would not gain an insight into both Hughie's and Alf's opposing views. Therefore, it is reasonable to assume that this conflict is the reason for making The One Day of the Year a successful drama because it exposes the audience to a different point of view, whatever that might be.

The conflict that contributes to The One Day of the Year being successful is not entirely limited to Hughie and Alf, however. The character of Dot is conflicted in the sense that she cares for both Hughie and Alf, and is unwilling to take sides when the two are fighting. Dot is the mediator in the pair's relationship, and in a sense, is the instigator for Hughie's and Alf's major fight and consequent acceptance of each other. Her inner conflict has driven her to the point where she speaks out and shows authority despite her normally submissive role of mediator. Dot finally takes control of the situation when she exclaims, "I can't take much more. If you think it's any fun you two comin' and goin' never sayin' a word to each other...I can't stand much more." (Pg 83), and it is due to this that the two apologise, which simply sparks another argument. However, this new fight is what leads to the final resolution of their issues with each other, rather than just leaving their problems unresolved. It is the conflict that the character of Dot harbours which commences the act of acceptance and forgiveness in the other characters. While Dot was not for or against either viewpoint, her character is important in that her inner turmoil allows for the audience to eventually see the completion of both Hughie's and Alf's views.

While conflict is by no means all that is responsible for making The One Day of the Year successful, it is still an essential factor. Without it, Alan Seymour would simply be presenting a one-sided view of Anzac Day. The inclusion of conflict allows the audience to consider an attitude different to their own, thus presenting to the audience something that is new and entertaining. The reason The One Day of the Year is successful is because despite the audience's previous opinions, there is one character who will challenge it; Alf is strongly for the meaning of Anzac Day, Hughie is strongly against it, and Dot is the non-committal mediator. If the definition of a successful drama is that the playwright challenges our point of view, well then The One Day of the Year is clearly an example of a successful drama, regardless of whether you, "don't wanna avea cuppa tea," or you're a "bloody Australian".

244.          Confused Letmein

Donald Christensen

pr #7

Confused Letmein

Well it all started out like this,  It was a typical day in band, marching practice.  We were all outside lined up getting ready to march.  As I was chatting with Bob, I over heard Mr. Letmein yell to Bob "Get in line Donny."  He said it like Bob had killed someone.

Bob suddenly looked up, and strangely enough, he was already in line.  As we both looked at each other in wonder, Mr. Letmein commanded "Band at a ready."

Next thing I knew Mr. Letmein was yelling at Bob telling him to stand at a ready, and to be quiet, he was so mad at him it seemed like he was a volcano.

We started to march, and Bob looked over at me and said, "Was I talking?"

"Nope" I said back quickly, so we would not be noticed talking.

After marching, in Spanish class, Bob asked me again if he was talking, and again I said no.  We discussed this for a while and found no reason for Mr. Letmein to yell at him at all.  That is just too strange, the only thing we could think of is he thought Matt Card was Bob, because Matt was standing in front of Bob.  Mr. Letmein must be getting old.

245.          Conquest

Conquest

(Conquest)

The day they landed was the most horrible day I have ever been forced to live through.

*          *          *

The Soviet Union had begun to regroup. It was not immediately joined by the smaller and weaker nations that made up the northwestern region of the union.

The independent nations of Latvia, Estonia, and Lithua would not follow under communist rule again; they were willing to die for their freedom. The U.S.S.R was unable to persuade the remaining components to rejoin them in their conquest and they were hasty to declare war on their counterparts.

With war waging in Eastern Europe the United Nations took action. The leader of Russia's communist party and president rejected the UN's cease-fire treaty. Russia was expelled from the United Nations early the next day.

The CIA agent, Newton, inched his way through the air conditioning make an effort to remain as quiet as possible. Once he reached the ventilator above the leader's bedroom he unveiled his device, a new prototype developed by his agency. This devise would unscrew and disable any form of fastener. Using a laser divertor to abstract the laser alarm system path the agent lowered himself into the room.

Waiting for the man, a smaller man yet more powerful. The door creaked open slowly and an exhausted fat man entered. As soon as the door had been closed the fat man's throat had been gashed and he lay in a pool of his own warm blood.

The United States had volunteered to be a "cut-off" regiment. We would put pressure on Russia to remove their troops from Eastern Europe and detain their troops in Russia. If they failed to comply with this mandate we would have no choice but to supply aid to Eastern Europe.

My regiment was originally from the Southern California area; we were to be transported to San Francisco where we would rendezvous with a rather large concentration of military. From San Francisco we would be transported by carriers to the island of Hokkaido, specifically the town of Wakkanai. Our army would form a percent of the United Nations army along with Japan and England and launch an attack on a Russian city named Korsakov.

This was the plan as it stood, but when you are attacked on your own soil there are priorities to attend to.

Later that week the leader of Russia was assassinated in chambers. The assailant had entered through the overhead ventilator and slit the dictator's throat. He had then fled through the window setting off a number of alarms and finally escaping by slaying three of the soldiers on guard.

Russia was appointed an inexperienced dictator, he was the defense minister's secretary, his name was Josef Koslov. Koslov was rumored to be a man obsessed with genocide, he was brutal and restless.

*          *          *

"A very sloppy job, know who did it?" The Secretary of War asked one of his friends employed by the Central Intelligence Agency.

"Not a clue," he replied, "we suspect corrupted KGB. We know the IRA wouldn't get their nose in this."

"Are you positive it wasn't one of your guys?"

"Positive...The Russians are going to have a fuckin' field day with this one, talk about an international incident. We're expecting trouble from everyone. Do you plan to attack the Russians on their own ground if we are attacked?"

"I don't see any good it would do, so long as their troops are removed. I am a man of peace and I feel our nation should also be," the Secretary of War replied as he entered his limousine returning to the White House.

Once the limousine was out of sight the CIA man whispered, "Get 'im," into his watch. Mere seconds later an explosion rocked downtown Washington, DC.

With a new Secretary of War in office, a larger number of troops were ordered to be at San Francisco for rendezvous with a fleet to Northeastern Asia.

Koslov had launched a nuclear weapon from Moscow on Dublin, Ireland, in an attempt to eliminate the IRA's presence in the current state of war. It succeeded and killed more than three million innocent victims.

The soldiers who were sent to battle were not the ones who would face a living hell, those were the soldiers who would stay in America to defend our freedom. They would see great cities fall into burning suit, and their children fly apart like leaves from the nuclear assaults.

Koslov had consigned hundreds of thousands of his soldiers to the United States and Canada. Their harriers and nuclear submarines took our troops by surprise in San Francisco and besieged the city, our remaining troops had retreated to San Jose where a massive force of ours was mounting.

My unit had been relocated to a small town north of San Francisco. Our general had adopted a "squeeze-play" to suffocate Russian forces: one force would lay siege to their side of the city while the other invade and plant bombs at the Russian's structures. A smaller force was set up on Angel Island (a small island outside the San Francisco Bay), this force would cut off any reinforcements and supplies coming to the Russian's aid.

The day started like any other, except for the fact that we now carried loaded weapons and were in the trenches most of the day.

We had stopped shelling long enough for them to start. Their large Howitzer machine guns tore us apart like we were nothing. "Move men! Get the hell outta the trenches! Move!" As the bombardment continued we scrambled out of the mud, following our captain's orders. My left arm had been injured in the fusillade of shots, but, I ignored the pain and took up a position behind a brick wall about three feet tall.

The remainder of my unit had fled to the hills surrounding the city just as the Russians trudged over our previous barricade. They cast enormous shadows on the empty ground, the smoke was clearing and the fire was dying as I caught my first glimpse of one of their faces. Cold and lifeless was what I saw.

They were already dead, as were we.

I stared in my complete and utter shock as at least one thousand troops began searching the surrounding houses for enemy soldiers. I could hear shots in the distance and they gradually grew nearer. One of my foes hammered a few shots into the brick wall that I found sanctuary in.

The brick wall shattered like glass as I ran for cover, all the while doing my best to slay my enemies. I must have killed a good number of Commies in that moment. I was helping the dream, the dream of peace. "Killing for peace? Killing for peace is like fucking for virginity," I told myself the searching question about what I was doing.

I wished I could have been somewhere else, anywhere else. I did not like what I was doing. In a moment I would either be a KIA or a POW.

Then peace was settled, this peace was a dream...no, it was real. Real inside my lifeless body, anyway.

*          *          *

This brutal war continued for some time. The United States refused to participate in a nuclear war. However, Russia launched many nuclear weapons, particularly warheads from their submarines. San Francisco was lost, San Jose annihilated. All the United States was thrown into a depression due to the loss of most of California. During this time the world was a terrible place to dwell in.  England had been burnt as a whole and Ireland bombed until it was ocean. The countries that began the resistance to Russia were once again under communist rule.

The only progress the UN had made was taken a portion of western Russia near Alaska and also near Japan. The hope of the world lay with these men, the soldiers.

We had figured that once Russia had its existing lands back under control they would proclaim a cease fire. They did not. Instead, they conquered most of Eastern Europe and ravished the rest.

An organization created in the World War II era had been reinstated by congress. The OSS was an bureau not only of America, but of Britain, France, and Germany also. Their chief job was to assassinate Russian leaders...by any means.

"We gotta fuckin' pop this honcho. What the hell are they givin' us for this chore?" A tall man, George Carlson, asked.

"They gave me a bag fulla' all this spy shit," Clark motioned to a canvas bag on the floor. He opened it and revealed a Zippo lighter. Unlike the conventional models, when he flicked open the top, a small barrel was exposed. "It shoots a nice little .22 bullet, made by the OSS to kick the shit outta any motherfuck it wants to. They were also  gracious enough to send us each a bullet-proof vest. I bet these'll protect us good, I mean, its not like the Ruskies shoot armor-piercing shots," Clark said sarcastically.

The two men waited as their taxi pulled up on a corner. They shot the driver "execution style" then continued on into the city square. In the city square, the Comrade of Russia was scheduled to give a speech on the "Dream of Russia": a particularly worthless and boring lecture.

The Comrade was led out by four KGB agents. One located at his rear, one at his about-face, and two at either side. This was when the first shots cleared the airwaves, two of the four KGB men staggered then fell into oblivion. The two remaining began firing their AK-47s into the nearby building. The other team of OSS agents fled the scene.

Once a distraction had been caused, Clark and Carlson opened fire on the crowd. As the Socialist citizens began to dive for cover, a third party of OSS agents shot Comrade into a hollowed mass. The OSS agents which actually conducted the assassination were, in fact, corrupt KGB agents bought off by either the CIA or OSS.

Once Koslov was assassinated, Russia fell into a plague of failure. With enemies on all possible sides, it was quickly invaded. Finally, after a string of brutal battles where hundreds of thousands of soldiers were lost, Russia surrendered. All  high-ranking public officials were rounded up into concentration camps on their native soil, awaiting execution.

The world was once again in good hands, but when the other country regrouped, we prepared for the nuclear winter sure to follow.

246.          Consumer Appeal Essay

Consumer Appeal

Advertisers of today have strategically combined commercials and

television shows in order to sell products.  Gloria Steinem discusses a similar

idea in her article, "Sex, Lies, and Advertising."  She repeatedly demonstrates

how advertisements, particularly in magazines, are complementary to the articles

around them.  In the same manner, so are commercials to television programs.

They are both aimed at the same groups or types of people, such as sex, age,

gender, etc.

Many times, the time of day or day of the week a show is aired has a lot

to do with the types of viewers the program will attract.  Thus, the types of

commercials will also differ.  On Saturday nights at 10:00 p.m., the program

"Profiler" airs, a mystery-thriller series.  The story line is of a young,

beautiful white female trying to capture a serial killer/stalker, who killed her

husband and continues to stalk her.  The show is very detail oriented, in the

sense that the viewers need to pay close attention to what is going on to be

able to follow along with the mystery.  It tends to "suck you in", so to say,

because it causes the viewers to become involved and engrossed in solving the

mystery.

The assumed target of this series is mainly adults over the age of

twenty-five, with the exceptions of those viewers that do not watch it at the

time it actually airs, but they tape it to watch later.  Because of the time it

airs, the viewers are very select: children under the age of ten are presumably

in bed, junior and senior high schoolers are out, and anyone out of high school

and under the age of twenty-five is either out or working.  This leaves a

majority of the older crowds watching the program.

According to Gloria Steinem, the target of the television show will be

the same as that of the commercials.  This proved to be true with "Profiler" and

its commercials.  There were a total of twenty commercials aired.  They included

and Allstate Insurance ad, a number of car dealers and promotions, chewing gum,

beauty products, medicine, food, and television satellites.  Most of them had

female voice-overs with predominantly white actors and/or actresses.  The actors

and/or actresses were also good-looking, thin, and of high- to medium-status.

In Steinem's terms, and as mentioned by Cayo Gamber, an advertisement is

generally linked to the article, or in this case, the program.  The show is

seen as a "complementary copy" for the commercials; because it included certain

accessories to a person in the same life-style as the characters in the program.

The cars advertisements, in particular, were at times found in the show.

However, the other products weren't really enforced by the program.  Above all,

the program did help maintain the intended target interested and tuned in to

that specific channel.

The benefit of airing commercials at that specific time of "Profiler" is

great.  It airs at a time that is not too late and, therefore  the commercials

will not be forgotten.  Many times, specifically the Wrigley's Winterfresh , the

Maxwell House, and the Allstate Insurance, the commercials were loud and peppy.

The Wrigley's Winterfresh commercial actually shows the product, the pack of gum

even has the price on it.  It is basically about many different people that are

having 'so much fun', while chewing this gum.  The music and idea of so much fun,

entices the viewer to want to buy it.  The setting of the Maxwell House is what

catches the attention of the viewer.  The commercial shows a family having fun

in the beautiful country, in the background, there is a fun-loving country song

playing.  These were just a few of the examples of the commercials with catchy

phrases and loud music.

On the other hand, some of the commercials were a bit more comical, such

as the Lay's Baked Potato Chips.  This commercials shows Miss Piggy and two

super models eating Lay's Baked Potato Chips at a classy restaurant.  Then,

Antonio Sabato, Jr. (a good-looking actor) walks in and sweeps Miss Piggy off of

her feet.  He then tries to eat some of her chips.  Appalled, Miss Piggy sends

him flying due to his assumption that he could eat her chips.

Changing to somewhat dull and boring commercials were the advertisements

for  Lady Speed Stick, Oil of Olay Wrinkle Cream, Excellence Cream hair color,

and the new long distance saver 10-321.  The reason these commercial may have

not been as interesting, is because it was most probably directed to an older

crowd.  That is to say, those that need wrinkle cream, hair color to cover grays,

or a new long distance savings plan.  These commercials, in comparison to the

others analyzed, were not as interesting or lively.

In the words of Janelle Costa,"The commercials sometimes determine whether

or not I actually want to finish watching a program.  If the commercials are

boring, I'll change the channels."  This is the same perspective most say they

take.  So, watching a program soon turns into a fight or struggle between the

channel with a moderately good show, that has entertaining commercials.  Do you

find yourself turning away from a program because of its lack of good

commercials?

WORKS CITED IN TEXT

1. Steinem, Gloria: Sex, Lies, and Advertising; Course Packet, English 11,

George            Washington University, 1997.

247.          Consumer Appeal

CONSUMER APPEAL

Advertisers of today have strategically combined commercials and television shows in order to sell products.  Gloria Steinem discusses a similar idea in her article, "Sex, Lies, and Advertising."  She repeatedly demonstrates how advertisements, particularly in magazines, are complementary to the articles around them.  In the same manner, so are commercials to television programs.  They are both aimed at the same groups or types of people, such as sex, age, gender, etc.

Many times, the time of day or day of the week a show is aired has a lot to do with the types of viewers the program will attract.  Thus, the types of commercials will also differ.  On Saturday nights at 10:00 p.m., the program "Profiler" airs, a mystery-thriller series.  The story line is of a young, beautiful white female trying to capture a serial killer/stalker, who killed her husband and continues to stalk her.  The show is very detail oriented, in the sense that the viewers need to pay close attention to what is going on to be able to follow along with the mystery.  It tends to "suck you in", so to say, because it causes the viewers to become involved and engrossed in solving the mystery.

The assumed target of this series is mainly adults over the age of twenty-five, with the exceptions of those viewers that do not watch it at the time it actually airs, but they tape it to watch later.  Because of the time it airs, the viewers are very select: children under the age of ten are presumably in bed, junior and senior high schoolers are out, and anyone out of high school and under the age of twenty-five is either out or working.  This leaves a majority of the older crowds watching the program.

According to Gloria Steinem, the target of the television show will be the same as that of the commercials.  This proved to be true with "Profiler" and its commercials.  There were a total of twenty commercials aired.  They included and Allstate Insurance ad, a number of car dealers and promotions, chewing gum, beauty products, medicine, food, and television satellites.  Most of them had female voice-overs with predominantly white actors and/or actresses.  The actors and/or actresses were also good-looking, thin, and of high- to medium-status.

In Steinem's terms, and as mentioned by Cayo Gamber, an advertisement is generally linked to the article, or in this case, the program.  The show is  seen as a "complementary copy" for the commercials; because it included certain accessories to a person in the same life-style as the characters in the program.  The cars advertisements, in particular, were at times found in the show.  However, the other products weren't really enforced by the program.  Above all, the program did help maintain the intended target interested and tuned in to that specific channel.

The benefit of airing commercials at that specific time of "Profiler" is great.  It airs at a time that is not too late and, therefore  the commercials will not be forgotten.  Many times, specifically the Wrigley's Winterfresh , the Maxwell House, and the Allstate Insurance, the commercials were loud and peppy.  The Wrigley's Winterfresh commercial actually shows the product, the pack of gum even has the price on it.  It is basically about many different people that are having 'so much fun', while chewing this gum.  The music and idea of so much fun, entices the viewer to want to buy it.  The setting of the Maxwell House is what catches the attention of the viewer.  The commercial shows a family having fun in the beautiful country, in the background, there is a fun-loving country song playing.  These were just a few of the examples of the commercials with catchy phrases and loud music.

On the other hand, some of the commercials were a bit more comical, such as the Lay's Baked Potato Chips.  This commercials shows Miss Piggy and two super models eating Lay's Baked Potato Chips at a classy restaurant.  Then, Antonio Sabato, Jr. (a good-looking actor) walks in and sweeps Miss Piggy off of her feet.  He then tries to eat some of her chips.  Appalled, Miss Piggy sends him flying due to his assumption that he could eat her chips.

Changing to somewhat dull and boring commercials were the advertisements for  Lady Speed Stick, Oil of Olay Wrinkle Cream, Excellence Cream hair color, and the new long distance saver 10-321.  The reason these commercial may have not been as interesting, is because it was most probably directed to an older crowd.  That is to say, those that need wrinkle cream, hair color to cover grays, or a new long distance savings plan.  These commercials, in comparison to the others analyzed, were not as interesting or lively.

In the words of Janelle Costa,"The commercials sometimes determine whether or not I actually want to finish watching a program.  If the commercials are boring, I'll change the channels."  This is the same perspective most say they take.  So, watching a program soon turns into a fight or struggle between the channel with a moderately good show, that has entertaining commercials.  Do you find yourself turning away from a program because of its lack of good commercials?

WORKS CITED IN TEXT

1. Steinem, Gloria: Sex, Lies, and Advertising; Course Packet, English 11, George             Washington University, 1997.

248.          Cool Hand Luke

Cool Hand Luke

In Cool Hand Luke, the movie begins with the word, VIOLATION, across the screen. The word is from a parking meter and sets the tone for the entire movie. Luke Jackson, the title character, is arrested for cutting off the heads of the town's parking meters while drunk, or in legal terms, for destroying municipal property while under the influence of alcohol. When asked why he cut the heads off the parking meters, Luke answers, "You could say I was settling an old score." While it leaves the viewers believing that he probably received a parking ticket at some time in the past, no clues are given to what the old score may have been. He is sentenced to two years in a road prison, in a chain gang. His punishment did not fit the crime, and today, such an act would probably result in time spent in community service rather than a hard labor prison gang. To further accentuate that his sentence is worse than his crime, Luke Jackson dies at the end of his story. Luke is a decorated veteran, yet left the military service just as he went in, as a Private. This indicates that he had authority problems while there. He received the Silver Star, Bronze Star and a couple of Purple Hearts and that indicates that he is brave and probably humanitarian, because the Silver Star is usually given in recognition of a life-saving deed of valor. That he was never promoted, or else promoted and consequently demoted, (the story does not elaborate on the details) indicates that his superiors, those who had the authority to promote him, did not react well to his achievements. For Luke, death represents ultimate freedom. There is no doubt that he believes in God, in that he talks to God several times throughout the movie, yet his conversations are always more like arguments than prayers. In one of the final scenes, the empty shell of a church represents Luke's relationship with God, and even the emptiness in himself. Luke feels that God has never been there for him. He tells God just before the end of the story that God hasn't ever dealt him a good hand. That military authorities considered him a hero, decorating him with medals, doesn't make him a hero in his own eyes. Luke is a tortured soul, in that he tells God that he doesn't deserve any good thing because he killed people in the war. Still, Luke is a free spirit, true to himself, with no regard for the rules and regulations of other human beings. The crime he is arrested for is not one of violence toward any person, it is simply a flaunting of his disdain for authority, which irritates persons in authority more than anything. Luke's death made him a legend in his community of prisoners at the chain gang. Dragline and Luke escaped together, yet Dragline couldn't live in prison without Luke, nor could he live as a free man on his own. In Drag's mind, Luke and he are one person. When caught by the officials, he leads them to Luke, and claims, "We got caught old buddy," not 'I got caught please come back with me so that I won't be lonely.' Luke is the boat pulling the dragline, and Dragline is a representative of the whole community, the other draglines. Dragline made Luke who he is in the community and Luke gives Dragline and the others hope and life in return. Dragline made Luke a leader in the community when he fought Luke after Luke told him to shut up about Lucille. While Luke is physically whipped, his spirit is never defeated, and he gains the respect of Dragline and the community with his determination. Luke further made a believer out of his fellow prisoners, when he said he could eat 50 eggs. Bets are on and despite personal discomfort and pain, Luke keeps his word and wins the bet. At the end of this scene, the fellows prisoners leave a bloated Luke on a table, in the position of Christ on the cross, yet Luke has a slight smile on his face because he won. His community of worshippers betray him, too, when he is beaten and thrown into the box when he is escapes the second time. When Luke returns to the community, the other prisoners turn their backs to him, and Luke tells them that he is tired of them eating off of him. Luke is the embodiment of their own rebellious desires which they are too weak to act upon themselves. They don't want him to be the weaker side of themselves, but always the rebel. After Luke dies, Dragline continues to live off of Luke, in keeping his legend alive, telling the other prisoners how he was smiling as the truck drove down the road. Luke's death is unnecessary, except as a fulfillment of the words of authority. He is told after his second escape, "If you run again, we'll kill you." Luke is shot as he is mocking the captain, repeating the captain's expression, "What we have here is a failure to communicate." His death makes him a legend in the community, but it does not reinforce hope. Instead it leaves a defeatist attitude in the community if Cool Hand Luke couldn't beat the system, no one could. If Luke had survived, he would have been defeated, as he very much was defeated by the beatings after his second escape. He no longer would have been the community hero, because as a beaten man, he'd have been like everyone else. While his death represented his personal freedom, it served as good to none, except for a good discussion here and there by the fellow prisoners. To that extent, the hero lived on, but his death did not encourage anyone else to follow in his shoes, nor did it make heroes of the authorities. Ultimately, his death reinforces the idea that you can't beat the system and that is a VIOLATION to the human spirit.

249.          Coparison Between Two Guitars

Coparison Between Two Guitars: Ibanez 453 RVC and the Gibson Les Paul

The paper I have written and know alot about is a contrast on two really

well known and popular guitars. One which is the Gibson Les Paul, and the other

which is the Ibanez 453 RVC. Both guitars may look alike to some, and to some

they may sound alike as well,  but are they really alike?

Starting with the bodys,  the Gibson Custom Les Paul is made of solid

mahogeny wood, which gives the guitar a more Classical look and feel and also a

much better and clearer sound. The Gibson is a more luxiourous guitar for which

it is better for classical rock and light heavy metal as opposed to the Ibanez

which is excellent for hard rock and heavy metal.

Going further up the guitar,  you have what are called the pickups.  A

pickup is a really sensative box that is attached to the body in between the

bottom of the neck and the bottom of the bridge.  The purpose of a pickup is to

"pick up" the sounds of the notes or chords that are being strummed.  There are

many different types of pickups; for instance, the Gibson Les Paul has pickups

that are called Humbuckers, which are much higher and of a better quality than

the pickups on an Ibanez.  The Ibanez comes with regular music store pickups

that are not bad but do not have the quality of the Humbuckers.  So having

better quality means that the pickups are more sensative; being more sensative

means that the guitar can put out clearer and higher quality sound.Moving to the

lower part of the guitar, both guitars have knobs.  The purpose of these knobs

are to control the different types of sounds that you want to produce. The

Gibson has four controls, but the Ibanez only has two; having only two knobs

instead of four means that the Ibanenz has less of a selection or variety on the

sound that you want opposed to the Gibson having more control over the sound

that you like and the sound that you need.  The Gibson having volume and tone

for each pickup allows you to adjust the sound to the way you like it, while the

Ibanez has volume and tone for only the one pickup, which controls the sound.

The next piece that is connected to every guitar is the neck.  Many

guitars have many different types of necks varying from length, width, thickness,

and different types of wood. The wood on the neck of the Ibanez is poplar wood,

which makes a rougher and more rugged neck.  The Gibson, on the other hand, is

made of mahogany wood which produces a smoother neck and has a comfortable feel

to it.  Having a better feel allows the guitar player to increase his or her

speed when just practicing or maybe even accidentally when performing live.  The

radius of the neck on a Gibson is much smaller than the neck of the Ibanez:

having a smaller neck also lets the musician have more control of what they are

playing.

The fret board is located on the neck of the guitar.  The fret board on

an Ibanez is made of rosewood as opposed to the ebony fret board on the Gibson.

Having an ebony fret board, the frets are a lot stronger, more precise (tighter),

and better quality.  The Ibanez, having rosewood, is not as strong, and from too

much playing of the guitar wears the frets down and are dead in a couple of

years.  So, when the frets are so worn out, you can't just buy a new fret board,

you have to buy a whole new guitar.

Then we have the head of the guitar which is located at the very

top of the guitar.  On the top of the guitar, we have what are called tuning

pegs, used, obviously to tune our guitars.  The tuning pegs on the Gibson are

much stronger and they won't go out of tune as easy as the Ibanez would.  The

reason the Ibanez goes out of tune is because the pegs are a different type of

metal, and the metal that the Ibanez has is much weaker than the Gibsons. So

having the Gibson makes it much easier on the musician from constantly having to

tune the guitar.

Then we have the bridge which is at the bottom of the guitar to hold the

strings in place. You connect the string from the tuning peg down along the fret

board till you fit them into the bridge.  The bridge on the Gibson has better

intanation, which means that the strings will last longer, as the Ibanez has the

Floyd Rose tremel bridge which won't stay in tune as long as the Gibson would.

The strings have a tendancy to wear out a lot quicker from constantly having to

tune them. The reason the strings wear out is because, everytime you tune a

guitar the strings stretch.  From too much stretching, the strings end up either

popping or not being able to tune  to the key you want them in.

Some well known musicians that use the guitars are:  Jimmy Page from Led

Zepplin, and Slash from Guns-n-Roses, both prefer the Legendary Gibson Les Paul

over any other guitar. And then we have Joe Santriani, and well Known Steve Via

who prefer the Ibanez.

The prices between these two guitars vary in a big price range.  The

Iast time I checked up on the GibsonLes Pual was listed for $3199. which

drastically overtowers the Ibanez 453 RVC listed at $599.

250.          Covers techniques from pyrotechnics to digital composites

I'm a Reel Boy

"Through the magic of motion pictures, someone who's never left Peoria knows the softness of a Paris spring, the color of a Nile sunset, the sorts of vegetation one will find along the upper Amazon and that Big Ben has not yet gone digital," Vincent Canby once stated (Brainy).  His statement teases about the rapidly changing industry of special effects and how it is revolutionizing the way we perceive things.  The sight of a train passing by the camera flabbergasted and frightened early audiences, when motion pictures were jittery and lacked sound.  Now, it has become increasingly difficult to decipher between what is reality and what a men tediously manipulated.  The goal of visual effects artists, as magicians of the silver screen, is now to push our senses to their limits and create an illusion of reality without our knowing.  George Lucas, one of the greats in film and special effects' and famed creator of Star Wars, said, "the secret to film is that it's an illusion (Brainy)."  Assessing the milestone events through out the history of film reveals how far we have come.

A number of technologies and inventions related to motion and vision developed in the early to late 19th century foreran the birth of the motion picture industry.  Early in 1893, Thomas Alva Edison built the world's first film production studio, the Black Maria, or the Kinetographic Theater, on the grounds of his laboratories in West Orange, New Jersey, for making filmstrips.  A Frenchman, Georges Melies, developed his own camera, and then set up Europe's first film studio in 1897.  An illusionist and stage magician, Melies exploited the new medium with a pioneering, 14-minute science fiction work, Le Voyage Dans la Lune - A Trip to the Moon. Melies introduced the elemental ideas of narrative storylines, plots, character development, illusion, and fantasy into film, including trick photography or early special effects.  He utilized hand-tinting, dissolves, wipes, "magical" super-impositions and double exposures, the use of mirrors, trick sets, stop motion, slow motion and fade-outs/fade-ins to go beyond the limitations of theatre.  Melies's creativity and discovery of the fundamental techniques of special effects used today awarded him the title of the father of special effects.

The early pioneers of special effects also created illusions that relied on cinema's ability to make discontinuous motion appear continuous, achieved by stopping and then restarting the camera, or splicing the film, to make impossible transformations seem to occur. They also made liberal use of magicians' stage tricks. Another effect made people appear unnaturally large or small by exploiting perspective, an illusion familiar to anyone who has ever photographed a friend whose outstretched hand "holds" an enormous object in the distance. Similar tricks using forced perspective create some shots of the giant pillaging toddler in the movie Honey, I Blew Up the Kid.

One of the most common effects used around 1900 and well into the 1970's is stop motion.  Stop motion is one of the most memorable examples of early experiments with special effects. King Kong himself was an animated model, brought to life on screen using stop-motion filming. It is a very labor-intensive method.  Models have to be moved a fraction of an inch, their facial expressions changed, and then shot, with 24 different shots being taken for just one second of film (Special).  A few of the many films that utilizes are Star Wars, James and the Giant Peach, Chicken Run, and The Rocketeer.

Sets also played a large roll in film and special effects.  Huge, elaborate sets became almost an obsession in movies in the mid 20th century.  The Wizard of Oz is a great example of exquisite set design.  Many shots, however, made the audience think that they were viewing a huge castle where the Wicked Witch lived when in actuality they were paintings and backdrops strategically placed to create a visual supplement.  Some sets, on the other hand, were not so large.  The use of miniatures became increasingly common as well.  Complex train wrecks, plain crashes, scenic views, and many other scenarios have been completely hand made at a fraction of their actual scale.  The spaceships in Star Trek do not actually exist as we perceive them.  They are hand made models shot against a chroma key.

The use of chroma keying is by far the most commonly used method to date.  Chroma keying is the process that removes a background color, usually blue or green, behind actors, models, or objects and composites background footage with the footage taken of the subject on the chroma set.  This creates the illusion that that person or object is actually somewhere it is not.  In Indiana Jones and the Last Crusade, Indiana and his father are fleeing a German fighter plane that has crashed into a tunnel during its pursuit of them skidding on its belly behind them (Vaz 180).  This shot would nearly be physically impossible to achieve in actuality with out the aide of miniatures and chroma keying.  Movies from Who Framed Roger Rabbit to The Matrix trilogy heavily rely on this process.

Pyrotechnics also play an important role in entertainment today.  Large explosions and the like are now used attract moviegoers to watch a film.  Audiences want bigger and better chase scenes and always, always more action.  Pyrotechnics from Back Draft, the James Bond: 007 films, and many more make the movies what they are today.

The cost of these spectacular effects and sequences became increasingly costly.

However, not all explosions and natural disasters can be physically, or cheaply, created.  Clint Eastwood commented on the cost of a movie he was in, "This film cost $31 million. With that kind of money I could have invaded some country (Brainy)."  Film makers now heavily depend on computer generated images or CGI.  The technology of special effects has advanced by leaps and bounds since the 1890's because of the growing capabilities of CGI.  The Abyss was an important pioneer of CGI, as well as Terminator 2: Judgment Day or T2.  In T2, the evil T-1000 robot had the capability to transform from a solid state to a liquid one that gave the appearance of mercury that one would see in a traditional thermometer (Vaz 206)  The impossible are now possible thanks to the every increasing ability of digital effects.

Moreover, digital compositing does for moviemaking what word processing does for writing: it provides an infinitely versatile editing tool.  Different elements are added, altered and moved around endlessly and effortlessly inside a computer, as the movie artist searches for the perfect special effect.

The possibilities are now endless.  Filmmakers have an infinite world of possibilities that is only limited by our own finite creativity.  Woody Allen said, "If you're not failing every now and again, it's a sign you're not doing anything very innovative."  The now graduated film students and independent filmmakers have quite a challenge of coming up with new and exciting ideas, concepts, and especially special effects.

Bibliography and Works Cited

Vaz, Mark Cotta "Industrial Light & Magic." A Del Rey Book Published by Ballantine Books, 1996

Brainy Quotes. www.brainyquotes.com  Visited 11/20/03, 9:26:44 pm. Quotation database and collection

Quote Land. www.quoteland.com  Visited 11/19/03, 8:59:02 pm. Quotation database and collection

Special Effects. www.riverdeep.net/current/2002/03/031802_movies.jhtml  Visited 11/13/03, 4:33:37 pm

Dirks, Tim. http://www.filmsite.org/filmh.html Created in 1996-2004 (c) Film History by Decade, Visited 11/17/03, 7:22:19 pm.

251.          Coyote And Don Maclean

Coyote And Don Maclean

Allegory of American Pie by Don McLean

A Piece of the "Pie"

Ask anyone what was the defining moment in the rock history of the 1960s

was and all you will get is a one word answer: Woodstock. The three day

rock festival that defined an era was only one of many music festivals of the

'60s. But Woodstock has come to symbolize, "an era of peaceful, free-

loving, drug- taking hippie youth, carefree before harsher realities hit..."

(Layman 40). The Woodstock festival ended a century filled with many

metamorphoses of rock'n'roll, from the era of pop music to the rebirth of

folk music to the invention of acid rock. But some cynics say that

rock'n'roll died with the death of Buddy Holly before the 60s even began.

One such person is Don McLean. The poet behind the haunting epic song

about the death of 'danceable' music, McLean wrote the ever popular

song, "American Pie" (appendix 1). The most important song in rock'n'roll

history, "American Pie", is the song about the demise of rock'n'roll after

Buddy Holly's death and the heathenism of rock that resulted. Although

McLean himself won't reveal any symbolism in his songs, "American Pie" is

one of the most analyzed pieces of literature in modern society. Although

not all of its secrets have been revealed, many "scholars" of the sixties will

agree that the mystery of this song is one of the reasons it has become so

successful- everyone wants to know the meanings of its allegories. Proof of "American Pie's" truth lies in the allegory of the song.

Many People enjoy the song but have no idea what it means- Who is the Jester? What is

the levee? When the deeper story is found, the importance of the song is

unearthed. "American Pie" is not only a song, it is an epic poem about the

course of rock'n'roll in the sixties. The song is centered around the epic's

hero, Buddy Holly. Holly was a 50s rock and roller who experimented

greatly with chords and beats. Many people say that if Holly hadn't died, no

one would have needed the Beatles, who in their time also revolutionized

rock. But in any sense Holly was a rock pioneer. He wrote his own songs

and popularized the use of the two guitar, bass and drums line-up (Jordan).

Holly directly influenced most of the most prominent folk and rock

musicians of the 60s including Bob Dylan, the Beatles and many others. The

Beatles name actually originated from Holly's band, the Crickets (Jordan). In February of 1959 tragedy struck. Holly was on tour with a collection of

performers, and he wanted to fly to the next stop instead of taking the bus.

He chartered a plane and a pilot to fly him and two others to Fargo, North

Dakota (Verse 1). Originally it was to be Holly, Waylon Jennings, and

Tommy Allsup. But J.P. Richardson ("The Big Bopper") talked Jennings

into giving him his seat and Allsup lost his seat to Richie Valens ("La

Bamba") on a coin toss (Jordan). The pilot, Roger Peterson, was a visual

pilot, and not certified to fly an instrument plane flight. But on the night of

February 3, 1959 the plane when up during a flurry. The pilot lost control

and while he believed he was steering up, the plane went straight down.

When the plane crashed all four men died instantly (Jordan). The day that

the plane crash henceforth became known as "The day the music died".

The chorus in American Pie is the main theme of the song. American Pie is

the pure American art of rock and roll. The Chevy is the icon of America.

The levee is the source of music and since the decline of original rock and

roll, there is no water (or talent) in the levee: it's dry. "This'll be the day that

I die," was taken from a Buddy Holly song entitled "That'll be the Day" and

a line in the chorus read, "That'll be the day that I die," (Kulawiec).

The next verse of American Pie, McLean demonstrates what happened

after Holly's death. The birth of teen idols such as Frankie Avalon and

Fabian arose. Although the verse seems positive, the narrator is left outside

of the "dance". While 'you' (The youth of America) were dancing in the

gym with 'him' (The teen idols) "...I knew that I was out of luck...", because

the love that he wanted from 'you' was given to 'him' (Jordan). Another

line in this verse is important. "Can you teach me how to dance real slow..."

Slow dancing was important in the early days of rock and roll, but they lost

popularity when acid rock and long guitar solos became popular

(Kulawiec).

The third verse begins with the narrator in the present (1970). The "moss

grows fat on a rolling stone..." which could be Dylan's song, "Like a Rolling

Stone," or the band, the Rolling Stones, but either way the phrase is a

negative one. The "rolling stone" is not rolling and is stagnant, there for it is

growing moss. The music is getting stale, or growing moss. Then McLean

alludes that ..."That's not how it used to be..." referring back to the time of

Buddy Holly (Jordan). The jester in this song is Bob Dylan. His songs are

very cryptic and like a jester's riddles. The coat he borrowed from James

Dean was from the cover of one of his albums where he is wearing the

symbolic red windbreaker James Dean wore in Rebel Without a Cause

(Kulawiec). The crown he stole is obviously from Elvis. Though Dylan had

stolen the crown "...the courtroom was adjourned, no verdict was

returned..." meaning that although the crown was his, there was no true king

at that time. The 'quartet practic[ing] in the parks..." were the Beatles and

their growing fame in Europe before the 'British Invasion'. One of the

biggest plays on words is the in about "Lenin read a book on Marx," playing

on the names of Vlademir Lenin and John Lennon. Not only do they have

similarly names, but they both share the same ideals about communism

(Jordan).

The fourth verse is the most important. It contains the most information on

the demise of rock and roll of the song. "Helter Skelter in a summer swelter"

clumps together the British Invasion and the social unrest that the American

students felt during the mid 1960s. 'Helter Skelter' itself was a song made

much later after the beginning of the British invasion, but it was just meant to

show the cluster of events of the mid 60s. The social voice that came

through in the folk-rock sound of Dylan, is now full of messages, many of

them open, many of them hidden. The plain messages include the dangers of

nuclear war, the Vietnam war, the evil capitalistic system. Associated with

these social protest songs are the 'summer swelters': riots in LA , Detroit,

and at the Democratic convention in Chicago; the Charles Manson murders

(which Manson claimed were connected with the song Helter Skelter); the

marches for civil rights and against the Vietnam War (Jordan).

The underlying message that McLean was trying to convey was that drugs

were ruining the music. The Byrds sang a song called Eight Miles High, but

they were falling fast and landed 'foul' on the "grass", marijuana (Jordan),

which was also the sweet perfume (Kulawiec). During the mid-60s the

Beatles predominantly influenced rock music the most. Dylan is the "jester

on the sidelines in a cast," the sidelines being the outside of the rock music

scene and the cast being from a motorcycle accident he claimed to have

which was keeping him out of the scene, which some say never happened

(Jordan). The 'half time air' was probably referring to the heavy drug use of

the mid- 60s (half-time). The 'sergeants' are either the Beatle's 'Sgt.

Pepper's Lonely Hearts Club Band' or the Army playing marching music

because of the draft. And what was "revealed" was that drugs, in this verse

and in this corresponding era of rock and roll, was the final ruin of rock and

roll. McLean has traced rock's demise in stages: it was at its pinnacle in the

Buddy Holly era, it fell to the Teen Idol era, then the social protest era, and

seemingly it hit bottom in the self-destructive era of hippies and drug use

(Jordan) . The fifth verse is mainly about two things: Woodstock and The Rolling

Stones. McLean is not too positive about his generation. The 'one place'

was obviously Woodstock, and his generation 'lost in space' (high), had no

time left to start again. After the peaceful festival there was a free concert

given by the Rolling Stones at Altamont Raceway in California. While

performing "Sympathy for the Devil" where the devil is laughing at the

terrible events that are going on, chaos broke out in the front of the arena

and a young man was beaten and stabbed to death by the Hell's Angels, the

hired security guards for the Rolling Stones (on the advice of the Greatful

Dead) (Kulawiec). Jack Flash is Mick Jagger, the lead singer of the Rolling

Stones, and when he 'sat on a candle stick," the candlestick was the

Beatle's Candlestick Park concert which was their last live concert

(Jordan). So Jack finally burned out the Beatles flame to make room for

their own popularity. McLean though is still just watching this from the

sides, while his hands are, "...clenched in fists of rage," McLean sees the

good that the music was starting to do (Beatles) slip away again. When

Satan is laughing at the flames "climbing into the night," could be symbolic of

Jimi Hendrix burning his guitars on stage of the Monterey Pop Festival

(Kulawiec).

The last verse is the sad conclusion of the epic. The speed of the music

slows down and again it is about people dying. The "Woman who sang the

blues," was Janis Joplin and when McLean asks her for some happy news

and she just smiled and turned away, that meant that she was, in his mind,

one of the last hopes for rock and roll, but by turning away it meant,

symbolically, that she died. The sacred store is the record company.

McLean is going there to ask for a contract for this song, but they say,

"...the music wouldn't play," the music won't make it because it is too folksy

or perhaps too long, as it would have been since only half of the eight and a

half minute song would have fit on one side of a 45, which was the measure

for record sales in the 60s. The "children" screaming are the 4 students

killed at the Kent State University protest. The "lovers" crying are the

hippies lamenting the end of their era, and the "poets" dreaming are

musicians like Simon and Garfunkel and McLean himself writing new songs

(Jordan). But there is no hope for rock and roll because, "...the church bells

all were broken." The three men McLean admired most, were "... The

Father (Holly), Son (Valens), and the Holy Ghost (Richardson), were

catching the train, which symbolized that they simply left (Kulawiec).

The effects of this song were tremendous. The song went to number one on

the charts in 1972, about a year after its release. It was hard for it to get

playing time on radio stations because it was so long and it wouldn't fit on

one side of a 45 record. A few years after the songs release, Roberta Flack

recorded the song, "Killing Me Softly With His Song" which is a tribute to

"American Pie". Thankfully for McLean, folk rock was only a phase of

American pop music. And although folk and rock continued to blend in the

70's, like Neil Young, folk music as it was known in the early 60s became

part of history rather than remaining a popular form (Layman 38). Another

wave of music that arrived was "acid rock". Practiced by some groups like

the Rolling Stones, Janis Joplin, The Greatful Dead, Jimi Hendrix, and

Jefferson Airplane, this type of music would have most likely been abhorred

by McLean (Gordon 379). In Bob Dylan's "The Times they are a-Changin'," Dylan says

Come gather 'round people

Wherever you roam

And admit that the waters

Around you have grown

And accept it that soon

You'll be drenched to the bone.

If your time to you

Is worth savin'

Then you better start swimmin'

Or you'll sink like a stone

For the times they are a-changin' (Haskins 92)

The sixties were definitely a time of change. Socially, politically and

musically, the sixties had one of the greatest impacts of the twentieth

century. From gains of black equality during the civil rights movement, to the

thousands of Americans fleeing to Canada to escape the draft, people were

doing what they never thought possible- Like landing on the Moon. But

wherever they went, the music of the decade was around them. Whether it

was doo-wop, or folk or acid rock, it was there. Maybe rock and roll did

die along with Buddy Holly that cold February night, but the alternatives that

came in its place came plentifully. Even ska originated in the sixties.

Although the Greatful Dead and the Jimi Hendrix Experience were not

McLean's definition of rock and roll, it served its purpose- to entertain the

masses(Gordon 380). And in no other place was that more evident than in a

little town call Woodstock, where half a million people gathered to listen to

the best music around and albeit, to get high. So until there is no more music

at all, not just in one genre but in all the different types, I will finally agree

with McLean, and 'That'll be the day that I die'.

Works Cited

Gordon, Alan and Louis. American Chronicle: 1920-1989. Crown

Publishers: New York, 1995.

Haskins, James and Kathleen Benson. The Sixties Reader. Viking Kestrel:

New York, 1995.

Kulawiec, Rich. American Pie by Don McLean. (1996) N. pag. On-line.

Internet. March 3, 1999. circ.upenn.edu.

Jordan, M. American Pie: The Mystery Uncovered. (1998) n. pag. On-line.

Internet. March 3, 1999. www.entrypoints.com

Lyman, Richard. American Decades: 1960-1969. Gale Research Inc.: New

York, 1995.

McLean, Don. "American Pie". Don McLean On-line. (1995) n. Pag.

On-line. Internet. March 25, 1999.

The Coyote

Canis latrans

The coyote is considered to be one of the last species of primitive dogs. It is called the master adapter and the ultimate survivor. Based on these titles alone, one can conclude that the coyote has thrived despite the habitat change implemented by human development and expansion. The coyote has always been a native of North America. However, it used to only populate the western part of the continent, whereas presently, coyotes can be found throughout the United States and Canada. Unlike other species, the coyote is not endangered whatsoever. In fact, quite the opposite is true. The coyote is thriving because of how well it can adapt and because of how intelligent and flexible it is (Patrick, 1999). Animal researcher, Bil Gilbert, calls the coyote the great-granddaddy of what he calls, invigorated species (Gilbert, 1991, p. 69). These are animal types that are doing better than ever before in categories such as reproductive rates and widespread distribution. Gilbert offers a similar explanation as to why the coyote is the most prolific of the invigorated species. Often coyotes and many other invigorated species are referred to as "generalists." This has to do mainly with how and what they eat. In this respect, few other creatures have such catholic tastes or more ingenious methods of satisfying them as have coyotes (Gilbert, 1991, p. 69).

The list of what exactly the coyote consumes is quite extensive. Eighty percent of their diet is rodents. However, they will eat pretty much whatever they can find. Watermelons are also a food source for this omnivorous and carnivorous species. As one of my sources puts it, the coyote takes what it can get (Jones, 1999). Sheep, road kill, insects, domestic cats, apples and your garbage are all viable meals for the coyote. In essence, the coyote is a scavenger, an omnivore, and a carnivorous animal that will sometimes hunt in packs of ten to fifteen (Gilbert, 1991, p. 71). Since the coyote will eat just about anything, its habitat is also thought to be just about everywhere on the Western side of the world. The coyote's habitat ranges from the tropics of Central America to the mountains of Alaska. They also inhabit the deserts of the southwestern United States, and the plains and forests of the Midwest. Like the wolf and the lion, the coyote prefers to live in a self made den. It can tunnel this den in the side of a hill or under a tree (Jones, 1999).

Based on the research, it appears that the coyote's biggest competitor is also its biggest benefactor. Gilbert explains that human development has aided the coyote by unknowingly removing many of the predators that once competed with the coyote. The mountain lion and the wolf are thought to be the only two animals (besides humans) that will kill a coyote. However, by aiding other animals and keeping them from extinction, we are also regulating the population of coyotes. For example, when the wolf was returned to Yellowstone Park, it chased out or killed the coyotes that were inhabiting the area (Gilbert, 1991, p. 76). One of the key changes concerning human involvement with the coyote population stems back to the early 1970's. During his single term, President Nixon passed a law that made it illegal to poison coyotes. Before this law, between 60,000 and 100,000 coyotes were being killed per year ( Dunlap, 1986, p. 346). What was being written about in the mid 1980's is still being actively practiced. Presently, we try to live with the coyote rather than be its main threat for survival. Based on these findings, it appears that the human viewpoint of coyotes is that they are still pests. The debate over how to "control" coyotes, or whether to do so at all continues. Obviously sheep, goat, and watermelon cultivators would like to see the coyote population decline simply because the coyote is the prominent destroyer of their farms and thus their profits. However, wildlife experts say that these farmers are exaggerating the amount of damage that the coyote does (Gilbert, 1991, p. 74). One of these experts, Arnold Hayden, is a wildlife biologist for the Pennsylvania Game Commission (Gilbert, 1991, p. 78). He has the following views on the debate of coyote population control: When I talk to farmers, sportsmen and social groups, I tell them coyotes are here to stay, and we are not going to get rid of them, and there is no good reason to try. In purely economic terms, they do destroy sheep, chickens and geese. Perhaps this is balanced by the mice and woodchucks they take ( Gilbert, 1991, p. 79).

Not enough is known about animal control for agricultural purposes to comment on whether or not this is a formidable argument. However, both sides seem to be very adamant in their beliefs, and it appears that this debate will continue into the new millennium. Therefore, the coyote appears to have no real competition for two reasons. The pro nature movement of the last two decades that has made it illegal to kill coyotes (Dunlap, 1986, p. 348). And because of their extreme flexibility in habitat and food consumption, the coyote not only manages to co-exist with human beings, but it is thriving because of it.

252.          Crabbing

CRABS FOR THE CRABBER

Would you like to learn how to make around two hundred dollars a day for

going out in the boat and crabbing for a few hours?  Once you gain the experience

of a commercial crabber, you can earn as much as you want.  All it takes is a little

time and effort to learn the basic steps, and, of course, the love of the water.  For the

last two years, I have kept the books for my boyfriend's crabbing business.  I helped

him from the beginning when we purchased the traps to today, when he is now

running 150 traps.

On the boat, you should always have as many life jackets as people.  Flares

and a marine radio should also be on the boat in case of an emergency.  For

instance, if you are five miles out over the ocean and the boat runs out of gas, you

could light a flare and reach some help on the marine radio.  You should also keep

an oar on the boat at all times.  This would come in handy if your boat is stuck in

mud, or if the boat breaks down in the small creeks near your dock.  I also

recommend that you have crabbing gloves and rubber overalls from Boater's World.

The gloves have special rubber tips that help reduce the pain if a crab pinches you.

The overalls will protect your clothes from getting drenched and muddy.  The last

thing that you should never leave the dock without is plenty of liquids to drink.  I

recommend Gatorade or water, but no soft drinks.  It is very hot on the boat and

fluids are a necessity so that you do no dehydrate.

Before you can start crabbing, you need certain materials.  The most

important is a commercial license to sell crabs.  A license can be purchased from the

Game Warden in Richmond Hill.  You must go early in the year because they only

sell a limited number.  Once you have a license and your personal number for your

traps, you need a large flat bottom boat with a powerful motor.  I recommend a

Yamaha Salt Water Series.  This motor is very reliable and can handle the long

hours put on it.  You should also buy a wench and have it bolted to the side of the

boat.  The wench is not necessary, but is will save a lot of time and effort to pull up

all of the traps.  A dolly should be kept on the dock to take the boxes of crabs to the

truck.   You will also need at least fifty crab traps to get started.  These can be

purchased at any boating store for around twenty dollars apiece.  When you have all

of your traps, you will need around 2500 feet of rope and fifty floats.  After you

have all of these materials, you will need bait fish and premium gasoline on a daily

basis.  The bait fish can be purchased anywhere that sells market seafood.

The traps will have to be rigged up before they can be dropped.  You should

tie about fifty feet of rope on each trap.  The floats will need your crabbing number

engraved with a sauter iron so that no one will mistake them as their traps.  The

floats need to be tied on the end of the rope that is not tied to the trap.  This will

allow the float to stay on top of the water when the trap is on the bottom of the

creek.  Each trap needs to be baited with at least four small fish.  When you have all

of your traps ready, it is time to find places to put them.

Small creeks contain  the most crabs in the months of April through

November.  You must make sure that there are no other traps in the creeks that you

select.  Spread the traps out about seventy-five yards apart.  Find creeks that are not

used often, so that the public will not rob a few of  your traps for their dinner.  After

you feel that all of your traps are in good places you can retire for the day.

The next day, you should get an early start.  Make sure that you have plenty

of gasoline, boxes to put the crabs in, your overalls, and gloves.  I would also

recommend that you bring bait to put in the traps while you have them out of the

water.  When you get to your first trap, put it on the wench and let it pull it up.

Don't get discouraged if there are not a lot of crabs.  Dump the crabs in a box, put

fresh bait in the trap, and throw the trap back out.  Go through the crabs in the box

and throw back any that are smaller than five inches.  It is illegal to sell any that are

this small.  You should also take out any female crabs.  If they are not pregant,

which are commonly known as virgin crabs, throw them back because they are

illegal to keep.  If some of the females are pregnant, you should put them in a

separate box because they are considered "trash crabs" because they weigh more

because than the males.  In other words, the female crabs are not worth as much as

the males.

You should check the rest of your traps just as the first one.  When you finish,

go back to the dock and prepare to unload.  You will most likely need help because

each if each box is full, it will weigh anywhere from eighty to one hundred pounds.

Load them up on the dolly and roll them to your truck.  Unload the boxes and make

sure that they cannot dump over; you don't want crabs running all over the back of

your truck.

Now, you have a limited amount of time to find a place to sell your crabs.

Smaller seafood markets downtown pay more than others.  One, for instance, is

Watson's seafood.  They pay eighty cents a pound for large male crabs.  A large

seafood market is Wilmington Island Seafood. They only pay sixty five cents a

pound for the large males.  You should find a market that you feel comfortable

doing business with and that is very reliable.  Talk to the owner to find out what

they are willing to pay and how many they will need on a daily basis.  Sell your

crabs and buy bait for the next day.

Crabbing will pick up in the months of July and August.  These are the best

times because male crabs are in the creeks hiding from the females that are ready to

find a mate.  When it starts getting colder, you should move your traps from the

creeks to rivers that flow directly from the ocean.  This is because the crabs move to

deeper areas where it is warmer.

You should have a very productive season if you follow all of these

guidelines.  The amount of crabs will fluctuate from day to day, but you should be

making an average of about $150 a day.  If you have a bad week, don't worry about

it.  Chances are you will make twice the money the next week.  Be careful and good

luck!

253.          Creative couples 1875

Over the centuries creative couples have been drawn together by similar interests and desires. The outcome of these relationships has greatly influenced the lives and careers of the individual artists, with personal belief, gender, societal influences, politics and religion determining the role of each partner.

As social, political, religious and gender issues were being challenged and the documentation of information became easier after the Industrial Revolution, creative couples of the late 1800s and early 1900s were written about more extensively, thus more is known about them. However, not as much is documented about creative couples prior to this.

With this in mind we will examine a variety of creative couples that lived within the period of 1750 till 1920. We will observe their highs and lows, the conflicts and encouragement as well as the turmoil and balance they brought each other, which will show the varied outcomes of their lives and consequently their careers.

Living in any relationship with another person is bound to influence both parties immeasurably. Whether the relationship is positive or negative depends on the individual's beliefs, personality and actions within the relationship. Creative couples have been particularly influenced by the social climate of their times.

An example is the relationship between Gabriel Munter and Wassily Kandinsky. Munter went to study at the unofficial Phalanx Art School, of which Kandinsky was a founder, because official art schools in Germany were closed to women at that time. Their relationship lasted for more than 10 years.

During this time Munter often frustrated Kandinsky. All though he could see her talent, he was amazed and exasperated by her personal style and remarked, "You are hopeless as a student - one can teach you nothing." (Petersen Karen &amp; J.J. Wilson, 1976) However, Munter found in him the inspiration she needed to press forward her claim as an artist in her own right, later saying, "He loved, understood, treasured and encouraged my talent." (Petersen Karen &amp; J.J. Wilson, 1976).

Their relationship had ended by the time the war started in 1914. Kandinsky returned to his homeland, devastating Munter, who moved to Stockholm. 'Her paintings of the time revel the tension and isolation she suffered. Instead of brilliant landscapes and portraits of her friends, she turned to thoughtful, frequently melancholy studies of women. Then in 1918  the paintings stop; the trauma of seperation from Kandinski seems to have jarred her very sense of herself as an artist' (Petersen Karen &amp; J.J. Wilson, 1976)

As creativity is such a personal and emotional outpouring of who we are individually, conflict between creative couples is inevitable. The relationship of Camiile Claudel and Auguste Rodin is well known and much is recorded about them, including a film titled Camille Claudel - The Story of Rodin's Mistress. Claudel was twenty years younger than Rodin when they met in 1893 and they embarked on a relationship that was turbulent, complex and volatile.

When Paul Claudel wrote on the subject of the relationship between Rodin and his sister, he demonstrates clearly the emotional and creative conflicts between them. "And besides, two geniuses of equal power and of different ideals could not continue to share the same studio and the same customers. Seperation was necessity for the man, but for my sister it meant complete, profound, and final catastrophe. The sculptors profession is for a man a constant challenge to common sense: for an isolated woman having my sister's temperament it is a pure impossibility. She staked everything on Rodin, and she lost everything in losing him." (Descharnes Robert and Jean-Francois Chabrun, 1967)

With a similar outcome in their relationship as with Kandinsky and Munter, claudel's creative expression of how she felt about her turbulent relationship with Rodin and his distancing himself from her toward the end of their relationship is clearly illustratednin her piece L'Age mur. In the work Camille is on her knees, trying to hold Rodin back, while he turns away from her toward an older woman, Rose, who was Rodin's unofficial wife. This is said to be the most autobiographical work done by Claudel.

It is evident that Rodin encouraged Claudel as much as he could considering their times. He supported her in many ways, recognizing her talent as her own, "I helped her find gold in art, but it was all in herself." (Willian Harlane Hale and the editors of Time Life Books, 1972).

Rodin also encouraged and assisted Claudel with exhibiting her work. "She was mad about sculpture - to such a point that, during the fifteen years of their stormy liason, Rodin considered her more equal than pupil. This is reflected in a will he made twenty years after they had parted, which specified that a room be dedicated to her sculpture in thre Rodin Museum which he was to bequeath to the State after his death, confirmiung his high regard for her work." (Descharnes Robert and Jean-Francois Chabrun, 1967).

Others found contentment in their relationships, despite their differences. Georgia O'Keeffe and Alfred Stiegloitz met after a friend of O'Keefe's, Anita Pollitzer, gave O'Keefe's work to Stieglitz to hang in his gallery, 291. When O'Keefe found out she went to New York to meet Stieglitz and from that meeting began the relationship that was to last until his death in 1946. O'Keefe spoke of the sense of balance in their relationship, "The relationship that Stieglitz and I had was very good, because it was built on something more than just emotional needs. Each of us was really interested in what the other was doing... Of course, you do your best to destroy each other without knowing it - some people do it knowingly and some do it unknowingly. But if you have a real basis, and we did, you get along pretty well despite the differences." (Petersen Karen &amp; J.J. Wilson, 1976).

Support and encouragement was also an important part of O'Keefe's and Stieglitz' relationship and the outcome was a positive one. Stieglitz gave O'Keefe the support she needed and helped her with her desire to become an artist in her own right. "From their first meeting, Stieglitz and O'Keefe exhilarated, released and inspired one another. He began to photograph her during her visits to New York. In 1918 he asked her what she would like to do most in the world. 'Paint', she replied. Since she could not afford to give up teaching, Stieglitz offered her a year in which to realize her dream. She accepted." (Dorothy Norman, 1973)

An example of dedicated support shown by a partner, to the extend that they gave up their creative work, is shown by Lilly Spencer and Benjamin Rush Spencer. Lilly moved to Cincinnati in 1841 where she exhibited in a number of exhibitions and studied for a short time with a resident portraitist. Three years later, in 1844, she met Benjamin, '''"who devoted himself to managing her career and taking care of their seven surviving children. Although she never made muych money and was always struggling to keep the family going, Spencer became an extremely popular painter, producing still life's, allegories, and literary pictures, and achieving particular success with her humorous domestic subjects." (Heller Nancy G, 1987).

The styles or techniques used by individuals are often influenced by the creative partner with whom they work so closely. The creative influence on each other is an unavoidable aspect of the relationship. The work of creative couple Susan Eakins and Thomas Eakins, who met at the Pennsylvania Academy of the Fine Arts and married in 1884, was often commented on by critics of the time. "Her works do display the same sense of contemplative quiet, the same rich, dark backgrounds, the same eloquent but never fussy details, and the same interest in individual personalities that are so charicteristic of Thomas Eakins's art." (Heller Nancy G, 1987). This similarity is clearly demonstrated by Two Sisters by Susan Eakins and Gross Clinic, by Thomas Eakins.

Sometimes the similarities may be consciously invoked, such as 'When Camille sculpted Rodin, it was in a style akin to his own rough, realistic manner with men.' (William Harlan hale and the Editors of Time Life Books, 1972). Claudel also had an influence on Rodin's work, 'Rodin was overwhelmed by her, and she him: they became not only lovers but profound partners in experience. It was after he met her that his sculpture took on their extraordinary erotic power. Here, alive, was the superior female he had been dreaming of in art. Camille posed for him, in turn sculpted him, and collaborated with him in his studio.' (William Harlan Hale and the Editors of Time-Life Books, 1972)

Sonia Delaunay and Robert Dalaunay, who married in 1910, are an example of how creative couples work together to produce complimentary works. Their ideals were well aligned and the works they produced together had a powerful effect. 'Certainly there are few couples who have achieved so successful a merging of artistic and personal concerns as Sonia and Robert Delaunay. Together they worked out the tenets of Orphism, and the paintings Market at the Minho and Homage to Bleriot  demonstrate their theories of colour and rhythm.' (Petersen Karen &amp; J.J. Wilson, 1976).

Creative couples have and will continue to struggle for their own identity and personal ambition to be creative and recognized for their own work. The forces involved in these creative relationships have often been beyond each individual's control, with outcomes that have varied greatly. More often than not these relationships have turned out differently to what each individual expected when they began.

Creative partnerships are often living paradoxes through which both individual's creativity can excel or fail. Despite the turbulent and devastating effect that these relationships have on some people, the positive aspects of encouragement, support, inspiration, and creative influences shine through. Whether the outcome of their works and lives is catastrophic or fulfilling, in the end it comes down to individual will and how each partner responds within their relationships.

ABC TV Program, The Big Picture: City of Dreams, Thursday, April 12, 2001, 9.30pm

http://www.abc.net.au/tvpub/highlite/h0115heb.htm

Baron Stanley, 1995, Sonia Delaunay - The Life of an Artist, Thames and Hudson Ltd, London

Chadwick Whitney, 1996, Women, Art and Society, Thames and Hudson Ltd, London

Descharnes Robert and Jean-Francois Chabrun, 1967, Auguste Rodin, Macmillian and Company Ltd, London

Hale Harlan, Willian and the Editors of Time-Life Books, 1972, The World of Rodin, Time-Life International, Nederland, N.V.

Heller, Nancy G., 1987, Women Artists - an Illustrated History, Cross River Press Ltd.

Kaufnam Philip, film by, Henry &amp; June, Universal Pictures presents a Walrus &amp; associates, Ltd. Production

Laurent Monique, 1988, Rodin, Konecky &amp; Konecky, New York

Munro Elanor, 1979 Originals: American Women Artists, Simon and Schuster, A Division of Gulf and Western Corporation, New York

Norman, Dorothy, 1973, Alfred Stiegletz: An American Seer, Appeture, Inc., Millerton, New York

Nuytten Bruno, Film by, 1989, Camille Claudel - The Story of Rodin's Mistress, based on the biography by Reine-Marie Paris, released by Premium films

Petersen Karen &amp; J.J. Wilson, 1976, Women Artists - Recognition and Reappraisal from the Early Middle Ages to the Twentieth Century, Harper Colophon Books, Harper and Row, Publishers, Hardcover edition published by New York University Press

Rose Phyllis, 1985, Parallel Lives - Five Victorian Marriages, Penguin Books Ltd, Harmondsworth, Middlesex, England

254.          Creative Writing The Man who Stepped into

Creative Writing: The Man who Stepped into Yesterday

Once upon a time, there was a mountain which rose out of a vast, green

forest.  and in the forest there were birds and lakes and rocks and trees and

rivers.  the forest was also inhabited by a small group of people called the

lizards.  the lizards were a simple people and they had lived in the forest

undisturbed for thousands of years in utter peace and tranquillity.  once a year

spring came, and the first blossoms began to show, the lizards would gather at

the base of the mountain to give thanks for all that they had. they thanked the

birds and they thanked the lakes and they thanked the rocks and the trees and

the rivers; but most importantly, they thanked icculus.  icculus lived at the

top of the mountain, or at least everyone thought so, for no one had ever

actually seen him.  but they knew he existed, because they had the helping

friendly book.  icculus had given the helping friendly book to the lizards

thousands of years earlier as a gift.  it contained all of the knowledge

inherent in the un iverse, and had enabled the lizards to exist in harmony with

nature for years.  and so they lived; until one day a traveler arrived in

gamehendge.  his name was wilson and he was quickly intrigued by the lizards way

of life.  he asked if he could stay and live in the forest; and the lizards, who

had never seen an outsider were happy to oblige.  wilson lived with the lizards

for a few years, studying the ways of the helping friendly book, and all was

well.  until one morning when they awoke and the book was gone.  wilson

explained that he had hidden the book, knowing that the lizards had become

dependent on it for survival.  he declared himself king and enslaved the

innocent people of gamehendge.  he cut down the trees and built a city, which he

called prussia.  and in the center of the city he built a castle, and locked in

the highest tower of the castle lay the helping friendly book, out of the reach

of the lizards forever.

But our story begins at a different time, not in gamehendge, but on a

suburban street in long island, and our hero is no king sitting in a castle, he

is a retired colonel shaving in his bathroom.  colonel forbin looked square in

the mirror and dragged the blade across his cold creamed skin.  he saw the tired

little folds of flesh that lay deep beneath his eyes.  fifty-two years of

obedient self-restraint, of hiding his tension behind a serene veil of composure.

for fifty-two years he had piled it all on the back burner, and for fifty-two

years it had boiled, frothing over in a turbulent storm inside of him.  it had

escaped through his eyes, reacting with the smoke and the fluorescent lights and

slowly accumulated into the nape of his neck and he thought again about the door.

He had discovered the door some months back on one of his ritualistic

morning walks with his dog, mcgrupp.  it had started out as a typical stroll

with mcgrupp bounding joyously ahead of the preoccupied colonel.  as they

reached the apex of the hill, he saw it, and it caught his curiosity, and he

knew it had always been there, and felt foolish for overlooking it, but he soon

found that it was impossible to over look it anymore, and slowly his newly

acquired knowledge transformed his dreary life into a prison from which there

was only one escape.  and on this morning, colonel forbin stepped through the

door... passing through the corridor i came upon an ancient knight who leaned

against the wall in gnarly armor, he was on his way to see the king, wilson.  he

led me through the streets of prussia talking as he tried to crush a bug that

scurried underneath his boot heel.  he said there was a place where we should go,

so he led me through the forest to the edge of a lagoon by which we wandered

*till we reached a bubbling spring.  the knight grew very quiet as we stood

there then he lifted up his visor and he turned to me and he began to sing...

he said, "i come from the land of darkness, i come from the land of doom," he

said, "i come from the land of gamehendge, from the land of the big baboon.  but

i*m never going back there and i couldn*t if i tried, 'cause i come from the

land of lizards and the lizards they have died." he told me that the lizards

were a race of people practically extinct from doing things that smart people

don*t do, he said that he was once a lizard too.  his name was rutherford the

brave and he was on a quest to save his people from the fate that lay before

them.  their clumsy end was perilously near.  the lizards would be saved, he

said, if they could be enlightened by the writings of the helping friendly book.

in all of prussia only one existed, and wilson had declared that any person who

possessed it was a crook.  the helping friendly book, it seemed, possessed the

ancient secrets of eternal joy and never-ending splendor, the trick was to

surrender to the flow.  we walked along beneath the moon, he lead us through the

bush *til soon we saw before our eyes a raging river.  he said that we could

swim it if we tried.  and saying this the night dove in forgetting that his suit

of arms would surely weigh him down and so he sunk.  and as his body disappeared

before me, I bowed my head in silence and remembered all the thoughts that he

had thunk.

But rutherford and forbin weren*t alone, and suddenly an unexpected

movement caught his eye.  on the far side of the river he saw a shaggy creature

standing in the weeds who stared across at forbin with an unrelenting gaze.  a

gigantic mass of muscles and claws, the hideous beast reared back and hurled

himself in the water and swam toward the region where rutherford lay.  in a

flash the beast was gone, underneath the surface to the frosty depths below

while forbin, bewildered, waited alone.  the seconds dragged by in what seemed

like hours *til finally the colonel felt it all had been a dream.  defeated, he

bowed his head then turned to go.  suddenly, with a roar, the creature emerged

before him and held the brave knights body to the sky. the creature laid the

knight upon the shore and the colonel fell beside his friend in prayer that he*d

survive, and rutherford, brave rutherford, was alive. forbin and the unit

monster were crouched over the soggy knight carefully removing his bulky helmet

when the colonel heard a sound behind him.  he turned and came face to face with

an enormous, shaggy, horse-like creature covered from head to tail with

alternating blotches of brown and white.  it was a two-toned multi-beast, and

atop the multi-beast sat the most beautiful woman the colonel had ever seen.

after fifty-two years of undaunted bachelor hood, the colonel felt a feeling

rush over him as he had never felt before... the sky is burning in this lonely

man, and i kneel by the river and i feel the sand and the wind.  the wind from

beyond the mountain.  and she comes to me in this lonely land, and looks down

from the multi-beast on which she rides like the wind... tela was born in a

vulgar crooked hut in the shadow of wilson*s castle.  venomous scorn from the

life of bitter toil, glory esteem fueled by her hatred it grew, swelling to the

point where it would burst at the seems, there was nothing she could do. tela,

tela, jewel of wilson*s foul domain, a lullaby the breezes whisper.  i look into

her eyes and my frozen heart begins to thaw, and it burns, *til layer after

layer melts away into a pool, a sky blue mirror of her eyes.  my soul is made of

marble, but in her gaze i crumble into dust and drift away on the wind. tela

grew strong, her struggle to endure, time touched her wounds and shelter proved

the cure.  each passing day seemed to feed the brazen serpent locked inside and

liberate the spirit she*d concealed for so long.  there was no place left to

hide.

Tela reached out her hand and helped forbin onto the back of the multi-

beast, and together they rode off into the forest.  as they rode, tela explained

to him about wilson and the helping friendly book.  she told the colonel that

she was part of a revolution to overthrow the evil king.  the leader of the

revolution was a lizard named errand wolfe who was out to avenge the death of

his son roger.  roger, she said, had been executed by wilson at the age of

fourteen on suspicion of treason.  he had been abducted from his home and hung

in the public square. the two rode on in silence, deeper and deeper into the

heart of the forest until they came to the outskirts of a small community.  tela

explained to forbin that they had reached the base of the revolutionaries.  the

colonel looked up and there in the center of the clearing stood errand wolfe.

he was a small man but his presence was overpowering.  he seemed to emit a kind

of violent energy that sent chills down the colonel's spine.  as the multi-beast

moved towards him, he raised his fist in anger and his voice filled the forest...

oh, out near stonehendge, i lived alone, oh out near gamehendge, i chafed a bone.

talk my duke a mountain, helping friendly book, in as far as fiefdom, i think

you bad crook.  i talked to my son roger, rutherford the same.  when we had that

meeting, over down near gamehendge.  wilson, king of prussia, i lay this hate on

you, wilson, duke of lizards, i beg it all trune for you.  you got me back

thinkin' that you*re the worst one, i must inquire wilson, can you still have

fun?

Meanwhile, in the main square in prussia, the state of the revolution was

taking another turn for the worst.  a crowd of people had gathered to witness

the hanging of wilson*s account, mr. palmer.  it seemed that palmer had been a

revolutionary himself and had been exhorting wilson*s money to fund the

revolution.  palmer stood on the scaffold with wilson and the ac/dc bag, an

electrified robot-hangman with a black bag over his head.  wilson seemed pleased

as he began to speak... Mr. palmer is concerned with the thousand dollar

question, just like roger he's a crazy little kid.  i*ve got the time if you've

got the inclination so cheer up palmer, you*ll soon be dead.  the noose is

hanging, at least you won*t die wondering, sit up and take notice, tell it like

it is.  if i were near you i wouldn*t be far from you i*ve got the feeling you

know what you did.  time to put your money where your mouth is, put *em in a

field and let *em fight it out.  i*m running so fast my feet don*t touch the

ground, i*m a stranger here, i*m going down.  let*s get down to the nitty gritty,

let*s get the show on the road.  i*ll so you mine if you show me yours, i*m

breathing hard - open the door.  brain dead, and made of money, no future at all.

pull down the blinds and run for cover.  who would*ve thought it, that*s where

i am, no future at all, don*t sweat it, that*s where i am, whoa carry me down.

By that night, news of palmer*s death had traveled back to the camp.

spirits were low and colonel forbin felt devastated.

255.          Creative Writing

I remember back in a church I used to live in this kid named Joseph. The year was, oh, I say 1935-36. He was such a delightful laid back kid when I first met him,  He was always by himself playing jumping jacks  and other games in which he could play by himself.  He did not have to play by himself but he would for some reason always reject our offers that myself and the other kids there made to him.  We would ask him if he would want to play tag or hide-and-go-seek but it was as he was mute, ignoring us for no reason.

Like a year later I learned that his parents had abandoned him at the step, of the church in which we all stayed, when he was only five years of age.  Joey never talked about his parents, it was like he was still mad at them.  He never understood that his parents were poor and could not carry the burden of taking care of him.  His parents thought they were doing the right thing by dropping him off at this church which was SUPPOSED to take care of him so that he could grow up with a normal life.  In 1936 it was hard growing up in Germany.  In the town we lived in there was never peace, the nuns would not tell us that, but we knew we all knew, accept for little Joseph.  Nazi's would come in the church and try to teach us their "superior" ways.  None of us fell for it, except Joseph.  I guess he had no other place to turn to, so he slowly sank into these idiotic ways.

About three years later the now 12 years old little boy was a nazi himself and the one of his kind in that church.  He still would play by himself.  No one liked him anymore and never asked him to play.  Instead he would ask us, but now we would refuse.

One day in 1939 he got so sick of us "inferior" people in the church so he left. What he did not know and what most of us did not know was that there was a battle just a town away.  The nuns never told us about World War II.  They always said in the sweetest voice "The world is such a peaceful place."  Well, Joseph unknowingly went to this town in search for a new place to live.  But stepping into this town was like slitting your wrist.  Anyway a Jewish man saw him with his swastika on his arm.  This obviously made the Jew mad.  The two of them brawled about for at least an hour, but when the fight was over the Jew came out on top, simply because he had a knife in which he used to stab the innocent young child at least 20 times in the chest.  Another nazi saw this happening, he later on killed the Jew. His life ended because of superiority...I guess superiority cannot always save your life or make it better than someone else's,  because now they both are resting and surely not in peace.

256.          Crime Films

Crime Films

When looking at the crime film it is important to understand the nature of

the films genre.  The genre is a way for the audience to distinguish types of

films. These are categorised together because of  standard protocols developed

for a particular types or styles of film.  These films usually follow similar

guidelines in order to produce a predictable style for the audience.  The

development of genre films is not entirely the prerogative of Hollywood.  It is

more  the desire of the public viewing audience to have an idea of the type of

film they are about to see.  The western, musical or the gangster film are

examples of genre films.  These categories of films all have similarities in the

ways in which they are made: musicals end happily; the westerns will all have

the final shoot out; and the gangsters will all be overcome by justice or meet

their own demise.  The reason for the consistency in the films is the publics

desire to make an informed choice not and not to go in blind.

By using the genre qualification, the industry is able to target

societal groups and try to produce and market what they want to see. The public

attends a film because they think they might enjoy some aspect of it.  The film

genre follows a  set of abstract rules that allows the public to informally

categorize films. These rules must be viewed from an flexible point of view in

order to legitimize their future existence.  By using this method of

categorizing films the public is able to decide which films they wish to see and

those they do not.  Some people love musicals and if they were to go to one and

find there was no music or dance they might not be too pleased.  The concept of

genre is one that may provide benefit to the viewers but at the same time may

also present problems for the directors who must compromise their artistic

aspirations.  Examples of this can be seen in the production of  sequels, and

the use of repetitive set qualities.  These may include the mise en scene of the

picture or the inclusion of similar sound.  Because of these unwritten rules the

directors must include some of the familiar aspects of the genre.  The greatest

problem may be that the film must fall into a genre category.  Defining it

within the genre may be compromising to the nature of the film.

Scarface (1932 U.S.A. - Howard Hawks ) is a film where ones view of the

lead role is ever changing with the apparent mental stability of the character.

Tony, the principal character, exhibits personality characteristics found in

every persons life which normally must be kept hidden.  People appreciate the

fact that Tony has the guts to do what he wants and at the same time gets the

respect that he feel he deserves.  Every mans dream, and on top of that he gets

paid.  There is always a fascination when money and power is involved.

The character is portrayed through the majority of the film to be worry

free, on top of the world, healthy, respected, and loved.  The major problems

presented to Tony through the earlier portions of the film are those just like

any common man: arguments with his mother and sister; family disputes; and

overzealous protection of his sister.  In presenting the life and times of

Camonte, the viewer sees problems that might also be present in his/her own life

and can therefor relate well to them.  Being able to emulate the life of the

film character enables the viewer to feel sympathy or compassion.  If the viewer

can relate, he can then justify or understand the actions of the condemned.

The audience is lead into the hands of Tony and the sympathy lies with his

expression of emotion.  A man whose ruthless desire to be on top enabled him to

kill one of his better friends and sisters lover remains capable of showing

remorse or fear of being alone.  This is how we are able to suddenly feel for

him.  He's tough: a mans man.  You have to like him. The character of Tony

Camonte  might be that of a mean and ruthless killer but at least he's a

capitalist, an important quality at the time.   Tony throws money around, gets

the girl and a whole lot of respect.   These are the opportunities that many men

would love to have.

Down to the wire we feel for the man who had it all.  We recognise that

any man who is that tough has to have some feelings that when exposed engender

our admiration.  By introducing the audience to the emotional side of Tony

Camonte, a closer relationship between the viewer and the character is

established.  This, of course, is appealing to the viewer and we return the

favour by cheering for Tony Camonte.

Bonnie and Clyde (1967 U.S.A. - Arthur Penn ) is a film where audience

sympathy tends to run wild.  There are many variables that make it impossible

from any generations point of view not to sympathise with them.  The two

characters appeal to everything that contemporary youth embrace.  Unfortunately,

the way in which the qualities of characters are presented exploits the use of

violence as is common in most of today's cinematic productions.  The relevant or

appealing aspects are fundamentally the same.          Bonnie and Clyde live

lives that incorporate all of the adventure and wild free spirit that many  wish

to emulate.  Viewers are able to empathise because of the exploitation of their

humanity rather than in a criminal context. Among the compelling problems are

those involving Clyde's brother and the ever disturbing spectre of Clyde's

virginity.  In addition, in order to gain more of the viewers favour, the

characters were given  simple underprivileged backgrounds.  This eased the

audiences guilt in readily accepting the criminal aspects of the main characters

lives.  That which should be seen as horrifying is made acceptable through the

use of humour.  By making parts of the life and times of Bonnie and Clyde funny,

the audience is able to accept that  the criminals may not be as depraved as

they thought. After all, all share the same appreciation.  The film depicts the

life of crime with a flare for the romantic.  Day and night share unencumbered

skies.  The visit with family and friends is depicted as light fun full of

laughter. What could possibly be wrong with an idyllic life full of fame,

fortune and family at a time when people were losing their houses and sleeping

in the car?

Bonnie and Clyde fall in love at first sight, together to the end,

fighting for each others honour and gazing into each others eyes just before the

onslaught of lead from the symbolic bad guys.  Of course we all know that their

lifestyle is abhorrent but it is difficult not to seek out and accentuate the

positive of their psyche.  They don't have to be sympathetic to the little man,

but they are.  The characters are developed to enable them to justify what they

are doing by their simple wish to be able to afford to exist.  `Some people are

carpenters and others are robbers' is the unexpressed emotion.  By this we

perceive a lack of intent to harm and an inability to differentiate.  Clyde

ratifies this inability by his response to the question: " If you could do it

all again, how would you change things?". His reply  "Live in one state and

commit crimes in the other.".

With relation to the gangster film the genre exhibits constant evolution.

The basis of the gangster film lies in the progression thought the ranks of the

hood to eventually try to gain power and usurp the organisation.  The film

usually ends in a great shoot out where the law has finally caught up with the

villain, ending in the death or ultimate demise of the gangster.  The

development of the genre  is of utmost importance to the production of films.

Audiences do not want to see the same movie over and over.  They only want to

see the same type of movie. To accommodate this Hollywood tends to exploit the

history and events of the era.

The development and evolution of the genre can follow many different

routes.  Events in history have been of  great influence in changing the

classical genre film styles.  The evolution of the women's movement, the roles

of the family and  the portrayal of war after WWII are some major examples.  As

we saw in White Heat the use of the A-bomb was integrated into the final shot of

Cody Jarret.  The great  depression in the mid-west was the setting for the

rural gangsters of Bonnie and Clyde: a film that changed the way the classical

gangster was viewed.  Earlier gangsters were all powerful and strived to be

omnipotent.  They had the money and the power to corrupt.  With Bonnie and Clyde

we see two gangsters who are really only trying to survive.   The Gangster is

portrayed with a good side by the protection and favours afforded the little man.

The earlier gangster was one who terrorised all whom he encountered and

terrorised all classes. By their actions Bonnie ans Clyde are given a status

befitting Robin Hood; taking from the banks but not the poor.

Although the actions of the Gangster cannot be condoned, there is an

uncontrollable urge to sympathise with him.  In many ways one has to feel sorry

for the man who knows nothing more than a life of crime, always running from the

law and ultimately dying full of fear.  One of the main reasons that we

sympathise with the gangster, for a short time, may be the inherent knowledge of

what is likely to happen.  We are not sure of how the events will unfold but we

have an idea that they will develop against a definable set of guidelines.  This

knowledge gives the viewer the upper hand and therefor might be responsible for

the sympathies afforded the villain.  From an even broader point of view one

could argue that if the viewer has an idea of the events that will unfold before

entering the film, then undoubtedly if those events are not the ones s/he is

looking for in an abstract way, dissatisfaction may prevail.  In the same

instance, the viewer may be ready for an adventure of expectations and has

prepared him/herself to be ready to sympathise with the villain or gangster.

The motivations could be one of many and may not even occur during the film but

may have been learned as a genre  throughout years of viewing.

Acceptance of criticism of abhorrent criminal behaviour is impossible to

defend but the ability to imagine is a characteristic of which every human is

capable.  The problem lies in how far the imaginary is allowed to rule the

realistic.  Most of us wish that we could have the experience, the feelings of

adventure and unrestricted freedom portrayed in Bonnie and Clyde but that gives

us no reason to rob banks.

The sympathies that are felt for the characters can for the most part be

generalised by saying that the "principle" of the film is most often the

character that receive the greatest attention.  This is fundamental in the

understanding of a film and in the deliverance of a story.  The apparent

identification with characters of certain types of films is totally dependent

upon the desires and expectations of the viewer.  It is the ability of the

audience to identify with the central characters of a film that keeps them

watching.  The use of the imagination or a simple wish to be exposed to other

possibilities  are the fundamental reasons for entertainment.  The criticisms

being aroused by those who are opposed to the way in which crime is occasional

depicted, believe that real life and the stories told  by films are becoming

increasingly similar.  The criticism can be justified in some respects but  by

justifying these criticisms there is an implied ignorance for the individual

intelligence of the general  population .

Bibliography

David Bordwell, Kristin Thomson, Film Art an introduction: McGraw-

-Hill,Inc.:University of Wisconsin,1993.

Graeme Turner, Film as Social Practice: Routledge, 1993.

257.          Crime Scene

The cultural majority in America is up in arms over the rising levels of violence and horrific images that have seeped into popular entertainment.  Movies, television, and music have always been controversial, but even they can cross the line between poor taste and immorality.  Entertainment corporations and record labels don't even blink, when told of the excessive torture or satanic lyrics found in material.  Producers and directors continue to push the envelop on what is "done in good taste."

Gangsta rap is one of the current problems of society.  Popular music for teens has always been controversial, or at least in conflict with middle class attitudes.  Teen music has always been under scrutiny by those who are older.  Parents, whether from the 60's or 90's, never welcome the sounds of the younger generation.  Unfortunately this fact does not comfort someone when listening to Snoop Doggy Dog or Ice Cube talk of sex, violence, beatings, and suicide.

Hollywood, the country's Mecca for TV and movies, is another contaminated disaster area.  This area has given us hero's such as Clint Eastwood, Humphrey Bogart, and Bruce Willis.  Once filmmakers would evoke sexual interests through eye contact or a touch of the leg.  Today cinematographers resort to graphic sexual acts and horrific beatings.  A poll by Newsweek stated that sexual moderation and fidelity are normal for both married people and for those who live together.  In contrast, 7 out of 8 televised sexual encounters involve extramarital sex (Newsweek, 1994).  This trend is startling when compared to the fact that children spend more time watching television than they spend in school.  According to the American Psychological Association, a typical child sees 8,000 murders and 100,000 acts of violence on TV before graduating from elementary school (Nation, 1994).

The results of how television, specifically sex and violence, affect children is not completely known.  Although psychologists state, "Aggressive children like to watch violent TV shows, and it appears that watching violent TV shows makes children more aggressive; this is presumably due to their exposure to aggressive models" (Eron, 1987).

One of Hollywood's more remarkable aspects, is that it has produced approximately 400 pictures that convey traditional integrity and the mainstream virtues of love, loyalty, honor, duty, and compassion.  Consider movies such as Forrest Gump, Little Women, and The Lion King.  In contrast, a movie such as Natural Born Killers was intended to imitate the link between violence and media attention in our culture.

In the long run, individuals will make decisions about what they will buy, read, or see.  Some will lean towards the vulgar and the pornographic.  The American society has some sense of this.  They may be irritated or outraged by pop culture, but the polls state that the principal courses of violence and other national problems lie beyond the entertainment industry (Congressional Quarterly Weekly Report, 1995).  Parents are already aware that children are affected by the general decline of public morality, family breakdown, lack of religion, and poor parenting.

The price we pay for our cultural freedom is the movies and songs that influence people to act out their fantasies of grandeur.  I would rather the chaos of the free market than the government telling us what or what not to see and hear.  Our culture would be definitely poorer without those who bring us daily news, weather, and sports.  What would happen if government began to censor our music, movies, and literature?  Children would grow-up never knowing the internal conflicts faced by Huck Finn, the violent nature of the "Wild West" or the songs that built America  "Their blood has wash'd out their foul footstep's pollution," may sound like a excerpt from a Snoop Dog song, It is actually part of the of the Star Spangled Banner.

258.          Critical essay on the Great Gatsby

The quote "material without being real" shows the

emptiness of an existence with the realization of a

tainted ideal.  Fittingly, this quote from Nick is placed

after Daisy leaves Gatsby.  Nick is imagining what Gatsby

would be thinking if he had understood that the goal,

winning Daisy and her materialistic insubstantiality, was

unworthy of his effort.  Fitzgerald does not specifically

state if Gatsby is or is not waiting for the phone call

from Daisy.  If Gatsby has realized that Daisy will not

call, then he has undergone the self-recognition of the

tragic hero.  If he is waiting for the phone call, then he

is still holding on to his idealized goal.  While this

shows that he is holding onto the      part of his life:

that which marked his personality as more substantial

Daisy's personality, it also illustrates the futility of

reaching for a corrupted goal.

Many Americans today may lack the motivation of Jay

Gatsby in the quest for his "pure" dream.  Their existence

is strictly materialistic.  Such individuals view the

purpose of education not as serving to perfect of one's

intellect, but to secure a job.  Every day they perform

the same dull and tedious routine, their only goal being

the receipt of a paycheck which they will redeem

ultimately for social status.  Some do have dreams, and to

their life is added new meaning through the reaching for a

goal.  It is this reaching, the gaining of enjoyable and

constructive experience, which gives purpose to their work

that diminishes the monotony of their daily existence.

Whereas the straight materialists will eventually spend

their "dream," the experience that a "reacher" gains

cannot be taken away.

259.          Critique of Romeo and Juliet the Movie

Critique of Romeo and Juliet the Movie

There have been many romantic films made in the past as well as now in the

present, from Wuthering Heights to Pretty Woman.  But, one of the most romantic

of all films is the story of Romeo and Juliet.  It is safe to say that most

people are familiar with this story.  A couple so determined to be together,

ended up tragically in the arms of one another because of their feuding families.

Today, a new director attempts to recreate this Shakespearean story by adding a

little of his on twists to it.  Using the same dialogue as Shakespeare, this

director sets the story in modern times.  Romeo and Juliet, the movie, gives

audience in the twentieth century a taste of a new and mystical flavor to this

well-known love story.

The setting of Romeo and Juliet, as expected, was totally different from

other settings in the past.  This setting, however, was not necessarily set in

way of how people today would live.  The story was set more fantasy-like.

Because of the setting, the deaths of the people in this movie did not seem as

moving as to the old movies.  For some reason, the setting of Mercutio's death

interfered with this supposedly poetic scene.  A broken down stage on a sandy

beach does not seem to fit well together.  The setting seemed pretty artificial.

Also, the scene when one of the Montagues died at the gas station did not seem

as depressing as would be if any other person was to die.  This scene was the

opening one so, the audience could have been distracted by the dialogue and

therefore, not paying attention to the death to much.

In the beginning of the movie, it was hard to adjust to the dialogue

with the atmosphere.  The dialogue was way on the other side of the timeline

compared to the setting.  Some of the audience was even laughing.  Perhaps that

was why it was so difficult to follow the movie with all those distractions.

What was quite remarkable about this movie was how the director

incorporated today's problems and events with the old Shakespearean dialogue.

For instance, swords were used in the olden days.  Now, the proper weapon would

be guns.  The director also included what a teenager, today, would do like

taking drugs, playing pool, and going to parties.

Overall, the director must have wanted the audience to view this movie

as an entirely new and different one compared to the old ones.  It is hard not

to make comparisons, but if one treats this contemporary Romeo and Juliet as an

entirely separate movie, then perhaps one would appreciate it more for its

creativity.  If people were to watch this movie like any regular movie and not

think of it as the original Shakespeare story, then perhaps the watchers would

enjoy it more.

260.          Critique of Romeo and Juliet

There have been many romantic films made in the past as well as now in the present, from Wuthering Heights to Pretty Woman.  But, one of the most romantic of all films is the story of Romeo and Juliet.  It is safe to say that most people are familiar with this story.  A couple so determined to be together, ended up tragically in the arms of one another because of their feuding families.  Today, a new director attempts to recreate this Shakespearean story by adding a little of his on twists to it.  Using the same dialogue as Shakespeare, this director sets the story in modern times.  Romeo and Juliet, the movie, gives audience in the twentieth century a taste of a new and mystical flavor to this well-known love story.

The setting of Romeo and Juliet, as expected, was totally different from other settings in the past.  This setting, however, was not necessarily set in way of how people today would live.  The story was set more fantasy-like.  Because of the setting, the deaths of the people in this movie did not seem as moving as to the old movies.  For some reason, the setting of Mercutio's death interfered with this supposedly poetic scene.  A broken down stage on a sandy beach does not seem to fit well together.  The setting seemed pretty artificial.  Also, the scene when one of the Montagues died at the gas station did not seem as depressing as would be if any other person was to die.  This scene was the opening one so, the audience could have been distracted by the dialogue and therefore, not paying attention to the death to much.

In the beginning of the movie, it was hard to adjust to the dialogue with the atmosphere.  The dialogue was way on the other side of the timeline compared to the setting.  Some of the audience was even laughing.  Perhaps that was why it was so difficult to follow the movie with all those distractions.

What was quite remarkable about this movie was how the director incorporated today's problems and events with the old Shakespearean dialogue.  For instance, swords were used in the olden days.  Now, the proper weapon would be guns.  The director also included what a teenager, today, would do like taking drugs, playing pool, and going to parties.

Overall, the director must have wanted the audience to view this movie as an entirely new and different one compared to the old ones.  It is hard not to make comparisons, but if one treats this contemporary Romeo and Juliet as an entirely separate movie, then perhaps one would appreciate it more for its creativity.  If people were to watch this movie like any regular movie and not think of it as the original Shakespeare story, then perhaps the watchers would enjoy it more.

261.          Critique Of The Cabinet of Dr

Critique Of The Cabinet of Dr. Caligari

Tamala Garrett

English 376

Due 1/29/96

The Cabinet of Dr. Caligari was written by Hans Janowitz and Carl Mayer,

and directed by Robert Weine.  It was produced in 1919 by Erich Pommer for

Decla-Bioscop. 1919 was a year in which the movie industry was transformed into

a giant industry. Although the movie was produced in 1919, it was not released

in the United States until 1921.  A time when film makers were out to prove that

film was indeed art.  In the year 1921 525 films were released out of those 525,

50 still exist today, one of those 50 is The Cabinet of Dr. Caligari.  At the

time of its release in America, horror films were virtually unheard of because

filmakers felt that the subject matter was tasteless or even repulsive, not to

mention difficult to adjust to the silent screen.  The first horror film on

record was Frankenstein in 1910.  Elements from Frankenstein are evident in The

Cabinet of Dr. Caligari.

When the demonic somnambulist Cesare creeps into Lil Dagover's bedchamber,

director Robert Wiene was exploiting a fear common to us all.  Prone and

sleeping the woman is uttlerly helpless.  She is carried off into the

expressionist labyrinth that Wiene used to symbolize the darkest torments of the

human mind and soul.  A beautiful woman is carried off by evil, a play on the

Beauty and the Beast themes that would become so popular in horror films.

Used expressionism, films that explored dream, nightmare and psyche and

that found their narrative shape determined less by action than emotion.  Used

angular sets and heavy shadows to develop a macabre and horrific atmosphere for

its tale of murder and madness. The Cabinet of Dr. Caligari intentionally uses

sets that look artificial.  The deliberate distortions were meant to portray

what a tormented soul might perceive.  German expressionism, known as dada, and

surrealism rejected notions of reality, the German expressionist movement,

modern art was underway.  Used tilted sets, and twisted cardboard trees.  Light

and shadow were used to create a response, and get the viewer emotionally

connected.

Two films imported from Germany named Passion and Sumurun starring a

popular actress named Pola Negri opened the door for other German imports.  The

popularity of Negri and Caligari combined helped to create a small art-house

market.

The expressionistic style was widely distrusted at the time but even so was

copied by American directors looking to add European culture to their films.

The style soon became so well known that a spoof was made of Caligari in 1928

called The Life and Death of a Hollywood Extra which is a tale about a Hollywood

extra whose dreams of fame and fortune are frustrated.

Caligari had a lot of effect on the content of future Hollywood movies.

It's influence can be seen in later films such as The Bells (1925) and Murders

in the Rue Morgue (1932).

262.          CSPAN the American cable TV channel

Class: Cable Communication

Title of Essay: C-SPAN, the Cable TV channel

C-SPAN, the Cable-Satellite Public Affairs Network is a medium that truly brings the government to the people.  By presenting live and uncut footage of our government in action, the citizens of the United States can get a bit closer to what the founding fathers had in mind when they created our government.  C-SPAN is truly a unique channel amongst the mass of today's viewing options.

C-SPAN was launched March 19, 1979, "to provide live, gavel to gavel coverage of the United States House of Representatives."1, but the enterprise has been expanded beyond the original one channel and now utilizes several mediums to reach its goal.  The originator of this idea of bringing government into peoples' homes was Brian Lamb, who in addition to being the chairman and CEO of C-SPAN, is also a host on many of C-SPAN's programs.  Brian's primary belief is that people should be able to see government in action without soundbites, computer maps, models, images, music, and news anchor commentary.  Brian feels that if people can see government in action without the normal clutter, then they can more easily make decisions for themselves about politics and the workings of their government.  In addition to C-SPAN, a second channel, C-SPAN2 has also been created.  C-SPAN2 is committed to providing live and uncut coverage of the U.S. Senate when it is in session.  C-SPAN2 continues the tradition of the original channel by giving an even wider unfiltered and unplugged view of our government in action.  In addition to video, C-SPAN also has 2 different audio networks that broadcast international and American political content, unfiltered and uncut. Also, C-SPAN has moved into the computer world and has established a homepage to provide information to people about its services, as well as receive feedback from viewers via email.

One of the most unique aspects of C-SPAN is that all of its services are offered totally commercial free.  C-SPAN is paid for by cable and satellite operators who each pay a per-subscriber fee to C-SPAN when the channels are carried on their cable systems.  C-SPAN does sell merchandise bearing its logo, such as coffee mugs, T-shirts, and hats, however these are certainly intended as advertising for the network itself rather than a direct source of income.

As of July 1995, C-SPAN is received by over 64.3 million or 71 percent of U.S. households, and C-SPAN2 is received by over 41.1 million or 46 percent of U.S. households.  C-SPAN is distributed primarily through cable TV systems, however it can also received by both analog and digital satellite receivers.  The C-SPAN Audio 1 network is received by 5.1 million households, and 3.2 of these also receive the Audio 2 network.2

When the House is not in session,  C-SPAN airs a variety of original programs to round out its 24-7 schedule.  "Washington Journal" is a magazine format morning program that focuses on the events of capital hill.  The show features public officials commenting on the morning's news articles as well as a viewer call-in portion in which viewers comment on articles and speak with the guests.  "Booknotes" focuses on in-depth conversations with the authors of recently published books about history, politics, and public policy.  "Road to the White House" was an ongoing series that looked at various aspects of the 1996 presidential campaign including fundraising, debates, advertisements, and party conventions.   "Prime Time Public Affairs" is a program that airs the most important public policy issue of the day.  From the President speaking in the White House to a State Department hearing on an important issue, a range of events are covered in their entirety.  "American Perspectives" is labeled as a "special public affairs program"3 that presents special events and speeches.  This program airs only on the weekends.  Past programs have included a lecture series on U.S. presidents, a James Carville and William Safire debate, and a look at the Library of Congress' famous Lincoln papers.  "America and the Courts" covers the inner workings of the federal judiciary.  This program offers court coverage as well as  speeches and appearances by Supreme Court justices.  C-SPAN also airs all National Press Club luncheon addresses.  Previous speakers have included Bob Dole, Boris Yeltsin, Coretta Scott King, Attorney General Janet Reno, and U.S. Poet Laureate Rita Dove.  One of the more novel programs aired on C-SPAN is The Close Up Foundation.  In this programs, high school students gather with senior Americans to discuss current events and policy with the nation's leaders.  Finally, C-SPAN airs many international programs.  Coverage of the British House of Commons Question Time is aired once a week.  This provides coverage of the question and answer session between the British Prime Minister and his own party and the opposition party.  C-SPAN also airs programming from the legislatures in Japan, Poland, Israel, Germany, and Canada.  All of these additional programs are presented, "to the audience without filtering or otherwise distorting their points of view", and, "without editing, commentary, or analysis, and with a balanced presentation of points of view."4

A New Yorker magazine article summed up the C-SPAN experience by this commentary:

"The rest of TV news looks very odd when you come back to it after watching C-SPAN.  Rituals long practiced with a great air of authority- the sign-ons, standups, and sign-offs; the drumbeat that attends the announcement of the story of the day; the the gotcha questions that hardly ever get anyone- suddenly look like nervous tics.  The whole rhythm of TV news begins to seem jerky and unnatural..."5

One recent innovation of C-SPAN is the C-SPAN school bus.  This is a full-sized tour bus that contains a complete video production facility.  The bus travels around the country and gathers reports on current event topics.  Often, interviews are conducted inside the bus using the small interview set.  A second bus has recently been added.  For the future, C-SPAN would like to add one, two, or even three more channels.  Because its news reporting ability is limited by the erratic hours of the House and Senate, a new channel that has 24 hours free time would be useful.  According to the New Yorker article:

"If [Brian] Lamb has his way, there will be a C-SPAN3, a C-SPAN4, and a C-SPAN5 in a few years- networks devoted, respectively, to domestic politics, (political programming apart from the sessions of the Senate and House), to business and economics, and to internatinal affairs.  Those ideas, however, are on hold for now, pending the must-carry dispute, and, more importantly, the advent of the 'five-hundred channel universe'."6

In today's fast paced society, it is difficult to watch more than 30 minutes of traditional television news, and C-SPAN's uncut style is certainly different from anything we normally expect because it does not fit into an average news paradigm.  People often complain when the government does things they don't like, but when you agree to let your representatives represent you, you give up a large amount of control over the way the government operates.  If one takes the time to watch the coverage that C-SPAN provides, however, it is possible to be just a bit closer to government and regain a bit of control by watching and reacting to the motions of who you've elected to represent you.

Sources

Pamphlet, All About C-SPAN, 1996, pages ii, 1, 6.  Received from C-SPAN public

relations department via mail.

C-SPAN Press release, May 1995, pages 2 and 4. Received from C-SPAN public

relations department via mail.

Lardner, James, "The Anti-Network," The New Yorker, March 14, 1994, pages 53,

54.

1 Pamphlet, All About C-SPAN, 1996, page 1.

2 C-SPAN Press release, May 1995, pages 2 and 4.

3 Pamphlet, All About C-SPAN, 1996, page 6.

4 Pamphlet, All About C-SPAN, 1996, page ii.

5 Lardner, James, "The Anti-Network," The New Yorker, March 14, 1994, page 53.

6 Lardner, James, "The Anti-Network," The New Yorker, March 14, 1994, page 54.

263.          Cubism was one of the strongest art movements in the 20th century

Cubism was one of the strongest art movements in the 20th century that gave birth to many other movements such as futurism and suprematism. The Forefathers of this revolutionary way of painting were Pablo Picasso and George Braque. Although it may have seemed to be abstract and geometrical to an untrained eye, cubist art do depict real objects. The shapes are flattened onto canvas so that different sides of each shape can be shown simultaneously from many angles. This new style gave a 3 dimensional look on the canvas. The cubist movement gave rise to an extraordinary reassessment of the interaction between form and space changing the course of western art forever. The groundbreaking Demoiselles d'Avignon was controversial not only for the way the women looked but also for the positions of the women. Although Picasso did not emphasize on detail, he "saw that the rational, often geometric breakdown if the human head and body employed by so many African artists could provide him with the starting point for his own re-appraisal of his subjects"(Cubism 53). "The naked women become inextricably bound up in a flux of shapes or planes which tip backwards and forwards from the two-dimensional surface to produce much the same sensation as an elaborate sculpture..."(Cubism 54). Futurism was an art movement, which was influenced by cubist art. Cubism showed no motion it was futurism that was fascinated with machinery, transport and communications. In paintings and sculpture, angular forms and powerful lines were used to convey a sense of activity, this was a Futurist's way of showing motion and speed. One of it's innovator's was Umberto Boccioni who said "We want represent not the optical or analytical impression but the physical and total experience" (Futurism 101). "They now pinned less faith on the power of new subject matter and strove to complement their colour divisionism with fragmentation of the cubist sort" (Futurism 101). Suprematism was influenced by cubism because of it geometric shapes but "suprematism was not so much a movement in art as it is an attitude..." (Suprematism 138). This non-movement was created by Kasmir Malevich's , "His elemental forms were designed both to break the artist's conditioned responses to his environment and create new realities 'no less significant then the realities of nature herself'" (Suprematism 138). A suprematist work, banishes every trace of subject, it used color and form and there interaction to form a subject. While cubism had definite subject it was also the interaction of color and shape that made the subject. Constructivism was influenced by suprematism, this movement swept away traditional notions about art, believing that it should imitate the forms and processes of modern technology. "Often constructivism was overtly propagandist in nature: sometimes by the placement of simple geometric forms in the kind of literary context which turns such forms into representations..." (Constructivism 161). De Stijl was mostly influenced by painters Piet Mondrian, Theo Van Doesburg and architect Gerrit Rietveld. These men believed that art should strive towards complete harmony, order clarity in a constant process of refinement. The works in this movement were of course geometrical, using mainly square forms. The movement's forms were deeply philosophical and were rooted in the idea that art should in some way reflect order. All of these movements progressed from cubism (hence my title); they developed from shapes into other worldly meanings. They all branched out to their own ways and fell to their feelings and desirers. All of these movements developed from geometrical objects to seem as a true form such as a body or face then turn into a geometrical form. All of these innovators thought differently, they wanted to change everyone else's state of mind and with their unlikely way of thinking they have. But we have become so accustomed to it that we do not recognize it and take these powerful shapes and colors for granted

264.          Culture from Adam Sandlers What The Hell Happened To me

How Music Affects Culture

Adam Sandler's "What the Hell Happened to Me?"

This song means that culture affects how we grow up greater then most

people think. I shows that when Adam Sandler was young, he was a well-rounded

boy that liked to have fun. The song is also saying that our culture is affecting

innocent youth that are forced to deal with the problems that the previous

generations made for them. This song shows how all people are affected when they

are really just innocent bystanders that have to witness the world at its roughest.

They are forced to deal with it although they are truly unprepared for such a harsh

treatment.

Traits. The song presents cultural traits in that it shows how we grow up and

are affected by culture. Cultural traits presented in this song are how we teach

children and what we subject them to. Our methods of education and entertainment

both affect how we turn out in the long run. The song shows how these traits affect

how people grow up, and what they value in life. For example, the song talks about

selling lemonade, eating popcorn, and watching parades. Then it goes on to say he's

"only happy when [he's] drinking JD" The point is that people are changing

because of society and our culture's lack of certain elements, such as respect and

discipline.

Values. The values presented by this song include the value of respect and

discipline, and the need for more strict ways to keep a young mind safe of

destruction. These values are presented in the line "I only did the things that Mama

said I should, but now I do whatever I want." That line shows that values change as

we age and the reason is because of society; obviously if  Adam only did what was

allowed, culture's values of discipline and respect must have turned him the wrong

way, because his mother did not.

Other values presented in the song are education and entertainment. This is

shown by the lines stating that as a boy, Adam was well-behaved and had fun in

parks and carnivals. He played in the snow and he loved sports, but as an adult he

only finds pleasure in things he would never had imagined he could have only 20

years ago. Also, it is shown that culture has made such a mess of his mind that he

can't understand why he would be in this shape. he presents this information to us

in the lines "It makes no sense, I can't believe I'm me.' He says this meaning "Why

did I end up like this and how? I never saw it coming."

Language. This song really does not demonstrate the language of the culture

besides his use of shortened words and contractions. This shows that in our culture,

we are lazy and don't really care enough to finish complete words or to make full

sentences.

---------------------------------------------

Lyrics:

I used to ride the big wheel

And sell lemonade

Eat popcorn with Grandpa while we watched the parade

But now I'm only happy when I'm drinkin' JD

What the hell happened to me?

I used to have fun throwing snowballs

With my best friend Billy

Then Mom would make us cocoa if we got real chilly

But now I only get excited when I see a girl pee

What the hell happened to me?

I used to be the nicest kid in the neighborhood

I only did the things Mama said I should

But now I just do whatever I want

I even whipped it out at a restaurant

I used to help clean the park in the middle of town

Then play kickball 'till the sun went down

but now all I do is get VD

What the hell happened to me?

It makes no sense

I can't believe I ended up me

I'm outta my gourd

Won't somebody please help me

I'm kinda a weirdo

265.          Cyrano De Bergerac

Bill Beltran

02\15\97

Cyrano De Bergerac

Every generation has its own heroes that display, what they believe to be, ideal characteristics. While each is different in their own way, many of these role models share similar qualities. Most tend to have courage, strength, compassion, or another respected trait, but this is not necessarily why they win the adoration of their followers. Cyrano De Bergerac is a perfect example of how many protagonists win our allegiance because his sensibilities will not be denied, because he lives life to the hilt, and because he is a victim of his surroundings.

If there was ever a figure who would not be denied his sensibilities, it is Cyrano. When lovers admit, "I'd die for you," it is usually only a figure of speech. Cyrano actually crossed over enemy lines every day simply to mail love letters. He also confessed to her, "My mother made it clear that she didn't find me pleasant to look at. I had no sister. Later, I dreaded the thought of seeing mockery in the eyes of a mistress. Thanks to you I've at least had a woman's friendship, a gracious presence to soften the harsh loneliness of my life. " When Cyrano admits, "My heart always timidly hides its self behind my mind," the reader can instantly relate to this dilemma but it is the fact that Cyrano is able to overcome it that makes him a hero.

Not only is Cyrano filled with emotion, but he also goes out of his way to live life to the fullest. Cyrano's introduction to the reader definitely leaves a lasting impression. Not only does he banish an actor from the theater for performing poorly, but he proceeds to recite poetry while dueling with another member of the audience. Every moment of Cyrano's life is filled with action like this. When he was informed that one hundred men were going to kill his friend, Ligniére, he was thrilled with the idea of fighting all these men at once, and, of course, he succeeded. How could anyone not love this man who takes Carpe Diem to its most extreme form?

Also, Cyrano is a victim of his surroundings. This may be the one characteristic that completely wins over the reader. Cyrano's most obvious flaw is his grotesque nose, but this would not be so awful if the people around him didn't care. Knowing that he is the victim of a problem beyond his control, the reader can do nothing but sympathize with him. The epitome of this is his death. His only wish in life was to dye noble . . .    by the sword, but he again he is hurt by an outside force that he had no influence over. When he says, "Fate is a great jester! I've been struck down, but from behind, in an ambush, by a lackey wielding a log! I've been consistent to the end, I've failed in everything, even in my death," the reader is completely won over. Perhaps the most impressive thing about those we follow is that they're human.

Again, Cyrano De Bergerac is the perfect example of how a hero wins the adoration of his followers.  By showing his intense feelings, living life to the fullest, and still remaining human, he is able to win the heart of almost any reader. Heroes have changed a lot over the years. When one looks at napoleon they are hardly reminded of John Lennon. While different generations find different qualities to be noble, there are some heroes, like Cyrano, who will be loved for all time.

266.          Dante

The character of Dante in The Divine Comedy who descended into the inferno

caused me to stop and think about this awful place.  As the reader I got to take an

imaginary journey with Dante to a horrible place where I do not care about going.  While

Dante descended into hell I plan on ascending into heaven someday.  Dante had a choice

to make whether or not to get back on the right path.  It came down to heaven or hell -

choose.

I think it was willed for Dante to see this place while he was still living.  By

seeing hell while he was alive Dante could be sure and make the right choices to find his

way back to the straight path.  Being on the right path in his lifetime would ensure he

would not spend eternity in such a miserable place.  I believe the whole purpose of this

journey into hell was to let Dante see the anguish there and choose.  Perhaps this was a

divine warning.  In Canto 2, Beatrice, the symbol of Divine Love, an angelic spirit was

sent to help aid Dante  from his error and help him return back.  This is purely love and

compassion at its best.  Sending someone into hell to rescue another person out of there.

Great lengths were taken to help Dante return back to the straight way.  I do not believe

such action was taken if Dante was to end up in hell all along.

For some reason midway in Dante's life's journey he had gone astray and at this

point was searching for answers.  I guess hell was as good a place to start the search as

any place.   Something for sure had led him astray and Dante was going to find out what

it was.  Strange as it may seem Dante did find the answers he was looking for in hell.

Dante had entered into an awful place full of darkness and evil.  Dante did not

realize to return back would not be easy, the Leopard stood blocking him every turn to

keep him from getting back.  As a Christian I could relate to this.  I am often so busy

(blocked) with life that I forget about the important things as a Christian I should be

doing, like reading the Bible and praying.  I make plans that tomorrow I will pray or read

the Bible but something tries to block me from doing so.

Dante probably never imagined getting off the right path would result in a visit to

such a horrible place.  There was weeping, cursing, and fear surrounded the place.

Frightened, Dante continued on, but the  souls moaning and crying out for help never

stopped.   There was no help in this  terrible place and certainly no hope.  I think right

about at that point Dante had a conscious check.  He was probably willing at that point to

do just about anything to get out of the inferno.  I know I would have done anything to

get out of there and fast.  Hell probably made Dante fear judgment and to make the

choice to avoid going there at all cost.

There was a couple aspects that I liked and related to in this piece.  Dante had a

vivid imagination.  He was  very detailed with his vision of hell.  I really liked that.  What

I related most to was  like Dante if I go  astray I can get back, there is hope.  The whole

scenario made me stop and think about my choices.  I have a free will just like Dante to

choose.

267.          Darius Milhaud

DARIUS  MILHAUD

Darius Milhaud est un composer très fameux.  Il a habitè dans le Bras d'Or Aix-en-Provence.  Mais, il est un jeune homme juif qui est très inconnu dans ce période.  Quand il est un bébé, il a reconnu les sons.  Le père de Darius a eu un buisness de famille, exporter les amandes. Quand il est très jeune, il a les manières parfait, mais temps de temps, il a cedé nerveuse.  Quand la famille Milhaud a des temps livre, ils ont fait à l'Enclos. Quands ils ont fait à l'Enclos, ils a habité avec la grande-mère, Précile.  L'Enclos est un ville à l'extérieur.  Dans l'Enclos, il a composé les compositions très brilliantes!  Darius s'est amélioré les tunes quand il est très jeune; une activité favori de Darius est jouer les tunes avec son père.  Quand Léo Bruguier, un violoniste très populaire, a entendu vers Darius, il a télèphôné les parents de Darius.  Quand Brugiuer a posé la question à les parents pour t'il etudier l'avec, il a crée une controverse.  Les mèdicins de Darius ont dit << Il est trop jeune pour etudier le violon!>> Mais les parents sont voulu Darius etudier le violon.  Les parents ont gagné!  Darius a 7 ans quand il a commencé le violon.  Bruguier est un prof très bon parce qu'il est appris Darius adorer la musique.  Quand Darius a 10 ans, il va au lycée, et la mère appris-il est un etudie.  La mère de Darius a mêlé avec la musique, alors, elle a donné les reponse pour le devoir de Darius si Darius a practiqué le violon.  Il a practiqué trois heures chaque jour.  Dans 1904, Bruguier a invitè-il a joué un quartet avec Bruguier, M. Pourcel, il a joué violoncelle, et Séglas, un carpentre locale qui a joué un alto.  Ils ont joué les repetoire très grands.  Maintenant, Darius est un prodige en le violon.  Il y a plus de prodige en le violon dans la France, et quand ils ont joué un concerte, les parents de Darius ne sont pas allé l'a vu.  Il est une grande déception pour Darius, mais c'est la vie!    Tous les cousins de Darius et la famille crois que Darius a etudié a Le Conservatiore.  Maintenant, il a treize heures, et le Bar Mitzah de Darius est bientôt.  Darius a le Bar Mitzah à l'Enclos parce qu'il a adoré les scenes.  Pendant la vie de Darius, il y a beaucoup des amis, mais il y a deux mieux amis, Leo et Armand.  Darius a rencontré Leo a passé par Bruguier.  Leo est appris Darius a adoré la musique contemporaine.  Il a recontré Armand passé par Le Conservatoire.  Tout les personnes sont les << trois mousquettes>>.  Quand Darius est arrivé à Le Conservatoire, il a recontré Eric Allatini, un membre de la famille qui a aidé Darius beaucoup.  Dans Le Conservatoire, Darius a rencontré l'amie, Yvonne Giraud.  Il y a un chose en commun, ils ont adoré Paul Dukas.  Tous les élèves ditent que Paul est très ennuyeux, mais, les deux élèves ont donné les éloges à Paul.  Il a composé un composition très fameux.  Alors, ce moment, il est un homme.  Nous voyons la vie de petit prodige....et le repos est l'histoire.

268.          David Blaine

David Blaine...What is he?  Where does he come from?  Who ever watches this thing he calls an art, has asked them selves if this guy is even from this planet. He grew up in Brooklyn, New York with only his mother.  He witnessed his first magic trick when he was about six years old.  His mother encourages everything he does, one day David told his mom he wanted to grow up an be a showman an she was always their to support him, even knowing he probably wouldn't be anything close to that! They were always moving around Brooklyn, he says "for some reason the buildings we were living in always seemed to burn down."   This liberated him from his material possessions, even to this day.

You don't get into magic. Magic gets into you.  Its not only mystery but a great deal of science comes along with is. Manipulation astonishment and control also plays a big role.  David tries to explain magic like the more ahead of the game you plan the probability of you winning is greater, same thing with magic the farther ahead of the person you plan; your trick is more likely to work. He has great mind control, like how would like to sit in a box full of cold water an ice cubes? Well he had no choice if he wanted to withstand the coldness of the ice he was going to be standing in, he had to train his body get him physically and mentally prepared. He sees it as "the ice isn't cold to me, I tell my self I have to do it, pretend like I have no choice, it makes it easier."

David's talents and amazing mind blowing tricks didn't come easy for him.  He was about five when he had to take the subway to school an he ended up being late because he showed some young ladies a card effect that baffled their minds, his cards dropped on the floor of the train, as he was picking them up he missed his stop.  He was lucky, the two ladies got on the next train with him an obliviously walked him to his classroom an told his teacher what had occurred.

269.          David Fincher

Removed for Privacy

Film Criticism

02/25/2002

Auteur Theory:  David Fincher

David Fincher began by directing commercials for clients like Nike, Pepsi, and Coco-cola, and soon moved into making music videos for Madonna, Sting, The Rolling Stones, Michael Jackson, Aerosmith, George Michael, Iggy Pop, The Wallflowers, Billy Idol, Steve Winwood, The Motels, and most recently, A Perfect Circle.  However, he is really known as an Auteur for his work in blockbuster films.  His use of weather, especially rain, shadows to conceal figures and faces, fluid tracking with a camera than seems to go everywhere, single frame inserts, and a tendency to shirk traditional Hollywood endings all represent a strong and unique style  evident in three of his most popular films: Se7en, Fight Club, and Panic Room.

In all three films rain is used to mark the mood, or set up a climactic event.  In the case of Se7en, the general feeling of the city of is one of bleak despair, which is heightened greatly by the never-relenting rain.  Rain beats down on the two protagonists, police detectives, played by Morgan Freeman and Brad Pitt, as they follow the twisted work of an intelligent and deranged killer.  In one of the more noteworthy scenes, Brad Pitt's character is attacked by the murderer, and nearly killed in an alleyway, as water splashes up and over his body, creating swirls of mud and blood around his injured form.  This marked use of rain is specialty of Fincher, which he continued to use in Fight Club.

The downpour in Fight Club is used to mark one of the films most dramatic moments.  During the scene the characters played by Edward Norton and Brad Pitt are having a heated argument, when Pitt's character steers the vehicle into oncoming traffic, eventually causing a terrible accident.  The car rolls off of the road, killing the two minor characters in the back, leaves the two main characters, addled and bleeding in the rain.

Fincher's latest movie Panic Room takes place almost entirely indoors; however, the scene which begins the conflict and the scene which brings to the confrontation to a close take place in a severe storm.  When the three antagonists are introduced they are standing in the rain, silhouetted against the house which the house which they intend to rob.  Near the close of the film, the remaining intruder attempts to escape in the storm, with his ill-gotten gains, as police surround him and shatter the darkness with spotlights.  In a final touch of drama, the cornered thief throws his looted bonds into the air, letting the wind and rain sweep them away.

The use of darkness to conceal characters and facial traits is usually exploited to hide the identity of the antagonist or to obscure the face so that the viewer focuses on the action at hand.  This is exemplified very well in Se7en, where the identity of the killer is kept a secret until the end of the movie, despite his being on camera several times until then.  Anytime the figure appears, his face is either hidden in shadow, or he is silhouetted in such a manner as to distort his face.

Darkness and Silhouettes are used to obscure figures and faces throughout Fight Club.  By concealing the eyes and faces of characters in the movie, the audience focuses more on the action at hand, and less on the expressions of the individuals involved in the scenes.

In order to make the three intruders more ominous, they are originally presented as silhouettes, and throughout the film, their eyes and faces are obscured during scenes of action.  When the burglar played by Dwight Yoakam is attacking Jodie Foster's character, his eyes are obscured by shadow, and when it is not his eyes are obscured by shadow.  The use of shadows works very well with Fincher particular type of liquid camera work.

As the camera follows characters through walls, pipes, and even trashcans Fincher takes an idea initially used by Kubrick to a whole new dimension.  Using Photogrametry, a technique actually created by Fincher, he takes advantage of digital advances to create the illusion of a camera that can go through objects, or exist in impossible small scales.  In Se7en this is used on a very limited basis, due to its 1995 release, and is really just a wide panning shot.

However, in Fight Club, photogrametry came into its own as it was used to go through digitally rendered buildings and other surfaces.  A particularly well-made shot, involves the camera slowly backing out of a trash-can, surrounded by digitally rendered garbage.  The camera moves in what could easily be termed a fly's perspective, and appears dwarfed by the surrounding objects.  In the most dramatic use of photogrametry, the camera flows down into a the compressor on a refrigerator, before the until activates, igniting gas in the apartment, leading to an impressive display of pyrotechnics.

In Fincher's latest film, Panic Room, the technique is used in less flashy, but no less impressive ways.  The camera follows the intruders seamlessly through the house, going through walls, floors, and even steel piping with immunity.  In the initial scene, the shot marks the arrival and entrance of the burglars and shows them progress through the house in a single long take, flying through items like coffee cups and doors to do so.

Amidst Fincher's exceptionally long takes, observant and wary viewers can sometimes catch single-frame inserts, sometimes carrying hidden messages.  At the end of Se7en Brad Pitt's character receives a box from the killer.  As his partner kneels to open the box, there is an image of his wife's face which flashes across the screen for a split second.  This bit of for-shadowing alerts the audience to the situation which is about to occur.  After opening the box Pitt's partner tells him not to come any closer and not to look in the box, as the box contains his wife's head, which is the driving force of the movies last conflict.

In Fight Club, the single-frame insert is used as a major plot device to hint at the personality diffusion suffered by the main character.  The character's closest contact in the movie is Tyler Durden, who is frequently accompanied by the sudden flashing of images.  Additionally, the character appears in several scenes as a single frame image throughout the movie, hinting that the figure may not actually exist.  This is Fincher's most extensive use of single-frame inserts and the only time it contributes to a major aspect of the story-line.

In Panic Room the use of single frame inserts is very limited, as it is only used once.  During the opening credits the words "Face Your Fears" flash for a single frame across a teletron screen.

In general Fincher deviates from what could be termed a "Hollywood" ending, and is unafraid to offer controversial resolutions.  At the end of Se7ven Brad Pitt's character executes the man who killed his wife, to the horror of his partner, and ends up mentally broken.  In a similar fashion, Edward Norton's character finds redemption from his mental dementia by shooting himself in the face, and despite his salvation the city erupts into a fireball around him as a result of his alter-ego's action.  Panic Room ends with the "good" thief saving the life of Jodie Foster and her family when he kills his violent partner.  Despite his good act, he does not escape the house and is arrested by the police.

David Fincher's unique methodology for film-making strong supports the Auteur theory and distinguishes him from other film makers.  Whether it is his use of weather, shadows, his unique camera movements, single-frame inserts, or his pension for non-generic endings Fincher has a style all his own, and is not likely to be confused with other directors.

270.          David Selznick

³I have a different concept of producing than

other producers.  Some producers are money men,

and others are just lieutenants.  For me to

produce is to make a picture.  As a producer,

I can maintain an editorial perspective that

I wouldn¹t have as a director.  I consider

myself first a creative producer, then a showman

and then a businessman.  You need all three things

to succeed in the business today.²

-David O. Selznick

The film Since You Went Away  was released in 1944.  This epic film attempted to relate to the American audience that was dealing with the war foreclosing and the flux of soldiers coming home at the time.  The Hollywood studios were constantly trying to do their part for the war buy making films about the war in a fairy tale ³Hollywood² style.  Since You Went Away crossed these boundaries, and the movie audience at the time, positively responded for this reason. The producer and screenwriter of the film knew America craved this portrayal.  Critics of the film from this period, applauded it¹s ³realism², but in hindsight studies of the film in the seventies and eighties were a little more critical of the film.  David O. Selznick was the man behind the vision

of this film and Selznick is best known for film classic¹s like; Gone With the Wind, (from which the

1

2.

formula of this movie draws heavily from) Rebecca, and King Kong.  This film was a special project for Selznick at the time, and it was seen as his contribution to the war effort.  The academy awards recognized Selznick¹s effort and nominated his film for best picture of 1944.

David Selznick was known as a one of the great creative producers- along side Walt Disney.  A creative producer is usually ³a powerful mogul who supervises the production of a film in such exacting detail that he was virtually its artistic creator.² (Eyman p. 121)   In this period, Selznick¹s style was remembered best by his epic length movies in which he paid special attention to detail.  His films catered to the female market but also had potential to cross over to the male segment.  Selznick was ³increasingly becoming aware of the commercial value of his name.² (Fenster p.36)  He decided to repeat the formula that worked well in Gone With the Wind and made a decision to purchase a war novel/diary from Margaret Wilder.  Since You Went Away spawned from Wilder¹s novel, after Selznick spent many hours on developing the screenplay and hiring the right cast.  The war film was a popular genre to produce during the war years in North America.  Also, it was seen as a noble effort to make

3. a film about the war.  Most of the skilled directors or producers of these films, stylized their own vision of the war with their special trademarks throughout the film.  Films that did this, usually did will well at the box office as well as at the Academy Awards Ceremony.  David Selznick was looking for a hit movie to follow the success of Gone With The Wind and he hoped Since You Went Away would be a blockbuster.  Selznick spent nearly ³$3,000,000 on this film²,  (Thomas p. 220) which meant glossy and detailed scenes throughout the film.  This was an unusual amount of money for a film from this period, but David Selznick was known in Hollywood for his elaborate budgets.

The films length allowed Selznick to allow it to take place over a year.  The story begins in January 12, 1943 which is immediately after Mr. Hilton departs for the war.  The Hiltons are a middle/upper class family who are now faced with dealing with dealing with the trials and tribulations of everyday life without the support of a male authority figure.  A lot of emphasis is placed on the female audience¹s familiarity with ³the details of day to day living and plenty of humorous sentimental reportage of housekeeping: rationing, the problems of two growing daughters and the business of getting jobs to help the                                                                       4. family¹s reduced budget.²(Hartung p 374)  Selznick increased the original ages of the two daughters so Shirley Temple (Bridget) and Jennifer Jones (Jane) could play the roles and romance could be introduced. Nineteen forty-four was quite the turbulent year for the American populous.  The war was coming to a close, and America saw the return of their heroes after a glorious battle.  But, there was also a feeling of nervous uncertainty and anxiety regarding the heroes return.  The reviewers and reviews of Since You Went Away were very much in tune with this feeling.  In the press, critics viewed this film in either of two ways.  First, it seen as a triumphant return of Selznick and secondly, the critics thought the movie attempted at a realistic portrayal.  An article in Variety Magazine boasted ³it¹s a box office mop-up² and the article also listed the complete list of about ninety actors involved. The critic constantly mentioned David Selznick¹s name throughout the review and thus, set the tone for the magnitude of this film.  Similarly, in a Newsweek article, there was constant enforcement of how much money was spent on this film and how much Selznick made on his last film.  This worked as a quality control mechanism for Hollywood and the

5. viewing audience.  People knew what to expect when they went out to see a David Selznick film.

The second type of review paid particular attention to the ³realism² of this film.  A review in Time Magazine stated: ³this is the most human, factual picture to date².  It mentioned the film dealing with things like the sorrow of death, and the comfort of religion, food shortages, and being away from loved ones.  For example, a scene where a telegram is sent to Mrs. Hilton, informing her that her husband is missing in action.  This scene takes place after the housekeeper receives the telegram and yells for Mrs. Hilton who was sleeping.  Upon reading the letter, Mrs. Hilton insists that there is still hope and he is still alive.  The American public at the time of this release, were caught up in these ³everyday² feelings and it was apparent that Selznick deal with these issues with as much love and heart as Selznick could fit on-screen.  In another review they mentioned that the film is ³always authentic, endearing and true to life as death and taxes² (Abel p 13)  This ³realism² was constantly reinforced with sequences like the scenes in the rehabilitation¹s rooms, psychiatrist¹s office and recovery wards.  In these scenes, the film maker uses lighting to cast shadows in these rooms.

6. This is especially prevalent in the scene where Jane Hilton says good-bye to her boyfriend Billy at the train station. The long shadows are used to show the shadow that is cast over America at this point in history and to enhance this on-screen realism.  Indeed, this issue was the case for many Americans and people from other countries as well. Overall, it was the message that appealed to the audience the most and the modern day press agreed with this films message.  But, this wasn¹t the absolute case.  A famous film critic, at the time was very harsh on this film.  He downplayed Selznick¹s attempt at portraying a typical American Family.  In The Nation, James Agee writes about the home that the Hiltons reside in: ³They live in an American home that seven out of ten Americans would sell their souls for².  This review addressed the issue of class, which is the main bone of contention that most of the more recent articles death with.

It is quite easy to look back at older films and sneer at them as inferior.  But these films from the forties and fifties are cultural products that were apart of the social fabric at this time.  One must look at the politics that were in place at the time, and see how that effected a medium such as film.

7.

Since You Went Away was shown to the people of America to increase support and motivate people to get involved.  It was also shown to troops because it the film was also saying: ³they¹ll be there when you get  back². (Jarvie Lecture Jan 19)  Since You Went Away was one of the first films to deal with the American home front and the issue of the soldiers return.  Selznick¹s past experiences led him to understand ³not of what Americans were, but what Americans wanted to be.² (Koppes p 157)  Today, this film looked upon as a model of how Americans were expected to behave.  This film could be seen as a teaching tool for the average American.  Seeing a family such as the ³Hiltons² on-screen, pinching from their usual weekly budgets and bringing a boarder into their home for extra income- is a lesson to be learned.  The Hilton family is thrusted into new situations they might never have dealt with prior to the war.

Since this film was projected towards the female market, the film gave a strong message about empowering women.  In the period in which this film was made, the climate for gender equality wasn¹t really an issue.  With all the men off at war, women started to take up male roles and jobs to fill the temporary gap.  Jane who wanted a job before her

8. father left, eventually got one as a nurse¹s aid.  After Mrs. Hilton agrees with Jane, a cut to the capping ceremony where Jane, ³with shining face and sun glinting off her white cap, recites the Red Cross pledge.² (Koppes p 157)  Bridget is the young eager citizen who can¹t do enough for her country.   She constantly complains that she is only doing ³kid¹s stuff² for the war.  Anne Hilton is also set up as a model citizen.  For example, she is portrayed as unhappy and lonely.  Many scenes feature a ³slick² Lieutenant Tony Willet making subtle hints for his unquestioning love for Anne.  The audience is usually left wondering if Anne will give up hope and marry Tony.  Anne sticks it out and her and Tony remain close throughout the troubled war and they stay strictly ³friends.²

Another point more current literature on this film investigates, is the issue of reality.  Various articles I read, that were dated after the war- said that this film was full of propaganda.  An example of this was when the Hilton¹s were on the train to meet up with their father.  A boy with an amputated arm yells to the conductor: ³Can¹t this train get moving?  I¹ll miss my pop!²  The conductor replies: ³Your pop

9. will have a lot better chance if these supply trains get through²  This scene is reinforcing a sense of teamwork, and a the American duty to work together.  Propaganda aside, did this film bring the real issues to the silver screen?  Perhaps, Selznick¹s desire for perfection got in the way of the real story of the American home in war time.  Paying ³too much attention to love scenes, costumes, gestures² (Agee p 137) possibly made the film look too artificial.  In order to present the Hilton¹s house as a fun and happy home- the Selznick¹s portrayal of the Hilton cook (Fidelia) is a little skewed.  The Hilton¹s were forced to let Fidelia go because Anne could no longer afford to pay her.  After the first 30 minutes of the film, the cook has already moved back into the home to work for free.  There is also the issue of the Hilton home. This docile is a modest place of an advertising executive which was supposedly a ³typical² American home.  The home was very elaborate and had plenty of extra space for 2 other house guests.  Some of these images that are prevalent in this film are not exactly the same as the average American¹s.  The scenes mentioned above and many more, presented a classless society which was definitely not the case in nineteen forty-four.

10.

Most critics enjoyed this picture.  After all these were troubled times and Americans weren¹t sure what to think.  It¹s safe to say that the movie going audience did want to laugh but they also wanted to cry- and that¹s what this film allowed the audience to do.  Since You Went Away, also points at many interesting aspects of nineteen forties post-war society.  Selznick¹s particular attention to style and form brought this film to it¹s highest level. Selznick once said:

³Since You Went Away would remain the

definitive home-front movie? until a

realist comes along to show us what

life is really like in America during

World War II.²

I think Clayton Koppes describes the film and

David Selznick best when he answers Selznick¹s

comments about the film:

³Yet there lay Selznick¹s brilliance.  The

film triumphed precisely because it was not   realistic.  With Hollywood¹s slickest touch

he wove together the sacred and the

sentimental symbols of American life and

set them n the national shrine: the middle

class home.²

I believe the film was a bit too long and a lot of scenes should have been omitted.  In my opinion, a long movie doesn¹t necessarily make a good movie.  Nevertheless, it was quite interesting to investigate

11. old films and see the differences in opinion four decades can make.

Sources Cited

Abel. Brian.  ³Since You Went Away.²  Variety  July 19, 1944  p13

Agee, James.  ³Films²  The Nation  July 29, 1944  p137.

Allen, Robert and Gomery, Douglas ³Film History - Theory and Practice²  New York:  N. Award Records  1985.

Crowther, Bosley. ³Since You Went Away,² A Film of Wartime Domestic Life, With Claudette Colbert and Others, Opens at the Capitol.²  New York Times July 21, 1944.

Eyman, Giannetti ³Flashback - A Brief History of Film²  New Jersey: Prentice Hall 1991.

Fenster, Mark. ³Constructing the image of authorial presence: David O. Selznick and the marketing of since you sent away²  Journal of Film and Video 4.1 Spring 1989: p36-55.

Fearing, Franklin ³Warrior Return: Normal or Neurotic?²  Hollywood Quarterly  Vol.  1, 1945-1946:  p96-107.

Hartung, Philip.  ³The Screen: While You Are Gone, Dear.²  The Commonweal August 4, 1944 p374-375.

Koppes, Clayton ³Hollywood Goes to War² New York: Free Press 1987. p154-162.

Newsweek  ³First GWTW, Now SYWA²  July 10, 1944  p85-6.

Thomas, Bob. ³Selznick² New York: Doubleday & Company, 1970.

271.          David Selznick and Since You Went Away

David Selznick and Since You Went Away

"I have a different concept of producing than

other producers.  Some producers are money men,

and others are just lieutenants.  For me to

produce is to make a picture.  As a producer,

I can maintain an editorial perspective that

I wouldn't have as a director.  I consider

myself first a creative producer, then a showman

and then a businessman.  You need all three things

to succeed in the business today."

-David O. Selznick

The film Since You Went Away  was released in 1944.  This epic film attempted to

relate to the American audience that was dealing with the war foreclosing and

the flux of soldiers coming home at the time.  The Hollywood studios were

constantly trying to do their part for the war buy making films about the war in

a fairy tale "Hollywood" style.  Since You Went Away crossed these boundaries,

and the movie audience at the time, positively responded for this reason. The

producer and screenwriter of the film knew America craved this portrayal.

Critics of the film from this period, applauded it's "realism", but in hindsight

studies of the film in the seventies and eighties were a little more critical of

the film.  David O. Selznick was the man behind the vision of this film and

Selznick is best known for film classic's like; Gone With the Wind, (from which

the formula of this movie draws heavily from) Rebecca, and King Kong.  This

film was a special project for Selznick at the time, and it was seen as his

contribution to the war effort.  The academy awards recognized Selznick's effort

and nominated his film for best picture of 1944.

David Selznick was known as a one of the great creative producers- along side

Walt Disney.  A creative producer is usually "a powerful mogul who supervises

the production of a film in such exacting detail that he was virtually its

artistic creator." (Eyman p. 121)   In this period, Selznick's style was

remembered best by his epic length movies in which he paid special attention to

detail.  His films catered to the female market but also had potential to cross

over to the male segment.  Selznick was "increasingly becoming aware of the

commercial value of his name." (Fenster p.36)  He decided to repeat the formula

that worked well in Gone With the Wind and made a decision to purchase a war

novel/diary from Margaret Wilder.  Since You Went Away spawned from Wilder's

novel, after Selznick spent many hours on developing the screenplay and hiring

the right cast.  The war film was a popular genre to produce during the war

years in North America.  Also, it was seen as a noble effort to make a film

about the war.  Most of the skilled directors or producers of these films,

stylized their own vision of the war with their special trademarks throughout

the film.  Films that did this, usually did will well at the box office as well

as at the Academy Awards Ceremony.  David Selznick was looking for a hit movie

to follow the success of Gone With The Wind and he hoped Since You Went Away

would be a blockbuster.  Selznick spent nearly "$3,000,000 on this film",

(Thomas p. 220) which meant glossy and detailed scenes throughout the film.

This was an unusual amount of money for a film from this period, but David

Selznick was known in Hollywood for his elaborate budgets.

The films length allowed Selznick to allow it to take place over a year.  The

story begins in January 12, 1943 which is immediately after Mr. Hilton departs

for the war.  The Hiltons are a middle/upper class family who are now faced with

dealing with dealing with the trials and tribulations of everyday life without

the support of a male authority figure.  A lot of emphasis is placed on the

female audience's familiarity with "the details of day to day living and plenty

of humorous sentimental reportage of housekeeping: rationing, the problems of

two growing daughters and the business of getting jobs to help the family's

reduced budget."(Hartung p 374)  Selznick increased the original ages of the two

daughters so Shirley Temple (Bridget) and Jennifer Jones (Jane) could play the

roles and romance could be introduced. Nineteen forty-four was quite the

turbulent year for the American populous.  The war was coming to a close, and

America saw the return of their heroes after a glorious battle.  But, there was

also a feeling of nervous uncertainty and anxiety regarding the heroes return.

The reviewers and reviews of Since You Went Away were very much in tune with

this feeling.  In the press, critics viewed this film in either of two ways.

First, it seen as a triumphant return of Selznick and secondly, the critics

thought the movie attempted at a realistic portrayal.  An article in Variety

Magazine boasted "it's a box office mop-up" and the article also listed the

complete list of about ninety actors involved. The critic constantly mentioned

David Selznick's name throughout the review and thus, set the tone for the

magnitude of this film.  Similarly, in a Newsweek article, there was constant

enforcement of how much money was spent on this film and how much Selznick made

on his last film.  This worked as a quality control mechanism for Hollywood and

the viewing audience.  People knew what to expect when they went out to see a

David Selznick film.

The second type of review paid particular attention to the "realism" of this

film.  A review in Time Magazine stated: "this is the most human, factual

picture to date".  It mentioned the film dealing with things like the sorrow of

death, and the comfort of religion, food shortages, and being away from loved

ones.  For example, a scene where a telegram is sent to Mrs. Hilton, informing

her that her husband is missing in action.  This scene takes place after the

housekeeper receives the telegram and yells for Mrs. Hilton who was sleeping.

Upon reading the letter, Mrs. Hilton insists that there is still hope and he is

still alive.  The American public at the time of this release, were caught up in

these "everyday" feelings and it was apparent that Selznick deal with these

issues with as much love and heart as Selznick could fit on-screen.  In another

review they mentioned that the film is "always authentic, endearing and true to

life as death and taxes" (Abel p 13)  This "realism" was constantly

reinforcedwith sequences like the scenes in the rehabilitation's rooms,

psychiatrist's office and recovery wards.  In these scenes, the film maker uses

lighting to cast shadows in these rooms.

This is especially prevalent in the scene where Jane Hilton says good-bye to her

boyfriend Billy at the train station. The long shadows are used to show the

shadow that is cast over America at this point in history and to enhance this

on-screen realism.  Indeed, this issue was the case for many Americans and

people from other countries as well. Overall, it was the message that appealed

to the audience the most and the modern day press agreed with this films message.

But, this wasn't the absolute case.  A famous film critic, at the time was very

harsh on this film.  He downplayed Selznick's attempt at portraying a typical

American Family.  In The Nation, James Agee writes about the home that the

Hiltons reside in: "They live in an American home that seven out of ten

Americans would sell their souls for".  This review addressed the issue of class,

which is the main bone of contention that most of the more recent articles death

with.

It is quite easy to look back at older films and sneer at them as inferior.  But

these films from the forties and fifties are cultural products that were apart

of the social fabric at this time.  One must look at the politics that were in

place at the time, and see how that effected a medium such as film.

Since You Went Away was shown to the people of America to increase support and

motivate people to get involved.  It was also shown to troops because it the

film was also saying: "they'll be there when you get  back". (Jarvie Lecture Jan

19)  Since You Went Away was one of the first films to deal with the American

home front and the issue of the soldiers return.  Selznick's past experiences

led him to understand "not of what Americans were, but what Americans wanted to

be." (Koppes p 157)  Today, this film looked upon as a model of how Americans

were expected to behave.  This film could be seen as a teaching tool for the

average American.  Seeing a family such as the "Hiltons" on-screen, pinching

from their usual weekly budgets and bringing a boarder into their home for extra

income- is a lesson to be learned.  The Hilton family is thrusted into new

situations they might never have dealt with prior to the war.

Since this film was projected towards the female market, the film gave a strong

message about empowering women.  In the period in which this film was made, the

climate for gender equality wasn't really an issue.  With all the men off at war,

women started to take up male roles and jobs to fill the temporary gap.  Jane

who wanted a job before her father left, eventually got one as a nurse's aid.

After Mrs. Hilton agrees with Jane, a cut to the capping ceremony where Jane,

"with shining face and sun glinting off her white cap, recites the Red Cross

pledge." (Koppes p 157)  Bridget is the young eager citizen who can't do enough

for her country.   She constantly complains that she is only doing "kid's stuff"

for the war.  Anne Hilton is also set up as a model citizen.  For example, she

is portrayed as unhappy and lonely.  Many scenes feature a "slick" Lieutenant

Tony Willet making subtle hints for his unquestioning love for Anne.  The

audience is usually left wondering if Anne will give up hope and marry Tony.

Anne sticks it out and her and Tony remain close throughout the troubled war and

they stay strictly "friends."

Another point more current literature on this film investigates, is the issue of

reality.  Various articles I read, that were dated after the war- said that this

film was full of propaganda.  An example of this was when the Hilton's were on

the train to meet up with their father.  A boy with an amputated arm yells to

the conductor: "Can't this train get moving?  I'll miss my pop!"  The conductor

replies: "Your pop will have a lot better chance if these supply trains get

through"  This scene is reinforcing a sense of teamwork, and a the American duty

to work together.  Propaganda aside, did this film bring the real issues to the

silver screen?  Perhaps, Selznick's desire for perfection got in the way of the

real story of the American home in war time.  Paying "too much attention to love

scenes, costumes, gestures" (Agee p 137) possibly made the film look too

artificial.  In order to present the Hilton's house as a fun and happy home- the

Selznick's portrayal of the Hilton cook (Fidelia) is a little skewed.  The

Hilton's were forced to let Fidelia go because Anne could no longer afford to

pay her.  After the first 30 minutes of the film, the cook has already moved

back into the home to work for free.  There is also the issue of the Hilton home.

This docile is a modest place of an advertising executive which was supposedly a

"typical" American home.  The home was very elaborate and had plenty of extra

space for 2 other house guests.  Some of these images that are prevalent in this

film are not exactly the same as the average American's.  The scenes mentioned

above and many more, presented a classless society which was definitely not the

case in nineteen forty-four.

Most critics enjoyed this picture.  After all these were troubled times and

Americans weren't sure what to think.  It's safe to say that the movie going

audience did want to laugh but they also wanted to cry- and that's what this

film allowed the audience to do.  Since You Went Away, also points at many

interesting aspects of nineteen forties post-war society.  Selznick's particular

attention to style and form brought this film to it's highest level. Selznick

once said:

"Since You Went Away would remain the

definitive home-front movie? until a

realist comes along to show us what

life is really like in America during

World War II."

I think Clayton Koppes describes the film and

David Selznick best when he answers Selznick's

comments about the film:

"Yet there lay Selznick's brilliance.  The film triumphed precisely

because it was not  realistic.  With Hollywood's slickest touch

he wove together the sacred and the sentimental symbols of

American life and set them n the national shrine: the middle

class home."

I believe the film was a bit too long and a lot of scenes should have been

omitted.  In my opinion, a long movie doesn't necessarily make a good movie.

Nevertheless, it was quite interesting to investigate old films and see the

differences in opinion four decades can make.

Sources Cited

Abel. Brian.  "Since You Went Away."  Variety  July 19, 1944  p13

Agee, James.  "Films"  The Nation  July 29, 1944  p137.

Allen, Robert and Gomery, Douglas "Film History - Theory and Practice"  New

York:  N. Award Records  1985.

Crowther, Bosley. "Since You Went Away," A Film of Wartime Domestic Life, With

Claudette Colbert and Others, Opens at the Capitol."  New York Times July 21,

1944.

Eyman, Giannetti "Flashback - A Brief History of Film"  New Jersey: Prentice

Hall 1991.

Fenster, Mark. "Constructing the image of authorial presence: David O. Selznick

and the marketing of since you sent away"  Journal of Film and Video 4.1 Spring

1989: p36-55.

Fearing, Franklin "Warrior Return: Normal or Neurotic?"  Hollywood Quarterly

Vol.  1, 1945-1946:  p96-107.

Hartung, Philip.  "The Screen: While You Are Gone, Dear."  The Commonweal August

4, 1944 p374-375.

Koppes, Clayton "Hollywood Goes to War" New York: Free Press 1987. p154-162.

Newsweek  "First GWTW, Now SYWA"  July 10, 1944  p85-6.

Thomas, Bob. "Selznick" New York: Doubleday & Company, 1970.

272.          Day the World Turned Black

Everyday the sun would rise and the moon would set and everybody would wake up to a new morning.  Today was a special day in October, for the sun did not rise and the moon did not set and everyone woke to a full moon.  During the night the sun had mysteriously vanished and this inscrutable incident enervated the most brilliant of minds .  This caused aberrant behavior throughout the globe.  Nevertheless there were a few vivacious individuals brave enough to find out what happened.

They start their adventure by taking off in a space shuttle destined for outer space.  As they reach orbit they witness the most amazing thing that any of them have ever seen.  They watched the sun being sucked into nothing and something pushing it in.  They change their course and follow the sun.  As they get there, they realize that they are also being pulled in along with the sun and that their decision is at this point irrevocable.  The funny  thing was that the sun emanated no heat and that the moon started to glow much brighter than normal.  It turns out that the moon was now supplying the earth with the heat that was needed to keep most happy.  The sun, and both ships are now closed up in the thing and are increasing their velocity as they head for some minuscule object way in the distance.

The team of explorers decide to catch the other ship but it is on the opposite side of the sun.  It takes them a few days but they finally reach the other ship.  The only thing that they cannot figure out is how to make contact with the other ship.  They have exhausted every possibility and the only thing they have done is wasted time.  They are floating in nothing, the scenery looks black and the only thing that they can see are the sun, the other ship, and the thing that they are flying towards.   The ship surroundings are so amazing that they would whet your imagination beyond belief.  Nevertheless, they are anxious to reach it in order to find out what it is.  After doing nothing for two days they finally receive some contact with the other ship via Morse code.  Using this to talk, they establish audio communication.  Talking for a few hours they realize that both sides have no idea where they are headed.  The only instructions that the other ship had received, were to push the sun into the hole and wait till they reach the end of the tunnel.  They know that it will take them three weeks to reach their destination.  Both ships have joined and all of the crew members have become friends.  They party every night and have a ball, for they have nothing else to do but enjoy themselves.  The ships are full of interesting anecdotes and emaciated people, for partying nonstop takes a lot out of someone.

They finally reach the object and find that it is an island and that they have to deliver the sun to the center of the island.  There is a controversy  between the two ships and both sides debate whether to continue onward or to turn around and try to find a way back.  The crew sent from earth convinced everyone to continue so that they could find out what was going on.  They tie the sun up to a machine very tight and they begin the long haul.  Levity has spread throughout all of the people and everyone begins to make jokes about their mishap. Days roll by and they haven't made as much progress as they expected.  Their supplies are running low so they have a shortage of food and water.  During the next few days the morale has picked up because they now have their destination in sight.  Everyone begins to hum euphonious melodies and the people who had contempt for the rest now realize how pathetic they were and changed their attitudes.  Time seemed to fly by very quickly now and before they realize it they are within a few miles of the huge complex that they have been hoping to reach for weeks now.  The once amiable crew has now become an irascible one.

They set down the sun and wait anxiously to see what happens next.  A human comes from within the complex and thanks everyone for making the journey.  He sees a few people that are unexpected, these were the members of the crew sent out to uncover the mystery.  The man invites everyone inside.  He starts by giving everyone a hardy meal, shower and rest from their long journey. When everyone wakes up they realize that their host has disappeared and they are trapped inside of the house.  The crew from earth begins to search the building, but after hours of searching come up with nothing but a set of Christmas lights.  They have all that they need to survive forever so all day everyday for two weeks they ponder their ideas.  Many suggested that the sun was part of a plan to destroy the universe.  Another suggested that people from other parts of the universe were trying to take over.  The crew realized that their host was really a human and that the sun had something to do with the earth and its people directly.  The other ideas were based on erroneous assumptions but the third was based on facts and clear thinking so must be right,  therefore they concentrated on this.

The host returned after three weeks and when he arrived he was bombarded by questions and  more questions from all of the crew.  He told everyone to calm down and he began to explain what the whole thing was about.  They asked about the lights that they had found and he ignored this and continued on with his explanation.  He told them that the sun was needed as a power source for something on the earth.  This only confused everyone even more that they already were.  Someone yelled out that they would be used for the lighting of the Christmas lights.  This idea made sense so everyone accepted this without confirming it with the host.  The host then got everyone's attention and told them that they were wrong.  But before he could tell them the real truth he had to inform them that they would never be returning and that they would work for his for many many more years.  That was when they were told that the sun was needed for Santa's sleigh because his reindeer were getting old.  Yes, even the young and rambunctious Ruldolph.

273.          Dead Man Walking 2

Dead Man Walking

The motion picture Dead Man Walking provided a non-fiction insight into

the world of crime, justice, and capital punishment.  The film cast several

characters from different backgrounds and opinion sets in direct conflict with

one another.  Several small topics and one major topic, capital punishment, were

explored over the duration of the movie.  While the opinions and reactions of

people to Dead Man Walking may vary, the one constant is that people will have

a reaction.

Sister Helen Preje, the Catholic nun, appeared to be a genuinely

concerned person who took a real interest in the condemned prisoner.  She came

from a strong background but chose to "give back" to others.  Sister Helen

explained her need to "give back" during the film and appeared to be completely

serious about her commitment to helping others. Sister Helen did not wear her

habit during the course of the film.  Many people have a stereotypical vision of

Catholic nuns: the habit, seemingly out-of-touch thoughts and ideals, and older

and/or without any vitality.  Sister Helen showed what being a Catholic and a

Catholic nun is truly about.  She accepted a call for help from a complete

stranger. Instead of turning away or giving up, she persisted, showing what

love and, in a way, courage could do under such dire circumstances.  Through it

all, she did it with spirit, life, vitality, and strength.  Her relationship

with the convict, Matthew Poncelet, was on two levels.  The first was as a

friend and confidant.  Sister Helen was the first to truly explore Matthew for

Matthew.  Others tried to learn about him, but only to vilify or condemn him.

The second level was as a messenger of religion, a messenger of God.  For the

very first time, Matthew was given the opportunity to realize his worth as a

human, and his worth in the eyes of God.  Through this understanding, he was

able to realize the value of all human life, including those who he murdered.

Sister Helen's relationship with the families of Matthew and the victims was

honest and up-front.  She approached each with a hopeful attitude, trying to

understand them while also trying to give them peace.  In each instance, she was

uncertain and apprehensive.  This fact is not surprising, however, because

Sister Helen is only human, and her religion is human as well.  The only path

to certainty is experience, and this was Sister Helen's first time as spiritual

advisor to a death-row inmate.  All in all, Sister Helen was a shining example

of strength, courage, and love that all people could look up to.

In the beginning of the film, Matthew Poncelet was not a likable

character.  He was stubborn, arrogant, biased, hateful, and seemed to want

company only for his own amusement.  He did not appear to care about his crime,

nor those whose lives his crime changed forever.  However, he appeared to let

down a guard during the course of the film, which revealed a less-monstrous

human being struggling internally with a fact about himself that he could not

erase, with pride, and with a need to outlet his internal feelings. His anger

about his sentencing was justified; his accomplice and apparent leader was only

given a life sentence while he was to die.  While this is certainly an unfair

situation, it is unfair because the accomplice deserved the maximum penalty

under the law as much as Poncelet.  Towards the end of the film, Poncelet

appeared to be a changed person.  He learned, with the help of Sister Helen,

that the truth would save him.  And in admitting the truth, he learned the value

of life and of love.  He said in his final few hours, "...I needed to die to find

love..."  But, in the end, he appeared to truly accept his actions, the

repercussions of his actions, and his fate.  He was truly sorry and changed in

the end.

Earl Delacroix was the father of the teenage boy who was murdered by

Matthew Poncelet.  He harbored a lot of hatred and sadness because of the

slaying.  To make matters worse, the murder of his son caused a rift between

Earl and his wife, eventually leading to the filing of divorce papers.  In a way,

Matthew Poncelet killed Earl's son, his marriage, and his heart.  Anyone whose

interpersonal relationships have been affected by outside influences could

easily relate to Earl, an honest man with a good heart. Obviously, anyone who

has lost a child or even a loved one would relate to the strain, sadness, loss,

and emptiness Earl felt after his son was suddenly taken from him.  But the

feeling that many, including myself, can relate to is the helplessness when a

relationship dear to you starts slipping away because of outside influences and

situations that are beyond your control.  Those situations do not need to

involve murder, but they could include different family values, intolerant

friends or family, sickness, employment differences or changes, geographical

changes, educational differences, and more.  Earl's situation shows how fragile

interpersonal relationships truly are, and how people must actively participate

in relationships together, and not rely on one aspect to hold it strong. Earl's

son was that aspect for his marriage.

The parents of the slain teenage girl, whose daughter was not murdered

by Poncelet but was raped by him, were justifiably upset when they learned that

someone was taking the time to apparently try to save the murderer.  They asked

Sister Helen at one point "How can you sit with that scum?", and asked her to

leave their home when they realized that she had not become as bloodthirsty as

they were.  It was understandable that they felt hurt by a Catholic nun's

decision to attempt to help someone who had no value for human life.  However,

their attacks on Sister Helen, no matter how passive aggressive, were

reprehensible.  The family, unlike Mr. Delacroix, showed no interest in being

helped to understand her situation.  They simply wanted her, and everyone else,

to call for blood.  The family did not want to see any equal justice for Matthew

Poncelet and his accomplice, they simply wanted either or both dead.

Furthermore, it appeared that they needed Matthew's death for themselves rather

than for the sake of justice, or for their daughter.  At the end of the film,

during Matthew's last words to Earl Delacroix, they griped, "What about us?!"

One would wonder what would happen to their relationship after the death of

Poncelet.  Or, what would happen between them and their other daughter.  The

movie left such questions unanswered, but one is forced to question whether or

not the capital punishment of Matthew Poncelet truly served as a healing for

that family, or whether it was only the beginning of trouble for them.  People

tend to hold on to a problem or severe, urgent situation as a driving force.

Sometimes, without proper channeling of their feelings and anger, the closure of

such a situation leaves a void too large to be overcome.  While the answer may

not be known in this particular case, their actions and statements cause

viewers to question it.

The film shows that capital punishment affects more people and lives

than one would perceive.  It also shows there is value in every human life, and

with proper guidance, anyone can change.  Matthew Poncelet was not a danger to

society at the end of the film.  He had been humbled and had made a conscious

decision to attempt, in any way he could, to ease the pain he had caused.  He

provides hope that anyone in his situation could become a better person, and

could possibly affect lives in a positive way.  While it might be stretching

such an observation to say that a convicted murderer should be let free, it

would be fair to say that a life sentence is not merely wasting tax-dollars.  A

life sentence allows a person to reflect upon his or her past and change the

person that he or she is.  It allows for the possibility of helping others to

not make the same mistakes.  Sister Helen stated "I'm just trying to follow the

example of Jesus who said every person is worth more than her/her worse act."

This statement is relevant to her situation because indeed she was trying to

show Matthew that he was a human being, not an animal or worse.  She also was

trying to help his family deal with Matthew's actions, and move on knowing that

he was a person who made a mistake.  In many ways, that statement could very

well have been the thesis statement of the movie.  Sister Helen, like Jesus,

befriended the society-labeled "vermin", and gave him some semblance of self

worth, importance, and most important of all, dignity.

274.          Dead Man Walking 5

The motion picture Dead Man Walking provided a non-fiction insight into the

world of crime, justice, and capital punishment.  The film cast several characters from

different backgrounds and opinion sets in direct conflict with one another.  Several small

topics and one major topic, capital punishment, were explored over the duration of the

movie.  While the opinions and reactions of people to Dead Man Walking may vary, the

one constant is that people will have a reaction.

Sister Helen Preje, the Catholic nun, appeared to be a genuinely concerned person

who took a real interest in the condemned prisoner.  She came from a strong background

but chose to 'give back' to others.  Sister Helen explained her need to 'give back' during

the film and appeared to be completely serious about her commitment to helping others.

Sister Helen did not wear her habit during the course of the film.  Many people have a

stereotypical vision of Catholic nuns: the habit, seemingly out-of-touch thoughts and

ideals, and older and/or without any vitality.  Sister Helen showed what being a Catholic

and a Catholic nun is truly about.  She accepted a call for help from a complete stranger.

Instead of turning away or giving up, she persisted, showing what love and, in a way,

courage could do under such dire circumstances.  Through it all, she did it with spirit, life,

vitality, and strength.  Her relationship with the convict, Matthew Poncelet, was on two

levels.  The first was as a friend and confidant.  Sister Helen was the first to truly explore

Matthew for Matthew.  Others tried to learn about him, but only to vilify or condemn him.

The second level was as a messenger of religion, a messenger of God.  For the very first

time, Matthew was given the opportunity to realize his worth as a human, and his worth

in the eyes of God.  Through this understanding, he was able to realize the value of all

human life, including those who he murdered.  Sister Helen's relationship with the families

of Matthew and the victims was honest and up-front.  She approached each with a hopeful

attitude, trying to understand them while also trying to give them peace.  In each instance,

she was uncertain and apprehensive.  This fact is not surprising, however, because Sister

Helen is only human, and her religion is human as well.  The only path to certainty is

experience, and this was Sister Helen's first time as spiritual advisor to a death-row

inmate.  All in all, Sister Helen was a shining example of strength, courage, and love that

all people could look up to.

In the beginning of the film, Matthew Poncelet was not a likable character.  He

was stubborn, arrogant, biased, hateful, and seemed to want company only for his own

amusement.  He did not appear to care about his crime, nor those whose lives his crime

changed forever.  However, he appeared to let down a guard during the course of the film,

which revealed a less-monstrous human being struggling internally with a fact about

himself that he could not erase, with pride, and with a need to outlet his internal feelings.

His anger about his sentencing was justified; his accomplice and apparent leader was only

given a life sentence while he was to die.  While this is certainly an unfair situation, it is

unfair because the accomplice deserved the maximum penalty under the law as much as

Poncelet.  Towards the end of the film, Poncelet appeared to be a changed person.  He

learned, with the help of Sister Helen, that the truth would save him.  And in admitting the

truth, he learned the value of life and of love.  He said in his final few hours, '...I needed

to die to find love...'  But, in the end, he appeared to truly accept his actions, the

repercussions of his actions, and his fate.  He was truly sorry and changed in the end.

Earl Delacroix was the father of the teenage boy who was murdered by Matthew

Poncelet.  He harbored a lot of hatred and sadness because of the slaying.  To make

matters worse, the murder of his son caused a rift between Earl and his wife, eventually

leading to the filing of divorce papers.  In a way, Matthew Poncelet killed Earl's son,

his marriage, and his heart.  Anyone whose interpersonal relationships have been affected

by outside influences could easily relate to Earl, an honest man with a good heart.

Obviously, anyone who has lost a child or even a loved one would relate to the strain,

sadness, loss, and emptiness Earl felt after his son was suddenly taken from him.  But

the feeling that many, including myself, can relate to is the helplessness when a relationship

dear to you starts slipping away because of outside influences and situations that are

beyond your control.  Those situations do not need to involve murder, but they could

include different family values, intolerant friends or family, sickness, employment

differences or changes, geographical changes, educational differences, and more.  Earl's

situation shows how fragile interpersonal relationships truly are, and how people must

actively participate in relationships together, and not rely on one aspect to hold it strong.

Earl's son was that aspect for his marriage.

The parents of the slain teenage girl, whose daughter was not murdered by

Poncelet but was raped by him, were justifiably upset when they learned that someone

was taking the time to apparently try to save the murderer.  They asked Sister Helen

at one point 'How can you sit with that scum?', and asked her to leave their home when

they realized that she had not become as bloodthirsty as they were.  It was understandable

that they felt hurt by a Catholic nun's decision to attempt to help someone who had

no value for human life.  However, their attacks on Sister Helen, no matter how passive

aggressive, were reprehensible.  The family, unlike Mr. Delacroix, showed no interest in

being helped to understand her situation.  They simply wanted her, and everyone else,

to call for blood.  The family did not want to see any equal justice for Matthew Poncelet

and his accomplice, they simply wanted either or both dead.  Furthermore, it appeared that

they needed Matthew's death for themselves rather than for the sake of justice, or for

their daughter.  At the end of the film, during Matthew's last words to Earl Delacroix,

they griped, 'What about us?!'  One would wonder what would happen to their

relationship after the death of Poncelet.  Or, what would happen between them and their

other daughter.  The movie left such questions unanswered, but one is forced to question

whether or not the capital punishment of Matthew Poncelet truly served as a healing

for that family, or whether it was only the beginning of trouble for them.  People tend

to hold on to a problem or severe, urgent situation as a driving force.  Sometimes, without

proper channeling of their feelings and anger, the closure of such a situation leaves a void

too large to be overcome.  While the answer may not be known in this particular case,

their actions and statements cause viewers to question it.

The film shows that capital punishment affects more people and lives than one

would perceive.  It also shows there is value in every human life, and with proper

guidance, anyone can change.  Matthew Poncelet was not a danger to society at the

end of the film.  He had been humbled and had made a conscious decision to attempt,

in any way he could, to ease the pain he had caused.  He provides hope that anyone

in his situation could become a better person, and could possibly affect lives in a

positive way.  While it might be stretching such an observation to say that a convicted

murderer should be let free, it would be fair to say that a life sentence is not merely

wasting tax-dollars.  A life sentence allows a person to reflect upon his or her past

and change the person that he or she is.  It allows for the possibility of helping others

to not make the same mistakes.  Sister Helen stated 'I'm just trying to follow the

example of Jesus who said every person is worth more than her/her worse act.'

This statement is relevant to her situation because indeed she was trying to show

Matthew that he was a human being, not an animal or worse.  She also was trying

to help his family deal with Matthew's actions, and move on knowing that he was

a person who made a mistake.  In many ways, that statement could very well have

been the thesis statement of the movie.  Sister Helen, like Jesus, befriended the

society-labeled 'vermin', and gave him some semblance of self worth, importance,

and most important of all, dignity.

275.          Dead Man Walking Essay

Dead Man Walking

People in society today have changed their feelings towards humanity and

religious practises.  This change is seen clearly in the movie "Dead Man

Walking."  The characters go through changes in their view of religion and their

feelings about human morality and humanity towards each other.  The characters

of Sister Helen, Matthew, and the victims parents all went through these changes

during the movie for different reasons.

These emotional changes that the characters went through are very common.

Everyone changes their ideals and morals depending on their situation.

Matthew's ideals changed because he feared that he was going to die alone.

Sister Helen's feelings changed because she saw a side of Matthew that no one

else was able to see.  The parents of the victim "Hope" were filled with revenge

because of what Matthew did, not why he did it.  The father of the victim "

Walter" was very sympathetic, he understanding of what Matthew was going through.

SISTER HELEN

Sister Helen was very unsure about what she was doing in life.  She

became a nun to give back to the community which gave her good Christian morals

and values.  By becoming a nun she was able to teach others to respect life and

become more like Jesus (A Son of God).  As a child Sister Helen was taught to be

very supportive and to give this support to those who needed her help.

When confronted with Matthew, Sister Helen tries to see the good in him

and show him the respect she believes he deserves.  She believes that there is

good in all man and that every person deserves respect.  Sister Helen

understands that what Matthew did was wrong, but she also knows that every

person is worth more than their worst act, and that ,"No man deserves to die . .

.". In Sister Helen's mind every man deserves a chance.   From insight into her

background and Christian upbringing Sister Helen is able to see and feel for

Matthew as a person and not as an object of "...scum or as a monster...".

The media's understanding and the victims parents understanding is that

Sister Helen believes that Matthew was wronged by the system.  They feel like

they have been betrayed by a God's messenger (Sister Helen).  To them Sister

Helen is on Matthew's side by helping him find God.  Sister Helen is being torn

apart because she does no want to hurt anyone's feelings.  She is compassionate

and sympathetic to everyone's feelings, but does not mean to hurt any by her

actions of helping a murderer find God.

At the end of the movie Sister Helen wants Matthew to see a face of love

(Hers) not one of hate and resentment (The Victims Parents).  This means a lot

to her because she has seen Matthew the person no longer Matthew the monster.

Sister Helen felt compassionate towards Matthew because of the person he had

become through getting to know her and understand what she believed and wanted.

MATTHEW

At the beginning of the movie Matthew is rude and abrupt to Sister Helen

that's what happens on death row, "... you start to hate and resent everyone."

Matthew never thought that he would be visiting with a nun.  Soon Matthew trusts

Sister Helen and persuades her to help him by filing a petition not to kill him

by lethal injection.  This was a turning point in his attitude in understanding

right and wrong.  Matthew thinks that he got screwed by the system that's why

he's going to die, not because he did something wrong. Matthew never had anyone

that really cared about him except Sister Helen.  Matthew was always lonely and

only cared about number one ( Himself ).  By talking and sharing with Sister

Helen he starts to understand what he did was wrong.

Matthew's mother was asked to pled for his life.  This allowed the media

and the parents of the victims  to see him as someone's child much like their

own, and to explain that he was good boy not a monster.  She explained in court

that he had,  "...had a hard life but he was a good boy."  Matthew wanted to

protect his mother and not let her see him on trial for what he did.  Matthew

wanted to keep his pride by not seeing his mother crying for him.  He wanted her

to be happy and to not worry about him.  This compassion is crucial to the total

change in ideals and morals that Matthew has now (After knowing Sister Helen).

Matthew was going through a lot of changes now that he was going to die

within a week. His understanding of life and humanity changed drastically from

being a racist, saying that all the Black are victims and keep having slavery,

to feeling compassion to everyone.  Many of these feelings are because of his

understanding of human life, as his life nears the end.  This changes are all

caused by the situation he is in.

At the end Matthew hopes that the father of Walter (the victim) can

forgive him and accept that he knows what he was wrong and should be punished

for it, but not punished to death.  Hope's farther does forgive him at the vary

end of the movie. As for the parents of Hope, Matthew hopes that his death makes

them happy even after the death of their son.  Matthew also accepts

responsibility for what he did and Sister Helen explains to him that by doing

that he is now a son of God and can die with dignity.  This is what was needed

for Matthew, as a person.

276.          Dead Man Walking Indepth

The motion picture Dead Man Walking provided a non-fiction insight into the

world of crime, justice, and capital punishment.  The film cast several characters from

different backgrounds and opinion sets in direct conflict with one another.  Several small

topics and one major topic, capital punishment, were explored over the duration of the

movie.  While the opinions and reactions of people to Dead Man Walking may vary, the

one constant is that people will have a reaction.

Sister Helen Preje, the Catholic nun, appeared to be a genuinely concerned person

who took a real interest in the condemned prisoner.  She came from a strong background

but chose to "give back" to others.  Sister Helen explained her need to "give back" during

the film and appeared to be completely serious about her commitment to helping others.

Sister Helen did not wear her habit during the course of the film.  Many people have a

stereotypical vision of Catholic nuns: the habit, seemingly out-of-touch thoughts and

ideals, and older and/or without any vitality.  Sister Helen showed what being a Catholic

and a Catholic nun is truly about.  She accepted a call for help from a complete stranger.

Instead of turning away or giving up, she persisted, showing what love and, in a way,

courage could do under such dire circumstances.  Through it all, she did it with spirit, life,

vitality, and strength.  Her relationship with the convict, Matthew Poncelet, was on two

levels.  The first was as a friend and confidant.  Sister Helen was the first to truly explore

Matthew for Matthew.  Others tried to learn about him, but only to vilify or condemn him.

The second level was as a messenger of religion, a messenger of God.  For the very first

time, Matthew was given the opportunity to realize his worth as a human, and his worth

in the eyes of God.  Through this understanding, he was able to realize the value of all

human life, including those who he murdered.  Sister Helen's relationship with the families

of Matthew and the victims was honest and up-front.  She approached each with a hopeful

attitude, trying to understand them while also trying to give them peace.  In each instance,

she was uncertain and apprehensive.  This fact is not surprising, however, because Sister

Helen is only human, and her religion is human as well.  The only path to certainty is

experience, and this was Sister Helen's first time as spiritual advisor to a death-row

inmate.  All in all, Sister Helen was a shining example of strength, courage, and love that

all people could look up to.

In the beginning of the film, Matthew Poncelet was not a likable character.  He

was stubborn, arrogant, biased, hateful, and seemed to want company only for his own

amusement.  He did not appear to care about his crime, nor those whose lives his crime

changed forever.  However, he appeared to let down a guard during the course of the film,

which revealed a less-monstrous human being struggling internally with a fact about

himself that he could not erase, with pride, and with a need to outlet his internal feelings.

His anger about his sentencing was justified; his accomplice and apparent leader was only

given a life sentence while he was to die.  While this is certainly an unfair situation, it is

unfair because the accomplice deserved the maximum penalty under the law as much as

Poncelet.  Towards the end of the film, Poncelet appeared to be a changed person.  He

learned, with the help of Sister Helen, that the truth would save him.  And in admitting the

truth, he learned the value of life and of love.  He said in his final few hours, "...I needed

to die to find love..."  But, in the end, he appeared to truly accept his actions, the

repercussions of his actions, and his fate.  He was truly sorry and changed in the end.

Earl Delacroix was the father of the teenage boy who was murdered by Matthew

Poncelet.  He harbored a lot of hatred and sadness because of the slaying.  To make

matters worse, the murder of his son caused a rift between Earl and his wife, eventually

leading to the filing of divorce papers.  In a way, Matthew Poncelet killed Earl's son,

his marriage, and his heart.  Anyone whose interpersonal relationships have been affected

by outside influences could easily relate to Earl, an honest man with a good heart.

Obviously, anyone who has lost a child or even a loved one would relate to the strain,

sadness, loss, and emptiness Earl felt after his son was suddenly taken from him.  But

the feeling that many, including myself, can relate to is the helplessness when a relationship

dear to you starts slipping away because of outside influences and situations that are

beyond your control.  Those situations do not need to involve murder, but they could

include different family values, intolerant friends or family, sickness, employment

differences or changes, geographical changes, educational differences, and more.  Earl's

situation shows how fragile interpersonal relationships truly are, and how people must

actively participate in relationships together, and not rely on one aspect to hold it strong.

Earl's son was that aspect for his marriage.

The parents of the slain teenage girl, whose daughter was not murdered by

Poncelet but was raped by him, were justifiably upset when they learned that someone

was taking the time to apparently try to save the murderer.  They asked Sister Helen

at one point "How can you sit with that scum?", and asked her to leave their home when

they realized that she had not become as bloodthirsty as they were.  It was understandable

that they felt hurt by a Catholic nun's decision to attempt to help someone who had

no value for human life.  However, their attacks on Sister Helen, no matter how passive

aggressive, were reprehensible.  The family, unlike Mr. Delacroix, showed no interest in

being helped to understand her situation.  They simply wanted her, and everyone else,

to call for blood.  The family did not want to see any equal justice for Matthew Poncelet

and his accomplice, they simply wanted either or both dead.  Furthermore, it appeared that

they needed Matthew's death for themselves rather than for the sake of justice, or for

their daughter.  At the end of the film, during Matthew's last words to Earl Delacroix,

they griped, "What about us?!"  One would wonder what would happen to their

relationship after the death of Poncelet.  Or, what would happen between them and their

other daughter.  The movie left such questions unanswered, but one is forced to question

whether or not the capital punishment of Matthew Poncelet truly served as a healing

for that family, or whether it was only the beginning of trouble for them.  People tend

to hold on to a problem or severe, urgent situation as a driving force.  Sometimes, without

proper channeling of their feelings and anger, the closure of such a situation leaves a void

too large to be overcome.  While the answer may not be known in this particular case,

their actions and statements cause viewers to question it.

The film shows that capital punishment affects more people and lives than one

would perceive.  It also shows there is value in every human life, and with proper

guidance, anyone can change.  Matthew Poncelet was not a danger to society at the

end of the film.  He had been humbled and had made a conscious decision to attempt,

in any way he could, to ease the pain he had caused.  He provides hope that anyone

in his situation could become a better person, and could possibly affect lives in a

positive way.  While it might be stretching such an observation to say that a convicted

murderer should be let free, it would be fair to say that a life sentence is not merely

wasting tax-dollars.  A life sentence allows a person to reflect upon his or her past

and change the person that he or she is.  It allows for the possibility of helping others

to not make the same mistakes.  Sister Helen stated "I'm just trying to follow the

example of Jesus who said every person is worth more than her/her worse act."

This statement is relevant to her situation because indeed she was trying to show

Matthew that he was a human being, not an animal or worse.  She also was trying

to help his family deal with Matthew's actions, and move on knowing that he was

a person who made a mistake.  In many ways, that statement could very well have

been the thesis statement of the movie.  Sister Helen, like Jesus, befriended the

society-labeled "vermin", and gave him some semblance of self worth, importance,

and most important of all, dignity.

277.          Dead man walking

People in society today have changed their feelings towards humanity and religious practises.  This change is seen clearly in the movie "Dead Man Walking."  The characters go through changes in their view of religion and their feelings about human morality and humanity towards each other.  The characters of Sister Helen, Matthew, and the victims parents all went through these changes during the movie for different reasons.

These emotional changes that the characters went through are very common.   Everyone changes their ideals and morals depending on their situation.  Matthew's ideals changed because he feared that he was going to die alone.  Sister Helen's feelings changed because she saw a side of Matthew that no one else was able to see.  The parents of the victim "Hope" were filled with revenge because of what Matthew did, not why he did it.  The father of the victim "Walter" was very sympathetic, he understanding of what Matthew was going through.

SISTER HELEN

Sister Helen was very unsure about what she was doing in life.  She became a nun to give back to the community which gave her good Christian morals and values.  By becoming a nun she was able to teach others to respect life and become more like Jesus (A Son of God).  As a child Sister Helen was taught to be very supportive and to give this support to those who needed her help.

When confronted with Matthew, Sister Helen tries to see the good in him and show him the respect she believes he deserves.  She believes that there is good in all man and that every person deserves respect.  Sister Helen understands that what Matthew did was wrong, but she also knows that every person is worth more than their worst act, and that ,"No man deserves to die . . .". In Sister Helen's mind every man deserves a chance.   From insight into her background and Christian upbringing Sister Helen is able to see and feel for Matthew as a person and not as an object of "...scum or as a monster...".

The media's understanding and the victims parents understanding is that Sister Helen believes that Matthew was wronged by the system.  They feel like they have been betrayed by a God's messenger (Sister Helen).  To them Sister Helen is on Matthew's side by helping him find God.  Sister Helen is being torn apart because she does no want to hurt anyone's feelings.  She is compassionate and sympathetic to everyone's feelings, but does not mean to hurt any by her actions of helping a murderer find God.

At the end of the movie Sister Helen wants Matthew to see a face of love (Hers) not one of hate and resentment (The Victims Parents).  This means a lot to her because she has seen Matthew the person no longer Matthew the monster.  Sister Helen felt compassionate towards Matthew because of the person he had become through getting to know her and understand what she believed and wanted.

MATTHEW

At the beginning of the movie Matthew is rude and abrupt to Sister Helen that's what happens on death row, "... you start to hate and resent everyone."  Matthew never thought that he would be visiting with a nun.  Soon Matthew trusts Sister Helen and persuades her to help him by filing a petition not to kill him by lethal injection.  This was a turning point in his attitude in understanding right and wrong.  Matthew thinks that he got screwed by the system that's why he's going to die, not because he did something wrong. Matthew never had anyone that really cared about him except Sister Helen.  Matthew was always lonely and only cared about number one ( Himself ).  By talking and sharing with Sister Helen he starts to understand what he did was wrong.

Matthew's mother was asked to pled for his life.  This allowed the media and the parents of the victims  to see him as someone's child much like their own, and to explain that he was good boy not a monster.  She explained in court that he had,  "...had a hard life but he was a good boy."  Matthew wanted to protect his mother and not let her see him on trial for what he did.  Matthew wanted to keep his pride by not seeing his mother crying for him.  He wanted her to be happy and to not worry about him.  This compassion is crucial to the total change in ideals and morals that Matthew has now (After knowing Sister Helen).

Matthew was going through a lot of changes now that he was going to die within a week. His understanding of life and humanity changed drastically from being a racist, saying that all the Black are victims and keep having slavery, to feeling compassion to everyone.  Many of these feelings are because of his understanding of human life, as his life nears the end.  This changes are all caused by the situation he is in.

At the end Matthew hopes that the father of Walter (the victim) can forgive him and accept that he knows what he was wrong and should be punished for it, but not punished to death.  Hope's farther does forgive him at the vary end of the movie. As for the parents of Hope, Matthew hopes that his death makes them happy even after the death of their son.  Matthew also accepts responsibility for what he did and Sister Helen explains to him that by doing that he is now a son of God and can die with dignity.  This is what was needed for Matthew, as a person.

278.          Dead Poet s Society Significant Experiences

Dead Poet's Society: Significant Experiences; The Twists of Life.

Significant experiences are moments in life that create change not only in

one's present period of life, but also dramatically alter one's view of the

surrounding and forthcoming events.  The impacts of such experiences are the

opening of new doors in life, the realization of possibilities one would have

never imagined sitting right under one's nose and the perception of details one

never thought important before.  They mostly temper peoples views of events,

shedding a different hue of light upon them, revealing multiple possibilities

that were once left in shadow.  In Dead Poet's society, a handful of students

discover through the exuberance of their English teacher what kinds of lives

they had been leading, and what their lives could be.  One student in particular,

Neil Perry,  discovers a whole new world and his life is irreversibly changed as

a result of the impact of his association with Mr. Keating.

The lives of all the boys were drastically changed the day they met Mr.

Keating. "Carpe Diem" he told them. "Seize the day, make you lives

extraordinary."  With these few words, Mr. Keating opened the minds of his

students to the broad possibilities that life held for them.  The boys learned

that they deserved more than the daily routine, that they were not satisfied

with living up to the expectations of others.  As a result, they re-established

the Dead Poet's society, and consequently experienced what they had been

protected from previously.  The most significant change wrought from both the

arrival of Mr. Keating and the re-instatement of the Dead Poet's Society was

Neil Perry's change in attitude.  He realized what his dreams were, and to

accomplish them, he had to do something he had never dared to do in the past,

disregard the will of his father.  Having lived under the iron rule of an

oppressive father his entire life, Neil's spirit was in danger of smothering to

death.  The Dead Poet's Society and Mr. Keating reawakened Neil's half-drowned

spirit and encouraged Neil to strive towards what he thought was important, not

what his father thought was important.  Neil's life was drastically changed as a

result of his meeting Mr. Keating, from a life dedicated to school, to a life

dedicated to living.  The impact of this association with Mr. Keating was that

Neil was a different person after, he attempted to break free of the conformity

that was suppressing him and his view on life became brighter and more hopeful.

For Neil, the significant experience of meeting Mr. Keating also changed

his outlook on the future. Instead of constantly studying and dreading

disciplinary action from his father, he began to look towards the good things in

life.  He realized that his dream was to become an actor, and that acting gave

him happiness and hope that he had never had before.  Acting was Neil's hope for

the future, it let him grow and experience life's true joys, joys that he could

not have even wished for in the past.  The greatest impact that Mr. Keating had

on Neil was that he taught him to look past the wishes of others, to see what

was really wanted out of life.  Neil had been living a life created by his

father, working towards goals set by his father, and growing up to be his father.

After meeting Mr. Keating, Neil broke free of the bonds his father had tied

around him and tore off the blinders that had restricted his view of his life.

He saw things from his own point of view, acted as he wanted, not as his father

expected him to.  His reaction to and perception of events that occurred after

his significant experience were radically different than those of events

preceding his experience.  The most important decision Neil made in the entire

movie, however, was the one to kill himself.  This was a decision made by the

new Neil, the Neil with a mind and future of his own.  The old Neil would have

grudgingly accepted his fate, and lived a frustrated and desperate life working

towards his father's goals.  A direct result of his relationship with Mr.

Keating, Neil's suicide showed that he was in control of his life, that it was

in fact, his life and he wouldn't let anybody ruin it but himself.

Neil's suicide was both a shock and an inspiration to his peers.  One of

their friends had just died, but he had died for something he believed in.  Neil

was an inspiration not in the sense that they believed they should all shoot

themselves, but in the sense that they now knew they could stand up for

themselves and did not have to be afraid of the consequences.  The impact of

being taught by Mr. Keating was evident in the other boys in their reaction to

Neil's death.  They all had learned what life held in store for them, and they

all understood that it had been Neil's choice to do what he had done.  To his

peers, Neil's death would be remembered as his way of openly defying his father,

the school and everybody and anything else that had ever gotten in the way of

his dreams.  If Mr. Keating had not entered their lives, Neil's friends would

most likely have simply grieved for their loss of a comrade, and never thought

about why it had happened.  If Mr. Keating had not have entered their lives,

there would not have been a reason for it to happen in the first place.

Neil's and Mr. Keating's messages in the movie were the identical, that one

has to stand up for what one believes in, and not living at all is better than

living someone else's life.  "Make your life extraordinary." Through their

connection with Mr. Keating, the boys all discovered that living up to their own

expectations was both the hardest and most satisfying experience in life.  Every

last member of the Dead Poet's Society was affected by Mr. Keating, and all of

them will carry his advice with them for the rest of their lives.  Through

significant experience, one encounters change, and the impact of all this is the

new path one's life takes as a result.

279.          Dead Poets Society 5

Significant experiences;

the twists of life.

Significant experiences are moments in life that create change not only in one's present period of life, but also dramatically alter one's view of the surrounding and forthcoming events.  The impacts of such experiences are the opening of new doors in life, the realization of possibilities one would have never imagined sitting right under one's nose and the perception of details one never thought important before.  They mostly temper peoples views of events, shedding a different hue of light upon them, revealing multiple possibilities that were once left in shadow.  In Dead Poet's society, a handful of students discover through the exuberance of their English teacher what kinds of lives they had been leading, and what their lives could be.  One student in particular, Neil Perry,  discovers a whole new world and his life is irreversibly changed as a result of the impact of his association with Mr. Keating.

The lives of all the boys were drastically changed the day they met Mr. Keating. 'Carpe Diem' he told them. 'Seize the day, make you lives extraordinary.'  With these few words, Mr. Keating opened the minds of his students to the broad possibilities that life held for them.  The boys learned that they deserved more than the daily routine, that they were not satisfied with living up to the expectations of others.  As a result, they re-established the Dead Poet's society, and consequently experienced what they had been protected from previously.  The most significant change wrought from both the arrival of Mr. Keating and the re-instatement of the Dead Poet's Society was Neil Perry's change in attitude.  He realized what his dreams were, and to accomplish them, he had to do something he had never dared to do in the past, disregard the will of his father.  Having lived under the iron rule of an oppressive father his entire life, Neil's spirit was in danger of smothering to death.  The Dead Poet's Society and Mr. Keating reawakened Neil's half-drowned spirit and encouraged Neil to strive towards what he thought was important, not what his father thought was important.  Neil's life was drastically changed as a result of his meeting Mr. Keating, from a life dedicated to school, to a life dedicated to living.  The impact of this association with Mr. Keating was that Neil was a different person after, he attempted to break free of the conformity that was suppressing him and his view on life became brighter and more hopeful.

For Neil, the significant experience of meeting Mr. Keating also changed his outlook on the future. Instead of constantly studying and dreading disciplinary action from his father, he began to look towards the good things in life.  He realized that his dream was to become an actor, and that acting gave him happiness and hope that he had never had before.  Acting was Neil's hope for the future, it let him grow and experience life's true joys, joys that he could not have even wished for in the past.  The greatest impact that Mr. Keating had on Neil was that he taught him to look past the wishes of others, to see what was really wanted out of life.  Neil had been living a life created by his father, working towards goals set by his father, and growing up to be his father.  After meeting Mr. Keating, Neil broke free of the bonds his father had tied around him and tore off the blinders that had restricted his view of his life.  He saw things from his own point of view, acted as he wanted, not as his father expected him to.  His reaction to and perception of events that occurred after his significant experience were radically different than those of events preceding his experience.  The most important decision Neil made in the entire movie, however, was the one to kill himself.  This was a decision made by the new Neil, the Neil with a mind and future of his own.  The old Neil would have grudgingly accepted his fate, and lived a frustrated and desperate life working towards his father's goals.  A direct result of his relationship with Mr. Keating, Neil's suicide showed that he was in control of his life, that it was in fact, his life and he wouldn't let anybody ruin it but himself.

Neil's suicide was both a shock and an inspiration to his peers.  One of their friends had just died, but he had died for something he believed in.  Neil was an inspiration not in the sense that they believed they should all shoot themselves, but in the sense that they now knew they could stand up for themselves and did not have to be afraid of the consequences.  The impact of being taught by Mr. Keating was evident in the other boys in their reaction to Neil's death.  They all had learned what life held in store for them, and they all understood that it had been Neil's choice to do what he had done.  To his peers, Neil's death would be remembered as his way of openly defying his father, the school and everybody and anything else that had ever gotten in the way of his dreams.  If Mr. Keating had not entered their lives, Neil's friends would most likely have simply grieved for their loss of a comrade, and never thought about why it had happened.  If Mr. Keating had not have entered their lives, there would not have been a reason for it to happen in the first place.

Neil's and Mr. Keating's messages in the movie were the identical, that one has to stand up for what one believes in, and not living at all is better than living someone else's life.  'Make your life extraordinary.' Through their connection with Mr. Keating, the boys all discovered that living up to their own expectations was both the hardest and most satisfying experience in life.  Every last member of the Dead Poet's Society was affected by Mr. Keating, and all of them will carry his advice with them for the rest of their lives.  Through significant experience, one encounters change, and the impact of all this is the new path one's life takes as a result.

280.          Dead Poets Society Essay

Dead Poets Society

Scene where Knox Overstreet is on the telephone to Kris.

Knox Overstreet played a fair part in the film Dead Poets Society.  One

particular scene that Knox was in was the phone conversation with the girl he

loves, Kris.

The scene starts with Knox at the telephone.  The camera closes in on

his face and his fingers dialling the telephone.  The camera stays on his face

as the phone rings and awaits a pick up.  When Kris picks up the phone, Konx's

facial expression changes from one of ambition to one of much nervousness. The

camera swings to show Knox's hand as he promptly hangs up the phone.  Next, the

camera swings around from Knox to his friends.  This medium close-up shows the

disappointment on all their faces and that expression makes Knox ring once more.

This time, the camera angles are the same and Knox goes through with the

phone call all the way.

While he is talking, the camera is focused on his face and hand holding

the phone to his ear.  When Knox hears the news that he has been invited to go

to a party with the girl of his dreams, his face lights up and he cant help but

smile.  Still with the same angle, the camera swings around to show the faces of

his friends as he tells them his news.  Their facial expressions as showed by

the camera are delightful and happy ones.  This makes Knox even more happy.

The scene ends with a close up of Knox hanging up the phone and then a

high level shot of him running up the stairs.

Scene where Mr Keating tell the class to come up and stand on the desk.

To start this scene camera view as seen through Mr Keating's eyes shows

the whole class sitting quietly.  He tells the class to come up and stand on the

desk and he does it himself.  A high angle shot show Mr Keating standing on the

desk and looking around.  We then see a low angle view of the whole class.  This

shot shows that the class is reluctant to go up as it is not normal procedure.

You can tell that they are all used to a strict almost boring class and that is

why they are slow to try out Mr Keatings new methods.

As each student goes up we see a high angle shot of them and then a shot

of Mr Keatings face as he tells the boys to think differently and act

differently.

2.) Neil

The first scene where the director makes the audience feels sorry for

Neil is early in the movie.  This happens where all Neil's friends are around.

Neil's father comes in and the camera goes into a low angle one, looking down

upon Neil.  The camera moves around to show all his friends ready to leave but

then goes back to Mr Perry as he tells them all to stay.  With the camera

switching from Neil to Mr Perry, Mr Perry delivers the news that Neil is to

cease all participation on the school paper.  Mr Perry embarrasses Neil in front

of his friends and when Neil tries to reason with his father he is treated like

a criminal.  Once outside Neil's room, Mr Perry gives Neil a stern and

unreasonable talking to.  A close up of Neil's face reveals a sad and angry

young man who knows he cannot defy his fathers wishes.

When Mr Perry leaves, Neil's friends peer around the door and we once

again see Neil's face.  This time he is putting on a brave face and assuring his

friends that he doesn't mind giving up the school paper when really he is

shattered.

Most times that we feel sorry for Neil are times where Neil clashes with

his strict father.  The next time we feel for him is when he is all revved up

about going for the lead part in the play.  He is really happy and can't wait to

start, but when Todd queries Neil about his father's opinion.  This "bursts

Neil's bubble" as he is faced with reality.  Neil knows that his father would

not approve of his part in the play and Neil actually looses his temper with

Todd.

The director shows Neil's emotions on the matter through a medium level

shot of Neil and Todd.

When Neil gets the part in the play, he fakes a permission note from his

father thinking he can participate in the play without his father knowing.  I

don't know about the rest of the class but I felt sorry here as I think it is

sad that you have to keep something like this a secret from your parents.  I

would like my parents to see me if I was as good as him at acting.

When Neil's father finds out that his son is in the play from a

different source, he hastens to the school and forbids Neil to be a part of the

play.  This is the night before the opening.  We feel sorry for him here as we

see Neil's face grow sadder than when he was dis-allowed to participate in the

school paper.

Neil takes his problem to the wise teacher, Mr Keating.  Here we feel

very sorry Neil as we se him unable to control his emotions and he weeps.  A

sympathetic Mr Keating tells him to stand up to his father and remain in the

play.  This cheers Neil up and the audience think that he will tell his father

but it is sad when we learn that he lied to Mr Keating about him telling his

father.

Neil would rather lie to a teacher than tell his father.  That is sad

and in my opinion that is the saddest thing apart from his death.

When Mr Perry enters the theatre during the play and Neil sees him, that

change in the facial expression shows us that Neil is scared, but determined to

complete the play.

After the play when Neil is taken home, low angled camera shots give the

impression of Neil being lesser of a person than his father.  He seems to be

small, weak and powerless against his father.  He is unable to stand up against

his father and when he eventually tries he is left speechless and his facial

expression "helpless", it was as if he had given up altogether and after

watching the movie we know he has given up.

The end of Neil's sad life begins with Neil carrying out an almost

"spiritual" ceremony and we see him treasuring the crown of thorns he wore in

the play.

To me, the director made Neil powerless against his father and that is

why I have sympathy for him.

281.          Dead Poets Society

Dead Poets Society

Scene where Knox Overstreet is on the telephone to Kris.

Knox Overstreet played a fair part in the film Dead Poets Society.  One particular scene that Knox was in was the phone conversation with the girl he loves, Kris.

The scene starts with Knox at the telephone.  The camera closes in on his face and his fingers dialling the telephone.  The camera stays on his face as the phone rings and awaits a pick up.  When Kris picks up the phone, Konx's facial expression changes from one of ambition to one of much nervousness. The camera swings to show Knox's hand as he promptly hangs up the phone.  Next, the camera swings around from Knox to his friends.  This medium close-up shows the disappointment on all their faces and that expression makes Knox ring once more.

This time, the camera angles are the same and Knox goes through with the phone call all the way.

While he is talking, the camera is focused on his face and hand holding the phone to his ear.  When Knox hears the news that he has been invited to go to a party with the girl of his dreams, his face lights up and he cant help but smile.  Still with the same angle, the camera swings around to show the faces of his friends as he tells them his news.  Their facial expressions as showed by the camera are delightful and happy ones.  This makes Knox even more happy.

The scene ends with a close up of Knox hanging up the phone and then a high level shot of him running up the stairs.

Scene where Mr Keating tell the class to come up and stand on the desk.

To start this scene camera view as seen through Mr Keating's eyes shows the whole class sitting quietly.  He tells the class to come up and stand on the desk and he does it himself.  A high angle shot show Mr Keating standing on the desk and looking around.  We then see a low angle view of the whole class.  This shot shows that the class is reluctant to go up as it is not normal procedure.  You can tell that they are all used to a strict almost boring class and that is why they are slow to try out Mr Keatings new methods.

As each student goes up we see a high angle shot of them and then a shot of Mr Keatings face as he tells the boys to think differently and act differently.

2.) Neil

The first scene where the director makes the audience feels sorry for Neil is early in the movie.  This happens where all Neil's friends are around.  Neil's father comes in and the camera goes into a low angle one, looking down upon Neil.  The camera moves around to show all his friends ready to leave but then goes back to Mr Perry as he tells them all to stay.  With the camera switching from Neil to Mr Perry, Mr Perry delivers the news that Neil is to cease all participation on the school paper.  Mr Perry embarrasses Neil in front of his friends and when Neil tries to reason with his father he is treated like a criminal.  Once outside Neil's room, Mr Perry gives Neil a stern and unreasonable talking to.  A close up of Neil's face reveals a sad and angry young man who knows he cannot defy his fathers wishes.

When Mr Perry leaves, Neil's friends peer around the door and we once again see Neil's face.  This time he is putting on a brave face and assuring his friends that he doesn't mind giving up the school paper when really he is shattered.

Most times that we feel sorry for Neil are times where Neil clashes with his strict father.  The next time we feel for him is when he is all revved up about going for the lead part in the play.  He is really happy and can't wait to start, but when Todd queries Neil about his father's opinion.  This "bursts Neil's bubble" as he is faced with reality.  Neil knows that his father would not approve of his part in the play and Neil actually looses his temper with Todd.

The director shows Neil's emotions on the matter through a medium level shot of Neil and Todd.

When Neil gets the part in the play, he fakes a permission note from his father thinking he can participate in the play without his father knowing.  I don't know about the rest of the class but I felt sorry here as I think it is sad that you have to keep something like this a secret from your parents.  I would like my parents to see me if I was as good as him at acting.

When Neil's father finds out that his son is in the play from a different source, he hastens to the school and forbids Neil to be a part of the play.  This is the night before the opening.  We feel sorry for him here as we see Neil's face grow sadder than when he was dis-allowed to participate in the school paper.

Neil takes his problem to the wise teacher, Mr Keating.  Here we feel very sorry Neil as we se him unable to control his emotions and he weeps.  A sympathetic Mr Keating tells him to stand up to his father and remain in the play.  This cheers Neil up and the audience think that he will tell his father but it is sad when we learn that he lied to Mr Keating about him telling his father.

Neil would rather lie to a teacher than tell his father.  That is sad and in my opinion that is the saddest thing apart from his death.

When Mr Perry enters the theatre during the play and Neil sees him, that change in the facial expression shows us that Neil is scared, but determined to complete the play.

After the play when Neil is taken home, low angled camera shots give the impression of Neil being lesser of a person than his father.  He seems to be small, weak and powerless against his father.  He is unable to stand up against his father and when he eventually tries he is left speechless and his facial expression "helpless", it was as if he had given up altogether and after watching the movie we know he has given up.

The end of Neil's sad life begins with Neil carrying out an almost "spiritual" ceremony and we see him treasuring the crown of thorns he wore in the play.

To me, the director made Neil powerless against his father and that is why I have sympathy for him.

282.          Dead Poets SocietySignificant experiences

Significant experiences;

the twists of life.

Significant experiences are moments in life that create change not only in one's present period of life, but also dramatically alter one's view of the surrounding and forthcoming events.  The impacts of such experiences are the opening of new doors in life, the realization of possibilities one would have never imagined sitting right under one's nose and the perception of details one never thought important before.  They mostly temper peoples views of events, shedding a different hue of light upon them, revealing multiple possibilities that were once left in shadow.  In Dead Poet's society, a handful of students discover through the exuberance of their English teacher what kinds of lives they had been leading, and what their lives could be.  One student in particular, Neil Perry,  discovers a whole new world and his life is irreversibly changed as a result of the impact of his association with Mr. Keating.

The lives of all the boys were drastically changed the day they met Mr. Keating. "Carpe Diem" he told them. "Seize the day, make you lives extraordinary."  With these few words, Mr. Keating opened the minds of his students to the broad possibilities that life held for them.  The boys learned that they deserved more than the daily routine, that they were not satisfied with living up to the expectations of others.  As a result, they re-established the Dead Poet's society, and consequently experienced what they had been protected from previously.  The most significant change wrought from both the arrival of Mr. Keating and the re-instatement of the Dead Poet's Society was Neil Perry's change in attitude.  He realized what his dreams were, and to accomplish them, he had to do something he had never dared to do in the past, disregard the will of his father.  Having lived under the iron rule of an oppressive father his entire life, Neil's spirit was in danger of smothering to death.  The Dead Poet's Society and Mr. Keating reawakened Neil's half-drowned spirit and encouraged Neil to strive towards what he thought was important, not what his father thought was important.  Neil's life was drastically changed as a result of his meeting Mr. Keating, from a life dedicated to school, to a life dedicated to living.  The impact of this association with Mr. Keating was that Neil was a different person after, he attempted to break free of the conformity that was suppressing him and his view on life became brighter and more hopeful.

For Neil, the significant experience of meeting Mr. Keating also changed his outlook on the future. Instead of constantly studying and dreading disciplinary action from his father, he began to look towards the good things in life.  He realized that his dream was to become an actor, and that acting gave him happiness and hope that he had never had before.  Acting was Neil's hope for the future, it let him grow and experience life's true joys, joys that he could not have even wished for in the past.  The greatest impact that Mr. Keating had on Neil was that he taught him to look past the wishes of others, to see what was really wanted out of life.  Neil had been living a life created by his father, working towards goals set by his father, and growing up to be his father.  After meeting Mr. Keating, Neil broke free of the bonds his father had tied around him and tore off the blinders that had restricted his view of his life.  He saw things from his own point of view, acted as he wanted, not as his father expected him to.  His reaction to and perception of events that occurred after his significant experience were radically different than those of events preceding his experience.  The most important decision Neil made in the entire movie, however, was the one to kill himself.  This was a decision made by the new Neil, the Neil with a mind and future of his own.  The old Neil would have grudgingly accepted his fate, and lived a frustrated and desperate life working towards his father's goals.  A direct result of his relationship with Mr. Keating, Neil's suicide showed that he was in control of his life, that it was in fact, his life and he wouldn't let anybody ruin it but himself.

Neil's suicide was both a shock and an inspiration to his peers.  One of their friends had just died, but he had died for something he believed in.  Neil was an inspiration not in the sense that they believed they should all shoot themselves, but in the sense that they now knew they could stand up for themselves and did not have to be afraid of the consequences.  The impact of being taught by Mr. Keating was evident in the other boys in their reaction to Neil's death.  They all had learned what life held in store for them, and they all understood that it had been Neil's choice to do what he had done.  To his peers, Neil's death would be remembered as his way of openly defying his father, the school and everybody and anything else that had ever gotten in the way of his dreams.  If Mr. Keating had not entered their lives, Neil's friends would most likely have simply grieved for their loss of a comrade, and never thought about why it had happened.  If Mr. Keating had not have entered their lives, there would not have been a reason for it to happen in the first place.

Neil's and Mr. Keating's messages in the movie were the identical, that one has to stand up for what one believes in, and not living at all is better than living someone else's life.  "Make your life extraordinary." Through their connection with Mr. Keating, the boys all discovered that living up to their own expectations was both the hardest and most satisfying experience in life.  Every last member of the Dead Poet's Society was affected by Mr. Keating, and all of them will carry his advice with them for the rest of their lives.  Through significant experience, one encounters change, and the impact of all this is the new path one's life takes as a result.

283.          Deadlock

Deadlock

"Bzzz! Bzzz!" The alarm went off, and Susan Calvin rolled over. It was 6:30 in the morning, and RoboTimer(tm) had done its job admirably, waking her up to the second of the time that it had been factory-programmed. Unfortunately, it hadn't been set to the correct date, and when it announced "Saturday, December 14th! Good morning!" in a load cheery tone, she groaned out load with the realization that it was Saturday, and after that affair with the hyperdrive motor, she wanted to sleep in, since it she had just come back to earth.

"I hate this stupid robot!" she yelled out loud, then suddenly closed her mouth. For Susan Calvin had just remembered that her pact with the satans, as she thought of them, known to the robotics world as the team of Powell and Donovan. She stretched, rolled out of bed, and went downstairs, wrapping a robe around her as she went, to get some coffee. "Well, since I'm already up, I might as well take a look at the rest of those Rasssjemani-Quazaric-Smith Equations and see why they were causing all those robots to go psycho," she thought. "Good thing that U.S. Robots and Mechanical Men hushed up that little incident, I'd be out of a job if the whole world, the xenophobic and primally-fearful lot of them, knew about that!" As she got out and buttered her toast, she mulled the day ahead of her in her mind. Weekends were never truly weekends for Susan Calvin, as she was forced to work for most of the weekend, with her only respite being Sunday, which she was allowed to come in an hour late for. However, she usually found herself working late into the night on Sundays, out of an artificially induced guilt that she knew was not real, but could do nothing to correct.

After being driven to work (working for the company that produced every MechTaxi(tm) in existence did have some perks after all), greeting the doorman, and going up to her office, Susan Calvin was ready to look at those equations! She only needed a small period of time to warm up, and the wakeup-breakfast-come to work routine sufficed.

Almost as soon as she had sat down to work, the Founder of U.S. Robots came in and said, "I need to speak with you, Calvin. There's been more reports in across the nation of those psycho robots, all of them with positronic brains built using the Rasssjemani-Quazaric-Smith Equations. We will be ruined, and drawn and quartered by the masses if we don't start hushing this up again and fix that problem!"

Susan smiled at him, with an evil glint in her eye. "Junk the equations. They are obviously unstable. Why do you bother me with this? I am not even a full-time mathematician! Have completely new equations written up, not those kludges that the robots have been running on since the late nineties almost!"

The Founder laughed, his white beard and flowing locks shaking slowly as his chest vibrated. "That is possibly the first joke I have heard you crack in the thirty years we have been at this company that I founded!" He paused. "It is a joke, right?" he whispered. When Susan shook her head, he simply stared at her, astonished, with a growing look of perplexity spreading across his face.

"You do understand what would be entailed in the creation of an entirely new set of robotic codes, right? The hackneyed name of the last ones show by their complexity that it took a group of seven hundred men an entire year to build the codes! They are the building blocks of everything that we now know of the various fields of Robotics! You, yourself, would become useless, wit all your knowledge outdated! Rasssjemani, Quazaric, and Smith were only the principal authors of the code, all of them geniuses! There are not even three geniuses in the field of robotics alive today!" He paused for breath after this long exposition, and Susan Calvin stepped in with some comments of her own.

"Calm yourself, man! I was just offering a suggestion! I have been making the same type of suggestions such as those for the last thirty years!"

"If you had made suggestions such as that all the time, you would not be here after thirty years! You must be losing it, Calvin!"

"I am the chief roboticist in the entire field, and you are treating me as if I know nothing at all of the field!"

"You are the field, Calvin! Don't kid yourself, you are the only robopsychologist in the entire world, and a decreasingly useful one at that! Why do you think there is only one? There is no need for one even!"

"Hah! You pathetic Moses imitator, you don't fool me, your entire education consists of a G.E.D.! And you were born when they still had G.E.D.s! So don't say I'm useless, I'm not trying to create the next generation of mechanical men without a college diploma!"

At this the Founder left the room, swearing vengeance in his mind against all robopsychologists, then correcting himself and remembering that there was only one.

Susan Calvin sat down, realizing that this day might be her last with the company that she had served so faithfully. Sadly, so called over her robotic child, Eddie, and sat all of his 400 pounds on her lap. Groaning slightly, she told him that she wasn't going to be seeing him anymore, but she would be back someday to see him again.

"But Mommy! I'll miss you! And what will they do with me once you're gone? They'll junk me! Mommy, don't let them hurt me!" And he went on like this for hours, but the end of which they were both crying.

"Don't worry, the only reason I'm leaving is because of some stupid man here who hates me, and won't listen to reason!" She cried, and thought of all the happy times she'd had at the factory...

Then she remembered. Remembered everything. About the pact with the satans, and how she had prayed every day to be released from her job, as that was the only way she could be free forever. She got up, knocked the heavy childish robot aside, packed up her desk, and walked out.

Just then, as she was walking home, something appeared in front of her. She thought she might be hallucinating, since it had been a long stressful day, until she thought of the way that the team of Donovan and Powell had come to propose the ill-fated deal to her. She goaned out "Leave me alone, please!" and fell to the ground. The now fully formed ghostly team grinned at each other, grabbed her, and carried her back to her house.

Susan regained consciousness lying on her couch, to see the two men walking around her living room, critiquing her design taste.

"Rather homely designes, don't you think, Powell?" "Oh stopit, you crazy redhead! She hasn't had anyone over she had to impress for the last 20 years I'd bet!"

Susan reached over, and grabbed the two men from her position on the couch my the arms, and made them come closer. "Well," she asked, "what is it? My pact with you is dissolved, and I shall see robots nevermore. Goodbye." She got up to leave, and was stopped firmly by the hand of Powell, who reached out while Donovan was still getting up. "Sit down, the agreement does not release you that easily! As you recall, U.S. Robots and Mechanical Men must release you, you can't quit!"

Calvin sat down and began to speak. "After today, I think that as soon as I call the office, the first message they will give me will be the date of my official retirement! You should have seen that fight I had with the Founder!"

However, here she was cut off. "So, you are saying that you were the one who provoked the fight, and therefore you will not be released from your agreement!"

"This is ridiculous! I did nothing of the kind!...

...

...

Susan Calvin took of the helmet, and breathed a sigh of relief. "I am tired of these new virtual reality dream simulators. The private sector may just have to own up that there really is absolutely no use for mind-reading machines in commercial life. Everything is either an invasion of privacy, or it simply scares the customer. And did you see how foolish and emotional I was in that?!"

She walked away from the machines, her guides in the factory arguing heatedly with her, as they showed her the new applications for mind-reading that they had extracted from the data that she had given to them from her work on finding the cause of the defect in the positronic brain of the mind-reading robot that she had worked with so many years ago, and had thought that she had killed.

The End

284.          Death Cload

2100 hours, Captain James S. Steward of the United

States Air Force straps on his G-suit and goes over his

mission briefings one last time.  He walks out into the

hanger and awaits his chariot.  The SR-71 Blackbird, the

fastest plane in the world with it's twin turbine engines

and slick black radar absorbent skin make him a flying

shadow in the air.  His mission, to fly a covert

reconnaissance mission over Moscow, the heart of the USSR

Intelligence believe that the Russians have a build up of

nuclear missile silos around the capitol.  With the Cuban

missile crisis at hand, the United States cannot let their

guard down on a sneak attack from the Communists.

"Another suicide-run," says Captain Steward to his

flight maintainer.

"Yes, sir," replies the private.

Captain Steward squeezes into his cockpit seat like a

sardine in a can.  Little switches, gauges, and buttons

embellish the cockpit, each with a crucial part in flying

the aircraft.

"Ready to rock n' roll."

Steward pulls the Blackbird out of the hanger like a

cumbersome Oldsmobile, but only this special Oldsmobile can

travel over twice the speed of sound undetected by enemy

radar.  With a push of the throttle the twin-turbine engines

roar with authority.  The bird takes flight disappearing

into the night skies evanescently.  The only sign that it

exists is the trademark sonic boom as it passes the sound

barrier.

After approximately seven hours flight time and two in-

flight re-fuelings, the Blackbird reaches its destination,

Moscow, Russia.  The thermal imaging camera, located in the

bird's hull, depicts the radioactivity from nuclear silos as

bright yellow and orange blobs on the terrain.  The images

show seas of yellow throughout Moscow.  The city resembles a

giant missile base up and operational.  Captain Steward

pulls a 180 and heads for home with sick eerie feeling in his

stomach.

After a long comprehensive study of the recon images,

the United States order an increase in their production of

their nuclear missiles to counter-attack any offensive the

Russians have planned.  Silos sprout like weeds throughout

the United States and the President gave the order for

Defcon 2.  The country falls in a state of panic, as they

slip one step closer to a nuclear holocaust.

On the other side of the Atlantic, the USSR notices the

nuclear build up in the United States.  In fear of an

preemptive strike, the Communist fuel and prepare their

birds just in case.  This pre-war act resembles a chess

game; one  side makes and move and the other counters it

until both sides end up killing all their pieces.  Both

countries fall into a stalemate, waiting for the other to

make the first fatal move. Tensions mount as the stand off

continues for weeks.

On a clear Sunday morning 0700 hours, Russian radar

picks up an American U-2 spy plane just finishing a routine

recon mission.  The Russians take this as a national threat

and a violation of their air-space.  So it begins.  The

Russians make the first crucial move, launching twenty-four

nuclear armed missles on populated cities scattered

throughout America.  Strategic cities like Washington DC,

Los Angeles, New York, Chicago, and Dallas fall among the

list of targets.  American satellites pick up the launch,

forcing them into Defcon 1.  The United States counter-

attacks with a wave of their own missiles aimed throughout

Russia.  The missiles take the air like a swarm of bees,

with a stinger capable of killing millions within seconds

upon impact.  Somewhere over the Atlantic the Russian

missles and the American missles pass each other by.  The

missiles home into their pre-determined targets with no

mercy and no hesitation.  The impact of a single warhead

creates a tremble that measure 2.9 on the Richter scale.

The blast-wave radiates hundreds of miles wiping out

everything in its path.  Houses and building blow over as if

constructed of paper.  Complete obliteration within a matter

of seconds.

The victims of the blast-wave do not even have the time

to hear their own scream.  Everyone within a hundred miles

of the detention sees a flash and instantaneously they

disinergrate into a meager pile of gray ashy dust.  Those

who did not die immediately upon impact suffer radiation

poisoning.  Any person within two-hundred miles of the blast

suffer radiation burns so severe that the skin sizzles like

bacon .  Some victims sprout a third arm and mutate into un-

human creatures, like teenage mutant turtles.  After several

hours of exposure, the victim's skin melts into a liquid

state and they go into convulsions.  Radiation poisoning

saturates their internal organs and the body rejects them.

The body's own innate instinct to flush out foreign objects

causes victim to vomit their own internal organs.  Moments

before death the victim's eye s shrivel up like sun-baked

raisons.  This nuclear holocaust claims billions of lives.

Both countries literally glow like a night-light from the

radiation.

The mushroom clouds , the only thing left, blanket the

Earth.  The clouds mask the Sun restricting light to reach

the surface.  Acid rain pours out of the radioactive clouds

and eat away the O-zone layer.  Ultra-violet rays bake the

Earth like a microwave TV dinner.  The surface temperature

reaches a scorching two-hundred degrees.   The polar ice

poles and two-thirds of water that once cover the Earth,

evaporate leaving the landscape naked.  For tens of

thousands of years our Earth cannot support life all because

the hands of man.  The upraise in humanity results in the

annihilation of the human race and of the world.  We created

our own demise ; we created our own Doomsday.

285.          Death of a Character

---------------------------------------

Essay looks at the character of Willy Loman. How Willy's low self worth, misplaced societal values, and his stubborn inability to change leads him through his life pretending to be more important, more liked, and more successful than he really is.  This ultimately leads to his demise.

Death of a Character

In Arthur Miller's play, Death of a Salesman the reader is introduced to the main character of Willy Loman.  Willy is a middle-class salesman who, in the course of a single day, comes to realize that the American Dream, which he has pursued for 40 years, has failed him. Willy's pursuit of success has affected not only his self worth, but has also dominated the lives of his wife Linda and his sons Biff and Happy.  Willy's low self worth, misplaced societal values, and his stubborn inability to change leads him through his life pretending to be more important, more liked, and more successful than he really is.  Ultimately this vision he has leads him to his death thinking that he will actually be helping his family.

Willy's low self worth is not talked about much in the story, but rather more implied through several conversations with his wife.  I do not believe that Willy is even aware of the low self worth he has.  While talking with his wife and bother Ben, he says little things like "I'm not noticed" (1470), "I'm fat.  I'm very foolish to look at." (1471) and "I still feel - kind of temporary." (1478).  He compensates for this by talking about how important he thinks he is.  "Go to Filene's, go to the Hub, go to Slattery's, Boston.  Call out the name Willy Loman and see what happens!" (1483)  His low self worth and then compensation for that is one of the factors that lead to his demise when he is faced with reality of this.

Willy is an ordinary man, whose dreams and expectations have been shattered by the false values of the society he has put his faith in.  He understands society places great value on success and can not see that society also has a way of placing it's values in front of people that are very hard or impossible to obtain.  He is chasing an 'American Dream' that is ultimately a false dream.  Society has told him to be successful you need to have a certain amount of material goods.  Willy places high value in having brand name items in his home.  He doesn't see that he would be a success just by being a good father and husband.  For Willy, his brother, Ben, and his salesman hero, Dave Singleman, are images of success.   However, the character of Ben is far-fetched and the achievements of Dave are idealized and exaggerated.  Willy sees them and what he thinks they have accomplished and sets this as the standard he must meet.  By doing this he can never achieve the success he so desperately wants. Willy's vision of the 'American Dream' and what society has told him he must live up to are just another means to his end destruction.

Willy also has a stubborn streak in him that makes it all but impossible for him to see things from another person's view.  He goes on pretending to be a success and pretending that he is earning more money than he actually does.  Charley offers him a job on several occasions but Willy lets his stubborn pride get in his way and refuses the job offers, even after he has been fired.

"Charley:  I offered you a job.  You can make fifty dollars a week.  And I won't send you on the road.

Willy"  I've got a job.

Charley:  Without pay?  What kind of a job is a job without pay?  Now, look, kid, enough is enough.  I'm no genius but I know when I'm being insulted.

Willy:  Insulted!

Charley: Why don't you want to work for me?

Willy:  What's the matter with you?  I've got a job.

Charley:  Then what're you walkin' in here every week for?

Willy:  Well if you don't want me to walk in here--

Charley:  I am offering you a job.

Willy:  I don't want your goddam job. "  (1500)

He lets his stubbornness and pride get the best of him and just pretends that he still has a job.   This is another element that leads to his destruction.  Without a job and borrowing money, he ends up realizing that his life is worth more dead than it is alive.

Willy Loman is a man who let society's pressures and visions guide him through life and ultimately kept him from being all the things he wanted most.  He desperately wanted to be well known, liked and successful.  At the end of the play we find that he traveled paths that were set up by his low self worth, societal values  and his own stubbornness and ultimately led him to take his life, thinking that the insurance money would help his son.

Works Cited

Miller, Arthur. "Death of a Salesman." Literature: An Introduction to Reading and Writing. 6th ed.

Ed. Leah Jewell. New Jersey: Prentice Hall, 2001.  177-190.

286.          Death of a Salesman by Arthur Miller

Curiously, most critics seem to accept at face value the assumption that at the conclusion of Arthur Miller's classic drama

Death of a Salesman, Willy Loman determines to commit suicide because his older son Biff has at last openly and

unequivocally declared his 'love' for his father (e.g., Aarnes 104; Bigsby 123; Hynes 286; Dukore 39). Yet a close

examination of this crucial scene and the subsequent Requiem reveals a far greater degree of ambiguity than has been

acknowledged.

Though Willy has obviously contemplated suicide for a long time, he only makes his final, irrevocable decision after the play

has reached its undoubted emotional climax, Biff's dramatic declaration to his fathers 'Pop, I'm nothing! I'm nothing, Pop.

Can't you understand that? There's no spite in it anymore. I'm just what I am, that's all. ' Following this outburst, Biff

physically collapses in his father' s arms, and Miller carefully comments in his stage direction: 'Biff' s fury has spent itself, and

he breaks down, sobbing, holding on to Willy, who dumbly fumbles for Biff's face.' The son's final words to his father in the

play are simply: 'I'll go in the morning. Put him--put him to bed' (133).

At best, this statement can only be regarded as a tepid and ambiguous expression of concern. Yet Willy's immediate reaction

to it is to conclude: 'Biff--he likes me!' To which Linda and Happy quickly respond with enthusiastic reinforcement: 'He

loves you, Willy!' and 'Always did, Pop' (133). Their reaction suggests that Biff's feelings are obvious. However, Linda and

Happy are repeatedly shown to be among the most deluded, obtuse, and mendacious characters in the play. Earlier, each

had made equally enthusiastic and reinforcing--but dangerously inaccurate--comments on the supposed affection of Bill

Oliver, Biff' s former boss, for his departed employee. When Biff outlined his plan to persuade Oliver to 'stake' him to a

business venture, he insisted: 'He did like me. Always liked me.' Linda immediately exclaimed: 'He loved you' (64). Earlier,

Happy had responded to the plan in a similar fashion: 'I bet he'd back you. 'Cause he thought highly of you, Biff' (26). Yet

Oliver, when Biff finally sees him in his office, doesn' t 'remember who [Biff] was or anything' (104).

Even the choice of words of Linda's and Happy's comments in the scene with Willy seems deliberately to echo their earlier

remarks, as if Miller is intentionally undermining their credibility in this scene. And if their reactions are as erroneous as they

had been earlier with Oliver, it casts Willy's subsequent suicide into a new light. For it is primarily due to their insistence on

Biff's love for his father, not to any explicit comment by his son, that Willy decides to take his own life to provide Biff with

insurance money for a fresh start.

If Biff does indeed not love his father, Willy's suicide must be regarded as just the last in the series of futile, misguided

gestures that made up his life. Biff's awareness of this fact, then, would go far to explain his puzzling tension and bitterness at

the Requiem, where he argues sullenly with Happy, Charley, and Linda. For perhaps he realizes that to make plain the sad

futility of Willy's act would be to rob the ceremony of what little dignity it possesses. Therefore, he remains virtually silent as

the other mourners express their eloquent, if contradictory, judgments on Willy's life, insisting only that his father 'had the

wrong dreams' and 'never knew who he was' (138). If the belief that Biff 'loves' Willy is only the final, most tragic false

perception in a play permeated by such uncertainty, the son' s silence on this critical point is both understandable and

justified.

WORKS CITED

Aarnes, William. 'Tragic Form and the Possibility of Meaning in Death of a Salesman.' Arthur Miller's Death of a

Salesman: Modern Critical Interpretations. Ed. Harold Bloom. New York: Chelsea House, 1988. 84-110.

Bigsby, C. W. E. 'Death of a Salesman: In Memoriam.' Modern Critical Interpretations. Ed. Harold Bloom. 113-128.

Dukore, Bernard F. Death of a Salesman and The Crucible. Atlantic Highlands, N.J.: Humanities Press International, 1989

Hynes, Joseph A. ''Attention Must be Paid . . .'' Death of a Salesman: Text and Criticism. Ed. Gerald Weales. New York:

Viking, 1967. 280- 289.

Miller, Arthur. Death of a Salesman. New York: Viking Compass Edition, 1958.

287.          Death of a Salesman

Willy Loman: A Man With A Dream

A common idea presented in literature is the issue of

the freedom of the individual in opposition to the

controlling pressures of society.  Willy Loman, the main

character in Death of A Salesman by Arthur Miller,

epitomizes this type of person; one who looks to his peers

and co-salesman as lesser individuals.  Not only was he

competitive and overbearing, but Willy Loman sought after an

ideal that he could never become: the greatest salesman

ever.  Determined to make money, Willy became uncontrollable

and somewhat insane.  Through his dialogue and actions,

Willy Loman portrays a character of insecurity, persistence,

and unknown identity.

From the very beginning of his life, Willy Loman

experienced problems with his popularity and personality.

His last name is a pun on a "low man."  He is at the bottom

of the business world as an unsuccessful salesman.  In

addition, his theories on life and society prove to be very

degrading, not to mention influential to his mind set every

day.  Willy believes that being well-liked and having a

personal attractiveness, together, can bring success, money,

and many friends.  Ironically, Willy does not have many

friends and many people do not like him.  With a beauty

unlike others, Willy thinks that doors will open and

problems will all disappear.

As a salesman, Willy developed many hindrances that

caused his mind to deteriorate.  His life as a salesman was

built on a dream that he witnessed as a child.  At an early

age, Willy heard of a salesman, Dave Singleman, who could

make his living out of a hotel room.  Singleman was very

successful and when he died, people from all over the

country came to his funeral.  It was this ideal that Willy

Loman sought after.  All he ever wanted was fame,

popularity, and a few friends.  Unfortunately, when Willy

died, not a single person went to his funeral.  His life,

one that was spent trying to become another person, namely

Dave Singleman, was a waste as no-one even wanted to see him

buried.

In reflection of his career with the Wagner Company,

many other problems arose that forced economic difficulties

on him and his family.  He was determined to live by ideals

that placed him above everyone else.  It was with these lies

and illusions that Willy's life began to lose its' air of

reality.  He lost his identity, courage, and dignity

throughout New England as a salesman.  And as he explained

often, "I have friends...They know me up and down New

England."  Realistically, though, Willy was not successful.

He did not have friends and people did not like him in New

England.

"With his self-identity weakened and undermined, Willy

lost his grasp of things in general." (P.P Sharma, critical

analysis)  He spent hours on hours dreaming of the past.

Thinking of himself and his son Biff who had potential, but

did not take advantage of it.  Biff was Willy's inspiration

as a father.  He had the determination to become a great

football player, not to mention make something with his life

and the Loman name.  However, Biff flunked math and threw

all of his opportunities away.  It was with these

circumstances that Biff and his father began to separate.

Willy always promised his sons prosperity and good-fortune,

but he could not give that to him and when he lost Biff, his

life became an even larger failure.

In other memories and illusions, Willy often replays

the moments with his brother, Ben.  Specifically, the time

when Willy was offered a job in Alaska; the job which would

have made him an enormous amount of money haunts Willy every

time he tries to sell his Wagner stockings, only to have his

sales come up lame.  With low sales and age, Willy decided

to ask for a job in New York.  And it was at this time that

his company decided to stop paying by salary, but solely on

commission.  And for a man who cannot sell well, the loss of

a salary is very detrimental to his well-being.  "Although

Willy is aware, maybe dimly and imperfectly, that he is not

cut out for success in the world of trade and commerce, he

nevertheless nurses the dream of getting the better of

everybody else.  And this leads him into an alienation from

himself, obscuring his real identity." (P. P. Sharma,

critical analysis)

Willy's life would have been more satisfying had he

engaged himself in more physical work that would occupy his

mind.  His life was situated on a dream for success and

prosperity.  When it never arrived, Willy spent a lot of

time, just brainstorming how to make his life what he wanted

it to be.  Putting his family aside, Willy committed a

terrible sin.  In Boston, during one of his business trips,

Willy cheated on his wife.  He met a woman who would be very

cheap for an evening, and as a boost of confidence, Willy

spent the night with this low-class woman.  Unfortunately,

his son Biff, who was surprising his father in Boston,

walked in on the two, thus causing a situation that would

forever haunt Biff.  His thoughts of his father as an

influential salesman in New England were all lost.  What

appeared, instead, was the belief that his father was a

loser with no potential to ever support his family.  It was

at this time that they their lives spread apart.

Using that situation as a downfall and the many others

that occurred in Willy Loman's life, it was not surprising

when he killed himself.  In search of happiness, Willy

believed that he could give his family what they wanted if

he only left the world.  But, his dreams were wrong, as his

family did not even care enough to go to his funeral.  He

died for things that he had lived for- his sons and

illusions of prosperity.  Ironically, though, his life was

not worth the happiness of his son's.  And his life was

definitely not worth the sacrifice that he made for them his

entire life.

Willy Loman died still unsure of his status in the

business world.  He wanted success and money, but at the age

of sixty-one, he realized that these goals would never be

reached.  His identity was lost and his presence on earth

unknown.  Willy Loman was influenced by society in that he

could not overcome the pressures of selling and making

money.  His life long dream was happiness, but that never

came either.  The pressures of society killed a man who once

had courage and determination.  But, as his life moved

further, Willy Loman lost his ability to see the world

clearly.  All his eyes could observe was despair and

insecurity.  It was through his beliefs that he decided to

end his unhappiness, by ending his life.  Willy Loman died a

lost identity, but one that found himself for a brief period

of time; long enough to end his life forever.

288.          Death of the Superstars Essay

Death of the Superstars

Have you ever wondered what it would be like to listen to some of the

greatest music stars of our time. I'm talking about the stars that never made it

to full prominence. The list of players is alarmingly high and sad. The

potential of these performers never met. It would be something to see what the

music of today would be like.

I was reading a book awhile back. Don't laugh, I read sometimes. It was

a book from I'm sorry to say, Stephen King. All right I'm not sorry. I like him!

Anyway, it was called something like, "They Have a Great Band There!" It was a

story of two young adults driving along a country road, the young man driving

was obviously lost but wouldn't admit it. I'm told guys do that often. As the

road continued to narrow and the brush continued to close in on them. They

suddenly found a sign that had the name of a town that neither one of them heard

of. They decided to go down and see if someone could give them directions. They

soon were out of they're car and looking for someone to help them. They both

noticed at the same time that the man behind the counter of the local pub that

they were in looked a lot like John Lennon. They also noted the young lady

singing in the corner looked and sounded incredibly like Janice Joplin. The book

or should I say short story continued on as only King could, people dying ,

strange conversations and just weirdness in general.

Now, I told that little story because I wanted to give you a little

background on why I chose this subject. What would have happened if Jimi Hendrix

had lived? His music lives on even today. When he was alive he only release 3

studio albums and if you go into the stores you probably will find no less than

10 different albums from him. Today's kids and people supposedly in the know,

like to put music into different categories. Rap, Alternative, Rock, Jazz,

Classical. Hendrix crossed all those. I not being black wouldn't know for sure

but, would his living have spawned more black rock musicians. Say that happened.

Would it be possible that in today's music. There might be more black people

listening to rock music and less whites. I say this cause if he did live on and

became a role model for young black musicians. There might be more interest in

rock than there is currently. A little story about Jimi. A couple of the

Beattles' were going to a show where Hendrix was playing. As they made they're

way to the front door. Eric Clapton comes out. Paul McCartney says, "Is he that

bad?"(It was Hendrix's first show in those parts) Clapton says, "He's that

good!" And walked off. He was an innovator. Bought down by the vices of his time.

On the other side of the scale. Elvis Presley, yes the King, is loved by

millions of people around the world. Now I'm thirty years old and I personally

was never a fan. I give my age because maybe it is a generation thing. Anyway.

Elvis lead a life of excess and it finally caught up with him. But, lets say he

lived. Would he be as loved today as he is now. I say he looses a few million

fans along his drug infested way. Sooner or later he would get caught doing or

buying drugs and would lose respect of some of his most adoring fans. But, as it

happened he supposedly died. Maybe King will write about that.

Lets look at another what if. James Dean although not a musician or

singer but, an actor. Dies in a car crash at the start of his young career. I've

seen Rebel Without a Cause, although a decent movie it wasn't that great. He

made a lot of grimacing faces and the industry falls in love with him. Let him

stay around and make a couple of flops. Lets see him come back from a Bronco

Billy movie or even a Jungle to Jungle movie. Most of his fans would yell,

"Travis your a year too late!" Get it, Giant?

Why is it that only the good guys and girls die young. Remember that

song. Why couldn't it have been some garage band that went down in flames

instead of Lynard Skynard. Shoot for that matter now  that we're on the airplane

kick. I'm sure the Big Bopper and Richie Valens and the guy with the big horned

rimmed glasses wishes that it was someone else on that plane. Does someone up in

heaven say wow he/they sound great get them up here. I can just see a Don King

look alike up there promoting all new acts that will be performing soon.

I'm sure one of my favorite musician of all time, Stevie Ray Vaughn,

should have pulled a John Madden and traveled by bus that fateful night. Instead

of part of some crash site from the gods. I wish he was still around. I'm sure

he had a couple hundred more songs in him. There should be a law that says if

your a great musician, you cannot fly.

I'm sure that everyone has there own favorites that never made it. For

all the Salsa fans out there. Don't worry, I haven't forgotten you. Why would a

member of your fan club, shoot and kill you as did the woman that shot Selena. I

don't get it. She might have made a big difference in the life of some young, up

and coming latina. Then again maybe not.  Besides I loved the outfits!

Jim Morrison the now dead ex-lead singer of the Doors. Although I was

never a fan of the Doors growing up. I used to say death before the Doors. But,

that's another story.He was a also a pioneer in his music lyrics. I think his

music made the movie Apocalypse Now incredibly good. His music really set the

mood. I think he would be good in today's music world. The Doors would be doing

there 2nd reunion tour this year.

I'm throwing out all these names to point out what a big loss society

suffered with all these premature deaths. Today's music would be incredibly

different. How, I don't know. Wouldn't it be great if you could travel in time

and go back and stop some of those deaths. Then go into the future and see the

change. If there was one at all.

So what have we learned from this blurb. We learned that in the course

of our short little history. Music history I should say. We learned that there

were a lot of very talented, gifted, stupid people. I say stupid because. Their

constant drug use and mind expanding experiments cost us all. We never will see

the all-time band.  Sam Cooke on vocal, John Lennon, Marvin Gaye singing backup,

Keith Moon on Drums, Jimi Hendrix and Stevie Ray Vaughn on guitar. You'll have

to put your favorite bass player in there cause I can't think of one who died.

Isn't that funny. Why isn't there any great dead bass players.You know what,

that would make a great velvet painting! Sorta like the dogs playing poker!!

289.          Death of the Superstars

Death of the Superstars

Have you ever wondered what it would be like to listen to some of the greatest music stars of our time. I'm talking about the stars that never made it to full prominence. The list of players is alarmingly high and sad. The potential of these performers never met. It would be something to see what the music of today would be like.

I was reading a book awhile back. Don't laugh, I read sometimes. It was a book from I'm sorry to say, Stephen King. All right I'm not sorry. I like him! Anyway, it was called something like, "They Have a Great Band There!" It was a story of two young adults driving along a country road, the young man driving was obviously lost but wouldn't admit it. I'm told guys do that often. As the road continued to narrow and the brush continued to close in on them. They suddenly found a sign that had the name of a town that neither one of them heard of. They decided to go down and see if someone could give them directions. They soon were out of they're car and looking for someone to help them. They both noticed at the same time that the man behind the counter of the local pub that they were in looked a lot like John Lennon. They also noted the young lady singing in the corner looked and sounded incredibly like Janice Joplin. The book or should I say short story continued on as only King could, people dying , strange conversations and just weirdness in general.

Now, I told that little story because I wanted to give you a little background on why I chose this subject. What would have happened if Jimi Hendrix had lived? His music lives on even today. When he was alive he only release 3 studio albums and if you go into the stores you probably will find no less than 10 different albums from him. Today's kids and people supposedly in the know, like to put music into different categories. Rap, Alternative, Rock, Jazz, Classical. Hendrix crossed all those. I not being black wouldn't know for sure but, would his living have spawned more black rock musicians. Say that happened. Would it be possible that in today's music. There might be more black people listening to rock music and less whites. I say this cause if he did live on and became a role model for young black musicians. There might be more interest in rock than there is currently. A little story about Jimi. A couple of the Beattles' were going to a show where Hendrix was playing. As they made they're way to the front door. Eric Clapton comes out. Paul McCartney says, "Is he that bad?"(It was Hendrix's first show in those parts) Clapton says, "He's that good!" And walked off. He was an innovator. Bought down by the vices of his time.

On the other side of the scale. Elvis Presley, yes the King, is loved by millions of people around the world. Now I'm thirty years old and I personally was never a fan. I give my age because maybe it is a generation thing. Anyway. Elvis lead a life of excess and it finally caught up with him. But, lets say he lived. Would he be as loved today as he is now. I say he looses a few million fans along his drug infested way. Sooner or later he would get caught doing or buying drugs and would lose respect of some of his most adoring fans. But, as it happened he supposedly died. Maybe King will write about that.

Lets look at another what if. James Dean although not a musician or singer but, an actor. Dies in a car crash at the start of his young career. I've seen Rebel Without a Cause, although a decent movie it wasn't that great. He made a lot of grimacing faces and the industry falls in love with him. Let him stay around and make a couple of flops. Lets see him come back from a Bronco Billy movie or even a Jungle to Jungle movie. Most of his fans would yell, "Travis your a year too late!" Get it, Giant?

Why is it that only the good guys and girls die young. Remember that song. Why couldn't it have been some garage band that went down in flames instead of Lynard Skynard. Shoot for that matter now  that we're on the airplane kick. I'm sure the Big Bopper and Richie Valens and the guy with the big horned rimmed glasses wishes that it was someone else on that plane. Does someone up in heaven say wow he/they sound great get them up here. I can just see a Don King look alike up there promoting all new acts that will be performing soon.

I'm sure one of my favorite musician of all time, Stevie Ray Vaughn,  should have pulled a John Madden and traveled by bus that fateful night. Instead of part of some crash site from the gods. I wish he was still around. I'm sure he had a couple hundred more songs in him. There should be a law that says if your a great musician, you cannot fly.

I'm sure that everyone has there own favorites that never made it. For all the Salsa fans out there. Don't worry, I haven't forgotten you. Why would a member of your fan club, shoot and kill you as did the woman that shot Selena. I don't get it. She might have made a big difference in the life of some young, up and coming latina. Then again maybe not.  Besides I loved the outfits!

Jim Morrison the now dead ex-lead singer of the Doors. Although I was never a fan of the Doors growing up. I used to say death before the Doors. But, that's another story.He was a also a pioneer in his music lyrics. I think his music made the movie Apocalypse Now incredibly good. His music really set the mood. I think he would be good in today's music world. The Doors would be doing there 2nd reunion tour this year.

I'm throwing out all these names to point out what a big loss society suffered with all these premature deaths. Today's music would be incredibly different. How, I don't know. Wouldn't it be great if you could travel in time and go back and stop some of those deaths. Then go into the future and see the change. If there was one at all.

So what have we learned from this blurb. We learned that in the course of our short little history. Music history I should say. We learned that there were a lot of very talented, gifted, stupid people. I say stupid because. Their constant drug use and mind expanding experiments cost us all. We never will see the all-time band.  Sam Cooke on vocal, John Lennon, Marvin Gaye singing backup, Keith Moon on Drums, Jimi Hendrix and Stevie Ray Vaughn on guitar. You'll have to put your favorite bass player in there cause I can't think of one who died. Isn't that funny. Why isn't there any great dead bass players.You know what, that would make a great velvet painting! Sorta like the dogs playing poker!!

290.          Defense Statement

Defense Statement

Ladies and gentlemen of the jury, we, the defense, have shown you that there is no reason that George did not do the right and humane thing by shooting Lenny and that he is innocent of all charges against him.

I agree with the prosecution however when they say that murder is unlawful, but would you say what George Milton did was murder? He was saving a life more than taking one. Lenny was already "dead" in a sense at the point that George pulled the trigger. There were a lot of men with shotguns and hunting dogs searching for Lenny, who had absolutely NO chance of escape. For the men who worked at the farm were almost on to where Lenny was hiding and there was no time for Lenny and George to run. If Lenny were to fall in the hands of the people, he would have been tortured and killed. He would have died with the worst feeling of all in his body, hatred, and the hatred of himself.

What Lenny did was wrong, but he did not understand. He was mentally handicapped. He was a very caring person, but did not realize his own strength. The men did not understand that he didn't mean to do it and were going to make sure he had a cruel death.

George in a sense "saved" Lenny's life by making sure he died happily and not in the face of strangers that were hitting him and torturing him.

Ladies and gentlemen, I beg you, this man is innocent. He didn't do anything wrong unless being a humanitarian is a crime. Thank you for your time.

291.          Den store gevindst

Den store gevinst.

Triviallitteraturen er skrevet til det brede publikum. Men ikke til alle. De der interesserer sig for den dybere mening med teksten og dens budskab finder ingen tilfredsstillelse i triviallitteraturen. Triviallitteratur har sin største udbredelseskilde i ugeblade og romanblade. Faktisk er det svært at opdrive triviallitteratur andre steder end her. Dermed bliver triviallitteratur læst af de, der køber disse blade. Heri regnes fortrinsvis middelaldrende kvinder, som er nået til det punkt i deres liv, hvor de ikke længere synes de er unge. Med til gruppen af Triviallitteraturlæsere hører også unge piger, der drømmer om rigdom, berømmelse og prinsen på den hvide hest. J.F. Jensen har skrevet sit syn og sin fortolkning af triviallitteratur, og derigennem vil jeg nu give min fortolkning af trivialnovellen, Den store gevinst.

Ref.:    Trivialnovellen er en romantisk fortælling om Karla der arbejder på en fabrik. Hun drømmer om den store lykke, som hun vil finde ved at vinde i en lodtrækning. En dag da hun kommer hjem fra arbejde møder hun en af sine naboer som hun ikke har snakket med før. Han hedder Morten og han har lige vundet i det samme spil som Karla spiller i. Han inviterer Karla ud at spise så han har en at dele sin glæde med. Da Karla kommer hjem opdager hun at hun har vundet den helt store gevinst, men hun fortæller ikke Morten om det. Nogle dage senere fortæller Morten Karla, at han havde set forkert på trækningslisten, og at han alligevel ikke havde vundet. Morten insinuerer at han ønsker en at dele sit liv med, og Karla tager imod udfordringen. Karla og Morten har nu fundet lykken sammen. Karla fortæller ikke Morten at hun har vundet, da det i deres forhold ikke betyder så meget som den lykke de nu har sammen.

Overskriften Den store gevinst fører hen til Karlas løsning på problemerne. Ifølge J.F. Jensen er det hovedpersonen går og drømmer ikke den rigtige løsning på problemerne. Blot en udskydelse eller et lille pusterum. Denne løsning kalder J.F. Jensen den umiddelbare løsning, som ikke kan bruges på lang sigt. Dette karakteristiske træk ved triviallitteratur er ifølge J.F. Jensen aldrig den ægte lykke. Man finder ikke lykken i det man drømmer om. Således heller ikke i Den store gevinst. Det Karla går og drømmer om er penge. Men da hun i stedet finder Morten betyder penge ingenting. Altså var det at komme fra fattigdom til rigdom ikke lykken. Det indskydes også at det ikke er personerne der er noget galt med i novellerne, men deres forudsætninger for at blive lykkelige. Det er altså ikke Karla der ændrer sig, men derimod hendes omgivelser, som ændres da hun møder Morten.

J.F. Jensen opstiller denne opbygning af triviallitteratur inddelt i tre grupper. Citat: For det første nogle problemer, for det andet nogle forudsætninger for problemerne og for det tredje nogle løsninger af problemerne. Citat slut. Overføres dette på Den store gevinst, har vi Karla i en umiddelbar disharmoni med sig selv og sine omgivelser. Dernæst præsenteres en blotlagt løsning på hendes problemer, hvori hun kan komme i fuldkommen harmoni med sig selv. Dette lykkes dog ikke

til fulde og hun må stadig leve i disharmoni. Og til sidst den endelige løsning på hendes trængsler. I J.F. Jensens ånd ikke den umiddelbare løsning, (det modsatte af hendes udgangsposition / hendes drøm), men noget helt andet. Dog er der stadig problemer til. Løsningen på problemerne er stadig en flugt fra virkeligheden. Løsningerne er falske idet personerne ved at finde kærligheden sjældent kommer væk fra deres egentlige problemer. Her falder J.F. Jensens teorier og Den store gevinst lidt fra hinanden. Ifølge J.F. Jensens teori om at der tages afstand fra de egentlige problemer og det er de forkerte problemer der findes løsninger på og de egentlige stadig er der. Skulle Karla i Den store gevinst ikke have vundet de penge. Hun skulle kun have "vundet" Morten. Hvis J.F. Jensens teori skulle holde stik måtte Karla tilbage til fabrikken for stadig at have råd til at leve, men i Den store gevinst får hun både pengene til at komme væk fra fabrikken, plus hun får en ny tilværelse med Morten. Altså har Forfatteren i modsætning til de stereotype trivalnoveller tænkt lidt videre og fundet både den umiddelbare og den dybdegående løsning på Karlas problemer.

Triviallitteratur dyrker læsernes problemer og hensætter dem for en stund til den verden hvor håbet om en lykkeligere tilværelse bliver opfyldt. Når læserne lider at ensomhed og erotisk kontakthunger finder de trøst i lægeromaner, og holder håbet oppe. Men triviallitteratur holder også liv i sig selv ved at fortælle, at i det er normalt at sådan nogle ting sker. Og dermed stiger håbet om en anden tilværelse, og når det ikke opfyldes er der brug for trøst fra triviallitteraturen. Dermed er cirklen sluttet og en ny generation af drømmere kan komme på banen. Triviallitteratur er jo nok kommet for at blive. Man kan bruge den forskelligt. Blot som tidsfordriv eller underholdning om man vil, men når alt kommer til alt vil nok altid fortrinsvis være de hjemmegående husmødre og andre der sukker efter forandring og spænding, som vil læse triviallitteratur.

292.          DeStijl 2272

De-Stijl(The Style),also called " Neoplasticism" is recognizable by the use of straight horizontal and vertical lines as well as the use of the primary colors red, yellow and blue. They also used the colors black, white and gray. It is a style that went back to the fundamental elements of the art: color and form, level and line. With these elements the artist developed new sculptural language and with that the placed the ideal world opposite the reality.

&lt;Tab/&gt;Most of the artists used closed and open forms, density and space, color and form. But using these elements within one painting, the ideal harmony could be reached. All the elements have their own function in totality.

&lt;Tab/&gt;The lines are the borders and make the open or closed forms. The lines are also used to create a certain space. The border of the painting is not the end of the painting. By using only the primary colors, the artist could create a 3-dimensional effect. The colors attract immediate attention and the rest of the painting seems to go to the background. It looks like the white forms are further back than the colored forms. Therefore, the artists created a front and a back in their paintings.

The development of De Stijl

The De Stijl movement was started in Netherlands from 1917 to 1931. The founder, Theo van Doesburg started a group which was an association of painter Piet Mondrian, Bart van der Leck, and Vilmos Huszar, the architect Jacobus Johannes Pieter Oud, the poet and essayist Antony Kok and other artists. Theo van Doesburg applied De Stijl principles to architecture, sculpture and typography. He edited and published the journal "De Stijl" from 1917 until his death in 1931. This publication spread the movement's theory and philosophy to a large audience. De Stijl advocated the absorption of pure art by applied art.

&lt;Tab/&gt;In the late 1910s, paintings by Mondrian, Burt van der Leck and van Doesburg were indistinguishable. These artists used primary colors, red yellow and blue with black, gray and white, straight horizontal and vertical lines, and flat planes limited to rectangles and squares. With their visual art form, De Stijl artists believed beauty arouse from the absolute purity of the work. They explained how they aimed to bring about the purification of different fields of the arts by searching for the most fundamental elements of each separate field of art and then uniting these elements in a well-balanced relationship. Therefore, the content of their work then became universal harmony, the order that pervades throughout the universe. This attitude was widespread during World War I.

One of the most important factors in the development of De Stijl was the neutrality of Holland during the First World War. In 1929, Theo van Doesburg wrote" Though there was no war in our neutral Netherlands, yet the war outside caused commotion and a spiritual tension...This war, raging at our borders, drove home many artists who had been working abroad. Such as Van der Leck hurried home from a trip to Morocco, and Mondrian, who had come from Paris to visit his ill father, was forced to remain in Holland for the duration of the war..."

At that time it was very confused in Holland. The people wanted peace, rest and harmony again. The members of De-stijl tried to reflect in their work what in the entire social development could not be achieved, "the Ideal Harmony". In 1932, Mondrian wrote" It was a painful time, the time of the Great War, in Holland as well...In spite of everything, in Holland there still existed the possibility of being preoccupied with purely ethical questions. Thus art continued there, developed there and what is particularly remarkable, is that it was only possible for it to continue in the same way as before the war. "

&lt;Tab/&gt;

At this time only in neutral Switzerland (Dadaism) and revolutionary Russia (Suprematism and Constructivism) was there a similar co-operative development. These three movements: De Stijl, Constructivism and Dadaism, were later to come together and interact during the early 'twentieth-century art, architecture and design.

The beginning

At the outbreak of war, during the period of military service, Theo van Doesburg started the idea of a group or association of artists and architects and a periodical in which they could express their view. Here he met the poet and essayist Antony Kok, who was to be one of the founder members of De Stijl. In 1915, van Doesburg had contacted Oud and Mondrian, and they discussed the idea of a magazine. In the early 1917, van Doesburg visited Modrian and van der Leck who were both living at Laren, near Amsterdam, and tried to earn their support--van Doesburg had for some time been an admirer of Mondrian's work.

&lt;Tab/&gt;Modrian's main contribution to the development of De Stijl was the series of 'plus and minus' paintings from 1914 to 1917. These are sometimes known also as 'pier and ocean' paintings because there inspired by the sea and pier at Scheveningen.

Van Doesburg sees the expressive means of all the arts as relationships between positive and negative elements. In music, sounds (positive) and silence (negative); in painting, colour (positive) and non-colour--black, white and grey--(negative); in architecture, plane and mass (positive) and space (negative).

In 1917 the first issue of the magazine "De-stijl" was published. The idea for this magazine came from Theo van Doesburg. It was meant for explaining his own work as well as the work of the other members of the alliance. For them the magazine was an instrument to discuss new modern art to spread their own ideas. During the years when De Stijl was published, there was not one signal exhibition in which all the members participated. All the members of De Stijl kept in touch mainly by mail, and mainly through van Doesburg, who is a sole editor for this magazine. Therefore, the artists of De Stijl knew one another's work and ideas From De Stijl.

The transformation

In 1919, both van Doesburg and Mondrian began to divide their canvases into small squares which were then used as the modules for asymmetric compositions. In 1920, Mondrian adopted a rather freer style of arranging flat rectangles of subdued primary colour and grays, whereas van Doesburg continued with his modular compositions until his introduction of the diagonal around 1924.

The split

Around 1922, several artists of De Stijl had already withdrawn, mostly after difficulties with van Doesburg. In 1922, there was a split in the inner circle of De Stijl, between van Doesburg and Oud. In the same year, the differences between van Doesburg and Mondrian that were to lead Mondrian's resignation surfaced for the first time. Due to van Doesburg developed his theory of elementary, which declared the diagonal to be a more dynamic compositional principle than horizontal and vertical construction, Mondrian stopped contributing articles to the journal in 1924. Therefore, a basic distinction can be made between De Stijl in the period before 1922.

The End

De Stijl ended in 1931 when Theo van Doesburg started a new magazine, called "Abstraction-Creation". That is the end of his membership of De Stijl, and the magazine "De Stijl" died as well. However, De Stijl, this new art style did not end completely. In some way, the other artists continued carrying out the principles of De Stijl, but individually in stead of as a group.

Piet Mondrian

Piet Mondrian was born on 7 March, 1872, at Amersfoort, Holland. He showed an art talent at his early age, but his parents expected him to prepare for a more conventional career than that of an artist. He met this requirement by enrolling in a program leading to a degree in art education. In 1892, he taught drawing lessons for secondary education. While he was giving these lessons, he attended evening-classes himself at the Rijksacademy in Amsterdam, Holland. Mondrian painted a lot during this period. His work from this period is mostly naturalistic and impressionistic.

&lt;Tab/&gt;In his autobiographical essay of 1942 Mondrian acknowledges that he was strongly influenced by the work of Picasso. In 1912, he moved to Paris, and from that time his paintings began to show the marks of the new trend. The colour scale in his paintings is reduced to shades of yellow, ocher, and brown, with a few accents in blue or green. His canvases of this "cubism" period are cubist abstractions. Modrian also reduced the diversity of natural forms to a framework of pictorial signs.

&lt;Tab/&gt;Gradually the curved lines and the obtuse or acute angles disappear from his compositions, and all that is left is a grid of horizontal and vertical lines, still broken here and there by a few diagonals. Slowly he subdues simplifies his color spectrum as well; the intermediate tones, such as gray and brown vanish gradually. In 1918, Mondrian no longer made up a composition from separate color planes against a solid background; now he divided the canvas into compartments with a pattern of horizontal and vertical lines and filled the compartments with different colours.

&lt;Tab/&gt;As a member of De Stijl, Mondrian started to write articles for the magazine. In these articles, Mondrian tried to explain his ideas and principles about Neoplasticism, also the ideas and principles of De Stijl. He clearly outlined the means and goals of Neoplasticism as below.

1.&lt;Tab/&gt;The plastic means must be the plane or rectangular prism in primary colors (red, blue and yellow) and non-colour (white, black, and gray). In architecture, voids are equivalent to non-colour; solids can be considered equivalent to colour.

2.&lt;Tab/&gt;The plastic means must be equivalent. Different in size and colour, they will nonetheless have the same value. In general, equilibrium calls for a large surface of non-color or empty space and a relatively small surface of colour or matter.

3.&lt;Tab/&gt;The oppositional duality in the plastic means is also required in the composition.

4.&lt;Tab/&gt;Constant equilibrium is attained through oppositional relationships and expressed in the straight line (limit of the plastic means) in its principal (rectangular) opposition.

5.&lt;Tab/&gt;The equilibrium that neutralizes and annihilates the plastic means is created by the relationships of proportion in which they are placed. These relationships create rhythm.

6.&lt;Tab/&gt;All symmetry will be excluded.

With this extremely limited arsenal of pictorial means, the painters of De Stijl aimed at presenting "the true vision of reality": an image of reality that should be independent of the accidents momentary perception and likewise of the arbitrariness of the individual temperament of the artist. The objectivity that Mondrian had sought for so long seemed now to be within reach.

&lt;Tab/&gt;Mondrian spent all the years of his sojourn in Paris from 1919 to 1938 in perfecting this style. Every painting he finished became the staring point for the next one. His pictures constantly grew purer and more radiant; the harmony he expressed in them became ever simpler and more powerful. In 1925, Mondrian's lozenge-shaped paintings appeared in answer to van Doesburg's attempt to use the diagonal. In the same year, because of van Doesburg's "deviation" from the principles of De Stijl, Mondrian left the group, but remained faithful to his own style.

&lt;Tab/&gt;Mondrian moved to America in 1940, in his sixty-eight year, that his art once more underwent a renewal. In the late works in New York, the black lines are replaced by colored bands or by a rhythmic sequence of little blocks of colour; the calm, contained rhythm of the canvases goes gradually over into rapid staccato flashes, into a powerful, dynamic movement. Mondrain's creative powers were renewed and inspired by the invigorating impact of metropolitan New York, by the quick rhythms of the new dances, and above all by the certainty of victory over tyranny. But before he could complete his masterpiece in the new manner, Victory Boogie-Woogie, a sparkling, twinkling dance of colours, Mondrian died in New York, five weeks before his seventy-second birthday.

&lt;Tab/&gt;Naturally, Mondrian and De Stijl exerted a considerable influence in the Netherlands. They also made an impact throughout the Western world. The De Stijl group had a term to designate spirit of their age, a spirit to which Mondrian and his friends always attached great importance and in which their art was consciously rooted. That term, which keeps recurring in the writings, was" the general consciousness of the time. " In the earliest of several De Stijl manifestoes, published in the November 1918 issue and signed by nearly all the members, including Mondrian, this term is emphasized for the first time: "There is an old and a new consciousness of time. The old is connected with the individual. The new is connected with the universal. The struggle of the individual against the universal is revealing itself in the world war as well as in the present day." Mondrian always regarded the striving for generalization, for a suprapersonal culture, as a characteristic of his age.

Reference/ Bibliography

Books

1.&lt;Tab/&gt;De Stijl 1917-1931/ Carsten-Peter Taschen/ Benedikt Taschen Verlag GmbH &amp; Co/ 1991

2.&lt;Tab/&gt;De Stijl / Paul Overy / Studio Vista Limited/ 1969

3.&lt;Tab/&gt;De Stijl: The formative Years, 1917-1922 / translated by Charlotte Loeb and Arthur Loeb / Halliday Lithograph in USA

4.&lt;Tab/&gt;A history of Graphic Design / Philip B. Meggs / John Wiley &amp; Sons, Inc. / 1998

5.&lt;Tab/&gt;Mondrian and De Stijl / Serge Lemoine / Art Data/ 1987

6.&lt;Tab/&gt;Piet Mondrian / Hans L. C. Jaffe / Harry N. Adrams, Inc. New York

Website

1.&lt;Tab/&gt;De Stijl / Artlex / Available at: Http://www.artlex.com

2.&lt;Tab/&gt;Piet Mondrian / MoMa.Org / Available at: Http://www.moma.org/collection/

3.&lt;Tab/&gt;Piet Mondrian / Art files / Available at: Http://www.the-artfile.com/uk/artists/

4.&lt;Tab/&gt;Piet Mondrian / the artists org / Available at: Http://www.the-artists.org/

5.&lt;Tab/&gt;Piet Mondriaan / the Mondriaan site / Available at: Http://www.modriaan.net/

293.          Development of Art Throughout History

The evolution of sculpture in ancient Greece is one of the most forthright examples of how art changes with the times and thoughts of the people. People, the Greeks in particular, were putting themselves in high standing as the epitome of form and relative celestial importance. There was an obvious transition of their work from the Archaic to the Classical Period. It became more refined as time passed and this showed me an example of how slow change produces dramatic effects. Three figures, created over an approximate period of 150 years, show the progress. From the 580 B.C.E. Kouros to the 525 B.C.E. Kuros from Anavysos to the Doryphorus of 450-440 B.C.E. With the increasing concern for the self in Greek culture we see a shift happening that is recorded in the attention and development of their art. Amazing changes began to take place and the sculptures serve as markers for an awakening of the human consciousness as we can see in later pieces. The naturalism of the sculptures seem to increase dramatically from the first, where the shoulders are wider than the hips and little detail is given to the chest and arms to the second, where the chest and stomach are better defined and the hips are better proportioned to the shoulders. More detail is given to muscle tone and shape in the second sculpture. The final piece is the culmination of decades and even centuries, of advancing realization in Greek art. We see the style moving into its most refined stages with hints of more beautiful and awe-inspiring works just over the horizon. One arm is relaxed while the opposite leg is also. The other leg and arm are tense. The head and hands are in perfect proportion and the figure looks as if it would move at any time.

High Renaissance refers to the climax of Renaissance art from c. 1500-1525. This was the period when painting especially reached its peak of technical mastery. Italian art attained the High Renaissance ideal of harmony and balance within the framework of classical realism, most notably in the work of artists Leonardo DaVinci (1452-1519), Michelangelo Buonarroti (1475-1564), and Raphael (Raffaello Sanzio) (1483-1520), along with the great Venetian masters, Titian (c. 1485/90-1576) and Tintoretto (1518-1594). But the finest sculptor of this time would certainly have been Donatello (1386-1466). It seemed that (with his statue of Saint Mark), for the first time since classical antiquity and in striking contrast to medieval art, the human body is rendered as a self-activating, functional organism, and the human personality is shown with a confidence in its own worth.

While many regional expressions of form developed throughout Europe, Romanesque often refers to all works of this era, including the later Norman variations. The most recognizable feature of these buildings is there massiveness. In a general sense, it is easy to distinguish such structures from their more slender descendants in the Gothic era. The Church of San Vitale is made of sliver and gold. The subject matter is two figures of Christ from his younger years and the other is from his martyrdom. Figures of apostles, animals, and birds are woven into a network of vines, branches, leaves, and grapes. The Church of San Vitale is found in Ravenna with a brick facing. It is a centrally planned church with a ground level, gallery, and clerestory. The inside shows Old Testament and New Testament scenes, symbols, patterns, and imperial portraits. Those are beautiful gold mosaics. The Apse Mosaic is found in San Vitale. This building is widely espoused as the "prototype Gothic building", but the cathedral is in fact a mix of different styles and is also extremely conservative in its structure. Built in a relatively short period of time, it is hailed as a "beautifully unified" building. In reality, there are numerous subtle adjustment and variations in the details. Gothic sculpture was calmer, grander, and more humane. Most of the early Gothic sculpture was created to decorate cathedral entrances. Some of the finest examples decorate the west facade of Chartres Cathedral. They probably portray Bible figures from the Old Testament.

While many religions have made use of figural images to convey their core convictions, Islam has instead used the shapes and sizes of words or letters. Because Islamic leaders saw in figural arts a possible implication of idolatry, Islam's early theocracy looked to the artistry of calligraphy for religious expression. In Islamic and Arabic cultures, calligraphy became highly respected as an art -- the art of writing. The primacy of the word in Islam is reflected in the virtually universal application of calligraphy. Writing is given pride of place on all kinds of objects--objects of everyday use as well as entire wall surfaces, mosque furniture, the interiors and exteriors of mosques, tombs, and al-Ka'ba, the most famous sanctuary of Islam. But like the icons of most other faiths, script also represents power. Arabic calligraphy is a primary form of art for Islamic visual expression and creativity. Throughout the vast geography of the Islamic world, Arabic calligraphy is a symbol representing unity, beauty, and power. The aesthetic principles of Arabic calligraphy are a reflection of the cultural values of the Muslim world. A thorough investigation into the aesthetic differences between Arabic and non-Arabic calligraphy might provide an approach for understanding the essential spirit of each culture.

From its inception in ancient India to the present, Buddhism has inspired some of the world's most astounding artistic creations. The tiny island nation of Sri Lanka off the southeast coast of India has a rich heritage of Buddhism and Buddhist art. Sri Lanka's role in the dissemination of Buddhism into Southeast Asia and beyond is undisputedly a major one. Scholars generally agree that after its decline in India after the 6th century, Buddhism remained a vital force in Sri Lanka, spreading its religious roots and artistic influences across the rest of Southeast Asia. The most elaborate and well known of the more than 50 magnificent Buddhist monuments that crown the hilltop of Sanchi, India, is Stupa Number One or the Great Stupa. It is part of an entire complex of structures, mostly stupas, built between the 3rd Century BCE and the 12th Century AD. The stupa is not a building in any traditional sense. Once a burial or reliquary mound, the stupa has become a purely symbolic object.

With the fall of the Tang Dynasty, the golden age of China was in decline. Once again, China was divided into five states. The Five Dynasties (906-960) produced undistinguished artists. However, the period of unrest laid foundation for the The Song Dynasty (960-1279 A.D.), which reunited China in 906 A.D. The new Song empire was smaller that its predecessor, the Tang. China's north eastern was still controlled by the Liao, which would succumbed to the Jin conquerers in 1126, the event forced the Song to vacate its northern capital to the more hospitable south. Thus began the era of the Southern Song rule. In contrast to the Tang, the Song rulers were introspective; they seek inspiration from traditional values and shied away from anything foreign. As a result, there was a renewed interest in Confucianism, Daoism and Buddhism.

Neoclassicists, whose tradition traced back to Greek art and architecture, considered their goal to be the perfection of humanity, and the consequential subduing of nature. The paintings of the Neoclassicists bear the mark of careful study in perspective and form, and reflect a world-view that is well ordered and anthropocentric (human-centered). In landscape, man and the creations of man enjoy the most conspicuous placement, especially those of Greco-Roman architecture or design. In portraiture, its subjects wear the most formal dress and neutral expressions, not seeking to provoke emotion but to present a clear, rational picture of a person or event. One example of a Neoclassicist painter is Jacques-Louis David. Naturalism enjoyed renewed popularity in the poems and literature of the Romantics, which expressed a reverence for nature and an appreciation of her many gifts. Its poets were Wordsworth, Coleridge, Lord Byron, Keats, Shelley, and Spencer, and among its philosophers were Rousseau, Hegel and Schopenhauer, they greatly influenced by the writing of Immanuel Kant. The contributions that Romanticism offered to the practice of portraiture were manifold. Of these, two of its more extraordinary themes are notable: the complex of the Romantic Hero, a concept that embraced the bold individual who achieved greatness and challenged the values of his time. One example of a romanticist painter is Antoine-Jean Gros.

In Japan, there has been existed the traditional Japanese arts for a long time. They have formed characteristic culture under the influences from China. But it is not clear whether we can call them "Art" or not. If you want to call everything including grotto painting, masks or decoration of daily necessities by the name of "Art", Japanese traditional architecture, crafts, painting, statues and poem would be of course Art as the Human inheritance. However, the idea of Art as the universal and perpetual domain of culture is just a fiction invented in European modernity. In Japan, this cultural project that registers the various esthetic fields into "Art", holds exhibitions, gives awards of painting or literature, introduces Art into the curriculum of university or collects works of Art in museums, began after the Meiji Restoration only 126 years ago. In addition to this, it was after World War II that the museums in the Western meaning not only for collection of historical inheritance but also for raising new cultural movements were born in Japan. In the development of Japanese modern Art, if limited in painting, there are mainly three domains, which have been progressing separately. The first domain is called Nihon-Ga, which means basically traditional Japanese painting but added with some modern sensibilities in it. That has purely Eastern style both in its materials and methods. But it would better be understood as a simulation of the traditional Japanese paintings. Another is called Yo-Ga, Western painting, however it has very limited simulation of certain styles of European painting, for example, Impressionism, Fauvism, Ecole de Paris or Expressionism before World War II. These two streams were institutionally established and guaranteed before War and they have very powerful influence even now in the system of Japanese Art. The third is Gendai-Bijutsu -- Contemporary Art --which is much more minor both in power and in popularity than them. This is the only group, which opens itself toward foreign countries, but they have no institutional foundation and must rely upon evaluation from abroad.

294.          Devolpment of Desire

The Development of Desire

The development of the male warrior, throughout literature, has a direct relationship with the  development of western civilization. The attributes a warrior holds, fall respectively with the attributes that each society held as valuable. These characteristics, started by societies ideals, become the warrior's only reasons for continuing their heroics. The ideals however do change with each warrior. At the beginning we have a warrior with one mission, which later the warriors become more challenged and have to change ideas and concepts to continue. The evolution of the warriors desires becomes the complex ideals that western civilization develops over time. With this progression of civilization, from simple to complex ideals, so will the evolution of the ideals and desires of our heroes change from simple to complex.

Odysseus is a man who is both strong and smart, but most known not for the brawn of his body, but the wits of his brain. A man who is loved in every country, but Trojan, and could stay where ever he chooses, his sailors knew this to be true as one bench mate to the next, "It never fails. He is welcome everywhere: hail to the captain when he goes ashore!" (Homer 166). The irony falls as Odysseus only desires his homeland. "Begin when all the rest who left behind them headlong death in battle or at sea had long ago returned, while he[ Odysseus] alone still hungered for home and wife" (Homer 1).

Odysseus has many opportunities to end his journeys and start a new life. For instance, if he desired, Odysseus was able to stay with Kalypso who wanted him forever, "Her ladyship Kalypso clung to him in her sea-hollowed caves- a nymph, immortal and most beautiful, who craved him for her own" (Homer 1). Kalypso knows even though she has Odysseus in her home, he is not hers to have. "Son of Laertes, versatile Odysseus, after all these years with me, you still desire your old home? Even so I wish you well"( Homer 87). To which Odysseus replies, "...Yet, it is true, each day I long for home, long for the sight of home..." (Homer 87). Another chance for Odysseus to start a new life is offered by the king of the Phaecians to marry his daughter and live there; "...seeing the man that you are, seeing  your thoughts are my own thoughts-my daughter should be yours and you my son-in-law, if you remained. "( Homer 120). In each case, Odysseus, only wants to return to his wife Penelope, his son, and most of all his homeland.

Odysseus, who endures many hardships throughout his journeys, always seemed to be one step ahead of the reader in knowing what to do to get out of a situation. The problems during the stories come not from Odysseus judgment, but the judgment of his men.  This became evident more than once when his men would disobey his orders, which resulted in death or peril. To illustrate, the story of the men taking the bag from Aiolos from under the deck right when they were at the sight of their homeland:

Nine days and night we sailed without event, till the tenth we raised our land. We neared it, and saw the men building fires along shore; but now weary to the bone I [Odysseus] fell into deep       slumber...but while I slept the crew began to parley: silver and gold , they guessed, were in that          bag....[bench mates] 'Who has gifts from Aiolos? He has. I say we ought to crack that bag, there's      gold and silver, plenty, in that bag!'   (Homer 166),

with such greed, by opening the bag, the adverse winds are unleashed with full fury. "Then every wind roared into a hurricane; the ships went pitching west with many cries; our land lost"(Homer 166). With these trials of Odysseus, and throughout the journey, we see Odysseus spares nothing on his return home. He loses men, ships, and wealth from Troy and the gods. With all the losses he sustains over the long journey he is unmoved, for his only passion is to return home.

Odysseus's biggest attribute is his personal control of emotions and events. He has many emotions throughout the story, but always exhibits control in thinking and actions. Look at the careful planning and patience when waiting for the time to kill all his suitors. Another duration, Odysseus wants to punish his men many times over for the greed and stupidity they show throughout their journeys, "My men are mutinous fools..." (Homer 146), but he controls his anger and continues on their journey back home. Odysseus, with such control, is the very model of a leader and king. Control was very valuable in Greek society. A perfect contrast to Odysseus's' control is the character Antinous. Antinous has no control over his emotions or actions, as he leads the ban of suitors, being the most brash of the suitors. Look at the anger he displaces on Odysseus during a dinner in which Odysseus is in disguise as a beggar:

God what evil wind blew in this pest? Get over, stand in the passage! Nudge my table, will you?             Egyptian whips are sweet to what you'll come to here, you nosing rat, making your pitch to           everyone!   (Homer 325).

The desire of Odysseus to returning home is that of pure dedication. This is easily seen throughout the text, by the rejections he sends to all who give him gifts to stay. This dedication falls into the ideals of the Greek culture, and the belief behind community above all other ideals. Wealth, and power would be nothing without the sense of community behind the individual. A careful look into the story of The Odyssey, points out Homer's feelings of when the sense of community can be abused with the presentation of the suitors.  A statement speaks of Odysseus's absolute desire to return home. When he nears Ithacas' shores which falls asleep from exhaustion, his men doom him by taking the gift from Aiolos, as mentioned previously in the text, the gloom and despair Odysseus confesses to as the thought he whispers to himself, "Roused up, despairing in that gloom, I thought: 'Should I go overside for a quick finish or clench my teeth and stay among the living?'..."(Homer 166). Such a thought does occur to our hero, but he fights to return home instead of taking the simple way out, and eventually becomes triumphant in his desire.

Beowulf becomes a different type of male warrior which surfaces at a new time in civilization from The Odyssey. Written after the ancient civilizations of Greek and Rome, dawning in the hour of the dark ages. Our warrior surfaces during a time when different tribes throughout Europe were trying to keep their different identities alive. To accomplish such a feat, the warriors of this era had to have an ideal that connected them to their tribe, but ,above all, the warriors had to be menacing. The ability to scare away invasions by the rumors of their warriors is possibly how the story of Beowulf first surfaced. This is where Beowulf's size and strength become a valuable attribute to the society. He is the epitome of pure strength and power. He is also a man who is the first story in which our hero is Christian. In the stories before Beowulf, like The Odyssey and  The Aenied, the stories are between men and gods on an even playing field[Earth], but different level of players. It would be like a basketball game between high school players and NBA players. No longer are the events occurring between the gods and men, instead we have the super human versus those of the evil realm.

Beowulf becomes more complex as a warrior, and a character who transforms throughout the story:

To you I will now put one request, Royal Scylding, Shield of South Danes, one sole favor that you will not deny me, dear lord of your people, now that I have come so far, Fastness of Warriors; that I alone may be allowed, with my loyal and determined crew of companions, to cleanse your hall Heorot As I am informed of this unlovely one is careless enough to carry no weapon, so that my lord Hygelac, my leader in war, may you take joy in me, I abjure utterly the bearing of sword or shielding  yellow board in this battle! With bare hands shall I grapple with the fiend, fight to the death here, hater and hated! He who is chosen shall deliver himself to the Lord's judgment (Beowulf 64-5).

He is a man of honor, and seeks that honor throughout his life. He feels that the fight shall be on even terms, of no weapons on each side. This honor is another aspect of the society of the times. The idea of honor to your allies and towns people to help them with their needs was existent to survive in these times of invasions by other tribes and hoards, and strengthening the ties leading to the forming of nation states. He is also a man of God, with this statement, "...shall deliver himself to the Lord's judgment." (65) He vows to send Grendal to God for judgment on his evil deeds on earth. Beowulf as a warrior ,has two levels to his character; an upper level, of honor and religion, and a lower level of sheer emotion and power. Of these levels of Beowulf, we see the lower level dominates his personality with power and emotion dictating his actions and speeches, but later in life, as king, relies more on his religion and honor to dictate the judgment of what is right or wrong. No longer do the gods of Rome and Greek mythology dictate what is wrong or right, with offerings to appease the gods. With the knowledge in the warrior for what is, and will be, wrong, has an effect of making Beowulf an extension of God. In all these acts of honor, Gods glory above all is sought.

Sir Lancelot becomes the final touch to the evolution of the warrior. He is a warrior with all the attributes of the warriors before him. He has the skill of Odysseus with control of his emotions, thoughts, actions, and the same pure desire for something. He has the same honor, and belief in God's guidance to what is right as Beowulf believed. Before Lancelot, the warriors all battled the likes of monsters, either from the will of the gods or monsters on their own mission. Lancelot is a man who has no battles with superhuman beings or arguments with gods, but a fight within himself and the fight for his desire. A man possessed, he risks pride, reputation, body, and soul, all for the return of love from his lady Guinevere. His battles and stories are not all physical, as the previous warriors, but a mental triumph over the various tasks. Look at the ride in the cart and the battle within Lancelot to obtain the right decision on what to do:

Woe that he did this, and woe that he was ashamed of the cart and so did not jump in at once, for he would later consider himself  ill-fallen. Reason, which disagrees with Love, told him to refrain from climbing in and admonished and instructed him not to do or undertake anything that could bring him disgrace or reproach. Reason, which dared speak this way, spoke from his lips,  but not from his heart. But Love, which was enclose in his heart, urged and commanded him to climb into the cart at once. Love achieved his desire. The knight leapt up without concern for the disgrace because this was Love's will and command  (Beowulf 174).

Lancelot battles between his heart and mind on what choice to make. Yet we see Love is much more powerful in his desire, or as he says, "Love achieved his desire" (174). This is not the only case of such a battle in Lancelot, and it is not always over love.  This tale of honor by Lancelot, who saves a maiden who holds a deed he does not want to fulfill. Before the night is long, the maiden is attacked and pleas for help from Lancelot who thinks:

God what can I do? The object of my great pursuit is no one less than the Queen Guinevere. Having embarked on this quest for her, I must follow have the heart of a hare. If cowardice gives me her heart and I follow her rule, I shall never reach my goal. I am disgraced if I stay here. Merely to have spoken of remaining brings deep shame onto me now. My heart is sad and dark... May God never have mercy on me if I speak with pride and would not rather die with honor than disgrace  (de Troye 155).

The story shows the honor that Lancelot has for what he believes is right by God, although he knows by saving her will only mean that he will still have to sleep with her, which he replies "The object of my great pursuit is no less than Queen Guinevere" (155). Yet his feelings of honor takes hold and he goes on to save the lady of the castle, and feels horrible for his hesitation.  This sense of honor even goes above Beowulf's honor for what was Beowulf's desire. Lancelot holds it as something he must do even if it is against his desire. This is an attribute of the society of these times. The ideals of the society was that the knights would uphold honor above all other matters, even matters they disagreed with. Another aspect is this desire for courtly love with utter devotion to the admired and loved.

Perhaps the most compelling aspect of Lancelot is the act in which he hears of the rumor that Guinevere is dead. He becomes so sorrowful that he proclaims:

...My health is good, but you have struck me down. I am crushed, yet the sole                    pain I feel is the grief in my heart. This grief is an illness, indeed a fatal one, and I    wish it to be fatal  (de Troye 165),

at this he attempts to commit suicide, and fails. This act is completely out of love for Guinevere for which he believes is over. The "great pursuit" (155) for Guinevere, he believes is over, so to than will his life perish, for his life was nothing without her there. Yet, the passion he displays is nothing short of amazing, to love so strongly to risk his own personal beliefs for that love. The last complex piece to the puzzle of the warrior, not just personal sacrifice in time, or your life, but the ideals and beliefs one holds discarded for the desire to reach what he wants.

Evolution, over time, has shaped the ideas and beliefs on what the warrior holds in his journeys. That the warrior tales started with a man trying to return home, to a man sacrificing his beliefs for the love of a women. The desires of these warriors have been that of building blocks. Each one builds to the next ideal. Yet we see that all the desires were pursed with a persistence unsurpassed throughout literature and history. These men were able to fight insurmountable odds to achieve what they deemed valuable. It is the act of something no one would be able to challenge. Take the example of Lancelot and Sir Gawain, during The Knight in the Cart. Sir Gawain is praised as a noble, and a Valiant knight, while Lancelot is presented as a less knight than Gawain. Lancelot's sacrifice of his own beliefs only prove that these were acts above those of a normal person, even Sir Gawain, a higher more noble person than most, would not sacrifice as Lancelot . A perfect example of this is the cart scene in which Sir Gawain approaches the cart and sees Lancelot in the cart; "Sir Gawain galloped after the cart, and seeing the knight sitting in it, was amazed...He would certainly not climb in the cart, he said, it would be base in extreme to trade a horse for a cart" (de Troye 151), he was not ready to sacrifice the same as our hero Lancelot. These acts by Lancelot could be parallel to those of Beowulf and his physical fights and sacrifices throughout his story. Or that of Odysseus and the long journeys he had to endure to get to his homeland.

The most striking aspect of these warriors is the complexity of the characters themselves. We see that the travels of Odysseus is purely for his return for home, and return to the community he loves. He has no realization that he is anything else nor does he change his outlook on life from his journeys. Odysseus stays the same from beginning to end of the story even though time has taken many years from him. The story of Beowulf has a different development over the story. We watch as Beowulf transforms from a powerful young man who will go out and fight all;

Had they not seen me come home from fights where I had bound five Giants-their blood             was upon me- cleaned out a nest of them? Had I not crushed on the wave sea serpents by night in    narrow struggle, broken beasts? (Beowulf 64).

A man all-powerful among men, and yet he changes from the mercenary, to the king, against his wishes but what the town people most desired from him. This transformation from a man who helped people, for his own pleasure and honor, to a man who becomes helper of the people, not to the people. Last we have the change of a man who risks death by fighting, and running after Guinevere and her capture's on foot, and then sacrifices his own beliefs to be next to his love. He starts out as a man possessed to save Guinevere. To a man who is controlled, willfully, by Guinevere. Take the example of the fight between Meleagant and the stopping of the first fight:

..The last words she uttered, 'To show you my gratitude, I will Lancelot to halt,' had scarcely left             he lips when he would not lay a hand on his opponent or make a move, even if Meleagant were to     kill him  (de Troyes 162).

He would not defend himself for the sake of breaking this devotion to his love! A previous line in the text points out why Lancelot would do such an action during a battle,

A lover is obedient; when he is completely in love, he performs his beloved's pleasure eagerly and promptly. Thus Lancelot, who loved more than Pyramus- if love more than any man could- was compelled to comply  (de Troyes 162).

Such a power dominates his every thinking moment, even during the fight for his life and the life of those captured. This development of the warrior is one, close to the transformation of the King Beowulf to his people, but more complex. Whereas our hero Beowulf still sacrifices himself for his own honor and to help his people. The actions of Lancelot start as a man of individual status to one who is immersed in his devotion to the one he loves.

We are to understand that these attributes and actions our warriors have, are those which each society saw as grand and wonderful that all should strive for in their society. The strong sense of the homeland to Odysseus is what the Greeks were to strive for in the building of their empire around the main homeland of Athens. We see the attributes of Beowulf as important to the dark ages and the invasions of the Franks where our most important task seen for the warrior in the culture was to defend your hoard from all intrusion, evil or human. That the sacrifice for the hoard was the most honorable thing you would ever be able to achieve in your lifetime to the hoard. Last we have Lancelot, who shows the attributes most liked during this society is that of courtly love, honor, and the devotion one gives to their soul mate, with the relinquishing of his views for that of his lady's wishes. "he performs his beloved's pleasure eagerly and promptly" (de Troyes 162). The actions are fulfilled with eagerness and promptly for the love of the person.  Although each one has been similar in the way they are triumphant in there quest, and the men continue to look tough through all actions, the quality they start to show, subtly, is that of compassion and willingness to help all people, even if it circumvents their own desire temporarily.

The progression of society from the time of less diversified ancient Greek culture, to the explosion of diversity in tribes and people, creating identities and forming the groundwork for nation states, the warriors desires and attributes also rose from a single idea or goal, to that of complex characters and values. Where the complexity involved the ideas of laws pertaining to all. These laws, unwritten, developed through Beowulf, and latter in The Knight in the Cart, as that of honor. Overall, the development of characters became a way of projecting the proper ideals on the society to uphold. This became the link between the warriors and the civilizations they represented.

Works Cited

Boyle, Doebler, Lopez-Lazaro and Wright. Hum 301. Tempe AZ. Alternative copy shop, 1996

Homer.  The Odyssey.  Trans. Robert Fitzgerald.  New York:  Vintage Classics,  1990.

Unknown.   Beowulf. Trans. Michael Alexander. New York: Penguin Books, 1973.

Virgil.  The Aeneid.  Trans. Robert Fitzgerald.  New York:  Vintage Classics,  1990.

295.          Diamond In The Rough

Diamond In The Rough

Why Master P is set apart from all the other hard-core rappers? He owns his own music company and built his empire around No Limit (the hottest in the business). He was almost a NBA player, and he owns his own line of dolls (the Master P doll). His company makes a net worth each year of $361 million. His record company sold 26 million records in 1998, more then any other rap company. He also has made a lot of money in staring and directing in movies that profit at least $10 million each. He also has his own clothing line that makes a net worth of $10 million in 1999.

Master P has built his own record company, which many rappers have tried to copy, but he is different with all of them because he does not have a joint contract with any record labeler. In fact the head of No Limit's various enterprises-each division is actually a separate privately held company-has succeeded with a surprisingly sound fiscal strategy and has attracted a cadre of enterprising young executives to help him manage the company's meteoric growth. Master P has been one of the youngest people to hit on the worlds youngest

Rich that has been published in fortune magazine. He has learned and mastered the market as we no it and there will never be anyone else like him, and that's why he is a diamond in the rough, and will always be set apart in the elite few of the hard-core rappers and in the world of the young and rich.

296.          Diary of HatchetBy Gary Paulsen

H A T C H E T

By Gary Paulsen

10/01

Brian Robeson, the main character, is a very interesting kid.  After the first few pages you could tell that he was strong-minded, twelve or thirteen year old kid.  His parents were divorced and he spent some time with his dad.  He lived far away so Brian had to take a plane.  From the back of the book I knew that he gets in to a plane accident and has to survive on his own.  I was surprised that the author went right to the plane wreck.  I thought it would have a somewhat boring beginning like most other books I read. Brian keeps talking about how his parents got divorced and he cries every time he thinks about it.  He calls it the big "secret."  Brian keeps describing visions of his mom kissing some new man, not his father.  You can tell that he takes the divorce very seriously and sometimes gets emotional.

10/05

In this part of the book, Jake, the pilot, has a heart attack and dies.  To be honest, I, myself, have thought about what I would do if I was on plane and the pilot died.  I really don't know what I would do, I don't know how to fly a plane.  Luckily, Brian had been taught by Jake how to fly the plane.  Brian didn't know how to land so he flew the plane into a lake.  This part of the book was hard to believe, there was a lot of "coincidents."  Brian showed his intellectual side when he realized that when Jake was suffering from his heart attack he turned the plane to the left.  That could greatly increase the time it would take for a search party to find him.  I have to admit, so far this is one of the best opening parts I have ever read.  No dull pages.

10/08

After Brian crashed he was hurt pretty badly.  He ad no energy so he just slept on the shore.  I consider him very luckily that he did not blow up or something.  After awhile he was extremely hungry.  He found a gut cherry bush.   He ate so many he threw up.  This is another part that seems strange to me, I mean I wouldn't have clue to know how to survive in a deserted place.  However, Brian did.  He had seen some TV show about how to live in the wilderness.  He wove together sticks to make a door for the cave he found.  He tried to make a fire but he failed.  Brian already got in some trouble with the wildlife, a bear chased him.  I am glad that I have never had to go through what Brian is going through.  It would seem impossible for me to live in the woods.

10/12

Brian was very cold.  He couldn't figure out how to make a fire.  There was a small animal in his cave and he through his knife that his mother gave him before he left at it and he hit the wall, it made a shower of sparks.  This is where Brian's wit came into play.  He put two and two together and used the sparks to make a fire.  I am very impressed with the way he is handling the problems he is running into.  He is showing me that he is brave.  The fire kept him warm and misquotes away.  It sounds like to me that Brian is starting to make a home for himself.  I wonder if he is going to survive and make it home back to his family.

10/16

I noticed that Brian is starting to have physical and emotional changes.  His wounds have healed and his stomach has caved in.  He is going to have to get some more food or he is going to die.  He made spear to catch fish in the lake.  He is trying to make a bow and arrow to catch birds.  I think he really misses home now.   A plane flew near him and he tried to make a smoke signal but it was to late.  This really depressed him.  I mean think about it, he has a good chance of dying, he is hungry, basically he is miserable.  After the plane didn't see him, he wanted to commit suicide.  He cut his wrists, not enough to kill him and then went to sleep.  When he woke up, he had dried blood all over him.  He hated what he did.  I think it made him a stronger person though.  It made realize he is going to try his hardest to survive.  I don't know how he is going to get home.

10/19

In this part of the book Brian is experiencing animals of the wild.  He eats many fish and now can catch birds.  To me, everything seems to be going pretty good.  Things are starting to work out.  He gets in a fight with a big animal.  I t hurts him pretty badly.  The worst possible thing happens to him.  He changes everything.  It makes him just want to give up.  A huge storm comes over him and ruins everything.  He has to start all over again.  Everything he made is gone.  I think that would be the point where I would give up.

10/21

All he had was his hatchet.  I think the hatchet is a symbol of starting over again.  That is all he had in the beginning too.  Good things come out of bad things though.  The storm moved part ofthe plane out of the water.  He eventually makes a raft and makes a hole the plane.  Inside he finds a survival pack.  He eats the food and looks at all the stuff.  He plays with a S.O.S. gadget.  A plane picks him up and saves him.  It is weird to Brian having all the stuff in the survival pack that made life so much easier.  There was a gun in it, but I don't think he would of used it over the spear and bow and arrow he made.  I think that using the things he made from nature is fair to the animals.  It was hard for him, but he eventually learns.  A gun would be unfair, it seems so barbarian even though it is modern compared to the spear and bow and arrow.  I think Brian s now a man, his life has took a complete U-Turn.  I have respect for him even if he is just a character in a book, he is a brave man.

297.          Dicks Androids and Scotts Replicants Essay

Dicks' Androids and Scotts' Replicants

Michael Tschappat

Patricia Stull

English 102

11/25/96

Philip K. Dick has written over fifty novels, and is considered among some

of the greatest experimental writers of the 1950s and '60s, such as; William

Burroughs, J.G. Ballard, and Thomas Pynchon.(Star 34)  He has written science-

fiction and regular fiction.  His fiction usually spoke of people trying to

figure out who they are, or what they are supposed to be.  He is best known,

however, for his work in science-fiction, and this represents the majority of

his work.  He has, also, won awards for two of his science-fiction novels.  He

won the Hugo Award for best novel in 1962 for The Man in the High Castle and the

John W. Campbell Memorial Award for best novel of the year in 1974 for Flow My

Tears, The Policeman Said (Brians 1).   An opera has been based on one of P.K.D.

later novels, Valis (Brians 1). One of  his short stories, We Can Build It For

You, was made into a movie recently.  The movie was Screamers, starring Peter

Weller.  He has also had two of his novels,  We Can Remember It for You

Wholesale (Total Recall),  Do Androids Dream of Electric Sheep? (Blade Runner),

made into movies.  Of the two, Blade Runner (B.R.) has had the greatest impact.

B.R., however, differs greatly from Dicks' original novel, Do Androids Dream of

Electric Sheep? (D.A.D.O.E.S.)

Blade Runner was released in 1982 under the direction of Ridley Scott,

who also made another sci-fi classic, Alien.

The film begins in the city of Los Angeles.  The year is 2019.  The city of

Los Angeles is overpopulated, teeming with all sorts of humans.  Japanese ADs

are all over the place.    The Japanese input was strictly the director, Ridley

Scot's.  Scott saw the future world being controlled by the Japanese.  Philip K.

Dick did not mention this.  The planet is recovering from World War III,

although I'm not sure they actually say this.  In the book, the war is clearly

stated and was called World War Terminus.  The effects of the radiation has

mutated some people.  Only the ones who had not been disfigured or altered

genetically by radiation from the nuclear bombs could emigrate, (leave the

planet earth).  Some, who were perfectly healthy chose to stay, however.   They

stayed because they were stubborn and wanted to die on the planet they were born

on. The chickenheads had to stay, it was law.   Chickenheads is Dicks term for

the disfigured or the genetically altered.  They are also referred to as

specials.  There are no chickenheads in the movie.  None of this is made clear

in the movie, but this is what is explained in the novel.

The ones who do emigrate to other planets receive one free worker to help

them with their settling of a new home.  The worker is not human.  It is an

android.  In the movie they are called replicants or skin-jobs.  These are the

newest versions of androids, which were created by the Rosen Association.  They

are Nexus-6.   Nexus-6 mimic humans in every way, except in one thing, they have

no empathy.

Empathy is the ability to feel for another.  For example, if you cared for

a puppy that was beaten, skinned, and then left to die, that care would be

empathy.  Androids don't have this trait.  They would watch the puppies' skin be

removed without a blink in their eyes.  They can pretend to feel, but they'd

have to know first there was something disturbing about the skinning of a puppy.

The nonexistent empathy of replicants is never discussed in the movie, but it

is pretty obvious in the way they kill or try to kill.  This lack of empathy

scared many humans on earth, so a law was passed that didn't  allow androids on

the planet.

In the novel, this is where the bounty hunters come in.  Their job is to

retire (kill) the androids, who have somehow escaped to earth or just were never

weeded out from the other humans.

You might be wondering why I said bounty hunter instead of blade runner?

Well, the term blade runner is never used in the novel.  Apparently, Ridley

Scott wanted a specific name for the people who hunted down the androids.  He

didn't want to just  call them bounty hunters.   Scott was told of a William

Burroughs book named Blade Runner: The Movie.  The book was never a movie.

Burroughs just had that in the title.  Scott liked the way blade runner sounded,

so he bought the rights of the Burroughs novel (Blackwood).  That is how he came

up with the title and a name for the hunters of the replicants.

The way a blade runner  can know if an android is a human or not is through

the Voight-Kampff test.  This is shown in the movie, although not used as much

as in the novel.  The test consists of the tester setting up several scenarios

and seeing the testes's responses.  The responses are measured through dilation

in the eyes and the blushing of cheeks.  The blushing is recorded by a device

that is placed on your face and the dilation of the eye;  by a laser that shines

in your eye.  An example of something that Deckard or whoever was administering

the test  would say was:  "You are watching an old movie on TV, a movie from

before the war.  It shows a banquet in progress; the guests are enjoying raw

oysters."

"Ugh," Rachel said; the needles swung swiftly.

"The entree," he continued, "consists of boiled dog, stuffed with rice."

The needles moved less this time, less than they had for the raw oysters.  "Are

raw oysters more acceptable to you than a dish of boiled dog?  Evidently

not."(Dick 45)  A human would react more to the dog than raw oysters.  This

showed that this particular subject, Rachael Rosen, was an android.  It wouldn't

just be one question though, it would be many.  All would be something along

these lines, though.  After, he found out for sure; the android, ( or in the

movie: replicant), would be retired.  The Voight-kampff test is only shown at

the beginning of the movie when Dave Holden is administering the test to Polokov,

a replicant.

The main character of the novel and movie is Rick Deckard .   Deckard is

played by Harrison Ford.  He is a blade runner (bounty hunter) that has come out

of retirement. Rick  is hired  to track down  four androids: Roy Baty, Pris,

Luba, and Polokov.  The original number of replicants had been five, but one of

his colleagues, Dave Holden, had already retired one.  The name of the retired

replicant is never mentioned.   The original five had killed their human masters

on another planet, stolen a ship, and illegally come to earth.  In D.A.D.O.E.S.,

the original number of androids is eight and Holden retires two, leaving six for

Deckard.   Holden was only able to kill one;  because he is paralyzed by

Polokov, while administering the Voigt-Kampff test.  This, also, is what happens

in the novel: Polokov shoots a laser through Holdens' back.   So, Deckards'

search begins, and the hunt for the replicants' (androids) is on.

The remaining part of the film, is Deckard tracking down and killing the

renegade replicants.

When first released, B.R. was not a commercial success.(Star 39)  Some

audiences members loved it, but others didn't think it was so great.  The box

office showed the latter: not very good.  The film made little money.  But, one

thing that almost all people did enjoy from the film was the scenery and the

visionary background.  The set designs were wonderful.  Roger Ebert, a critic of

the Chicago Sun-Times said, " It looks fabulous, it uses special effects to

create a new world of it's own, but it is thin in its human story" (Ebert 1)

Ebert gave it an overall rating of three stars.  His opinion, though, summed up

the majority opinion of the few people who went and saw it at the theater.  The

special effects and background were great, but the plot was weak.  It was just

another action film, with a lot of violence; nothing unique about it.   Even

though the movie did not make money at first; over the years, it would become a

cult classic.

The late interest was most likely sparked by a new version  that would be

released years after the original release of the movie.  The version, Blade

Runner: The Director's Cut, was what the director, Ridley Scott, originally

wanted (Scott).    Apparently,  the original movie that came out at theaters in

1982 had been tainted by Hollywood producers, with editing (Berry 16).  They

said the film was too confusing and didn't have a happy ending.  "Preview

audiences found this ending too ambiguous and bleak" (Smith 2)  You have to have

a cheesy happy ending in Hollywood.

The 1982 release has Deckard and Rachael, (a replicant that is an exact

copy of the daughter of the President of The Rosen Association; he falls in love

with her), at the end,  riding off into the country.    Supposedly, these scenes

were out takes from The Shining (Smith 2)  The producers didn't like Scotts

ending.  In Scott's ending,  Deckard and Rachael enter an elevator, and then the

movie abruptly ends.  Too unhappy.

The producers also thought the movie was too confusing and not clear, so

they added a voice-over; someone narrating the story (Berry 16).  The narrator

was Deckard (Harrison Ford).

Blade Runner: The Director's Cut, returns the original scenes.  The happy

ending is gone, and there is no more voice-over.  This changed the effect of the

movie.  In the 1982 release it gave you the feel of an old Bogart movie.  In the

new version, a new mood is brought out, and a better effect is created.  The

narration was totally unnecessary.  The movie becomes more enjoyable.

The followers of B.R. grows;  as the sparks of interest touch them  with

this improved movie. This is how the director had originally created it.  B.R.

should have been released this way, originally.  Proof of this is shown just in

this newfound interest.  Remember, the movie originally bombed at the box office,

but now people loved it.

The second director's cut, however, would fan those sparks of interest up

into flames.

There had been rumors, that in the original screenplay, it was quite

obvious that Deckard was a replicant.  Deckard, the replicant hunter, was a

replicant himself!    Blade Runner: The Directors Cut II confirmed this rumor.

Evidence is plentiful that Deckard was actually a replicant himself.  First,

is the glowing eyes (Bitnet 22)  When he(Deckard) goes to meet The President of

The Rosen Association to discuss the knowledge of any replicants on earth, there

is a replicant owl and if you watch when the owls' head turns, you can see an

orange glow in its; eyes.   The glow is also in Rachael eyes, and can be seen in

Roys' when he is first introduced in the movie.  Later, if you watch closely,

you can see that same glow in Deckards eye in a scene where he is talking to

Rachel of someday someone will hunt her down.  When he turns his head, you can

see the glow.  You have to be watching extremely close to notice it, and it he

298.          Dicks Androids and Scotts Replicants

Michael Tschappat

Patricia Stull

English 102

11/25/96

Dicks' Androids and Scotts' Replicants

Philip K. Dick has written over fifty novels, and is considered among some of the greatest experimental writers of the 1950s and '60s, such as; William Burroughs, J.G. Ballard, and Thomas Pynchon.(Star 34)  He has written science-fiction and regular fiction.  His fiction usually spoke of people trying to figure out who they are, or what they are supposed to be.  He is best known, however, for his work in science-fiction, and this represents the majority of his work.  He has, also, won awards for two of his science-fiction novels.  He won the Hugo Award for best novel in 1962 for The Man in the High Castle and the John W. Campbell Memorial Award for best novel of the year in 1974 for Flow My Tears, The Policeman Said (Brians 1).   An opera has been based on one of P.K.D. later novels, Valis (Brians 1). One of  his short stories, We Can Build It For You, was made into a movie recently.  The movie was Screamers, starring Peter Weller.  He has also had two of his novels,  We Can Remember It for You Wholesale (Total Recall),  Do Androids Dream of Electric Sheep? (Blade Runner), made into movies.  Of the two, Blade Runner (B.R.) has had the greatest impact.  B.R., however, differs greatly from Dicks' original novel, Do Androids Dream of Electric Sheep? (D.A.D.O.E.S.)

Blade Runner was released in 1982 under the direction of Ridley Scott, who also made another sci-fi classic, Alien.

The film begins in the city of Los Angeles.  The year is 2019.  The city of Los Angeles is overpopulated, teeming with all sorts of humans.  Japanese ADs are all over the place.    The Japanese input was strictly the director, Ridley Scot's.  Scott saw the future world being controlled by the Japanese.  Philip K. Dick did not mention this.  The planet is recovering from World War III, although I'm not sure they actually say this.  In the book, the war is clearly stated and was called World War Terminus.  The effects of the radiation has mutated some people.  Only the ones who had not been disfigured or altered genetically by radiation from the nuclear bombs could emigrate, (leave the planet earth).  Some, who were perfectly healthy chose to stay, however.   They stayed because they were stubborn and wanted to die on the planet they were born on. The chickenheads had to stay, it was law.   Chickenheads is Dicks term for the disfigured or the genetically altered.  They are also referred to as specials.  There are no chickenheads in the movie.  None of this is made clear in the movie, but this is what is explained in the novel.

The ones who do emigrate to other planets receive one free worker to help them with their settling of a new home.  The worker is not human.  It is an android.  In the movie they are called replicants or skin-jobs.  These are the newest versions of androids, which were created by the Rosen Association.  They are Nexus-6.   Nexus-6 mimic humans in every way, except in one thing, they have no empathy.

Empathy is the ability to feel for another.  For example, if you cared for a puppy that was beaten, skinned, and then left to die, that care would be empathy.  Androids don't have this trait.  They would watch the puppies' skin be removed without a blink in their eyes.  They can pretend to feel, but they'd have to know first there was something disturbing about the skinning of a puppy.   The nonexistent empathy of replicants is never discussed in the movie, but it is pretty obvious in the way they kill or try to kill.  This lack of empathy scared many humans on earth, so a law was passed that didn't  allow androids on the planet.

In the novel, this is where the bounty hunters come in.  Their job is to retire (kill) the androids, who have somehow escaped to earth or just were never weeded out from the other humans.

You might be wondering why I said bounty hunter instead of blade runner?  Well, the term blade runner is never used in the novel.  Apparently, Ridley Scott wanted a specific name for the people who hunted down the androids.  He didn't want to just  call them bounty hunters.   Scott was told of a William Burroughs book named Blade Runner: The Movie.  The book was never a movie.  Burroughs just had that in the title.  Scott liked the way blade runner sounded, so he bought the rights of the Burroughs novel (Blackwood).  That is how he came up with the title and a name for the hunters of the replicants.

The way a blade runner  can know if an android is a human or not is through the Voight-Kampff test.  This is shown in the movie, although not used as much as in the novel.  The test consists of the tester setting up several scenarios and seeing the testes's responses.  The responses are measured through dilation in the eyes and the blushing of cheeks.  The blushing is recorded by a device that is placed on your face and the dilation of the eye;  by a laser that shines in your eye.  An example of something that Deckard or whoever was administering the test  would say was:  "You are watching an old movie on TV, a movie from before the war.  It shows a banquet in progress; the guests are enjoying raw oysters."

"Ugh," Rachel said; the needles swung swiftly.

"The entree," he continued, "consists of boiled dog, stuffed with rice."  The needles moved less this time, less than they had for the raw oysters.  "Are raw oysters more acceptable to you than a dish of boiled dog?  Evidently not."(Dick 45)  A human would react more to the dog than raw oysters.  This showed that this particular subject, Rachael Rosen, was an android.  It wouldn't just be one question though, it would be many.  All would be something along these lines, though.  After, he found out for sure; the android, ( or in the movie: replicant), would be retired.  The Voight-kampff test is only shown at the beginning of the movie when Dave Holden is administering the test to Polokov, a replicant.

The main character of the novel and movie is Rick Deckard .   Deckard is played by Harrison Ford.  He is a blade runner (bounty hunter) that has come out of retirement. Rick  is hired  to track down  four androids: Roy Baty, Pris, Luba, and Polokov.  The original number of replicants had been five, but one of his colleagues, Dave Holden, had already retired one.  The name of the retired replicant is never mentioned.   The original five had killed their human masters on another planet, stolen a ship, and illegally come to earth.  In D.A.D.O.E.S., the original number of androids is eight and Holden retires two, leaving six for Deckard.   Holden was only able to kill one;  because he is paralyzed by  Polokov, while administering the Voigt-Kampff test.  This, also, is what happens in the novel: Polokov shoots a laser through Holdens' back.   So, Deckards' search begins, and the hunt for the replicants' (androids) is on.

The remaining part of the film, is Deckard tracking down and killing the renegade replicants.

When first released, B.R. was not a commercial success.(Star 39)  Some audiences members loved it, but others didn't think it was so great.  The box office showed the latter: not very good.  The film made little money.  But, one thing that almost all people did enjoy from the film was the scenery and the visionary background.  The set designs were wonderful.  Roger Ebert, a critic of the Chicago Sun-Times said, " It looks fabulous, it uses special effects to create a new world of it's own, but it is thin in its human story" (Ebert 1)  Ebert gave it an overall rating of three stars.  His opinion, though, summed up the majority opinion of the few people who went and saw it at the theater.  The special effects and background were great, but the plot was weak.  It was just another action film, with a lot of violence; nothing unique about it.   Even though the movie did not make money at first; over the years, it would become a cult classic.

The late interest was most likely sparked by a new version  that would be released years after the original release of the movie.  The version, Blade Runner: The Director's Cut, was what the director, Ridley Scott, originally wanted (Scott).           Apparently,  the original movie that came out at theaters in 1982 had been tainted by Hollywood producers, with editing (Berry 16).  They said the film was too confusing and didn't have a happy ending.  "Preview audiences found this ending too ambiguous and bleak" (Smith 2)  You have to have a cheesy happy ending in Hollywood.

The 1982 release has Deckard and Rachael, (a replicant that is an exact copy of the daughter of the President of The Rosen Association; he falls in love with her), at the end,  riding off into the country.    Supposedly, these scenes were out takes from The Shining (Smith 2)  The producers didn't like Scotts ending.  In Scott's ending,  Deckard and Rachael enter an elevator, and then the movie abruptly ends.  Too unhappy.

The producers also thought the movie was too confusing and not clear, so they added a voice-over; someone narrating the story (Berry 16).  The narrator was Deckard (Harrison Ford).

Blade Runner: The Director's Cut, returns the original scenes.  The happy ending is gone, and there is no more voice-over.  This changed the effect of the movie.  In the 1982 release it gave you the feel of an old Bogart movie.  In the new version, a new mood is brought out, and a better effect is created.  The narration was totally unnecessary.  The movie becomes more enjoyable.

The followers of B.R. grows;  as the sparks of interest touch them  with this improved movie. This is how the director had originally created it.  B.R. should have been released this way, originally.  Proof of this is shown just in this newfound interest.  Remember, the movie originally bombed at the box office, but now people loved it.

The second director's cut, however, would fan those sparks of interest up into flames.

There had been rumors, that in the original screenplay, it was quite obvious that Deckard was a replicant.  Deckard, the replicant hunter, was a replicant himself!    Blade Runner: The Directors Cut II confirmed this rumor.

Evidence is plentiful that Deckard was actually a replicant himself.  First, is the glowing eyes (Bitnet 22)  When he(Deckard) goes to meet The President of The Rosen Association to discuss the knowledge of any replicants on earth, there is a replicant owl and if you watch when the owls' head turns, you can see an orange glow in its; eyes.   The glow is also in Rachael eyes, and can be seen in Roys' when he is first introduced in the movie.  Later, if you watch closely, you can see that same glow in Deckards eye in a scene where he is talking to Rachel of someday someone will hunt her down.  When he turns his head, you can see the glow.  You have to be watching extremely close to notice it, and it he

299.          Dinner with bill gates

[The time is the late 1990's and the setting is an unidentified city in the northwest United States, in Washington.  Three employees of Microsoft, the narrator, Encolpius, and his co-workers Giton and Ascyltus, have been invited to the illustrious mansion of billionaire Bill Gates, for a banquet.]

It was slightly drizzling as we approached the house.  We were simply amazed at it's size, it was a good quarter mile in length and equally long in width.  As we approached the enormous wooden door, lights flicked on and a computer generated voice greeted us.  Not knowing what to do, we waited, letting the rain soak our dinner suits.  When the door was opened, we were prompted to enter by a servant.  Stepping into the entrance way, our coats were taken by a different servant than the one who had opened the door.  We were ushered into a nearby room, an enormous lounge of some kind furnished with an indoor volleyball court, arcade and a pool.  Giton and I were simply amazed.  This guy had an amusement park in his living room.  There were some young boys on the volleyball court, playing a game.  I couldn't help but notice a middle-ages guy, dressed in a pair of worn jeans and a sports coat, watching the game with furious intensity.

I turned to the servant, our guide, I suppose, and asked him who this man was.  "Oh that's Master Gates, the proprietor of this house.  You'll be dining with him shortly."

The servant led us through this room, past the pool and into a narrow corridor.  This hallway was adorned with pictures of Bill Gates, in various characters and positions.  The only one I recognized was the cover from the recent issue of Time Magazine featuring him on the cover.

From here, we were led into the dining room and seated at the large dinner table.  The table occupied a majority of the room, however, there was an enormous hole in the middle, obviously for a dinner show of some kind.  Immediately, our glasses were filled with wine and our hands were scrubbed with rose water.  I looked at Ascyltus, and he was simply amazing at the luxurious nature of the dinner.  I suddenly felt underdressed but I was relieved when Bill Gates entered, wearing a different, much darker shade of jeans and a simple, red pullover.

Once Bill Gates seated himself, the dozen or so people in the room all silenced themselves, waiting for this legendary man to speak.  "Welcome to my home," he began, "I hope you will have an enjoyable evening."

At the snap of his fingers, a rotating dais rose from the center of the room.  This dais was filled with an entire orchestra and when it had finished rising, they began to play a soothing melody.

We waited about five minutes and were amazed when a troop of singing busboys exited the kitchen, all carrying trays containing some of the rarest delicacies known to man.  Caviar, truffles, and the sweetest meat I have ever tasted were all served has appetizers.  My two companions and I indulged ourselves until a second troop of singing busboys carried our plates away.  Suddenly the room was filled with a loud crash as a busboy lost footing and dropped his tray.  Scrambling to save face, the busboy fell to his knees and began to scrape up the mess.

All this time I had been watching the expression on Bill Gate's face.  He didn't seem to mind that the busboy had ruined his luxurious carpet with half-eaten caviar; that was until he began to clean up the mess.  "Get out of here you incompetent fool!  You're fired and if you're not off the premises in five minutes, I'll set the dogs on you," he yelled.

Two guards, appearing out of thin air grabbed the busboy and escorted him from the dining hall.  At the beckoning of their master, two maids entered the room, armed with brooms and spray bottles full of cleaning implements.  As they began scrubbing the mess, the three of us glared at Bill, who now appeared calm and composed. He must have seen our puzzled expressions because he quickly said, "My servants must not step out of their duties.  I hired that busboy to serve food, not to clean up accidents.  Had he concentrated on the task I hired him for, that tray would most likely not have been spilled."

An awkward silence filled the room, however, it was quelled as the orchestra broke into another song and the singing busboys delivered another course, filet mignon served over linguini drenched in a sweet red sauce.

The food was delicious, however, I was too disturbed by the evening's previous incident to finish my meal.  After the singing busboys carried our plates away, Bill retired to the restroom.

With Bill's absence the tension quickly dissipated.  Giton, Ascyltus, and I conversed with several of the other guests about our host and the incident earlier to this evening.  Our relief was short lived, however, Bill shortly returned to dinner, now sporting a pair of khakis and a light green blazer.  He quickly cracked a joke about the size of his bladder and sat down.

At this point, another course was served, pork from the finest pigs Bill Gates could find.  We knew this because of his constant bragging.  We were all getting a little sick and tired of Bill's need to gloat.  Bill was an amazing man, he rose from poverty to the billionaire he is in a matter of thirty years, but he seemed insecure, always having to explain and glorify himself.

Suddenly, there was a knock at the dining room door.  When Bill ordered the door to be opened, two people, a man and woman, stumbled into the room, thoroughly intoxicated.  I did not recognize either, but Bill seemed to know the male.  "Habinnas, my good friend, have a seat," Bill greeted the newcomer.

After sitting, Bill served them some of wine we were drinking.  I found it kind of funny, wine was the last thing this Habinnas person needed.

It was at this time Giton and Ascyltus begged me to leave, however, I was too captivated by this newcomer.  He was talking to Bill about some great plan of his, to release his servants and send them off with one million dollars each.  I began to once again respect Bill Gates until I discovered the reason why he was going to release them.

"I want people to remember me and love me for my generosity when I am dead.  I don't want to die detested and loathed like so many other billionaires," Bill whined.

I was furious,  Bill Gates, my boss, the man I've looked up to for years was an insecure, self-centered, man.  Even in his attempt at being generous, he had his own personal interests at heart.  I suddenly because very nauseous and wanted to leave immediately.  By the looks on my companions faces, they wholeheartedly agreed with me.

All this time, Bill Gates was rambling on about his death and going around the table, asking each person why they would miss him if he should die.  Luckily for us, he faked a heart attack, fell backwards in his chair, and crumpled to the floor.  All eyes were on him, who looked remarkably dead.  Bill must have become irritated at the silence in the air, because he threw his head up and asked us to pretend he was dead and say nice things about him.

This was just plain revolting, not something I'd expect to see at a dinner party with Bill Gates, owner of Microsoft.  It was at this time my two companions and I snuck out of the dining hall and found our way to the front door.  We grabbed our jackets and, taking one last look at the enormous house of this not so ideal roll model, left, exhausted and disgusted.

300.          Discusses characters in The crucible

The Crucible, a play by Arthur Miller that was first produced in 1953, is based on

the true story of the Salem Witch Trials of 1692.  Miller wrote the play to parallel the

situations in the mid-twentieth century of  Alger Hiss, Owen Latimore, Julius and Ethel

Rosenburg, and Senator McCarthy, if only suggestively.  (Warshow 116) Some

characters in the play have specific agendas carried out by their accusations, and the fact

that the play is based on historical truth makes it even more intriguing.

The characters in this play are simple, common people.  The accused are charged

and convicted of a crime that is impossible to prove.  The following witchcraft hysteria

takes place in one of America's wholesome, theocratic towns, which makes the

miscarriage of justice such a mystery even today.   The reasons the villains select the

people they do for condemnation are both simple and clear.  All of the accusers have

ulterior motives, such as revenge, greed, and covering up their own behavior.  Many of

the accusers have meddled in witchcraft themselves, and are therefore doubly to be

distrusted.  (Warshow 116)  The court convicts the victims on the most absurd testimony,

and the reader has to wonder how the judges and the townspeople could let such a

charade continue.

The leading character of the play is John Proctor, a man who often serves as the

only voice of reason in the play.  He had an affair with Abigail Williams, who later

charges his wife with witchcraft.  Proctor is seemingly the only person who can see

through the children's accusations.  The reader sees him as one of the more 'modern'

figures in the trials because he is hardheaded, skeptical, and a voice of common sense.

He thinks the girls can be cured of their 'spells' with a good whipping.  (Warshow 114)

At the end of the play, Proctor has to make a choice.  He can either confess to a crime he

is innocent of to save himself from execution, or die proclaiming his innocence.  He ends

up choosing death because a false confession would mean implicating other accused

people, including Rebecca Nurse.  (Rovere 2632)  Proctor feels she is good and pure,

unlike his adulterous self, and does not want to tarnish her good name and the names of

his other innocent friends by implicating them.  (Warshow 117)  By choosing death,

Proctor takes the high road and becomes a true tragic hero.  The reader feels that his

punishment is unjust (especially since the crime of witchcraft is imagined and

unprovable.)   Because the trials take place in a Christian, American town, the reader

must then wonder if anything like this could happen in his or her own time.  This is

particularly true of people who saw the play when it first came out, in the era of

McCarthyism.

Ann and Thomas Putnam are two instigators of the witchcraft hysteria in the play.

Ann Putnam is the one who first plants the idea that Betty is bewitched.  Her motivation

for lying is obvious; she needs to cover up her own behavior.  After all, she had sent her

daughter to Tituba to conjure up the dead in order to find out what happened to her dead

babies.  She can't have it said that she, a Christian woman, practices the pagan art with a

slave from Barbados, or that her daughter's illness is her fault because she sent her to

participate in the black art, so she blames others.  (Warshow 113)  Revenge is another

motive of hers.  Tituba's tricks led her to the conclusion that her babies were murdered

while under the care of a midwife, Goody Osburn.  Osburn is later accused of witchcraft.

Ann Putnam's husband also influences her.  (Rovere 2632)

Thomas Putman had nominated his wife's brother-in-law, James Bayley, to be the

minister of Salem.  He was qualified and the people voted him in, but a faction stopped

his acceptance.  Thomas Putnam felt superior to most people in the village, and was

angry that they rejected his choice for minister.  He was also involved in a land dispute

with Francis Nurse, whose wife Rebecca is accused of witchcraft.  This is detailed in the

movie Three Sovereigns for Sarah, which shows basically the same story as the play.

Many people died because of Thomas Putnam's land hunger.  The Putnams, driven by

their need for revenge and their greed, contributed to the huge travesty of justice that was

the Salem Witch Trails.

The motive of Abigail Williams is equally easy to decipher.  Abigail is the

ringleader of the group of girls who testify in court against those accused of witchcraft.

She and John Proctor had an affair previously, when she worked as a servant in his home,

and she obviously does not want it to be over.  She says to him, 'I know how you

clutched my back behind your house and sweated like a stallion whenever I come near!

Or did I dream that?  It's she [Elizabeth] that put me out, you cannot pretend it were you.

I saw your face when she put me out, and you loved me then and you do now!'  (Miller

20)  Elizabeth, Proctor's wife, had fired Abigail as their servant because she suspected

the affair.  Clearly, Abigail despises her.  She tells Proctor, 'She is blackening my name

in the village!  She is telling lies about me!  She is a cold, sniveling woman, and you

bend to her!'  (Miller 21) Abigail is obviously furious with Elizabeth because she feels

Elizabeth has cut off her relationship with John and soiled her reputation in the village.

Abigail uses the witchcraft mess to get back at Elizabeth.  Of course, Elizabeth Proctor is

charged with witchcraft.

In 1692, the real historical Abigail Williams was about eleven years old.  Why,

then, does Arthur Miller decide to make her a young woman of eighteen or nineteen for

this play?  He does this in order to invent an adulterous relationship between Abigail and

John Proctor.  This relationship motivates her denunciation of John and Elizabeth

Proctor.  This offers an easily theatrical motive for one of his characters.  (Warshow 114)

It also makes Abigail seem like a cold, calculated adult.  This is more like an element of

twentieth century entertainment than of a theocracy in 1692, but Miller has to appeal to

his audience to make the play popular in 1953.

The rest of the girls in the play, including Susanna Walcott, Mercy Lewis, Mary

Warren, and Betty Parris, are all covering up for their own actions.  Abigail herself

admits that they were dancing in the woods, and Parris says they were naked.  The girls

had been asking the slave, Tituba, to conjure spells, and Parris finds out about it.  He

says, 'And what shall I say to them?  That my daughter and my niece I discovered

dancing like heathen in the forest?'  (Miller 7)  And then, 'My own household is

discovered to be the very center of some obscene practice.  Abominations are done in the

forest--' (Miller 8)     The children know that they are going to be punished for their

behavior, and they make up the stories that they were bewitched to place the blame

elsewhere.  When greedy people like the Putnams start encouraging them, it becomes

easier to lie and they begin to enjoy all the attention and power they hold.  They are

probably also afraid of Abigail.  After a while, she makes it impossible for the other girls

to retract their accusations.  When Mary Warren tries to tell the truth, Abigail accuses her

of witchcraft, too.  The girls find themselves stuck in a trap of their own making, and in

the witchcraft game until the end.  (Rovere 2632)

Reverend Samuel Parris allows the witchcraft hysteria to go on because it helps

him.  At the beginning of the play he asks Abigail, 'Do you understand that I have many

enemies?  There is a faction that is sworn to drive me from my pulpit.  Do you

understand that?'  Everyone in the town did not receive Parris well, and he feels like he

has 'fought here three long years to bend these stiff-necked people' to him.  (Miller 9)

The witchcraft charade unites the people of the town to him.  In this time of spiritual

crisis, they look to their minister for guidance and support.  Parris is now getting the

following he never had before.  It is for this selfish reason that he allows the witch hunt

to continue, even though he knows it is not valid.  (Warshow 117)

The characters in The Crucible are interesting and easy to read.  The victims of the witch trails are innocent, spiritual people who are wronged because of their accusers'

greed, vengefulness, and need to cover up for their own actions.  The deep involvement

of the accusers, especially Abigail, and the lengths they will go to in order to continue

their charade make the play absorbing and haunting.

Works Cited

Miller, Arthur. The Crucible.  Toronto: Bantam, 1959.

Rovere, Richard.  'Arthur Miller's Conscience.'  1957.  Ed. Harold Bloom.  New York:

Chelsea House, 1987.

Warshow, Robert. 'The Liberal Conscience in 'The Crucible.'  1962.  Ed. Robert W.

Corrigan.  Englewood Cliffs: Prentice-Hall, 1969.

301.          Diversity in films

DISCUSS THE DIVERSITY OF BRITISH FILMS IN THE 90'S

Diversity in films is obvious . Its the difference in the way we see the film. It can either be funny, sad, realistic, scary or many genres in one. Such as Trainspotting. Its funny, its realistic and its also sad in a sense to see people doing this to themselves. This point is made stronger by the fact that there is a baby put in the middle of this situation. The baby is helpless and therefore cant do anything for its position, and we therefore feel sorry for it. Other British films that have been about the same genre such as Lock Stock and two Smoking Barrels and Get Carter which are both British gangster films may not have such an obvious difference, but when looked at in detail we see they are very different.  The narrative for instance in Lock Stock is omniscient, meaning that the story does not come from one single source, but many so we know all that is going on. Whereas in Get Carter the narrative is restricted, so it only comes from one source, and we only know what he knows, so we come personalised to him.

The main diversity in British films can be seen from the time they were made. Representation of race in films like East is East is very powerful. All the key characters (except for one) are all Asian and dominate the film. But in Get Carter there is not many (if any) Black or Asian people in the film. This is because now people from ethnic minorities are now more wholly accepted in today's society whereas 20 years ago there was still a lot of racism going down in England. Also masculinity in British films changed. In get Carter the central character is big, strong, powerful and overwhelmingly attractive to the opposite sex. But in a film such as Trainspotting the male characters are weak little things and I imagine are not to attractive to the opposite sex.  This I think is the reason why not so many British films do so well across the pond. Big American smashes find one idea such as, guy on a mission to avenge someone's death, saves the damsel in distress, she then helps him kill the bad guy, and then them to end getting in on at the end of the film and stick with it. But British films are a lot more diverse.  A film such as The Full Monty is similar to the new wave cinema of the 60's were much of the films humour derives from the stereotypical working class communities, with lots of unemployment, with lost of young single parent families and commoners. People a little better off laugh at the fact that this poor scum are willing to strip just to earn a little bit more pocket money. But then you watch a film like Bridgett Jones Diary were the humour comes from the realism if the plot. The idea that Bridgett Jones is overweight, unnactractive and perved on at work is humorous, because although we would never admit it happens to all of us. Another major part of the diversity of films in England in the 90's in locations. Most big American box office hits are set in glamorous locations like California or Florida. But British films are m usually set in dreary, drab boring places like Glasgow, Edinburgh, Sheffield or Nottingham. These help with the plat of all the films because overall they are meant to be realistic and these locations help that. It is the main aspect that almost all British films have in common. These help the films stand independent though, in a way too. When you think of inner city Scotland like Edinburgh or Glasgow you think of tall high rise flats with junkies on the stairs and gangs of youths on the parks and streets around the area. You think of Sheffield and you imagine rows upon rows of council flats, with boarded up windows, and burnt out cars in the streets. And the you think of Nottingham. You see crap on the ground, syringes all over children's play areas, beer cans and cigarettes butts all over the place, with police sirens ringing all the time. These locations help with the flow of the film because it gives off a very strong feeling of monotony.

Ideas of gender are very strong in British films. They are almost always based on the life of the male characters with the female characters as just sideline aspects of the film. In Lock Stock there is one women in the film, and she is just the card dealer. The men in the film are all the lead characters. This helps the film be pointed towards the male perspectives and ideas. In other British films like Get Carter there is no women lead characters. All the men dominate the roles. But lately this has been challenged twice. One  successfully, one unsuccessfully. In East is East the women is one of the strongest characters. She challenges the mans power and gets the support of the kids behind her. But in Baby Mother the whole film is from the perspective of the women. But is does not work in this film. The film flopped big time because aside from being as boring as hell, there is no male dominant characters for the other characters to challenge. Because Baby Mother had no dominant male character there is no excitement in the film. British films with dominant male characters work because less women means more stuff to get away with. This is why they work. But when there is just women, because they are portrayed as thinkers rather than doers, the film is slow moving and with more talking than action which is what you want.

In conclusion the diversity in British films is what makes them original and most of then not to boring and repetitive. As a lot of British people know what its like to grow up in poorish areas they can relate to the events in the film. So we understand what they are going through. But people from other countries don't know what its like growing up in the areas so they don't understand it and cant relate to it. So the difference in the films is what makes them different from foreign films.

302.          DNT Rudolph Diesel Inventor of the diesel engine

Rudolph Diesel was a German engineer who in 1892 created the diesel engine, a type of internal combustion engine.  He was born on the 18th of March, 1858 in Paris.  Rudolph was born into a poor family and was surrounded by poverty almost all of his life, making for a very unhappy childhood.

Diesel started his education in Paris where he was an excellent student.  He enjoyed art and spent a lot of his time in the museum of arts and crafts. The outbreak of the Franco-Prussian War forced him and his family to leave Paris and go to London.  Rudolph was enrolled in a London school to continue his education. He was most impressed by the British Museum and the South Kensington Museum's exhibits of science and engineering.

Rudolph's aunt, Betty Barnickel, heard of their family's misfortune and offered to take in Rudolph into their home in Augsburg in Rotterdam.  Betty Barnickle was married to Cristoph Barnickel, he was a professor at the Augsburg's Royal District Trade School and they lived in a modest, warm home.  After studying three years in Augsburg, Rudolph decided to become an engineer.

When the war ended, Diesel moved back to Paris with his family.  But shortly later moving back to Paris, Rudolph's sister died and a decision was made for him to move back to live with his aunt and uncle in Augsburg.  In 1883, Rudolph was enrolled in the mechanical engineering program, and he excelled in it, graduating as the youngest student with the highest marks ever.  He was awarded a scholarship to Munchen Polytechnic in Germany.  After several years of living in Munich, Diesel was granted German citizenship.

In January 1880, Rudolph joined the Sulzer Engine Works in Winterthur, Switzerland to begin his apprenticeship building refrigeration and steam engines.  Rudolph began to think there must have been a better way to use the energy from the fuel that the most efficient steam plant used. At the time, 90% of the fuel was wasted.  He built up many thoughts and ideas about laws of heat and energy.

Diesel was sent back to Paris to oversee the building of a refrigeration plant.  In 1881 he had his first patent on a refrigeration machine and started to work on it by 1883 it worked. He invented the refrigeration system now used in many electrical refrigerators.  Also in 1883, Rudolph married Martha Flasche.  Rudolph and Martha gave birth to three children in total.

Because of economic troubles, Diesel had to settle for a new job in Berlin.  So Rudolph and his family moved to Germany in 1890.  There he met an old school friend, who gave Rudolph motivation to start designing and working on his diesel engine.  In February, 1893 Diesel gets patent for a design based on "The theory and construction of a rational heat engine to replace steam engine and contemporary combustion engine".  He seeks the help of Carl Buz, who had helped him build his refrigeration machine some years back.  After some alterations to Diesel's ideas, Buz agreed to build a prototype.  He also sought support from major machine manufacturers.

Contracts with these companies guaranteed Diesel the production of a test engine and an appropriate salary.  He started up his own business and dedicated himself entirely to the realisation of his engine. A test engine was completed on July, 1893 in Augsburg.  This was the first model built and it ran under its own power with 26% efficiency, remarkably more than double the efficiency of the steam engines of his day. Finally, in February of 1897, he ran the "first diesel engine suitable for practical use", which operated at an amazing efficiency of 75%.

Diesel demonstrated his engine at the Exhibition Fair in Paris, France in 1898. This engine was fueled by peanut oil, which was what Diesel has in mind.  He thought that the utilisation of a biomass fuel was the real future of his engine. He hoped that it would provide a way for the smaller industries, farmers, and "common folk" a means of competing with the large industries, which controlled all energy production at that time.  He also wanted the engine to serve as an alternative for the inefficient fuel consumption of the steam engine.

In order to manage the explosive growth of the Diesel engine. Rudolph establishes a company to manage the licensing.  It is called the General Diesel Corporation, and is founded on September 17, 1898.

After many years of unsuccessful attempts to get the engine on the road for everyone to use, Diesel had been widely criticised.  Diesel was badly troubled by the criticisms. And in 1913 he vanished from a boat to England. His body was found ten days later. It was clear that he had committed suicide.

After Diesel's death, the injection pump and the precondition for a commercial vehicle diesel engine was created.  It allowed a metered fuel supply and the heavy auxiliaries became unnecessary.  In the years 1923 to 24 the first diesel-driven lorries were built, and in 1936 series production of the first car with a diesel engine began.  The diesel remains the thermal engine that works most economically. Today, diesel engines power lorries, buses, tractors, heavy trucks, construction and agricultural equipment, some cars and most commercially operated boats.  Other major fields of application are railways and power stations, in which generators are driven by diesel engines.

303.          Do the Right Thing

Do the Right Thing

The movie, Do the Right Thing, by Spike Lee is a hard hitting drama that deals with violence and racism in today's society. This film is set in a primarily black neighborhood in close to the present time. Right in the center of this neighborhood stands a pizza parlor that is owned and operated by one of the most important characters in the movie, Sal. In the beginning of the movie, Sal is shown arriving to work with his two sons Pino and Vito. This gives an appeal to Sal as a family man. Right from the start Sal is portrayed as a hard working, kind, and devoted individual. Just the fact that he owns his own business in these rough and tough times shows that he is a smart, efficient, and dedicated man. Later in the movie we learn that Sal did in fact build his pizzeria by himself from the ground up, brick by brick, board by board which was no little task indeed. The fact that Sal gets to share his creation and hard work with his sons makes it all the more special to him. After Sal has finished his pre-opening preparations Sal's Pizzeria is open for the day. Shortly after this, the main character of the movie, Mookie, comes strolling into the restaurant. Mookie works as the delivery man for Sal in this movie. Mookie literally delivers pizza, yes, but he also acts as a mediator between the two races. Sal relies on Mookie not only to get the pizzas delivered, but to also keep his fellow black folks happy with Sal so they will come and patronize his restaurant. I think that this shows a very interesting side of Sal. It for the most part pawns him off as a racist. On the one hand he can put on a happy face and greet all the black people as they shell their hard earned money out to him for his pizza, while on the other hand he turns into a bigot, hating most black people and talking behind their back while they are not around. Now I say most black people because Sal seems to have this father-son bond going on between him and Mookie where Sal is the white father and Mookie the black son who in the end finally rebels like all siblings do at some time in their life. Also Sal seems to have some kind of affection or love for Mookie's sister, Jade. When she enters the pizza parlor Sal insists, if not begs to make her some special slices of pizza. He then drops what he is doing to go sit and visit with her. This shows another awkward side of Sal. Is Sal considering some sort of interracial relationship here? I mean Jade is only approximately 20-25 years old where Sal has to be at least 50-55. Is Sal changing his attitude toward black people? Hardly. This might prompt one to ask themselves if Sal is a racist then why does he own a restaurant in the middle of a black neighborhood. Well as Sal explains to Pino early in the movie it is purely business. Sal knows that he is not able to compete with the large restaurant chains, so he must travel to someone else's turf to make a go of it. This is a point that is expressed in Bell Hooks Counter Hegemonic essay. She says that a scary, conservative idea voiced over and over again in the film is that everybody is safest in their "own" neighborhood and that it is best if we remain with people like ourselves. Now this doesn't seem to hold true for Sal and his pizzeria at first. Just look at the facts, he has been in this neighborhood for at least 15 to 20 years without any problems that we are made aware of. Obviously he must be making a profit or he would have shut down years ago. The way I see it is that the main problem with Sal these days is that he isn't in the business for the love of it anymore, he is in it for the money. After all of these years making pizza he has lost some of the fire that always got him going. I would be willing to bet that when Sal first opened up his pizza joint he was superficially friendly to all the people, including the black people, that came into his establishment. Through the years though Sal has built up some sort of grudge or hatred against a variety of black people that he has been holding inside and it is at the end of the movie that he reaches his limit of tolerance and blows his top. The movie and Sal's character for that matter really start to take a turn for the worse when Buggin Out comes into the restaurant for a slice. While he is enjoying his slice he happens to notice that there are no black people on the wall. This angers Buggin Out and leads him to go ask Sal to put some up. This allows us to see another side of Sal. Sal pretty much come from the old school of thinking where he owns this place and things are going to be done his way, right away, or no way. He doesn't even open his mind to new ideas. This shows that he is a very domineering and overpowering individual who fears change. This fear leads him into a shouting match with Buggin Out who insists that he will form a boycott against Sal's and that none of his friends will every eat there again. Here Sal again relies on Mookie to smooth things over so this boycott really does not happen. Mookie really doesn't have to work to hard because Sal's pizza is well liked in the community. Day has turned into night and it is getting near closing time. The second after the doors are shut and locked four kids show up at the door wanting a slice. Here Sal shows his nice side and lets them because after all they love his pizza and he can't fault them for that. Right after Sal lets them in Buggin Out and Radio Raheem (who had previous encounters similar to those of Buggin Out with Sal) storm into Sal's Pizzeria with the radio blaring, a big pet peeve of Sal's, demanding that Sal put some black people up on the wall and they aren't leaving until he does it. Sal won't even deal with them until they turn that music down, so since Raheem and Buggin Out refuse to turn the music down they just stand there and shout at each other for a while. At first when they are shouting the four black kids that came in earlier are on Sal's side because they want to get their slices. However as the shouting match continues Sal says something that makes every black person irate and every white person cringe because they know that something bad is going to end up happening. Sal says something to the effect of "you niggers have no right to come into my restaurant and tell me what I can and cannot hang on my wall." The character played by Martin Lawrence then stands up and says "oh so we're niggers now?" It all goes down hill from there. The question now is did Mookie do the right thing as far as from Sal's aspect? I believe he did and I think Sal, although he might not admit, thinks this way also! If Mookie had not thrown that garbage can threw that window and started that riot Sal would have never been able to make a go of it in that neighborhood again because the people now knew that he was two-faced. They knew what he really thought of them and I don't think they would have been ever been able to patronize such a persons establishment again. At the end when Mookie goes to get his wages from Sal we learn that it is not the money aspect of the loss that bothers Sal it is the fact that Sal lost something that was really a part of him. All I have to say is that he should have thought of that before he opened his mouth. In closing, the essay written by Bell Hooks brings up a good point that I believe pretty much sums up the movie. She says that the lunatic violence that erupts in not just this community, but all segregated black communities finally hurts black people more than anyone else. Even though it seems like it is Sal who came out on the bottom here it is really the black community and relations among black people that are wrecked and ravaged for a long time after..

304.          Does McMurphy transfer his individualistic spirit into that o

One Flew Over the Cuckoo's Nest, with its meaningful message of individualism, was an extremely influential novel during the 1960's.  In addition, its author, Ken Kesey, played a significant role in the development of the counterculture of the 60's; this included all people who did not conform to society's standards, experimented in drugs, and just lived their lives in an unconventional manner.  Ken Kesey had many significant experiences that enabled him to create One Flew Over the Cuckoo's Nest.  As a result of his entrance into the creative writing program at Stanford University in 1959 (Ken 1), Kesey moved to Perry Lane in Menlo Park.  It was there that he and other writers first experimented with psychedelic drugs.  After living at Perry Lane for a while, Kesey's friend, Vik Lovell, informed him about experiments at a local V.A. hospital in which volunteers were paid to take mind-altering drugs (Wolfe 321).  Kesey's experiences at the hospital were his first step towards writing Cuckoo's Nest.  Upon testing the effects of the then little-known drug, LSD, "...he was in a realm of consciousness he had never dreamed of before and it was not a dream or delirium but part of his awareness (322)."  This awareness caused him to believe that these psychedelic drugs could enable him to see things the way they were truly meant to be seen.

After working as a test subject for the hospital, Kesey was able to get a job working as a psychiatric aide.  This was the next significant factor in writing the book.  "Sometimes he would go to work high on acid (LSD) (323)."  By doing so, he was able to understand the pain felt by the patients on the ward.  In addition, the job allowed him to examine everything that went on within the confines of the hospital.  From these things, Kesey obtained exceptional insight for writing One Flew Over the Cuckoo's Nest.  To make the novel seem as realistic as possible, he loosely based the characters on the personalities of people in the ward; also, his use of drugs while writing allowed him to make scenes such as Chief Bromden's (The Chief is the narrator of the story.  He is a Native American who happens to be a paranoid schizophrenic.) dreams much more vivid (Ken 2).  As mentioned in The Electric Kool-Aid Acid Test, "...certain passages 3/4 like Chief Broom [Chief Bromden] in his schizophrenic fogs 3/4 [it] was true vision, a little of what you could see if you opened the doors of perception, friends (Wolfe 328).

Ken Kesey's altered mental state while he wrote Cuckoo's Nest is what truly makes it unique.  The novel's message of rebelling against authority was very influential to the counterculture generation of the 1960's.  Kesey and his writing became a key factor in a decade filled with drugs and anti-establishment feelings.

One Flew Over the Cuckoo's Nest takes place in a mental hospital in which the patients' individuality is suppressed by the head nurse, Nurse Ratched.  When a sane con-man (Randle P. McMurphy) has himself committed to avoid a prison sentence, the machine-like order that had previously existed on the ward is immediately challenged.  Initially, McMurphy is a very selfish man whose only desire is to cause problems for authority figures, Nurse Ratched in particular, and to make life for himself as easy as possible.  Eventually, this all changes as the battle between himself and Nurse Ratched becomes their battle for the souls of the inmates.  McMurphy's struggle to "free" the other inmates is a difficult one, ultimately resulting in his own destruction; however, through his death, the other patients are able to realize their own sense of self and they escape the ward.  Although McMurphy works to save all the inmates, the schizophrenic, Chief Bromden, is the main target of his attentions.  The Chief is the largest, most powerful man on the ward, but is made to feel weak and inferior by staying there. Upon realizing his own value at the end of the novel, Chief Bromden participates in the mercy killing of McMurphy which allows for his own complete liberation, as well as that of the other patients.

Entering the mental hospital a sane man, R.P. McMurphy only looks out for himself; however, this all changes when he realizes the permanence of his residency on the ward if he does not conform.  This motivates him to begin working to save the other inmates on the ward and transfer some of his high spirit into them.  His struggle to help them realize their individuality results in his own mental decay and he is ultimately destroyed.

In order to make himself as comfortable as possible, McMurphy initially tries to defy authority and gain the inmates' trust for his own personal gain.  He is immediately a threat to the order that Nurse Ratched has created and maintains.  While there is not supposed to be gambling on the ward, one of McMurphy's first goals is to get the other patients to play cards with him for money.  This is expressed when McMurphy says "...I came to this establishment...to bring you birds fun an' entertainment around the gamin' table (Ken 12)."  Another way that he is able to disrupt the hospital's order is through his bold laughter.  This is very disturbing because no one ever laughs in the mental hospital.  The inmates are controlled and mechanized; the laughter suggests personality, which would break down this order.  According to Chief Bromden, he had not hear a laugh in years (11).  McMurphy makes it obvious right away that he has no intention of letting the hospital's machine-like order consume his identity.

As a result off his rambunctious behavior, the inevitable battle between McMurphy and Nurse Ratched begins.  During group therapy meetings, McMurphy does not let Nurse Ratched have complete control as she has had in the past and as she would like to continue.  He disrupts the meetings by provoking the other patients to excitement when they make comments about their respective problems.  It also infuriates Nurse Ratched when McMurphy diverts the attention directed at other patients towards himself.  Also, one particular scene displaying the beginning of the battle between Nurse Ratched and McMurphy occurs when McMurphy wants to watch the World Series.  He convinces the inmates to resist Nurse Ratched by watching a blank TV screen, even when she turns off the World Series (140).  The things that McMurphy does early in the novel to battle Nurse Ratched are selfish and have the intention of being chaotic.

Eventually, this all begins to change as McMurphy begins his struggle to help save the other inmates.  He begins to conform slightly when he recognizes the power that Nurse Ratched wields; he learns that he cannot be dismissed from the hospital without Nurse Ratched saying he has been cured.  However, the other inmates are not satisfied; they want him to lead a rebellion.  McMurphy's rebellious nature goes from that of self-interest to that of devotion to helping the other inmates find their freedom and individuality.  By doing so, he also sees a means of escape for himself.  The first display of his new strategy for defying authority occurs on the fishing trip that the inmates take.  This trip, which is organized by McMurphy, helps the inmates realize that they can act for themselves and returns to them some sense of self-respect.  Another example of McMurphy's change from a nuisance to a savior is how he and the Chief resist Nurse Ratched in the disturbed ward (a section of the hospital for those patients who are considered the most insane or dangerous).  Trying to evoke an apology from McMurphy and Chief Bromden for keeping another patient from having an enema, Nurse Ratched fails and angrily sends the two men to have electro-shock therapy.  Although McMurphy is weakened by this, the Chief takes his first step towards being cured by telling the other patients of McMurphy's heroics (277).  This is the first time that he has ever talked to anyone other than McMurphy.  In an obvious response to McMurphy's devotion to him, the Chief starts to realize his true self.

In the end, McMurphy's struggle leads to his destruction; however, he still becomes the inmates' savior.  By finding McMurphy's weakness, which is his uncontrollable urge to always trick the other inmates out of their money, Nurse Ratched is able to defeat him.  This is evident when McMurphy tricks the other men into not believing that the Chief could lift the control panel.  As a result of this unfair bet, McMurphy wins money from the other men, but loses much of their faith in him (256-257).  However, McMurphy eventually regains their trust and the inmates join him in the big party on the ward.  Because the party involves breaking hospital rules, the inmates are forced into a situation in which they will have to defend themselves.  This is McMurphy's final attempt at leading the inmates to their freedom.  As a result of all his efforts to help them, he has become worn-out, both physically and emotionally.  Taking on the responsibility for the other patients has drained McMurphy of all his vibrancy and individuality; however, it is almost as if his liveliness has been transferred into the souls of the inmates.  Just as in the law of the conservation of energy (energy can neither be created nor destroyed), McMurphy's vitality must be sapped in order to give the other patients life.  In effect, McMurphy has sacrificed his own sanity to make the others sane.

The final conflict between Nurse Ratched and McMurphy occurs when McMurphy attacks her and reveals her sexuality by uncovering her large breasts(305).  McMurphy is taken away to be given a lobotomy 3/4 a surgical operation in which a lobe of the brain, usually the frontal lobe, is cut out for the treatment of psychoses 3/4 but Nurse Ratched no longer has control over the other patients.  By concealing her womanly nature, she has been able to have power over the inmates.  To them, Nurse Ratched previously symbolized the cold, unfeeling, and mechanized nature of the hospital; by revealing her womanhood, this facade is destroyed and the men realize her weakness.  Now, although she defeats McMurphy physically, he has actually won the battle because the other patients are able to escape.  In order to ensure the Nurse's overall defeat, Chief Bromden proceeds in the mercy killing of McMurphy.  His death finalizes the transference of his spirit into the other patients; consequently, this allows for the complete liberation of all the inmates.

Using the Chief as the narrator of the novel, as opposed to McMurphy, allows the reader to examine McMurphy's actions as being heroic, not mere braggadocio.  Chief Bromden, through his behind-the-scenes analysis of everything that occurs in the ward, is able to portray McMurphy's saga much more subtly than if McMurphy had been the narrator.  By using the Chief's point of view, Kesey enables the reader to see a patient (severely weakened by the hospital's control over his individuality) eventually cured through the persistence of another patience to make him realize his true self.  Because Kesey does such an effective job in creating the Chief's schizophrenic state early in the story, the reader is able to see him slowly regain his sense of identity and thus one can truly understand the significance of McMurphy's help in changing him.

One Flew Over the Cuckoo's Nest should definitely be included in a list of works of high literary merit.  It's message of fighting for individuality and self-expression is portrayed with immense skill.  Kesey's willingness to experiment with the revolutionary style of writing in an altered state of consciousness should be highly regarded.  This novel is a symbol of the 1960's counterculture and should be considered a classic of its time.  Not only were its issues important during its own decade, but many are still relevant today.

305.          Donatello 634

Donatello was born in Florence, Italy in 1386.  Donatello's real name is Donato di Niccolo di Betto Bardi.  Donato adopted Donatello as a name mainly because his relations all called him that.  Donatello was the son of a wool comber and at the age of 17 he became the assistant to the noted sculptor Lorenzo Ghiberti and helped him construct and decorate the famous bronze doors at the baptistery of San Giovanni, Florence.  Later on in his life he would be associated with the architect Flippo Brunelleschi, with whom he reputedly visited Rome in order to study the monument of Antiquity.

Donatellos career can be divided into three very distinct periods.  The first, which is comprised of the years before 1425, showed the influence of Gothic, sculpture but also shows classical and realistic tendencies.  Major works in this period of time were St. Mark (Church of OR San Michele, Florence), St. George (Bargello, Florence), John the Evangelist (Opera del Doumo, Florence), and his Joshua (Campanile of the Cathedral, Florence).

The second period was 1425 - 1443 and is generally characterized by a reliance on the models and principles of the sculpture of antiquity.  Donatello worked with the Florentine sculpture and architect Michelozzo from 1425 - 1435. During the time they worked together the made a great deal of sculptures and projects, including the monument to Bartlolmeo Aragazzi (Cathedral of Montepulciano).  In their joint work Michelozzo made the architectural designs and helped in the making of the bronze castings while Donatello made most of the statues.  From 1430 through 1433 Donatello spent periods in Rome, where he created a great deal of works, notably the ciborium in the sacristy of the basilica of Saint Peter. It was decorated with the relief's Worshiping Angels and Burial of Christ.  It was while he was in Florence that he created one of the most noted work during this period, the first bronze David (Bargello, Florence).  The bronze David took five years to construct and was the first nude statue of the renaissance.

In his third and final period of his career Donatello broke away from classical influence in his work and emphasized on realism and the portal of character and of dramatic action.  Great examples of his work in this period are Miracle of St. Anthony (Sant' Antonio, Padua), Gattamelata (in the square before Sant' Antonio), and the first bronze equestrian statue since ancient times Judith and Holofernes (Loggia dei Lanzi, Florence).

The sculpture of Donatello influenced that of Florence and of the rest of the world during the 15 century and is a major stimulus even today.  Donatello died on December 13, 1466 at the age of 88.  He had many students; the most important of these very well could have been Desiderio da Settignano.

A student of Donatello, Andrea del Verrocchio (full name Andrea di Michele di Frenceisco di Cioni) lived from 1435 - 1488.  Andrea is considered to be the second best artist in the early renaissance only to Donatello.  Andrea was trained as a goldsmith (Giuliano Verrocchio), a sculpture (Donatello), a painter (Alesso Baldovinetti) and later he trained Leonardo, Botticelli, Lorenzo di Credi, and Parogino.

Donatello influenced a great many artist but non-as much as Michelangelo, others include Fra Filippo Lippi, and Maseccio.

I think that Donatello was a great artist and I am deeply inspired most if not all of his work.  The only think that I do not like is the fact that he has done nude sculptures of men, and more, he was the first in the renaissance to do a nude sculpture of anything.  Another thing that I find interesting is the fact that he is partially responsible for the training of some of the other great artist, Donatello trained Andrea del Verrocchio, Andrea trained Leonardo, and Donatello inspired Michelangelo.

306.          Donnie Brasco Essay

Donnie Brasco

When I was first assigned to see "Donnie Brasco" I instantly had an image

of  another ruff and intense mobster movie.   It has been a while since

Hollywood has attempted to do a mob related movie until now.  "Donnie Brasco"

was released last Friday.  This movie stars Al Pacino and Johnny Depp.  The

movie is based on a true story about Joe Pistone and FBI agent who infiltrated

the New York mob ring.  Johnny Depp takes the role of Pistone a.k.a. Donnie

Brasco.  Donnie meets Lefty, played by Pacino.  Lefty is a New York City mob

veteran, although he is very tired and wore out from the life he lives.  He also

has a serious gambling problem, owes serious money to his bosses, has a son that

is a junkie and has been passed up for promotion in the ring several times, as

he is ready to get out of the game.  This adds a lot to the character of Lefty.

Al Pacino did a wonderful job of presenting this character.  Lefty runs into

Donnie and gets excited at the possibility of taking this young, vibrant kid

under hi s wings.  Donnie is soon introduced to all the key players of the Mafia

as Lefty vouches his life on Donnie being a true mob player.  Donnie picks up a

lot about the routines of this crime organization and is on his way to the top.

As all of these Mafia ties are being made, Brasco is faced with the

troubling situation brewing with his family.  He has to spend so much time with

the mob that his family is left behind.  His wife Maggie, played by Anne Heche,

is struggling each day trying to take care of the house, bills and the three

daughters while her husband is gone.  He only gets to visit once every three

months during the years he is involved with this sting.  The frustrations of

this creates serious hostility between the two.

Brasco is soon faced with another situation when one of the ring

leader's named Sunny decides to let Donnie run his mob ring down in Florida.

Lefty is devastated as his protégé  passes him up and goes to the top of the

ring.  Donnie is faced with several different conflicts between his loyalty to

Lefty, the demise of his family and the fact that he is an FBI agent and must

bring down this ring that has molded him into a player.

I enjoyed this movie tremendously.  The acting by Pacino and Depp was

the key to the film.  These two worked off of each other to a perfection.  The

supporting mobsters played by Bruno Kirby and James Russo also help the film

with their stupid remarks and their brainless persona.  This movie surprised me

in the amount of humor that was thrown in amongst the mobsters.  At first, I

thought the comedy situations were out of place because of my idea of what a mob

movie should be, but I was wrong it added a lot to the entire feel of the movie.

Another aspect of this film that set it apart from other Mafia movies was the

focus on not the leaders of the ring, but the lower class mobsters.    The film

was directed by Mike Newell who also directed "Four Weddings And A Funeral" and

"Into The West." He sums up the movie perfectly by saying "Donnie Brasco is

about two men who get caught in a conflict of loyalties."

I really did enjoy this movie, especially Al Pacino.  I believe this is

one of the best movie he has done in a long time.  The same can be said of

Johnny Depp and his acting.

All in all this was a good movie and I give it three roadrunners.

307.          Donnie Brasco

When I was first assigned to see "Donnie Brasco" I instantly had an image of  another ruff and intense mobster movie.   It has been a while since Hollywood has attempted to do a mob related movie until now.  "Donnie Brasco" was released last Friday.  This movie stars Al Pacino and Johnny Depp.  The movie is based on a true story about Joe Pistone and FBI agent who infiltrated the New York mob ring.  Johnny Depp takes the role of Pistone a.k.a. Donnie Brasco.  Donnie meets Lefty, played by Pacino.  Lefty is a New York City mob veteran, although he is very tired and wore out from the life he lives.  He also has a serious gambling problem, owes serious money to his bosses, has a son that is a junkie and has been passed up for promotion in the ring several times, as he is ready to get out of the game.  This adds a lot to the character of Lefty.  Al Pacino did a wonderful job of presenting this character.  Lefty runs into Donnie and gets excited at the possibility of taking this young, vibrant kid under his wings.  Donnie is soon introduced to all the key players of the Mafia as Lefty vouches his life on Donnie being a true mob player.  Donnie picks up a lot about the routines of this crime organization and is on his way to the top.

As all of these Mafia ties are being made, Brasco is faced with the troubling situation brewing with his family.  He has to spend so much time with the mob that his family is left behind.  His wife Maggie, played by Anne Heche, is struggling each day trying to take care of the house, bills and the three daughters while her husband is gone.  He only gets to visit once every three months during the years he is involved with this sting.  The frustrations of this creates serious hostility between the two.

Brasco is soon faced with another situation when one of the ring leader's named Sunny decides to let Donnie run his mob ring down in Florida.  Lefty is devastated as his protégé  passes him up and goes to the top of the ring.  Donnie is faced with several different conflicts between his loyalty to Lefty, the demise of his family and the fact that he is an FBI agent and must bring down this ring that has molded him into a player.

I enjoyed this movie tremendously.  The acting by Pacino and Depp was the key to the film.  These two worked off of each other to a perfection.  The supporting mobsters played by Bruno Kirby and James Russo also help the film with their stupid remarks and their brainless persona.  This movie surprised me in the amount of humor that was thrown in amongst the mobsters.  At first, I thought the comedy situations were out of place because of my idea of what a mob movie should be, but I was wrong it added a lot to the entire feel of the movie.  Another aspect of this film that set it apart from other Mafia movies was the focus on not the leaders of the ring, but the lower class mobsters.    The film was directed by Mike Newell who also directed "Four Weddings And A Funeral" and "Into The West." He sums up the movie perfectly by saying "Donnie Brasco is about two men who get caught in a conflict of loyalties."

I really did enjoy this movie, especially Al Pacino.  I believe this is one of the best movie he has done in a long time.  The same can be said of Johnny Depp and his acting.

All in all this was a good movie and I give it three roadrunners.

308.          Dorko the story

One day, Dorko walks into a popular fast food joint for no other reason than that is where

his feet took him. Taking haphazard bites from other customer's food, he crookedly makes

his way to the line at a cash register.  Of course, the act of getting in line was a complete

accident.  He stares at the menu; he stares at the employees; he stares at a man picking his

pockets.

"Need help?" start Dorko, "Here, it makes things a lot easier if I just hand you my

wallet.  Preferably with you holding a gun to my back so as to scare the dickens out of me.

But of course, you would be easily caught in a crowded place like this.  Would you like to

go outside?  We can sit around in an alley until it gets dark out.  We could stage the

perfect act of random violence.  Where are you going?  Stop running!"

Dorko stood in line for about a half hour.  Not because of the lunchtime rush, but he

just didn't know to move forward.  Finally, after a nice shove from an angry customer,

Dorko had his chance at the register.

"Hello, how are you doing today?" asks Dorko.

"You know, it's a funny thing.  I was feeling just fine, but now I want to lose my

lunch," replies a bald, fat, sorry, weight impaired lady behind the counter.  "Well, what will

it be?"

"What will what be?"

"Hello?  Are there any connected synapses here?  Tradition says that now is the time

you tell me what you would like to order.  Then I respond by telling you how much money

shall exchange hands and you wait for a thumb twiddling long time for us to get your

food."

Pointing his finger, Dorko says, "Well then I will acquire one of those, that, this, and

some of these."

Having lost her patience many a minute ago, the lady says, "Look dork, ..."

"That's Dorko."

Confusion sets in.  "Look Dorko Oh, as much as I like to listen to you say completely

stupid dialogue, I have a job to do.  Now, assuming you can read, look at the menu behind

my fat head and tell me what you would like to order.  Then if you would like anything

taken off the burger, you simply say, for example, 'Minus the onions, please.'  Make it fast

because there is now a line of about fifty six people behind you."

"Thank you very much."

Dorko now gets out of line, which circled the building, and found a new spot at the

end.  An observer would be completely dumbfounded by this act of aimless stupidity,

unless this observer knew Dorko, in which this act would not in the least way surprise the

person.

Well, time passes and Dorko eventually makes his way to the front of the line.

"Holy Heaven have mercy," thinks the register lady aloud, "he's back with a

vengeance."

"Hello amusingly sarcastic lady," says Dorko, "How goes things?"

"Hello amusingly moronic idiot.  Order or get the heck out of my place of

employment."

"Since my stomach's arrow is starting to point to 'E', perhaps I will commence the

ordering process.  Let me take a minute to think this over."

Time passes without so much as a breath.  Dorko seems to be having a staring contest

with the back of his hand.  Suddenly Dorko continues the conversation.

"...58 ...59 ...60.  Okay, where were we?  Oh yeah, my order."

Let us briefly take a couple seconds out of the main story to notice that Dorko is not

wearing a watch nor does he know how to tell time.   We will now proceed with the story.

Sorry for the inconvenience.

"...my order.  Secondly, I would like a cheeseburger, minus the cheese and sardines.

Finally, you can give me a couple of blits.  First, you can give me a large.  Well to drink I

would like some syrup, with ketchup please."

Shaking her head in her hands, almost in tears, the lady says, "Let me get this straight.

You want a cheeseburger minus the cheese and sardines, technically a hamburger..."

"No I don't like ham, take that off too.  And give me eight of them."

"...Okay, eight burgers (personally poisoned).  Next was the couple of blits?"  The lady

thinks for a few seconds.  "Oh, you mean BLT's.  I think I'm starting to figure you out.

What's two plus two?"

"Green."

"I knew you'd say that."  The lady cheers up a bit.  "For the syrup I'll just give you a

Pepsi, practically the same thing.  Throw in a couple packets of ketchup and that leaves us

with only one problem left.  A large what?"

"A large what what?"

"You said you wanted a large.  It has to be a large something."

"Thank you."

The next minute or so passed in the all too familiar silence that seems to follow many

of Dorko's responses.  The lady stared at Dorko; Dorko stared at the lady; The lady stared

at a man successfully picking Dorko's pockets.  She said nothing of the incident and was

actually quite happy of its occurrence.

"I'll just give you a large fry," said the lady in her "I just give up" tone of voice.  She

pressed a couple of buttons that would seem Greek to the average person.  In fact much

of it was not understood by the employees either, only enough to completely screw up

even the simplest of orders.  "That will be $19.98."

"Well, I'm pretty hungry, but I will have to wait it out.  See you next year," remarks

Dorko.

"No, that was the price, not the ye...," started the lady, quickly realizing the uselessness of

an explanation, and stopped mid-word."

The lady got really mad and reached into Dorko's back pocket. Dorko just

watched as the lady took a $20.00 bill out of his wallet and gave him his food.  As he

walked to the eating place he suddenly realized he had to go to the restroom.  On his

return back dorko left the buger joint for geting all about his food.

When Dorko sat down in his car he felt like he was sitting on something.  He got

out and to his surprize there was nothing on his seat!  "Well", said Dorko, "I guess it was

my imagination".  He got into his car and drove a mile down the road.  Dorko stopped

right in the middle of the road because it still was bothering him.  He grabbed his back

pocket and realized there was a ring in his back pocket.  "How did this get her?", Dorko

said (it really slipped of the lady's finger when she got his money out).

Dorko liked it a lot!  When he put it on his finger all of a sudden everything began

to be clear to him.  "Oh my!" yelled Dorko.  I'm parked in the middle of the road!  Dorko

emediately got into his car and drove home.

When he got home Dorko found three robbers taking all of his things.  Dorko

yelled extremely loud "STOP" peacing the ears of the robbers.  Out of sheer fight the three

robbers ran.  Dorko was truly amazed he wondered if he was the son of Super Man or

something.  So, Dorko decided to change his name to Super Man Jr. and fight crime!

For years Super Man Jr. stopped bad guys and sent them to jail.  He loved his job

and everyone loved him.  He used his super psychic ability to send mopha members to jail

with little or no evidence (everyone believed in Super Man Jr.).

309.          Dorthea Lange 1300

Born on May 26th 1895 in New Jersey, Dorothea Lange had a rough childhood.  Contracting polio before the age of eight, she walked with a limp for most of her life.  Instead of studying and working on an education, Lange spent most of her time wandering the streets on New York.  Finding pictures along these walks and collecting her favorites is thought to have sparked her interest in photography.  She called this "acting like a photographer observer".  It was during these walks that she realized the beauty of the unknowing person.  She continued her walks until perfecting her "cloak of invisibility", which is watching without appearing to.

&lt;Tab/&gt;While studying to become a teacher, by her parent's request, Lange worked both being a secretary and occasionally restoring photographs at the local photography Due to an unhappy employee quitting before a job appointment, Lange was sent to replace him.  From then on she held her position as a studio photographer.  Lange soon began to work for herself with commissioned works with only two years of formal instruction with Clarence White under her belt.

&lt;Tab/&gt;Before marrying her first husband, a painter named Maynard Dixon, Dorothea Lange packed up and moved across the country to San Francisco, California, and opened her very own portrait studio.  She birthed her first son at the age of thirty, and her second just three years later.  These years were more focused on raising her boys and being a housewife than furthering her career.

&lt;Tab/&gt;Sparking her best early work, the depression of 1929 lured Lange out of her studio and into the streets.  It was here Lange photographed the poor and homeless.  During this period she photographed one of her most popular works, "White Breadline Angel".

&lt;Tab/&gt;In 1934, just months after her first show in the gallery of Oakland, Lange was offered a job to continue the path of her work of photographing the less fortunate people of the depression by the department of Resettlement Administration.  Enduring not only the change from studio to documentary photography due to the depression, Dorothea's first marriage began to break up.  By 1935 she was divorced from her first husband.  However, working with the young Dr. Paul Taylor occasionally, produced a relationship that resulted in marriage soon after her split up.

&lt;Tab/&gt;During her trips with the R.A. (Resettlement Administration), which varied from days to months, Lange's most popular work was taken.  These trips allowed her to photograph urban slums, homeless shelters, and migrant workers such as cotton pickers.

Another photograph during these trips turned out to be the most famous work in Lange's portfolio, named "Migrant Mother".

&lt;Tab/&gt;At the end of a trip in 1936 Lange "approached the desperate mother ask[ing] no questions [about] her name or history... She was 32."  Lange was quoted saying "There was a sort of equality about it... I knew I had recorded the essence of my assignment."  Lange had a way of capturing the soul of her subjects in a single expression.  The disparity and worry for her children is clearly shown engraved into her face, aging her much more than she really is.

&lt;Tab/&gt;Because of the emotion captured and the viewer response of the "Migrant Mother" it is now used as the trademark for both the Resettlement Administration and Farms Security.  Also, because it has been her and that time periods most re printed photograph, many people say that she could not ever outshine that one picture.

&lt;Tab/&gt;Lange continued to work for the R.A. through their name change to Farmers Security Administration.  Though, in the years that followed her improper training began to become more apparent, the intense connection with the subjects she photographed allowed people to look past this.  Lange proved herself again however, producing a book of her documentary photographs, which expressed her deep connection with her subject matter.  &lt;Tab/&gt;

&lt;Tab/&gt;Lange's next undertaking seemed almost unnoticed as timing of its release coincided with World War II.  Collaborating with her husband, Lange and Taylor began work on their book recording the effects the depression had on the American people.  It was not successful due to the opening of jobs and the need for soldiers.

&lt;Tab/&gt;Soon after the bombing of Pearl Harbor Lange was offered a job by the War Relocation Authority to record the "process of interning the Japanese-American citizen during 1942, under the executive order 9066."  The result of this assignment again awarded Lange much acclamation.  Twenty-six of her photographs recorded were reproduced fueling her fame with no end in sight.

&lt;Tab/&gt;Bombarded with sickness and health problems, Lange spent the next twelve years of her life out of the public eye.  She restricted her photography to mainly her family members.  It was during this period when she was quoted, as saying "Where there is perhaps a province in which the photograph can tell us nothing more than what we see with our own eyes, there is another in which it proves to is how little our eyes permit us to see."

&lt;Tab/&gt;When she felt well enough to continue, she began her work with Life magazine.  Her first was a collaboration with Ansel Adams documenting a Mormon Community.  She then escaped to Ireland where she planned to capture the true "old country" way of life.  Lange chose to keep all of her Ireland photographs untitled because of her connection with the country.  This trip gave Lange the opportunity to get back to her old way of photographing the emotion and honest inner person.  She felt a connection not only with the people, but also with the soil of Ireland itself.  This connection is clearly shown in each work from this period.  It was said that Lange's pictures "are Ireland, her heart and soul." and that the people seem to "be" Ireland also.  They work in the soil as a part of life, resulting in the soil and the people becoming one.

&lt;Tab/&gt;Lange's quote accompanying the above photograph encapsulates the entire essence of Ireland, the people, and what she was trying to do.  She was quoted saying "I saw a dark figure approaching... and as he passed, he was pure Ireland, he was just made out of that wet, limey soil."

&lt;Tab/&gt;In the following years Lange tagged along with her husband in his trips to other countries.  She assembled a collection of 500 works from one of the trips to Egypt.  In the last two years of her life created an exposition of her work for the Museum of Modern Art, and two films about her incredible life.

&lt;Tab/&gt;Lange's broad and busy life covered many years and many different events.  Each contributed to her popularity and success.  Due to cancer, Dorothea Lange passed away on October 11, 1965.  Her work has preceded her reputation around the world, and will continue to do so.  Her photograph of the migrant mother will continue to influence people for as long as it is reprinted.  It relates to the inner feeling of despair in all of us, and carries along the feeling of utter hopelessness of that time.

&lt;Tab/&gt;Dorothea Lange photographed many subjects in her lifetime and, not to our surprise, they are still being reprinted.  Lange was quoted many things in her lifetime, but none encapsulates the true essence of her photography like her quote "The camera is an instrument that teaches people how to see with out a camera."  This statement helps readers realize the sight Lange had.  Her ability to see the beauty and inner self of her subjects is something all of us should try and copy.

&lt;Tab/&gt;

Bibliography

Meltzer Melton.  "Dorothea Lange - A Photographer's Life".

&lt;Tab/&gt;Syracuse University Press, ed. 2000.

Mullins, G and Dixon, D.  "Dorothea Lange's Ireland".

&lt;Tab/&gt;Aurum's Prcss Limited, Great Britain, London.

"Dorothea Lange - A Visual Life".  Smithsonian Institute

&lt;Tab/&gt;Press, 1994.

London Lange, Dorothea.  "American Photographers".  San

&lt;Tab/&gt;Francisco Museum of Arts.

310.          Dr Jekyll and Mr Hyde

DR.  JEKYLL AND MR.  HYDE

In the  novel Dr. Jekyll and Mr. Hyde, by R. L Stevenson, a story of

mischief  and selfishness occurs.  It's like this, there is a man called Dr. Jekyll

he doesn't like who he is so one day he thinks of a potion that makes his good

part split away from his bad part.  That is when Mr. Hyde comes into the

picture, he is the bad part of Dr. Jekyll.  Mr. Hyde likes to party have a good

time and cares less about others, but Dr. Jekyll is a caring Doctor whom

everybody adores and loves.  Mr. Hyde gets himself into a lot of trouble in

this story for example he gets a man killed and pushes down little girls for fun

Mr. Utterson, a lawyer and a friend of Dr. Jekyll's, finds something peculiar

about Dr. Jekyll and decides to keep a close watch on him.

One day the potion stops working for Dr. Jekyll and he can't turn back

into himself , he stays in the body of Mr. Hyde, the dreadful, ugly, little

midget whom nobody likes.  He decides to hide in his study upstairs and tells

his servants that he is really sick and contagious and tells them to stay away

from the study where hopefully nobody  will see him.  The only source of

communication is the notes he writes to his servants.

One day Mr. Utterson and the servant break down the door of the

study to find out if it really is Dr.  Jekyll in that room. To their surprise it is

Mr. Hyde with a bottle of poison.  He had committed suicide before they had

a chance to break down the door to the study.

The book ends when Mr. Utterson reads a letter which says "only to be

read when Dr. Jekyll is deceased" When he opened it, it had a precise

explanation of who Mr. Hyde really was and how everything happened.

R L Stevenson's novel is amazing. The reason being is the explanations

he uses like "the dreadful face of Hyde put shivers down my spine".

Stevenson really gave me a mental picture of a beast and how Mr. Utterson

must have felt the first time he saw Mr. Hyde.

This novel really reminds me of the time when I was playing a game on

my computer with all these monsters and images of death and hatred. I

remember it being about 10:00 p.m. at night when a thunder storm broke out.

I paused and felt the shivers going through my spine and out through my feet.

I was horrified I immediately shut off my computer and hid under my covers.

I felt like I was being attacked by some beast who had some kind of hatred

for me, and took joy in it.  I never played that game again, it was to real to be

true.

The concerns that arose from this book were: what if  it was really

possible to split the good and the bad, how would the world be?  Would the

bad be killing the good or the other way around? Would the society turn all

bad and have nothing but hatred in this world?  That is how I sometimes feel

when I see the hatred going on in our society? Why can't we just get along

with each other.  It wouldn't be that hard.  If there wouldn't be any racism

around I estimate that there would be about 30% less hatred in this world .  If

I only had one wish in this world I wouldn't wish for gold or a nice car, I

would wish for peace and caring in this world, because in the long run with

no hatred everybody would have everything like nice cars or lot's of money

Love equals sharing.

Through this book I made a very important decision, I will try to be

nicer to people because I really do think that it all pays off in the end.  I

would really recommend this novel to people who like mystery and suspense

novels, I really enjoyed this novel.  It is also fun to read.

In a way I could compare myself to Dr. Jekyll, because I sometimes

really do get tired of who I am. I wish I could be older and do what I want to

do without first asking permission from my parents. I wish that I was better in

math and that I could do equations in my head without any difficulties.  In a

way I can achieve all of that if I work harder for example on my math.

In conclusion, in the novel Dr. Jekyll and Mr. Hyde, mischief and

selfishness occurs which gets a young gentleman, by the name of Mr. Jekyll,

in lot's of trouble.  If there would be more people like Dr. Jekyll in this world,

this place would be a total disaster.

311.          Dr Seuss Political Cartoons 1198

In 1941, war loomed around every corner of America. It lurked like a plague, taking the lives of innocent people and instilling hatred and mistrust in the American society. Homes were broken, careers were lost, and hope soon faded as tension grew overseas. It was during this time when Theodore Seuss Geisel decided to battle evil the only way he could---through drawing. Long before "The Cat in the Hat" and "Green Eggs and Ham", Dr. Seuss, as he is most commonly known, drew political cartoons in hopes of restoring the dignity of America. Although he was already famous for his witty pesticides advertisements, a giant leap occurred in Seuss's career when his anger towards Nazism caused him to send his first political cartoon to a liberal newspaper called PM. Through his cartoons, Dr. Seuss tried to rid the world of wickedness by encouraging the American people to contribute to the war effort .In Dr. Seuss's portrayal of Adolf Hitler, his opposition towards the Nazi party is evident through his drawing style, the underlying messages behind the cartoons, and symbolism.

Dr. Seuss's unique drawing style illustrates his hatred towards Nazism.  Although he is known for his loveable, rounded and floppy-like cartoons, Dr. Seuss depicts Hitler in a cruel manner. Figures 4 and 5 exhibit Hitler as a chiseled chin, arrogant man. His head is high and his eyes are closed, indicating his snobbish and conceited attitude.  The harsh crooked lines that detail his face mark his pompous expression. It is as though he is showing the public that he is greater than the foundations of America.  This shows the reader that Hitler is aware of his power, and in doing so, makes the reader loathe the image. Through this depiction of Hitler, Dr. Seuss encourages the American public not to let him feel that pride.  Dr. Seuss also mocks Hitler's appearance by drawing his signature mustache and hairstyle. As always, Hitler's hair is parted to the right side with a stand of hair coming down his left eye. This makes Hitler appear boyish instead of powerful and ruthless. Dr. Seuss also draws his mustache in a way that makes Hitler resemble Charlie Chaplin. These two characteristics of Hitler convey the image as comedic as well as powerful.  In figure 3, Hitler is depicted as a cross between an elephant and a snake. Again, Dr. Seuss is mocking his nature. An elephant can be seen as a slow, dim-witted creature while as the snake has a more sneaky and treacherous nature. It is evident that these two animals alike are not the brightest, or the most respected in the animal kingdom.  Dr. Seuss might have used this image to ease the feelings of fright in society. During this period of time, fear was a growing epidemic in America. However, this image demonstrates that America shouldn't cower over a brainless dictator.

The messages conveyed in Dr. Seuss's cartoons exhibit his anti-Nazism views.  In Figure 1, he emphasizes America's negligence of countries overseas. In this picture, a woman representing America is holding a book called Adolf the Wolf. The caption in this cartoon states: "And the wolf chewed up the children and spit out their bones...but those were foreign children and it really didn't matter". Dr. Seuss is expressing his concerns about the innocent lives being slaughtered on behalf of Hitler. He feels that America should put aside its self interests and instead take action against the ruthless dictator. Through his drawings of the two small children beside this woman, Seuss is conveying a message for the future. It as though he is urging his generation not to instill ignorance and hatred in the minds of children. In order for history not to repeat itself, it is vital for younger generations to learn from past mistakes. In Figure 2, the Nazi party is represented by a gigantic beast. Hauling this beast in a cage is a bald eagle wearing its stars and stripes hat. The catch line of this cartoon states: "Cages cost money! Buy more US Savings Bonds and Stamps!" In this cartoon, he is implying that there is still hope. This image conveys that America will triumph against evil and put the Nazis in jail. Justice, in Seuss's eyes, is not far from being served. In Figure 6, Hitler tells a man dressed as a palm tree: "Shultz, you will be dropped from an air plane into the jungle of Brazil. Using charm and ingenuity, you will immediately woo and marry some young Brazilian palm tree. With advance ground-work such as this, my invasion of South America is practically in the bag". This cartoon is telling the America public that Hitler's plans are unwise and far fetched. This image also conveys that Hitler's tactics are not full proof, and that America will soon find victory in war.

Inevitably, the Dr.'s prescription of hope was successful. Professor Richard H. Minear of the University of Massachusetts states: "Hitler is the prime subject of all of Dr. Seuss's WWII cartoons. Without him, Dr. Seuss might well have remained a successful commercial artist with a sideline in children's literature" (Political Dr.Seuss). This quote marks the success of Seuss's political cartoons. It was his drawings of Hitler that made him a renowned political cartoonist. These cartoons lifted the spirits of many people in the 1940s. Many people found these cartoons to be encouraging, and its comical elements served as relief during rough times.

The symbols within Dr. Seuss's political cartoons demonstrate his wrath towards Hitler and his party. In figure 2, a gigantic creature bearing the Nazi sign represents Hitler's party. The beast has a foolish look about him, which makes the reader come to the conclusion that all Nazis are stupid and vulnerable. Again, this comedic representation of Nazis is conveying that there is nothing to fear. This beast in imprisoned, and is being dragged by the American bald eagle which represents American victory. This image illustrates that America will not be defeated by evil forces. The smile upon the bald eagle indicates that America's pride will not be shattered and that happiness will once again, be restored. In figure 6, the man dressed as a palm tree represents Hitler's downfall. The plan of action described in this cartoon tells the reader that Hitler will no longer triumph in his plans of world domination. It also conveys that Hitler is becoming vulnerable due to the fact that he is running out of clever ideas.

In conclusion, it is evident that Dr. Seuss's political cartoons reflect his feelings towards Nazism. Through his drawings he tried to relieve the world of the malice that Hitler created.  Through his various symbolisms, drawing techniques and underlying messages, his wrath towards Hitler and his party are expressed.   War has the power to change lives, to take lives, and in many cases to inspire lives just as it did for Dr. Seuss.  In many cases, war isn't the end, it's the beginning of many things yet to come. The opposite of war is not peace, its creation.

Illustrations that I used:

Figure 1 http://www.tfaoi.com/am/8am/8am205.jpg

Figure 2 http://orpheus.ucsd.edu/speccoll/dspolitic/pm/11215cs.jpg

Figure 3 http://orpheus.ucsd.edu/speccoll/dspolitic/Frame.htm

Figure 4 http://www.tfaoi.com/am/8am/8am206.jpg

Figure 5 http://orpheus.ucsd.edu/speccoll/dspolitic/pm/11212cs.jpg

Figure 6 http://www.marxists.org/subject/art/visual_arts/satire/seuss/seuss5.htm

312.          Dracula and Frankenstien

Frankenstein and Dracula: Character Parallels and Contrasts

Mary Shelley's Frankenstein and Bram Stoker's Dracula are stories of inhumane beings causing destruction and agony for the main characters until the time of their defeat.  These two classic horror stories possess similar character types which contrast in key elements.  Each story includes a protagonist, villain and secondary character.  The manner in which these characters participate in and affect the outcome of the story, however, varies greatly.

The protagonists in these notable horrors both fight to defeat the destructive villains.  In the story of Frankenstein, the title character Victor Frankenstein studied the sciences at a university in Ingolstadt, and became fascinated with the secret behind the creation of life.  Genious, yet foolish at the same time, he unlocked the secret and brought a hideous monster to life - the one who would haunt him forever.  This being was not yet a "monster" per say, but by Frankenstein neglecting his creation, the feelings of abandonment and loneliness developed to become the root causes for its destructive and vengeful nature.  Frankenstein suffered the loss of his loved ones at the hand of that which he created.  The monster vowed revenge upon Frankenstein who had granted it such a miserable life:

'Cursed, cursed creator!  Why did I live?  Why, in that instant, did I not extinguish the spark of existence which you had so wantonly bestowed?  I know not; despair had not yet taken possession of me; my feelings were those of rage and revenge' (Shelley, p. 137).

Had Frankenstein fathered the creature rather than disown it, he may not have endured such hardships.  Almost no remorse is felt for Frankenstein because he was the root cause of all of the destruction and deserved to face the consequences.  The protagonist in Dracula, Jonathan Harker, is a character that the readers can actually pity because he did not bring upon any of the agony he and the other characters faced.  The young and naïve British solicitor was sent to Transylvania to finalize a real estate transaction with one, Count Dracula.  Harker quickly felt uneasy about this assignment he had been asked to complete, however, he complied for the sake of his job:  "What sort of grim adventure was it on which I had embarked?  Was this a customary incident in the life of a solicitor's clerk sent out to explain the purchase of a London estate to a foreigner?" (Stoker, pp. 24-25).  Harker soon after found himself a prisoner in the Count's castle, courageously escaped, and subsequently fell ill with brain fever.  The audience feels sympathy for this protagonist, who had no involvement in choosing to meet the vampire Dracula and did not anticipate on having his friends fall victim to the villain.

The protagonists of Frankenstein and Dracula also differ in the way that they fought the respective villains.  Frankenstein, who created the monster in secrecy, could only conquer it in secrecy as well.  He attempted to explain his story to others and gain support, but they simply rendered him ill for speaking of such a being.  He thus devoted his life to the defeat of his enemy, abandoning the few family and friends he had left after the past misfortunes:  "'I have but one resource, and I devote myself, either in my life or death, to his destruction'" (Shelley, p. 208).  In the end, Frankenstein does not kill his monster, but dies while chasing it through the cold of the north.  Similarly, at one point in Dracula, Harker is deemed ill for his allegations of Count Dracula being a vampire.  The nurse who cared for him wrote his fiancée Mina saying "He has had some fearful shock - so says our doctor - and in his delirium his ravings have been dreadful; of wolves and poison and blood; of ghosts and demons; and I fear to say of what" (Stoker, p. 109).  Yet, with Lucy's peculiar illness marked by two pin-prick points on her neck and reading Harker's well-kept journal, Mina realized that her fiancé's ravings of encountering a vampire may actually have been true.  Once Harker recovers, he gets Mina and his fellow friends involved and together they defeat Dracula.  Ultimately, both protagonists met well-suited fates - Frankenstein suffered the deaths of others as well as his own for creating his own enemy so secretly, while Harker, completely innocent, encountered the villain by chance and prevailed with the help of others.

The classic novels are parallel due to the fact that each plot revolves around the horror of the villains' actions and the suspense of what each villain's destiny holds.  Frankenstein's monster and Count Dracula had two very different motives for their destructive behaviours.  Frankenstein's creation, referred to as "the monster," was deserted at the moment life was infused into it.  The monster had no knowledge of the world it had been so thoughtlessly brought into, and was to discover everything about life on its own.  It was created a "superior being" rather than a monster, but that is what it became after being exposed to the rest of the world.  Instinctively, seeing such a hideous, unearthly being, society did not welcome the monster, as it recalls: "'The whole village was roused:  some fled, some attacked me'" (Shelley, p. 103).  The monster was not inherently evil, for it constantly displayed longing to be accepted and to combat loneliness.  It attempted to befriend cottagers, and even saved a young girl from drowning, yet he was still treated without an ounce of respect.

'There was none among the myriads of men that existed who would pity or assist me; and should I feel kindness towards my enemies?  No; from that moment I declared everlasting war against the species, and more than all, against him who had formed me and sent me forth to this insupportable misery' (Shelley, pp. 137-138).

The monster's motive for being destructive, thus, was simply because it had been overcome by constant rejection, without having been given a chance to be accepted.  In contrast, Count Dracula in Dracula had completely different reasons for being villainous.  Dracula was a monster from the beginning, seeking out the perfect victims for selfish reasons.  The Count would suck the blood from helpless human beings for his rejuvenation, as Jonathan Harker discovered during his stay at the castle:  "There lay the Count, but looking if his youth had been half renewed...his mouth was redder than ever, for on the lips were gouts of fresh blood, which trickled from the corners of the mouth and ran over the chin and neck" (Stoker, p. 60).  Another of Dracula's motives was to expand his own kind, known as vampires or the "Un-Dead," and gradually gain power and dominance.  Again, this was observed by Harker:

This was the being I was helping to transfer to London where, perhaps, for centuries to come he might, amongst its teeming millions, satiate his lust for blood, and create a new and ever-widening circle of semi-demons to batten on the helpless (Stoker, p. 60).

Count Dracula, contrary to Frankenstein's monster, is a true villain who receives no pity from the readers for his clearly selfish objectives.

The stories of Frankenstein and Dracula both include secondary characters, who happen to be female as well as the lovers of the protagonists.  Frankenstein's fiancée, Elizabeth Lavenza, embodied the novel's motif of passive women as she waited patiently for Victor's attention.  Throughout the novel, she kept her distance from Frankenstein and his work and hardly got involved when he showed signs of stress and illness. Knowing nothing, she wondered if she may have been the cause of her fiancé's grie.  Frankenstein never confided in Elizabeth about the monster, so she remained ignorant of the perilous situation she was in.  Nearing the end of the story on the wedding night, Elizabeth helplessly fell victim to the monster.  In Dracula, however, Jonathan Harker's fiancée and soon after wife, Mina, was a completely different character.  When she found that Harker's departure was unusually lengthy, she did not simply consider that he found another women, as Elizabeth had in Frankenstein.  She expressed her concern for the well-being of her lover and at the instant of knowing he was ill, she was by his side.  She showed great involvement in her fiancée's life and appreciated that the men were trying to protect her, but she was adamant that she assist in the obliteration of Dracula:  "it did not seem to me good that they should brave danger and, perhaps, lessen their safety...through care of me" (Stoker, p. 248).  Mina was selfless, intelligent and resourceful, and after being victimized by the count, she used her connection with Dracula to lead the men to his hideout.  The count was captured and killed, saving Mina from transforming into a vampire and saving the rest of the world from possible danger.  Mina can be considered a heroine, being so strong, knowing and helpful in such a situation not meant for female involvement, taking place in the Victorian times.  Elizabeth Lavenza and Mina Murray, both secondary characters, had two very different roles in each story, and met two very different fates.

Therefore, the stories of Frankenstein and Dracula have separate plots, though they both include similar characters types.   Protagonists Victor Frankenstein and Jonathan Harker both strive to conquer villains, yet the first dies a lonely death and the latter lives on.  Frankenstein's monster and Count Dracula both cause irreparable damage, but have quite dissimilar motives for their behaviours.  Finally, Elizabeth Lavenza and Mina Murray participate throughout each respective novel in different ways, though both being secondary female characters with alike relations to the protagonists.  These classic horrors illustrate how having common characters does not necessarily denote having common plots.

Works Cited

Shelley, Mary.  Frankenstein.  New York:  Tom Doherty Associates, Inc., 1988.

Stoker, Bram.  Dracula.  Toronto:  Penguin Books Canada Ltd., 1965.

313.          Duke Ellington Essay

Duke Ellington: An American Legacy

Where would music be had it not been for the men that stepped before him.

The Motzarts and Beethovens, who wrote the music that today is known as the

classics.  These men were naturals in their own right, but these people wrote

their music in the 17th and 18th century.  Many people don't realize all of the

changes that music had to go through between that period of music and the

present day.  One such musician stands alone at the top as one of the movers and

innovators of the 20th century.  He is Duke Ellington.  Along with his band, he

alone influenced millions of people both around the world and at home.  He gave

American music its own sound for the first time.  Winton Marsalis said it best

when he said "His music sounds like America." (Hajdu,72).  These days you can

find his name on over 1500 CS's(Illistated Encyclopedia of Jazz,254).  Duke's

legacy will live on for generations to come.

Duke Ellington was born Edward Kennedy Ellington, April 29, 1899 in

Washington D.C(The New Grove Dictionary of Jazz,330).  His father at the time

was employed as a butler yet always wanted the best for Duke.  At the young age

of seven Ellington took up the piano, because his father had always wanted him

to become an artist(330).  But how was Duke to become an artist in a time when

blacks weren't given the same rights as everyone else.  They went to separate

schools.  They were forced to the back of the bus and to use separate bathrooms.

If Duke were to become some one he had much to come over.

One thing that we do know is that Duke was always looking for attention

and dignity.  There are even stories of how he would announce from the top of

the stairs in the morning that he was coming down and demand that his parents

applaud(Collier,9).  Also when his cousins would come over he would stand on the

front porch as they arrived and make them curtsy in front of him(9).  Of course

they didn't like that but they played along(10).  From the beginning Duke

Ellington wanted to be remembered by generations to come, That would be

difficult being the son of a butler and black(The New Grove Dictionary of

Jazz,330); in a time when Negroes had many obstacles including the racism that

plagued the United States.

About ten years after he started to play piano, he made his professional

debut.  It was nothing glitzy just a pub in uptown(330).  Back in Ellington's

time black performers had to enter through back doors.  He was on his way, or

was he?  In 1923 he experienced failure due to financial instability(330).  Most

people would have given up by now but not the Duke.  He kept on looking for work.

His relentless perseverance payed off.  In 1924 Elmer Snowden asked Duke

Ellington to join his band and he accepted without question(Collier,45).  So

Duke moved north to New York and joined the Washingtonians(46).  Elmer Snowden

was so impressed by his natural ability, that in 1927 he handed his band over to

Ellington(Collier,72).  It was the turning point in Ellingtons life.  He was now

the leader of a headlining bank at the Cotton Club.  "The Cotton Club--smack dab

in the middle of Harlem-but Black people couldn't go there.  It was for whites

only," says Joe Louis(Gales,1995).  Imagine the prestige of being a Black in the

midst of White people.  Ellington was finally rubbing shoulders the upper class.

However he was not allowed to share his talent with his own kind.  His

inspiration for all his wonderful compositions never were heard by them.  It's

like writing a love song for someone and not being allowed to share it.  His

feelings and ideas were never expressed to the people that meant the most to him,

his people(Johnson,59).  At the time his legacy was only known by the whites who

went to see him perform.  It wasn't until later when Blacks began to hear the

Duke's music for the first time.

Being headlined wasn't the only fame that the band brought Duke

Ellington.  In 1930 he took the group to Hollywood to appear in the movie, Check

and Double Check(The New Grove Dictionary of Jazz,330).  Ellington was becoming

a household name.  The attention and dignity that he had always strived for as a

kid had finally come.

Ellington was not going to let opportunity get away from him.  During

the time from 1933 to 1939 he went on a huge world tour that spanned the globe.

His tours took him from Japan, to Europe, to Africa, and Austria(330)(The New

Grove Encyclopedia of Music and Musicians,658).  Often times, Ellington

supported his dreams out of his own pocket or from royalties collected from his

ever growing and equally popular songbook(Duke is Still Tops...,1).  Duke

Ellington showed Black Americans today that you could be someone, if you wanted

it badly enough.  He was willing to put himself on the line in order to gain

respect in a time when blacks received little respect in America.  DeSable

probably put it best when he said, "yet the man who was sent to the Colored

People's Waiting Room at the same time was the toast of Paris!"(Hajdu,72).

America was truly disregarding one of the greatest Americans there ever will be.

His legacy is part of the America that we want people around the world to see,

the Cinderella story, from relative obscurity to fame.

Duke will probably be remembered most for the over 3000 songs that he

composed during his lifetime.  The most amazing part about Ellington was the

most creative while he was on the road and busy.(The New Grove Dictionary of

Jazz,330)  It was during this time when he wrote his most famous piece, "Mood

Indigo" which brought him world wide fame.  When asked what inspired him to

write, Ellington replied, "My men and my race are the inspiration of my work.  I

try to catch the character and mood and feeling of my people" (Johnson 58).

Duke wrote from the heart.  Unlike now adays when writers write for money,

Duke's music was at the next level of musicianship.  One of feel and love for

what he was doing.

The other aspect about Duke that makes his writings so great was his

wide range of styles that he could write in.  During his lifetime, Ellington

was able to sign his name to a Broadway musical, "Beggers Holiday", a ballet,

"The River", and a full length movie score, Anatomy of a Murder.(Hajdu,73).

Some of his more interesting music came from the period when he wrote in a

classical style.  What makes his music so interesting is how it sounds so much

like Beethoven yet, there is  an underlying jazz feel to the music.  This is

something that is very unique to his writing.  What is even more amazing is

knowing that Duke basically taught harmony to himself and that his vast

knowledge of arranging music came from experimenting with his band(The New Grove

Dictionary of Jazz,331).  Just as a chemist learns and creates in a lab,

Ellington used his band to learn and create.  Duke was no match for Father Time

though.  As death crept up on Duke Ellington, he began writing liturgical music.

His most famous piece was, "In the Beginning God," which was written for

orchestra chorus and soloist.  Again he was still able to keep an underlying

jazz feel.

People began to take note of one the greatest composers that ever lived.

Duke once used the phrase "beyond category" to describe singer Ella Fitzgerald

(Johnson,58).  Who would ever think that people would ever think of Duke in that

category as well.  One of New York University's Music Department Chairmen Percy

Granger ranked Ellington as on the three greatest composers in the history of

music, sharing honors with J. S. Bach and Frederick Delius. (58)  What makes

Ellingtons accomplishments even more significant is that despite being the first

Negro to gain such a distinction, he was the first and only American to do so.

More and more people began to give Duke the respect that he always strived for.

In the very beginning, Duke wanted to be respected but now awards and other

recognitions filled his life.  Finally, in 1967 he received Honorary Doctorates

from both Harvard and Yale and later became the only jazz musician to receive an

honorary degree from Columbus University(The Illustrated Encyclopedia of

Jazz,244).  Greatness in his own country was now upon him.  Later in 1969, Nixon

awarded him the Presidential Medal of Freedom, the highest civilian medal of

honor(244).  The American government wasn't the only government to honor this

truly great man.  Duke was so revered after a trip to Togo that the government

issued a stamp in his honor. (The New Grove Encyclopedia of Music and

Musicians,658)  Above all, his greatest distinction had to have been, being the

first jazz musician to be named to the Royal Academy of Music in Sweden(658).

With all of Ellington's awards, Honorary Doctorates, and honors, he still

remained humble.  When asked about not winning American's top prize for

composers, Duke replied, "fate is just being kind to me.  It doesn't want me to

become famous to young." (Johnson 59)

His music will surely live on for generation to come but more

importantly will the man behind the music be remembered?  In a day and age when

people are on the go, will they listen to his music done by another artist and

not realize that the artist they are listening to is not the author?13  Saying

Tony Bennett wrote Satin Doll is like saying Disney wrote the Nutcracker.  Duke

Ellington had to go through a lot just  to be heard when America was keeping

their African American artists under a cover.  Not only should Ellington be

remembered as a great composer, but he should be remembered as a leading figure

of Civil Rights like Martin Luther King Jr. who always saw the glass half full

instead of half empty.  In his autobiography he writes,"Gray skies are just

clouds passing over." (Gayles, 1995).  That sums up the man.  Optimistic and

always striving to accomplish more.

Works Cited

Camus, Albert. Gales Quotaions. Who said What. December 1995. Detroit: Gale

Research Inc. 1995. CD-ROM.

Collier, James Lincoln. Duke Ellington. New York:MacMillan. 1991.

"Duk is Still Tops. Ellington's Relevance goes Beyond Music." Chicago Tribune,

13 December 1995, Tempo, p.1.

"Ellington, Duke." The Illustrated Encyclopedia of Jazz. 1978 ed.

"Ellington, Duke." The New Grove Dictionary of Jazz. 1988 ed.

"Ellington, Duke." The New Grove Encyclopedia of Music and Musicians. 1980

ed.

Hajdu, David. "Sofisticated Gentleman" Entertainment Weekly. 31 May 1996.

p.72-73.

Johnson, Robert.  "On his 96th Birthday, Duke Ellington Proclaimed 'BEYOND

CATAGORY' by Critics of his Great Music." Jet. 15 May 1995.

p.58-61.

314.          duke ellington

An American Legacy

Where would music be had it not been for the men that stepped before him.  The Motzarts and Beethovens, who wrote the music that today is known as the classics.  These men were naturals in their own right, but these people wrote their music in the 17th and 18th century.  Many people don't realize all of the changes that music had to go through between that period of music and the present day.  One such musician stands alone at the top as one of the movers and innovators of the 20th century.  He is Duke Ellington.  Along with his band, he alone influenced millions of people both around the world and at home.  He gave American music its own sound for the first time.  Winton Marsalis said it best when he said "His music sounds like America." (Hajdu,72).  These days you can find his name on over 1500 CS's(Illistated Encyclopedia of Jazz,254).  Duke's legacy will live on for generations to come.

Duke Ellington was born Edward Kennedy Ellington, April 29, 1899 in Washington D.C(The New Grove Dictionary of Jazz,330).  His father at the time was employed as a butler yet always wanted the best for Duke.  At the young age  of seven Ellington took up the piano, because his father had always wanted him to become an artist(330).  But how was Duke to become an artist in a time when blacks weren't given the same rights as everyone else.  They went to separate schools.  They were forced to the back of the bus and to use separate bathrooms.  If Duke were to become some one he had much to come over.

One thing that we do know is that Duke was always looking for attention and dignity.  There are even stories of how he would announce from the top of the stairs in the morning that he was coming down and demand that his parents applaud(Collier,9).  Also when his cousins would come over he would stand on the front porch as they arrived and make them curtsy in front of him(9).  Of course they didn't like that but they played along(10).  From the beginning Duke Ellington wanted to be remembered by generations to come, That would be difficult being the son of a butler and black(The New Grove Dictionary of Jazz,330); in a time when Negroes had many obstacles including the racism that plagued the United States.

About ten years after he started to play piano, he made his professional debut.  It was nothing glitzy just a pub in uptown(330).  Back in Ellington's time black performers had to enter through back doors.  He was on his way, or was he?  In 1923 he experienced failure due to financial instability(330).  Most people would have given up by now but not the Duke.  He kept on looking for work.  His relentless perseverance payed off.  In 1924 Elmer Snowden asked Duke Ellington to join his band and he accepted without question(Collier,45).  So Duke moved north to New York and joined the Washingtonians(46).  Elmer Snowden was so impressed by his natural ability, that in 1927 he handed his band over to Ellington(Collier,72).  It was the turning point in Ellingtons life.  He was now the leader of a headlining bank at the Cotton Club.  "The Cotton Club--smack dab in the middle of Harlem-but Black people couldn't go there.  It was for whites only," says Joe Louis(Gales,1995).  Imagine the prestige of being a Black in the midst of White people.  Ellington was finally rubbing shoulders the upper class. However he was not allowed to share his talent with his own kind.  His inspiration for all his wonderful compositions never were heard by them.  It's like writing a love song for someone and not being allowed to share it.  His feelings and ideas were never expressed to the people that meant the most to him, his people(Johnson,59).  At the time his legacy was only known by the whites who went to see him perform.  It wasn't until later when Blacks began to hear the Duke's music for the first time.

Being headlined wasn't the only fame that the band brought Duke Ellington.  In 1930 he took the group to Hollywood to appear in the movie, Check and Double Check(The New Grove Dictionary of Jazz,330).  Ellington was becoming a household name.  The attention and dignity that he had always strived for as a kid had finally come.

Ellington was not going to let opportunity get away from him.  During the time from 1933 to 1939 he went on a huge world tour that spanned the globe.  His tours took him from Japan, to Europe, to Africa, and Austria(330)(The New Grove Encyclopedia of Music and Musicians,658).  Often times, Ellington supported his dreams out of his own pocket or from royalties collected from his ever growing and equally popular songbook(Duke is Still Tops...,1).  Duke Ellington showed Black Americans today that you could be someone, if you wanted it badly enough.  He was willing to put himself on the line in order to gain respect in a time when blacks received little respect in America.  DeSable probably put it best when he said, "yet the man who was sent to the Colored People's Waiting Room at the same time was the toast of Paris!"(Hajdu,72).  America was truly disregarding one of the greatest Americans there ever will be.  His legacy is part of the America that we want people around the world to see, the Cinderella story, from relative obscurity to fame.

Duke will probably be remembered most for the over 3000 songs that he composed during his lifetime.  The most amazing part about Ellington was the most creative while he was on the road and busy.(The New Grove Dictionary of Jazz,330)  It was during this time when he wrote his most famous piece, "Mood Indigo" which brought him world wide fame.  When asked what inspired him to write, Ellington replied, "My men and my race are the inspiration of my work.  I try to catch the character and mood and feeling of my people" (Johnson 58).  Duke wrote from the heart.  Unlike now adays when writers write for money, Duke's music was at the next level of musicianship.  One of feel and love for what he was doing.

The other aspect about Duke that makes his writings so great was his wide range of styles that he could write in.  During his lifetime, Ellington  was able to sign his name to a Broadway musical, "Beggers Holiday", a ballet, "The River", and a full length movie score, Anatomy of a Murder.(Hajdu,73).  Some of his more interesting music came from the period when he wrote in a classical style.  What makes his music so interesting is how it sounds so much like Beethoven yet, there is  an underlying jazz feel to the music.  This is something that is very unique to his writing.  What is even more amazing is knowing that Duke basically taught harmony to himself and that his vast knowledge of arranging music came from experimenting with his band(The New Grove Dictionary of Jazz,331).  Just as a chemist learns and creates in a lab, Ellington used his band to learn and create.  Duke was no match for Father Time though.  As death crept up on Duke Ellington, he began writing liturgical music.  His most famous piece was, "In the Beginning God," which was written for orchestra chorus and soloist.  Again he was still able to keep an underlying jazz feel.

People began to take note of one the greatest composers that ever lived.  Duke once used the phrase "beyond category" to describe singer Ella Fitzgerald (Johnson,58).  Who would ever think that people would ever think of Duke in that category as well.  One of New York University's Music Department Chairmen Percy Granger ranked Ellington as on the three greatest composers in the history of music, sharing honors with J. S. Bach and Frederick Delius. (58)  What makes Ellingtons accomplishments even more significant is that despite being the first Negro to gain such a distinction, he was the first and only American to do so.  More and more people began to give Duke the respect that he always strived for.

In the very beginning, Duke wanted to be respected but now awards and other recognitions filled his life.  Finally, in 1967 he received Honorary Doctorates from both Harvard and Yale and later became the only jazz musician to receive an honorary degree from Columbus University(The Illustrated Encyclopedia of Jazz,244).  Greatness in his own country was now upon him.  Later in 1969, Nixon awarded him the Presidential Medal of Freedom, the highest civilian medal of honor(244).  The American government wasn't the only government to honor this truly great man.  Duke was so revered after a trip to Togo that the government issued a stamp in his honor. (The New Grove Encyclopedia of Music and Musicians,658)  Above all, his greatest distinction had to have been, being the first jazz musician to be named to the Royal Academy of Music in Sweden(658).  With all of Ellington's awards, Honorary Doctorates, and honors, he still remained humble.  When asked about not winning American's top prize for composers, Duke replied, "fate is just being kind to me.  It doesn't want me to become famous to young." (Johnson 59)

His music will surely live on for generation to come but more importantly will the man behind the music be remembered?  In a day and age when people are on the go, will they listen to his music done by another artist and not realize that the artist they are listening to is not the author?13  Saying Tony Bennett wrote Satin Doll is like saying Disney wrote the Nutcracker.  Duke Ellington had to go through a lot just  to be heard when America was keeping their African American artists under a cover.  Not only should Ellington be remembered as a great composer, but he should be remembered as a leading figure of Civil Rights like Martin Luther King Jr. who always saw the glass half full instead of half empty.  In his autobiography he writes,"Gray skies are just clouds passing over." (Gayles, 1995).  That sums up the man.  Optimistic and always striving to accomplish more.

An American Legacy

Danny Swartz

College Prep 14-16

Wright

Dec. 18, 1996

Works Cited

Camus, Albert. Gales Quotaions. Who said What. December 1995. Detroit: Gale   Research Inc. 1995. CD-ROM.

Collier, James Lincoln. Duke Ellington. New York:MacMillan. 1991.

"Duk is Still Tops. Ellington's Relevance goes Beyond Music." Chicago Tribune,    13 December 1995, Tempo, p.1.

"Ellington, Duke." The Illustrated Encyclopedia of Jazz. 1978 ed.

"Ellington, Duke." The New Grove Dictionary of Jazz. 1988 ed.

"Ellington, Duke." The New Grove Encyclopedia of Music and Musicians. 1980    ed.

Hajdu, David. "Sofisticated Gentleman" Entertainment Weekly. 31 May 1996.      p.72-73.

Johnson, Robert.  "On his 96th Birthday, Duke Ellington Proclaimed 'BEYOND   CATAGORY' by Critics of his Great Music." Jet. 15 May 1995. p.58-61.

315.          Dune Essay

Dune

This book all started with the family Atreides landing on plant Arrakis,

commonly known as Dune.  The planet Dune was the centre of the universe due to

its immense amounts of spice.  This spice is greatly needed for all planets as

fuel and for raw materials.  The family Atreides were asked by Emperor himself

to go and mine the spice on the planet.  Their greatest enemy the Harkonnen's,

were also on Dune.  These two families mining the precious spice on the same

plant would lead to great troubles and wars.

Soon after that, I was introduced to a very brave and insightful young

man.  The young man is Paul Atreides.  Paul is medium height with short, black

hair.  His mother Jessica is a Bene Gesserit that means she knows the "weirding

way."  This means Jessica is trained to kill and is also trained as a mind

reader.  She is very tall and beautiful and is always concerned with the actions

of Paul, the future ruler of the galaxy.

Jessica's teacher, the Reverend Mother heard of Paul and thought that he

might be the great leader that the prophets told of.  The Reverend Mother came

to Dune and tested Paul to see if this was so. Paul underwent great pain and

suffering but passed the tests with the highest reverence.  Duke Leto, Paul's

father now came into the picture.  He was the leader of the Atreides Family.  He

seemed very established and perceptive.   The Atreides family represented good

and honesty while their enemies, the Harkonnen's, were ruthless killers.

The Harkonnen home planet, Gedi Prime was very desolate and dark.  It

represented the immorality and darkness within the Harkonnens.  Their leader

Baron Vladimir Harkonnen was very obese and inhuman.  He killed his own slaves

for fun and hated the Atreides with a passion.  He hated their peaceful and

honest ways.  Most of all he despised their coming to Dune.  This Harkonnen

leader appeared the typical tyrant leader.  Vladimir Harkonnen's most trusted

solider Feyd-Rautha was also like him except his physical appearance was that of

ideal shape and form.

Back at the Atreides base more characters are introduced to me.  They

are Duncan Idaho who was the personal trainer for Paul Atreides, Dr. Yeuh who

was a good friend of the Duke and later was found out to be a traitor, and

Thufir Hawat the security officer of the base.  All these men seemed greatly

trusted in the Atreides family.  They taught Paul much about fighting and

protecting himself from his enemies.   These men along with Paul's mother and

father helped prepare him for the coming hardships ahead.  A group of people

named the Fremen also were presented.  They were people who lived in the desert

within the forbidden zone.  The forbidden zone was where no one would ever

travel.  It was said that there are huge masses of Fremen there along with giant

sandworms reaching a length of four hundred and fifty meters.  The Fremen

harvested spice, lived in the cities and in underground cities.  Their eyes were

bright blue on blue due to the saturation of the spice which changed their

colour.

The beginning of this book was very interesting and told me much about

each characters background and personality.  I knew there was something special

about Paul and his mother right from the start just by how the author described

them. The family Atreides was very strong and even feared by the Emperor himself

because he knew that Paul was the prophet who was destined to stop all violence,

hunger, spice mining, armies and fighting.  He was to bring a new era along with

his leadership.  This frightened the Emperor that forced him to act against the

Atreides family.

The Harkonnen's seemed a bit too uninteresting and average to me.  They

were evil and hated all that was good.  The author should of added a bit more "

spice" to their characters.  This would of made the story more enjoyable.

Otherwise, this science fiction novel is like it says on the cover, "A world

beyond your experience, beyond your imagination."

The emperor sent the Atreides to Dune for one purpose only.  Their

destruction.  He joined forces with the Harkonnens and attacked the Atreides.

The Harkonnen spy, Dr. Yeuh turned off the defence's of the base that resulted

in the defeat of the Atreides.  All were killed except Jessica, Paul and Duncan

Idaho.  They managed to escape in a spice mining ship deep into the desert, in

the middle of the forbidden zone.

The forbidden zone was very desolate and all you could see was sand

dunes and rock piles.  This place was to be inhabited by the Fremen.  Paul and

Jessica were amazed when they found an underground cavern that had thousands of

Fremen in it.  These Fremen looked strong and experienced.  Their bright blue

eyes stood out like the moon at night.  I knew that these Fremen would play a

big part in the book.  It was said that a man would come to lead them out of the

caves and they thought this was Paul by how he knew their traditions.

Paul began to grow more powerful with each passing day.  This part was

very interesting because I was shown how Paul has grown and how his dreams were

coming to reality.  The Fremen also developed because they seemed amused, but

simultaneously fearful of Jessica and Paul.  These two knew the weirding way and

the Fremen wanted to learn it in preparation for battle.

Paul and Jessica started to teach the Fremen the "weirding way" so they

could help fight against the Harkonnens and the Emperor.  Paul now is also

showing sings of a mature and experienced man.

The novel now is progressing at a very fast pace because Paul and

Jessica are training the Fremen, planning their revenge on the Harkonnens and

their growth as characters in the novel.  Although I knew that Paul was going to

defeat the Harkonnens without finishing the book, the plot still was very

captivating.  I liked how the author described the feelings and pictures of

different scenes.  He really went into depth about the emotions of the character

like whenever Jessica thinks about how Paul is maturing at an astonishing speed.

Paul Atreides started to gain more power and fear throughout the planet.  The

Emperor knew Paul would soon be unstoppable so he must try to stop him.  By the

author making the Emperor fear Paul Atreides, it shows that even one of the most

powerful and influential man in the universe is afraid of him.  This shows that

if the Emperor is afraid of Paul then many more would also be.  Paul has already

won half the battle by putting fear into the hearts of his enemies.

After all the Fremen were trained and ready for battle, they call upon

their most powerful friend; the sandworms of Dune.  These massive creatures live

throughout all the sand dunes.  The sandworms were very well described and added

imagination and originality in the book.  The worms combined with the Fremen's

training would prove to be an unstoppable match.  Sandworms were used as a form

of transportation for Paul's army.  Since they are so large, many people could

fit onto them.  Armies would be crushed by their weight and would have great

disadvantages from the ground which was a great advantage to the Fremen.  No

force could stop or even match their extraordinary power and all would be

punished for the unfair deaths of the Atreides family.  Blood would soon flow

and Paul's revenge would be fulfilled.

To call upon the sandworms, a special tool named a thumper would be used.

These machines would send large vibrations into the ground.  Since sandworms

can sense vibrations easily and are attracted to them, they would come.  Once

they have arrived, ropes are thrown onto the sandworms and the men climb on top

of it.  By making the sandworms sensitive to sounds and vibrations, people other

then the Fremen are fearful to walk deep into the desert because they know the

worms hear everything.  This is a natural protection for the Fremen because the

Harkonnens will never travel into the forbidden zone to attack.

The final battle was approaching.  All of Paul's men were ready and

riding to meet the Harkonnen's and the Emperors legions of soldiers.  Once at

the battle field, the giant worms spread open their mouths to stop enemy fire

and Paul's men got the first attack.  Much excitement and fighting were

happening here so this part was worth reading the story.   Much detail was put

into the final fighting scene that made things more vivid and real.  There were

feelings of tension and fear.  So much was happening in so little time.   This

final battle scene was the climax of the story.  All of Paul's dreams and

training paid off by their victory over the Harkonnens.  Now he can rebuild the

empire to be what he was destined to make it.  Once victory was achieved, Paul

made rain clouds appear and rain poured onto the dry sands.  All were amazed by

his powers and no on ever questioned him or his decisions again.  Paul was now

the almighty ruler.

In making a story get the readers appreciation the author must provide

the following essentials;

* Creativity

* Action and adventure

* Love and romance

* Strong story line (opening, body and closing)

The author Frank Herbert provided all these that made the story

interesting to me.  Frank Herbert's imagination made the sandworms become lively

and the mystic powers of Paul come into perspective.  Paul fell on love with a

beautiful young Fremen woman.  This added romance made Paul work harder to free

Arrakis of the wicked Harkonnens.  Much extra background information given

through the book made me understand the characters and their emotions with more

comprehension.  There were many themes in 'Dune' such as "you shall get your

just  deserves."  This means that what you have done to others shall be done

back to you in full.  The Harkonnens army combined with the Emperors attacked

and beat the Atreides.  Paul in turn strikes back with brute force that many

have not seen throughout their existence.  The Harkonnens and the Emperor were

annihilated and Paul's vengeance was paid.  I must say that this science fiction

book did create a sense of reality meaning that this situation could happen in

the future.  A boy or girl born in the future who is destined to be the almighty

ruler.  He/she will guide us out of depression and into a new era of peace and

prosperity.  Their may be truth to this story and one day a fight between good

and evil may come to reality.

Dune is the typical `Good guys vs. Bad guys' theme.  The Atreides are at

war with the Harkonnens and the good always win (as you already know.)  Although

this plot is really used too much Frank Herbert did an excellent job to disguise

this fact.  He blended this into a great story line of action packed adventure

and dreams of the future.

316.          Dune

Dune by Frank Herbert                           Feb.22/97

This book all started with the family Atreides landing on plant Arrakis, commonly known as Dune.  The planet Dune was the centre of the universe due to its immense amounts of spice.  This spice is greatly needed for all planets as fuel and for raw materials.  The family Atreides were asked by Emperor himself to go and mine the spice on the planet.  Their greatest enemy the Harkonnen's, were also on Dune.  These two families mining the precious spice on the same plant would lead to great troubles and wars.

Soon after that, I was introduced to a very brave and insightful young man.  The young man is Paul Atreides.  Paul is medium height with short, black hair.  His mother Jessica is a Bene Gesserit that means she knows the "weirding way."  This means Jessica is trained to kill and is also trained as a mind reader.  She is very tall and beautiful and is always concerned with the actions of Paul, the future ruler of the galaxy.

Jessica's teacher, the Reverend Mother heard of Paul and thought that he might be the great leader that the prophets told of.  The Reverend Mother came to Dune and tested Paul to see if this was so. Paul underwent great pain and suffering but passed the tests with the highest reverence.  Duke Leto, Paul's father now came into the picture.  He was the leader of the Atreides Family.  He seemed very established and perceptive.   The Atreides family represented good and honesty while their enemies, the Harkonnen's, were ruthless killers.

The Harkonnen home planet, Gedi Prime was very desolate and dark.  It represented the immorality and darkness within the Harkonnens.  Their leader Baron Vladimir Harkonnen was very obese and inhuman.  He killed his own slaves for fun and hated the Atreides with a passion.  He hated their peaceful and honest ways.  Most of all he despised their coming to Dune.  This Harkonnen leader appeared the typical tyrant leader.  Vladimir Harkonnen's most trusted solider Feyd-Rautha was also like him except his physical appearance was that of ideal shape and form.

Back at the Atreides base more characters are introduced to me.  They are Duncan Idaho who was the personal trainer for Paul Atreides, Dr. Yeuh who was a good friend of the Duke and later was found out to be a traitor, and Thufir Hawat the security officer of the base.  All these men seemed greatly trusted in the Atreides family.  They taught Paul much about fighting and protecting himself from his enemies.   These men along with Paul's mother and father helped prepare him for the coming hardships ahead.  A group of people named the Fremen also were presented.  They were people who lived in the desert within the forbidden zone.  The forbidden zone was where no one would ever travel.  It was said that there are huge masses of Fremen there along with giant sandworms reaching a length of four hundred and fifty meters.  The Fremen harvested spice, lived in the cities and in underground cities.  Their eyes were bright blue on blue due to the saturation of the spice which changed their colour.

The beginning of this book was very interesting and told me much about each characters background and personality.  I knew there was something special about Paul and his mother right from the start just by how the author described them. The family Atreides was very strong and even feared by the Emperor himself because he knew that Paul was the prophet who was destined to stop all violence, hunger, spice mining, armies and fighting.  He was to bring a new era along with his leadership.  This frightened the Emperor that forced him to act against the Atreides family.

The Harkonnen's seemed a bit too uninteresting and average to me.  They were evil and hated all that was good.  The author should of added a bit more "spice" to their characters.  This would of made the story more enjoyable.  Otherwise, this science fiction novel is like it says on the cover, "A world beyond your experience, beyond your imagination."

Dune by Frank Herbert                              Feb.23/97

The emperor sent the Atreides to Dune for one purpose only.  Their destruction.  He joined forces with the Harkonnens and attacked the Atreides.  The Harkonnen spy, Dr. Yeuh turned off the defence's of the base that resulted in the defeat of the Atreides.  All were killed except Jessica, Paul and Duncan Idaho.  They managed to escape in a spice mining ship deep into the desert, in the middle of the forbidden zone.

The forbidden zone was very desolate and all you could see was sand dunes and rock piles.  This place was to be inhabited by the Fremen.  Paul and Jessica were amazed when they found an underground cavern that had thousands of Fremen in it.  These Fremen looked strong and experienced.  Their bright blue eyes stood out like the moon at night.  I knew that these Fremen would play a big part in the book.  It was said that a man would come to lead them out of the caves and they thought this was Paul by how he knew their traditions.

Paul began to grow more powerful with each passing day.  This part was very interesting because I was shown how Paul has grown and how his dreams were coming to reality.  The Fremen also developed because they seemed amused, but simultaneously fearful of Jessica and Paul.  These two knew the weirding way and the Fremen wanted to learn it in preparation for battle.

Paul and Jessica started to teach the Fremen the "weirding way" so they could help fight against the Harkonnens and the Emperor.  Paul now is also showing sings of a mature and experienced man.

The novel now is progressing at a very fast pace because Paul and Jessica are training the Fremen, planning their revenge on the Harkonnens and their growth as characters in the novel.  Although I knew that Paul was going to defeat the Harkonnens without finishing the book, the plot still was very captivating.  I liked how the author described the feelings and pictures of different scenes.  He really went into depth about the emotions of the character like whenever Jessica thinks about how Paul is maturing at an astonishing speed.  Paul Atreides started to gain more power and fear throughout the planet.  The Emperor knew Paul would soon be unstoppable so he must try to stop him.  By the author making the Emperor fear Paul Atreides, it shows that even one of the most powerful and influential man in the universe is afraid of him.  This shows that if the Emperor is afraid of Paul then many more would also be.  Paul has already won half the battle by putting fear into the hearts of his enemies.

Dune by Frank Herbert                              Feb 25/97

After all the Fremen were trained and ready for battle, they call upon their most powerful friend; the sandworms of Dune.  These massive creatures live throughout all the sand dunes.  The sandworms were very well described and added imagination and originality in the book.  The worms combined with the Fremen's training would prove to be an unstoppable match.  Sandworms were used as a form of transportation for Paul's army.  Since they are so large, many people could fit onto them.  Armies would be crushed by their weight and would have great disadvantages from the ground which was a great advantage to the Fremen.  No force could stop or even match their extraordinary power and all would be punished for the unfair deaths of the Atreides family.  Blood would soon flow and Paul's revenge would be fulfilled.

To call upon the sandworms, a special tool named a thumper would be used.  These machines would send large vibrations into the ground.  Since sandworms can sense vibrations easily and are attracted to them, they would come.  Once they have arrived, ropes are thrown onto the sandworms and the men climb on top of it.  By making the sandworms sensitive to sounds and vibrations, people other then the Fremen are fearful to walk deep into the desert because they know the worms hear everything.  This is a natural protection for the Fremen because the Harkonnens will never travel into the forbidden zone to attack.

The final battle was approaching.  All of Paul's men were ready and riding to meet the Harkonnen's and the Emperors legions of soldiers.  Once at the battle field, the giant worms spread open their mouths to stop enemy fire and Paul's men got the first attack.  Much excitement and fighting were happening here so this part was worth reading the story.   Much detail was put into the final fighting scene that made things more vivid and real.  There were feelings of tension and fear.  So much was happening in so little time.   This final battle scene was the climax of the story.  All of Paul's dreams and training paid off by their victory over the Harkonnens.  Now he can rebuild the empire to be what he was destined to make it.  Once victory was achieved, Paul made rain clouds appear and rain poured onto the dry sands.  All were amazed by his powers and no on ever questioned him or his decisions again.  Paul was now the almighty ruler.

Dune by Frank Herbert                          Feb.26/97

In making a story get the readers appreciation the author must provide the following essentials;

* Creativity

* Action and adventure

* Love and romance

* Strong story line (opening, body and closing)

The author Frank Herbert provided all these that made the story interesting to me.  Frank Herbert's imagination made the sandworms become lively and the mystic powers of Paul come into perspective.  Paul fell on love with a beautiful young Fremen woman.  This added romance made Paul work harder to free Arrakis of the wicked Harkonnens.  Much extra background information given through the book made me understand the characters and their emotions with more comprehension.  There were many themes in 'Dune' such as "you shall get your just  deserves."  This means that what you have done to others shall be done back to you in full.  The Harkonnens army combined with the Emperors attacked and beat the Atreides.  Paul in turn strikes back with brute force that many have not seen throughout their existence.  The Harkonnens and the Emperor were annihilated and Paul's vengeance was paid.  I must say that this science fiction book did create a sense of reality meaning that this situation could happen in the future.  A boy or girl born in the future who is destined to be the almighty ruler.  He/she will guide us out of depression and into a new era of peace and prosperity.  Their may be truth to this story and one day a fight between good and evil may come to reality.

Dune is the typical 'Good guys vs. Bad guys' theme.  The Atreides are at war with the Harkonnens and the good always win (as you already know.)  Although this plot is really used too much Frank Herbert did an excellent job to disguise this fact.  He blended this into a great story line of action packed adventure and dreams of the future.

317.          Durham Cathedral

Standing on a cliff overlooking the River Wear in England, Durham Cathedral began construction in 1093 A.D. and was finally completed in 1133. It was intentionally built just to the south of Durham Castle, so that the two buildings together would present a formidable defensive position against attacks from the north. Because of the constant threat of violence, the architect who designed it was slow to incorporate the light and airy Gothic style present in cathedral design throughout the rest of England. Thick carved pillars dominate the nave of Durham Cathedral, and the relatively few small windows leave the interior dominated by a damp gloom more characteristic of a castle than a church. The carved stone vaulting of the aisles and nave give an idea more of sheer strength rather than ornamental delicateness. It is not clear how much the building was meant to glorify God and how much to stand up to the persistent Scottish invaders, since at the time of the cathedral's construction, the city of Durham stood as the one of the most important northern outposts for the Normans, so it was targeted for incursion quite frequently. The Cathedral is now considered by many to be the foremost example of late-Norman cathedral architecture.

The Saint who is buried in Durham Cathedral made it one of the greatest centers of pilgrimage throughout the middle ages, because of his extravagantly decorated shrine. "The entire immediate area around St. Cuthbert's tomb was once adorned with green marble and gold gilding, along with other jewels and relics associated with the Saint. However, during the Reformation in 1540, the shrine was dismantled and the relics buried on the spot where it had stood." (Schutz). Bishop Thomas Hatfield was also entombed in the Cathedral, and contributed to its renown. His burial place is covered by an alabaster sculpture made in his likeness.

"The present Cathedral structure was built on the site of the earlier Saxon 'White Church', to be both a magnificent shrine for the body of St. Cuthbert, and also home for a community of Benidictine monks"(Shipley). Planned and begun by Bishop Carileph (1081-1096), the Cathedral was completed in four main stages:

·The Nave, Transepts and the Choir:1093-1133

·The Galilee Chapel at the west end:1173-1189

·The Chapel of the Nine Altars:1242-1274

·The Central Tower largely rebuilt:1465-1490.

Most visitors to the Cathedral would have entered the building from the north door, on which there is an imposing bronze sanctuary knocker. It features the face of a gruesome lion-like beast, and represents the ancient privelege of sanctuary - once granted to criminal offenders at the cathedral. Criminals could seek refuge at Durham by loudly banging the knocker to alert the attentions of the watchers who resided in two small chambers overlooking the door.

Directly inside the entranceway to the cathedral lies the 900-year-old Nave, which measuring 61 meters long. It is separated from other sections of the church by two rows of massive, well-proportioned pillars, alternating between cylindrical and compound in shape. Each pair of cylindrical pillars is decorated with a simple design carved into the stone, consisting of vertical grooves, spirals, zigzags, or diamonds. Each pillar supports one of the huge, rounded arches along the ceiling. The enormous amount of weight resting on these arches is relieved by the triforium at the second level and then by the clerestory at the third level.

The Galilee Chapel lies on the western edge of the building. It was thought to have  received its name from the fact that it was the final stage in the great procession from the high altar, which signified Christ's return to Galilee. It is also known as the Lady Chapel. Bishop Pudsey originally began to form it at the east end of the Cathedral, however, shortly after commencement, cracks began to appear in the walls. This was taken as a sign that St. Cuthbert did not want to have a Lady Chapel so close to his tomb. The bishop then ordered the craftsmen to cease work at the east end and move to the west end of the Cathedral, where they built the Galilee Chapel. By the time of Cardinal Langley, in 1406, the Galilee Chapel had developed some major flaws. Langley re-roofed it, added stone shafts to each of the marble pillars, and prevented it slipping into the river by strengthening the foundations with huge buttresses on the outside. The Galilee Chapel is also famous as the home of the black marble-topped tomb of St. Bede, who was the first historian of England.

The Chapel of the Nine Altars was laid on the eastern side of the Cathedral, instead of the Galilee Chapel. It was originally planned by Bishop le Poor and its construction  eventually took place between 1242 and 1274. There were so many pilgrims wishing to attend Mass and to receive blessings each day that nine altars were provided, which is how the Chapel got its name. "Unlike the main body of the cathedral, which is representative of Romanesque architecture, the Chapel is built in the later, early English style of Gothic architecture" (Maude). The impression of height is obtained by sinking the floor of the Chapel below the level of the main body of the church, by the tall narrow windows, and by the slender ribs of the vaulting. Several buttresses were built on the outside of each of its walls to support the weight of the roof. One of the most prominent features of the Chapel of the Nine Altars is the huge Rose Window which is ninety feet in circumference, with a central image of Christ surrounded by the twelve apostles.

The interior of the Central Tower, on the south-western side of the cathedral, contains thick ribbed vaulting, which decorates the top of the 45-meter high roof. The original Norman Tower was set on fire and largely destroyed by a bolt of lightning in 1429. The rebuilding of the Central Tower between 1465 and 1490 was the last major work done to the Cathedral before the Reformation began. Above the ribbed vaulting is the bell-ringers' chamber, and above that, the belfry with its ten bells. The total external height of the Central Tower is 67 meters, holding 325 steps to the top.

Durham Cathedral remains an excellent example of medieval Norman architecture, in addition to still functioning fully as an ornate place of worship and tribute with its many prominent features.

318.          Early History of the Pipe Organ Essay

Early History of the Pipe Organ

The "king of instruments" has a long history, one which can arguably be traced

to the concept of a collection of "fixed-pitched pipes blown by a single player

(such as the panpipes)" (Randel 583).  The first examples of pipe organs with

the basic features of today can be traced to the third century B.C.E. in the

Greco-Roman arena; it is said to have been invented by Ktesibios of Alexander

and contained "a mechanism to supply air under pressure, a wind-chest to store

and distribute it, keys and valves to admit wind to the pipes, and one or more

graded sets of fixed-pitch pipes." (Randel 583)  These early organs used water

as a means to supply air-pressure, hence the use of the terms hydraulic and

hydraulis.

Hydraulic organs were in use for several hundred years before the concept of

bellows, similar in concept and style to those of a blacksmith, came into use

with the organ.  Numerous bellows were used to supply air to the wind-chest,

often being pumped in pairs by men.  The disadvantages of this method of air

supply include the lack of consistent pressure, which leads to inconsistent

pitch and tuning; also, many people were required to operate the bellows since

there were upwards of twenty-four bellows per organ (Hopkins & Rimbault 35).

Also, with organs of this size, the bellows took up large amounts of space, thus

forcing the organ to be located in a fixed place, such as a church.

Up until the eleventh century (approximately), pitch and range of organs were

extremely limited, mainly in part to the lack of a any style of keyboard.  Keys

of a sort were introduced around this time, though not in the manner we are

accustomed to.  "The earliest keyboards were sets of levers played by the hands

rather than the fingers." (Randel 428)  They looked similar to large rectangles "

an ell long and three inches wide" (Hopkins & Rimbault 33) and were played by

pushing on them with a hand, although some were large enough that one might need

to step on them.  While allowing no real technical dexterity, they were

sufficient to play plain-song and chant melodies, particularly with the use of

more than one player.  As time progressed, the keys became smaller and more

numerous until they began to resemble the modern keyboard (except for range) in

appearance ca. 1400.

While these large early organs were used in limited fashion in churches, many of

the organs of the twelfth and thirteenth centuries were known as portatives or

regals.  Portatives were small enough to be carried and played by a single

person, one hand playing the keys and the other operating a single bellow.  Due

to the size limitations of portative organs, their range did not usually exceed

two octaves; their use was to play plain-song and chant melodies, usually in

processions.  Similar to a portative, but larger, was the positive organ.  "

Positives were larger, standing on a table or the floor.  They were played with

both hands, had a larger compass, and required a second person to operate the

bellows, of which there were usually two." (Randel 485)  The positive was

sometimes added to a larger, stationary organ and joined to the larger's

keyboard (two manuals), with the positive being located in front of the larger

organ with the organist located between them. (Hopkins & Rimbault 42-3)

Up until this time, organs did not possess pedals.  The pedal is generally

attributed to a German named Bernard, organist to the Doge of Venice.  It is

thought that while he did not actually create the pedal board, he improved upon

it to the point of being able to assign its creation to him, making it similar

in concept to modern pedal boards only with a smaller range. (Hopkins & Rimbault

45-46)

With the addition of the positive to the large organ, one began to have two sets

of pipes associated with an organ.  These two sets of pipes allowed there to be

two distinct tones, similar to stops, to be produced from one organ, though they

could not be played simultaneously.  German organ builders in the early

sixteenth century made possible the addition of ranks other than the principle,

each new rank being called a stop.  By "adding" a stop to a manual, one could

then play, in unison, two or more sets of ranks simultaneously.  These stops

included new types of pipes created by the Germans which provided varying sounds,

including those that mimicked the viol family, reed stops (trumpet, posaune,

shalm, vox-humana, etc.), closed pipes adding a much softer and deeper sound and

smaller pipes which produced more penetrating sounds.  There was also the

mixture stop, which originated (we think) in the twelfth century when one or two

pipes were added to a key, usually tuned to a fifth and octave or third and

tenth; it is also speculated that this practice helped spark harmony in music

composition. (Hopkins & Rimbault 36-8)  During this time the pedal began

receiving its own set of stops separate from those of the other manuals.

At this point in the organ's history, development was fairly uniform throughout

Europe due mainly to the unrestricted travel of organ builders and musicians

whose input would influence foreign builders.  The uniformity of the Catholic

church also helped perpetuate the use of similar organs throughout Europe.  This

trend of consistent organ building began to decline during the Reformation and

Counter-Reformation, both leading toward more political and national boundaries

being enforced, which increased the difficulty of unrestricted travel.  Now we

begin to see trends and different regional styles of construction, some more

lasting and effective than others. (Randel 585)

The first area to look at are the Flemish countries of France, Spain, Italy,

Austria and England.  These areas contained many organs of similar designs until

the Calvinist Reformation in 1560, the northern portion (Holland) becoming

Protestant and its organs being used mainly for church services, and the

southern portion (Belgium) remaining Catholic, whose influence resulted in the

organ becoming a strong liturgical instrument of great influence to the later

French organs.  Secular organ playing developed in Holland; while the organs

were housed in churches, many of them were also played as concert instruments

for market days and special occasions. (Randel 585)

North German builders were the real masters of organ building, creating

instruments known for their size and complexity.  Building upon their knowledge

from the Middle Ages, sixteenth century builders added numerous stops, some

ranging in size from 32´ to 1´, including "foundations, mixtures, mutations,

flutes and reeds" and a complete pedal division.  These large, multi-faceted

organs would be the precursors to the influential Baroque organs of J.S. Bach,

Buxtehude, Scheidemann and others; these organs also influenced builders in

northern Holland. (Randel 585-586)

While initially Flemish in design and influence, a new school of organ design

and playing began to develop in France during the sixteenth century.  While

these organs usually were not as grand in scale compared with the north German

organs, they are known particularly for their ornate casework and later

influence on typical French-style registration and compositional techniques.

The organs of the Alsace region of France, which were influence by the German

builders, would become the inspiration for composers such as Widor, Franck,

Guilmant and Saint-Saëns. (Randel 586)

English organs of this time period suffered greatly.  While in proliferation in

many churches throughout the country, the Commonwealth period led to the

destruction of most organs.  Those which were left were small in scale and

similar to the French organs in technical design, having only two manuals and

often incomplete or nonexistent pedal boards.  These small organs were used by

composers such as Byrd, Redford, Tomkins, Lugge and Gibbons. (Randel 586)

Italian organs were even more limited in design, having only one manual (two

were rare) and limited ranks of pipes, although some contained inventive

mixtures of pipes in 1/2´ and 1/3´ sizes.  Reed stops were generally not used,

and when they were, they were of limited size and number.  Spanish and

Portuguese organs where similar in design and limitations, though the number of

stops were generally larger, and a Flemish influence remained fairly strong even

after the regional Iberian style took grasp.  These Spanish organs were also

imported to the Americas in the early seventeenth century, thus beginning the

American tradition of organ building which would commence much later and be of a

more unique style. (Randel 587)

While many do not consider the organ to have had such a colorful history, its

history has been one of constant change and refinement.  Beginning with the

hydraulic organs of the ancient realm, through the portative and positive organs,

continuing to evolve into large instruments effected as much my the church needs

as those of composers, the organ has survived every attempt to thwart its

development and demise into that of something relegated to old churches.  The

organ will continue to survive through the ages and retain its colorfulness and

ingenuity.

Bibliography

Hopkins, E. J. And E. F. Rimbault L.L.D.,  The Organ, Its History and

Construction.  3rd ed.  London:  Robert Cocks & Co., 1887.

Grout, Donald Jay and Claude V. Palisca.  A History of Western Music.  5th ed.

New York, London:  W.W. Norton, 1996.

Fesperman, John T. and Barbara Owen.  "Organ."  In The New Harvard Dictionary of

Music.  Ed. Don Michael Randel: 578-89.  Cambridge, London:  The Belknap Press

of Harvard University

Schott, Howard.  "Keyboard."  In The New Harvard Dictionary of Music.  Ed. Don

Michael Randel: 427-8.  Cambridge, London:  The Belknap Press of Harvard

University

319.          Early History of the Pipe Organ

The "king of instruments" has a long history, one which can arguably be traced to the concept of a collection of "fixed-pitched pipes blown by a single player (such as the panpipes)" (Randel 583).  The first examples of pipe organs with the basic features of today can be traced to the third century B.C.E. in the Greco-Roman arena; it is said to have been invented by Ktesibios of Alexander and contained "a mechanism to supply air under pressure, a wind-chest to store and distribute it, keys and valves to admit wind to the pipes, and one or more graded sets of fixed-pitch pipes." (Randel 583)  These early organs used water as a means to supply air-pressure, hence the use of the terms hydraulic and hydraulis.

Hydraulic organs were in use for several hundred years before the concept of bellows, similar in concept and style to those of a blacksmith, came into use with the organ.  Numerous bellows were used to supply air to the wind-chest, often being pumped in pairs by men.  The disadvantages of this method of air supply include the lack of consistent pressure, which leads to inconsistent pitch and tuning; also, many people were required to operate the bellows since there were upwards of twenty-four bellows per organ (Hopkins & Rimbault 35).  Also, with organs of this size, the bellows took up large amounts of space, thus forcing the organ to be located in a fixed place, such as a church.

Up until the eleventh century (approximately), pitch and range of organs were extremely limited, mainly in part to the lack of a any style of keyboard.  Keys of a sort were introduced around this time, though not in the manner we are accustomed to.  "The earliest keyboards were sets of levers played by the hands rather than the fingers." (Randel 428)  They looked similar to large rectangles "an ell long and three inches wide" (Hopkins & Rimbault 33) and were played by pushing on them with a hand, although some were large enough that one might need to step on them.  While allowing no real technical dexterity, they were sufficient to play plain-song and chant melodies, particularly with the use of more than one player.  As time progressed, the keys became smaller and more numerous until they began to resemble the modern keyboard (except for range) in appearance ca. 1400.

While these large early organs were used in limited fashion in churches, many of the organs of the twelfth and thirteenth centuries were known as portatives or regals.  Portatives were small enough to be carried and played by a single person, one hand playing the keys and the other operating a single bellow.  Due to the size limitations of portative organs, their range did not usually exceed two octaves; their use was to play plain-song and chant melodies, usually in processions.  Similar to a portative, but larger, was the positive organ.  "Positives were larger, standing on a table or the floor.  They were played with both hands, had a larger compass, and required a second person to operate the bellows, of which there were usually two." (Randel 485)  The positive was sometimes added to a larger, stationary organ and joined to the larger's keyboard (two manuals), with the positive being located in front of the larger organ with the organist located between them. (Hopkins & Rimbault 42-3)

Up until this time, organs did not possess pedals.  The pedal is generally attributed to a German named Bernard, organist to the Doge of Venice.  It is thought that while he did not actually create the pedal board, he improved upon it to the point of being able to assign its creation to him, making it similar in concept to modern pedal boards only with a smaller range. (Hopkins & Rimbault 45-46)

With the addition of the positive to the large organ, one began to have two sets of pipes associated with an organ.  These two sets of pipes allowed there to be two distinct tones, similar to stops, to be produced from one organ, though they could not be played simultaneously.  German organ builders in the early sixteenth century made possible the addition of ranks other than the principle, each new rank being called a stop.  By "adding" a stop to a manual, one could then play, in unison, two or more sets of ranks simultaneously.  These stops included new types of pipes created by the Germans which provided varying sounds, including those that mimicked the viol family, reed stops (trumpet, posaune, shalm, vox-humana, etc.), closed pipes adding a much softer and deeper sound and smaller pipes which produced more penetrating sounds.  There was also the mixture stop, which originated (we think) in the twelfth century when one or two pipes were added to a key, usually tuned to a fifth and octave or third and tenth; it is also speculated that this practice helped spark harmony in music composition. (Hopkins & Rimbault 36-8)  During this time the pedal began receiving its own set of stops separate from those of the other manuals.

At this point in the organ's history, development was fairly uniform throughout Europe due mainly to the unrestricted travel of organ builders and musicians whose input would influence foreign builders.  The uniformity of the Catholic church also helped perpetuate the use of similar organs throughout Europe.  This trend of consistent organ building began to decline during the Reformation and Counter-Reformation, both leading toward more political and national boundaries being enforced, which increased the difficulty of unrestricted travel.  Now we begin to see trends and different regional styles of construction, some more lasting and effective than others. (Randel 585)

The first area to look at are the Flemish countries of France, Spain, Italy, Austria and England.  These areas contained many organs of similar designs until the Calvinist Reformation in 1560, the northern portion (Holland) becoming Protestant and its organs being used mainly for church services, and the southern portion (Belgium) remaining Catholic, whose influence resulted in the organ becoming a strong liturgical instrument of great influence to the later French organs.  Secular organ playing developed in Holland; while the organs were housed in churches, many of them were also played as concert instruments for market days and special occasions. (Randel 585)

North German builders were the real masters of organ building, creating instruments known for their size and complexity.  Building upon their knowledge from the Middle Ages, sixteenth century builders added numerous stops, some ranging in size from 32´ to 1´, including "foundations, mixtures, mutations, flutes and reeds" and a complete pedal division.  These large, multi-faceted organs would be the precursors to the influential Baroque organs of J.S. Bach, Buxtehude, Scheidemann and others; these organs also influenced builders in northern Holland. (Randel 585-586)

While initially Flemish in design and influence, a new school of organ design and playing began to develop in France during the sixteenth century.  While these organs usually were not as grand in scale compared with the north German organs, they are known particularly for their ornate casework and later influence on typical French-style registration and compositional techniques.  The organs of the Alsace region of France, which were influence by the German builders, would become the inspiration for composers such as Widor, Franck, Guilmant and Saint-Saëns. (Randel 586)

English organs of this time period suffered greatly.  While in proliferation in many churches throughout the country, the Commonwealth period led to the destruction of most organs.  Those which were left were small in scale and similar to the French organs in technical design, having only two manuals and often incomplete or nonexistent pedal boards.  These small organs were used by composers such as Byrd, Redford, Tomkins, Lugge and Gibbons. (Randel 586)

Italian organs were even more limited in design, having only one manual (two were rare) and limited ranks of pipes, although some contained inventive mixtures of pipes in 1/2´ and 1/3´ sizes.  Reed stops were generally not used, and when they were, they were of limited size and number.  Spanish and Portuguese organs where similar in design and limitations, though the number of stops were generally larger, and a Flemish influence remained fairly strong even after the regional Iberian style took grasp.  These Spanish organs were also imported to the Americas in the early seventeenth century, thus beginning the American tradition of organ building which would commence much later and be of a more unique style. (Randel 587)

While many do not consider the organ to have had such a colorful history, its history has been one of constant change and refinement.  Beginning with the hydraulic organs of the ancient realm, through the portative and positive organs, continuing to evolve into large instruments effected as much my the church needs as those of composers, the organ has survived every attempt to thwart its development and demise into that of something relegated to old churches.  The organ will continue to survive through the ages and retain its colorfulness and ingenuity.

Bibliography

Hopkins, E. J. And E. F. Rimbault L.L.D.,  The Organ, Its History and Construction.  3rd ed.  London:  Robert Cocks & Co., 1887.

Grout, Donald Jay and Claude V. Palisca.  A History of Western Music.  5th ed. New York, London:  W.W. Norton, 1996.

Fesperman, John T. and Barbara Owen.  "Organ."  In The New Harvard Dictionary of Music.  Ed. Don Michael Randel: 578-89.  Cambridge, London:  The Belknap Press of Harvard University

Schott, Howard.  "Keyboard."  In The New Harvard Dictionary of Music.  Ed. Don Michael Randel: 427-8.  Cambridge, London:  The Belknap Press of Harvard University

320.          Early Influences on Hucleberry Finn

"The Adventures of Huckleberry Finn"

EARLY INFLUENCES ON HUCKLEBERRY FINN

Mark Twain's The Adventures of Huckleberry Finn is a novel

about a young boy's coming of age in the Missouri of the mid-1800's.  The

main character, Huckleberry Finn, spends much time in the novel floating

down the Mississippi River on a raft with a runaway slave named Jim.

Before he does so, however, Huck spends some time in the fictional town of

St. Petersburg where a number of people attempt to influence him.

Before the novel begins, Huck Finn has led a life of absolute

freedom.  His drunken and often missing father has never paid much

attention to him; his mother is dead and so, when the novel begins, Huck is

not used to following any rules.  The book's opening finds Huck living with

the Widow Douglas and her sister, Miss Watson.  Both women are fairly old

and are really somewhat incapable of raising a rebellious boy like Huck

Finn.  Nevertheless, they attempt to make Huck into what they believe will

be a better boy.  Specifically, they attempt, as Huck says, to "sivilize"

him.  This process includes making Huck go to school, teaching him various

religious facts, and making him act in a way that the women find socially

acceptable.  Huck, who has never had to follow many rules in his life,

finds the demands the women place upon him constraining and the life with

them lonely.  As a result, soon after he first moves in with them, he runs

away.  He soon comes back, but, even though he becomes somewhat comfortable

with his new life as the months go by, Huck never really enjoys the life of

manners, religion, and education that the Widow and her sister impose upon

him.

Huck believes he will find some freedom with Tom Sawyer.  Tom

is a boy of Huck's age who promises Huck and other boys of the town a life

of adventure.  Huck is eager to join Tom Sawyer's Gang because he feels

that doing so will allow him to escape the somewhat boring life he leads

with the Widow Douglas.  Unfortunately, such an escape does not occur.  Tom

Sawyer promises much--robbing stages, murdering and ransoming people,

kidnaping beautiful women--but none of this comes to pass.  Huck finds out

too late that Tom's adventures are imaginary:  that raiding a caravan of

"A-rabs" really means terrorizing young children on a Sunday school picnic,

that stolen "joolry" is nothing more than turnips or rocks.  Huck is

disappointed that the adventures Tom promises are not real and so, along

with the other members, he resigns from the gang.

Another person who tries to get Huckleberry Finn to change is

Pap, Huck's father.  Pap is one of the most astonishing figures in all of

American literature as he is completely antisocial and wishes to undo all

of the civilizing effects that the Widow and Miss Watson have attempted to

instill in Huck.  Pap is a mess:  he is unshaven; his hair is uncut and

hangs like vines in front of his face; his skin, Huck says, is white like a

fish's belly or like a tree toad's.  Pap's savage appearance reflects his

feelings as he demands that Huck quit school, stop reading, and avoid

church.  Huck is able to stay away from Pap for a while, but Pap kidnaps

Huck three or four months after Huck starts to live with the Widow and

takes him to a lonely cabin deep in the Missouri woods.  Here, Huck enjoys,

once again, the freedom that he had prior to the beginning of the book.  He

can smoke, "laze around," swear, and, in general, do what he wants to do.

However, as he did with the Widow and with Tom, Huck begins to become

dissatisfied with this life.  Pap is "too handy with the hickory" and Huck

soon realizes that he will have to escape from the cabin if he wishes to

remain alive.  As a result of his concern, Huck makes it appear as if he is

killed in the cabin while Pap is away, and leaves to go to a remote island

in the Mississippi River, Jackson's Island.

It is after he leaves his father's cabin that Huck joins yet

another important influence in his life:  Miss Watson's slave, Jim.  Prior

to Huck's leaving, Jim has been a minor character in the novel--he has been

shown being fooled by Tom Sawyer and telling Huck's fortune.  Huck finds

Jim on Jackson's Island because the slave has run away--he has overheard a

conversation that he will soon be sold to New Orleans.  Soon after joining

Jim on Jackson's Island, Huck begins to realize that Jim has more talents

and intelligence than Huck has been aware of.  Jim knows "all kinds of

signs" about the future, people's personalities, and weather forecasting.

Huck finds this kind of information necessary as he and Jim drift down the

Mississippi on a raft.  As important, Huck feels a comfort with Jim that he

has not felt with the other major characters in the novel.  With Jim, Huck

can enjoy the best aspects of his earlier influences.  As does the Widow,

Jim allows Huck security, but Jim is not as confining as is the Widow.

Like Tom Sawyer, Jim is intelligent but his intelligence is not as

intimidating or as imaginary as is Tom's.  As does Pap, Jim allows Huck

freedom, but he does it in a loving, rather than an uncaring, fashion.

Thus, early, in their relationship on Jackson's Island, Huck says to Jim,

"This is nice.  I wouldn't want to be nowhere else but here."  This feeling

is in marked contrast with Huck's feelings concerning other people in the

early part of the novel where he always is uncomfortable and wishes to

leave them.

At the conclusion of chapter 11 in The Adventures of

Huckleberry Finn, Huck and Jim are forced to leave Jackson's Island because

Huck discovers that people are looking for the runaway slave.  Prior to

leaving, Huck tells Jim, "They're after us."  Clearly, the people are after

Jim, but Huck has already identified with Jim and has begun to care for

him.  This stated empathy shows that the two outcasts will have a

successful and rewarding friendship as they drift down the river as the

novel continues.

321.          Early Japanese Films

Cinema was first introduced to Japan in 1896 when the Kinetoscope, invented by Thomas Edison three years earlier, was imported to Kobe. The first public showing of a film was held on 25 November. This was soon followed by showings in Osaka, Tokyo and the rest of Japan. In February 1897, the Cinematographe, invented by the Lumiere brothers, was imported to Kobe. Due to technical difficulties concerning the installation of electrical equipment, the first showing could not be held until February 15 when it was shown in Osaka. However, on the 16th the theater was full of people eager to see the new invention.

During the first two decades after cinema was introduced to Japan, it was considered to be an object of curiosity and was billed as a rare Western invention. Although each film was only two or three minutes long, the show began with an introduction of the new invention and the film to be projected, and the live musical accompaniment made for an exciting event. It was rare that films were shown for more than a week at a time in any one hall. Afterwards they would be shown at locations in the surrounding countryside areas. As a result of this limited run, it was not practical to establish any permanent cinemas solely for the purpose of showing films.

One of the first Japanese companies that became involved in cinema was Yoshizawa. As early as the year 1902 it imported enough films from the West to allow for up to two months of showings at one location. This helped pave the way for the opening of Japan's first permanent cinema in October 1903. The Denkikan, an X-ray clinic in the Tokyo entertainment quarter of Asakusa, was equipped with projection facilities. This was followed by the opening of other cinemas nearby and Asakusa soon became the film center of Japan. In 1917 there was a total of 64 cinemas in Japan, with 21 in Asakusa. High prices were charged to see such films, and the middle and upper classes were targeted for advertisement. Also, most of the big film companies of the time created short films for businesses, in turn being solely financed by them. The businesses created every aspect of the films from script writing to directing, but left the production company with hearty payments.

Although cinema was introduced to Japan as early as 1896, there was very little activity in the area of film production for many years. Rather, much effort was made to design ways to show the imported Western films and to make the two or three-minute film sequences into popular attractions. Thus, each showing began with a narrator who explained the functions and operating principles of the projector. Then he or she explained what the film to be shown was about. During the actual showing this narrator commented on the film's contents. In these early days of cinema in Japan, the only stars were indeed the narrators. As they were the ones who were in direct contact with the audience, they had a tremendous amount of power through their interpretation of the films that they accompanied. Furthermore, it was not until almost the year 1920 when intertitles first appeared in Japanese films. Thus, it was truly the narrator who interpreted the film images and brought the characters to life for the audience.

Somei Saburo is recognized as the benshi who did the most to raise his performance to a high artistic level. Originally an actor, Somei worked with expositions and performances in Asakusa in 1896. He was hired by the Denkikan to be its first narrator. Unlike other narrators of his time, Somei did not simply narrate his films and describe the contents thereof. He became his characters, giving each of them a voice and a distinct personality. Thus, rather than remaining an outside observer of the film, he was the first narrator to enter the film and become a part of it. In this sense, he was the first benshi. Somei worked at the Denkikan for a number of years before switching to the Tekikokukan where he was one of the three main benshi.

With more and more innovations affecting Japanese cinema, it underwent a period of dramatic expansion. As cinema became an established art form, the popularity of the benshi rose and the influence that they had in the film making process grew in turn. The popularity of the benshi was such that theaters competed to hire the most talented and popular, and films were publicized more for the benshi that performed them, than for the actors who starred in them. The name of the benshi was posted both outside the cinema and on the stage during his or her performance,

During the early years of film production in Japan, there were several methods of film exhibition. Both the kinetescope and the cinematographe could project the images onto a screen, and the people wanted to see them. Some of the early theatres would charge high prices to fill up the seats. There were usually two showings a day, and each would last from two to three hours, even though the film footage itself was only 20 minutes long. In the beginning, it took several people to run and switch the projectors, resulting in long pauses between reels.

As short films were replaced by feature length ones, the physical stress of recreating all the characters of a film became a difficult task for one benshi working alone. Theaters employed several benshi, who took turns performing a film. Each cinema had a premiere benshi who appeared to perform the climax of a film. Although there is no exact record of the number of benshi working at any one time, records indicate that there were at least several thousand benshi active in Japan. In order to maintain standards of professional excellence, a benshi license, obtained upon passing an examination given by prefectural police, was required for all benshi.

In addition to the great influence that benshi had at the performance level, many famous benshi had strong input at the film making level. At cinemas managed by large film production and distribution companies, it was common for benshi to be shown film scripts before production began, and they often demanded a rewrite if they disagreed with any part. Thus, at this point in the development of cinema, it was the performance side that held greater influence than the production side. In order to maintain his or her position among great competition, each benshi developed an individual style.

The Jazz Singer, the first talkie, was shown in New York in 1927. This marked the beginning of the end of the silent film era. In the West, the transition took place rapidly, with the production of silent films ceasing almost instantly. In Japan however, due to technical difficulties involved with equipping theaters with sound-compatible facilities, silent films continued to be the norm for many years and were not entirely replaced by talkies until the year 1935. Thus, the benshi polished their art and reigned in the world of Japanese cinema for almost two decades. Of course, the change from silent to sound did not take place without any resistance from the benshi. There were some minor strikes and demonstrations. But these were to no avail. Most benshi left the world of cinema for other endeavors. In the end, the art of the benshi, like so many other arts that have been lost with the ages, was allowed to fade away and virtually disappear in favor of something new and innovative.

As technology continued to advance, more and more production companies came into power. Big directors and actors began to emerge to produce great feature length films. The Osaka Elegy, directed by Kenji Mizoguchi, was one of his first great feature films. The film Centers around a young woman who worked as a telephonist for a pharmaceutical company, played by Isuzu Yamada. She allows herself to be set up as the mistress of her married boss, in order to resolve the debts of her drunken father and put her brother through school. Yamada is soon rejected by her boss and thrown out in the street. In desperation she turns to prostitution and is rejected by her family. The Elegy in the title explains the suffering of the character and others like her. This picture was made in 1936 and brought fame to Mizoguchi and began his creative partnership with the writer Yoshitaka Yoda, which would last for more than twenty films. The Osaka Elegy is a sharp scathing look at sexual politics in 1930's Japan, it makes the audience think about the burden faced by Japanese women at the time, and is a film that will entertain and sadden all.

As the art of filmmaking grew, it began to incorporate many styles and genres of film. Film styles such as the gendai-geki, films about contemporary life, and the jidai-geki, the period-dramas, ruled the scene. These two styles were very popular among the Japanese audience, but soon to be released were the shomin-geki, films about the common people. These films included subjects from the proletarian and lower middle classes, and were soon to become very popular themselves. As with all forms of art in Japan, film and painting consisted of two schools, the Western influenced and the purely Japanese. Japanese music, as well, is comprised of compositions made with the Western influence as well as in the purely Japanese manner. The effect that Western societies had on the arts of Japan was extensive and had a major impact on the products. The United States had Hollywood, and produced some of the most popular films of the times; this could be an affect of the Western influence. Japan wanted to participate in this highly competitive industry. As long as there are divided countries and divided ways of living, this Western influence is going to continue to affect all nations in the world.

Japan has made its mark within the film industry. It began just as all other forms of art has, with new inventions furthering and pushing the directors and producers of the times to constantly strive for bigger and better films. It was a difficult feat to make the transition from low budget, silent, short films to the technologically advanced films we see today. The theaters, directors, actors, audience, and everyone involved in the process have watched the industry grow to the beautiful form of art we see today. This growth is crucial to the industry as with all forms of art, it must keep improving with the new innovations or the industry could collapse. With the film industry being as competitive as it is, Japan has managed to improve while staying unique. While the United States continues to dominate the industry, Japan is able to keep its history and styles to produce unique films exclusive to Japan. The country has contributed immensely to the art of filmmaking, and will continue to do so for as long as this form of entertainment is popular.

322.          East Of eden

In the novel , East of Eden by John Steinbeck, Catherine Ames is one of the main characters.  She is introduced to the reader as a monster and as time goes on , she possesses both monster like and animal qualities. As Catherine sher gets older and wiser , she gets more evil and displays her monster and animals like characteristics. She knows she is powerful and indestructible. She has manipulated and tricked many people her life causing them to go to the extreme... death.

Catherine "Cathy" shows her evilness and her moster like behavior in many scene throughout the book. Steinbeck illustrates Cathy as being a monster , "I believed there are monsters born in the world ... It is my belief that Cathy Ames was born with the tendencies, or lack of them, which drove and forced her all of her. Cathy was born with an innocent look that fooled many; she had golden blond hair, hazel eyes, a thin and dedicated nose , and a small chin to make her face look heart shaped. According to the town Cathy lived, Cathy had a scent of sweetness, but that is just what Cathy wanted the town to see and think when Cathy planned her kill; "The fire broke out... the Ames house went up like a rocket ... Enough remained of Mr. and Mrs. Ames to make sure there were two bodies ." Cathy had set the house on fire and broke into the safe to steal the family's money. As the investigators scooped the place, they noticed that the bolts stuck out and there were on keys left in the locks. They knew it was not an accident. Cathy's body was never found, but the town assumed that she died. "If it had not been for Cathy's murder, the fire and robbery might have been a coincidence. " Steinbeck, again, portrays the reader that Cathy is a monster. "when I said Cathy was a monster it seemed to me that it was so." Steinbeck is reassuring the reader that Cathy is a monster and with the evidence before and after this statement. For example, Cathy later changes her name to Kate entrains a whorehouse. While she runs the house, she takes pictures of all the important male individuals in the town to later send to their spouses and families. Cathy plans to send the pictures whether they caused trouble or not.

As Cathy's character evolves, Steinbeck changes his description from a monster to an animal. "Her head jerked up and her sharp teeth fastened on his hand across the back and up into the palm near the little finger...her jaw was set and her head twisted and turned, mangling his hand  the way a terrier worries a sack." Steinbeck said .Cathy's sharp teeth sunk into the man's flesh like a dog's canines would have. She tore away at the skin and twisted and turned her head to resemble a dog. "Do you think I want to be human? Look at those picture! I'd rather be an animal than a human. The physical features of Cathy are that of a human but the mental state of her resembles an animal. Although, Cathy seems to down grade and be paradoxical about herself because humans are much smarter than dog, but she says she is smarter than any normal human. She knows how to manipulated any individual without trying; like for example she said, "Uncontrolled hatred shone in Kate's eyes. She creamed , a long and shrill animal screech." Cathy, for unknow reasons has animal characteristics. This one just happens to be the screech of an animals.

Steinbeck uses Cathy for suspense in his novel. You never know what she is going to do next or what she is thinking. She has more characteristics of a monster and an animal than a human. Cathy's character has no talk about being normal except for her looks. I think the only sensible thing she did in her life time was not killing Adam, her loving spouse, and committing suicide. She has not a care in the world and her only love is hatred.

323.          Ed Gein

The 1970s were a time of cinematic endeavors and artistic effervescence. It seems like every film produced during this period was a terrific achievement. Witness the movies of Francis Ford Coppola (The Godfather, Apocalypse Now) and John Cassavetes (Husbands, Opening Night) for instance, which revolutionized American cinema. But during those years, a fringe genre was also evolving. Although horror movies were already popular, thanks to the Vincent Price flicks of the '60s, they were about to mutate into something completely different thanks to Tobe Hooper and his 1974 film The Texas Chainsaw Massacre. Apparently based on a true story, the movie spawned three sequels and a new interpretation of the original that hit theaters in 2003. So was it really based on a true story? Where do the facts end and where does the fiction begin?

In 1974, director Tobe Hooper envisioned the future of independent filmmaking as low-budget horror films. He approached a production company for some funds and luckily, they were happy to oblige. As it turns out, they were still counting their money from a little porno film they had produced in 1972 called Deep Throat. Hooper was handed $140,000 US to produce his screenplay, and he moved production to his native Texas. The now infamous story is about a group of teenagers who embark on a road trip, and wind up in a desolated house, after being spooked by a mysterious hitchhiker. Before long, a cannibalistic family, led by the maniacal chainsaw-wielding Leatherface, holds the kids captive. They are eventually tortured, sliced, diced, and impaled. The film was so horrifying in its day that movie-goers actually walked out of the theater. Some countries even delayed the release of the movie for years because of the gore factor. But in the end, it raked in revenues in the neighborhood of $30 million. But is the story really based on real events, as the promoters of the film claimed, or was this merely a marketing ploy? We know one thing for sure, the character of Leatherface is based on legendary serial killer Ed Gein.

Edward Theodore Gein was born on August 27, 1906 in La Crosse, Wisconsin. He grew up on an isolated farm and his mother Augusta was a fiercely religious woman. Not only did she teach her two sons that the Bible was the most important thing in life, she also instilled in her boys that women were all loose and immoral. All sexual desires were strictly forbidden; the fear of eternal damnation kept them in line. She also discouraged Ed and his brother Henry from making friends. Although Ed was only an average student, he loved to read, especially adventure books and magazines, which allowed him to escape momentarily to his own world. He was shy and effeminate, which didn't exactly contribute to his social life.

In 1940, Ed and his brother were forced to take a series of odd jobs to provide for the family when their father died. It was babysitting that Ed enjoyed the most because he felt children were easier to relate to. In late 1945, his mother Augusta passed away from a stroke. Nothing could have been more shocking for Ed; she was his whole universe. As a result, he boarded off her favorite rooms of the house and preserved them as a shrine. He spent the majority of his time reading death-cult magazines and adventure stories involving Nazis, shipwrecks, and headhunters from the South Seas. This reading material gave him unprecedented knowledge of human anatomy, shrinking heads, and about the process of exhuming corpses. He would even repeat these stories to children when babysitting.

During the same period, he developed a new hobby. At night, he would visit the cemetery. When he had the chance, he stole corpses and body parts from their graves. He was especially interested in females. While he wouldn't have sex with them, he enjoyed peeling off their skin and wearing it. The sensation of himself being a woman fascinated him. He built himself a collection of body parts and took pleasure in showing it off to the children he babysat. On one occasion, a little boy told his parents of the preserved heads he had been shown, but they did not believe him. During the '40s and '50s, however, an alarming number of people began disappearing...

In November 1957, a hardware store was robbed and the owner, Bernice Worden, vanished. Since Ed had been seen loitering around, he was suspected of the crime. The police went looking around his farmhouse on November 17. They found garbage everywhere; the smell was atrocious. Then the officers saw a carcass hanging in the kitchen; it had no head. At first, they thought it was a deer but soon realized it was a woman. Upon inspection, the sheriff determined it was indeed Bernice Worden, the mother of one of his deputies. Soon after, the magnitude of what he was looking at sank in. There was a bowl made from a human skull. Human skin had been fashioned into an armchair, lampshades, and a wastebasket. There were preserved noses, hearts, heads, and female genitalia. There was even a belt made from nipples and a suit completely made from human skin.

While in custody, it took a little over one day for Ed to start talking about his crimes. He was cheerful as he talked about his graveyard escapades and the murders of Bernice Worden and Mary Hogan, another of his many victims. Those were the only murders he confessed to. The details of his crimes were rather hazy since he claimed that each time he was in a state of confusion. Nevertheless, he never expressed any remorse for these crimes. A battery of psychiatric and psychological tests proved that he was, to use the technical term, a total nutcase -- a few beers shy of a six-pack. Actually, he was deemed emotionally impaired, a schizophrenic, and a sexual psychopath. His relationship with his mother was believed to be at the source of his troubles.

As soon as Ed Gein was exposed as a serial killer, journalists from all across the globe flocked to Plainfield, Wisconsin. Ed was an instant celebrity: the combination of transvestism, fetishism and necrophilia shocked people, but they just couldn't get enough. Declared mentally incompetent, Gein was committed to the Central State Hospital in Waupun, Wisconsin. Ten years later, the court ruled that he was now fit to stand trial but he was found not guilty by reason of insanity. Although acquitted, he was sent back to the Central State Hospital for the rest of his life. Described as a model patient, he was constantly quiet and even happy; however he would stare fixedly and disconcertingly at the female nurses and staff members whenever they stepped into his field of vision. Cancer eventually got the better of him and he died on July 26, 1984.

All this notoriety seemed to represent evil incarnate and artists felt inspired. Author Robert Bloch saw in Ed a weird personality worth exploring. He wrote a story about a grippingly wicked character named Norman Bates. Alfred Hitchcock later adapted it into one of his masterpieces, Psycho. The Ghastly Gein, as he was nicknamed, was thrust back into public consciousness when Hooper released his film The Texas Chainsaw Massacre in 1974. A decade later, novelist Thomas Harris also derived his inspiration from Ed, when he wrote The Silence of the Lambs. Buffalo Bill, the chief villain is, like Ed Gein, driven to wear his victims' skin.

Hooper's film was influential in many ways. Most importantly, it was full of gore and bodily slaughter. While it wasn't the first movie to do so, its success inspired other filmmakers, and soon the teen slasher genre was born. These films, where a group of teenagers is stalked by a faceless murderer, picking them off one by one until only one girl is left, were soon a commercial phenomenon. In 1978, John Carpenter fine-tuned the genre with Halloween and dozens of copycats followed such as the Friday the 13th and Prom Night franchises. The era of ingenious murders lasted until the mid-'80s, but didn't stay dead for long. In 1996, screenwriter Kevin Williamson resurrected the teen slasher genre with Scream, by injecting it with self-consciousness and parody. In the end, even if the chainsaw was pure invention, there are definite similarities between The Texas Chainsaw Massacre and the Ed Gein story. Are the similarities consistent enough to unambiguously state that the movie was based on a true story? After all, both Gein and Leatherface lived on isolated farms, impaled their victims, and wore their skin. It's up to you to decide.

Human deviance always fascinates people. What we don't understand becomes a source of voyeurism, which, in turn, also explains the popularity of reality TV shows. With an ongoing interest in such horrific events, these stories will always get our attention. While there was still a media frenzy in Plainfield, Ed Gein's belongings were auctioned off. His car went to a man who wound up displaying it at county fairs; people paid a quarter just for a glimpse of the murderer's automobile. He was popular from the start. Many books and articles were written about the man, and as mentioned above, he was the inspiration for numerous films. With the 2003 version of The Texas Chainsaw Massacre already hailed as a blockbuster, it's obvious it will continue to fuel interest in Ed Gein and similarly ghastly stories.

324.          Edna The Awakwening

Edna

This is a look at "The Awakening" by Kate Chopin.   When

you first look at the life of Edna you think there is not much to

discuss.  Edna is a married woman who at first seems vaguely

satisfied with her life--"she grew fond of her husband, realizing

with some unaccountable satisfaction that no trace of passion or

excessive and fictitious warmth colored her affection, thereby

threatening its dissolution." (Chopin, 558).

Edna doesn't know what she wants from life.  It is evident

from the way she tries to change her life to make it better, that

she wants her own happiness.  She refuses to stay home on

Tuesdays, which she is expected to do to satisfy the social

conventions of the time.  She spends more time on her art.  She

goes to races and parties all the time.  All of this doesn't seem to

help her maintain happiness all the time.

There were days when she was very happy without knowing

why.  She was happy to be alive and breathing, when her whole

being seemed to be one with the sunlight, the            color, the

odors, the luxuriant warmth of some perfect Southern day.

There were days when she was unhappy, she did not know why,

when it did not seem worth while to be glad or sorry, to be dead

or alive; when life appeared to her like a grotesque

Pandemonium and humanity like worms struggling blindly

toward inevitable annihilation. (Chopin, 588)

Edna struggled to make her life more fulfilling.  Edna

wanted what? Passion, excitement?  She states to the Doctor,

"But I don't want anything but my own way.  That is wanting a

good deal, of course, when you have to trample upon  the lives,

the hearts, the prejudices of others--but no matter--still, I

shouldn't want to trample upon the little lives." (Chopin, 629).

In the title of "The Awakening" I get the impression of

someone waking up and deciding that their life is not what they

want.  Edna goes from being reasonably happy in her life to very

unhappy with her life and tries to change it to make it better.

The ways she goes about it are not necessarily the right ways,

but at least she tries to change it to make it better.

The acceptable behaviors of the time in which she lived

worked against her.  Edna stays married because divorce was

unheard of in those days.  She wants to marry Robert, but he will

not because it will disgrace her to leave her husband.  She

exceeds the social boundaries of the day by going her own way

and doing what she wants, but she is still bound by the will of

others no matter what she wants.  In the time period we are

talking about she would have been ostracized by society if she

and Robert were  to be together.  The only solution she sees is to

commit suicide.  That would not happen in this day and time

either, because she would have been able to get a divorce and

marry Robert with no special stigma.  Edna could not get what

she thought she wanted and ended up with no responsibilities.

325.          Ednas Character

Steven Schwartz                                             January 3, 1997

Mr. Speight                                                     Edna's Character

The society of Grand Isle places many expectations on its women to belong to men and be subordinate to their children. Edna Pontellier's society, therefore, abounds with "mother-women," who "idolized their children, worshipped their husbands, and esteemed it to a holy privilege to efface themselves as individuals".  The characters of Adele Ratignolle and Mademoiselle Reisz represent what society views as the suitable and unsuitable woman figures.  Mademoiselle Ratignolle as the ideal Grand Isle woman, a home-loving mother and a good wife, and Mademoiselle Reisz as the old, unmarried, childless, musician who devoted her life to music, rather than a man.  Edna oscillates between the two identities until she awakens to the fact that she needs to be an individual, but encounters the resistance of society's standards to her desire.

Kate Chopin carefully, though subtly, establishes that Edna does not neglect her children, but only her mother-woman image.  Chopin portrays this idea by telling the reader "...Mrs. Pontellier was not a mother-woman.  The mother-woman seemed to prevail that summer at Grand Isle".  Edna tries on one occasion to explain to Adele how she feels about her children and how she feels about herself, which greatly differs from the mother-woman image.  She says:  "I would give up the unessential; I would give my money; I would give my life for my children; but I wouldn't give myself.  I can't make it more clear; it's only something I am beginning to comprehend, which is revealing itself to me."  This specifically contrasts the mother-woman idea of self-sacrificing for your husband and children.  Also, the "something . . . which is revealing itself" does not become completely clear to Edna herself until just before the end, when she does indeed give her life, but not her self for her children's sake.  Although Edna loves her children she does not confuse her own life with theirs.

Similarly to Edna's relationship with her children is that with her husband, Leonce.  The Grand Isle society defines the role of  wife as full devotion towards their husband and to self-sacrafice for your husband. Edna never adhered to the societies definition, even at the beginning of the novel.  For example, the other ladies at Grand Isle "all declared that Mr. Pontellier was the best husband in the world."  And "Mrs. Pontellier was forced to admit she knew of none better".  By using words like "forced" and "admit" Chopin illustrates Edna's true feelings towards Leonce.  That she married him not because there are none better, but because there are also none worse.  Edna's leaving Leonce's mansion is another important detail when considering her rebellion against the mother-woman idea.  By moving to her own residence, Edna takes a colossal step towards autonomy, a direct violation of the mother-woman image. Throughout The Awakening, Edna increasingly distances herself from the image of the mother-woman, until her suicide, which serves as the total opposite of the mother-woman image.

Adele Ratignolle and Mademoiselle Reisz, the two important female subsidary characters, provide the two different identities Edna associates with.  Adele serves as the perfect "mother-woman" in The Awakening, being both married and pregnant, but Edna does not follow Adele's footsteps.  For Edna, Adele appears unable to perceive herself as an individual human being.  She possesses no sense of herself beyond her role as wife and mother, and therefore Adele exists only in relation to her family, not in relation to herself or the world.  Edna desires individuality, and the identity of a mother-woman does not provide that.  In contrast to Adele Ratignolle, Mademoiselle Reisz offers Edna an alternative to the role of being yet another mother-woman.  Mademoislle Reisz has in abundance the autonomy that Adele completely lacks.  But Reisz's life lacks love, while Adele abounds in it.  Mademoiselle Reisz's loneliness makes clear that an adequate life cannot build altogether upon autonomy. Although she has a secure sense of her own individuality and autonomy, her life lacks love, friendship, or warmth.

What Edna chooses for her identity is a combination of Adele Ratignolle and Mademoiselle Reisz.  More honest in self-awareness than Adele, more dependent on human relationships than Reisz.

In The Awakening the woman's existance intertwines with her maternal nature.  Edna's sense of herself as a complete person makes impossible her role of wife and mother as defined by her society; yet she discovers that her role of mother also makes impossible her continuing development as an autonomous individual.  So her thoughts as she walks into the sea comment profoundly on the identity problems that women face:  "She thought of Leonce and the children.  They were a part of her life. But they need not have thought that they could possess her, body and soul".  Unable to have a full human existence, Edna chooses to have none at all.

326.          Education In The Media A Look At October Sky

Education In The Media A Look At October Sky

"How about I believe in the unlucky ones? If I don't I'd probably go crazy."(Laura Dern, October Sky) This could arguably be the most important line in the entire movie, in my opinion. This teacher recognizes the potential in every student, not only the ones with visible ability. This, I would hope, would be the goal of every teacher.

Teachers have the greatest gift in the world - - the ability to help shape a student's life. Recognized and appreciated he or she can use that to present a world of opportunities to those who may not have had any. This was true in "October Sky"; the "Rocket Boys" were from a small failing mining community, where little expectations were placed on them and even less opportunities were available. When Dern's character was accused of giving the boys false hopes she held her grounds and continued to support the boys. This to me is an example of a great teacher, one who will continue to do what he or she thinks is right regardless of whether it earns her the disapproval of the rest of the staff. The movie "October Sky" gives a very positive representation of a teacher. She is a role model, a friend, a source of information, a defender, and a fighter. She is portrayed as compassionate, understanding, and very beneficial in keeping the students directed toward their goals. This would seem to say that teachers need these qualities in order to fully relate to their students. A teacher can not only be there for informational needs, but must also stand behind her students and be prepared to defend their rights to discover themselves. A teacher should be prepared to recognize hidden potential; it is in almost every student. This is a difficult task, especially if the student also brings great adversity, however, it is not impossible; Dern's character realized this. Every teacher will have a student in their classroom with hidden ability; despite the student's possibility for greatness, the great teacher will be measured by her ability to see the potential inside that student.

327.          Edvard Munc 755

We want more than a mere photograph of nature. We do not want to paint pretty pictures to be hung on drawing-room walls. We want to create, or at least lay the foundations of, an art that gives something to humanity. An art that arrests and engages. An art created of one's innermost heart." (E.M.)

Edvard Munch was born December 12, 1863 in Loten, Norway. He was one of five children born to Christian Munch, a military doctor, and his wife Catherine. Munch's life was always filled with death and morbidity. In 1868, his mother died of tuberculosis. In 1877, his younger sister Sophie also died of tuberculosis. Many of his pictures of death rooms, sick and dead children, and sick and dead mothers were inspired by the illness, death, and grief that had haunted him in his early years.

Edvard himself was also often ill. Edvard entered a technical college to become an engineer in 1879, but frequent illness drove him away. In 1880 he decided to leave school to study painting. The next year, he enrolled in the Royal School of Art and Design where he painted his first self-portrait.

For a time, Norway's leading artist, Christian Krohg, instructed Edvard. At that time Edvard also was greatly interested in French Realism, which one can see traces of in his early works. In 1885, Munch went to Paris to study. There he began a work called The Sick Child, which soon would be his breakthrough. In it he made a radical break with the realistic approach of the time. The picture was about his sister Sophie, and her death from Tuberculosis. Munch struggled with the interpretation of his experience, and the pain and personal meaning that it held. Finally, he finished a coarsely textured, laborious picture. The critics were harsh, and for a time after that his works were less provocative, and more in tune with the times.

In 1889, his father died. Shortly thereafter, he painted Night. That same year, he organized an exhibition of one hundred and ten works in the Student Organization in Christiania (modern day Oslo). He also began to work on The Scream.  In 1892, Edvard was invited by the Union of Berlin Artists to exhibit at its November exhibition. However, Munch's paintings were the object of bitter controversy, and after one week the exhibition was closed.

Edvard produced his first etchings and lithographs in 1894.  That same year, Przybyszewski published the first publication about Munch's art, which he characterized as 'psychological realism.' A year later, Munch moved back to Berlin, then in 1896 back to Paris. There he concentrated on graphic mediums, at the expense of his paintings. He produced elaborate color lithographs, and began to produce woodcuts in partnership with the famous printer Auguste Clot.

In 1904 Munch joined the Berliner Secession. He also was drinking heavily at that time. In 1908, he exhibited with Die Brucke, shortly after which he had a complete nervous breakdown. He spent eight months in a mental clinic rehabilitating. He moved back to Norway in 1909, where he lived out the rest of his life. After he moved back, he showed much more of an interest in nature in his work, and he became less pessimistic and more colorful. He entered a competition to decorate the University of Kristiania's new auditorium, the Aula, which he won after some debate. His designs were installed in 1916, three years after he resigned from the Berlin Secession. That year he bought a house outside of Kristiania, in a town called Ekely. There he lived, becoming more and more isolated.

In 1917, Curt Glaser wrote and published a book called 'Edvard Munch.' In 1928, he discovered he had cysts in his right eye, and five years later a broken blood vessel in his right eye caused almost total blindness. When the Nazis invaded Norway in 1940, Munch refused all contact with them, though they tried. Munch died peacefully at home on January 23, 1944. In his will, he bequeathed 1,000 paintings, 15,400 prints, 4,500 drawings and watercolors, and six sculptures to the city of Oslo, formerly Kristiania.

Munch was a very tormented, talented artist. Unfortunately for him, I believe a lot of his talent came from his torment. However, even amidst the twisted action of his work, I think there is a kind of beauty that can only come out of the repulsiveness. He truly had a style like no other, and brought a new form of art into the world.

Bibliography

www.mnc.net/norway/munch.htm

www.ibiblio.org/wm/paint/auth/munch/

www.museumsnett.no/nasjanalgalleriet/munch/eng/innhold/biograf.html

328.          Effect of the Market on Construction of Music Manufactured B

Can Manufactured Bands ever be Classified as 'Good' Art?                             The Effect of the Market on the Construction of Music

Introduction

Manufactured bands now make up a major percentage of chart music today, not least of them Take That, Boyzone, Bad Boys inc., East 17 and other all-boy pop bands. In this essay I would like to discuss how the standard of art has been lowered by the capitalistic system of the music industry, using a specific example - "Upside Down", which is maybe the latest addition to this genre of music.

By this genre of music, I mean the all-boy bands which have been specifically manufactured and targeted at the 'teenybopper' age class (and also the gay market?).

Personal Opinions

To argue that this form of art is 'bad' art, one must have a reference point - a set of values by which to judge. This is almost always a personal opinion, and I would first of all like to explain my personal opinion.

I believe that 'good' art has something to offer to the individual perceiver, be it painting, book, film, dance or music. These are all different forms of art, but one thing binds them all together - the fact that they are creations, created and crafted to the personal specifications of the artist. This makes the product original.

Two values by which I judge music are creativity and originality. I believe that good art provides 'food for thought' - that special something which, after the tape has finished, after leaving the cinema or closing a book, leaves an 'aftertaste' - something to think about, be it, 'how did he/she play that' or, 'what was he/she trying to say with that piece,' the list goes on.

Basic Market Analysis

For the purposes of this essay, I want to split marketing into two general strategies. The first of these is where the designers make a "product" to their own specifications and then look to see where and how they will be able to sell it in the overall market. The second strategy is the opposite of the first - the designers examine the general market, target a certain area and tailor make a product to fit this area exactly.

The latter of these strategies is the one employed when a band is going to be manufactured. The designers have studied the market and worked out what they think they can sell a certain group of consumers.

Hirschman's 'three market segments' model (see figure 1) can be used to explain which type of bands fall into which category. The first segment is titled "Self-orientated Creativity." The primary audience is the person who creates the piece and the primary objective is that person's self-expression. This is art for the sake of art and is sometimes called "selfish" art. The second segment is titled "Peer-orientated creativity"; the primary audience are peers and industry, the primary objective is recognition and acclaim. The third segment is "Commercialised Creativity "and focuses on the general public with the primary objective of money and profit.

The people who create art for the sake of art may not even approach a record label, as it is solely for themselves. This approach is focused on the product, made their way, not taking the commercial aspect into consideration.

The people who fall into the category of peer-orientated creativity do want to publish their work but do not tailor their product to increase its marketing potential. An example of this could be any band that has its own distinctive style, e.g. Led Zeppelin, which when it was first published, definitely did not fall into the category of pop music. Although they became a success and sold millions of records, they did not compromise their music to do so.

The third group are one hundred percent commercially based. Any music made by a band in this category is produced for a pre-specified area of the market with the sole intention to make money. The product is tailored according to what the mass audience wants, therefore any aspect of art is compromised.

Case Study - Upside Down

Upside Down fit perfectly into the third category in Hirschman's Three Market Segment Model. Put together by two managers, they use the second of the general strategies I have described above - first check the market to find an opening and then tailor a product to fit  it.

In this case young girls aged roughly between 11 and 16 have been targeted. Having decided this, the next part of the process is, based on what the managers think the consumers want (or what they think they can tell them they want), to tailor make a product to suit the market. In this situation, the question is, "What do girls aged between 11 and 16 want to see when they go to a concert?" The answer is, having experienced the reaction to Take That, Boyzone etc., that they want young boys, in nice clothes, very good looking, very sexy looking, who are going to look great on their bedroom walls when they get their posters out of Smash Hits. So this is exactly what the managers design and produce for them.

The four boys that were eventually chosen were picked from the applicants who had responded to this advertisement:

"Are you between 17 and 21 and good looking? (We're only looking for

the best!)"

"Do you want to be in a teenage all-boy band sensation?"

"Do you want to follow performers like Take that, East 17, Bad Boys inc. and Boyzone into the covers of Just 17 and Smash Hits?"

"Do you want to be part of a band selling millions of records?

From the seven thousand applicants, a shortlist of 250 was drawn up from their photographs alone.  These 250 were auditioned in one day, each audition lasting about as long as it took for the managers to discuss how the individuals looked.

Once the four boys had been trained by a voice trainer, the next step was to find material for them to perform. Their first single-to-be was bought by the managers from a firm selling previously unreleased songs. Several different potential hits were played to the managers before they eventually picked one to record in the studio.

Upside Down's first studio sessions yielded a different sound than their released single. It was described in the documentary as having nearly a white soul-music quality, but the managers were not happy with it at all. They proceeded to record the single again with Stuart Levine - well known for his success in achieving a more 'commercial' sound for music of this type, and his was the recording that they finally used.

Upside Down's first public performance took place on the Smash Hits Tour, which, not surprisingly, was attended  and practically consisted only of girls aged between 10 and 15!

Evaluation

Figure 2 is a diagram which can be used to define the difference between an object or work of art in the traditional sense (art for the sake of music) and a cultural industry (art for the sake of making money).

The horizontal axis represents the range of products from works of art which are aesthetically or artistically orientated to the works of art which are market orientated. At the right hand side, the product is determined by the market,  and at the left hand side by the artist. The vertical axis shows the range from prototypes, i.e. a unique piece of work, through to cultural production on a mass scale.

As I described above, in the context of peer-orientated creativity, Led Zeppelin became a big-selling band, but did not compromise their music to  do so. On the model, they would be represented by the 'Work of Art' (upper left quadrant) which would then move down to the lower left quadrant where the work is still orientated towards the artist, but reproduced because it has become popular (i.e. moved down the vertical axis).

Upside Down, on the other hand, stay firmly in the lower right-hand quadrant of the diagram, represented by 'Cultural Industries'. As their product is tailor-made for the market, and always intended for mass reproduction, it cannot be said that they have ever produced a prototype.

This whole attitude suggests and promotes the idea that money is more important than art. This (business) venture is geared towards nothing else than making money. In the documentary interview run by the BBC, The managers stated that their aim was purely commercial, to quote one of them, "Launching a band is launching a product. Identify your market, package your product as nicely as possible, target your audience and sell it to them." They also stated that only then would they have achieved anything when "Ten thousand girls are screaming at the boys on stage, some passing out from excitement and being taken away by the St John's Ambulance Brigade.

To create an image, the managers put the word out that the four boys from England's next Mega-band would be in such and such a place at such and such a time. They then turned up with the band in the designated places and times to allow the 'fans' to kiss or be kissed by, or get an autograph from the stars of the next biggest band in England.

The boys, however, are also in it only for the money, if not at first then definitely now. They were given an allowance (not very much), and told that the serious money would start rolling in as soon as the records were starting to sell. In an interview with the boys, just after they had had several thousand pounds worth of clothes bought for them, one said, "We haven't really got used to having all these expensive clothes bought for us yet, but hopefully we will."

I find this approach to making music a very manipulative one. The pre-targeted market of eleven to sixteen year olds must be one of the easiest to manipulate. In this age, people are trying to find themselves or make themselves into the type of people that the media tell them they should be - if someone placed an advert in Just 17 or Smash Hits stating that every cool teenager now bought their fashion clothes from Marks & Spencer's, this store would probably record a 300% increase of sales in the Womenswear Department.

On the other side of the stage, however, the boys in the band are also being manipulated. They are still, after over a year of being signed to the managers, receiving the pitiful allowance assigned them by  their managers. They have been led to believe that they will be very rich, have given up university studies and jobs to do so and yet have come no further financially. The records are selling but until a certain number have been sold, they do not receive any royalties, to allow the managers to recoup the quarter of a million pounds they have invested. And when that sum is reached, will they still be around or will the public have gone crazy about another four or five sexy-looking boys who are essentially no different, just something new?

Apart from the dubious financial situation, the band have absolutely no say in what they want their sound to be like. After the recording of the single (which, incidentally the band had no hand in picking), one of the boys was asked what he thought of the finished product; he answered, "I liked the sound of the first recording better - it was less commercial-sounding, but it depends if you're doing it for yourself or a prospective audience."

With his own recording technique, Stuart Levine obviously managed to get a more 'poppy'  and commercial sound which the managers preferred. This ties in with one of Frans Birrer's definitions of pop music, "Popular music is music that is not something else. This ties in, in turn, to the 'McDonald's' Method - McDonalds actually deflavour their  burgers so that less people will dislike them. In exactly this way, and for exactly the same reasons, Upside Down, or their managers at any rate, have deflavoured their music - diluted it so that no one element is too strong for people's musical tastebuds.

What the band have also been led to believe is that they possess a lot of talent, and have accordingly acquired quite a high opinion of themselves and what they are doing:

"I think that masterminded bands are much better - it means that the best talent, from a large area, is brought together and concentrated,"(!):

The performers themselves were obviously  not chosen for any musical talent or creativity, but on the strength of their looks. During the auditions, the managers discussed the potential of the applicants. Comments ranged from, "No, absolutely not - I don't like his style," ; "Pity about him, he's got a good voice but look at his skin - we won't be able to do anything with his acne," to "Looks great - bad voice, but nothing the studio can't fix," or  "Yeah, he's not bad, but I don't know about his hair. Maybe with some dye and matching coloured contact lenses...."

If the band were so talented, as they have come to think they are, then surely the managers would not have needed to send them to a professional voice trainer, when the only 'live' singing they have to do is in the studio? (All 'gigs' are mimed) The voice trainer also did say,(rather dubiously I thought), "We-ell, they have hope; they aren't the worst I've ever had."

It seems that the managers have achieved one of the earliest goals they set themselves - "What we're basically looking for is four or five good-looking boys who are eager to be moulded, well, guided, you know - given a helping hand to do what we want them to do."

I want to conclude by saying that, based on my personal opinions of what 'good' art should be, Upside Down are a good example of 'bad' art. The art in this venture lies not in the music but in the management. The question is, is management an art......................?

References:

BBC Omnibus Documentary on the Process of Manufacture of Upside Down, 1996

LEDA Circuit on New Opportunities for Employment Creation through the Cultural Sector, 1995

Phil Saxe's Notes on Marketing Strategies

329.          El Greco 946

DOMENIKOS THEOTOCOPOULOS (EL GRECO) 1541-1614

Domenikos Theotokopoulos was the last and perhaps the greatest mannerist of all time. Born on the island of Crete, Domenikos Theotokopoulos acquired the name El Greco, the Greek, in Italy and Spain. He was first trained in the Venetian School by an unknown Cretanian artist still working under the Byzantine tradition.  After working as an icon painter, he left Crete in 1568 to study western-style painting in Venice. There he was influenced by the Venetian artists Titian and Tintoretto, embracing their rich colors and free, sketchy manner of painting. Such early Venetian paintings as his Christ Healing the Blind Man (figure 1) demonstrate his assimilation of Titianesque color and of Tintoretto's figural compositions and use of deep spatial recesses.  Further Italian inspiration came during the years El Greco spent in Rome, from 1570 to 1576 where Michelangelo had developed a new style called mannerism in which realistic views of the physical world were looked down upon in favor of a more subjective view, one that existed not in nature but in the intellect. Space was compressed, colors were bizarre, and figures became elongated and were intertwined in complex poses. Mannerism, from the Italian word for style, was highly self-conscious and artificial, emphasizing the artist's ability. Its intellectual basis appealed to El Greco. The sculptural qualities of the work of Michelangelo also inspired him. A study of Roman architecture reinforced the stability of his compositions, which often include views of Roman Renaissance buildings.

In Rome he met several Spaniards associated with the church in Toledo, who may have persuaded him to come to Spain along with the fact that he failed to win major commissions in Rome. In 1576 he left Italy and, after a brief stopover in Malta, arrived in Toledo in the spring of 1577 and remained there for the rest of his life and produced his most important works.  Although the spiritual climate of the Counter Reformation, which was extremely intense in Spain during this time contemporary Spanish painting was too restricted to hold the interest of El Greco.  He had already formed his style before his arrival in Toledo and continued to explore and intensify the possibilities of mannerism while his contemporaries in Italy returned to more naturalistic styles.  He quickly began work on his first Spanish commissions, producing numerous artworks for the church.  El Greco's was well suited to the aims of the Counter-Reformation.

The greatest masterpiece and largest of El Greco's major commissions is The Burial of Count Orgaz (figure 2), which was bought for 1200 ducados.  The painting illustrates a popular local legend. In 1323, Don Gonzalo Ruíz, native of Toledo, and Señor of the town of Orgaz, died. He was a religious man who, among other charitable acts, left moneys for the enlargement and decoration of the church of Santo Tomé (El Greco's town church). At his burial, Saint Stephen and Saint Augustine appeared at his funeral and lowered his body themselves.  The burial takes place in 1323, but El Greco represents it as a modern event, portraying among those in attendance many of the local aristocracy and clergy; Titan himself could hardly exceed the dazzling display of colour and texture in the armor and vestments.  Above, the count's soul is carried to heaven by angels.  The way the upper half of the painting is filled is very different from the way the bottom half is filled.  Every form (clouds, draperies, limbs) takes part in the flame like movement toward the distant figure of Christ.  The various aspects of Mannerism combine into a single overjoyed vision in this painting. The Burial also manifests El Greco's typical elongation of figures and a horror vacui (dread of unfilled spaces), features of his art that became more obvious in later years.  His emotional style vividly expressed the passion of Counter-Reformation Spain.  The intensity of El Greco's paintings, resulting from their unnaturally long figures and strong contrasts of color and light, invited a kind of mythmaking about his life and art.  El Greco was a prosperous man. He had a large house in Toledo, where he received members of the nobility and the intellectual elite.  A feverish intensity can be sensed in many of El Greco's canvases dating from the 1590s until the time of his death.  Baptism of Christ (figure 3) in the Prado seems to pulsate with an eerie light generated by the holy figures themselves.  This painting is composed of artistic forms that express its spiritual heart of salvation through beauty in vibrant visual terms. A steamy haze surrounds the figures. The path of light that connects God the Father and the half-kneeling Christ creates the effect an instant connection of the heavenly and earthly subjects at the moment of the baptism. It represents one of the finest examples of grace in artistic expression.  This technique is also present in other late works, which intensifies the mystical nature of the event.  El Greco's painting of the Baptism as well as another of his works, the Resurrection (figure 4), create the beginning and the end of salvation.   El Greco died in Toledo on April 7, 1614, and he was buried there in Santo Domingo el Antiguo.

Following his death, El Greco's work fell into obscurity and, after its rediscovery in the last century, was often misunderstood. El Greco has been called a prophet of modern art, a mystic, and even a man whose sight was distorted by astigmatism, all misconceptions that have clouded understanding of his distinctive but deliberate style.  No matter how much recognition he got in Spain he never forget his Byzantine background; he signed his paintings in Greek, right to the last one.

330.          ELECTRONIC MUSIC

ELECTRONIC MUSIC & RAVES

On the phone, with flier in hand, you listen anxiously to the pre-recorded directions on the Mission Control rave hotline. This valuable information can only be accessed on the day of the event, but now that this is out of the way, it's time to prepare. People of all ages, but mostly between the ages of 17 and 26, madly attack appropriate stores to purchase their necessary "rave gear." They buy glow-sticks, glitter, dark glasses, sealed water, vicks vapo-rub, other trinkets and outrageous, often striped clothing. True ravers would drive for hours or fly to attend these worldwide conventions, and all share the same drive. You finally arrive at your destination to find a warehouse located on the outskirts of its respective city, with a large mob of people desperately trying to get in. It's about 12:00 midnight and all are mentally and physically prepared to party for the next 9 or 10 hours straight, to finally emerge from the doors to see daylight and non-ravers half way through their day.

The Webster dictionary defines "rave" and "techno" as...

".RAVE\u8217'ra-v

: To move or advance violently: STORM: to utter in madness or frenzy

: To talk with extreme enthusiasm

: To declaim wildly

: An extravagantly favorable criticism"

".TECH*NO-pop

: pop music featuring extensive use of synthesizers

In general practice, a "rave" usually refers to a party, usually all night long, open to the public, where loud "techno" music is played and many people partake in a number of different chemicals. The number of people at the event is unimportant; it can range from 50 to 25000 people. The cost varies, but is often 25 to 30 dollars and is usually held in a remote, and secluded part of town. The ages of those who attend are concentrated between 17 and 26 but truly range from 14 to 40 or 50 years old. It's common to have several different rooms playing different types of techno simultaneously. "Techno" or electronic music can be distinguished by its often lack of vocals, creation by synthesizers or other electronic means and it's unusually fast beat; ranging from 115-170 BPM (Beats Per Minute), while commercial "dance" music is usually a maximum of 70 or 80 BPM. The first substantial piece of music composed electronically was the Illiac Suite (1956) by the avant-garde composer Lejaren Hiller (1925-94). Each room is equipped with a Dj, a set of two or more turntables, walls of speakers located offset from the corners and impressive visual effects: such as lasers and light shows.

The people that attend are dressed ultra alternatively. This consists of comfortable yet creative attire. You would often see ravers wearing extremely baggy pants, glow in the dark body suits, and ultimately any visually entising clothing with similar accessories. Heads of hair are often dyed with unique colors and faces are covered strategically with glitter and an assortment of black make-up for a somewhat gothic look. All of these various forms of expression, visual effects, the barrage of audio only compliment the few chemicals used. Most members of the congregation use ecstasy in the form of tablet or capsule and/or acid. The light display and outrageous costumes are geared to act as a stimulus for the hallucinogen of the acid, but the music and overall environment is geared to the "mystifying" effects of ecstasy. Ecstasy, the tablet or capsule, is a man made drug derived from a plant which produces legal, herbal ecstasy in the form of a liquid or over the counter tablets. Ecstasy is a combination of concentrated herbal ecstasy and speed or heroin, cocaine, or crystal methane, but never containing a combination of the last three mentioned. This particular drug is said to have little visual effects, but more so physical effects. Your body starts to feel fluffy as the energy produced from the speed kicks in. You almost uncontrollably start to move to the beat of the music while the grinding of the teeth (from the speed) is more noticeable. The severity of this grinding on your teeth is lessened by the use of a baby pacifier. This allows you to grind on a soft rubber-like item perfectly suited for the mouth rather than the hard enamel of the teeth. Regardless, your jaw muscles will be sore. The more erotic effects of the drug come from the concentrated herb. In a sense, it drastically amplifies your sense of touch. Where a massage when sober feels like heaven, when on the drug a massage feels more like true ecstasy, as the name would suggest. Once Vicks vapo-rub is used, it offers a flurry of hot and cold flashes and lubrication to the massage. Several pairs of ravers can be seen giving massages while, more often than not, sitting at the base of either the surrounding walls or the walls of speakers.

Similar to most types of music, techno has an appropriate method of dancing, but unlike most other forms of dancing, each individual dances alone. This allows you to perform independently, and being the main activity, this also allows you to demonstrate the extent of your talent. Dancers commonly use a pair of glow-sticks like the one enclosed to enhance their abilities. One is placed between the fingers of each hand. The most secure method would be under the index and pinky finger and over the ring and middle finger. The fingers are then curled downward. Normally the glow-stick glows brightly and comes in an assortment of colors, nevertheless, this method allows the most illumination to be seen. Now, these glow-sticks are carefully manipulated to create a deliberate, constant flow of intricate patterns and color, making sure to utilize all the space available about the body and maintaining rhythm with the beat of the pulsating music.

The Dj's play an important role in the "Vibe" of the rave. They can almost be considered a shaman or a high priest of the congregation. They control the "psychic voyages" of the dancers through his choice of continuous, original music and their skill in manipulating it. I think the importance of the music at a rave is somewhat comparable to that of the music in an American Indian pow wow. In both cases the music helps one to fall into an alter state. Music is generally considered as pleasurable, but the music at a rave, and the ecstasy, help to form a sense of unity by sharing an emotion and a sense of freedom. Yet, at the same time you are revered for your individuality. For example, the more original and entising your dancing is congratulated by a slapping of one of each persons' palms together, a pat on the back, verbal gratification or simply a smile or nod. The people are very friendly, because you seem to appreciate you for what you are rather than for what you are not. This differs from the typical club environment.

The friendly, liberal attitudes of the ravers in conjunction with the dress, dancing and overall layout allow me to conclude that traditional values and behavior of society is rejected. Individuals can do almost anything in a rave as long as it does not affect someone else. For example, I could strip down to my boxer shorts and sit in the middle of the dance floor and even though it isn't done often, I can garauntee that it will be accepted. If I were to do a similar thing in Crobar (a popular club in Miami), I would promptly be ridiculed, and then removed from the premises. In the ritual of clubbing in Miami would not accept this form of attitude. The ritual of raving seems to promote a more liberal view. A view based on total freedom of expression. This is apparent by my previous description. I have met a few ravers outside of the event and am able to conclude that most of them are somewhat typical citizens. They abide by the traditional values and behavior imposed by society, but use the rave to let go and express themselves in a more flamboyant manner.

"Ritual is a patterned, repetitive, and symbolic enactment of a cultural belief or value; its primary purpose is alignment of the belief system of individuals with that of society." With this in mind, we can now fathom the idea that raving is a ritual. Raves can therefore be seen from an anthropological view as a congregation of members of a sub-culture, sharing similar emotions, beliefs, dress and behavior, all governed by techno music and the Djs. They experience unity yet individuality, freedom of expression, and a liberal environment, all simultaneously.

331.          Elia Kazan the American immigrant and director

Elia Kazan, the American immigrant and director

Elia Kazan, his Turkish name "Kazanjoglous," was born in Constantinople (now Istanbul), Turkey to Greek parents. At the age of four he moved with his family to the United States and settled in New York City. Elia Kazan attended formal education at Williams College in Massachusetts; he later studied at prestigious Yale University's Drama school. Kazan was known of "Gadget" later on his life due to the fact, as he says it, "I am short, compact and eccentric--like a gadget."

&lt;Tab/&gt;Kazan acted in a few films; however, his real talent was shown in his ability to direct. He began his career as an actor and stage manager for New York's Group Theatre Company (a strong leftist organization), which was just recently established. His involvement in the group led him to join the "American Communist Party" in 1934. He was only involved with the Communist Party for a short time; however, he was quickly recognized as a potential communist by the "House of Un-American Activities Committee," a group that was investigating the motion picture industry because of growing concern of communists working in the industry. A blacklist of names was being circulated, and those on the list could be in serious trouble and be denied to work in the film industry again. The committee called people to "rat out" others, many refused, however; Elia Kazan gave the committee the names of eight communists of the same party he was, and his reasoning was he did not want to be on the blacklist. Any member found to be on the blacklist had their credits removed from any film they had participated in. Names he gave out also included "friends" who had worked with him in The Group Theater. Recently, debates were circulating over the "Lifetime Achievement Academy award" to which Kazan was to be awarded. However, many thought he did not deserve to be recognized with this honor because of his help to the "House of Un-American Activities Committee."

&lt;Tab/&gt;Kazan's first major recognition came with his director's abilities in Thorton Wilder's "The Skin of Our Teeth" which received a Pulitzer Prize. He went on to direct "One Touch of Venus" (1943) and "Jacobowsky and the Colonel" (1944) which was a Drama Critics Circle Award winner. Elia Kazan went on to win many awards including a "Tony Award," "a New York Drama Critics Award," and a "Donaldson Award." The Donaldson Award was given for his work in collaborating with Tennessee Williams in the famous "A Streetcar Named Desire" which was a Pulitzer Price winner.

&lt;Tab/&gt;Following that year, in 1947, Elia Kazan along with Lee Strasberg and other alumni from his days at Group Theater founded "Actor Studio," which became a spiritual home for people interested in theater. Here Elia Kazan taught many famous actors, including Paul Newman, Marlon Brando and James Dean, in his style of "method" acting.

&lt;Tab/&gt;Even after helping to found Actor Studio he continued his work on Broadway with more Pulitzer Price winning work such as Arthur Miller's "Death of a Salesman" which won him another Tony, a New York Drama Critics Award and a Donaldson. His most famous work, and widely acclaimed work, is considered to be "On The Waterfront" (1954), which won a number of Oscars, including best picture and best director. Some of his other famous works include "East of Eden" (1955), which won the Cannes Film Festival award, "Baby Doll" (1956), which was written by both Elia Kazan and Tennessee Williams.

&lt;Tab/&gt;Not only did Kazan direct and act in films he also dabbled a bit in novels. He wrote "America, America" and "The Arrangement," which both were turned into motion picture films. He has also written "The Assassins," "The Understudy" and "The Anatolian."

Kazan was one of America's greatest directors on stage and on film and without his contributions to the film industry and on stage the way things are done now would not be happening if was never involved. Sadly, Kazan recently died in his home in New York City on September 28, 2003 of Natural causes. His work in theater will; however, never be forgotten for decades to come.

332.          elliot ness Maisonscene analysis

Mise-En-Scene Analysis

The Untouchables

Elliot  Ness, a treasury agent, has been trying

to stop alcohol from being smuggled into the United States.

He feels that the key to putting an end to the alcohol

distribution is to put gangster, Al Capone, behind bars.

But there is a small problem, Ness can't seem to be able to

link the incoming alcohol, or any other crime to Capone.

Until, Oscar Wallace, the uptight, "dorky", government official,

entered the picture to help Ness fight his battle for prohibition,

and ultimately, against Capone.  Wallace discovered that Capone

hasn't paid his taxes for several years, but the only way to

prove it is to get to Capone's book keeper.  Ness discovers that

the book keeper will be going to the train station, so he along

with colleague George Stone intend to be there to pick him up when he arrives.

The scene starts in the train station.  The setting is the main lobby.

The floors, pillars, and stairs are of a light gray color.  There is a clock

that is directly above the big, dark, wooden doors that are continuously

reverted back to during the scene.

The costumes of the main characters in this scene are the same as throughout

the movie.  Ness wears a light gray colored suit, hat, trench coat and tie.

Stone is wearing a little darker colored, more casual, clothing with a tie and

light colored hat.  Capones men were dressed similarly with trench coats and hats

of light colors.  Also, the innocent bystanders in this scene are the sailors in

their suits, the woman, with the baby in her innocent raggy clothes, and all the

other people in the scene who look as though they might be Capones men.

The lighting in this scene is a little bit dull, but gets darker when

Capone shoots his gun at certain points of the scene.

The figure movement and expressions in this scene are normally paced,

excluding the woman desperately struggling to get her baby carriage up the stairs,

until the gunfire starts.  The scene  turns into slow motion and panic arises as

the shooting begins and  the baby carriage is released and slowly starts descending

down the stairs.  The mothers face is panicked and you can see her mouthing the

words "My Baby".  Then you see the innocent face of the baby and then the carriage

plummeting to the bottom of the stairs.  The expressions on Capones men are uncaring

and crazy looking where as the expressions of the cops were determined looking.

Also, the book keepers face is very frightened.  The movement and expressions of

the bystanders are panicked with sailors trying to grab the baby and getting shot.

I feel that the slow motion in this scene was for added suspense and the

baby carriage was to give a feeling of panic. I feel that the clock was deliberately

in the picture to let the viewer feel Ness's impatience.  I feel that the sailors

along with the baby carriage were images of innocence to make the viewer more frightened.

I also feel that they had bystanders, looking like they could be Capone's men, enter the

picture to make the viewer more suspense filled.

.

333.          Elvis Presley 1273

Elvis Presley was the first real rock and roll star. A white southerner who singing blues laced with country. Presley brought together music from both sides of the color line. Presley performed this music with a "natural hip swiveling sexuality" that made him a teen idol and a role model for generations of "cool" rebels. Presley was repeatedly dismissed as vulgar, incompetent and a bad influence. However, the force of his music and image transferred to the mainstream, it was time for a change.

Born January 8, 1935, in East Tupelo, Mississippi, Presley was the son of Gladys and Vernon Presley, a sewing machine operator and a truck driver. Presley's twin brother Jesse Garon was stillborn, and he grew up as an only child. At age three, his dad was sent to prison for forgery. It seems that Vernon, Travis Smith, and Luther Gable changed the amount of a check from Version's boss from $3 to $8 and cashed it at a local bank.

The Presleys attended the First Assembly of God Church whose Pentecostal services always included singing. Entering the fifth grade, Presley is asked by his teacher, Mrs. J.C. Grimes to enter a talent contest on children's day at the Mississippi-Alabama Fair and Dairy Show. At the age of ten, dressed in a cowboy suit, and standing on a chair to reach the microphone, Presley for his rendition of Red Foley's "Old Shep" won second place, a $5 prize and a free ticket to all the rides. On his birthday the following January he received a guitar. Over the next year,Vernon's brother Vester gave him basic guitar lessons.

In 1948 after losing another job his dad moved the family to Memphis. Glady's brothers got him a job at the Precision Tool Company and the Presleys moved into a small apartment at 572 Poplar Avenue. On September 13 Elvis enrolls at L.C. Humes High School.

The day after graduation he took a job at Parker Machinists Shop. By June was working at the Precision Tool Company and then drove truck for the Crown Electric Co. After a short time in the stock room he is promoted to truck and began to wear his long hair pompadoured, the current truck driver style. That summer he recorded "My Happiness" and "That's When the Your Heartaches Begin" at Memphis Recording Studios, a sideline Sam Phillips had started at his Sun Records studios where anyone could record a ten inch acetate for four dollars.

In October, Presley appeared on the Louisiana Hayride, a popular radio program that appeared regularly through 1955. In March 1955, he made his television debut on the local television of the Hayride in March 1955. Meanwhile "Good Rockin' Tonight" & "I Don't Care if the Sun Don't Shine" became hits in the Memphis area.

In early 1955, Moore quit managing Presley, but continued playing in his band for several years. Bob Neal, a Memphis disc jockey, became Presley's new manager. Colonel Thomas Parker first entered Presley's career when he helped Neal make some tour arrangements. Still considered a country act Presley continued to play locally, and in April went to New York to audition unsuccessfully for Arthur Godfrey's Talent Scouts program. On May 13, his performance in Jacksonville started a riot. "Baby Lets Play House" & "I'm Left, Your Right, She's Gone" was released and reached #10 on the national Country & Western chart in July.

That September Presley had his first #1 country record "Mystery Train" & "I Forgot to Remember to Forget". By this time Colonel Parker, despite the agreement with Neal, had became more and more involved with Presley's career and had negotiated with RCA to purchase Presley's contract from Sun Records for $35,000. Presley received a $5,000 advance that he used to buy his mother a pink Cadillac

Presley became a national star in 1956. Presley went to Nashville to record his first records for RCA which included "Heartbreak Hotel." On January 28, 1956, he made his television debut on the Dorsey brothers' Stage Show, followed by six consecutive appearances. In March Parker became Presley's manager for which he was to receive 25% of his earnings. The contract lasted Presley's lifetime and beyond.

In August, Presley began filming his first film Love Me Tender. Released three months later the it made back its filming cost of $1 million in three days. His singles that year which included "Heartbreak Hotel," "I Was the One," "Blue Suede Shoes," "I Want You, I Need You, I Love You," "Hound Dog," "My Baby Left Me, "Anyway You Want Me," "Love Me Tender," "Don't Be Cruel," "Love Me," and "When My Blue Moon Turns To Gold" all were certified gold.

In early 1957 Presley became the target of criticism by teachers, clergymen, and even other entertainers who his style was to suggestive. He was nicknamed "Elvis the Pelvis" by one writer. On January 6, he made the last of his three appearances on the Ed Sullivan Show and was shown only from the waist up.

Presley was the first rock star to crossover into films with consistent commercial success.

That December he received his draft notice, but was given a 30 day deferment to his movie, King Creole.

On March 24, 1958 Presley entered the Army. The next months saw number one hits with "Don't" and "I Beg You." A few months later he went on leave to be with his sick mother. Gladys Presley died the day after his arrival in Memphis, on August 14, 1958. Presley called her death the greatest tragedy in his life. He returned to the Army and was shipped to Bremerhaven, West Germany. In January 1960 he was promoted to sergeant and was discharged that March.

Toward the end of his life, he would babble incoherently on stage and rip his pants, having grown pretty fat, and at least once collapsed on stage. Despite his health, Presley maintained a frantic tour schedule.

June 25, 1977 Presley performed live for the last time in Indianapolis. On August 16, 1977, the day before his next scheduled concert, Elvis was found by his girlfriend Ginger Alden dead in his bathroom at Graceland. His death was due to congestive heart failure. A later autopsy revealed hardening of the arteries and an enlarged liver. Later it was determined that drug abuse may have been a contributing factor. In September 1979 Presley's private doctor , Dr. George Nichopoulos, was charged by the Tennessee Board of Medical Examiners with indiscriminately prescribing 5,300 vials in the seven months before his death. He was later acquitted.

Presley was inducted into the Rock and Roll Hall of Fame in 1986.

Elvis Presley was the man. He was a great singer and was an insane performer, putting on the greatest live shows of his day. He would drive the crowd wild, ecspecially the girls, with his dancing. The energy that was given off at his shows was astronomical.

Not only was he the greastest performer and wrote some of the greatest tunes, but he also fought in the war which makes him the King. You don't get that name for just anything.

Also, elvis came from literally nothing, to a multi-millionaire which today would have been a lot more considering his dad's earlier position when he changed a check from $3 to $8 and getting 3 years where that extra $5 was said to be borrowed to built a house which his boss said to get him a reduced sentence.

Elvis inspired all of music today. If there was no Elvis Presley, there would be none of the music we have today. Elvis revolutionized music in its entirety.

334.          Enfluening OF Music

This Essay is about how music can influence the emotions and effects of a person.

I will be giving you precentages. I will also be giving you quotes of students

around my age group.

Music can influence the way a person can dress. If some one that is listens to

rock&roll will dress outraged and may wear nose rings. Students that listen to

country may dress with a cow boy hat. A person that listens to oldies may dress with

clothes from the past.

Music can also influence the way a person thinks about somthing. People that listens

to rap may think that drugs should be legal. A person that likes country may think

that raggedy cars should be used until it possibly can't run anymore. A person that

listens to oldies think that the fashion should be the way that it was when it was the

fiftys.

This concludes the essay for " music and how it influences." Music can influence

the way a person thinks about a subject, their emmotions, and what should be allowed and not.

335.          English3 txt Makeup your own title

It was a calm sunny day in mid-January as Bob climbed into his plane to go for a late afternoon

flight over the mountains.  He started the engine and it gave a weak squeal as it turned over.  Bob thought

nothing of this as it happens when it is cold out, but it was more than he could ever know.  He taxied his

plane to the end of the runway and applied full power.  The plane began to accelerate slowly at first but

quickly gained speed, and just as fast it leaped into the air.

About twenty minutes into the flight the plane gave a shudder as a strong gust of wind shoved at

the small plane.  In minutes the sun disappeared and snow took its place. Bob's peaceful afternoon flight

had just become a nightmare.

Bob attempted to turn the small plane back to the airport but the wind would not allow it.  The

wind had it's way with the plane until that squeal came back to haunt the young man inside.   With a

shudder and a bang the plane's prop stopped.  Within seconds the stall horn began to blow and the plane

rolled onto it's right side and plummeted to the snow covered ground.

Bob awoke, not knowing how long he was out, hoping that some one had received his frantic calls

for help.  After a day he decided to try and hike out, he took everything he could carry.   He made good

distance during the day but at nightfall he knew it was over; the temperature had fallen below negative fifty

mark.

The rescuers sent out search parties and finally found him in his sleeping bag next to a burnt out

fire.  They had been looking for weeks, this is what they had expected.

336.          Eric Clapton Essay

Eric Clapton

Eric Clapton is an innovative guitarist, basically the first to combine

blues and rock, which in turn popularized blues.  Because of his skill and ever-

evolving style, his music is a lasting contribution in itself.

Eric Clapton made his recording debut with The Yardbirds, the British

group that also featured guitar virtuosos Jimmy Page and Jeff Beck.  Together,

they created a whole new blues/rock sound that many of the famous '60s and '70s

bands copied.  Clapton left The Yardbirds when he felt the band strayed too far

from their blues roots towards pop music.

E.C. then joined British keyboardist, harmonica player,

singer/songwriter John Mayall and his band, The Bluesbreakers to work on an

album.  Clapton, with the fresh, up and coming band, made a pure blues album

that many blues fans consider to be his best.

After the one-album stint with The Bluesbreakers, Clapton formed a new

group called Cream with bassist/vocalist Jack Bruce and drummer Ginger Baker.

The trio made four highly successful albums together in the next few years.

Their more rock like interpretations of old blues songs made blues more popular

to the mainstream, much more so than with The Yardbirds.  Cream had several top

40 hits, including "Sunshine of Your Love", "White Room", and "Crossroads".

Towards the end of the '60s Cream split up.  Eric Clapton joined the

band Blind Faith in '69 and did fairly well with it, but the group broke up

quickly after the release of their only album.  It was then that Clapton

launched his solo career.  For A few years in the early '70s Clapton played with

backup band "Delaney and Bonnie and Friends", and made a few pretty successful

albums, but nothing in comparison to the popularity he had with Cream.

This was the start of a period of time (basically most of the '70s)  where

Eric Clapton would switch around from backup band to backup band.  In doing this,

he had to play differently with each one, so it kept his style fresh and ever

changing.  In the '70s Eric took more of a departure from blues and went on to

basically playing rock and pop.  An exception to this would be when he covered

Bob Marley's song "I Shot the Sheriff" and took a stab at reggae.  He did

excellently with it, too,  it was a big Top 40 hit.

The eighties saw Eric Clapton make fewer albums.  Although this was the

low point in his career, he still made albums that were quality by any standard.

They also saw a more mature Clapton.  The Eric from the sixties with his endless,

inspiring solos was gone.  But now he made the move towards melodic perfection

instead of technique.

Eric Clapton revived his career in the early '90s with his best selling

album ever, Unplugged.  This purely acoustic album was the most blues oriented

since he was back with John Mayall.  It contained the top 40 hit "Tears in

Heaven" that he wrote for his son who died falling out of a New York high rise.

Eric's most recent album, "From The Cradle", is his first totally blues

album since his Bluesbreaker days.  It turns out he hasn't lost his touch: he's

as good at blues as he ever was.

Over his extensive recording career Eric Clapton has proven he is among the

best at what he does.  He is an excellent guitarist, whether he is playing rock,

pop, blues, or reggae.  His style has been widely copied-you can hear his

influence in famous blues guitarists like Stevie Ray Vaughan and Buddy Guy.  And

his music is definitely a lasting contribution to music overall.

Bibliography

Bogdana, Vladimir; Erlewine, Michael; Koda, Cub; Woodstra, Chris.  All Music

Guide To the Blues.  Miller Freeman: San Francisco.  1996

Miller, Jim.  History of Rock and Roll.  New York. Rolling Stone Press. 1976.

Santelli, Robert.  The Big Book of Blues.  New York:  Penguin 1993.

337.          Eric Clapton

Eric Clapton

Eric Clapton is an innovative guitarist, basically the first to combine blues and rock, which in turn popularized blues.  Because of his skill and ever-evolving style, his music is a lasting contribution in itself.

Eric Clapton made his recording debut with The Yardbirds, the British group that also featured guitar virtuosos Jimmy Page and Jeff Beck.  Together, they created a whole new blues/rock sound that many of the famous '60s and '70s bands copied.  Clapton left The Yardbirds when he felt the band strayed too far from their blues roots towards pop music.

E.C. then joined British keyboardist, harmonica player, singer/songwriter John Mayall and his band, The Bluesbreakers to work on an album.  Clapton, with the fresh, up and coming band, made a pure blues album that many blues fans consider to be his best.

After the one-album stint with The Bluesbreakers, Clapton formed a new group called Cream with bassist/vocalist Jack Bruce and drummer Ginger Baker.  The trio made four highly successful albums together in the next few years.  Their more rock like interpretations of old blues songs made blues more popular to the mainstream, much more so than with The Yardbirds.  Cream had several top 40 hits, including "Sunshine of Your Love", "White Room", and "Crossroads".

Towards the end of the '60s Cream split up.  Eric Clapton joined the band Blind Faith in '69 and did fairly well with it, but the group broke up quickly after the release of their only album.  It was then that Clapton launched his solo career.  For A few years in the early '70s Clapton played with backup band "Delaney and Bonnie and Friends", and made a few pretty successful albums, but nothing in comparison to the popularity he had with Cream.

This was the start of a period of time (basically most of the '70s)  where Eric Clapton would switch around from backup band to backup band.  In doing this, he had to play differently with each one, so it kept his style fresh and ever changing.  In the '70s Eric took more of a departure from blues and went on to basically playing rock and pop.  An exception to this would be when he covered Bob Marley's song "I Shot the Sheriff" and took a stab at reggae.  He did excellently with it, too,  it was a big Top 40 hit.

The eighties saw Eric Clapton make fewer albums.  Although this was the low point in his career, he still made albums that were quality by any standard.  They also saw a more mature Clapton.  The Eric from the sixties with his endless, inspiring solos was gone.  But now he made the move towards melodic perfection instead of technique.

Eric Clapton revived his career in the early '90s with his best selling album ever, Unplugged.  This purely acoustic album was the most blues oriented since he was back with John Mayall.  It contained the top 40 hit "Tears in Heaven" that he wrote for his son who died falling out of a New York high rise.

Eric's most recent album, "From The Cradle", is his first totally blues album since his Bluesbreaker days.  It turns out he hasn't lost his touch: he's as good at blues as he ever was.

Over his extensive recording career Eric Clapton has proven he is among the best at what he does.  He is an excellent guitarist, whether he is playing rock, pop, blues, or reggae.  His style has been widely copied-you can hear his influence in famous blues guitarists like Stevie Ray Vaughan and Buddy Guy.  And his music is definitely a lasting contribution to music overall.

Bibliography

Bogdana, Vladimir; Erlewine, Michael; Koda, Cub; Woodstra, Chris.  All Music Guide To the Blues.  Miller Freeman: San Francisco.  1996

Miller, Jim.  History of Rock and Roll.  New York. Rolling Stone Press. 1976.

Santelli, Robert.  The Big Book of Blues.  New York:  Penguin 1993.

338.          Erik Satie

Satie, Erik

The French composer Erik Satie was born on May 17, 1866, and died on July 1, 1925, was the son of an English mother and a Parisian music publisher.

He entered the Paris Conservatory in 1879 but failed to benefit from academic education, which he embarked on again only in his 40th year, when he enrolled as a pupil of Vincent d'Indy  and Albert Roussel at the Schola Cantorum. Long before that, however, he had composed a number of short piano pieces, whose eccentric titles and unfashionable and yet convincing simplicity of melody were matched by an individual sense of harmony. It is still a moot point whether Satie got his harmonic ideas from his fellow student and friend Claude Debussy, or whether the debt was on Debussy's side. It is quite clear, however, that Satie's tasteful principles influenced Debussy in the composition of his opera Pelleas et Melisande and that Satie was the main influence in helping Debussy to free himself from the musical domination of Richard Wagner. Satie became interested in plainsong through his association with a so-called Rosicrucian group, while he earned his living as a cafe pianist in Montmartre.

Satie was a conscious eccentric and a determined enemy of all establishments, including the musical.  The comical titles that he attached to his small piano pieces are characteristic of the Bohemian wit in the Paris of his day.  Irony and a deceptively childlike attitude, a dislike for pomposity of all kinds, and an instinctive secretiveness were hallmarks of both the man and his music.  In 1916, Satie was befriended by Jean Cocteau and wrote the music for a ballet, Parade, on which Pablo Picasso and Leonid Massine also collaborated.  By far the most important of Satie's works is Socrate , an harsh setting for four sopranos and chamber orchestra of Plato's account of the death of Socrates.  The young composers who formed the essentially Parisian group known as Les Six regarded Satie as a kind of tutelary genius, and in 1923 one of them, Darius Milhaud, tried to found an "Ecole d'Arcueil," named for the obscure Paris suburb where Satie lived in extreme poverty.

339.          Ernest Hemingway 1526

Most scholars call him the greatest American writer of the 20th century. Some even go as far as saying that he was the greatest American writer ever. What do we really know about him? We know that he was a philandering, macho drunk with a temper, whose new kind of direct prose set him apart from the pack. But what made him that way? What made him tick? Let's trace back the steps of Ernest Hemingway.The story begins in Oak Park, Illinois, a suburb of Chicago. Hemingway was born on July 21, 1899 in a religious but artistic household. He grew up loving nature and outdoor activities, whereas school wasn't something he lived for (except for English classes, of course). Upon his high school graduation in 1917, Hemingway had dreams of joining the fighting men of World War I. His father opposed his decision but that didn't stop the young man from trying to enroll. He applied to the Army on a number of occasions but was always rejected on account of a faulty eye. He decided instead to go with his second choice and became a junior reporter for The Kansas City Star, a prominent newspaper of the era. His job was to cover the crime beat, reporting on what went on at the hospitals, police stations, and train stations. It was during that time that he learned how to write succinctly.

Six months after having started at the newspaper, he saw an ad before it was printed. It urged young men to join the Red Cross and become ambulance drivers. The physical requirements weren't as strict as in the Armed Forces and he was accepted. He got a taste of war in Italy, evacuating the wounded from the battlefield. On July 8, 1918, Austrian artillery hit the young man. The injuries were so severe that he had to be hospitalized in Milan. In spite of over 200 scars on his right leg, he desperately fell in love with one of his nurses, Agnes von Kurowsky. They had a brief romance but her career was her first priority. Hemingway proposed to her, but she turned him down claiming that the seven-year age difference was too much for her. The 19-year-old was heartbroken. The war soon ended and he returned home to recuperate. He found modest work writing for Co-operative Commonwealth, a monthly magazine, and met another older (and wealthy) woman, Elizabeth Hadley Richardson. They were married in September 1921. The Hemingways moved to Paris, where he worked as a foreign correspondent for the Toronto Star. As expatriates they befriended other American intellectuals living in the City of Lights. Among them were Ford Madox Ford, Gertrude Stein, Ezra Pound, and F. Scott Fitzgerald. They encouraged Hemingway to publish his works of fiction. His first collection of short stories, In Our Time, came off the printing press in 1924 (and a year later in the U.S.).

This group of friends, which Gertrude Stein had famously nicknamed the "lost generation," became a source of inspiration for Hemingway and he wrote his first novel about it. The Sun Also Rises was published in 1926 and was extremely successful, both commercially and critically. Later that same year, Hemingway left his wife and son for Pauline Pfeiffer, a reporter for magazines like Vogue and Vanity Fair. His wife Hadley had one condition for granting him a divorce: Ernest and Pauline had to stay away from each other for six months to see if they would still be in love afterward. Hemingway granted her wish but it was a difficult time for him. He even considered suicide, as he had written in his letters to Pauline.Hemingway married Pauline Pfeiffer in January 1927 and they remained in Paris for the remainder of the decade. During that period, he traveled a lot to treat himself to his favorite hobbies such as fishing, hunting and bullfighting. These were the type of "manly" activities he would write about for years. The couple moved back to America and settled in Key West, Florida. A routine was quickly established where Hemingway would write, go fishing, get drunk in town, participate in the odd bar brawl, and feel sick -- and guilty about it -- afterward. He continued to publish short stories and his reputation was still growing. His early short fiction was about life in Michigan and World War I and he later wrote about more mature characters living grand adventures in Florida and Africa. In 1929, he published A Farewell to Arms, a war romance based on his own experience with Agnes von Kurowsky during World War I. The enthralling tale was his greatest triumph yet. In the years that followed, he continued to go deep-sea fishing and bullfighting, and even went on hunting safaris in Africa.

In the late '30s, the Spanish Civil War exploded. Always wanting to be where the action was, Hemingway relocated to Spain and spent the war as a journalist again. His politics, however, wouldn't let him stand by to watch the events powerlessly. He took it upon himself to assist in raising money for the loyalists who were fighting General Franco and his fascist regime. This experience served as the basis for his most celebrated novel, For Whom the Bell Tolls, which was published in 1940 and remains his greatest success. Meanwhile, he had met fellow journalist Martha Gellhorn and fell in love with her during their time in Spain. He left Pauline and his second son and married Martha in 1940. The married couple relocated to San Francisco de Paula, Cuba. When the United States entered World War II in 1942, Hemingway founded the Crook Factory, a company whose sole purpose was to uncover Nazi operations on the island. After he terminated this business in 1943, he turned to sub-hunting. He patrolled the Cuban shores day and night in his fishing boat looking for German submarines. As the tide of the war turned and the Allies switched to offensive strategies, Ernest and Martha became war correspondents in England. That wasn't enough for Hemingway and soon he boarded Royal Air Force planes during bombing runs. Later, he integrated an American unit and crossed the English Channel on D-Day. Unofficially part of the 22nd Regiment of the 4th Infantry Division, he fought his way across Normandy and through the Battle of the Bulge. Military authorities quickly realized that the journalist would rather fight than write about it and they court-martialed Hemingway since he was violating the Geneva Convention. In the end, he was cleared of all accusations.

For all her qualities, Hemingway could not be with Martha anymore. She was a career woman and it was something with which he couldn't deal. They divorced and he found refuge in the arms of journalist Mary Welsh, who had been his mistress of late. He felt guilty about his failed marriage(s) and continued drinking heavily. Back in Cuba, he resumed his writing in 1946. Since his younger days, he had always been accident-prone. A second plane crash was added to his numerous car accidents and he suffered grave injuries (leading to several false reports of his death in the papers). But he continued to travel and write. In 1953, he was awarded the Pulitzer Prize in Fiction for his novella The Old Man and the Sea and a year later he won the Nobel Prize in Literature for his illustrious career. A year after Fidel Castro and his troops entered Cuba, Hemingway left the island and moved to Ketchum, Idaho with his wife, Mary. His health was deteriorating at this point, both physically and mentally. Writing was becoming difficult for him and his memory was failing him. He was hospitalized twice and underwent treatments and therapy, but his depression was too deeply ingrained. On July 2, 1961, Ernest Hemingway chose to follow in his father's footsteps and used a shotgun to take his own life.

Hemingway's style of prose was bare, detached and direct, probably the most imitated writing approach of the century. His notoriously basic sentences and down-to-earth dialogue were a mirror of the sincere yet cynical aspects of the life he had decided to live. He is remembered as a self-confident man, someone who commanded authority and who wasn't afraid to be decisive. He was an adventurer at heart and reflected the image of a grand hero. But deep down, he was withdrawn, disturbed, and emotionally scarred. Only by searching for the truth behind the myth can we truly understand the extent and meaning of Hemingway's body of work.Hemingway was fortunate enough to find fame and fortune in his own time. His books have been popular ever since the '20s and several of his manuscripts have been published posthumously. His works have been adapted to the big screen over 30 times and Hemingway himself has been a character in several films and TV events, most famously in 1996's In Love and War, starring Chris O'Donnell as Ernie Hemingway and Sandra Bullock as his first love, Agnes von Kurowsky. In addition, dozens of books have been written about him, which is proof enough that the legacy of Ernest Hemingway is here to stay.

340.          Escape from the Desert Island

Desert Island Essay

The bright sun pierced through my silted eyelids as I made a feeble attempt to block the burning beams of light with my shaking hand.  Unsuccessful, I closed my eyes tightly, shutting out the ball of fire hanging overhead.  As my senses returned in a painful blow, I raised myself up slowly, spitting out a mouthful of sand.  With a quick glance, I uncovered an interesting fact.  All my clothes were gone.  Then it came flooding back.  Back on the SS. TUNA, I had heard a low rumbling, and then the deck cracked under the force of what must have been a massive explosion.  The last thing I could remember was the loud cracking of the ship's hull, and the I blacked out.  The blast must have burned my clothes clean off,  and threw me on to this desert island.  How odd that my clothes were burned off, and I was left without a scratch.  Shrugging off the many questions that my mind bombarded me with, I decided to take a tour of the island, and search for a possible means of escape.  "OH SHI-!"  I stopped myself short of a curse, and looked down at my aching toe.  I painfully leaned over and examined the ground around my feet, discovering a 1922 Sears catalogue.  Exhausted and hungry, I reached for a coconut from the only tree.  I leaned against the palm tree eating the coconut and leafing through the ancient catalogue.  Thinking aloud, I muttered, "Gee, I wish I had some clothes".  POOF!  Magically, I was in the latest fashions of 1922.  Hmmm.......could it be?  I flipped through the catalogue until I found what I was looking for.  POOF!  "Wow, I always wanted a bread box".  Curious as to what else I could find, I thoroughly searched the catalogue, finding that the sports equipment and hardware sections were torn out, along with a coupon for next years catalogue.  I decided that I could use the magic catalogue to get off the island........but how?  BINGO!  I wished for 20 tables, a kite with a VERY long string, a mattress, a belt, a bathtub and a towel.  First, I clogged the bathtub drain with a towel, and laid the mattress on top, and floated it out to the coral.  Next, I stacked the tables, so that they reached 60 ft. high.  Standing on top of the stack, I flew the kite out to the coral, and snagged it tightly.  Pulling the string taunt, I tied it around the table leg, and looped the belt around it, forming a harness.  I climbed into the harness and pushed off.  I slid downwards along the string for hours, till I finally neared the 10 ft. high coral.  At the last second, I slid out of the harness and landed on the mattress I had previously sailed out to sea.  I bounced of the mattress 15 ft. in the air, clearing the coral and appearing in front of a helicopter which was passing by.  It flew over to me, and I grabbed on to the landing gear in mid-air, and was rescued without even touching the water or having to deal with the deadly shark that swam in it's dark waters.

341.          Escher 610

Maurits Cornelius Escher is widely acknowledged for his extensive use of distorted geometrical shapes, tessellations and spatial illusions creating a unique art form that was admired by artists and mathematicians.  Through these works of art he contributed to the world of math without having any extensive training or high academic achievements, but yet and still his work were exhibitions of mathematical ideas.

Deterring from his father's plans for him to become an architect, M. C. Escher grew a great interest in graphic arts. Obtaining a worldwide reputation, he was presented                                                                                       to the public in an article in Time magazine and had his first exhibit in 1956.  Mathematicians accepted his accomplishments in art while envisioning principles of mathematics, even though he had no teachings beyond high school in the subject.  M. C. Escher quoted: "At first I had no idea at all of the possibility of systematically building up my figures. I did not know...this was possible for someone untrained in mathematics, and especially as a result of my putting forward my own layman's theory which forced me to think through the possibilities."( 1958, M.C. Escher,Regular Division of the Plane)  His inspirations came from readings he did on many mathematical ideas and with this knowledge, he created projective geometry, structures in plane, Euclidean geometries, paradox and "impossible" figures, and he adopted Roger Penrose's ideas.  The bulk of his work surrounds two main areas: logic of space and space geometry.

&lt;Tab/&gt; Physical objects have a spatial relation which is necessary is considered the "logic" of space, when these are disrupted they become visual paradoxes or optical illusions.  Maurits understood the relationship between geometry of space and logic of space determining one another.  He used to experiment with light and apply it to the logic of space, and when using concave and convex objects he would shadow.  He was also very particular about perspective, using vanishing points creating an illusion of infinity for the eye.  In doing this and using certain vanishing points, he could make the elements in a picture shift.  He also created a three dimensional object from a two dimensional representation, one of his works if based around the idea of Roger Penrose's -the impossible triangle.

M.C. Escher contributed with tessellations, which are arranged closed shapes that cover a plane without touching or overlapping and no gaps.  He was intrigued by "metamorphoses", during 1957 his essay on tessellations has a quote in which he remarked: "In mathematical quarters, the regular division of the plane has been considered theoretically....Does this mean that it is an exclusively mathematical question? In my opinion, it does not.  Mathematicians have opened the gate leading to an extensive domain but they have not entered this domain themselves; they are more interested in the way in which the gate is opened than in the garden lying behind it."  Mathematicians showed that all of the regular polygons, only the triangle, square and hexagon should be used in tessellations.  Escher used reflections, glide reflections, translations, and rotations to widen his pattern availability.

In conclusion, M.C. Escher made a great deal of contributions to Algebra and math as a whole.  He was a man who was very humble who neither considered himself a artist nonetheless a mathematician, but without outstanding training he still became a huge factor in how we use geometry today.

References:

1. F H Bool et al., M C Escher, His Life and Complete Graphic Work (New York, 1982).

2.&lt;Tab/&gt;*C H MacGillvary, Symmetry aspects of M C Eschers Periodic drawings (1965).

3.&lt;Tab/&gt;D Schattschneider, Escher: A mathematician in spite of himself, in R K Guy and R E Woodrow (eds), The Lighter Side of Mathematics (Washington, 1994), 91-100.

342.          Essay on Mystery

Essay on Mystery

The classic mystery story contains many key parts, and some of these are present in my novel, while some are not.

I think the major and most important similarity between mine and that of a classic is the fact that they both deal with murder.  Homicide. Assassinations. The ole' bump-off.  Killing. Manslaughter. Anyway you look at it, both my novel and most novels from the Hounds of Baskerville to Murder on the Orient Express.  My novel deals with this murder in a more dramatic sense, as a publicly loved figure and a heavily celebrated actress who has won many Oscars for her wonderful performances.

I would say that my novel is untraditional in the fact that it is not a pure bred detective story, or a police procedural, nor romantic suspense nor or a gothic novel.  I would say it is a mixture of detective story as the person who is seeking who killed her sister is in no way a detective, but she is the main protagonist, as a detective is. The other half of the story is a romantic suspense, as a romantic atmosphere starts to occur between Liz and Ted as she starts to realize that Ted is not the killer, and they end up as a couple right at the end of the story.

To get into more detail about the mixture of these two classic and celebrated styles, I will use the sheet I was thankfully given by Ms. Milliorn to nit-pick at the details of these two styles. If I would have to pick one of the styles that my book more closely resembles it would be the detective story.  The main character and protagonist is Liz, the sister of the recently slain movie star Lisa.  She does in fact interrogate suspects and ferret out clues, but the difference is that she does not even recognize that she is getting some juicy clues, while the detectives do not let on that they have identified a clue, but in truth they have and already trying to use it to solve the case.  Another key difference is the fact that the detective finds his criminal by a process of elimination, while Liz does none of this. The only reason they actually found the killer was the fact that he tried to kill Liz, but Ted was there to hear her screams. He came to her rescue and apprehended the killer all at the same time.  What a guy!  She had no clue about who had the motive, opportunity or means to kill her sis. I would explain her as a happy-go-lucky half-detective who was more lucky than happy.

But, after reading through the whole paper, I have found that Clark does exhibit some glaring qualities of a classic writer.  Techniques such as using several suspects, additional murders, red herrings, threats of violence were all used habitually, until it got to the point where I was sick and tired of all these different suspects and a new murder at every corner.

As for the basis of the romantic suspense, I have only based this on the fact the Liz always had a love for Ted, and it could not be shown until her sister was out of the way and the killer had been found. As there is no literature that I have found which explains the term "Romantic Suspense" in layman's terms, I do not think that I should try and elaborate as if I am dead wrong on what a romantic suspense is, I will just be making a fool out of myself.

Finally, I believe that all new authors are trying to get away from classic writers, and that is why authors like Clark have only shown bits and pieces of the lost art known as a classic mystery, so I believe that is why I had a little more trouble researching this topic before writing it than any other.

343.          Ethan Frome 2

I believe Ethan Frome lost control of his life when his mother died.

After his mother's funeral, Ethan did not want to be left alone on the farm,

so he asked Zeena to stay with him. At first, Ethan enjoys her company.

However, Zeena soon becomes a nuisance to Ethan, and prevents him from

becoming an engineer in a large city. After being married a year, Zeena

becomes sick herself, and the only time she talks to Ethan is to complain or

show her discontent.

After Mattie comes to the farm, Ethan does not love Zeena at all. He

thinks the only pleasure she has left is to inflict pain on him. Since Zeena

is a burden on Ethan, he naturally wants to improve his life. The reason he

does not have control of his life is because he is married to Zeena, and he

is not brave enough to go away with Mattie. The reason he is married to Zeena

is because his mother died. Since Zeena is why Ethan does not have control of

his life, and Ethan married her because his mother died, the point in time

when Ethan lost control of his life is when his mother died.

I believe Ethan could have changed the direction of his life if he had

gone away from the farm to marry Mattie. The reason he did not have control

of his life was because he was married to Zeena. If he would have married

Mattie and left Zeena, he would not have been in the sled accident, and

consequently, he would have lived a much happier life with Mattie.

The second way Ethan could have changed the direction of his life is if

he would have sold the farm and never have married Zeena. This would have

saved him many years of problems and unhappiness. He would never have met

Mattie, which means he would never have injured himself in the sled accident.

If he would have lived in another town besides Starkfield, he might have been

an engineer and married a woman who would treat him better than Zeena ever

did.

344.          Ethan Frome

Ethan Frome, the main character in the book entitled Ethan Frome, by Edith Wharton, has many

complex problems going on at the same time. His family has died and he has a wife that is continually sick, and the only form of happiness he has is from his wife's cousin Mattie. This,

however, at times proves to be hard because of Ethan's wifes interference. Nothing seems to be going in Ethan's favor. The main theme of the book is failure, and this is shown through marrying his wife, not being able to stand up to his wife, and his involvement concerning the "smash up."  The first way failure is shown in the book is through the marriage of Ethan and his wife. He married her because she had tried to help his mother recover from an illness, and once his mother died he could not bear the thought of living in the house alone. His wife was seven years his senior and always seemed to have some kind of illness. It seemed all she ever did was complain, and he

resented this because it stifled his growing soul. Since his wife was continuously ill, and her cousin needed a place to stay, they took her in to help around the house. Ethan took an immediate propensity to her cousin, Mattie, because she brought a bright light upon his dismal day. He seemed to have found someone that cared for him, was always happy and could share his youth, unlike his sickly wife who always nagged him. He longed to be with Mattie, however he had

loyalty to his wife. Being married to the wrong person proved to be Ethan's first failure.  Ethan's second failure was not being able to stand up against his wife. His wife claimed that a new doctor said that she was extremely sick, and needed more help around the house. She told him without any discussion that Mattie had to go. Ethan could not find the words to make her alter her decision. His wife also decided that Mattie had to leave the next day itself and Ethan could not do

anything about it. It was stated in the book that his wife had the upper hand in the house by the

line "Now she [his wife] had mastered him [Ethan] and he obeyed her." Ethan just could not find the right things to say and it was because of his failure of not being able to stand up to his wife, he was going to lose the only thing that made him happy.  Ethan's last failure was the way he modified his and Mattie's lives regarding the "smash up." He so desperately wanted to run away with Mattie, but he could not because his practical sense told him

it was not feasible to do so. Mattie wanted so desperately to be with Ethan, that she suggested in order to stay together forever, was to die together. It was Ethan's job to steer into the tree with the sled so that it looked like an accidental death instead of suicide. Instead of running square into the tree, he did not hit the tree right and it did not kill either of them. Instead it just injured them ,

and these injuries stayed with them forever. In this way Ethan had his last failure in not exceeding

to die with his love, instead he had to live with the guilt from his wife, the injured Mattie, and

broken dreams.  In these three ways, of marrying the wrong person, not being able to stand up to his wife, and

incidents that come from the smash up, proves that the main theme of the book is failure. It seemed that everything Ethan tried to do, worked against his favor. With all the incidents that

happened it seemed inevitable that his life would always be a string of failure.

345.          Eveline A Character Analysis

"Eveline" - Character Analysis

"There is no more miserable human being than one in whom nothing is habitual but indecision (James)."  Originally appearing in Dubliners, a compilation of vignettes by James Joyce, his short story Eveline is the tale of such an unfortunate individual.  Anxious, timid, scared, perhaps even terrified -- all these describe Eveline.  She is a frightened, indecisive young woman poised between her past and her future.

Eveline loves her father but is fearful of him.  She tries to hold onto good memories of her father, thinking "sometimes he could be very nice (Joyce 5)," but has seen what her father has done to her siblings when he would "hunt them in out of the field with his blackthorn stick (Joyce 4)."  As of late she has begun to feel "herself in danger of her father's violence (Joyce 4)."  Ironically, her father has "begun to threaten her and say what he'd do to her only for her dead mother's sake (Joyce 5)."

Eveline wants a new life but is afraid to let go of her past.  She dreams of a place where "people would treat her with respect (Joyce 4)" and when contemplating her future, hopes "to explore a new life with Frank (Joyce 5)."  When, in a moment of terror she realizes that "she must escape (Joyce 6)," it seems to steel her determination to make a new home for herself elsewhere.  On the other hand, she is comfortable with the "familiar objects from which she had never dreamed of being divided (Joyce 4)."  She rationalizes that: "In her home anyway she had shelter and food; she had those whom she had known all her life about her (Joyce 4)."  As she reflects on her past she discovers "now that she was about to leave it she did not find it a wholly undesirable life (Joyce 5)."

Eveline wants to keep the deathbed pledge made to her mother but is alarmed at the prospect of sharing her mother's fate.  Her mother was ill-treated in life and Eveline vows that "she would not be treated as her mother had been (Joyce 4)."  She has had a life filled with hardship and chafes under "her promise to keep the home together as long as she could (Joyce 6)." When she recalls "the pitiful vision of her mother's life (Joyce 6)" she is uncertain of what to do and prays "to god to direct her, to show her what was her duty (Joyce 6)."

Eveline thinks she loves Frank but is apprehensive about her future with him.  She likes Frank; she thinks he "was very kind, manly, open-hearted (Joyce 5)."  She wants to believe in Frank; to believe that "he would give her life, perhaps love, too (Joyce 6)." However, she is riddled with self-doubt.  She questions the validity of her decision to leave.  Although "she consented to go away, to leave her home (Joyce 4)," she wonders "was that wise (Joyce 4)?"  She hesitates at the thought of living "in a distant unknown country (Joyce 4)."

Although fear is not Eveline's constant companion, it is a common one.  A companion that contributes greatly to her lack of self-confidence.  A companion that gives her fate over to a wavering will.  Eveline's indecision leads to a paralysis that dooms her to the fate she sought to avoid.  Besides, "we know what happens to people who stay in the middle of the road.  They get run over (Bevan)."

WORK CITED

Bevan, Aneurin. Observer. Dec. 1935. The Colombia Dictionary of Quotations. Colombia University Press. 1995.  Microsoft Bookshelf 1996-1997 Edition. CD-ROM. Microsoft Corporation. 1996. n. pag.

James, William. Principles of Psychology. vol. 1, ch. 4. 1890. The Colombia Dictionary of Quotations. Colombia University Press. 1995.  Microsoft Bookshelf 1996-1997 Edition. CD-ROM. Microsoft Corporation. 1996. n. pag.

Joyce, James. Eveline. Literature and the Writing Process. Eds. Elizabeth McMahan, Susan X. Day, and Robert Funk. 4th ed. Upper Saddle River: Prentice, 1996. 4-6.

346.          Everything Ends

Jennifer stopped running through the forest after doing so for what seemed like eternity.  She had no idea where she was, why she was here, or who was chasing her. All she knew was that running for so long of a time made her very hungry.  Desperately, she looked around for something to eat, and her eyes settled on a tall apple tree.  Jennifer picked a couple and ate them as she leaned against a maple tree while watching mother nature take its course.

She could see the sun was setting through the bright red leaves of the forest trees.  It was a cold October evening -  so cold that she could see the white puffs of steam coming out of her mouth. Soon it would be nighttime.  That meant that the temperature would fall so dramatically that she might get hypothermia.  Thus, she gathered up numerous dead brown leaves among the forest floor and pushed them all over her body as she lay down on the cold black dirt.

Jennifer became worried that "the man" or one of his "best friends" would find her.   What would she do?  She began searching for something sharp -  like a twig or a stone.  Her hand enclosed on a smooth metal oval-shaped rock.  Then, she remembered that it was a swiss army knife which she stole from the house as she made her escape.  After shrugging off practicing how to use the knife, Jennifer concluded that when the time came, she would know how to use it.  Being thoroughly exhausted did not ameliorate her survival instinct.  She began to become indifferent to her anxieties and needs.  Finally, the silent sinister hand of sleep had stricken her.

She dreamed about the past; how she got here.  She relived all the major milestones that happened   in her life.  She dreamt that when she was in high school, her mother got into a car accident and died, in October.  She dreamt her father exploding and being constantly angry, in October. She dreamt of after not being able to deal with her father, dropping out of school, in October.  She dreamt of  running away from home, in October.  She dreamt of the termination of her career as a lounge singer after being signed by a major record company, in October.  She dreamt of her first album staying at the number one slot for eight weeks, after being released in October.

After she became such a big star, Jennifer decided to make up with her father. She went to her former home frequently to visit her father.  Unfortunately, her father was sick.  Diagnosed with Alzheimer's in October, Jennifer's father had no ideal who this adult woman who continuously showed up at his house.

Jennifer loved her father, and wished that she hadn't run away.  But she loved singing and making music even more.  After all, she was the new rock sensation; often compared in popularity  as the Beatles of her generation.  Nobody could get enough of her, especially the old brown Chevrolet.

Everywhere she went, a brown Chevrolet followed her.  When she went on tour, a brown Chevrolet followed her bus.  When she went to visit her father, a brown Chevrolet followed her. After months of this happening, Jennifer started worring that someone bad might happen to her. Then, she never saw the old brown car again.

A couple of days later, she went to visit her father, as she did every Thursday night.  After pounding on the door continuously, her father opened it and invited her in.  Jennifer sat down on the couch as her father started to speak to her.

"Who are you and what do you want?  I know why you're hear.  You've come to rob me."

"No! It's me Dad.  Remember, Jennifer.  Your only daughter," she replied.

"How can I have a daughter? I don't even have a wife.  Get away from me! I'll call the cops."

"I swear I'm your daughter.  Dad, settle down. I brought you a present." Jennifer cried.

"I don't want your present.  It's probably a bomb."  He ran to the kitchen and got out a vegetable cleaver.  "Don't make me use this, " He shouted, "Just drop the bomb and we'll take care of you."

"What are you talking about? Who is `We'?"

"Everything's going to be fine.  Just drop the bomb. This policeman will look after you."  Her father continued.

"What police officer?"  Jennifer screamed.  "Who else is here?"

A man in a police outfit walked out from behind the bathroom door with a gun in his hand.  He pointed the barrel at her and said, "Move and I'll shoot. Come with me."  He motioned her to walk to the garage.  As she walked, Jennifer saw an old brown Chevrolet parked in there.  The man then blindfolded, gagged, and handcuffed Jennifer.  The last thing she felt was a piece of cold metal hiting her head.

She dreamt of awaking in a bedroom with the man opening her door.  She dreamt about the man throwing hisself on top of her.  She dreamt of her hand grasping a TV Remote and she smacked it across the man's head.  She dreamt about the loud crunching sound as alarm clock met head.  She dreamt about running down the stairs and finding the door.  She dreamt that she took a swiss army knife as she bolted out the door.  She dreamt about running forever.

Jennifer awoke to the sound of a dog barking.  Looking into the distance, she saw a black doberman chasing after her.  Jennifer's first instinct was to run.  Unfortunately, her legs locked up.  Her second instinct was to fight.  After remembering the swiss army knife, Jennifer reached into her pocket, took it out, and opened the blade.  Meanwhile, the doberman stopped about four feet in front of her.  Both man and animal were waiting for the first attack.  Animal was first, and Jennifer felt her skin open up as the dog bit her.  Man was second,  and the dog whimpered for a second as Jennifer leapt forward and dug the knife right into the dogs eye.  She stood up triumphantly, and as she did this, she felt something bite her chest.

Jennifer  looked down and saw blood spurting out of her  chest. After glancing up and seeing the man with the gun fifty feet away,  Jennifer lost the capacity to stand and so she fell to the ground.  Then, the man walked up to her and said, "Did you actually think that you could escape me?  You should have killed me when you had the chance."  He looked around at the forest and then said, "Don't you love October? Everything ends.  The birds fly south and party all night long in Miami.  The animals are getting ready to sleep through the long cold night.  Even I feel like I have to end things."  He then pointed the barrel at Jennifer.

Jennifer looked up at him and whispered,  "Why me?"

"Why not you?" The man shouted back at her.  "Why does it even have to happen in the first place?  Why do the leaves change color?  Why doesn't the whole world get together and declare peace?  The truth is that something makes all of us crazy.  For me, it's October.  Mother nature mesmerizes me by making the whole world turning shades of red, yellow, and green.  Every other month, I'm just a dead brown leaf trying to fade away on the autumn floor. I wake up, go to work, come home, and go to sleep.  But not in October.  Everything ends in October." And with that, Jennifer saw him pull the trigger.  How she loved that miserable month.

347.          Evil and Primitivism in Man

The Evil & Primitivism in Man

In the story Lord of the Flies Ralph, the democratic character, and Jack, the dictator are the most important main characters.  Ralph is the voice of hope on the island, and without that, the boys would have  turned to savagery much faster, and under the control of Jack.  William Golding uses Ralph and his character foil, Jack, to show how civilization works and how it doesn't.  Jack, the chief of the hunters, represents the hidden human passion and almost animal cruelty, and Ralph, who represents human common sense to show how civlization is.

This story is an allegory.  This means the character, events and setting represent deeper truths or generalizations then those suggested by the surface story.  There are four main characters, and each character represents different types of people in the world.  Jack is the dictator who uses force to show his thoughts and feelings. Therefore he is the destructive side of man.  He is the type of person who would rather have fun and gratification over work.  On the other hand Ralph is the believer in democracy and fairness.  He is the voice of hope, and the responsible type of person. The boys on the island, allegorically show what the human civilization is like.

Ralph stands for order and conduct of society.  Each chapter begins with order, which means that Ralph has control.  Ralph uses the conch to show order and the right to speak.  By the end of each chapter there is no order and there is usually chaos, this shows that evil and/or fear has control, meaning Jack has control.  Allegorically in the world it would be a legislative government versus a military type of government.  Where Ralph is the legislative and Jack is military.  The disorder caused by Jack, threatens the island and the society that Ralph has tried so hard to form.  Ralph wants to have a fire, so they can be rescued, but Jack is more worried about having fun then being rescued and this is a major conflict.  The fire is a symbol for hope and enlightenment, but when it gets out of control it becomes very destructive.  Anything without order and control can become destructive, this is why Ralph is so important to the society.

The two character foils, Ralph and Jack, have different ideas and want different things.  Ralph wants huts and a signal fire.  The huts which stand for civilization and the signal fire is needed to get rescued.  This shows that Ralph creates and builds.  On the opposite end of that is Jack.  Jack wants to hunt and kill pigs and have fun.  This shows primitivism.  Jack is shown as a person who kills and destroys.  Here is the conflict; creating and building versus killing and destroying.  Ralph asks Jack what he wants: " Don't you want to be rescued? All you talk about is pig, pig, pig!"  And Jack answers him and tells him what he wants: "But we want meat!"  This tells us that Ralph and Jack will not settle their differences.  Right from the start unity of society is threatened by the different purposes of the boys.

348.                      Ralph was never comfortable with primitivism, but Jack rather enjoyed it.  Ralph thinks to himselEvil of Isolation On The Scarlet Letter

Evil of Isolation

In the New Testament it states that "the wages of sin is death." Though the

penalty of sin in The Scarlet Letter is not a termination of life, the evil of isolation can be

a physically, morally, and socially tortuous event in Puritan society. Hester Prynne and

Arthur Dimmesdale, in Hawthorne's The Scarlet Letter, are both victims of the cruel

isolation from Puritan society on the basis of their sins. Hester wears her sin upon her

breast where it stands as a constant reminder of her malfeasance. Shame and isolation

strip her of all passion and femininity, leaving her a shell of her former self. Though

Arthur's mark of shame is not visible, it is all the more tortuous for its absence. Shame

and guilt feed upon Arthur's soul with slow malevolency. Only a combination of death

and confession finally release Arthur from his torture.

Though Hester's ostracism from society and the tortuous nature of her shame,

Hester is stripped of all passion and humanity. Since society acknowledges Hester's sin,

she becomes an exile in her own town. "All the world Ha[s] frowned on her," and Hester

must bear the brunt of her shameful isolation. When Hester walks through her town "a

sort of magic circle [forms] itself around her." Devoid of any social contact, save that of

her daughter, Hester must endure of lonely existence. "In all her intercourse with society,

save that of her daughter, there was nothing that made [Hester] feel as if she belonged to

it."; therefore, she turns to herself for reflection of her shame. When Hester must walk

through the town, she suffers "an agony from every footstep." Frequent suffering does not

inure Hester to her inner torment; instead, the same grows" more sensitive with daily

torture." Hester's ostracism from a stoic society and the burdensome nature of her shame,

deprive her off life. Treated as a dangerous delinquent by society, Hester begins to

question her humanity. Due to her intense suffering, "some attribute [departs] from

[Hester], which had been essential to keep her a woman." Stripped of her passion and

femininity, Hester is left as an iron character with a solemn manner. Hester's shame

remains to haunt her until her dying day.

Reverend Dimmesdale's bought with the evils of isolation is distinct from Hester's

due to the fact that his sin remains a secret from the public. Tormented by his grievous

sin and the duplicity of a fraudulent lifestyle, Dimmesdale's physical stature is destroyed.

Arthur Dimmesdale is "a man burdened with a secret" that haunts his daily existence.

The only truth that continues to give Arthur Dimmesdale a real existence "was the

anguish in his inmost soul." Arthur wears "his hand over his heart" an indication of his

shame eating away at his soul. In addition to the torture Dimmesdale endures from his

shame, he constantly suffers from the fraudulent duplicity of his lifestyle. To his

congregation, Arthur wears a mask of purity, however, Arthur realizes the blackness of

his sin in private. Dimmesdale endures a constant "bitterness and agony of heart" from

the "contrast between what [he] seem[s] and what [he is]" Due to his multiple lifestyles,

Dimmesdale is often "bewildered as to which may be true." The sum of Dimmesdale's

torment is manifested in the form of a "bodily disease," which serves to deteriorate the

reverend. Dimmesdale is only able to find peace in death and confession. Revealing his

sin to society, he frees himself to advance toward God's judgment.

The evil of isolation of Puritan society robs Hester and Dimmesdale of their

humanity, leaving them as stone monuments of shame. The isolation of Puritan society is

a result of their belief that "the wages of sin is death." Only in death do Hester and

Dimmesdale escape the anguish that arises from isolation. However, the infancy remains

as their "only monument" after death. The destructive nature of shame is a powerful

weapon.

349.          Evita Essay

Evita

Stereotyping is a folly that almost everyone indulges in whether they

realise it or not.  Of course many try to stop this by educating themselves to

be knowledgeable about worldly affairs but one can only equip oneself with so

much information in ones lifetime.  Cofer talks about the stereotype that follow

Latino women no matter where they go.  On the other hand, Eva Peron (Evita),

portrays how Argentinean women can  rise up in life and defeat the stereotype

they face.  Both Cofer and Evita have conflicting views of how one should beat

the stereotype that they face.

Cofer feels that education is the best way a Latino woman can oust the

stereotype of them being lower class citizens or as being easy.  She realises

that not every Latino woman has the same educational opportunities as she had

and because of the majority of Latino women perpetuating the myth, the

stereotype will go on.  Many Latino women invite this stereotype to themselves

as their behaviour and actions are of the result of their upbringing.  Latino

women think that it is normal to dress flashily or bare their skin.  Their

culture allows them to do so as they are protected by traditions and laws of a

Spanish/Catholic system of morality.  The main rule in their culture is that

"You may look at my sister, but if you touch her I will kill you."  This system

has made Latino women more open and daring.  Once they go out of their cultural

system, they practice the same actions which often tends to be misinterpreted as

being easy.   Some Latino women have used this as a way to advance themselves

onto higher positions in the world just like what Evita did.  These women are

not of the majority but almost all Latino women fall into the stereotype of

being easy just because of what a few women has done.

Evita is a typical example of how a woman can use her physical assets

to gain higher positions in the world.  Even though she is treated like a saint

today, there is still a question of morality on how she has advanced herself.

True she gave hope to the lower class but how she went about it is morally wrong.

By treating her like a saint, it is almost saying that it is all right to use

your body to advance yourself.  This is what Cofer is against.  She feels that

women should prove themselves and get out of the stereotype by using education

to advance themselves.

Many Latino women fall into the term "sexual firebrand"  (348)

because of the myth that follow them where ever they go. Some have resorted to

submitting to the advances of opportunists just to retain their position in

their jobs.  Evita clearly shows that a woman can get anything she wants by

being manipulative and submitting to physical pleasures. Cofer actually has made

progress by using her intellect alone and has managed to accomplish many things

in life.  She is a positive contributing member of society which sadly is not as

recognised as what Evita contributed.

While Cofer has actually contributed to society, what Evita really

accomplished is really questionable. Other than raising the hopes of the lower

class Argentineans that they too can rise from poverty, she did not give them

anything valuable at all other than the spirit to fight for their rights.  I

feel that in comparison, Cofer is the one who has contributed more to society as

she is rallying for education as a way to advance oneself.  Evita on the other

hand is just perpetuating the stereotype that women should use their physical

attributes to advance themselves.  Both Cofer and Evita show conflicting views

on how Spanish women should come up in life.  While both might have their merits,

a sense of morality should brings forth the question of what one should choose

and whether to perpetuate or go against the stereotype that Spanish women face.

350.          Evita

Stereotyping is a folly that almost everyone indulges in whether they realise it or not.  Of course many try to stop this by educating themselves to be knowledgeable about worldly affairs but one can only equip oneself with so much information in ones lifetime.  Cofer talks about the stereotype that follow Latino women no matter where they go.  On the other hand, Eva Peron (Evita), portrays how Argentinean women can  rise up in life and defeat the stereotype they face.  Both Cofer and Evita have conflicting views of how one should beat the stereotype that they face.

Cofer feels that education is the best way a Latino woman can oust the stereotype of them being lower class citizens or as being easy.  She realises that not every Latino woman has the same educational opportunities as she had and because of the majority of Latino women perpetuating the myth, the stereotype will go on.  Many Latino women invite this stereotype to themselves as their behaviour and actions are of the result of their upbringing.  Latino women think that it is normal to dress flashily or bare their skin.  Their culture allows them to do so as they are protected by traditions and laws of a Spanish/Catholic system of morality.  The main rule in their culture is that "You may look at my sister, but if you touch her I will kill you."  This system has made Latino women more open and daring.  Once they go out of their cultural system, they practice the same actions which often tends to be misinterpreted as being easy.   Some Latino women have used this as a way to advance themselves onto higher positions in the world just like what Evita did.  These women are not of the majority but almost all Latino women fall into the stereotype of being easy just because of what a few women has done.

Evita is a typical example of how a woman can use her physical assets to gain higher positions in the world.  Even though she is treated like a saint today, there is still a question of morality on how she has advanced herself.  True she gave hope to the lower class but how she went about it is morally wrong. By treating her like a saint, it is almost saying that it is all right to use your body to advance yourself.  This is what Cofer is against.  She feels that women should prove themselves and get out of the stereotype by using education to advance themselves.

Many Latino women fall into the term "sexual firebrand"  (348)  because of the myth that follow them where ever they go. Some have resorted to submitting to the advances of opportunists just to retain their position in their jobs.  Evita clearly shows that a woman can get anything she wants by being manipulative and submitting to physical pleasures. Cofer actually has made progress by using her intellect alone and has managed to accomplish many things in life.  She is a positive contributing member of society which sadly is not as recognised as what Evita contributed.

While Cofer has actually contributed to society, what Evita really accomplished is really questionable. Other than raising the hopes of the lower class Argentineans that they too can rise from poverty, she did not give them anything valuable at all other than the spirit to fight for their rights.  I feel that in comparison, Cofer is the one who has contributed more to society as she is rallying for education as a way to advance oneself.  Evita on the other hand is just perpetuating the stereotype that women should use their physical attributes to advance themselves.  Both Cofer and Evita show conflicting views on how Spanish women should come up in life.  While both might have their merits, a sense of morality should brings forth the question of what one should choose and whether to perpetuate or go against the stereotype that Spanish women face.

351.          Evolution of Media Violence Essay

Evolution of Media Violence

The evolution of broadcast programming can be identified into four stages.  The

first stage covers the debut of commercial radio in the 1920's.  At that time

the tone was considered proper, and formal.  For several years radio

broadcasting emphasized classical or semi-classical music, and historical drama.

Commercials were kept brief and always discreet  In the second stage of

programming, which was called The Golden Age of Radio, shows were action

adventures.  Vaudeville-Comedy was also popular.  The hard ships of the 1930's

and then World War II, made it important for citizens to be able to relax as

radio brought popular entertainers and adventure stories into their homes.

The third stage of programming lasted from 1945 until the early 1950's, when

television had a explosive growth.  Television was preserved as "radio with

pictures."  Many entertainers and entire programs were transferred successfully

from radio to television.  At the beginning of the fourth stage, known as The

Golden Age of Television, variety shows were the most popular program format.

Another television staple of this era was the western.  In the late 1950's

action-adventure became popular.

Since the 1960's there has been a increase in violence in the media (television).

In 1968 censorship laws were relaxed in favor of a rating system that allowed

any type of subject matter to be filmed.  This permitted Hollywood to specialize

in films featuring excessive violence.  Many individuals and citizen groups have

expressed concern about the level of violence in television programs,

particularly in action-adventure series and cartoons.  They feel that viewers,

especially children, may learn to see violence as the way to resolve conflicts.

Television can influence peoples mental picture of the world.  This is

especially true for younger viewers who rely heavily on television and other

media for their understanding of the world beyond their neighborhoods.

Television today is failing to provide a complete, unbiased picture of reality.

United Stated has a long standing tradition of freedom of speech, and freedom of

press.  These freedoms have hampered the government in attempting to directly

limit censor the depiction of violence on television.  In reason times the

networks and producers have felt pressure from concern citizens who are critical

of the violence displayed on television.

352.          Evolution of Media Violence

The evolution of broadcast programming can be identified into four stages.  The first stage covers the debut of commercial radio in the 1920's.  At that time the tone was considered proper, and formal.  For several years radio broadcasting emphasized classical or semi-classical music, and historical drama.  Commercials were kept brief and always discreet  In the second stage of programming, which was called The Golden Age of Radio, shows were action adventures.  Vaudeville-Comedy was also popular.  The hard ships of the 1930's and then World War II, made it important for citizens to be able to relax as radio brought popular entertainers and adventure stories into their homes.

The third stage of programming lasted from 1945 until the early 1950's, when television had a explosive growth.  Television was preserved as "radio with pictures."  Many entertainers and entire programs were transferred successfully from radio to television.  At the beginning of the fourth stage, known as The Golden Age of Television, variety shows were the most popular program format.  Another television staple of this era was the western.  In the late 1950's action-adventure became popular.

Since the 1960's there has been a increase in violence in the media (television).  In 1968 censorship laws were relaxed in favor of a rating system that allowed any type of subject matter to be filmed.  This permitted Hollywood to specialize in films featuring excessive violence.  Many individuals and citizen groups have expressed concern about the level of violence in television programs, particularly in action-adventure series and cartoons.  They feel that viewers, especially children, may learn to see violence as the way to resolve conflicts.  Television can influence peoples mental picture of the world.  This is especially true for younger viewers who rely heavily on television and other media for their understanding of the world beyond their neighborhoods.  Television today is failing to provide a complete, unbiased picture of reality.

United Stated has a long standing tradition of freedom of speech, and freedom of press.  These freedoms have hampered the government in attempting to directly limit censor the depiction of violence on television.  In reason times the networks and producers have felt pressure from concern citizens who are critical of the violence displayed on television.

353.          Existentialism in Eugene Lonescos

I awoke sweating.   Breathing heavily, I glanced over at my clock and read the time.  4:00 AM.  I wasn't sure if this was reality or not so I ran my palm over my scalp.  No bump.  A sigh of relief came over me.  'Phew,' I said, 'it was only a dream.'

This is a dream I have had often throughout the past couple of years.  Each time, the bump in my dream gets bigger and bigger and each time I wake up I'm more and more frightened that the dream was real.  'I will not be a rhinoceros,' I tell myself over and over.  'I will not.'

These words I tell myself are nearly meaningless though.  They are words and nothing more.  Futile attempts to ease the pain of my 'rhinocerotic' life.  The only way to really not become a rhinoceros is by making the existential decision not to do so.

A main theme in Eugene Ionesco's, Rhinoceros, is that true meaning resides in action rather than in mere words.  A resistance to taking action then results in one's becoming a rhinoceros.  Jean illustrates this in the beginning of Act 2, scene 2, when we see Jean and Berenger bickering.  Berenger feels that Jean isn't looking or feeling well and threatens to get him a doctor.  Jean resists by saying, 'You're not going to get the doctor because I don't want the doctor.  I can look after myself.' (pp. 62)  This refusal comes from his arrogant view of himself as a 'Master of [his] own thoughts,' (pp. 61) and '[Having] will-power!' (pp. 7)  By seeing the doctor, Jean would have put himself in the position of taking responsibility for his actions and seeing that he wasn't always the 'master of his own thoughts' and that his will-power was actually quite weak.  It would be admitting the meaninglessness in his futile attempts to remain a human.  He didn't want to see that he, in fact, was becoming a rhinoceros.

Had Jean agreed to see a doctor, he may have been saved.  By seeing the doctor, Jean would have come to terms with his becoming a rhinoceros.  After coming to terms with his current state, he could then change his subsequent state to one of taking action to be an individual.

Berenger, however, illustrates the power in making an existential decision.  The trumpeting call of the rhinoceros was a persuasive one, but Berenger was able to resist it through his commitment and determination.  In the beginning of Act 3, Berenger and Dudard are speaking after Berenger was awakened from a nightmare.  Dudard proposed the possibility that Berenger could turn into a rhinoceros.  Berenger refutes this possibility by saying, 'If you really don't want to knock yourself, you don't.' (pp. 73).  The knocking yourself he is speaking of is the growing of a horn and turning into a rhinoceros.  He again reiterates this by saying, '...If one really doesn't want to, really doesn't want to catch this thing, which after all is a nervous disease-then you don't catch it...' (pp. 76)  Berenger is explaining to Dudard how through making an existential choice, one can avoid becoming a rhinoceros.

Ionesco then uses Dudard to ignite Berenger's desire to not become a rhinoceros when Dudard says to him to prove his will-power and stop drinking.  This leads Berenger to his realization that he despises rhinoceroses and his determination to not be like them.  It now becomes imminent that Berenger will achieve his 'moment of commitment' though he still possesses some doubts.

The ultimate commitment occurs at the very end of the play when Daisy finds the rhinoceroses more and more attractive and Berenger finds them more and more disgusting.  When Daisy eventually joins them and Berenger is left by himself.  Only then does he make his true existential decision by saying, 'I'm the last man left, and I'm staying that way until the end.  I'm not capitulating!'

This is the decision that all of us must make.  We must resist our temptations to make up meaningless decrees for ourselves and take responsibility for our actions.  Existentialist decision allows us to act to overcome our weaknesses and remain productive humans.  This is the only way to end our nightmare.  This is the only way to know we will never have to wake up with a bump on our heads.  We must always believe in ourselves and what is right.  We must realize that as we act, so shall we become.

354.          Explain the role of a concept of the American Dream plays in act 1 of Millers Death of a Salesman

What is the American dream? Whether it is a family working together towards one common goal, or a single woman working her way up the ladder, in a sense it is all the same dream. Regardless of the goal one works towards, it all comes down to success. Success includes getting ahead at work and school, and the goal of attaining wealth, power, and prestige. Without success why would anyone want to do anything? You would think that success is free to every American, but it is not. Success is afforded or denied to a person if they qualify. In Death of a Salesman, I believe Willy Loman was not successful in anything he did because he lived in his own world.

A big indicator to one's success is their performance on the job. If a person is doing well, generally, they are successful. In the beginning of the play Willy Loman comments on how he was "vital to New England". This is a great example of how Willy's distortion compromised his obtainment of success. In all reality he was not "vital to New England", but a hindrance to his company. This is one reason why Willy Loman never obtained the American Dream.

I also think the American Dream is the tragic thing in the first act. Willy Loman wants to succeed in the American Dream and this is his problem. He doesn't see the problems he has in his job. Also he thinks he is a well-liked man, but the complete difference is the reality. Furthermore the marks of his son Biff in school aren't so good so he will fail the exam. The perfect family living the American Dream isn't alive.

But Willy Loman never sees the reality and this is the tragedy with the American Dream and the success! If he doesn't see the problems and only lives in his dream world where everything is perfect, the family won't be able to survive. But also he will fail in his job and in everything around it. The American Dream will be extremely failed by him, if he doesn't recognize the reality.

So I think the success belonging to the American Dream is a tragic thing in Death of a Salesman. In fact that Willy Loman wants to reach it, he fails in all important topics of the American Dream. He thinks it gives him power, but the American Dream destroys him completely.

355.          Expository Essay

Expository Essay

Almost everyone has a favorite band. People buy CD's and tapes

to not only listen to the music that they like, but to support that band.

There are many, many different types of music, and usually a certain band

will fit into a specific type of music. I listen mostly to alternative/grunge

music. And by coincidence the three bands I'm going to talk about are all

from the west coast. I am going to talk a little bit about three of my

favorite bands in that category: Pearl Jam, Everclear, and No Doubt.

Pearl Jam is a band from Seattle. They were one of the first

alternative bands to ever become popular from this area. The lead singer

of Pearl Jam is Eddie Vedder, he does the lead vocals and plays the

guitar. The rest of the band includes, Jeff Ament, (bass) Stone Gossard,

(guitar and vocals) Jack Irons, (drums) and Mike McCready, (guitar). A

couple of the songs that Pearl Jam does are Jeremy, Daughter, Smile, Spin

the Black Circle and Tremor Christ. Pearl Jam has a knack for writing

catchy lyrics that become very popular.

Everclear is a band from Portland. They are not as popular as Pearl

Jam, but they do have a large following of fans. The three band members

of Everclear are Art Alexis, (lead vocals, and guitar) Greg Eklund, (drums

and vocals) and Craig Montoya, (bass, and vocals). Their album together

is Sparkle and Fade, and it is one of the best albums I've ever heard.

Among the may popular songs are Heroin Girl, Sparkle and Fade, and

Santa Monica. All of the lyrics are good, but there is a lot of profanity on

this album.

No Doubt is the last band, but is not the least. No Doubt has had a

number one album, Tragic Kingdom, and it is VERY popular. This band is

out of California. The band members are: Gwen Stefani, (lead vocals) Tom

Dumont, (guitar) Tony Kanal, (bass) Adrian Young, (drums and percussion)

and Eric Stefani (piano and keyboards) Gwen, the lead singer is the only

female in this band, and hers is the only voice you hear in all of the songs.

Some of their songs includes, Just a Girl, Spider Webs, and  Excuse Me

Mister. All are popular and make an awesome album with all of the songs

on it.

These bands all are popular here in the Northwest and all have

popular albums out. People have shown their support of these bands by

buying their albums and requesting their favorite songs on the radio. Pearl

Jam, Everclear, and No Doubt are among my very favorite bands, and I

own all of their albums.

356.          Fahrenheit 451 2

FAHRENHEIT 451

A WORLD WITH NO BOOKS

Ray Bradbury's Fahrenheit 451 was an interesting Science fiction thriller that provided an

odd view on the censorship of books. Not just some books, but all books. An entire distorted

culture and civilization where all books are prohibited. And the penalty for being caught with

books is that the books must be burned and in some cases the penalty may lead to death. In this

tale of censorship and self discovery, Bradbury leads the reader through a short period in the

life of the protagonist, Guy Montag. A firefighter struggling with his conscience to determine if

a society without books is right. Fahrenheit 451 has an entertaining theme and plot and a well

paced story line. This book combines catchy description and well thought out characters to put

together a gripping story that keeps the readers attention. It is interesting to see how a once

controversial topic could create such a dystopia in one place.

Fahrenheit 451 had many examples of good writing techniques that made it a good novel.

One technique that Bradbury did a good job of using was description. He described things

specifically using outstanding similes and personifications. One example is how he mentioned

the fire hose. He called it "the great python spitting its venomous kerosene upon the world."

(Bradbury 3)  This made the reader not only visualize the hose but get a feel for the mood about

the firemen at that time. Another example of good description is how he described the physical

appearance of the firemen. "Their charcoal hair and their soot-colored brows and their

bluish-ash-smeared cheeks where they had shaven close." (32) The adjectives charcoal and

soot-colored describe the color of their hair but also are words that relate to their job as a

fireman. Finally, an excellent example of Bradbury's descriptive writing was when Montag

pulled the trigger and set Captain Beatty on fire. "There was a hiss like a great mouthful of

spittle banging  a red-hot stove, a bubbling and frothing as if salt had been poured over a

monstrous black snail to cause a terrible liquefaction and a boiling over of yellow foam." (117)

A different aspect of writing that made Fahrenheit 451 a good story was the way he kept

the book well paced. There were few dead spots in the story and few spots that pushed the

storyline along too quickly. Another aspect of the story that made it enjoyable was the

characters and their relations to each other. Each character brought a special part to the story

that effected the plot and other characters. One of the most important characters was Clarrise.

She was the teenage girl that began Montag's self realization that a world with no books was

wrong. For that, Montag had a special appreciation for her. She stated that ,"Didn't firemen

prevent fires rather than stoke them up and  get them going." (33) Another relationship in this

novel that made it good was  that of Montag and Captain Beatty. Throughout most of the story

had a strange fear and hatred towards Captain Beatty. When Montag started to collect books

from the houses he and other firemen burned, he got extremely paranoid and edgy with Beatty.

He began to see Beatty as the absolute opposite of what he wanted to become. Captain Beatty

represented all of the evil in what they did to the books. He taunted Montag for wanting to

change his life around. "Go ahead now you, second hand litterateur, pull the trigger." (117) This

was how Montag was treated moments before he was about to end Beatty's life. In all effect, the

relationships in this novel proved to be very relevant and well thought out.

Fahrenheit 451 was an excellent book that would interest many different types of people.

It contains a plot that brushes very close to a dystopia that could happen in our culture today.

Therefore creating a unique element of suspense. Fahrenheit 451 is also a story about self

discovery and change. Readers would enjoy to read through Montag's confusion with figuring

out right and wrong, and avoiding a government filled with ignorance. This book proves to be

packed with action, adventure and emotion. It is a science fiction tale that will surly continue to

intrigue minds,  young and old for generations to come.

357.          Fahrenheit 451

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358.          Falling Down

The film Falling Down is about a man named Bill that loses control of his anger and frustration when confronted with typical everyday stress. He has reached his breaking point and loses his cool as well as his sense of self. The movie demonstrates examples of both cultural and social issues. Cultural issues explored by this movie are the existence of subcultures and countercultures in city life. The movie takes place in Los Angeles, California that is largely populated by Mexicans and Oriental migrants. The protagonist, played by Michael Douglas, encounters and oriental man that owns a local mini mart and two Mexican gang members. The oriental man represents the subculture and the gang members represent the counterculture. The social issues are reflected through gender relations, racial relations, and anomie, as well as traffic and violence. This film has great emphasis on the social aspect. The film places these factors in the context of a social setting with cultural influences.

Social stratification plays a minor role in this movie. The only valid example of it is in the scenes involving the police officers. There is a rank system within the field of police work and the particular ranks are respected. Gender roles play a somewhat larger role within the context of the main character. There is a moderate amount of interaction between the protagonist and his ex-wife. However, the communications between them is brief and tense. The ex-wife fears him because of his uncontrollable temper. Bill, however, speaks to her under the disillusion that they are still a family.

Race and ethnicity are important facets of the story line. The first meeting is between the protagonist and the oriental man that owns the local mini mart. After abandoning his car in a traffic jam. Bill goes to the payphone to call his wife. He realizes that he doesn't have enough change and goes to the mini mart to change a dollar bill. The oriental man tells him he must make a purchase in order to get change. He opts to buy a coca-cola. The oriental man tells him the coke will cost him $0.85. Bill is very disturbed because this will not give him enough change to make the phone call. He feels cheated because a foreigner is overcharging him to buy American goods. At the end of the scene, he has his first outburst and damages many of the goods and products and then buys the soda at a reasonable price. This scene also illustrates the main characters current social role as a consumer. The next meeting is with the Mexican gang members who threaten him in the name of territory. They look and communicate differently not only because they are Hispanic, but because they have their own internal communication system within the gang members. He uses the wooden bat that he took from the mini mart to physically defend himself against the gang members. The scene contains his second outburst.

The film takes place in a city much like Miami. The mood in the metropolitan city is very busy, fast-paced, defensive, and stressed. The film opens in a scene where the protagonist is "trapped" in his car while stuck in traffic due to road construction. This is very typical of life here in Miami. The issues raised by the film are relative to the Miami lifestyle. Many of us can relate to the frustration we feel when stuck in traffic caused by roadwork during rush hour. We can also relate to the volume of shops and restaurants owned by foreigners and the ever -growing concern with inflation.

This film seems to have been designed to entertain viewers. Nevertheless, it has some key social elements that express to the viewer about the sociology of urban life. This film encourages critical thinking to those who are willing to study this film for its true social value. Unfortunately, most people view this film for entertainment purposes and do not make the time to read into it. It seems that the overall public reaction is that this movie reflects the social nor, and that it will be accepted as such. Within that state of mind, people would see the film as a reflection of modern times and not wonder, "What we can do about it?"

359.          Falling Into The Hot Trap

The reality television series, "Are You Hot? The Search For America's Sexiest People" is shallow and dangerous. The whole idea of this eye-candy-fest is to find the two newest "sex symbols" in America, with the only criteria being how "hot" they look. From four different regions of the country called "hot-zones," [Are You Hot] every narcissist in America gathers together to be evaluated in front of three judges on their body, face, and sex appeal. One judge even uses a laser pointer to draw attention to any imperfection on a contestants' body. Meanwhile, I (and probably many other average teenagers) am sitting at home subconsciously measuring myself up to these wanna-be models and I realize that I don't like the way I'm feeling; this can't be healthy. Seeing the judges put down people who are already close to perfect really made me question myself. I feel that "Are You Hot" is mentally, physically, and monetarily destructive to young women. It leads them to obsess over their appearance, and can be damaging in the following ways:

Standing up on a stage in front of millions of viewers and being told "You are not hot enough," is mentally harmful to a person. This kind of rejection is many people's greatest fear. It damages one's self confidence and self worth and it shouldn't because appearance is just a small fraction that makes up a person. The show's viewers are also victims of rejection because they subconsciously compare their own bodies to the ones on TV. "Are You Hot" completely alters a

young woman's conceptions of what is normal; creating a false image of what she should look like. It's hard enough growing into a young adult, trying to figure out who you are and feel comfortable with your body without having to worry about conforming to the American stereotype of a young woman.

The beautiful women we see on TV are what many American girls view as ideal and therefore aspire to look like. Obsessing over appearance can be physically damaging to a young women's health because it can lead to trying to change the way her body looks. There are many dangerous things one can do in an attempt to change their own body to look more like the stereotype "hot" bodies seen on "Are You Hot."

One way is to have breast augmentation surgery. This surgery carries many complications and far too many risks to list. They range anywhere from capsular-contracture or deflation to nerve damage or calcium deposit lumps which are often mistaken for cancer and lead to additional surgery to remove the implant and distinguish the deposits from cancer. [FDA par. 6] In addition, breast implants have a limited life and are very expensive to replace. "I tell my patients that the implant is on a loan," says Gregory O. Dick, M.D., a plastic and reconstructive surgeon at Shady Grove Hospital in Rockville, Maryland. "They can enjoy it for six weeks or six years or sixty years." [FDA par. 13] If you choose to, or must have your implants removed, you may experience puckering, wrinkling, sagging, or other changes of the breast. Implants may also affect your ability to produce milk for breast-feeding. [FDA par. 22] Lets put it this way, there are far more risks than benefits to a breast augmentation surgery.

Plastic surgery and liposuction are two other dangerous selections. According to Dr. Todorov of the Smart Skin Care Site, complications do occur, ranging anywhere from scarring to fatalities. [Smart Skin Care par. 2] Being beautiful shouldn't mean risking your life just to feel better about yourself.

Martha Irvine, a writer for the Chicago Press responded to the show saying, "Some experts believe the trend further encourages negative body image and eating disorders that young people, in particular, already struggle with." Eating disorders are very common among young women, particularly teens. [Collier Schools par. 6] I speak from personal experience on this issue because about a year ago became bulimic. Watching certain TV shows and looking at magazines like Victoria's Secret assisted in convincing me that I was too fat. I would routinely force myself to throw up anything I ate, even if it was only one bite. Eventually I popped a blood vessel in my right eye from vomiting so much. When I saw the looks of worry and disappointment on the faces of my loved ones, I knew then and there that it just wasn't worth it. Over time, I became stronger and learned to accept my body as God created it. Sadly, it is not that easy for most victims of eating disorders. I was lucky enough to have support from family and friends and I wasn't as severely bulimic as I could have been. Many girls are not strong enough to pull themselves out of an eating disorder and end up facing serious sickness or sometimes even death.

Jane Fleming, executive director of the Renfrew Center Foundation, a national nonprofit organization that addresses the issue of eating disorders said, "We keep telling our kids, 'You're more than your bodies.' But that's not the message they're seeing on television and in magazines." [Collier Schools par. 8] She is absolutely right. "Are You Hot" sends the message that appearance is everything. We must learn to ignore this message and not fall into the dangerous trap of eating disorders.

It is very expensive for a young woman to spend her life constantly trying to perfect her body. According to the San Francisco Plastic Surgery and Laser Center, the estimated fee of a face-lift ranges between $11,000-14,000. [SFPSLC] A cheek lift is about $4,500, nose-reshaping ranges between  $3,500-7,500, breast augmentation between $5,600-7,500, and liposuction on the thighs or stomach is about $2,600-6,500. [SFPSLC]

Wanting to look like the women on TV is monetarily destructive because spending too much money on your looks can take away from spending money on more important and necessary things. In addition, spending too much time on your looks can take away from spending time on anything else that might need attention, like building brains and character. The young women on "Are You Hot" are the kind of people who will never stop looking for any kind of imperfections on their bodies. But the sad thing is that their looks are all they have. Only two out of the thousands that tried will be able to claim the title of being the "Sexiest People in America." [Are You Hot] But will this title stop them from obsessing over their appearance? Of course not! Their egos are only going to grow and I don't even want to imagine what the thousands of rejects are going to do to themselves now that they've been told they aren't hot enough. It's bad enough that insecure viewers at home see these beautiful women getting told their legs (that look like my wrists) are too voluptuous.

Author Steve Jeffes is a graduate of the University of Pennsylvania and has appeared on several national radio programs debating the issue of appearance discrimination. Jeffes disagrees that obsessing over appearance is damaging. [Jeffes 12] In his book "Appearance is Everything," he discusses how "it is not enough to be 'average' looking. In fact, in many instances this is just as bad as being 'unattractive.'" [14] His book looks at cover stories and features of popular magazines and shows how the themes of "beauty" are strongly reinforced as cultural facts. Jeffes also discusses how our concepts of beauty have changed dramatically over the past 100 years, leading to evidence that culture and media are strong influential factors on what we "see" and what we infer about character from each other's appearance. [8] Jeffes says, "persons who are attractive have a distinct advantage in obtaining success, wealth, power and advances in life over equally qualified, unattractive persons. You should act, dress, and appear like the people you desire to look like." [45]

In response to Jeffes opinions, I agree that culture and media are both influential factors on what we base our own appearance on, but I must disagree completely that appearance is everything and being average means looking unattractive. There is far more to a human being than what meets the eye. True beauty lies within and should not be obtained through means of surgery and eating disorders. If a person is well educated (attractive or not) they can do just fine in obtaining success, wealth, and power. Take chairman and chief software architect of the Microsoft Corporation, Bill Gates for example. He used to his intellect to become one of the most successful people in the world, despite his "average" looks. He attended college at Harvard and didn't worry about his appearance getting in the way of his goal that 'one day the computer would be a valuable tool on every office desktop and in every home.' [Microsoft par. 5] I know many successful people that are unattractive or average looking. "Are You Hot" demonstrates the same idea as Jeffes book that appearance is everything. This idea is ridiculous. Thin legs and perky breasts don't stay with a person nearly as long as do brains and character.

"Are You Hot" encourages young women to become fixated on their looks, which is damaging to an individual in three ways. It is mentally, physically, and monetarily destructive. It is sad to see the oversized-egos of contestants on the show strutting around with a "tell me I'm beautiful" look in their faces while probably starving inside. They are shallow enough to believe that they are the sexiest person in America. Some quotes from one episode that left me in complete astonishment were "I'm ridiculously good-looking," "Just look at me...I'm flawless," and "You have before you a physical incarnation of a goddess." [Are You Hot] The show never specifies what exactly the people win, but I can only pray for a reality check, or at the very least, a full-length mirror. As for the rest of the average American girls watching, I urge them to be strong and not fall into the trap of personal appearance obsession.

Bibliography/Works Cited:

ABC's "Are You Hot? The Search For America's Sexiest People." the Reality TV Show. [Are You Hot]

Bill Gates Home. "Bill Gates, Microsoft Chairman and Chief Software Architect." Microsoft.com. September 2002 <http://www.microsoft.com/billgates/bio.asp> [Microsoft]

Bren, Linda. "Saline Breast Implants Stay On Market As Experts Warn About Risks." U.S. Food and Drug Administration. July-August 2000. http://www.FDA.gov/fdac/features/2000/400_implant.html

[FDA]

Collier Schools Online "Television Relates to Eating Disorders." Collierschools.com. February 2003. <http://www.collierschools.com/realitytv/eatingdisorders.html> [Collier Schools]

Jeffes, Steve. "Appearance is Everything." Philadelphia: Sterling House Pub. 1998

San Francisco Plastic Surgery and Laser Center. "Cost of Procedures." SFPSLC Medical Corporation. 27 Novermber 2002 <http://www.sfcosmeticsurgery.com/procedure-prices_cost-of-plastic-surgery.htm>

[SFPSLC]

The Smart Skin Care Site. "Risks and Benefits of Plastic Surgery-Plastic Surgery Facts." <http://users.erols.com/gtodorov/skincare/surgery.htm>

[Smart Skin Care]

360.          Falstaff and King Lear

Falstaff and King Lear

Shakespeare's tragedy King Lear is a detailed description of the consequences of one man's decisions. This fictitious man

is Lear, King of England, who's decisions greatly alter his life and the lives of those around him. As Lear bears the status

of King he is, as one expects, a man of great power but sinfully he surrenders all of this power to his daughters as a

reward for their demonstration of love towards him. (Cain) This untimely abdication of his throne results in a chain

reaction of events that send him through a journey of hell. King Lear is a metaphorical description of one man's journey

through hell in order to expiate his sin. As the play opens one can almost immediately see that Lear begins to make

mistakes that will eventually result in his downfall. (Neher)

This is the first and most significant of the many sins that he makes in this play. By abdicating his throne to fuel his ego he

is disrupts the great chain of being which states that the King must not challenge the position that God has given him. This

undermining of God's authority results in chaos that tears apart Lear's world. (Williams) Leaving him, in the end, with

nothing. Following this Lear begins to banish those around him that genuinely care for him as at this stage he cannot see

beyond the mask that the evil wear. He banishes Kent, a loyal servant to Lear, and his youngest and previously most

loved daughter Cordelia. (Nixon) This results in Lear surrounding himself with people who only wish to use him which

leaves him very vulnerable attack. This is precisely what happens and it is through this that he discovers his wrongs and

amends them. Following the committing of his sins, Lear becomes abandoned and estranged from his kingdom which

causes him to loose sanity. While lost in his grief and self-pity the fool is introduced to guide Lear back to the sane world

and to help find the lear that was ounce lost behind a hundred Knights but now is out in the open and scared like a little

child. (Bradley) The fact that Lear has now been pushed out from behind his Knights is dramatically represented by him

actually being out on the lawns of his castle. The terrified little child that is now unsheltered is dramatically portrayed by

Lear's sudden insanity and his rage and anger is seen through the thunderous weather that is being experienced. All of this

contributes to the suffering of Lear due to the gross sins that he has committed. The pinnacle of this hell that is

experienced be Lear in order to repay his sins is at the end of the play when Cordelia is killed. Lear says this before he

himself dies as he cannot live without his daughter. (Bradley)

All of this pain that Lear suffered is traced back to the single most important error that he made. The choice to give up his

throne. This one sin has proven to have massive repercussions upon Lear and the lives of those around him eventually

killing almost all of those who were involved. And one is left to ask one's self if a single wrong turn can do this to Lear

then what difficult corner lies ahead that may cause similar alterations in one's life.

There has been many different views on the plays of William Shakespeare and definitions of what kind of play they were.

The two most popular would be the comedy and the tragedy. King Lear to some people may be a comedy because they

believe that the play has been over exaggerated. Others would say King Lear was a tragedy because there is so much

suffering and chaos. What makes a Shakespearean play a comedy or a tragedy? King Lear would be a tragedy because

it meets all the requirements of a tragedy as defined by Andrew Cecil Bradley. Bradley states that a Shakespearean

tragedy must have to be the story of the hero and that there is exceptional suffering and calamity slowly being worn in as

well as it being contrasted to happier times. The play also depicts the troubled parts in his life and eventually his death that

is instantaneous caused by the suffering and calamity. There is the feeling of fear in the play as well, that makes men see

how blind they are not knowing when fortune or something else would be on them. (Cain) The hero must be of a high

status on the chain and the hero also possesses a tragic flaw that initiates the tragedy. The fall of the hero is not felt by him

alone but creates a chain reaction which affects everything below him. Henry IV is a very different composition. Falstaff

the main character is clearly a prankster, and not nearly as many horrible things happen to him. Falstaff is the character

we laugh at, a mock King in Henry IV. Hal is the ideal King and Falstaff is a Lord of Misrule. Up to certain point Falstaff

is merely an object of pure entertainment. His character is present chiefly for the humor that arises by showcasing his

ludicrous traits. Why should we laugh at a man with a huge belly and an appetite to match, at the way he suffers on a hot

day, his cumbersome size and the liveliness of his spirit. His timeless age and his youthful lightness of heart show his true

nature. Why do we find comedy in the enormity of his lies and the suddenness of their exposure and frustration. The

contrast between his reputation and his real character, seen most absurdly when, at the mere mention of his name, a rebel

surrenders to him. (Neher) What is it about Falstaff that caused us to laugh at these and many such things? Here we have

them poured out in endless profusion and with that air of careless ease which is so fascination in Shakespeare. But while

they are quite essential to the character, there is much more than just fun in him. These things by themselves do not explain

why, besides laughing at Falstaff, we are made happy by him and laugh with him. But while they are quite essential to the

character, there is an ugly side of Falstaff, but we overlook it in light of his great humor.

The two compositions have humorous parts in them but both are distinctly different. Henry IV is clearly a comedy with

almost all the traits of a comedy while King Lear is not as Clear cut but is definitely not either one. Falstaff and King Lear

are somewhat dissimilar. King Lear deals with all of the problems from one of his actions, abdication of his throne.

Falstaff deals with the situations surrounding the prince and the different paths he can take with his life. The two

characters share a troubled past and an even more troubling future but that is the extent of their similarity.

What draws us in and makes us like Falstaff? If you ask what he enjoys, no doubt the answer is first and foremost, eating

and drinking, then relaxing at the inn with his other merry friends and companions. These things are what really matter to

Falstaff. Compared to King Lear who is extremely unhappy and is on a quest to regain his happiness which is ultimately

impossible. Falstaff indulgences cause him to slowly lose his life and alienate the people around him. Like King Lear they

both lose possessions along their journey. They are alike in many ways but take different ways to meet their ends. Their

experiences are different but their end is the same.

361.          families portraid in Roddy Doyles books

Why do we hear so much about family these days?  Perhaps it is because

relationships between family members are assumed to be the prototype for all other

social relations.  In the novels, The Commitments, The Snapper and The Van, Roddy

Doyle shows his support of the family as an institution.  Each character demonstrates

strength and direction within the family unit.  However, when the stability of the family

is threatened, each character breaks down along with the family itself.

When we think of family life we associate happiness, a life of sharing memories

and developing unbreakable friendships. It is easy to create a family that is make believe,

we just tend to leave the ugly side of the relationship out.  It may be true that there is a

family that lives like the "Cleavers" in our society today, but speaking realistically every

family will breakdown eventually. In an interview about his novels the author said, "I

didn't set out to capture the good in every family, or bad for that matter, I just wanted to

show a typical Irish family."1 Doyle's writing is real--he deals with issues that might not

hit home with every reader however, they  are events that confront many people every

day.  The Rabbitte family is used in all three novels that make up the "Barrytown

Trilogy." While the times are both good and bad for the eight members of this Irish

family, in some way they find a way overcome every problem that faces them.

One of Doyle's strengths is his feel for personality: his characters are neither

devils nor clowns, dolts nor wits, but wobble between the extremes. "They're fish gutters

and mechanics, young knockabouts and unemployed workers who spend a lot of time

watching T.V. drinking Guinness and jawing at the pub, trying to stave off the feelings

that they are nondescript people in a nondescript world."2

The Commitments is Doyle's first full-length novel. The main character Jimmy

Rabbitte, the eldest son, puts together a band.  It is almost every teenager's dream, at

some point, to be famous playing music in front of large groups of people.  In fact, this is

how this book started off. In the end, however, it turns out to be the complete opposite.

Doyle captures the emotions of his characters when they are weak and leaves an impact

on the reader with his humorous wit.  He describes his writing as "a challenge that's the

enjoyable part.  To an extent, that's what happened with all my books because I've never

experienced any of the subjects I write about.  I used to be a ten-year old boy, but I

certainly didn't watch my parents marriage disintegrate.  I was never in a band,  I've never

been pregnant and I've never been unemployed for a day in my life."3  It is shown that

Doyle has strong family values.  In his writing he clearly demonstrates that if one family

member falls, it effects the rest of the family.  In The Commitments, throughout the entire

novel, the band acts like a family. As the manager,  Jimmy plays the role of the father

figure and trys to keep the band reaching higher levels, together.  But, as members begin

to fight Jimmy finds it more difficult to keep the group together.

"Now, said Jimmy-tell your Uncle Jimmy all about it.

-I just.

-Jimmy could see Billy thinking

It's just- I hate him, Jimmy. I hate him -- I can't even sleep at nigh'"4

The drummer, Billy's leaving was because of Deco, the lead singer of the band

who he couldn't face. Because they never talked, working out their problems was never

accomplished.  The Commitments worked as a team to reach its success but when the

group was on the brink of acheiving stardom individual motives began to cause

problems. When the band stopped acting like a family unit the fights broke out.

"Somewhere in the quarter of an hour Jimmy had been negotiating with Dave from Eejit

Records, The Commitments had broken up." Jimmy came to the conclusion that it was

over. He moved on and kept his mind off the band.  Success had in fact destroyed the

once harmonious group.

In The Snapper Doyle uses a interesting topic: pregnancy.  Sharon, the eldest

Rabitte daughter accidentally gets pregnant. In the end, the father turns out to be her own

father's best friend.  The beginning stage of her family breaking down is when she finally

confronts them about her being pregnant. While the family accepts the fact that she is

unmarried and pregnant, they have several fights over the identity of the child's father.

Sharon is stubborn and won't reveal any names and the rest of the family is hurt and

angry because it feels that it deserves to know who the father is.

"Jimmy Sr got down to buisness

-who was it

-wha?- Oh I don't know

-Ah now, jaysis

-No, I do know

-well , then

-I'm not telling

-Jimmy Sr could feel himself getting angry now".5

Whether the problem is little or big the Rabbitte family always muddles through

and deals with it. Sharon had put herself in the middle of the biggest problem yet. She

feels hurt and while she never wanted to put her family through pain or suffering, that

that is what she was doing. At the same time, she was trying to deal with the changing of

her own body and working on making herself come to terms about what she had done. In

effect everybody was suffering.

-Wha' kind of a house is this at all?  he asked the table.

-He looked at Veronica. She was deciding if she'd throw the marmalade at the twins.

-A man get's up in the mornin', said Jimmy Sr.-an'-an'

-Oh shut up, said Veronica.6

It is now clear that as a result of tension in the house the two parents in the family

were developing a negativity against each other. It was Sharon's decision to hide the

truth, but it was also up to her to become realistic and tell the truth before it tore the

family apart anymore.

The final novel in the trilogy is The Van. It focuses on the dad, Jimmy Sr.  The

fun-loving father of the Rabbitte family had been recently laid off work.  So, Jimmy Sr.

and his best friend, Bimbo open a portable fast-food restaurant called Bimbo's Burgers. It

is located in a greasy old van that would never pass an inspection.  The father's role can't

be left unmentioned.  Jimmy Sr. has a lot of control over his family. Throughout the

series he is viewed as the descision maker, a role model and as a source of family

strength.  As soon as the father shows a little bit of unhappiness the rest of the family

start to lose hope. Doyle once said "Friendship is something that is understood the world

over, and unfortunately, so is unemployment."  Doyle makes his belief clear in The Van

by showing the pain that is put on the family when one bread-winner loses his job.

Coming from a family whose income is not very high, unemployment could possibly be

one of  the worst thing to ever happen.  There is no money for Christmas presents, so the

kids are upset.  Darren the youngest boy in the family has learned all about

unemployment and welfare.  One night when the family is eating Darren says something

to upset his father whose reply is:

"Darren, don't you forget who paid for tha' dinner in front of you, son, righ'

-I know who paid for it, said Darren. -The state did."7

This reaction not only made Jimmy Sr. upset but, he came to terms with the fact

that he was going nowhere and if he wanted things to get better he had better get a job

soon.

The Rabittes may have gone through times when they wanted to kill each other,

but other times they cared.  Doyle is a down-to-earth writer, he shows the way of life for

many families with the use of slang in his writing and his abillity to capture humour

when the times are hard. The Rabbitte family shared many bonds, they had many

memories and of course many fights, but they are a family. They may be fictional but

they represent a modern family.  It is true that when the stability of the family is

threatened, each character breaks down along with the family itself.

Endnotes

362.          Fantasy In Cairo

Fantasy In Cairo

In the film Purple Rose of Cairo, by Woody Allen, fantasy and reality are two very poignant themes. However, through discussion, the class brought up points regarding fantasy being Tom Baxter, and reality being Gill Shepherd; my perspective was different. Tom Baxter portrays the main theme of reality while Gill Shepherd demonstrates the role of fantasy. Also, the characteristic strength demonstrated by Cecilia as well as by Tom Baxter is pertinent to the story line. The remainder of this essay will entail why I have seen this film from a twisted view by using examples from the film. In the beginning of the film Cecilia is lonely and weak due to the fact that her husband shamelessly gambles away their money as well as hits her. Cecilia hopelessly goes to the movies to find solace and peace away from her miserable world. While at the movie, Purple Rose of Cairo, she is enchanted by the thought of running away with the lead character. Tom Baxter, one of the main characters in the film, catches Cecilia looking at him with adoration and strongly decides to leave the film and run off with the lonely Cecilia. Tom is a wholesome, naïve, and sensitive man, who is everything that Cecilia's current husband, is not. Although Tom jumping out of the screen and into Cecilia's arms may seem more like fantasy than reality, it is Tom himself who represents reality to Cecilia. By Cecilia being lonely and abused by her current husband, Tom allows Cecilia to see what she could have if she had the strength to leave her husband. Tom also teaches Cecilia about life, which is a reality in its own right. When Tom and Cecilia go to the church Tom has simple answers for Cecilia's complex questions about god and the universe. These naivete answers only thrust Cecilia further into wanting to be happy with Tom. Tom tries to coax her to stay with him and live with him and be happy, however, Cecilia is hesitant at first. By the time the two realize they are in love with one another, they have each passed on the gift of strength to one another. Tom gives the strength to Cecilia by convincing her that she is unhappy and that she should leave her husband. Although Tom is a fictional character, Cecilia realizes the depth and meaning of what leaving her husband can bring. Similarly, Cecilia passes on strength to Tom by letting him know that he is wonderful, as well as letting him know that his advice and presence have made an impact on her life. Tom's final decision to go back into the movie was a strong one, for he loved Cecilia and wanted to be with her always. Cecilia pushed him until he got the strength to return to where he belonged. Cecilia left her husband twice while she was rendezvousing with Tom, thus showing that she knew what possibilities she had. Tom represented reality because the love he felt for Cecilia was real and unfaltering. Also, Tom helped Cecilia to realize how badly her husband treats her, and allowed her to comprehend that there was more in the world than what she had previously thought. Contrary to Tom, Gill Shepherd represents fantasy in various ways. First, when he comes into the story he is wearing custom tailored suits while socializing with Hollywood producers. This is not a life that regular citizens can not relate with. Moreover, when he comes to New Jersey to find Tom Baxter, he is dumbfounded by Cecilia and all that she represents. He is taken with her while at the same time playing her and molding her to what he wanted her to be. While Cecilia looks for love with Tom, Gill feels an attraction to Cecilia and tries to take her away with his talk of a fantasy life in Hollywood. This life that he talks so vividly about is even a fantasy to him because he is not use to fame or Hollywood. In an attempt to gain some reality, he takes Cecilia on as a conquest. Cecilia is his fantasy, while living in Hollywood and being rich is Cecilia's fantasy. By the end of the film Cecilia realizes that Gill Shepherd is, in fact, just a fantasy for her, while she pines for the happy life she could have had with Tom. Although Tom is the fictional character, he fills Cecilia's world with hope, certainty and strength. He allows her to feel real feelings while talking of the simple life that they could have together, which is obviously what Cecilia really wants. Gill, on the other hand brings to Cecilia Hollywood and all it entails to entice her to a fantasy she knows she could truly never have. Most young children wish for a fairytale life in Hollywood among the rich and the beautiful, though very few ever achieve such status. Most young girls hope to find true love and happiness with a husband who can return the love. Reality sets in to Cecilia when she realizes she doesn't have happiness in her life. Tom helps her grasp this reality while Gill helps her imagine a life she knows is not possible. In conclusion, Tom's ideals and naïve way of life are what Cecilia believes as reality and true feelings. Gill is a fantasy man for Cecilia. She is baffled at the fact that a man of his stature and fame would ever be interested in her. And although Gill temps her with his fame, he is not true to his heart, which is where reality lies in the eyes of Cecilia.

363.          Farenheit 451

David Finch

August 30, 1996

Civics

Essay

Ray Bradbury's Fahrenheit 451 forces us to envision a world that is so structured and censored fireman exist not to fight fires ,for all buildings are fireproof, but instead to burn books.

Fahrenheit 451 is a  horrific account of what could happen in an all too close future when society carries "political correctness" to its extreme.

One of the primary characters that one meets in Fahrenheit 451 is a young girl named Clarrise has been raised to live the way things once were, in a time where people had true freedom Because of Clarrise's view of life she is branded as anti-social by her teachers and an outcast by her fellow classmates. Clarrise becomes acquainted with another main character named Guy Montag. Montag is a fireman who deep inside does not want to live a life without having to think. Montag's inner thoughts become more and more a part of him as the book progresses. Montag eventually becomes a freedom fighter of sorts when he joins a group of people who illegally hide and read books. Montag's wife Mildred on the other hand prefers not to have to think, but rather to allow others to think  for her to simply say "yes I agree." Mildred is the epitome of laziness. The most complex of all the characters is the fire chief Beatty. Beatty is a man who once was educated but has now turned his back on education and works to destroy it. Beatty knows what is in books but chooses not to care, not to do anything but help the destruction of books.

The loss of the characters freedom to read and to think was not an act that was forced on the people but, embraced by the people. The people loved the idea of not having to think anymore. The desire to confront issues was gradually lost by the people. Since the desire the desire to confront issues was lost people stopped doing anything that was so called "politically incorrect" so as to affend no one. After a while not confronting issues became so natural that anyone who did was considered  odd and a threat. This caused laws to be made saying that no one could be different. And these laws were accepted b most. An example of this passive destruction is a comment of Mildreds' that said" Oh lets not think about that it's too painful." The people decided that they did not want to think, so they didn't.

As frightful as it may seem  this book is all too real. If mankind is not careful about how much "political correctness" affects our lives our world could end up identical to the world portrayed in Fahrenheit 451.

364.          Fast Eddie

Fast Eddie

by

Rick Vallejos (Daredevil or vallejos@kdcol.com)

(Comments appreciated)

Where do I begin... to write down my misadventure.  I would have never picked up a pen and began had it not been for my host.  He's the type of fellow who tells you what to do and his partners (soldiers) make sure you did just as your told.  This hideout, this fortress has more weapons than I've seen in months.  There is a guard at my door this minute, put there for my protection so I was told.  Yeh right!  He's got a mean looking revolver with a huge bore.  That's bad enough but he points it directly at my chest and waves it around when he addresses me.  I can't describe the look in his eyes.  I truly believe he would love to do me in.  He thinks I'm an enemy and a threat to my host.  I am a guest of the leader of this organization.

I sit here and think of what has happened to bring me here.  My mind wanders back to when I was an innocent eight year old kid.  I worried more about what games to play than anything else.  My mom brought us to the Mile High City after she and my dad started fighting.  She thought it would be good to grow up near relatives.  She never knew what was in store for us all. No one knew except the scientist and interfering generals who were developing project "UnderNet".  The national/global computer network that was going to make our lives simpler by linking the regional infrastructure management computers.  It made sense to have a system where electricity was diverted from one grid to another were it was needed more.  Same with all the other resources of man.. fuel, water, food, and even surplus peoplepower in the form of the ten year old  National Civilian Corp.  If only the military hadn't been involved.  They think everything has to be a part of the defense plans for our country.  When the system went on-line, their supercomputers were blamed for the cold, heartless decision of the system.  They were designed to keep on working through any natural or man-made disaster, including this Civil War of 2009.  Most people think that the "UnderNet" planned and orchestrated the civil war.  The first outbreaks were over resources.  Fuel and water that was going to the big cities at the expense of the rural communities.  'The greatest good for the greatest amount of people' we were all told.

Now, after three years of  civil war, life is very hard.  This brings us up to a week ago.  My story, in my opinion, is about a kid trying to stay alive in the streets of the Mile High City.  Each day a struggle for food and a safe place to sleep at night.  I lost my mom at the disaster relief center set up in the city park.  She was killed for the contents of her small backpack.  Most of it was family keepsakes like old pictures of my grandparents and of me as a buck-naked baby.  I haven't seen a relative for months.

I was searching the rubble of the government buildings in the federal center on Alameda Blvd. when I found the doorway.  It was buried under the exploded four-story building but I wiggled my way down to it.  If I was ten pounds heavier, I would have never gotten in, but I did.  The door was solid metal at least three inches thick but the explosion had split part of the door frame and I could squeeze through.  I was giddy with the thought  of what I might find.  Nowadays, you traded for what you needed.  I found a room that I was sure no others had looted.  I wasn't worried about getting things out because all I would take was small items I could hide in my clothes.  The street gangs would take anything larger they saw me carrying.

When I got my shoulders through the split in the door frame, I crawled through into the dusty floor.  It was black as coal in the room and I hadn't thought of bringing a light.  That black is why the glowing red switch was so noticeable.  After a minute my eyes adjusted to the dark and the dim glow of the switch lit up the area around it.  I could see that it was a power control panel, a lot like the one we had at home for our old 786 computer.

I felt my way over to the light.  That's when I noticed the sound.  A very low hum you felt as much as heard.  I was surprised that this room had electricity since the building above it didn't even exist.  Some parts of the city still had electricity but it was getting to be less all the time.  I reached for the switch and without knowing what I was getting myself into, turned it on.  Just to the left, a small computer monitor screen began to glow blue.  One small word appeared in the top left.  It said "Ready".  Growing up in the computer age made all of this very comforting.  I hadn't seen a working computer in long time.  I hadn't played a computer game in at least a year.   I wondered if this computer had any games.

The glow of the screen helped to light the room.  My eyes didn't need too much light.  I looked around.  In the center of the room were what seemed to be four padded columns with a seat going around each.  The back wall was lined with electronic equipment and six large cases about as big as a washing machine.  I recognized the columns.  I had seen a special on super computers on TV.  This room had four of them.  The large electronic cases in the back were data storage.  Huge hard drives.  The wall I was at had a long counter.  Above it was one shelf lined with notebooks, stacks of paper, and boxes of computer disks.  I knew that these might be valuable and easy to carry.  There were two other computer terminals like the one I had started.  Except for the low hum and the active terminal, everything seem to be dead.  I turned toward the terminal but I didn't see a keyboard.  That seemed strange.  I looked closer and saw that the keyboard was hidden underneath the counter on a sliding tray.  I pulled it out and pushed the enter key.

A textured window appeared in the center of the screen.  It had a dozen icons underneath the title.  The title read "Regional UnderNet" in large letters.  I didn't see anything that looked like a game icon.  One of the icons said System Status with a picture of a small desktop computer.  I used the mouseball on the keyboard to move the arrow to this icon and clicked it on.  The screen cleared and began to scroll written text showing the status of different functions.  Most showed that they were not available.  When the screen stopped, it read "Ready" again.  I hit the enter key and got the icons back.  One other icon said "Vocal Interface".  That sounded interesting and I clicked it on. I heard a loud "hum" from a small speaker on the shelf above me and it spoke to me.

The computer thought I was someone else.  It said, "It's nice to talk to you again,   it's been five hundred and thirty five days, eighteen hours, and thirty two minutes since our last visit."  I cringed with fear.  What had I started and would it cause trouble?  I stood silent for a minute before I spoke.  "Who do you think I am?", I stuttered.  "How would you like me to address you?", it spoke.  I had heard electronic speech before.  At school, most of the CD Rom disks we used in computer lab had a lot of speech but this seemed different.  It came clear and smooth from the speaker.  "You can call me Vanessa,  everyone else does. What do I call you?"  I spoke toward the terminal thinking that the microphone must be hidden somewhere there.  "Some called me "Fast Eddie" or sometimes just Eddie.  You are welcome to address me however you wish.  I will do my best to respond as you desire."  I wasn't as worried now.  It seemed that this computer would help me when I needed it and I could always turn off the red switch.  One thing that all mankind learned in the last few years, you can't trust a computer too much.  This one was a very advanced computer and a part of the enemy...the UnderNet.  For all I knew, this could be monitored somewhere else.  In some room, somewhere, the UnderNet could be aware that I just turned on the red switch.  I wasn't afraid of someone showing up.  I knew only someone of my small size could fit into the rubble and then find this basement room.  I would hear anyone bigger trying to get in.  They could trap me but I have been trapped before, and always seem to get out.

I spoke out to the terminal.  "What is your function, Eddie?"  The speaker began to tell me about it's part in a highly classified project to monitor the activities in the western region of the UnderNet system for the National Security Administration.  It was to record, analyze, and report activities of the UnderNet.  The reports were to emphasize activities that seemed extraordinary and tracked anything that was related to the Department of Defense.  I could see that the stories of the UnderNet were true.  The government was watching parts of itself because they didn't trust each other.  I was curious about the UnderNet system and why it went wrong.  I spoke out loud one word, "Report!"

The padded columns behind me began to softly click and clatter.  It sounded like our old home computer reading the hard drive.  No other lights were visible in the room.  I waited for a full minute and still no response from Fast Eddie.  I walked over to the boxes of software and opened them up.  Inside were standard Write Once Read Many (WORM)  storage disks like we used in school.  They all had fancy printed labels but they weren't store-bought software.  Since most had dates on them as their title, I assumed that they were reports from that date.  I put the boxes back and walked around the padded columns.  In the low light of the glowing monitor, I could see that this room was very clean.  Not much in the way of small items that I could salvage.  The speaker began to talk again.

It began by saying a date about a year and a half ago.  It listed off boring statistics of power consumption and allocation of resources.  It was true that the cities were getting the lions share of resources.  Everything was being diverted to the big cities.  It even spoke of cutting off resources to the central part of Wyoming because of lack of justification.  I remembered the TV news stories about ranchers attacking convoys of trucks travelling through Wyoming.  I listened to the downfall of life as we knew it.  Eddie talked about allocation of military forces to enforce the decisions made by the UnderNet.  That included stationing full military detachments to protect the main frame computer centers, like the federal center here in Mile High.  Then the report began describing the statistical probability of civil war.  It was cold and unemotional about the numbers of citizens expected to be "lost".  The report seldom made reference to what was happening in the eastern part of the country.  Once in a while it would mention a directive or order that

came from Washington that effected what was happening in this region.  It made constant reference to dates.  The report covered about six months when it described an administrative order that spoke of the 'greatest good for the greatest number of people' and cut off all resources to the rural parts of the west.  The entire state of Nevada, except for military installations, was to be abandoned.  Eastern Montana, northern Idaho, most of Utah, and eastern Colorado were all listed as "Minimal Need Areas" and were to be "de-emphasized".  The body was cutting parts of itself off to save the rest.  The report began describing in greater detail the events of civil disobedience.  It specifically mentioned my present host.  The man who was making headway organizing the rural west.  It called this new army the "Sagebrush Rebels".  My host had located the center of his organization just a few miles from the Mile High City.  I listened closely to this part of the report since it fell so close to home for me.  Everyone knew that it was the Rebels who had caused most of the destruction of the Mile High City.  It was the final segment of this part of the report that stopped my heart.  The computer said that my host would "continue to take instructions from this regional office of the UnderNet and assist in the completion of the goal of restructuring America".

So everything was a part of the plan.  Even I might have been a key piece of the puzzle.  After the report completed, I loaded up my pockets with items I could carry, turned off the glowing red switch, and wiggled back up to the sunlight.  I went back to my main job of finding food, keeping out of danger, and surviving.  It was the computer disks that led the rebels to me.  I had a hard time finding someone who wanted to trade for the disks since most people I knew didn't have much need for them.  I must have talked to two dozen people about the disks.  I finally got a black eye and a sore rib from a man who wanted to know where I got them from.  He took the two disks I carried as samples and left me gasping for breath in an alley.  Three days later I was captured by a roaming gang.  I had heard they were looking for me but I had to come out of hiding to trade.  They were waiting for me.  I found out then that when push comes to shove, I didn't have a single friend on the streets.  They all wanted to turn me in for the reward.

The gang took me to this building, a good hours travel outside of the city.  I was thrown into a room that was probably an office in the old days but all of the furniture was gone.  Only a few cardboard boxes that I could use to hide in and shiver while I waited.  One good thing happened when the door opened.  A small box of food and water was left.  It was the best meal I had had in months.  I was finally brought before my host.  I was in no condition to argue with anything they said.  I was terrified and thought for sure I was as good as dead.

My host sat at a wooden conference room table looking at some papers.  Two aides, each clutching a notebook in their hands, stood behind him and quickly responded when he spoke.  Finally one of the aides noticed me and my guards and spoke into the ear of my host.  He stood up and came towards me.  I couldn't read his face.  It was stone cold but his eyes were alive.  He ordered my guards to bring me to the end of the table and make me sit down.  They immediately backed away as if they were afraid that they might be noticed along with me.  My host sat down and looked at me for a moment.  He then asked my name.  I was so terrified that my voice sounded more like a squeak than a name.  He paused and then quietly told me not to be afraid.  He said that I might be of great help to him and "our" cause.  "What cause?", I asked.  "Your in the head office of the Sagebrush Rebellion and your my guest", he said.  "I am the elected leader of the fight of the common man against the corrupt and bloated government".  It sounded like a political speech when he said it.  His voice even got louder like he was talking to an audience.  "I had you brought here because we know of your find.  We know that the computer disks you were trying to trade could have only come from one place.  If I could get access to the place you found, then we might be able to salvage more data."  He didn't know that the room I had found was still alive and active.  He didn't know that Fast Eddie had told me all about my host.  The head of the rebellion was a pawn of the UnderNet and following the plans that they developed for America.  I was so confused my head hurt.  I didn't know what to do.  This man who sat next to me and asked me for my help was not someone I could ignore.  Anyone could tell he got what he wanted, or else.  If I told him of my discovery, and he got access to the active computer, who knows what that would mean.  If I mentioned that I knew all about the UnderNet's involvement, it may mean my death.  How could I expose the spy who lead the rebellion?  I needed to know more about the situation.

"What is it worth to you to know where I found the disks?". I asked.  He smiled at me and asked, "What do you need, my dear?  I can provide you with almost anything you could ask for."  I thought for a few seconds and responded. "I need things to make my life easier.  I need supplies and weapons and transportation to a safer place.  I'm tired of the Mile High City and the struggle to keep alive.  There must be a safer place."  My host slapped both hands down on the table and said "Done!  You lead us to the computer room and I'll get you what you want.  My men will take you to our compound in southern Utah.  That's where I go when I need to relax and feel safe.  You stay in the holding room and tomorrow morning you will go with my men and me to the city.  You will hold up you side of the bargain.  But be warned, I don't want to waste any time tomorrow, or you will answer to me."  He waved his arm and my two guards immediately took me away.  One of the guards handed my a notebook and a pen and told me to spend the rest of the day writing down anything I could remember about the computer room.  That brings me to now.  I have sat here hiding in my cardboard boxes writing this story.  Unfortunately I don't know how it will end.  I have to re-examine the key points.  The UnderNet was a major cause of the civil war- the civil war was killing everyone I know or have known- my host is an agent of the UnderNet- if someone could destroy the UnderNet, it might stop the war- I am a tiny little girl who normally couldn't do anything to make a difference- BUT, I have found myself in a unique position where I can make a difference by what I do.  My mind spun around and I finally drifted off to sleep.

I was awoken by my host just after dawn.  He burst into the room with his aides following him like leaves behind a dustdevil.  He had a huge grin on his face and kept saying what a great day this was going to be.  I thought to myself that when he finds out that the computer is still active, it should make his whole month great.  We ate hard bread and cheese. All of the rebels seemed in high spirits and were very nice to me.  I began to feel more relaxed and told them what types of tools we would need to get into the room.  They didn't ask for my written story.  I had hidden it underneath the largest cardboard box in my holding room.  We loaded into five pickup trucks and began our journey back into town.  I got to ride in the cab of one of the trucks.

I began to change my thinking about the rebels.  They were treating me with respect and I actually had some social status with this group.  Something I haven't had for a very long time.  We drove on side roads around the outside of the city and came into the federal center from the southwest.  We drove within a few city blocks of the crumbled building.  No one bothered us, in fact, it seemed that most people ran and hid when they saw us coming.  Maybe it was the two dozen armed men in the trucks.  When we parked and began walking, my host chuckled and laughed with his soldiers.  "I knew that the computer center had to be in a government building somewhere.  The federal center is so big that I didn't know where to start." he told his men.  I travelled in the center of the head group.  My host ordered his men to follow my instructions as to where to go.  We got to the rubble of the exploded building and I pointed to a spot where they should begin clearing a path.

With the soldiers working together, they had the cement moved very quickly and could see where the door was hidden.  When we got the metal door cleared, there wasn't a handle on it of any kind.  There wasn't any way to open the door.  Men used their long metal prybars that worked so easily on the cement to pound and pry on the door but it didn't move an inch.  My host became very anxious and would yell at the men to work harder.  Finally they stopped and backed off.  My host grabbed me by my shoulder and pushed me toward the broken door frame.  "Get inside and see if you can open the door", he ordered.  I crawled through this time with a flashlight lighting the way.  I stood inside the room and looked around.  Nothing had changed since I had been here before.  Next to the door was a lever labeled "emergency release".  I grabbed it with both hands and pushed upward with all my might.  When it reached a point, the door clicked and opened slightly on it's own.  Instantly, my host burst through nearly knocking me over.  He stood with his hands on his hips and turned to look around the room.  He kept saying "Oh My God!" over and over again.

Only three other men came into the room with my host.  I spoke to the one standing next to me and pointed at the glowing red switch.  With the additional light in the room, the switch wasn't as obvious as before.  He pointed it out to my host who then got real excited.  He turned to me and asked what I knew about the room.  I briefly told him about turning on the switch last time and "talking to the computer".  He stood and didn't say a word to me.  He walked over and pushed the red switch.  As before, the terminal screen turned blue and the word "Ready" appeared.

I told my host to pull out the keyboard and push enter, which he did.  The textured window appeared with the icon list.  By this time, all the other men were crowded around me and my host looking at the terminal.  I pointed to the icon that allowed the computer to speak and told everyone how I was able to listen and talk to the computer.  I didn't say anything about the contents of our discussion.  I decided to keep that part a secret for now.  My host moved the pointer arrow to the "Vocal Interface" icon.  The computer said, "It's nice to talk to you again Vanessa, it's been five days, six hours, and twenty minutes since our last visit."   My host laughed out loud along with all of his men.  I stood silent and tried to think as fast as I could.  What to do??

My host quieted down his men with a wave of his hand and spoke,  "Computer, I am here with Vanessa and I need your assistance."  The computer replied, "I am here to serve you.  How would you like me to address you?"   My host puffed up his chest and put his hands on his hips.  "I am Simon Green, leader of the Sagebrush Rebellion."  The computer seemed to pause a moment.  The soft clicks could be heard from the padded columns.  I could tell something was going on but the others didn't seem to notice.  Finally the computer spoke.  "Simon Green, your presence here will allow me to finally complete our roles in the reorganization of America.   The UnderNet thanks you and me for our excellent service as a part of the greater plan.  You and I have done an excellent job of removing and reducing the unnecessary drain of valuable resources by the western cities. It is key to the success of the plan. We will be remembered as a key part of history.  Your final orders and reward for your service will be issued to you in thirty seconds." I noticed one of the small icons flickering.  It was a small digital clock counting backwards.

I turned and ran out the door as fast as I could.  All the men bent down to look close as the clock showed ten, then nine, eight, seven...  They all stood up straight and backed off.  Everyone there had one horrible thought in their minds.  I didn't hear the explosion that took out most of the soldiers and sealed the computer room forever.  All I listened for was the beating of my still living heart.

365.          Fear of Public Speaking

Fear of Public Speaking

Cast:

Teacher (Mr. Smith)

4 Average Kids (Lyle, Ronald, Clever, Timmy)

1 Perfect Kid (Steve)

Perfect Kid's parent (Mr. Swanson)

(3 Kids and The Perfect Kid are standing on Stage just outside of the wings, Teacher walks to each one of them and straightens them up. The 4th kid runs in late)

Teacher: OK Children lets try mot to make this a repeat of last years performance.

All Kids(Not Together): Yes Mr. Smith.

(Teacher walks to podium, Students start fooling around, but not too much to get every one's the focus on them and not the teacher)

Teacher: Good evening ladies and gentlemen, boys and girls, we all unfortunately remember last years performance of the 5 food groups done by these very same students, but I have the honor to bring these students back to you again for a second try at it. These students are now in grade 5 and have learned their lesson from last year. I hope you all enjoy this years topic for grade 5 African animals. First up we have the strong and talented speaker .......... Lyle Peterson (Motions to the audience to clap)

(All students but Lyle walks off. Teacher meets Lyle half way and whispers)

(Students ever once and a while poke their head out or wave)

Teacher: Do me proud Lyle and don't get nervous

Lyle(Nervous): OK Mr. Smith.

(Lyle walks to Podium)

Lyle: Hhhi everyone, I um uh to uhhh.

(Lyle motions the Teacher to come here)

Lyle: I.. I.. I.. can't do this.

Teacher: Just pretend their naked.

(Lyle looks at audience and starts to stare in amassment Looks at himself and runs off stage.)

Teacher: Lyle! Lyle!!! Uh.... Oh well Lyle Ladies and Gentlemen(Motions a clap) Next we have the confident, the aggressive speaker Ronald Chafe(Motions a clap)

(Teacher meets Ronald half way and whispers)

Teacher: Remember Speak loud.

Ronald: Gotcha

Ronald: (Yells into MicroPhone) GOOD EVENING. THE ANIMAL I CHOSE  WAS THE AFRICAN ELEPHANT...(Teacher cuts him off)

Teacher: Ronald Not So Loud!

(Ronald gives him a thumbs up)

Ronald: (Even Louder) I CHOSE THE ELEPHANT BECAUSE IT IS BIG AND HAS LONG...(Teacher cuts him off again)

Teacher: Thats enough Ronald, just stop. Ronald everybody(Motions a clap Ronald starts claping) Oh my.. Guess what it can only get better from here every one because up next is Clever Woods.(Teachers turns off microphone and walks to meet clever half way but just sighs and walks off)

(Clever walks on confused, and knockers over podium, he then picks it up. He mouths the words "Hi I did the zebera it is endgangered"  because the mic is turned off)

Teacher: Clever! Clever Turn on the Mic!

(Clever turns it on)

Clever: As I was saying the zebra is....(walks away from microphone mouthing words because of no microphone)

(Teacher walks on)

Teacher: Thank you Clever (Clever keeps talking) Clever....Clever... CLEVER! ENOUGH!

(Clever mouths the word "Oh" and bows to audience and walks off)

Teacher: Next is Timmy Tompson (Just walks right past Timmy)

(Timmy reaches podium and is too short for it, but talks any ways, he is very quiet)

Timmy: I like the Giraffe because it is big (Reaches as hi as he can above podium) They're real tall and I like them I think they are huge (Stretches arms out as far as he can) Thank you Walks off.

(Teachers looks like he has a head ache)

Teacher: Thanks Timmy, Next Steve Swanson.

(Teachers stops Steve half way)

Teacher: Plese do well

Steve: I'll try.

Steve: Hello ladies and Gentlemen, I would like to enlighten you with the knowledge of the African Bat. Now this bat isn't just any bat, unlike others species this bat does not sleep upside down. (Teachers is happy and excited and says "YES YES!" quietly to himself but loud enough for the audience to hear him) Unlike most beliefs this bat does not suck blood, this bat is a leaf eater and is more frightened from humans than we are towards it. Similar to other bats this species is nocturnal...(Mr.  Swanson, who is sitting in the audience, walks down to the stage and yells "STOP STOP", the other students acknoledge him and start waving to him)

Mr. Swanson: Wait just a minute, Steve you have a big chunk of dinner on your face.

Teacher(Still off to the side): NO!

(Steve's dad licks a napkin and wipes Steve's face)

Steve: Daad!

Mr. Swanson: This is my son, Smart kid but clumsy eater.

Teacher: That's it you all fail. Every one shows over. This is the worst one yet. I quit(Teacher walks off)

Steve: Daaad  why do you always have to do this to me?

Mr. Swanson: Do what son?(Both walk off)

Lights Fade out

366.          Femininity and Buffy

The specific slant found within the program formula for "Buffy the Vampire

Slayer" (BTVS) is unique in both film and television: the lead character is a

female world-saver who belongs to no government organization, who seldom

relies on men for help, who is not an androgyne and who has a curfew. The series

was created and continues to be meticulously overseen by Academy Award

winning writer Joss Whedon. Whedon writes for his female characters with

particular care to maintain the validation of the feminist viewpoint. Until feminists

quit taking pot shots at each other and arrive at a mutually agreed upon

definition of feminism, and for the purposes of this paper, "feminism" will be

considered the empowering of the female who takes control of her life to the

extent that such control directly affects her well-being and future. Ignoring the

psychological and mythological doublespeak used by many feminists, this paper

will discuss the manner in which Whedon and his cadre of carefully chosen writers

deal with feminist issues vis-à-vis character development.

Buffy has another side, however - she is a good girl (more or less) who minds her

mother (unless a house rule conflicts with her slaying duties) and keeps her

amazingly frilly and feminine room neat. Buffy misses her father, to the extent

that a rejection by her father was manifested as her worst nightmare coming

true. She turns to Giles, her Watcher, for guidance and sometimes regrets it. He

lectures her on her slayer duties - "Buffy, when I said you could slay vampires

and have a social life, I didn't mean at the same time" - until she must resort to

slyness just to get a night off. Feminists decry feminine-wile manipulation but

several female characters on BTVS are guilty of just such guile; Buffy uses it on

Giles when she wants a night off; Jenny, Giles' love interest, uses it to help him

come out of his shell; Willow, Buffy's closest friend, uses it only when she is

desperate, and Cordelia, the trophy-wife-in-training, uses it indiscriminately and,

oblivious to her shallowness, with great enthusiasm. What absolves the first three

from censure is that they contrast this deception with true feminist attributes -

they are in control of their lives and use their femininity only when their men are

too dense to comprehend any other method of getting their point across. As

Buffy's friend, Xander once said, "I'm a teenager - linoleum turns me on!"

Buffy sometimes envies Cordelia, who practices feminine wiles in order to snare a

handsome, rich husband. Cordelia, as Sherrye Henry says some females do,

adheres to the belief that "men vie with each other for honour, wealth, and good -

looking wives. However, both times Buffy dons ultra-feminine gowns, she realizes

that she prefers the power of being a slayer. Recovering from a spell in which

she was a helpless Southern belle; she immediately bests a vampire and says,

"You know what? It's good to be me."

Interestingly, the gender of the slayer is not only relevant but absolutely vital to

Joss Whedon's Buffy. His scenario suggests that every Slayer throughout history

has been female. Vampires are masculine in essence; they represent

penetration, the "ineffable power of patriarchy, striking suddenly, appearing from

nowhere" as in the Oedipal myth mentioned in No End To Her by Martha

Nochimson.

Vampires overpower and focus on their goals to the exclusion of what is going on

around them and this is their fatal flaw when meeting a female slayer. This

results from the specific Slayer ability and supposed weakness of Whedon's

original, cinematic Buffy - she experiences menstrual cramping when a vampire is

near and can thus be warned. By the same token, vampires, having heightened

senses, can seek her out easily during her period. In transferring the role to

television he has played down that part somewhat but retains unbroken the chain

of female slayers. In television, women are seldom portrayed as classic heroines,

exact counterparts of male heroes. Instead, they are at best classified as victims

or decoys who, because of their limited abilities and intelligence, are dependent

upon masculine heroics. Even those who demonstrate exceptional abilities are

usually, in the end, reliant on the male. What heroines there are usually work for

government or law enforcement agencies, patriarchal institutions - Emma Peel,

Laura Holt, Nikita.

Cinema is voyeuristically male and objectified females are what they watch.

Feminist/critic Linda Williams contends that horror films are male oriented

because the female victim is being punished for `looking,' the exclusively male

prerogative. Much is made of the castration theory, that women are

underpowered because they lack a penis; Buffy, however, has her stakes to

compensate, one of two of the show's phallic symbols - the other being the

penetration of the fangs.

The historically prevalent definition of masculinity is linear, etching a "clean

masculinity" against a murky feminine concept. BTVS treads a fine line between a

linear narrative and the feminine perspective - the male solvers are satisfied by

each story's conclusion and the female philosophers who resist plot closure are

satisfied by the exploration of motive, emotion and consequences.

There are few female vampires because the vampire ethic is so masculine,

overwhelming and penetrating. The one major female vampire in BTVS is the

most dangerous of all, we are led to believe, because she is mad. Once she

regains what passes for sanity in the unread world, however, we see that she

remains dangerous. The lesson is that she is simply one bad dude, regardless of

gender. Spike, one of BTVS's most endearingly nasty vampires, says of the

weapons he's holding: "I just like them. They make me feel all manly." There is

little resemblance between these vampires and Anne Rice's "brat prince," Lestat.

In "School Hard," Spike ponders his defeat at Buffy's hands: "A slayer with family and friends - that sure as hell wasn't in the brochure."

Wendy Kaminer, a noted feminist, says that nature "doesn't tell us what roles

men and women should be... allowed to play and what rights they ought to

enjoy" and Buffy would agree. For all her confident talk, Buffy is hardly in the

vanguard of the feminist movement. She runs like a girl, arms akimbo, and legs

splayed, and most definitely defies Kaminer's image of "female machismo." She is

no "Bond-in-a-bra" with bulging muscles ala Xena and Wonder Woman. She does

not gladly embrace her destiny; she is brought literally kicking and screaming

into a lifestyle of karate chops, cross-bows and wooden stakes. Gloria Steinem

and Betty Friedan will be handing her no awards. Her theme song will not be "I

Am Woman," Helen Reddy's anthemia call to all mammals of the female

persuasion; her theme would be "Girls Just Want to Have Fun". She does,

however, occasionally find great fun in dispatching evildoers and at those times

we see the true heroine - fully female and fully lethal, infinitely more deadly than

the male. She screams at the Master, her arch-rival: "You that aped about hell?

Go there!" When Principal Snyder says, "Who do you think you are?" she snaps

back, "I'm the one who knows how to stop them." and when her vampire-lover

Angel tells her she must trust someone, she responds, "I trust me!" Her defiance

is reminiscent of Carolyn Trochman's proud quote: "I don't need anybody or

anything to tell me who I am, what I am capable of doing."

By endowing Buffy with extra-ordinary strength, agility, healing ability and

sensory perception, the writers may appear to imply that, to compete with men

(vampires), Buffy needs more than average female attributes; this is not to be

considered a putdown of women but rather the appreciation that there is,

regardless of the conflicting philosophies of Nochimson and Burkett, a physical

strength disparity that is exacerbated by a vampire's superhuman strength.

Whedon emphasizes Buffy's training and feminine instincts instead. Males have

gleefully pointed out this gender gap ever since Freud's famed "Anatomy is

destiny" discourse; Buffy eliminates it to the point that she often rescues the men

in her life - her Watcher, her friend and even her lover. The villains, whether

human or demon, are principally male and always defeated; an interesting twist.

Buffy has a few decidedly non-feminist lines: "Halloween's a perfect chance for a

girl to get sexy and wild without repercussions," for example. Her portrayer,

Sarah Michelle Gellar, probably also would fail to make a top-20 feminist list. In a

statement guaranteed to raise hackles in boardrooms and bordellos, she says,

"Feminism sort of has a negative connotation. It makes you think of women that

don't shave their legs."

Manchester Guardian writer Carolyne Ellis maintains that "television has taken

two genders and made one and a half. In what used to be the proactive, strong,

capable, attractive male parts have all been given to women" and claims that

what would have been female roles have been given to male characters, making

them "pathetic little creatures." Ellis denounces this trend, claiming that

"Feminism was not about making women into imitation men...." and this is

exactly what Joss has avoided; he has allowed Buffy her femininity.

Joss Whedon oversees the entire look of BTVS and, as Nochimson says, "exerts

the most influence on the... tone of a show." Nochimson maintains that Freud's

masculine `uncanny' concept is terror that seems familiar; the feminine

`uncanny' suggests that something horrible "lurks beneath the surface of the

familiar." Whedon uses the latter by basing much of his writing on his own

teenage years and the horrors of high school. The backdrop of high school corridors contrasting with the violence of the demons intensifies the horror.

Sunnydale is situated over the Hell mouth, which spews forth demons with great

regularity, possibly indicative of Whedon's perception of those teen years.

Diane M. Meehan says that having more women writers has resulted in more

sensitive female portrayals, and yet Joss Whedon is most definitely a male - one

who has created a believable heroine that tangentially, as she slays vampires,

also deals with many women's issues Whedon showcases the worst of male

chauvinism in a scene from "Inca Mummy Girl".

Oz: "You're just impressed by any pretty girl that can walk and talk."

Devon: "She doesn't have to talk."

According to Nochimson, the cinematic male hero is `interrupted' when a female

appears on the scene and his role is to "put [an] end to her intrusion...."

[Interpretation: Solve her problem so that he can return to his guy activities].

Buffy rejects this feminine role of "object" and moves from the silence of the

(usually female) object to the (usually male) language of the subject. She thus

obliterates the original feminist belief that, because of the very gentleness that

allowed them to be victimized, women were superior to men. In BTVS, there is no

hero and therefore no oedipal association of mastery. Both Giles and Xander try

but fail, and Angel is too ephemeral and quixotic to qualify.

The current season shows us a more mature Buffy. She has been sobered by a

devastating love loss and her wardrobe (fewer early-Valley-slutgirl outfits) and

demeanour (testing well on her Sates) reflects this. As Buffy softens, Willow begins

to revel in her new-found skills as a computer genius, researcher and witch-in-

training, controlling events and taking charge when need be. Her character began

as an "everywoman" persona that metamorphosed into a Jewish liberal feminist

whose belief in her abilities is growing exponentially. This character growth

signifies a well-conceived creative concept and execution.

This critically-acclaimed, multi-layered series demonstrates that quality needn't

be sacrificed in order to put an intriguing idea before an audience and that a

heroine can carry a show if the part has sufficient depth.

Two additional slayers have been introduced on BTVS. Kendra, who arose when

Buffy was technically dead for a few seconds, and Faith, who was called forth

when Kendra was killed. Each claim certain feministic traits; Kendra was all

business, and Faith is the party animal, taking little very seriously. The

Whedonesque writers have made it clear that a heroine needn't be a buffed up,

Jackbooted Linda Hamilton type in order to function in a man's world but that she

did need to take her calling seriously. There will be feminists who cry, "But she

shaves her legs and loves pretty clothes!" and therefore is not a feminist; there

will be those who cry, "But she's behaving like a virago!" and therefore is not a

feminist. Buffy will ignore the cries of those who represent the hard-core letter of

the feminist law and the laughs of those who embody the more liberal, fun-loving

aspect of the credo and instead choose to represent the conflict, the strengths

and the emotion, the very spirit of feminism.

Biographical Sources and End Notes references:

Burkett, E. (1998), The Right Women: A Journey Through the Heart of Conservative America, New York: Scribner

Butler, G. (1994), Television: Critical Methods and Applications, Canada: Wadsworth Publishing Co

Cook, P. (1985/96), The Cinema Book, London: BFI

Meehan, M. (1983), Ladies of the Evening: Women Characters of Prime-Time Television, New Jersey: Scarecrow Press Inc

Segal, L. (1999), Why feminism? Oxford: Blackwell

Henry, S. (1994), The Deep Divide: Why American Women Resist Equality, New York: Macmillan Publishing Co

Nochimson, M. (1992), No End to Her, California: University of California Press Oakley

Newcomb, H. (1994), Television: The Critical View, New York: Oxford University Press

Related Websites

Feminist Theory Website (n.d.) [online]

http://www.cddc.vt.edu/feminism/enin.html

367.          Fifth BusinessSearch for Self Identity

Fifth Business: Search for Self Identity

In Robertson Davies' novel Fifth Business, the author uses the events that occurred in Deptford as a Canadian Allusion to reveal character identity.  Three characters in the novel from Deptford: Boy Staunton, Dunstan Ramsey and Paul Dempster, leave Deptford to embark on a new identity to rid of their horrid past.  The three main characters of the novel, all of whom to some extent try to escape their small town background, change their identity to become people of consequence. All in some way take on a new identity. Imbedded in this transformation is the assumption that one's original self, especially one's small town origins, must be discarded before one can become significant in the world.

Firstly, Paul Dempster grows up as an outcast in Deptford, his mother's 'simpleness' leading the tight social world of the town to cast out his whole family and force's Paul to leave the town and create a new image for himself.  Paul runs away to the circus in his early teens because of the mental abuse he took from the town because of his mothers incident with the tramp.  Dunstable comment's, "Paul was not a village favorite, and the dislike so many people felt for his mother - dislike for the queer and persistently unfortunate - they attached to the unoffending son," (Davies' 40) illustrates how the town treated Paul because of his mother's actions.  Paul leaves his past because of the actions displaced by his mother and the guilt he feels because his "birth was what robbed her of her sanity," (Davies' 260) explains why Paul left Deptford.  However, while Boy merely tries to ignore his Deptford past, Paul tries to create a completely new one and Paul asks Dunstan to write an autobiography that "in general terms that he was to be a child of the Baltic vastness, reared perhaps by gnomelike Lapps after the death of his explorer parents, who were probably Russians of high birth." (Davies' 231).  The scenery of this autobiography seems significantly Canadian, but Paul does not want his book to represent his past life in Deptford.  Therefore, Paul Dempster is a troubled child because of his mother's actions in Deptford which in turn force Paul to leave Deptford and to create a new identity for himself.

Secondly, Dunstable Ramsey is haunted by the guilt of Mary Dempster over his entire life and he must create a new identity for himself.  After a rock has hit Mary in the head (in a snowball thrown by Boy Staunton meant for Ramsay), and her preacher husband is crying over her, young Ramsay's only thought is that he is "Watching a 'scene', and my parents had always warned against scenes as very serious breaches of propriety." (Davies' 39) The actions of Mary bewilder Dunstan because Mary committed a serious crime in Deptford.  Later in life Dunstan falls in love with his nurse named Diana who renames him after Saint Dunstan, who is "Mad about learning, terribly stiff and stern and scowly, and an absolute wizard at withstanding temptation." (Davies' 93)  His new name does not replace his old identity, but rather makes him double-named and double-identified.  Therefore, Dunstan changes his name to set forth on a new identity and he never forgets his Deptford past and in fact he becomes obsessed with it, particularly with Mary Dempster, mainly through guilt about his role in Mary getting hit by Boy's snowball.

Thirdly, Percy Boyd Staunton is at the center of the snowball incident which is the prime mover in the action of the novel which force's Percy to allow the incident to suppress his memory and leave Deptford to create a new identity for himself.  He moves to Toronto and inherits the family sugar business and drops a letter from his middle name, becoming "Boy" Staunton, and begins to build a new ruling-class identity for his renamed self.  "As Ramsay explains, "he was always the quintessence of something that somebody else had recognized and defined," (Davies' 147) his new identity allows Boy to start a new life and leave Deptford in the past.  Also, Boy brings with him into his new life his Deptford wife Leola, whom he tries to change into "the perfect wife for a rising young entrepreneur in sugar." (Davies' 151)  She cannot lose her small-town background as well as Boy, and she falls by the wayside, eventually committing suicide.  Although, Boy is the antagonist character of the novel, his new identity embraces him as one of the most powerful men in Canada, but he will always hold the guilt from the snowball incident which occurred in Deptford.

To conclude, the actions that occurred in Deptford change the whole basis of the novel.  Thus while Boy and Magnus have taken on new identities and tried to displace their old ones, Dunstan takes on a new identity that complements the old.  All three leading characters leave Deptford to change their life, but the spirit of the little town in Southern Ontario remains with them forever.

Bibliography

Davies, Robertson.  Fifth Business.  Canada: Penguin Books, 1977.

368.          Fight Club

In a time when so few motion pictures leave an impact, Fight Club refuses to be ignored or dismissed. The experience lingers, demanding to be pondered and considered, and, unlike most of the modern-day thrillers, there is a great deal here to think about and argue over. Fight Club presents an overload of thought-provoking material that works on so many levels as to offer grist for the mills of thousands of reviews, feature articles, and post-screening conversations.

Pre-release interest in Fight Club was understandably high, primarily because of those involved with the project. Jim Uhls' script is based on an influential novel by Chuck Palahniuk.

The lead actor is the ever-popular Brad Pitt, who makes his strongest bid to date to shed his pretty boy image and don the mantle of a serious thespian. Those dubious about Pitt's ability to pull this off in the wake of his attempts in movies such as Seven Years In Tibet and Meet Joe Black will suffer a change of heart after seeing this film. Pitt's male co-star and the protagonist, Ed Norton, is widely recognized as one of the most intelligent and versatile performers of his generation. Furthermore, Fight Club's director, David Fincher, has already made a huge impression on movie-goers with only three movies to his credit: Alien 3, Seven (starring Pitt), and The Game.

The film begins by introducing us to our narrator and the protagonist, Jack, who is brilliantly portrayed by Norton. In Fight Club, the actor fits perfectly into the part of a cynical but mild-mannered employee of a major automobile manufacturer who is suffering from a bout of insomnia. When he visits his doctor for a remedy, the disinterested physician tells him to stop whining and visit a support group for testicular cancer survivors if he wants to meet people who really have problems. So Jack does exactly that - and discovers that interacting with these victims gives him an emotional release that allows him to sleep. Soon, he is addicted to attending support group meetings, and has one lined up for each night of the week. That's where he meets Marla Singer (Helena Bonham Carter), another "faker." Unlike Jack, however, she attends purely for the voyeuristic entertainment value.

On what can be described as the worst day of his life (an airline loses his luggage and his apartment unit explodes, destroying all of his possessions), Jack meets the flamboyant Tyler Durden (Brad Pitt), a soap salesman with an unconventional view of life. Since Jack is in need of a place to live, Tyler invites him to move in, and the two share a "dilapidated house in a toxic waste part of town." Tyler teaches Jack lessons about freedom and empowerment, and the two begin to physically fight each other as a means of release and rebirth. Soon, others find out about this unique form of therapy, and Fight Club is born - an underground organization (whose first and second rules are: "You do not talk about Fight Club") that encourages men to beat up each other. But this is only the first step in Tyler's complex master plan.

In addition to lead actors Pitt, Norton, and Bonham Carter, all of whom do impeccable work, there is a pair of notable supporting characters. The first is Meat Loaf (Meat Loaf the singer), who portrays the ineffectual Bob. It's a surprisingly strong performance, with the singer-turned-actor capturing the nuances of a complex character. Jared Leto, (The Thin Red Line), is the blond Angel Face.

Told in a conventional fashion, Fight Club would have been engaging. However, Fincher's gritty, restless style turns it into a visual masterpiece. The overall experience is every bit as surreal as watching Kubrick's A Clockwork Orange. This is a tale that unfolds in an eerie alternate universe where the melodies of life have the same rhythm as in ours but are in a different key. Fincher also shows just enough restraint that his flourishes seem like important parts of the storytelling method instead of gimmicks. And there are a lot of them. In one scene, a character's apartment is laid out like a page in a furniture catalog, complete with text blurbs superimposed on the screen describing the various pieces. There are occasional single frame interruptions that flash by so quickly that they may pass unnoticed. The film opens with a truly inventive close-up - one that literally gets under the skin. Also in play: a non-linear chronology, a voiceover by a narrator who might not be entirely reliable, frequent breaking of the fourth wall, and an occasional freeze-frame. As was true of Fincher's other three films, Fight Club is dark and fast-paced. There's not a lot of time for introspection. One could call this MTV style, but, unlike many equally frantic movies, there's a reason for each quick cut beyond preventing viewers from becoming bored.

There's no denying that Fight Club is a violent movie. Some sequences are so brutal that a portion of the viewing audience will turn away. But the purpose of showing a blood bath is to make a telling point about the bestial nature of man and what can happen when the numbing effects of day-to-day drudgery cause people to go a little crazy. The men who become members of Fight Club are victims of the dehumanizing and desensitizing power of modern-day society. They have become cogs in a wheel. The only way they can regain a sense of individuality is by getting in touch with the primal, barbaric instincts of pain and violence. As the film progresses, Fincher systematically reveals each new turn in an ever-deepening spiral that descends into darkness and madness. There's also a heavy element of satire and black comedy. Macabre humor can be found everywhere, from the pithy quips traded by Jack and Tyler to the way Jack interacts with his boss. When combined together, the satire, violence, and unpredictable narrative make a lasting and forceful statement about modern-day society.

Works Cited/Bibliography

&#61607;&lt;Tab/&gt;Fight Club. Dir.  David Fincher. Perf. Brad Pitt, Edward Norton, Helena Bonham Carter, Meat Loaf and Jared Leto. 20th Century Fox, 1999

&#61607;&lt;Tab/&gt;Ebert, Roger. "Fight Club." Chicago Sun-Times. 10th Oct. 1999  http://www.suntimes.com/ebert/ebert_reviews/1999/10/101502.html

&#61607;&lt;Tab/&gt;Granger, Susan. "All-Reviews.com Movie/Video Review: Fight Club" Online posting. 2000. All-Reviews.Com 11th Nov. 2003 http://www.all-reviews.com/videos/fight-club.htm

369.          Film Analysis

The Suicide of the Author and his Reincarnation in the Reader: Intertextuality in The Hours by Michael Cunningham

Andrea Wild

In his novel The Hours, Michael Cunningham weaves a dazzling fabric of intertextual references to Virginia Woolf's works as well as to her biography. In this essay, I shall partly yield to the academic itch to tease out the manifold and sophisticated allusions to the numerous intertexts. My aim, however, is not to point out every single reference to Woolf  and her works--such an endeavour of source-hunting would fail alone because of the sheer abundance of intertextual references--and to strip The Hours down until its threads lie bare in front of me, but to take the theories of influence (as voiced, for example, by Bloom) and their concept of a unidirectional relationship between an anterior text and a posterior text as a point of departure to investigate how Cunningham manipulates and transforms the anterior texts and, accordingly, establishes a two-way relationship between himself and Woolf.

The critical term of intertextuality was coined in 1966 by Julia Kristeva, who -- following Mikhail Bakhtin -- writes in her ground-breaking essay "Word, Dialogue, and Novel" [1] : "[E]ach word (text) is an intersection of word [sic] (texts) where at least one other word (text) can be read . . . . any text is constructed as a mosaic of quotations; any text is the absorption and transformation of another" (66). However, as Kristeva in a later interview explains, the dynamics of intertextuality does not only take place between author and text but also between text and reader: "If we are readers of intertextuality, we must be capable of the same putting-into-process of our identities, capable of identifying with the different types of texts, voices, semantic, syntactic, and phonic system at play in a given text" (Waller 282). In fact, it is the reader who traces the intertextual references, which in their turn guide him or her towards a better understanding of the text: "The term [intertextuality] indeed refers to an operation of the reader's mind, but it is an obligatory one, necessary to any textual decoding. Intertextuality necessarily complements our experience of textuality. It is the perception that our reading of the text cannot be complete or satisfactory without going through the intertext . . ." (Riffaterre 142). Correspondingly, readers of The Hours, a postmodern novel densely interwoven with references to Woolf's works, do not need to have read all the intertexts Cunningham draws upon in order to understand the story; however, a certain familiarity with the central intertexts will lead them to appreciate his novel more fully.

Michael Cunningham makes no attempt to hide his intertexts, both the historical intertexts such as the biographies he has used for his account of a single day in the life of Virginia Woolf and which he declares in "A Note on Sources" at the end of the novel (229-30), and his central intertext taken from fiction, Woolf's Mrs. Dalloway. By entitling his novel "The Hours" -- one of the titles Woolf considered for her novel in its early stages (Hussey 172)--he shows his indebtedness as a postmodernist writer to one of the principal texts of the modernist canon. In The Hours, all three narrative strands are in one way or the other connected to Mrs. Dalloway: the sections entitled "Mrs. Woolf" follow the author Virginia Woolf through a single day in 1923, the day she puts the first line of her new novel to paper; the sections under the heading of "Mrs. Dalloway" are Woolf's Mrs. Dalloway rewritten and reinterpreted, set now in New York City at the end of the twentieth century (instead of London in the twenties); while the sections named "Mrs. Brown" narrate one day in the life of Laura Brown, living in Los Angeles in 1949, who on that day begins to read Mrs. Dalloway.

The Hours, a postmodernist fabric woven out of intertextual references, uses pastiche as its primary rhetorical device. Pastiche, like parody, involves "the imitation or, better still, the mimicry of other styles" (Jameson 113), but in contrast to parody, the compilation of both the forms and the contents of anterior texts is "neither necessarily critical of its sources, nor necessarily comic" (Rose 72): "Pastiche is blank parody, parody that has lost its sense of humor" (Jameson 114). By writing a pastiche out of anterior texts, by mimicking an earlier author, Cunningham destroys the romantic image of the god-like author who creates a text out of nothing; Cunningham kills the author and the conception of him or her as the sole origin of meaning. What, then, happens to the author, who has symbolically killed himself and now is a mere compiler of anterior texts? He reads. As a writer of pastiche, in order to weave a dense fabric of intertextual references, he has to be a voracious and observant reader. By devoting one of the three narrative strands to Laura Brown, the reader, Cunningham introduces a third element into the traditional binary relationship author-text and thus stresses the importance of reading for the creation of literature.

Although all three narrative strands of The Hours are in one way or the other connected to Virginia Woolf's Mrs. Dalloway, Michael Cunningham approaches his central intertext from different directions: while the sections entitled "Mrs. Woolf" and "Mrs. Brown" are related to Mrs. Dalloway insofar as they represent the point of view of the author or the reader respectively, the third narrative strand draws on Mrs. Dalloway more closely by reinterpreting and rewriting it in terms of plot, structure, characterisation, and style.

Like Cunningham's The Hours with its three narrative strands, Mrs. Dalloway is also set on a single day (in June 1923) and weaves together several narrative perspectives, which are organised in two parallel-running stories: one of them centres on Septimus Warren Smith, a soldier suffering shell shock after the First World War, while the other -- and Cunningham mainly focuses on this strand of the dual narrative -- recounts Clarissa Dalloway's preparations for a party she will give the same evening. During the day, she now and then reminisces on the time she was eighteen and lived at her parents' house at Bourton. Her thoughts turn to her past love Peter Walsh and her rejection of his marriage proposal and to another old friend from Bourton, Sally Seton, with whom she was once in love. However, those times are all long gone now, and Clarissa is married to Richard Dalloway and has not seen her old friends for years; Sally having married into a prosperous family in Manchester and Peter living abroad in India -- or this is what Clarissa thinks because, while preparing for the party, she is surprised by a visit from Peter, who has just returned to England in order to attend to the legal affairs of his fiancé, and, later on that day, Sally will unexpectedly arrive at the party and thus complete the reunion of the old friends who were together at Bourton more than three decades earlier. [2]

Taking the plot of Mrs. Dalloway as a starting point, Cunningham transcodes it into North-American turn-of-the-millennium terms. The London upper-class wife Clarissa Dalloway receiving illustrious guests in the evening is the model for Clarissa Vaughan giving a small party for her friend Richard, who has just won the Carrouthers Prize in recognition of his literary merits. It was also Richard's idea to name her after a great figure in literature, Mrs. Dalloway, on the one hand, because of her existing first name and, on the other hand, because he thought that she was "destined to charm, to prosper" (10-11). [3]

While the plot and the main characters taken from Mrs. Dalloway are basically retained, the covert, hinted-at homosexuality, especially the latent lesbian dimension of Clarissa Dalloway's attraction to Sally Seton, has been replaced in The Hours by overt homosexual relationships. Clarissa, now an old hippy, lives together with her partner Sally Seton in a flat on West Tenth Street in New York City, and her lost love Richard, with whom she and Louis formed a love triangle in the sixties and who then entered a long-term relationship with Louis, is now a victim of AIDS.

However, Cunningham inverts the heterosexual pattern of Mrs. Dalloway in favour of homosexual relationships not only for the protagonists but also for minor characters. While the Clarissa of Mrs. Dalloway is vexed by her daughter Elizabeth being "closeted" in her room with Miss Kilman, her private tutor with a missionary zeal for Christianity (130), in The Hours, Clarissa regrets that she cannot buy a lovely little black dress for her daughter Julia because she is "in thrall to a queer theorist and insists on T-shirts and combat boots" (23). Mary Krull, like Miss Kilman living on the verge of poverty, is seized by a missionary zeal for feminism, "going to jail for her various causes" and "lecturing passionately at NYU about the sorry masquerade known as gender" (23). And correspondingly, Hugh Whitbread, whom Clarissa Dalloway meets in Green Park and who tells her that he and his wife Evelyn have just come up to London because Evelyn has "some internal ailment" (8), keeps his initials, though switched, and is rewritten as Walter Hardy, whom Clarissa Vaughan meets in Washington Square Park and who is staying in New York for the weekend because his partner Evan, who is ill with AIDS, feels better on a new drug cocktail and wants to go dancing (15-19). And while the "admirable Hugh" (7) "with his little job at Court" (8) likes "nothing better than doing kindness" (190), the end-of-the-millennium gay equivalent of a court flatterer is a writer of queer romances: "Walter Hardy . . . makes an obscene amount of money writing romance novels about love and loss among perfectly muscled young men" (17). Hugh Whitbread, who possesses "the art of writing letters to the Times" (121) and helps Lady Bruton draft a letter to the editor, is echoed in Walter Hardy, who "writes embarrassingly lavish blurbs for younger writers" (18) and who writes the screen play for a thriller with a gay hero starring the gay actor Oliver St. Ives (175-6).

Even though the predominant homosexual relationships in The Hours both invert and mirror the heterosexual structure of the relationships in Mrs. Dalloway, the essential character traits and the fundamental plot are retained and serve Cunningham as a structural framework. For instance, when Richard Dalloway is invited for lunch by Lady Bruton to help her draft a letter to the Times together with Hugh Whitbread and Clarissa Dalloway is not invited and feels passed over; The Hours offers an echo of this in Oliver St. Ives's lunch invitation to Sally alone and Clarissa draws the conclusion that she is not interesting enough for the film star: "He probably thought Clarissa was a wife; only a wife" (94). Cunningham continues using the original plot as a framework when Hugh and Sally, after having had lunch with Oliver St. Ives, enter an expensive fashion shop -- a jeweller in Mrs. Dalloway (125) -- because Hugh wants to buy a present for his ill partner Evan (180) and Sally remembers her past failures to find the perfect present for Clarissa (181) and her failure to put her love for Clarissa into words (182). Subsequently, she buys a bouquet of yellow roses for Clarissa (184) -- in Mrs. Dalloway, Richard, too shy to say "I love you," buys a bunch of red and white roses (127).

While Cunningham's characterisation originates in Woolf's characters with their concealed homosexual feelings and updates them for the end of the millennium when everybody has come out of the closet, he basically retains the plot. And he proceeds in the same way when he takes Woolf's style as a starting point, from which his own style gradually evolves, though remaining faithful to the anterior text. A juxtaposition of the two beginnings -- the beginning of Woolf's Mrs. Dalloway serving as a model for Cunningham's beginning of the narrative strand "Mrs. Dalloway" -- demonstrates in what ways the previous style is adapted but also adopted:

Mrs. Dalloway said she would buy the flowers herself. For Lucy had her work cut out for her. The doors would be taken off their hinges; Rumpelmayer's men were coming. And then, thought Clarissa Dalloway, what a morning--fresh as if issued to children on the beach.

What a lark! What a plunge! For so it had always seemed to her when, with a little squeak of the hinges, which she could hear now, she had burst open the French windows and plunged at Bourton into the open air. How fresh, how calm, stiller than this of course, the air was in the early morning; like the flap of a wave; the kiss of a wave; chill and sharp and yet (for a girl of eighteen as she then was) solemn, feeling as she did, standing there at the open window, that something awful was about to happen; looking at the flowers, at the trees with the smoke winding off them and the rooks rising, falling; standing and looking until Peter Walsh said, "Musing among the vegetables?" (Woolf 5)

This early-morning scene of Clarissa Dalloway about to go out and buy the flowers for the party, represented in free indirect style, is echoed in The Hours, as is the way Clarissa experiences the fresh Westminster morning, and her thought that the doors would be taken off the hinges, which triggers the nostalgic memory of her opening the door onto a similar morning, accompanied by the squeak of the hinges:

There are still the flowers to buy. Clarissa feigns exasperation (though she loves doing errands like this), leaves Sally cleaning the bathroom, and runs out, promising to be back in half an hour . . . .

The vestibule door opens onto a June morning so fine and scrubbed Clarissa pauses at the threshold as she would at the edge of a pool, watching the turquoise water lapping at the tiles, the liquid nets of sun wavering in the blue depths. As if standing at the edge of a pool she delays for a moment the plunge, the quick membrane of chill, the plain shock of immersion . . . .

What a thrill, what a shock . . . . She feels every bit as good as she did that day in Wellfleet, at the age of eighteen, stepping out through the glass doors into a day very much like this one, fresh and almost painfully clear, rampant with growth. There were dragonflies zigzagging among the cattails. There was a grassy smell sharpened by pine sap. Richard came out behind her, put a hand on her shoulder, and said, "Why, hello, Mrs. Dalloway." (Cunningham 9-10)

Cunningham thus re-voices Mrs. Dalloway from the very first sentence by beginning in medias res with some flowers which have to be bought. In the manner of the stream of consciousness, the reader is confronted with the two characters Clarissa and Sally without any introductory information. The stepping through a door into a new day and Woolf's conception of it as "a plunge" and other similar metaphors connected with water ("beach," "wave") are elaborated in The Hours into the image of Clarissa pausing at the threshold "as she would at the edge of a pool, watching the turquoise water lapping at the tiles, the liquid nets of sun wavering in the blue depths. As if standing at the edge of a pool she delays for a moment the plunge, the quick membrane of chill, the plain shock of immersion" (9). Cunningham thus does not simply copy Woolf's imagery; on the contrary, the images generate new associations, which are developed further into new images.

Cunningham's "What a thrill, what a shock" (10) echoes Woolf's ejaculations "What a lark! What a plunge!" (5), which mark a transition from the initial scene to the flashback in which Clarissa reminisces about her time at Bourton, her parents' country house, herself at age eighteen and also past love Peter Walsh (which Woolf introduces here). This is rewritten in The Hours, where the eighteen-year-old Clarissa -- paralleling her namesake in Mrs. Dalloway -- is standing at the door leading out into the garden of her parents' house and then plunges into a new day, her now-lost love Richard following and addressing her with her nickname Mrs. Dalloway. As a comparison of these two beginnings shows, Cunningham adopts but also adapts Woolf's style as if he were a painter copying one of the old masters in order to come to a better understanding of the anterior (modernist) style and, at the same time, to improve his own (postmodernist) style. Cunningham does not simply edit his intertext for the twenty-first century, but he uses it as a framework from which he gradually liberates himself, developing his own style and his own ideas, and yet he frequently reverts to his intertext, consulting it as if it were a style manual.

Cunningham continues his style exercise when he copies the Mrs. Dalloway passage in which an outside view of Clarissa is introduced and she is seen from the perspective of Scrope Purvis, whose route through London briefly intersects with hers when she is waiting to cross Victoria Street (6). In The Hours, then, this scene is expanded and Scrope Purvis's comparison of Clarissa to a bird is converted into Willie Bass's more sarcastic description of her as "a female mammoth already up to its knees in the tar, taking a rest between efforts, standing bulky and proud, almost nonchalant . . ." (13).

And so does Cunningham revert to his intertext in his description of Clarissa's love for the cacophony of the city. Clarissa Dalloway, having crossed Victoria Street, hears Big Ben striking the hour and is delighted by the sounds of London:

. . . Big Ben strikes. There! Out it boomed. First a warning, musical; then the hour, irrevocable. The leaden circles dissolved in the air . . . . they love life. In people's eyes, in the swing, the tramp, and trudge; in the bellow and the uproar; the carriages, motor cars, omnibuses, vans, sandwich men shuffling and swinging; brass bands; barrel organs; in the triumph and the jingle and the strange high singing of some aeroplane overhead was what she loved; life; London; this moment in June. (6)

Cunningham retains this fascination for the urban cacophony, although he updates some of the by now-outmoded sounds which were reverberating through the London of the twenties, such as the shuffling of the sandwich men, the brass bands, and the barrel organs:

. . . men whisper offers of drugs (not to her) and three black girls whiz past on roller skates and the old woman sings, tunelessly, iiiiiii . . . . Still, she loves the world for being rude and indestructible, and she knows other people must love it too . . . . Wheels buzzing on concrete . . . the bleat of car horns and the strum of guitars (that ragged group over there, three boys and a girl, could they possibly be playing "Eight Miles High"?); leaves shimmering on the trees; a spotted dog chasing pigeons and a passing radio playing "Always love you" as the woman in the black dress stands under the arch singing iiiii. (14-15)

For his style exercise, Michael Cunningham draws upon his central intertext not only -- as I have demonstrated above -- at the beginning of his updated version of Mrs. Dalloway, but he continues to use Mrs. Dalloway as a framework throughout the whole novel. Parallel to Cunningham's citation of Mrs. Dalloway in terms of plot, structure, characterisation and style, Richard, the author in the text, recalls Cunningham's intertext when he insists on naming Clarissa Vaughan after a great figure in literature: "The name Mrs. Dalloway had been Richard's idea--a conceit tossed off one drunken dormitory night as he assured her that Vaughan was not the proper name for her. She should, he'd said, be named after a great figure in literature . . . . She was destined to charm, to prosper" (10-11).

However, he not only teases Clarissa with her nickname, he also quotes her namesake when he says to her: "It's always wonderful to see you, Mrs. Dalloway" (67). He thus parodies Clarissa Dalloway, who in a letter to Peter Walsh after his surprise visit writes "[h]ow heavenly it was to see him" (170) and who later at the party says to every guest: "How delightful to see you!" (184). Cunningham carries on with this interplay between Richard, the author embedded in the text, and his quotations of Mrs. Dalloway when Clarissa Vaughan tells Richard how beautiful and fresh the morning was and he replies: "Fresh as if issued to children on a beach" (199). At the end of his life, he cites a line taken from the beginning of Mrs. Dalloway (5).

Cunningham, by undermining a canonical text and yet drawing on it, manipulates a continuous parallel between modernism and postmodernism, and this is duplicated in a mise-en-abyme when Richard, the fictionalised author, pays homage to and yet mocks Mrs. Dalloway. Richard, the fictionalised author in The Hours quoting Mrs. Dalloway, may be understood as the internal repetition of Cunningham, the author of the story as a whole. Richard, however, goes beyond Mrs. Dalloway, and his last words -- "I don't think two people could have been happier than we've been" (200) -- quote the famous letter Virginia Woolf wrote to her husband three days before she committed suicide; a direct quotation of the entire letter can be found in the prologue to The Hours, where her suicide is related (6-7). With his last words quoting Virginia Woolf, Richard imitates the suicide of another author. Therefore, his suicide, on the one hand, imitates life and, on the other hand, imitates art as it distinctly echoes the suicide of Septimus Warren Smith. In Mrs. Dalloway, it is his suicide that connects the isolated subplot with the main plot in a most ephemeral way when Lady Bradshaw and Sir William Bradshaw, the doctor who was treating Septimus, give the suicide of "a young man" as the reason for their delayed arrival at Mrs. Dalloway's party (201). In the same way that Woolf, throughout the novel, leaves the reader puzzled regarding whether the two plots should ever connect and what the missing link would be, the final dénouement in The Hours with the merging of the two independent plots -- arranged around Clarissa Vaughan and Laura Brown respectively -- catches the reader unawares when he or she discovers with surprise that the old widow living across from Richard is his mother Laura Brown (221)--throughout the novel, the reader has been following a day in her and her son Richard's life five decades earlier.

While Mrs. Dalloway is the central intertext, it is not the only work by Virginia Woolf that Michael Cunningham draws upon. One of those texts partly rewritten and woven into The Hours is -- though not explicitly referred to -- "A Sketch of the Past.: This draft memoir is not only Woolf's most extended autobiographical statement but also discusses on a metalevel the "fictional" nature of all biography and autobiography. Woolf argues here that any representation of the past (which is based on "facts") is actively shaped and changed by our memory and, therefore, fictionalised. Woolf begins with her earliest memories:

-- I begin: the first memory.

This was of red and purple flowers on a black ground -- my mother's dress; and she was sitting either in a train or in an omnibus, and I was on her lap. I therefore saw the flowers she was wearing very close; and can still see purple and red and blue, I think, against the black; they must have been anemones, I suppose. Perhaps we were going to St Ives; more probably, for from the light it must have been evening, we were coming back to London. But it is more convenient artistically to suppose that we were going to St Ives, for that will lead to my other memory, which also seems to be my first memory, and in fact it is the most important of all my memories . . . . It is of lying half asleep, half awake, in bed in the nursery at St Ives. It is of hearing the waves breaking, one, two, one, two, and sending a splash of water over the beach; and then breaking, one, two, one, two, behind a yellow blind. It is of hearing the blind draw its little acorn across the floor as the wind blew the blind out. It is of lying and hearing this splash and seeing this light, and feeling, it is almost impossible that I should be here; of feeling the purest ecstasy I can conceive. (64-5)

Not only is it hardly accidental that Cunningham re-uses the name of the seaside town in Cornwall where Woolf spent her childhood summers with her family as a family name for one of the characters, Oliver St. Ives (89), but he also adopts and adapts the content and the style of this passage as he did with Mrs. Dalloway. However, despite being taken from an autobiographical essay recalling Woolf's childhood, it is not rewritten into one of the sections entitled "Mrs. Woolf" but is used as a model for the description of Clarissa Vaughan's earliest memories:

Standing in front of the bookstore window, she is visited by an old memory, a tree branch tapping against a window as, from somewhere else (downstairs?), faint music, the low moan of a jazz band, started up on a phonograph. It is not her first memory (that seems to involve a snail crawling over the lip of a curb) or even her second (her mother's straw sandals, or maybe the two are reversed), but this memory more than any other feels urgent and deeply, almost supernaturally comforting. Clarissa would have been in a house in Wisconsin, probably; one of the many her parents rented during the summers (rarely the same one twice -- each proved to have some defect for her mother to stitch into her ongoing narrative, the Vaughan Family's Trail of Tears Tour of the Wisconsin Dells). Clarissa would have been three or four, in a house to which she would never return, about which she retains no recollection except this, utterly distinct, clearer than some things that happened yesterday: a branch tapping at a window as the sound of horns began; as if the tree, being unsettled by wind, had somehow caused the music. It seems that at that moment she began to inhabit the world; to understand the promises implied by an order larger than human happiness, though it contained human happiness along with every other emotion. (22-3)

A detailed comparison of this passage with its intertext shows in what ways Cunningham (while keeping the original scene of a holiday house rented out for the summer) again updates and transfers the content to a North-American setting more than half a century later but essentially retains the style of the intertext, even though he adjusts the first-person narrative to the third person and, consequently, abandons the metalevel, on which Woolf as the author perceives literature's need for altering the past in order to gain more fluid transitions. However, the uncertainty when recollecting the past is expressed by both Virginia Woolf and Clarissa Vaughan in their difficulty in pinpointing their very first memory. They both at first describe a visual memory, which is then abandoned for a more important aural memory, which itself can be broken down into two separate rhythmical aural sensations: in Woolf's text, the breaking of the waves in the distance and the wind blowing the blind out, which in its turn draws its acorn across the floor, whereas in Cunningham's text, the wind is the cause for the tree branch tapping against the window, and Clarissa can make out faint music from a phonograph. And they both experience a strong emotion of being alive and of immense joy at this moment, though the words chosen to depict this moment are not the same.

In "A Sketch of the Past," Woolf also describes what she calls "moments of being," exceptional moments in which "something happened so violently that I have remembered it all my life" (70). They form a contrast to the "moments of non-being," the greater part of the day which is "not lived consciously" (70). Modelled on these two terms coined by Woolf, Cunningham introduces the notion of "unbeing": upon her return from the hotel, where she had spent the afternoon reading Mrs. Dalloway, Laura Brown "is overtaken by a sensation of unbeing. There is no other word for it. . . . she is no one, she is nothing" (188). After having spent a couple of hours on her own outside her role as a wife and mother, she feels that she has "slipped out of her life" (188). Even though Cunningham does not explicitly declare "A Sketch of the Past" as an intertext for The Hours, the strongly implied similarities between the two passages presented here and the creative manner in which Cunningham deals with his intertext are not lost on an attentive reader familiar with Woolf's major works.

However, The Hours echoes not only -- as shown above -- Woolf's works in terms of style and plot but also in terms of ideas. That Cunningham names one character "Mrs. Brown" is not purely accidental, moreover, it is an intertextual reference to Woolf's article "Mr. Bennett and Mrs. Brown," which formed the basis for the paper "Character in Fiction" (which was later issued as a pamphlet under its original title). In these two essays -- both exerted a powerful influence on literary modernism -- Woolf evokes the figure of Mrs. Brown, who rose before her and said: "My name is Brown. Catch me if you can" (Character 420). The capture of Mrs. Brown, the representation of the character who is "eternal" and stands for "human nature" (430), is the major purpose of any novel. The (modernist) writer "must set about to remake the woman after his own idea" (Mr. Bennett 387); "it is from the gleams and flashes of this flying spirit that he must create solid, living, flesh-and-blood Mrs. Brown" (388). In The Hours, the only protagonist who is neither based on historical facts (like the characters in the biographical sections on Mrs. Woolf) nor on fiction (like the characters in the sections rewriting Mrs. Dalloway) is Laura Brown. It seems as if Cunningham had set out here on the pursuit of Mrs. Brown, as if he was going to "remake the woman after his own idea," but -- as I am going to show -- the character of Laura Brown is not entirely free of intertextual references, not even of references to the essay which discusses the very idea of Mrs. Brown, in which Woolf, during a journey in a railway carriage, invents a story for the woman sitting opposite her and whom she comes to call "Mrs. Brown." She imagines "that, having been deserted, or left a widow, years ago, she had led an anxious, harried life, bringing up an only son, perhaps, who, as likely as not, was by this time beginning to go to the bad" (Character 423). And so is Laura Brown at the end of the novel all alone, after her ex-husband has been carried off by liver cancer, her daughter has been killed by a drunk driver and her son, the only member of the family left, has committed suicide (222).

The -- for the novelist, imperative -- pursuit of Mrs. Brown, however, is not the only concept Cunningham takes from Woolf's works and rewrites into The Hours. In her paper "Professions for Women," Woolf speaks of her own professional experience as a woman writer and the obstacles she encountered first while reviewing other writers and then while writing novels. One obstacle for the professional woman writer of her generation was The Angel in the House:

I will describe her as shortly as I can. She was intensely sympathetic. She was immensely charming. She was utterly unselfish. She excelled in the difficult arts of family life. She sacrificed herself daily. If there was a chicken, she took the leg; if there was a draught she sat in it -- in short she was so constituted that she never had a mind or a wish of her own, but preferred to sympathize always with the minds and wishes of others. (1987)

This phantom of The Angel in the House -- which Woolf, acting in self-defence, had to kill in the end in order to be able to write freely -- is modelled on the heroine of Coventry Patmore's long poem of the same name, itself an intertext to Cunningham's intertext. This best-seller of the Victorian era (Woolf's mother owned a copy of it with a personal inscription by the author himself) is dedicated to Patmore's first wife and expresses the Victorian ideal of married love. It tells the courtship and marriage of Honoria, a girl absolutely simple, pure, gentle, kind, and unselfish -- in short, the very paradigm of a Victorian lady and almost literally an angel on earth. For a wife, though, being The Angel in the House implies that her husband is the lord and stands above her. Patmore, therefore, particularly praises Honoria's way of lifting him up: "On wings of love uplifted free, / And by her gentleness made great, / I'll teach how noble man should be / To match with such a lovely mate . . ." (71). As Sandra Gilbert and Susan Gubar remark, the essential virtue of The Angel in the House is that her virtue makes her poet-husband "great" (22).

The fictional character of The Angel in the House pervaded Victorian culture, and -- one might argue -- other cultures as well, having an oppressive effect on women's lives. In The Hours, all three female protagonists struggle in one way or the other with this phantom of a perfect and devoted wife, even Clarissa Vaughan, although one might think that this male conception of Victorian womanhood would no longer have an effect on a modern Western woman who lives in New York City at the end of the twentieth century and, on top of this, is a lesbian and thus -- one might assume -- stands apart from this gendered ideal. However, Clarissa, too, sees her essential virtue in pleasing others; she wants to give Richard a perfect party: "She will give Richard the best party she can manage. She will try to create something temporal, even trivial, but perfect in its way. She will see to it that he is surrounded by people who genuinely respect and admire him . . ." (123). By fulfilling such a trivial task as composing a guest-list of people respecting and admiring Richard, a guest-list which should make Richard "great," Clarissa submits herself to the Victorian ideal of The Angel in the House. Moreover, she thinks of it as "her tribute, her gift" and cannot think of anything more she could offer him (123).

Clarissa's other actions fit well with her goal of "offering" Richard the perfect party: for instance, she arranges the flowers she has bought for the party (123), a task very much associated with femininity and good housekeeping. When Louis asks for a simple glass of water, Clarissa goes into the kitchen and "returns with two glasses of water (carbonated, with ice and lemon)" (127); by making a trivial glass of water perfect in its way, she makes an art out of housekeeping. The flat she has together with Sally is furnished with taste and could be featured in a glossy magazine for interior design (91, 127). So it comes as no surprise that Richard told Clarissa once, thirty years earlier, that "under her pirate-girl veneer lay all the makings of a good suburban wife . . ." (16), and that he thinks that she "has, at heart, become a society wife . . ." (20). [4] Even though she would reject this thought, Clarissa has submitted herself to the charms of The Angel in the House.

If -- as Richard claims -- Clarissa "stands not only for herself but for the gifts and frailties of her entire sex" (19), this ideal of femininity should also be found with other female characters in The Hours. Consequently, even the younger generation represented by Clarissa's daughter Julia, who is about to drag her reluctant girl-friend Mary Krull on a shopping spree, "could be some cheerful wife, shepherding her husband through a day of errands. She could be a figure from the fifties, if you made a few relatively minor alterations" (159). These few exterior alterations are like the ones Cunningham makes when he transcodes the characterisations of the anterior text Mrs. Dalloway to The Hours.

Compared with the other sections, the phantom of The Angel in the House is less prominent in the sections describing Woolf's day, but there are, nevertheless, some allusions to it. In a well-to-do Victorian household, the wife was in charge of the servants, and dealing with servants was often regarded as a skill in its own right: "There's an art to it, as there's an art to everything . . ." (115). Woolf, though, struggles with it and envies her mother and her sister Vanessa, who seem to manage this art "beautifully" (87). Because she neglected her duties as the lady of the house and failed to discuss the menu with her maid Nelly in the morning and because she wants to offer Vanessa a pudding fancier than pears, she especially sends Nelly to London for China tea and sugared ginger (86).

In the sections entitled "Mrs. Brown," now, we have a longing to correspond to this idealised image of the Angel in the House but also, at the same time, an inability to fulfil these demands. Consequently, Laura Brown finds herself on the verge of madness. When the reader first is introduced to her, she is reading in bed and feeling guilty that she is not up yet: "She should be out of bed, showered and dressed, fixing breakfast for Dan and Richie . . . . She should be there, shouldn't she? She should be standing before the stove in her new robe, full of simple, encouraging talk" (38). "[T]o perform simple and essentially foolish tasks, to examine tomatoes, to sit under a hair dryer" is what "her art and duty" is (42). She should be performing the part of the happy housewife; a role which she feels she is unable to act convincingly and in which she feels like an impostor: "[S]he felt the dank sensation around her, the nowhere feeling, and knew it was going to be a difficult day. She knew she was going to have trouble believing in herself . . ." (38).

However, as Gilbert and Gubar argue, The Angel in the House is not the only role men have traditionally assigned to women: the other extreme of roles generated for women is its mirror image, "its necessary opposite and double," the "monster" in the house (17). In their analysis of male perceptions of women in literature, they demonstrate that "the monster may not only be concealed behind the angel, she may actually turn out to reside within (or the lower half of) the angel" (29, italics in original). As much as Laura desires to succeed in her role as "a paragon of domestic competence" (107), she also has to wrestle with another phantom, the "woman of sorrows," the very opposite of the cheerful housewife: "She wants to be loved. She wants to be a competent mother reading calmly to her child; she wants to be a wife who sets a perfect table. She does not want, not at all, to be the strange woman, the pathetic creature, full of quirks and rages, solitary, sulking, tolerated but not loved" (101).

In order to overcome this phantom lurking within her and interfering with her daily role of a devoted wife and happy mother, she decides to bake the perfect cake for her husband's birthday, "a cake that banishes sorrow, even if only for a little while" (144). The cake is a means to re-establish her role as The Angel in the House and as this, it "will speak of bounty and delight the way a good house speaks of comfort and safety" (76). Thus the moment she imagines her cake as glossy and resplendent as any photograph of a cake in any magazine, she feels that "[s]he is herself and she is the perfect picture of herself; there is no difference" (76). At this moment, the ideal of The Angel in the House tallies with reality. When image and self correspond to each other, Laura is at ease with herself because the threatening figure of the woman of sorrows seems to be banished. However, the cake does not turn out as beautiful as pictured. In Laura's eyes, it does not stand up to her expectations: "Her cake is a failure" (100). She panics, and her subsequent flight from her incompetence in performing her assigned role ends at the Normandy, a hotel on the outskirts of Los Angeles, where Laura realises that "she's come, in some obscure way, to escape a cake" (147).

In her flight from her inability to act the part of The Angel in the House, a role she has not rehearsed, Laura is looking for "somewhere private, silent, where she can read, where she can think . . . . Even a library would be too public, as would a park" (145). In her quest for a private space where she can be on her own and does not have to perform, she finally finds refuge in a neutral hotel room, where she spends the afternoon reading Mrs. Dalloway. This idea that a woman needs the privacy of a room she has of her own clearly echoes the claim Woolf makes in her ground-breaking essay on women and fiction, A Room of One's Own: "[A] woman must have money and a room of her own if she is to write fiction . . ." (1927). In The Hours, however, the purpose has changed: the room is no longer used for writing fiction exclusively, but the claim has been extended beyond the creative act of writing to the act of reading. Even the economic aspect of Woolf's demand for money and a room to oneself is recalled when Laura, before checking into the hotel, asks herself how much a room costs and if she can spare the money: "Yes, it's wasteful -- a hotel room for an entire night, when all she means to do is sit there reading for two hours or so -- but money is not particularly tight right now, and she runs the household with relative thrift" (146). Women thus first need a certain degree of financial independence before they can afford a room of their own.

The hotel itself is described as "V-shaped" (146), a reference to Virginia Woolf and probably also to the dust jacket of the first edition of A Room of One's Own, designed by her sister Vanessa Bell, which incorporates a clock whose hands show ten to two, forming a "V" (Hussey 232, 237). This point is supported by the fact that the V-shaped architecture is further described in The Hours as "twin white ten-story wings" (146, italics mine) and thus echoes the time shown on the clock.

The moment Laura enters the lobby, she feels that she has reached her destination: "This hotel, this lobby, is precisely what she wants -- the cool nowhere of it, the immaculate non-smell, the brisk unemotional comings and goings. She feels, immediately, like a citizen of this place" (146-7, italics mine). What attracts her is the absence of any distinct qualities, that the place is void of any characteristics. She seems to stand on neutral ground where neither The Angel in the House nor her mirror-image, The Woman of Sorrows, reign. In "her" room (149), then, she feels "safe" and thinks that "[h]aving this room to herself seems both prim and whorish" (150), again recalling the two extreme roles men have traditionally assigned to women: the angel and the monster. Here, however, they do not seem to be irreconcilable opposites anymore, since the two conceptions are both present at the same time.

So far, I have discussed the intertextuality between Michael Cunningham's The Hours and, taking Mrs. Dalloway as an obvious starting point, Virginia Woolf's works. However, the intertextual references in The Hours go beyond Virginia Woolf and also include Doris Lessing. Though there are some essential differences between the two women writers, in many ways, they are similar. Some of the similarities Jean Tobin specifies are that they both are major British women novelists, "complementary in that they have neatly divided up the twentieth century between them;" that both have written novels permeated with the sights and smells of their place of residence, London; that they both have been voracious readers; both have been vitally interested in the workings of the mind in madness; and that they both have been outsiders (149). [5] In the scope of this essay, the most relevant similarity is that they both wrote books of great value to women, books which have made a great impact on women's writing and the women's movement, yet neither of them would have called herself a feminist.

Many critics have described A Room of One's Own as the founding text of modern feminist literary theory, in which Woolf stresses in her history of women's writing the importance of a literary tradition, the importance of other women writers such as Jane Austen, Emily and Charlotte Brontë, George Eliot and others who had gone before her to prepare the way because "we think back through our mothers if we are women" (1966) -- meaning the literary foremothers as well as the biological mothers. In The Hours, the importance of mothers and matrilineage prevails throughout the novel, especially in the way Laura Brown is a biological mother to Richard and Woolf is a literary foremother to Cunningham, so that, by including intertexts by Lessing, a line of descent can be traced from Woolf to Lessing and on to Cunningham.

Apart from Lessing's The Golden Notebook, which is mentioned explicitly in The Hours, her short story "To Room Nineteen" is indirectly alluded to when Laura Brown is given a hotel room with the same number (148). However, Cunningham does not leave it at that: moreover, the main plot of the sections entitled "Mrs. Brown" is based on Lessing's short story, which is about a mother of four children living -- as it appears on the surface -- in a perfect marriage. She, too, feels an impostor in family life and longs for some private space: "She dreamed of having a room or a place, anywhere, where she could go and sit, by herself, no one knowing where she was" (2311). She finally finds a room - room nineteen - in a rather seedy hotel, which she rents from time to time for the day and where she retreats to in order to spend the day in an "absolute solitude," where no one knows her or cares for her (2312). Her slowly increasing insanity, which she is aware of as she sees in the looking glass "the reflection of a madwoman" (2314), is yet another instance of the notorious dichotomy between the angel and the monster, which is recalled in The Hours by The Woman of Sorrows.

While the source for the plot of the sections entitled "Mrs. Brown" is not overtly declared, another book by the same author is explicitly mentioned: the eighteen-year old Clarissa had a copy of The Golden Notebook on her nightstand, but this was more than thirty  years  ago  and "Lessing  has  been  long  overshadowed  by  other writers . . ." (98).

Clarissa thus acknowledges a line of descent but also a certain distance she has gained from the women's movement of the sixties, which almost immediately hailed The Golden Notebook as their bible when it was published in 1962. By naming the protagonist of her largely autobiographical novel Anna Wulf, Lessing clearly invokes Virginia Woolf as a literary foremother. Anna Wulf is a single mother living in post-war London, disillusioned with the Communist party, who is trying to come to terms with her life. In order to conquer her writer's block encountered while writing her novel "Free Women," she deconstructs her life in four notebooks, each notebook presenting a facet of her life: the black notebook deals with her past in Africa, the red notebook records her thoughts on the current politics, the yellow notebook depicts her attempt to fictionalise her writer's block, and the blue notebook is intended as a personal diary. Sections of these notebooks are inserted between sections of her novel "Free Women," which narrates Anna's life from the omniscient narrator's point of view but which is a struggle for her to finish.

This fractured, postmodern structure, with the different strands divided up into sections instead of chapters inspired Cunningham in his organisation of The Hours, where three separate strands, each centred on a single day in the life of a different person, run parallel and form individual units, though they also intersect as they all relate in one way or the other to Woolf's Mrs. Dalloway. The structure of The Hours is all the more modelled on The Golden Notebook where in a final dénouement all falls into place when Anna realises that the four notebooks fail to integrate her multiple selves into a unified whole and, accordingly, she abandons her notebooks, creating out of the fragments an inner Golden Notebook. So, having found herself in the midst of an emotional breakdown, she breaks through and writes down the first sentence of her new book: "The two women were alone in the London flat" (547), the very same sentence her novel "Free Women" opened with at the beginning of The Golden Notebook (9). The reader now perceives that this is the novel he or she has been reading all along and that the various notebooks are finally united in one book.

Such a final dénouement, where the different strands come together, is also found in Woolf's Mrs. Dalloway, where the subplot around Septimus Warren Smith connects with the main plot in a most evanescent way -- and unexpected by the reader -- at the end of the novel, and in The Hours, where the plot takes an unexpected turn and Laura Brown suddenly appears fifty years later in a section entitled "Mrs. Dalloway," though the reader always thought the three strands to be independent, mainly because of their temporal and spatial distance. In the same way as we are now able to reconstruct a biological line of descent from Laura, the mother, to her son Richard, the similar structures of the three novels display a mental line of descent from Woolf to Lessing and on to Cunningham.

With a structure modelled on the structures of Mrs. Dalloway and The Golden Notebook, Cunningham pays homage to his foremothers. However, he does not follow his predecessors slavishly; he rather adapts them for his own purposes. Whereas the dual narrative of Mrs. Dalloway centres around the two principal characters, and the different narrative strands in The Golden Notebook display the different inner facets of an individual, in The Hours, the triple narrative splits up the literary experience into the author (the "Mrs. Woolf" section), the text (the "Mrs. Dalloway" section), and the reader (the "Mrs. Brown" section). Even though a reader of The Hours conceives of those three narrative strands as independent, he or she perceives the structural parallels and intersections as parts of a unified whole.

How Cunningham makes the three factors of the literary experience interact can be shown, for example, in the way the metaphor of the "plunge" is used throughout the different sections. The metaphor itself is taken from the beginning of the central intertext, Mrs. Dalloway: "What a lark! What a plunge! For so it had always seemed to her when . . . she had burst open the French windows and plunged at Bourton into the open air" (5). [6] In Cunningham's fictionalised account of the creative act of writing, Virginia Woolf's decision to go on a jaunt to London is the trigger for her ejaculation: "What a lark! What a plunge!" (167). The idea of the plunge, however, is introduced before when Virginia Woolf, the inscribed author, dreams that "[a] stone maiden, smoothed by the weather, stands at the edge of a clear pool and muses into the water" (30). The stimulus for Cunningham to use the image of the inspirational muse was probably Peter's question -- "Musing among the vegetables?" (5) -- which follows Woolf's description of Clarissa Dalloway plunging into a new day. This concept is repeated when Woolf, serving as Cunningham's muse, causes him to write the scene of the plunge based on the inspirations she has given him: ". . . Clarissa pauses at the threshold as she would at the edge of a pool, watching the turquoise water lapping at the tiles, the liquid nets of sun wavering in the blue depths. As if standing at the edge of a pool she delays for a moment the plunge, the quick membrane of chill, the plain shock of immersion" (9). The literary experience, however, goes beyond the text itself and the creative act of writing; it includes the act of reading, too. Laura Brown, after having read Woolf's initial passage describing Clarissa's plunge into the fresh air at Bourton -- the passage is quoted verbatim in The Hours (38-9) -- echoes this image: "Summoning resolve, as if she were about to dive into cold water, Laura closes the book . . ." (41). By means of the various interconnections and parallels between the different narrative strands, Cunningham constructs an imaginary arc running from the author to the text and on to the reader. Even though both author and reader are fictionalised in The Hours and, consequently, are not based upon empirical facts, they nevertheless allow insights into how Cunningham as an author and reader conceives of the acts of writing and reading.

By devoting one of the three narrative strands to the reader, Cunningham acknowledges that the reader is not a mere consumer of literature but that the very act of reading calls the text into being -- a claim made by reader-response criticism. Although the scholars assembled under this umbrella term support widely diverging theories, they all agree that a text cannot be regarded as an absolute entity standing on its own and that the meaning of a text is created through the process of reading (Bennett and Royle 12). Bennett remarks in his wide-ranging introduction to reader-response criticism that the modern, post-enlightenment concept of reading "involves a dissolution of the world and the reader's self into the book" (5). This idea of a "falling away of the barriers between you and it" (Poulet 104), between the world of reader and the world of the book, between reality and fiction is documented in The Hours, where the three narrative strands represent parallel worlds and where Laura Brown, reading the first lines of Mrs. Dalloway, tries to enter another world: "Laura Brown is trying to lose herself. No, that's not it exactly--she is trying to keep herself by gaining entry into a parallel world" (37).

However, the phenomenon of literature as an interaction between text and reader can be extended to the author, who in his or her turn tries to enter a parallel world; like Virginia Woolf in The Hours, who, before putting the first sentence down to paper, thinks that she might break the barrier and reach this other world: "This morning she may penetrate the obfuscation, the clogged pipes, to reach the gold. She can feel it inside her, an all but indescribable second self, or rather a parallel, purer self" (34). Hence it follows that the act of reading is not only an interaction between a literary work and its recipient but a fusion of author, text, and reader: "I am someone who happens to have as objects of his own thought, thoughts which are part of a book I am reading, and which are therefore the cogitations of another. They are the thoughts of another, and yet it is I who am their subject . . . . This I who thinks in me when I read a book, is the I of the one who writes the book" (Poulet 106, 108, italics in original). This central aspect of Poulet's "Phenomenology of Reading," the fusion of author, text and reader, can also be found in The Hours, where Laura Brown, after having spent the afternoon reading Mrs. Dalloway away in a hotel room, discovers that the barriers between herself, the text, and the author have fallen down: "Laura occupies a twilight zone of sorts . . . . She is herself and not herself. She is a woman in London, an aristocrat, pale and charming, a little false; she is Virginia Woolf; and she is this other, the inchoate, tumbling thing known as herself . . ." (187). The reader is host not only to the text, which comes into being through the act of reading, but also to the author, whose thoughts and feelings are written into the text because "[i]t is his means of saving his identity from death" (Poulet 108).

As Clayton and Rothstein show, a strong reader-response theory is connected with some form of intertextuality (16) because, after all, it is the reader who discovers the inter- in intertextuality; it is the reader who disentangles the different intertextual strands; it is the reader who is the organising centre of interpretation. Roland Barthes remarks that if a text is "a multi-dimensional space in which are married and contested several writings, none of which is original," "a fabric of quotations, resulting from a thousand sources of culture," then it follows that "the writer can only imitate an ever anterior, never original gesture; his sole power is to mingle writings, to counter some by others, so as never to rely on just one" (52-53). Subsequently, Barthes proclaims "the death of the Author" (with a capital A, referring to the divine qualities often attributed to this figure). The "death of the Author," however, is synonymous with "the birth of the reader" (55), since it is the act of reading which generates the meaning of a text: "[T]here is a site where this multiplicity [of writings] is collected, and this site is not the author, as has hitherto been claimed, but the reader: the reader is the very space in which are inscribed . . . all the citations out of which a writing is made; the unity of a text is not in its origin but in its destination . . ." (54).

Ironically enough, The Hours is framed by the deaths of two authors: the prologue, based on facts, recounts the suicide of a real author, Virginia Woolf, and the novel ends with the suicide of Richard, the fictional author, imitating the suicide of Septimus Warren Smith, a fictional character -- and it is Laura Brown, the reader, who outlives all the others:

So Laura Brown, the woman who tried to die and failed at it, the woman who fled her family, is alive when all the others, all those who struggled to survive in her wake, have passed away. She is alive now, after her ex-husband has been carried off by liver cancer, after her daughter has been killed by a drunk driver. She is alive after Richard has jumped from a window onto a bed of broken glass. (222)

Likewise, the author Cunningham commits suicide as he -- by choosing pastiche as his rhetorical device and both imitating and transforming anterior texts -- denies the originary creative power of the god-like Author. However, he is reincarnated in the form of the reader because, as a compiler of anterior texts, he has to read avidly and voraciously. By devoting one of the three narrative strands to the reader, Cunningham splits up the traditional binary relationship between the author and the text and introduces a third element, which completes the literary experience. Reading thus becomes part of the creative act of writing, as Kristeva in her intertextual interpretation of Bakhtin's ideas remarks: "When he speaks of 'two paths merging within the narrative' Bakhtin considers writing as a reading of the anterior literary corpus and the text as an absorption of and a reply to another text" (69). From her abstract model illustrating the dialogue between the writer ("subject of narration") and the reader ("addressee") (74-5) follows that in intertextual writing -- like in the Bakhtinian "polyphonic novel" (71) -- the writer is at the same time a reader: "The writer's interlocutor, then, is the writer himself, but as the reader of another text. The one who writes is the same who reads. Since his interlocutor is a text, he himself is no more than a text rereading itself as it rewrites itself" (86-7).

For the author-turned-reader Cunningham, the act of reading assumes greater importance than the act of writing as ample research and reading is required for an accurate representation of Woolf's life and for the compilation of a pastiche out of her works. In order to write The Hours, he had to read not only all the biographies and critical articles listed at the end of the novel in "A Note on Sources" (229-30) but also -- as I have shown in this essay -- several of Woolf's works on top of Mrs. Dalloway. And so does the inscribed reader, Laura Brown, who is an incessant reader, a "bookworm" (40): "Right now she is reading Virginia Woolf, all of Virginia Woolf, book by book . . ." (42). And so was Woolf herself an avid and voracious reader as she confesses in A Room of One's Own: "Like most uneducated Englishwomen, I like reading -- I like reading books in the bulk" (1983). When she died, she left among all her other works sixty-seven volumes of her reading notebooks, most of whose entries concern books she reviewed or used in one of her critical or biographical essays (Hussey 227). Cunningham, then, by devoting one of the three narrative strands to the reader and by extending Woolf's demand for a room of one's own for writing to a room of one's own for reading, acknowledges the vital part the act of reading plays for the writer.

If the act of reading is the third element completing the literary experience, is the reader then the "third tiger" mentioned in the epigraph? The epigraph quotes a passage from the poem The Other Tiger by Jorge Luis Borges:

We'll hunt for a third tiger now, but like the others this one too will be a form of what I dream, a structure of words, and not the flesh and bone tiger that beyond all myths paces the earth. I know these things quite well, yet nonetheless some force keeps driving me in this vague, unreasonable, and ancient quest, and I go on pursuing through the hours another tiger, the beast not found in verse. (epigraph, italics mine)

Is the third tiger Cunningham pursues through The Hours not the reader? Cunningham's citation of Borges' hunt for the third tiger and the interpretation of the tiger as a metaphor for the reader would align with Woolf's literary manifesto "Mr. Bennett and Mrs. Brown" [7] , where she calls upon the novelist to capture the character Mrs. Brown: "[I]t is from the gleams and flashes of this flying spirit that he must create solid, living, flesh-and-blood Mrs. Brown" (388). In The Hours, Cunningham sets out on the pursuit of his third tiger, the reader Laura Brown. She is Cunningham's "beast not found in verse" as she is the most autonomous of all principal characters in The Hours, neither closely based on a historical figure (like Virginia Woolf) nor on a fictional character (like Clarissa Vaughan), although -- as shown above -- the representation of her is not entirely free of intertextual references.

By tracing the various allusions to Woolf's life and works in The Hours, I have disentangled some, but hardly all, of the intertextual references which Cunningham weaves into a dazzling pastiche, adopting but also adapting the anterior texts for his own purposes. Cunningham, by mimicking anterior authors and thus denying the conventional concept of the author as the originary source of all textual meaning, kills himself into pastiche. However, he finds his reincarnation in the reader as he -- in order to write pastiche -- has to read avidly and voraciously. And so do we, the readers of The Hours, come to appreciate the intertextual web more fully when we have read the intertexts and thus are able to detect the echoes and witness how skilfully Cunningham manipulates them. Reading, then, no longer allows passive consumption, in contrast, the reader is challenged to respond to the open interplay between The Hours and its intertexts. As the author, the origin and centre of meaning, has committed suicide, the interpretative power shifts now from the writer towards the reader, who, by discovering the inter in intertextuality and by complementing the text with his or her previous reading experience of the intertexts, becomes a co-writer of the text. Pastiche gives the reader more autonomy, which accounts for the diversity of interpretations, since all readers are individuals who have read different intertexts. Correspondingly, my interpretation of The Hours is one among many because it is based on my own personal reading experience of the intertextual references, which I have unravelled and traced back to the anterior texts, and on critical writing on intertextuality, reader-response criticism, the status of the author, and pastiche, which I -- caught in the web of intertextuality as I was -- had to consult in order to find my way around.

Works Cited

Primary Sources:

Cunningham, Michael. The Hours. London: Fourth Estate, 1999.

Joyce, James. Ulysses. Paris: Shakespeare and Company, 1922.

Lessing, Doris. The Golden Notebook. London: Michael Joseph, 1962.

_____. "To Room Nineteen." Norton Anthology of English Literature. Gen. ed. M.H. Abrams. 6th edition. Vol 2. New York: W.W. Norton & Co., 1993.

Patmore, Coventry. The Angel in the House. The Poems of Coventry Patmore. Ed. Frederick Page. London: Oxford University Press, 1949. 61-208.

Woolf, Virginia. A Room of One's Own. Norton Anthology of English Literature. Gen. ed. M.H. Abrams. 6th edition. Vol 2. New York: W.W. Norton & Co., 1993.

_____. "A Sketch of the Past." Moments of Being: Unpublished Autobiographical Writings. Ed. Jeanne Schulkind. London: The University Press Sussex, 1976. 64-137.

_____. "Character in Fiction." The Essays of Virginia Woolf. Ed. Andrew McNeillie. Vol. 3. San Diego: Harcourt Brace Jovanovich, 1988. 420-38.

_____. "Mr. Bennett and Mrs. Brown." The Essays of Virginia Woolf. Ed. Andrew McNeillie. Vol. 3. San Diego: Harcourt Brace Jovanovich, 1988. 384-9.

_____. Mrs. Dalloway. London: Penguin, 1996.

_____. Mrs. Dalloway's Party: A Short Story Sequence. Ed. Stella McNichol. London: The Hogarth Press, 1978.

_____. "Professions for Women." Norton Anthology of English Literature. Gen. ed. M.H. Abrams. 6th edition. Vol 2. New York: W.W. Norton & Co., 1993.

Secondary Sources:

Barthes, Roland. "The Death of the Author." The Rustle of Language. Oxford: Basil Blackwell, 1986. 49-55.

Bennett, Andrew. "Introduction." Readers and Reading. Ed. Andrew Bennett. London: Longman, 1995. 1-19.

Bennett, Andrew and Nicholas Royle. "Readers and Reading." Introduction to Literature, Criticism and Theory. 2nd ed. London: Prentice Hall, 1999. 9-18.

_____. "The Author." Introduction to Literature, Criticism and Theory. 2nd ed. London: Prentice Hall, 1999. 19-27.

Bloom, Harold. The Anxiety of Influence: A Theory of Poetry. New York: Oxford University Press, 1973.

Clayton, Jon and Eric Rothstein. "Figures in the Corpus: Theories of Influence and Intertextuality." Influence and Intertextuality in Literary History. Ed. Jay Clayton and Eric Rothstein. Wisconsin: The University of Wisconsin Press, 1991. 3-36.

De Certeau, Michel. "Reading as Poaching." Readers and Reading. Ed. Andrew Bennett. London: Longman, 1995. 150-63.

Foucault, Michel. "What Is an Author?" The Foucault Reader. Ed. Paul Rabinow. London: Penguin, 1991. 101-20.

Friedman, Susan Stanford. "Weavings: Intertextuality and the (Re)Birth of the Author." Influence and Intertextuality in Literary History. Ed. Jay Clayton and Eric Rothstein. Wisconsin: The University of Wisconsin Press, 1991. 146-80.

Gilbert, Sandra M. and Susan Gubar. The Madwoman in the Attic: The Woman Writer and the Nineteenth-Century Literary Imagination. New Haven: Yale University Press, 1979.

Hussey, Mark. Virginia Woolf A to Z: A Comprehensive Reference for Students, Teachers and Common Readers to Her Life, Work and Critical Reception. New York: Facts on File, 1995.

Hutcheon, Linda. "Historiographic Metafiction: Parody and the Intertextuality of History." Intertextuality and Contemporary American Fiction. Ed. Patrick O'Donnell and Robert Con Davis. Baltimore: The Johns Hopkins University Press, 1989. 3-32.

Iser, Wolfgang. "Interaction between Text and Reader." Readers and Reading. Ed. Andrew Bennett. London: Longman, 1995. 20-31.

Jameson, Fredric. "Postmodernism and Consumer Society." The Anti-Aesthetic: Essays on Postmodern Culture. Ed. Hal Foster. Seattle: Bay Press, 1983. 111-25.

Kristeva, Julia. "Word, Dialogue, and Novel." Desire In Language: A Semiotic Approach to Literature and Art. Ed. Leon S. Roudiez. New York: Columbia University Press, 1980. 64-91.

McNichol, Stella. "Introduction." Virginia Woolf. Mrs. Dalloway's Party: A Short Story Sequence. Ed. Stella McNichol. London: The Hogarth Press, 1978. 9-17.

Morgan, Thaïs. "The Space of Intertextuality." Intertextuality and Contemporary American Fiction. Ed. Patrick O'Donnell and Robert Con Davis. Baltimore: The Johns Hopkins University Press, 1989. 239-79.

O'Donnell, Patrick and Robert Con Davis. "Introduction: Intertext and Contemporary American Fiction." Intertextuality and Contemporary American Fiction. Ed. Patrick O'Donnell and Robert Con Davis. Baltimore: The Johns Hopkins University Press, 1989. ix-xxii.

Poulet, Georges. "Phenomenology of Reading." Issues in Contemporary Literary Criticism. Ed. Gregory T. Polletta. Boston: Little, Brown & Co., 1973. 103-18.

Riffaterre, Michael. "Intertextual Representation: On Mimesis as Interpretive Discourse." Critical Inquiry 11:1 (1984): 141-62.

Rose, Margaret A. Parody: Ancient, Modern, and Post-Modern. Cambridge: Cambridge University Press, 1993.

Schweickart, Patrocinio P. "Reading Ourselves: Toward a Feminist Theory of Reading." Readers and Reading. Ed. Andrew Bennett. London: Longman, 1995. 66-93.

Spivak, Gayatri Chakravorty. "Translator's Preface." Jacques Derrida. Of Grammatology. Baltimore: The Johns Hopkins University Press, 1976. ix-lxxxvii.

Tobin, Jean. "On Creativity: Woolf's The Waves and Lessing's The Golden Notebook." Woolf and Lessing: Breaking the Mold. Ed. Ruth Saxton and Jean Tobin. New York: St. Martin's Press, 1994. 147-83.

Waller, Margaret. "An Interview with Julia Kristeva." Intertextuality and Contemporary American Fiction. Ed. Patrick O'Donnell and Robert Con Davis. Baltimore: The Johns Hopkins University Press, 1989. 280-93.

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[1] Her essay itself is an example of intertextuality as she, under the guise of introducing the writings of Mikhail Bakhtin to French theorists, produces in a mosaic of half-revealed, half-concealed quotations her own reading of his discourse (Friedman 147 and Morgan 260).

[2] As the concept of intertextuality presumes that the number of ways texts are capable of interrelating is potentially infinite, Mrs. Dalloway itself is not free of intertextual relations, most prominently with James Joyce's Ulysses, the other classic example for the English modernist novel, which is also set in a particular city on a single day in June and traces its characters' routes and their intersections. In 1922, Woolf began writing on Mrs. Dalloway while rereading Ulysses for her essays that she would publish later in The Common Reader (Hussey 172, 174). Nor is Mrs. Dalloway free of intratextual relations, i.e. relations among earlier and later texts by the same author, particularly with a loose series of seven short stories, edited by Stella McNichol in Mrs. Dalloway's Party: A Short Story Sequence. Woolf wrote these short stories concurrently with the novel, and while all the pieces bear some relation to Mrs. Dalloway, the first one, "Mrs. Dalloway in Bond Street," is the one most closely connected with the genesis of the novel as it was originally intended to form the first chapter but was later rejected from the novel by Woolf (McNichol 10, 13-14).

[3] As Richard's nicknaming of Clarissa is not purely arbitrary, so is Cunningham's choice of Vaughan as a family name for Clarissa probably not completely at random: Hussey remarks that Sally Seton in Mrs. Dalloway owes something to Woolf's memories of Madge Vaughan, with whom she exchanged manuscripts and criticisms. Woolf's initial passionate attachment to her dwindled in the 1920s, finding that Madge had become ordinary (252, 324).

[4] This, however, also depicts the intratextual relation among texts by the same author, namely "Professions for Women" and Mrs. Dalloway, where Richard tells Clarissa Dalloway that she has "the makings of the perfect hostess . . ." (10).

[5] For an extensive discussion of the affinities between Woolf and Lessing, see the other essays in the same collection.

[6] For the full context of this quotation, see above, page 5.

[7] See also above, page 10-1.

370.          Film Review

Film Review: Close Encounters of the Third Kind

Society & Entertainment

Film Review

What do you get when you combine aliens, a little bit of mystery,

tasteful comedy, good acting, and award-winning direction?  A wonderful film

from one of the most celebrated directors of our time, Stephen Spielberg.

"Close Encounters" places Richard Dreyfuss and Melinda Barro in roles of regular

suburbanites who both believe to have seen a UFO.  The plot thickens and the

intrigue begins when these two determined people try to find out what is really

going on in their town.  Dreyfuss, obsessed with the UFO sightings, nearly

drives his family away, and destroys his home in suburbia because of his

unrelinquished need to answer his own questions.  Although this is obviously a

science fiction film, Dreyfuss also turns in just the right amount of delightful

comedy to keep boredom from the audience's grasp.  Spielberg has won a hit with

his heartfelt, intriguing, sci-fi flick that has that patented Spielberg ending

we all have grown to love over the years.

The reason for the greatness of this movie lies firmly in the

outstanding performances by Dreyfuss, Barro, and co-star Terri Garr.  Dreyfuss

has a knack for being able to portray an erratic man who in one instant is

completely normal, and at other times becomes utterly insane.  Melinda Barro

also puts in an extremely believable performance as Dreyfuss's side-kick in

search of her abducted son.  But perhaps the most hidden success of this movie

is the very underrated actress Teri Garr, who put in her two cents as Dreyfuss's

wife.  Garr did play a small role, yet it was effective, it produced a gauge of

just how crazy Dreyfuss was really getting.  The wonderful acting carried the

film over the obvious special effects that Spielberg uses.

This film was pretty much original for it's time, but once you see the

special effects, you are instantly reminded of films like E.T., Star Wars and

other such science fiction slash space odyssey's of our time.  But since this

movie was made before many of these others, I believe it was just a draw off all

of the stories and possibilities of encountering another life form.

"Close Encounters" has a good mixture of character and film

cinematography. Spielberg relies on the actors to make the special effects seem

that much more special. He also uses several very effective camera techniques,

like tilt shots to convey the message of power or insignificance, or a series of

jump-cuts to relay the feel of intenseness to the audience.  In one particular

scene, a chase scene, Spielberg effectively uses jump-cutting between the

protagonists, Dreyfuss and Barro, and the government, who are trying to keep

these two away from a rendezvous with the aliens.  During most of the movie the

shots were straight up full shots with some interesting close-ups to bring

significance to character or object, relying on the special effects to wow the

audience.

I believe that Spielberg wanted simply to make the audience think.  He

wanted us to ponder the possibilities of an encounter with another life form as

well as to think of the many things that we are naive to.  He wanted us to

realize that we know very little of what the government does, and far less about

the rest of the universe.  "Close Encounters" is not another one of those no-

brainers that spoon feed everything to you; the film makes you think and

formulate your own opinions.  For me, this flick was very interesting and

extremely worth the time and money I spent to watch it.  Hooray for Spielberg!!!

371.          Film Score Music Essay

Film Score Music

To say that music plays a large role in our society would not do

justice to one of the most important and popular art forms of yesterday and

today.  We underestimate the effectiveness and power that music, in any form ,

can have over even the most insensitive of people.  In almost everything we do

and see music is involved in some form or another.  Be it a piece played at a

wedding, a song played on the radio or even the music played in the background

in a television commercial.  The music is always there, reminding us of past

experiences, making us smile and feel exhilaration and sometimes even making us

cry.  It is this power that music has over us that film score composers take

advantage of when they are writing the music to accompany the movies.  As

listeners we often do not appreciate that the music that is scored for films or

played in films is put there on purpose to create a certain feeling, emphasize a

point, give more life to a character or sometimes to simply add humour.  What

the average moviegoer does not usually realize is that a great deal of time and

thought goes into writing the score for a film and choosing the background music

for a scene.  None of the music is arbitrary; themes and sub themes have been

created with specific ideas in mind and have been put in place only to add to

the story and the characters.  It is also important to acknowledge that the

evolution into the type of film scoring that we are accustomed to today was not

a quick or easy transition.  It has taken almost a century to develop the

specific techniques that are used in todays films.  When the first moving

pictures were seen they were known as silent films, although they were not

actually silent.  They contained a very primitive type of musical accompaniment

that laid the foundation for what was to later develop.  As time passed the type

of music found in films developed into a fine art containing  specific

guidelines and techniques that most composers tend to follow.  The average

person does not usually pay astute attention to the music that is being used in

a film, however, if it were to not be there the films would seem empty and as if

something was missing.  The actors, the writing and the direction is what is

primarily noticed in a film but the music is the inconspicuous supporter of all

of these elements.  To create a film that will be effective it is essential that

the film have a thoughtful score, and, as the audience, it is our duty to

acknowledge the music in order to fully understand all that is being displayed

to us in the film.

To realize fully the foundation of what we now recognize as an

effective film score it is important to examine the music behind a silent film.

No film was actually ever completely silent.  There may not have been a

soundtrack that we are accustomed to, however, the music was always essential to

a movie, no matter how primitive it may be.  In the earliest days of film the

music was played on a phonograph.  This was around the time of Edison.  The

phonograph was an invention that did not last long in the world of film.  The

next step was the use of a vitaphone, which also did not play a lasting role in

the movie industry.  The next step was not the use of a recorded soundtrack but

rather it was the use of live musicians.  The live music came about as the

movies were becoming a little more common.  The films began to be played

commercially in Vaudeville houses, cafes, and music halls where musicians were

already hired to play in the musical concerts that evening.  Because the

musicians were already there they were asked if they would play along with the

film.  In the Vaudeville houses there was no specific place for them to sit so

they sat seated at the front , in front of the screen.  Even after theatres were

built to show the moving pictures a space was created at the front where the

musicians were to sit.  Because the musicians were inexperienced with

accompanying films they played what they liked or what they knew.  This made it

uncommon that the music actually fit with the action on the screen.  The

musicians paid little attention to the film and played arbitrarily.  This meant

that often a serious or dramatic scene would be occurring on the screen wile the

musician played something comical or something that belonged to a scene with a

car chase.  Sound-effects men were soon added to the sounds behind a film.  This

would be a man that created noises, erg. train whistles and bells, fire engine

bells, gun shots, explosions, cannon fire, etc. in order to add realism to the

film.  This made movie-going more popular which in turn bettered the standard of

movie-making.  It was at this point that the musicians hired to accompany the

films began to take the music more seriously.  Set standards were created but

the musicians job was to make sure that these standards did not become

monotonous.  They also began the use of simple motif that would introduce a

character or foreshadow an event.  The motifs are the elements of the music that

are extremely important in shaping the characters and the theme of the film.  It

was the use of these motifs that made the music much more sophisticated and

people began to take the films more seriously.  The idea of motifs did not

disintegrate but rather became an important technique in the scoring of films in

the years to come.  By this time the music was ceasing to be merely and extra

job for Vaudeville musicians and had actually become an art that needed and was

given thought.  The house musician, which later became a small ensemble and

sometimes even a large orchestra, was a valued addition to the movie industry

and they could be found in hundreds of movie houses across America.  It was from

this point on that films were to always be accompanied by some sort of music.

The house musician remained in movie houses for many years, however they

eventually disappeared to make way for the recorded film score, known as a "

talkie" or "canned music".

The 1930's was the time that saw the rise of the symphonic film

score.  This was the time in which many great composers began to write the

scores for films.  The scores were not simple little symphonies or pieces but

rather enormous projects that took a great deal of time and thought.  It was

also in this era that the click track was developed.  This was a technique first

used in the scoring of cartoons, however as the scoring for life action movies

became more complex the click track became vital to the preciseness of the score.

A click track works to synchronize the music with the action of the film with

the use of mathematics.  The exposure of films is measured in frames and there

are 24 frames a second, 1440 frames a minute.  Holes are punched into the film

to click at any given metronome beat.  The composer measures this beat by

dividing the figure, 1440, by whatever metronome speed that he wants and the

resulting figure is the frame click beat.  For example, if the composer want the

metronome beat to be at 144, than he divides the figure 1440 by 144 and the

resulting figure is 10.  This means that the holes punched in the film should

click every 10 frames.  The studio musicians would wear headsets through which

they would hear a constant clicking sound, thus keeping them precisely with the

score.

The major film score composers of this time were actually European,

arriving in Hollywood to compose great works for film.  The European influence

gave the films scores that many of the elements found in the romantic style of

the Viennese opera, eg. large orchestras, complex parts, lush harmonies,

doubling of parts and full string parts, as well a influence from many European

composers, for example, Richard Strauss.  The composers that sat at the

forefront of film scoring at this time were Max Steiner,  Erich Wolfgang

Korngold and Bertrand Hermann.  These men wrote the scores for many of the

famous films that came out of that era, eg. The Informer, Since You Went Away,

King Kong, Casablanca, and Gone With The Wind (Max Steiner),  The Prince and the

Pauper, The Adventures of Robin Hood, The Private Lives of Elizabeth and Essex,

and A Midsummer's Nights Dream (Erich Wolfgang Korngold), and by Bertrand

Hermann the infamous Citizen Kane.  The films required a great use of leitmotifs,

themes, and sub themes.  It was these characteristics that gave the music such

importance and helped make these films of the thirties become the memorable

classics that they are.  Some examples of the effective use of themes and sub

themes can be found in the scores of Max Steiner's  The Informer, Since You Went

Away, and Gone With The Wind.  Each of the scores that accompany these films

have an enormous orchestration and key motifs as well as a blend of different

types of music that creates a particular feeling or accentuates a point.  The

Informer  is a film set in Ireland and tells the story of Gypo Nolan who is the

tragic main character who is ultimately gunned down in the street.  The motifs

used in this film are of this tragic genre with Irish folk melodies intertwined

with many of the main themes.  One of the most effective uses of symbolism in

the music of this film is found at the end when Gypo finally meets his death.

After he is shot he makes his way to a small church nearby with the sound of

heavy brass chords imitating his every plodding step.  When he reaches the

inside of the church he collapses only to see a nun who he thinks in the Virgin

Mary.  At the this point his face moves from darkness into the light and a soft

hymn, "Sancta Maria", written by Steiner himself emerges as the more dominant of

the musical sounds.  This whole scene symbolizes the passing of Gypo into heaven

and the final acceptance of his soul by God.  It would lose all effectiveness if

the music was not as dominant as it is.

The film, Since You Went Away, has many similar elements in the music

that make us feel and understand the feelings of the characters.  This film

contains a scene in which a young woman, Jennifer Jones, races along the railway

platform alongside the train that is carrying her true love off to war.  Steiner

chose to use elements from familiar songs, "I'll Be Home For Christmas", and

Irving Berlin's "Together", intertwined with a military sounding symphony part

to exemplify to us the thoughts that were racing through the minds of these two

character as they left each other , not knowing if it was to be for the last

time.  The effect that this music had on those who saw the film was

unforgettable as Steiner portrayed emotions so poignantly through his

orchestration.

Probably the most memorable film score to arise out of the

1930's was the music to the epic  Gone With the Wind.  This film begins with

many different themes being introduced, the most famous of which is the theme

for Tara, intertwined with the strains of the Old South.  Steiner worked closely

with the producer David O. Selznick when he was writing the score for this film,

however little of what Selznick asked for in the score actually appeared in the

final movie.  Selznick encouraged Steiner to use little original score but

rather use prerecorded classical music with some Old South tunes mixed in;

Steiner disagreed with his ideas.  This was and is a common occurrence with the

producers and the composers of movies, they rarely agree on the same ideas for

how the movie will be scored.  The producer wants to put his ideas forth but

really, as producers, they are not adequately qualified and the composers just

want to be left alone to do their what they were hired to do as effectively as

they can.  This disagreement during the scoring of Gone With The Wind became so

intense that Selznick actually hired an additional composer to write another

score in case he did not approve if what Steiner had written.  In the end

Steiner's extraordinary composing ability prevailed and it is his fantastic

score that appears in this epic drama.  In this score Steiner manages to create

seven themes for the important elements of this film: Scarlett O'Hara, Rhett

Butler, Melanie, a love theme for Melanie and Ashley, another love theme for

Scarlett and Ashley, Scarlett's father (Gerald O'Hara), and finally a theme for

Tara.  The theme for Tara is the most effective because this old plantation and

it's collapse in essence symbolizes the collapse of the Old South after the

Civil War.  This theme recurs throughout the film each time is is modified

slightly to show to the audience the undying strength and endurance of the proud

tradition of the Old South in the minds of the Southerners, even if it's

foundation had crumbled.  The music of this film is extremely effective and

important even if we do not always notice that it is there.  From the beginning

of the film until more than twenty minutes into the picture the music does not

stop.  We often do not notice the music when it is there, however, we would

surely notice it if were to be gone.

To construct an effective film score there are no real rules but

rather a patterned set of guidelines that have become tradition over time.

Certain types of musical themes have been used time and time again to create the

style, mood or feeling of the film.  For example, the type of music that would

be used in a Western, or a Suspense-Drama or a Love Story varies very little

from picture to picture.  A theme found in a Love Story will not always be the

same as the one before it, however, it will have the same style or feeling to it

that creates the emotion of love in our minds.  These ideas are often modified

because of the intensity or seriousness of the film, however, they are

essentially similar.  The key to a memorable score is the creation of an

effective main theme with equally effective sub themes.  This main theme should

be the connecting link between scenes but should not be over used as not to

saturate the audience with it's melody so they become bored and annoyed with it.

The introduction of the main theme followed by lesser sub theme that are

juxtaposed and varied enough to teas the audience until it reaches a climactic

final statement of the theme in it's entirety.  The use of leitmotifs to

represent characters and the intertwining of one character's theme with another

is instrumental in telling the story of the film and giving a full portrait of

the character and their relationship with others.  It is also important to

realize that different instruments and different colours of music are used to

create a certain feeling.  There are certain sounds that we are used to hearing

that are effective in adding to the mood or feeling of the film.  Nothing in the

creation of a film score is arbitrary all of the music that we hear has been

composed specifically to accentuate or punctuate what the main idea that the

writing, acting and directing of the film is trying to show to us.

Another aspect of the soundtrack to a film that is not randomly

chosen is the use of source music  and the unoriginal score.  Source music is

the music that can be heard coming from a radio, a dance club band , a marching

band, etc.  The music that is chosen to be played in these scenes is put there

to accentuate the point of the scene, to add humour or even to make the scene

seem ironic.  This source music  can also be used to foreshadow upcoming events

and prepare us for the next scene.  The unoriginal score is music that has been

written by somebody else but has been placed in the scene to add effect.  The

music can be a part of the scene as in the scene with Tom Hanks explaining the

story of La Mamma Morta  to Denzel Washington in Philadelphia. The music in this

scene has been added to create depth in Tom Hank's character and to create a new

special bond between the two men.  The other way that the unoriginal score can

be used effectively is if the music is not actually in the scene but is still

playing in the background as if it were in the minds of the characters in the

scene.  An example of this can be found in the film True Romance where Dennis

Hopper's character is speaking to Chrisopher Walken and we know that Dennis

Hopper's characters going to die.  The music that is being played in the

background of this scene is a faint opera, that adds peace to a scene that

should not feel peaceful.  The beauty of the music adds a certain grace to the

scene and gives it more character.

To listen to the score of a film is to appreciate fully exactly

what the film makers were trying to point out to us.  The acting and directing

and the writing are the element that primarily we remember, however,

subconsciously we remember more that we give ourselves credit for.  A movie can

be seen once and already the themes are ingrained in our minds and if we were to

hear them elsewhere we could identify them.  Many themes of films today are so

memorable that we can often sing them on cue, for example, the themes to The

Godfather, Indiana Jones, Star Wars, Jaws, Jurassic Park, etc.  Each of these

films has a theme that we remember even if we do not make a conscious decision

to do so.  It is far to often that the power of music is underestimated and not

enough credit is given to the thought that was put into creating an effective

film score.  As an audience it is our duty, not necessarily to always enjoy, but

to at least appreciate all elements of the film making process. The scoring of

the film has always been a cornerstone to the success of the film, no matter how

primitive the music may be.

Bibliography

Bazelon, Irwin. Knowing the Score. Van Nostrand Reinhold Co, New York.

Hoffman, Charles.  Sounds for Silence.  DBS Publications, New York.

Kalinak, Kathryn.  Settling the Score.  The University of Wisconsin Press, U.S.A.

Manrell, Roger and John Huntley.  The Technique of Film Music.  Focal Press, New

York.

McCarty, Clifford.  Film Music.  Garland Publishing Inc., New York.

372.          Film Score Music

FILM SCORE MUSIC

To say that music plays a large role in our society would not do justice to one of the most important and popular art forms of yesterday and today.  We underestimate the effectiveness and power that music, in any form , can have over even the most insensitive of people.  In almost everything we do and see music is involved in some form or another.  Be it a piece played at a wedding, a song played on the radio or even the music played in the background in a television commercial.  The music is always there, reminding us of past experiences, making us smile and feel exhilaration and sometimes even making us cry.  It is this power that music has over us that film score composers take advantage of when they are writing the music to accompany the movies.  As listeners we often do not appreciate that the music that is scored for films or played in films is put there on purpose to create a certain feeling, emphasize a point, give more life to a character or sometimes to simply add humour.  What the average moviegoer does not usually realize is that a great deal of time and thought goes into writing the score for a film and choosing the background music for a scene.  None of the music is arbitrary; themes and sub themes have been created with specific ideas in mind and have been put in place only to add to the story and the characters.  It is also important to acknowledge that the evolution into the type of film scoring that we are accustomed to today was not a quick or easy transition.  It has taken almost a century to develop the specific techniques that are used in todays films.  When the first moving pictures were seen they were known as silent films, although they were not actually silent.  They contained a very primitive type of musical accompaniment that laid the foundation for what was to later develop.  As time passed the type of music found in films developed into a fine art containing  specific guidelines and techniques that most composers tend to follow.  The average person does not usually pay astute attention to the music that is being used in a film, however, if it were to not be there the films would seem empty and as if something was missing.  The actors, the writing and the direction is what is primarily noticed in a film but the music is the inconspicuous supporter of all of these elements.  To create a film that will be effective it is essential that the film have a thoughtful score, and, as the audience, it is our duty to acknowledge the music in order to fully understand all that is being displayed to us in the film.

To realize fully the foundation of what we now recognize as an effective film score it is important to examine the music behind a silent film.  No film was actually ever completely silent.  There may not have been a soundtrack that we are accustomed to, however, the music was always essential to a movie, no matter how primitive it may be.  In the earliest days of film the music was played on a phonograph.  This was around the time of Edison.  The phonograph was an invention that did not last long in the world of film.  The next step was the use of a vitaphone, which also did not play a lasting role in the movie industry.  The next step was not the use of a recorded soundtrack but rather it was the use of live musicians.  The live music came about as the movies were becoming a little more common.  The films began to be played commercially in Vaudeville houses, cafes, and music halls where musicians were already hired to play in the musical concerts that evening.  Because the musicians were already there they were asked if they would play along with the film.  In the Vaudeville houses there was no specific place for them to sit so they sat seated at the front , in front of the screen.  Even after theatres were built to show the moving pictures a space was created at the front where the musicians were to sit.  Because the musicians were inexperienced with accompanying films they played what they liked or what they knew.  This made it uncommon that the music actually fit with the action on the screen.  The musicians paid little attention to the film and played arbitrarily.  This meant that often a serious or dramatic scene would be occurring on the screen wile the musician played something comical or something that belonged to a scene with a car chase.  Sound-effects men were soon added to the sounds behind a film.  This would be a man that created noises, erg. train whistles and bells, fire engine bells, gun shots, explosions, cannon fire, etc. in order to add realism to the film.  This made movie-going more popular which in turn bettered the standard of movie-making.  It was at this point that the musicians hired to accompany the films began to take the music more seriously.  Set standards were created but the musicians job was to make sure that these standards did not become monotonous.  They also began the use of simple motif that would introduce a character or foreshadow an event.  The motifs are the elements of the music that are extremely important in shaping the characters and the theme of the film.  It was the use of these motifs that made the music much more sophisticated and people began to take the films more seriously.  The idea of motifs did not disintegrate but rather became an important technique in the scoring of films in the years to come.  By this time the music was ceasing to be merely and extra job for Vaudeville musicians and had actually become an art that needed and was given thought.  The house musician, which later became a small ensemble and sometimes even a large orchestra, was a valued addition to the movie industry and they could be found in hundreds of movie houses across America.  It was from this point on that films were to always be accompanied by some sort of music.  The house musician remained in movie houses for many years, however they  eventually disappeared to make way for the recorded film score, known as a "talkie" or "canned music".

The 1930's was the time that saw the rise of the symphonic film score.  This was the time in which many great composers began to write the scores for films.  The scores were not simple little symphonies or pieces but rather enormous projects that took a great deal of time and thought.  It was also in this era that the click track was developed.  This was a technique first used in the scoring of cartoons, however as the scoring for life action movies became more complex the click track became vital to the preciseness of the score.  A click track works to synchronize the music with the action of the film with the use of mathematics.  The exposure of films is measured in frames and there are 24 frames a second, 1440 frames a minute.  Holes are punched into the film to click at any given metronome beat.  The composer measures this beat by dividing the figure, 1440, by whatever metronome speed that he wants and the resulting figure is the frame click beat.  For example, if the composer want the metronome beat to be at 144, than he divides the figure 1440 by 144 and the resulting figure is 10.  This means that the holes punched in the film should click every 10 frames.  The studio musicians would wear headsets through which they would hear a constant clicking sound, thus keeping them precisely with the score.

The major film score composers of this time were actually European, arriving in Hollywood to compose great works for film.  The European influence gave the films scores that many of the elements found in the romantic style of the Viennese opera, eg. large orchestras, complex parts, lush harmonies, doubling of parts and full string parts, as well a influence from many European composers, for example, Richard Strauss.  The composers that sat at the forefront of film scoring at this time were Max Steiner,  Erich Wolfgang Korngold and Bertrand Hermann.  These men wrote the scores for many of the famous films that came out of that era, eg. The Informer, Since You Went Away, King Kong, Casablanca, and Gone With The Wind (Max Steiner),  The Prince and the Pauper, The Adventures of Robin Hood, The Private Lives of Elizabeth and Essex, and A Midsummer's Nights Dream (Erich Wolfgang Korngold), and by Bertrand Hermann the infamous Citizen Kane.  The films required a great use of leitmotifs, themes, and sub themes.  It was these characteristics that gave the music such importance and helped make these films of the thirties become the memorable classics that they are.  Some examples of the effective use of themes and sub themes can be found in the scores of Max Steiner's  The Informer, Since You Went Away, and Gone With The Wind.  Each of the scores that accompany these films have an enormous orchestration and key motifs as well as a blend of different types of music that creates a particular feeling or accentuates a point.  The Informer  is a film set in Ireland and tells the story of Gypo Nolan who is the tragic main character who is ultimately gunned down in the street.  The motifs used in this film are of this tragic genre with Irish folk melodies intertwined with many of the main themes.  One of the most effective uses of symbolism in the music of this film is found at the end when Gypo finally meets his death.  After he is shot he makes his way to a small church nearby with the sound of heavy brass chords imitating his every plodding step.  When he reaches the inside of the church he collapses only to see a nun who he thinks in the Virgin Mary.  At the this point his face moves from darkness into the light and a soft hymn, "Sancta Maria", written by Steiner himself emerges as the more dominant of the musical sounds.  This whole scene symbolizes the passing of Gypo into heaven and the final acceptance of his soul by God.  It would lose all effectiveness if the music was not as dominant as it is.

The film, Since You Went Away, has many similar elements in the music that make us feel and understand the feelings of the characters.  This film contains a scene in which a young woman, Jennifer Jones, races along the railway platform alongside the train that is carrying her true love off to war.  Steiner chose to use elements from familiar songs, "I'll Be Home For Christmas", and Irving Berlin's "Together", intertwined with a military sounding symphony part to exemplify to us the thoughts that were racing through the minds of these two character as they left each other , not knowing if it was to be for the last time.  The effect that this music had on those who saw the film was unforgettable as Steiner portrayed emotions so poignantly through his orchestration.

Probably the most memorable film score to arise out of the 1930's was the music to the epic  Gone With the Wind.  This film begins with many different themes being introduced, the most famous of which is the theme for Tara, intertwined with the strains of the Old South.  Steiner worked closely with the producer David O. Selznick when he was writing the score for this film, however little of what Selznick asked for in the score actually appeared in the final movie.  Selznick encouraged Steiner to use little original score but rather use prerecorded classical music with some Old South tunes mixed in; Steiner disagreed with his ideas.  This was and is a common occurrence with the producers and the composers of movies, they rarely agree on the same ideas for how the movie will be scored.  The producer wants to put his ideas forth but really, as producers, they are not adequately qualified and the composers just want to be left alone to do their what they were hired to do as effectively as they can.  This disagreement during the scoring of Gone With The Wind became so intense that Selznick actually hired an additional composer to write another score in case he did not approve if what Steiner had written.  In the end Steiner's extraordinary composing ability prevailed and it is his fantastic score that appears in this epic drama.  In this score Steiner manages to create seven themes for the important elements of this film: Scarlett O'Hara, Rhett Butler, Melanie, a love theme for Melanie and Ashley, another love theme for Scarlett and Ashley, Scarlett's father (Gerald O'Hara), and finally a theme for Tara.  The theme for Tara is the most effective because this old plantation and it's collapse in essence symbolizes the collapse of the Old South after the Civil War.  This theme recurs throughout the film each time is is modified slightly to show to the audience the undying strength and endurance of the proud tradition of the Old South in the minds of the Southerners, even if it's foundation had crumbled.  The music of this film is extremely effective and important even if we do not always notice that it is there.  From the beginning of the film until more than twenty minutes into the picture the music does not stop.  We often do not notice the music when it is there, however, we would surely notice it if were to be gone.

To construct an effective film score there are no real rules but rather a patterned set of guidelines that have become tradition over time.  Certain types of musical themes have been used time and time again to create the style, mood or feeling of the film.  For example, the type of music that would be used in a Western, or a Suspense-Drama or a Love Story varies very little from picture to picture.  A theme found in a Love Story will not always be the same as the one before it, however, it will have the same style or feeling to it that creates the emotion of love in our minds.  These ideas are often modified because of the intensity or seriousness of the film, however, they are essentially similar.  The key to a memorable score is the creation of an effective main theme with equally effective sub themes.  This main theme should be the connecting link between scenes but should not be over used as not to saturate the audience with it's melody so they become bored and annoyed with it.  The introduction of the main theme followed by lesser sub theme that are juxtaposed and varied enough to teas the audience until it reaches a climactic final statement of the theme in it's entirety.  The use of leitmotifs to represent characters and the intertwining of one character's theme with another is instrumental in telling the story of the film and giving a full portrait of the character and their relationship with others.  It is also important to realize that different instruments and different colours of music are used to create a certain feeling.  There are certain sounds that we are used to hearing that are effective in adding to the mood or feeling of the film.  Nothing in the creation of a film score is arbitrary all of the music that we hear has been composed specifically to accentuate or punctuate what the main idea that the writing, acting and directing of the film is trying to show to us.

Another aspect of the soundtrack to a film that is not randomly chosen is the use of source music  and the unoriginal score.  Source music is the music that can be heard coming from a radio, a dance club band , a marching band, etc.  The music that is chosen to be played in these scenes is put there to accentuate the point of the scene, to add humour or even to make the scene seem ironic.  This source music  can also be used to foreshadow upcoming events and prepare us for the next scene.  The unoriginal score is music that has been written by somebody else but has been placed in the scene to add effect.  The music can be a part of the scene as in the scene with Tom Hanks explaining the story of La Mamma Morta  to Denzel Washington in Philadelphia. The music in this scene has been added to create depth in Tom Hank's character and to create a new special bond between the two men.  The other way that the unoriginal score can be used effectively is if the music is not actually in the scene but is still playing in the background as if it were in the minds of the characters in the scene.  An example of this can be found in the film True Romance where Dennis Hopper's character is speaking to Chrisopher Walken and we know that Dennis Hopper's characters going to die.  The music that is being played in the background of this scene is a faint opera, that adds peace to a scene that should not feel peaceful.  The beauty of the music adds a certain grace to the scene and gives it more character.

To listen to the score of a film is to appreciate fully exactly what the film makers were trying to point out to us.  The acting and directing and the writing are the element that primarily we remember, however, subconsciously we remember more that we give ourselves credit for.  A movie can be seen once and already the themes are ingrained in our minds and if we were to hear them elsewhere we could identify them.  Many themes of films today are so memorable that we can often sing them on cue, for example, the themes to The Godfather, Indiana Jones, Star Wars, Jaws, Jurassic Park, etc.  Each of these films has a theme that we remember even if we do not make a conscious decision to do so.  It is far to often that the power of music is underestimated and not enough credit is given to the thought that was put into creating an effective film score.  As an audience it is our duty, not necessarily to always enjoy, but to at least appreciate all elements of the film making process. The scoring of the film has always been a cornerstone to the success of the film, no matter how primitive the music may be.

Bibliography

Bazelon, Irwin. Knowing the Score. Van Nostrand Reinhold Co, New York.

Hoffman, Charles.  Sounds for Silence.  DBS Publications, New York.

Kalinak, Kathryn.  Settling the Score.  The University of Wisconsin Press, U.S.A.

Manrell, Roger and John Huntley.  The Technique of Film Music.  Focal Press, New York.

McCarty, Clifford.  Film Music.  Garland Publishing Inc., New York.

373.          film term paper

Inherent inside every human soul is a savage evil side that remains

repressed by society. Often this evil side breaks out during times of

isolation from our culture, and whenever one culture confronts another.

History is loaded with examples of atrocities that have occurred when one

culture comes into contact with another. Whenever fundamentally different

cultures meet, there is often a fear of contamination and loss of self that

leads us to discover more about our true selves, often causing perceived

madness by those who have yet to discover.

The Puritans left Europe in hopes of finding a new world to welcome them and

their beliefs. What they found was a vast new world, loaded with Indian

cultures new to them. This overwhelming cultural interaction caused some

Puritans to go mad and try to purge themselves of a perceived evil. This

came to be known as the Salem witch trials.

During World War II, Germany made an attempt to overrun Europe. What

happened when the Nazis came into power and persecuted the Jews in Germany,

Austria and Poland is well known as the Holocaust. Here, humanís evil side

provides one of the scariest occurrences of this century. Adolf Hitler and

his Nazi counterparts conducted raids of the ghettos to locate and often

exterminate any Jews they found. Although Jews are the most widely known

victims of the Holocaust, they were not the only targets. When the war

ended, 6 million Jews, Slavs, Gypsies, homosexuals, Jehovah's Witnesses,

Communists, and others targeted by the Nazis, had died in the Holocaust.

Most of these deaths occurred in gas chambers and mass shootings. This

gruesome attack was motivated mainly by the fear of cultural intermixing

which would impurify the "Master Race."

Joseph Conradís book, The Heart of Darkness and Francis Coppolaís movie,

Apocalypse Now are both stories about Manís journey into his self, and the

discoveries to be made there. They are also about Man confronting his fears

of failure, insanity,  death, and cultural contamination.

During Marlowís mission to find Kurtz, he is also trying to find himself.

He, like Kurtz had good intentions upon entering the Congo. Conrad tries to

show us that Marlow is what Kurtz had been, and Kurtz is what Marlow could

become. Every human has a little of Marlow and Kurtz in them.  Marlow says

about himself, "I was getting savage (Conrad)," meaning that he was becoming

more like Kurtz. Along the trip into the wilderness, they discover their

true selves through contact with savage natives.

As Marlow ventures further up the Congo, he feels like he is traveling  back

through time. He sees the unsettled wilderness and can feel the darkness of

itís solitude. Marlow comes across simpler cannibalistic cultures along the

banks. The deeper into the jungle he goes, the more regressive the

inhabitants seem.

Kurtz had lived in the Congo, and was separated from his own culture for

quite some time. He had once been considered an honorable man, but the

jungle changed him greatly. Here, secluded from the rest of his own society,

he discovered his evil side and became corrupted by his power and solitude.

Marlow tells us about the Ivory that Kurtz kept as his own, and that he had

no restraint, and was  " a tree swayed by the wind (Conrad, 209)." Marlow

mentions the human heads displayed on posts that "showed that Mr. Kurtz

lacked restraint in the gratification of his various lusts (Conrad, 220)."

Conrad also tells us "hisÖ nerves went wrong, and caused him to preside at

certain midnight dances ending with unspeakable rights, whichÖ were offered

up to him (Conrad, 208)," meaning that Kurtz went insane and allowed himself

to be worshipped as a god. It appears that while Kurtz had been isolated

from his culture, he had become corrupted by this violent native culture,

and allowed his evil side to control him.

Marlow realizes that only very near the time of death, does a person grasp

the big picture. He describes Kurtzís last moments "as though a veil had

been rent (Conrad, 239)." Kurtzís last "supreme moment of complete knowledge

(Conrad, 239)," showed him how horrible the human soul really can be. Marlow

can only speculate as to what Kurtz saw that caused him to exclaim "The

horror! The horror," but later adds that "Since I peeped over the edge

myself, I understand better the meaning of his stareÖ it was wide enough to

embrace the whole universe, piercing enough to penetrate all the hearts that

beat in the darknessÖ he had summed up, he had judged (Conrad, 241)." Marlow

guesses that Kurtz suddenly knew everything and discovered how horrible the

duplicity of man can be. Marlow learned through Kurtzís death, and he now

knows that inside every human is this horrible, evil side.

Francis Coppolaís movie, Apocalypse Now, is based loosely upon Conradís

book. Captain Willard is a Marlow who is on a mission into Cambodia during

the Vietnam war to find and kill an insane Colonel Kurtz. Coppola's Kurtz,

as he experienced his epiphany of horror, was an officer and a sane,

successful, brilliant leader. Like Conradís Kurtz, Coppola shows us a man

who was once very well respected, but was corrupted by the horror of war and

the cultures he met.

Coppola tells us in Hearts of Darkness  that Kurtzís major fear is "being

white in a non white jungle (Bahr)." The story Kurtz tells Willard about the

Special Forces going into a village, inoculating the children for polio and

going away, and the communists coming into the village and cutting off all

the children's inoculated arms, is the main evidence for this implication in

that film. This is when Kurtz begins to go mad, he "wept like some

grandmother" when, called back by a villager, he saw the pile of little

arms, a sophisticated version of the "escalating horrors." What Kurtz meant

by "escalating horrors" is the Vietnamese armyís senseless decapitation,

torture, and the like. Kurtz is facing a new culture and has a terrible time

dealing with it. This was the beginning of his insanity.

"All America contributed to the making of Colonel Kurtz, just as all Europe

produced Mr. Kurtz. Both Kurtzes are idealized in their function as

eyewitnesses to the atrocities. What is reflected is the threat of loss of

self, loss of centrality, and the displacement of Western culture from the

perceived center of history by those whom it has enslaved and oppressed

(Worthy 24)." This tells us that the evil side and the madness in both

Kurtzes was brought out by the fear of new cultures different from their

own, and their inability to deal with this fear. The disconnection between

the opening words of Kurtz's report "By the simple exercise of our will, we

can exert a power for good practically unbounded" and the note on the last

page, "Exterminate all the brutes!" illustrates the progressive

externalization of Kurtz's fear of "contamination," the personal fear of

loss of self which colonialist whites saw in the "uncivilized," seemingly

regressive lifestyle of the natives. Gradually, the duplicity of man and

reality merged for the two Kurtzes, one in the Congo,  and one in Vietnam.

As this happened, the well defined cultural values masculine/feminine and

self/other that had specific segregated roles, could not be sustained in the

Congo or in Vietnam. "For the Americans in Vietnam, as for the colonialists

in Africa, madness is the result of the disintegration of abstract

boundaries held to be absolute (Worthy 24)."

"As it attempts to confront the 'insanity' of the war through Kurtz' s

madness, that of the filmmakers, and the madness of U.S. culture, Hearts of

Darkness exposes the contradictions between the inherent hierarchy and

inequality within the cultural forces of the United States and official

democratic principles, which led to the perception that it could waste what

it viewed as insignificant little people and preserve its own image in the

world. Along with that is the growing realization, since the Tet Offensive

of 1968, that the U.S. was somehow way off the mark (Worthy 24)." American

Culture views it self as "correct", and we see ourselves as powerful police

of the world. Our culture looked down upon the Vietnamese because they were

more simple than us, just as Europe and Marlow looked down on the Africans.

Believing ourselves to be superior, we had a lot of trouble dealing with the

discovery that we are not.

Coppola makes a point to show us that the Chief of a boat armed to the teeth

was killed by a native in a tree who threw a spear. Not even an "advanced"

Navy boat can defend itself against some "simple" natives armed only with

spears. This opens Captain Willardís  eyes to the horror of the situation he

now finds himself in.

Even more intriguing, however, is the similarity between the transformation

of the characters in Apocalypse Now, and the cast and crew that created it.

In Hearts of Darkness, (a documentary about the making of Apocalypse Now.)

Eugene Coppola becomes the narrator ( a Marlow or Captain Willard) and

Francis becomes Kurtz.

"Francis believed that only if he could duplicate Willardís experience,

could he understand his moral struggle. In other words, he had to lose

control of his own life before he could find the answers to the questions

that his narrative asked (Worthy 24)." Coppolaís main horror was his fear of

producing a pretentious movie. "Eleanor  repeatedly calls the making of

Apocalypse Now a journey into Coppola's inner self. Coppola, like Kurtz, is

regarded as a deity. Moreover, while Willard stalks Kurtz in Apocalypse Now,

Coppola stalks himself, raising questions which he feels compelled to answer

but cannot, finally announcing his desire to "shoot himself. " He means

suicide, but the cinematic connotation of the term, "to shoot," jointly

criticizes both the U.S. and Coppola's film for exercising a demented

self-absorption (Worthy 24)." Coppola had to deal with perhaps the most

agonizing of his troubles: his shriveling self-confidence. As the budget

soared, as the producers worried, as the crew and actors grew restless and

dispassionate, Coppola worried that he did not have what it takes to finish

the film. He struggled with the ending, with his own creative ability, and

with his sense of purpose.

Martin Sheen, who plays Captain Willard, is the one who really faces the

horror. During the filming he has a nervous breakdown and later a heart

attack. Some of his

co-actors believed that Martin was becoming Captain Willard, and was

experiencing the same journey of self discovery.

We live our lives sheltered in our own society, and our exposure to

cultures outside of our own is limited at best. Often, the more

technologically advanced cultures look down upon those that they deem to be

simpler. On the occasion that some member of one culture does come into

contact with another, simpler culture, a self discovery happens. Both

cultures realize that deep down inside, all humans are essentially the same.

We all posses a good and an evil side, and no culture, not matter how

"advanced," is exempt from that fact.. This discovery often causes madness

as this evil side is allowed out. Only those who have completed the "journey

into self" can understand the actions of people such as Kurtz. They are

alone in this world of horror. The Horror!

Works Cited

1. Apocalypse Now. Dir. Francis Coppola. With Martin Sheen, Robert Duval,

and Marlon Brando. Zeotrope, 1979.

2. Conrad, James. Heart of Darkness and  Other Tales. Great Britain, BPC

paperbacks ltd.  1990.

3. Hearts of Darkness. Dir. Fax Bahr, George Hickenlooper. Paramount, 1991.

4. "HEARTS OF DARKNESS -- A FILMMAKER'S APOCALYPSE.", Magill's Survey of

Cinema, 6-15-1995.

5. Worthy, Kim, "Hearts of Darkness: Making art, making history, making

money, making `Vietnam'.".,Vol. 19, Cineaste, 12-01-1992, pp 24.

Inherent inside every human soul is a savage evil side that remains

repressed by society. Often this evil side breaks out during times of

isolation from our culture, and whenever one culture confronts another.

History is loaded with examples of atrocities that have occurred when one

culture comes into contact with another. Whenever fundamentally different

cultures meet, there is often a fear of contamination and loss of self that

leads us to discover more about our true selves, often causing perceived

madness by those who have yet to discover.

The Puritans left Europe in hopes of finding a new world to welcome them and

their beliefs. What they found was a vast new world, loaded with Indian

cultures new to them. This overwhelming cultural interaction caused some

Puritans to go mad and try to purge themselves of a perceived evil. This

came to be known as the Salem witch trials.

During World War II, Germany made an attempt to overrun Europe. What

happened when the Nazis came into power and persecuted the Jews in Germany,

Austria and Poland is well known as the Holocaust. Here, humanís evil side

provides one of the scariest occurrences of this century. Adolf Hitler and

his Nazi counterparts conducted raids of the ghettos to locate and often

exterminate any Jews they found. Although Jews are the most widely known

victims of the Holocaust, they were not the only targets. When the war

ended, 6 million Jews, Slavs, Gypsies, homosexuals, Jehovah's Witnesses,

Communists, and others targeted by the Nazis, had died in the Holocaust.

Most of these deaths occurred in gas chambers and mass shootings. This

gruesome attack was motivated mainly by the fear of cultural intermixing

which would impurify the "Master Race."

Joseph Conradís book, The Heart of Darkness and Francis Coppolaís movie,

Apocalypse Now are both stories about Manís journey into his self, and the

discoveries to be made there. They are also about Man confronting his fears

of failure, insanity,  death, and cultural contamination.

During Marlowís mission to find Kurtz, he is also trying to find himself.

He, like Kurtz had good intentions upon entering the Congo. Conrad tries to

show us that Marlow is what Kurtz had been, and Kurtz is what Marlow could

become. Every human has a little of Marlow and Kurtz in them.  Marlow says

about himself, "I was getting savage (Conrad)," meaning that he was becoming

more like Kurtz. Along the trip into the wilderness, they discover their

true selves through contact with savage natives.

As Marlow ventures further up the Congo, he feels like he is traveling  back

through time. He sees the unsettled wilderness and can feel the darkness of

itís solitude. Marlow comes across simpler cannibalistic cultures along the

banks. The deeper into the jungle he goes, the more regressive the

inhabitants seem.

Kurtz had lived in the Congo, and was separated from his own culture for

quite some time. He had once been considered an honorable man, but the

jungle changed him greatly. Here, secluded from the rest of his own society,

he discovered his evil side and became corrupted by his power and solitude.

Marlow tells us about the Ivory that Kurtz kept as his own, and that he had

no restraint, and was  " a tree swayed by the wind (Conrad, 209)." Marlow

mentions the human heads displayed on posts that "showed that Mr. Kurtz

lacked restraint in the gratification of his various lusts (Conrad, 220)."

Conrad also tells us "hisÖ nerves went wrong, and caused him to preside at

certain midnight dances ending with unspeakable rights, whichÖ were offered

up to him (Conrad, 208)," meaning that Kurtz went insane and allowed himself

to be worshipped as a god. It appears that while Kurtz had been isolated

from his culture, he had become corrupted by this violent native culture,

and allowed his evil side to control him.

Marlow realizes that only very near the time of death, does a person grasp

the big picture. He describes Kurtzís last moments "as though a veil had

been rent (Conrad, 239)." Kurtzís last "supreme moment of complete knowledge

(Conrad, 239)," showed him how horrible the human soul really can be. Marlow

can only speculate as to what Kurtz saw that caused him to exclaim "The

horror! The horror," but later adds that "Since I peeped over the edge

myself, I understand better the meaning of his stareÖ it was wide enough to

embrace the whole universe, piercing enough to penetrate all the hearts that

beat in the darknessÖ he had summed up, he had judged (Conrad, 241)." Marlow

guesses that Kurtz suddenly knew everything and discovered how horrible the

duplicity of man can be. Marlow learned through Kurtzís death, and he now

knows that inside every human is this horrible, evil side.

Francis Coppolaís movie, Apocalypse Now, is based loosely upon Conradís

book. Captain Willard is a Marlow who is on a mission into Cambodia during

the Vietnam war to find and kill an insane Colonel Kurtz. Coppola's Kurtz,

as he experienced his epiphany of horror, was an officer and a sane,

successful, brilliant leader. Like Conradís Kurtz, Coppola shows us a man

who was once very well respected, but was corrupted by the horror of war and

the cultures he met.

Coppola tells us in Hearts of Darkness  that Kurtzís major fear is "being

white in a non white jungle (Bahr)." The story Kurtz tells Willard about the

Special Forces going into a village, inoculating the children for polio and

going away, and the communists coming into the village and cutting off all

the children's inoculated arms, is the main evidence for this implication in

that film. This is when Kurtz begins to go mad, he "wept like some

grandmother" when, called back by a villager, he saw the pile of little

arms, a sophisticated version of the "escalating horrors." What Kurtz meant

by "escalating horrors" is the Vietnamese armyís senseless decapitation,

torture, and the like. Kurtz is facing a new culture and has a terrible time

dealing with it. This was the beginning of his insanity.

"All America contributed to the making of Colonel Kurtz, just as all Europe

produced Mr. Kurtz. Both Kurtzes are idealized in their function as

eyewitnesses to the atrocities. What is reflected is the threat of loss of

self, loss of centrality, and the displacement of Western culture from the

perceived center of history by those whom it has enslaved and oppressed

(Worthy 24)." This tells us that the evil side and the madness in both

Kurtzes was brought out by the fear of new cultures different from their

own, and their inability to deal with this fear. The disconnection between

the opening words of Kurtz's report "By the simple exercise of our will, we

can exert a power for good practically unbounded" and the note on the last

page, "Exterminate all the brutes!" illustrates the progressive

externalization of Kurtz's fear of "contamination," the personal fear of

loss of self which colonialist whites saw in the "uncivilized," seemingly

regressive lifestyle of the natives. Gradually, the duplicity of man and

reality merged for the two Kurtzes, one in the Congo,  and one in Vietnam.

As this happened, the well defined cultural values masculine/feminine and

self/other that had specific segregated roles, could not be sustained in the

Congo or in Vietnam. "For the Americans in Vietnam, as for the colonialists

in Africa, madness is the result of the disintegration of abstract

boundaries held to be absolute (Worthy 24)."

"As it attempts to confront the 'insanity' of the war through Kurtz' s

madness, that of the filmmakers, and the madness of U.S. culture, Hearts of

Darkness exposes the contradictions between the inherent hierarchy and

inequality within the cultural forces of the United States and official

democratic principles, which led to the perception that it could waste what

it viewed as insignificant little people and preserve its own image in the

world. Along with that is the growing realization, since the Tet Offensive

of 1968, that the U.S. was somehow way off the mark (Worthy 24)." American

Culture views it self as "correct", and we see ourselves as powerful police

of the world. Our culture looked down upon the Vietnamese because they were

more simple than us, just as Europe and Marlow looked down on the Africans.

Believing ourselves to be superior, we had a lot of trouble dealing with the

discovery that we are not.

Coppola makes a point to show us that the Chief of a boat armed to the teeth

was killed by a native in a tree who threw a spear. Not even an "advanced"

Navy boat can defend itself against some "simple" natives armed only with

spears. This opens Captain Willardís  eyes to the horror of the situation he

now finds himself in.

Even more intriguing, however, is the similarity between the transformation

of the characters in Apocalypse Now, and the cast and crew that created it.

In Hearts of Darkness, (a documentary about the making of Apocalypse Now.)

Eugene Coppola becomes the narrator ( a Marlow or Captain Willard) and

Francis becomes Kurtz.

"Francis believed that only if he could duplicate Willardís experience,

could he understand his moral struggle. In other words, he had to lose

control of his own life before he could find the answers to the questions

that his narrative asked (Worthy 24)." Coppolaís main horror was his fear of

producing a pretentious movie. "Eleanor  repeatedly calls the making of

Apocalypse Now a journey into Coppola's inner self. Coppola, like Kurtz, is

regarded as a deity. Moreover, while Willard stalks Kurtz in Apocalypse Now,

Coppola stalks himself, raising questions which he feels compelled to answer

but cannot, finally announcing his desire to "shoot himself. " He means

suicide, but the cinematic connotation of the term, "to shoot," jointly

criticizes both the U.S. and Coppola's film for exercising a demented

self-absorption (Worthy 24)." Coppola had to deal with perhaps the most

agonizing of his troubles: his shriveling self-confidence. As the budget

soared, as the producers worried, as the crew and actors grew restless and

dispassionate, Coppola worried that he did not have what it takes to finish

the film. He struggled with the ending, with his own creative ability, and

with his sense of purpose.

Martin Sheen, who plays Captain Willard, is the one who really faces the

horror. During the filming he has a nervous breakdown and later a heart

attack. Some of his

co-actors believed that Martin was becoming Captain Willard, and was

experiencing the same journey of self discovery.

We live our lives sheltered in our own society, and our exposure to

cultures outside of our own is limited at best. Often, the more

technologically advanced cultures look down upon those that they deem to be

simpler. On the occasion that some member of one culture does come into

contact with another, simpler culture, a self discovery happens. Both

cultures realize that deep down inside, all humans are essentially the same.

We all posses a good and an evil side, and no culture, not matter how

"advanced," is exempt from that fact.. This discovery often causes madness

as this evil side is allowed out. Only those who have completed the "journey

into self" can understand the actions of people such as Kurtz. They are

alone in this world of horror. The Horror!

Works Cited

1. Apocalypse Now. Dir. Francis Coppola. With Martin Sheen, Robert Duval,

and Marlon Brando. Zeotrope, 1979.

2. Conrad, James. Heart of Darkness and  Other Tales. Great Britain, BPC

paperbacks ltd.  1990.

3. Hearts of Darkness. Dir. Fax Bahr, George Hickenlooper. Paramount, 1991.

4. "HEARTS OF DARKNESS -- A FILMMAKER'S APOCALYPSE.", Magill's Survey of

Cinema, 6-15-1995.

5. Worthy, Kim, "Hearts of Darkness: Making art, making history, making

money, making `Vietnam'.".,Vol. 19, Cineaste, 12-01-1992, pp 24.

374.          Finding Courage To Die

Finding Courage to Die

In William Shakespeare's "Hamlet"  we see a young man paralyzed with grief over his father.  So much so that he is believed to have gone mad.  Hamlet is such a complex character that one must look deeply to find what drives him.   Did he really have the courage to kill the king or was it madness?  Hamlet's character will be illuminated by explaining both soliloquies and finally Hamlet himself.

"To be, or not to be, that is the question," (Beaty, 1348)  is one of the most famous and well known excerpts from the play "Hamlet."  What most people do not realize is the significance it has in the portrayal of the character Hamlet.  During this soliloquy Hamlet is debating his fate. Hamlet is asking himself whether it is more noble, in the mind, to passively accept and suffer through all the pains of life fate throws at him, or to actively destroy, in death, these numerous troubles, and ultimately end his pain.  Hamlet is questioning whether it is better to live in a world where he cannot see any goodness or take his own life.  Hamlet has a very intense, philosophical personality.  For this reason, he cannot take his life because he does not know what happens after one dies.  He is not positive of an afterlife, therefore he doesn't have the courage to end his life.

"Now might I do it prat," (Beaty, 1363) is a soliloquy in which we see a shift in Hamlet's rationalization.  Hamlet, as his fathers only son, is seeking revenge for his

Page 2

fathers death, but is afraid that a quick death for Claudius would not be enough.  Hamlet feels that waiting until Claudius is in an immoral situation would make him suffer in death because he would not be allowed to repent for his sins.  During this soliloquy Hamlet is caught up in his plot for revenge and has foregone, for the moment, his plan of suicide.

The contradictions in these two soliloquies sheds much needed light on Hamlet's personality.  Hamlet is very outraged by the immoral actions of some of the other characters.  He is deeply offended by his mothers hasty marriage to her brother-in-law and king.  Hamlet begs his mother to stop being intimate with Claudius and to think more upon her late husband.  This shows that Hamlet has a very clear perception of right and wrong.  He also shows this characteristic by being suspicious and even hurt by his childhood friends loyalty to Claudius.  Even though Hamlet is despondent over his fathers death, he keeps in mind his moral convictions and sets out to right what he sees as a wrong doing towards his father, and ultimately his family.

The plays tragic ending is just more proof that Hamlet was bound by his own ethics to avenge his fathers wrongful death.  Hamlet's character traits are very deeply ingrained and he does what he must  to keep those traits from being exploited by what he sees as unethical people.

Page 3

Works Cited

Shakespear, William.  "Hamlet."  The Norton Introduction to Literature.  Ed.  Beaty,         Hunter, Paul.  New York:  W.W. Norton, 1995.  1306-1405.

375.          First Knight and Oxbow Incident

In the novel, "The Ox-Bow Incident," and the movie, "First Knight," the differences by far out weighed the similarities.  Some of the more evident similarities Round Table had a set book of laws and rules that all knights must abide by, regardless of their feelings were, the characters seemed to both have a leader which they followed, Tetley in "the Ox-Bow", and King Arthur in "First Knight".  Both groups seemed to follow what their so-called "leaders" said. Nobody wanted to stand up to Tetley nor King Arthur, they just did what they were told, regardless of whether or not they felt that it was moral or not.

Some of the differences range from; law, their feelings toward others, and their ethics and morale.  The first difference is the two groups view on the law. The Knights of the about them. Whereas, the cowboys had a set of unwritten laws, which they changed whenever there was something that they wanted to pursue.  Most of them felt that the law was wrong and too slow, so they often decided to take law into their own hands and form posses. If the majority of the people believed that a certain person is guilty or not, they would act upon him/her without a fair trial.  Their view of the law was that it "just gets in the way" and should be abolished all together.  The Knights believed that the law was good and is there for a reason, while the cowboys felt the law was wrong and took action into their own hands.

The two groups both showed a special friendship for each other, yet their friendships were based on different feelings. They were always ready for action and didn't have the time to express their friendship to others.  Their friendships were almost always a temporary thing, meaning one minute they could be your best friend and the next, your worst enemy. They also didn't express their love like the Knights did.  They showed their appreciation through the respect of  others while the Knights expressed their feelings through trust.

The Knights, on the other hand, showed a great deal of love and friendship.  Their relationships were based on assurance and trust, whereas the cowboys didn't rely on anyone.  The Knights were also willing to sacrifice their lives for each other, while the cowboys would let each other die.  So, in comparing the relationships of the two groups, they both had strong relationships with each other, yet they were based on two totally different ideas.

The last major difference between the Knights and the cowboys was one of ethics and morale.  The two groups both showed a code of ethics that portrayed their moral throughout the stories.  The Knights had a set of rules which they abided by and which didn't change at all in the story. On the other hand, the cowboys ethics changed often, throughout the "Oxbow."  The cowboys were influenced by the thoughts and beliefs of others whereas, the Knights based their beliefs on those of King Arthur and no one else.  The Knights showed a great deal of trust in each other, and one's word was especially important, while the cowboys didn't trust anything that anybody said or did.  They were

always looking over their shoulder, never sure when another cowboy would turn against them.

The two stories, "The Ox-Bow Incident," and "First Knight," contained some similarities and many differences.  Most of their differences seemed to be based on the relationship between the characters, while they were similar in the fact that they both had someone assume the role of leadership.  The Knights usually acted as a group, whereas the cowboys seemed to act alone as individuals.  Yet, both groups showed a sense of  togetherness and community even though their beliefs and feelings were completely opposite.

376.          Flaweless Heroes

Flawless Heroes?

It is important for youth to have heroes but society cannot ignore the facts and only report on the good side of those heroes.  Everyone is human, and they are going to make mistakes.  Hopefully they learn from those mistakes, and if those mistakes are brought to light and conveyed to the young people then they too learn from those mistakes.

History has a duty to report on the entire story.  To report anything less would be wrong.  To just simply say that Columbus was a perfect man who never did anything wrong would paint an unrealistic picture of the past.  Mr. Gibbon, the author of this article seems to think that reality is a bad thing and should not be taught in our classrooms.  Today's youth however need to be prepared for life in some way.  They cannot be fed everything with a sugar coated spoon.  If they were given everything on a silver platter like that then when they walked out into the real world for the first time they would not be able to adjust and become a productive part of society.

Today's young people are in search of heroes as Mr. Gibbon suggests, but every person is going to have some skeletons in their closet, hero or no hero.  To ask society to ignore the facts just so young people can feel that these people are perfectly squeaky clean is wrong.  Society cannot lie to them.  There is some value to teaching reality even though Mr. Gibbon doesn't seem to think so.

Mr. Gibbon mentions that there is some sort of "tradition of exemplary lives" in society's heroes that used to exist but no longer does.  However there never was such a tradition of wonderfully perfect people with perfect lives.  Back then people ignored the facts and decided to believe that these people were perfect when the fact was that they were not perfect, they were just human.

You cannot shield today's young people.  You can't just cover their eyes to reality.  Reality must be exposed and studied so they can try to understand the world.

I agree with Gibbon that parents are the first and most important educators and they must try to make their lives exemplary so their children will try to do the same, however parents are not perfect, they are human like everyone else and they do make mistakes.

There must be some way to teach moral and ethical education without sacrificing the need to teach reality.  Society must not ignore the facts.  The importance of moral and ethical lessons do not outweigh the importance of reality education.  Society needs to focus their efforts on teaching morals and ethical lessons some other way besides studying "flawless" heroes.

377.          Flawless Heroes

Flawless Heroes?

It is important for youth to have heroes but society cannot ignore the

facts and only report on the good side of those heroes.  Everyone is human, and

they are going to make mistakes.  Hopefully they learn from those mistakes, and

if those mistakes are brought to light and conveyed to the young people then

they too learn from those mistakes.

History has a duty to report on the entire story.  To report anything

less would be wrong.  To just simply say that Columbus was a perfect man who

never did anything wrong would paint an unrealistic picture of the past.  Mr.

Gibbon, the author of this article seems to think that reality is a bad thing

and should not be taught in our classrooms.  Today's youth however need to be

prepared for life in some way.  They cannot be fed everything with a sugar

coated spoon.  If they were given everything on a silver platter like that then

when they walked out into the real world for the first time they would not be

able to adjust and become a productive part of society.

Today's young people are in search of heroes as Mr. Gibbon suggests, but

every person is going to have some skeletons in their closet, hero or no hero.

To ask society to ignore the facts just so young people can feel that these

people are perfectly squeaky clean is wrong.  Society cannot lie to them.  There

is some value to teaching reality even though Mr. Gibbon doesn't seem to think

so.

Mr. Gibbon mentions that there is some sort of "tradition of exemplary

lives" in society's heroes that used to exist but no longer does.  However there

never was such a tradition of wonderfully perfect people with perfect lives.

Back then people ignored the facts and decided to believe that these people were

perfect when the fact was that they were not perfect, they were just human.

You cannot shield today's young people.  You can't just cover their eyes

to reality.  Reality must be exposed and studied so they can try to understand

the world.

I agree with Gibbon that parents are the first and most important

educators and they must try to make their lives exemplary so their children will

try to do the same, however parents are not perfect, they are human like

everyone else and they do make mistakes.

There must be some way to teach moral and ethical education without

sacrificing the need to teach reality.  Society must not ignore the facts.  The

importance of moral and ethical lessons do not outweigh the importance of

reality education.  Society needs to focus their efforts on teaching morals and

ethical lessons some other way besides studying "flawless" heroes.

378.          Fleeing my Dentist

Fleeing My Dentist

Last week I  realized that I had a cavity in my "Wisdom" tooth, but it didn't hurt so I ignored it for a few days; consequently, the hole in my tooth grew larger and so did my fear of visiting my dentist Dr. Bernstein. I felt like an absolute child having been reminded by Dr. Bernstein several times "You missed your last checkup;" nevertheless, I had no reply as the fate of my mouth rest in his shaking hands at that particular moment. When he was finally done with his lecture, and the relentless prodding of my mouth with various instruments I thought to myself "Why doesn't anyone I know come here?"  Profoundly it was this question that I imposed upon myself which pointed me in the direction to seeking a new dentist. I am going to search for a dentist who cares about me, and my feelings instead of someone who is only concerned about speed and the almighty dollar. I am absolutely fed-up and tired with the ridiculous long waiting time, sheer physical pain, and prolonged mental abuse by Dr. Bernstein and his staff.

I have outgrown my patience for sitting in Dr. Bernstein's lobby for forty-five minutes to an hour when there is absolutely no one else there. What can they possibly be doing all time without any patients? I have never been able to figure out why the waiting time is so slow; nevertheless, I'm already nervous because I'm aware of the impending pain which awaits me. The secretary who works in Dr. Bernstein's office is always so polite, yet it's almost as if she takes pleasure in watching me wait in doomed anticipation.

Every-time I finally get past the yearlong wait in the lobby I have to muster my courage to face and survive Dr. Bernstein's dental hygienist. The hygienist is a nice and sweet woman by all accounts, but she has the hand-eye coordination of a pit bull. Countless times she has mauled my mouth with a dizzying array of dental instruments; consequently, I just can't understand why she is trying to maim me. I have ultimately come to the stark conclusion that she has mistaken me for some sort of dental masochist that of which I am not.

A dental office should be warm, welcoming, and modernistic; however, it seems that Dr. Bernstein's office is well equipped in the classic era of 1962. Fading, plain, wallpaper and medieval dental chairs are emblazoned with the insignia of discomfort and unpleasantness. Why can't I see pictures of flowers and rainbows to ease my mind off the dental distraction?

Finally arriving at Dr. Bernstein's workstation the mere sight of his dental chair seems to instill a greater fear in me. Unlike his dental hygienist Dr. Bernstein insists on reminding me of how many checkups I've missed. The trait that I hate the most about him is how physically rough he is when working inside my mouth; meanwhile, never pausing a single second to see if I'm even alive! Dr. Bernstein is a very experienced dentist, but his emphasis is speed disregarding my comfort for the sake of convenience.

I can completely understand why I'm in dire fright, and why I suffer from "Dental Shell Shock". My wife is completely amazed at how often I return to Dr. Bernstein's office, but I have to seek change because this is my health that is ultimately at stake. I will certainly take my time in selecting a dentist who is patient, caring, and not so cold. No one should fear going to the dentist even if they do give one the occasional lollipop.

379.          Flesh and the Devil Clarence Brown technical devices and cinematic movements of 1920s in the construct

The narrative and visual story of Clarence Brown's Flesh and the Devil is constructed through technical device of the 1920s and cinematic movements of this period. Mise en scene within the sequence establishes the way that the characters are understood and heightens the drama of the film.

Only a few significant technical advances occurred during the 1920s. A new approach to cinematography introduced a creation of soft and blurred images, rather than the hard-edged, sharp tones of previous films. This new approach to cinematography is used in Flesh and the Devil; examples of this soft blurry image are mainly used to describe female or the 'morally' good characters within the sequence. This technique constructs the way in which a character is perceived. Throughout the sequence the young woman dressed in white is described in this way, as are the characters of 'David' and the 'Wife of Uriah' after they have drunken from the wine goblet. This is noticeable as prior to this event 'David' was shown under a more contrasted light.  This technique allows the audience to assume his redemption. The contrast of this focus also determines the characters morals and intentions. This technique establishes the construction of narrative and visual story without the reliance of dialogue within the sequence.

One of the main German trends in cinematography in the 1920s was expressionism. It relied on drama and spectacle to convey the story, with distorted and exaggerated sets, costume and make up. The ideas and techniques used in Flesh and the Devil oppose the expressionist genre of film. As it portrays a realistic and naturalized narrative. Images appear to be realistic as this sequence is taken through a normal lens, to show the image without exaggerating or reducing the planes within the scene. This is used to portray an everyday scene so greater focus can be placed on character emotion through evocative acting and detail within the sequence. To construct narrative and emotive response, without the reliance on dialogue. Characters facial expression and gesture is emphasized to reveal the narrative, this is shown through subtle body language and gesture of the characters of 'David' and the 'Wife of Uriah,' which allude to the condemnation of a certain act which has taken place in the chain of events.

Kammerspiel another German trend of the 1920s, was also a movement opposed to German Expressionism. It was another influence in the social realistic narrative portrayal and visual story of Flesh and the Devil. In many ways the influences and similarities of Kammerspiel are shown in this sequence. The sequence is set in a small intimate setting, although many people are shown only a few of the characters are focused on in detail, while the other people have no prominence. Within the sequence these characters are explored and an aspect of the crisis of their lives is detailed, through evocative acting and expression. Like Kammerspiel it is focused on character psychology rather than extreme expression of emotion and spectacle. Flesh and the Devil also eliminates notions of fantasy or legend, using mundane, banal settings and conveying a short period of time. This portrayal of contemporary reality within the sequence, allows for the visual story and narrative to take prominence. Although unlike most Kammerspiel films it is more complex and uses inter titles, to aid in detailing plot and character emotion. Although there are noticeable differences that differentiate this film from the Kammerspiel movement, again likeness can be seen through the symbolism. Symbolism is important in the conveyance of narrative events, as it is a visual clue to the action. Such motifs within the sequence are colour; white, the crucifix and the wedding band. These motifs show a parallel to the sequence as they all reference virtue but contradict what they represent. As within the sequence, it is set in a 'holy' place, but we are aware of sinful acts that have occurred.

New Objectivity is another trend that has influenced the style and techniques of Flesh and the Devil. Like Kammerspiel it influenced the film in its move away from contorted expressionism and shift towards realism and social criticism. This is evident in the sequence through the use of evocative acting, gesture and facial expression. New Objectivity focused on the subject matter of the film, often depicting many social ills. This is portrayed within the sequence through the sinful act of 'David' and the 'Wife of Uriah' which is alluded to by the minister and by the characters gestures and reaction, rather than the use of dialogue. Within this trend ironies of the social situation take precedence over that of extreme emotion. Dramatic irony of the social situation within the sequence takes place through the contrast of the setting; a church and the situation that is alluded to; an act of sin. This irony also comes across through the innuendo of the sequence, as the act is suggested through reading of the bible.

Through the ideas of New Objectivity, Kammerspiel and other techniques, Clarence Brown is able to construct the narrative and visual story without the use of dialogue.

The mise en scene within Flesh and the Devil establishes the way the characters are construed, creating a sense of drama and innuendo within the sequence.

The use of props within the mise en scene effects a characters portrayal and heightens the dramatic and visual aspects of the sequence. The hand written note is the first prop of significance. The harsh whiteness of the paper contrasts the general bleakness of the setting, while the content conflict with the action of the film and the undertones of the minister's impromptu sermon. The extreme close up of the minister's hand destroying the note delivers a sense of exacerbated tension within the mise en scene.

Many of the props within the mise en scene construct power relations between characters. The minister's glasses illustrate this as he looks upon the mass with scrutiny. He puts on the glasses to read the note, but removes them when the people involved in the sinful act arrive As if he only wants to see the purity in the world and refuses to look upon sin. Within the mise en scene other important props creating power relations are the bible and the glass of water. Both representing virtue and purity, implying this of the minister. Through drinking the water he purifies himself and through his teachings from the bible he instills this sense of purity in others. Although the prominence of his wedding band implies that he too is human, not 'God' and that he has needs and desires, perhaps making him not so virtuous.

The character metaphorically labeled 'Uriah's Wife' is also empowered through the use of prop within the mise en scene, as it influences the way she is perceived. Her application of lipstick gives her a seductive and femme fatale air. It gives her power, power over the male characters, and almost a power over 'god' as she does not fear this moral ideal. She can hide behind the lipstick as it covers her sins.

The minister again is in a position of power as he places the bread the mouths of the recipients, as with the wine. All the characters are subservient to the Ministers status. Although there is a shit in power when the ' Wife of Uriah' submits. She grasps the goblet with both hands as to take full control, a mortal control.

The figure of the Virgin Mary or Jesus Christ is also noted near the end of the sequence within the mise en scene. Only the head of the statue is shown, and it is always seen in darkness and out of focus. Although it is situated above the people and above the minister.

Costume within the mise en scene creates a sense of contrast and construes the nature and intentions of a character. Through out the sequence prominent contrasts of black and white are obvious. The predominant colour is black; this is recognized in the characters involved in the sinful act. One young lady in their procession whom is clothed completely in white contrasts these characters. She appears to be pure and virginal, almost bride like as she proceeds up the aisle. In the last shot of the sequence her lightness and luminosity is featured, portraying her as perhaps the ideal pure figure. This costume provides an outstanding contrast to that of the 'Wife of Uriah' whom is clad almost in black. Emphasis is put on the black gloves she wears, as the hands of the other characters are bare. This is highlighted in the shot showing bare white hands putting coins into the dish. Like the lipstick, her gloves cover up and hide her sin.

The use of lighting within the mise en scene acts in a similar way, providing a significant contrast between light and dark within the sequence, to establish character and drama. Throughout most of the sequence low-key lighting is used for the characters of 'David' and the 'Wife of Uriah'. These shots are interspersed with shots of the minister, which have a lesser light contrast. This usage of lighting defines characters and allows a differentiation of the sinfulness of 'David' and the 'Wife of Uriah' and the holiness of the Minister. The character of the Minister is also established through the high angle shot of the back of his head, as a strong key light is used to light one side of his head, giving a halo effect. Perhaps indicating that he is not entirely virtuous. The woman dressed in white is described through lighting as she is seen in a soft focus and given a luminous quality. Within the last shot of the sequence lighting on her face is emphasized, as to portray a kind of innocence and purity. Direct sources of light distinguish certain significant features within the mise en scene. A strong light streams through the window in rays, implying the church as a heavenly and holy place. This idea is again shown through the light, which comes from the open door, emphasizing the crucifix, which hangs above it. A shift in the use of light is noticed near the end of the sequence. After 'David' and the 'Wife of Uriah' have repented their sins through drinking the wine the lighting of their figures changes from a low key lighting to becoming less contrasted, signifying this. This use of light within the mise en scene empowers the sequence through the contrast of dark sinister undertones with interspersed moments of lightness.

Within the mise en scene body language and gesture describe emotion power and relations between characters. This is significant for the portrayal of the Minister, 'David and the 'Wife of Uriah'. This trip tych of expression reveals the power struggle of these characters. Through the minister strong movement, facial expression and direct gesture, establish the Ministers apparent want for control. The character who does have control though is the "wife of Uriah'. This is shown through her nonchalance, her sexual feminine gesture; fainting and applying lipstick, as well as more direct gestures in taking hold of the wine goblet. Within this trip tych of power it is apparent that 'David ' is the subservient party. This is conveyed through his stunned reaction to he sermon, his overall anxious agitation and hi reluctance to stand for the hymn or drink from the goblet. Within the sequence there is a direct contrast between Ministers strong movement and the subtle innuendo of 'David' and 'Uriah's wife' is also noted.

Aspects of the mise en scene within the sequence contribute to the conveyance of power, relations and emotion to establish the development of character and drama in Flesh and the Devil.

380.          For The Love Of The Game

For The Love Of The Game

This movie is based on a story of man who has a passion for baseball and love for a woman. It shows the struggle between the two, baseball and Jane. This movie takes place in the 20th century in New York. Most of the movie is a flash back of Billy Chapel, Detroit Tiger's Pitcher, the events of the past five years. It shows his the ups and downs of his life with Jane and Baseball. It shows the importance of love for a person and love for a career.

The movie begins, and is not a flash back it is the actual present. It show Billy Chapel in a hotel waiting for Jane to call. Hours go by and she doesn't show, he finally gives up and drinks himself to sleep. The next morning he is awaken by Gus his good friend and the catcher for the Tigers. While Gus is hassling Chapel to get ready ?,the owner of the tigers, comes in to make aware Chapel of his plans to sell the team and the buyers plans to trade Chapel. He informs Chapel that he needs to make a decision either to be traded or retire. Soon after this terrible news Jane call Chapel from the lobby of the hotel and Chapel hastily runs to meet her. When he gets down there he is informed that she has walked to Central Park. Finally he catches up with her and she tells him that she has decided to take a job in London. He is speechless and shocked at this point, she says that she knew that he didn't need her, that him and the baseball and the diamond were beautiful together. Jane quickly hugs him and leaves. So up to this point Chapel has had bad news all day and will be expected to do well in the upcoming game that night. It picks up with him talking to Gus about his day and Gus plainly remarks that it isn't his day. Soon the game begins and it starts up well, he is pitching rockets. As the game progresses he begins to flash back to the day when he met Jane. He first met he on the side of the road with car trouble, he kindly pulls over and helps her out and befriending her he invites her to his baseball game. That is how they became involved. She goes to his game and then goes out to eat with him were they learn much about each other. So wrapped up in one another they go to his room where she end up staying until the next day. The next morning they awaken and he leave due to having another baseball game, but gives his number to Jane for a later rhondevoo. Chapel continues the flash back with their second meeting and she didn't show up but did end up catching him outside of the bar. They stand outside talking about their relationship and how it is supposed to work. Jane decides at the end of their walk that night that when Chapel was gone he would do what he does and she would do what she does, no why didn't you call me, and no possessive stuff either, and they both agreed. Mean while in the present, he was pitching a great game. Then in his next flash back it shows him talking to Jane and inviting her to go see him and she says no, he ends up getting angry and hangs up on her. The next scene of the movie is Jane standing a Chapels door and he informs her that her was so excited to see her. The tragedy of this scene is that Chapels masseuses comes down they stair wet headed and in her panties, this obviously was not a pleasing sight to Jane . Jane turns very angered and walks away, Chapel chase her down and tries to convince her of his love for her. Jane just drives off and say that it will only end bloody for her. His next flash back is when Jane calls him in the locker room for some immediate assistance to find her daughter, which she never mentioned to Chapel. She told him that she ran away to her dads house which was near him, so he agreed to go pick her up. He went and got Jane's daughter, Heather, and took her back home, where he and Jane got on good terms again.

From this point it seems that he and Jane spend time really getting to know each other and really wanting to make this work. Once again through out all these flash backs Chapel is on his way to pitching a perfect game, a game which could be his last game.

The next flash back shows him, Jane, and Heather together at a house that seems to be up in the mountains in the winter time. Everything seems picture perfect until Chapel it sawing some wood and severely cuts his hand open, and blood gushes everywhere. He finally stumbles over to Jane and she panics and rushes him to be picked up by starflight. They arrive and Chapel tells her to call a man on the baseball team and that he is the most important person to him right now. Obviously she took great offense to that and in this vision he sees how that came across very clearly. I think that this is the climax point because this was the actual point in the flash backs that he realized how he pushed her away and how terrible she felt. He continues to pitch a perfect game as well as continues to have flash backs. His next flash back was when he was in re-hab for his arm and he yelled at his trainer for his lack of support and then later got into a verbal fight with Jane over her lack of support. They argue until she decides to leave, and she does that. Later he goes to find her and she is dating someone else and he doesn't like this but he knows how bad he has treated her. Remember this is all a flash back and he is thinking of all these things when he is pitching his perfect game. At some point in one of his flash backs he decides to go ahead and retire and go for what is obviously most important to him. His final attempt is when he calls her and tells him when he will be back in town and he would like to see her and she agrees to meet him at his hotel room and that brings us to the beginning of the movie when she doesn't show up because she is avoiding telling him that she is going to move to London. Meanwhile while he is having all these flash backs she is in the airport and there has been a delay in her flight. She first heads to the lounge but the baseball game that Chapel is playing in is n then she heads to another sitting area and it is on there too. Everywhere she turns she see the game so she goes ahead and watches it. At the end of the game on the last pitch , a suspenseful scene this is what will determine whether he pitches a perfect game. Everyone waiting patiently to see what will happen, can he do it they all wonder. Finally the last pitch and he does it and so emotional over it she decides not to get on her plane and stays another day. On the other hand Chapel who pitched the a perfect game, every pitchers dream, wasn't as happy as he should be, because he longed for her. he went back to his room and broke down and balled for a long time when he decided that the next day he would get up an get a flight to London to find her. The next morning when he gets there at the airport he runs into her. She explains how she missed her plane and they then discover that they want to truly be together forever. This tragic love story ends not so tragically.

Billy Chapel (Kevin Costner) could be both protagonist and antagonist character. Billy would be an antagonist character when he is so testy and easily angered. He comes across as antagonist also when he is insensitive and obsessed with baseball. He is also a protagonist character when he realizes in his flash backs how he treated Jane and want to make peace and live the rest of his life devoted to her only. Billy Chapel is a Pitcher for the Detroit Tigers and is in love with baseball. He has one simple fault and that is that he can't separate his love for his career from his love for an actually being. He has many down hill falls through out the movie but the end of the movie is nothing but finales of good things. He is very caring and sincere once he realized his mistakes.

Jane Aubrey (Kelly Preston) is a protagonist character throughout this movie. Jane has had a tough life having a child at sixteen whose father was wrapped up in drugs. She is a single parent with a ongoing to have a love story. She is a journalist for a magazine company. She is very protective of her feelings and very pessimistic about her whole relationship with Billy.

Heather (Jena Malone) is the daughter of Jane. Heather seems to be a antagonist in a since because she ran away from home. This incident cause quite an up roar, but it turned out for the better. She really doesn't play much more of a role than being the daughter. She does seem negative and complains about everything her mom does but she could easily be classified as a minor character. She is quite negative , but in return has lead an awkward life style.

Gus Sinski ( John Reilly) is one of Chapel's best friends. Gus is also the catcher for the Detroit Tigers. He is very caring and understanding of things with Chapel. He supports Chapel a hundred percent, no questions asked. He is a secondary character.

Gary Wheeler ( Brian Cox ) is the owner of the Tigers. He is a secondary character in the since that his small role causes the way the movie results. His decision to sell effects Chapels career. He isn't spoken much of other than to inform Chapel of the selling of the team. he seems to be a nice guy but just burnt out on his life of baseball.

The costumes of this film were very contemporary. The mostly consisted of trendy attire like ribbed sweaters, pea coats, black pants, and other various tops which Jane often wore. Jane also wore glasses which enhanced her role as a journalist. They brought out a very professional look and smart complex. Chapel and many others were mainly dressed in a baseball uniform but if not often in a suit with slacks. Costumes were very much the same as what is seen in various places today.

The music fit well with each mood or mood change of the movie. The movie allowed a slight bit of foreshadow in some areas. The music enhanced each mood in the movie allowing it to suck in the emotions of an average person watching the film.

I think the theme was true love vs. obsession. Billy Chapel was obsessed with his career in baseball so much that he often lost something that he truly love. This goes to show that you should never compare love of a human to love of a career. Love for another is continual but being obsessed with a sport or career is something so chancy. Human love is there through thick and thin but one bad injury can remove you career and then one has nothing left. I give this movie thumbs up. I though that is was incredible and really got to ones emotions. This is a movie that deals with emotions from different aspects. It deals with love of a human and passion for the game. Each of these can hit people in different ways and people in general will relate to these in different ways. This movie continually keeps you on the edge of your seat wanting to just know that everything turns out ok.

"This is so serial, " this is Jane talking to Billy the second time they meet informing him she feels intimidated about the whole relationship and not worthy.

"I can't be a groupie," Jane says this also expressing her insecurity of being worthy.

"So when your gone you do your thing and I do mine. None of this why didn't you call me bull shit, and no possessive crap. What you do is your business and vis-versa, and no obsessing," Jane says this not actually meaning it, but trying to sound strong. She does this trying to be the guy and seem to have no worries, when really she is wanting him to call.

"I'll call you back when I'm not pissed," this is Chapel talking to Jane when she refused to come down to see him for no apparent reason. He also was angered that she used the phrase about her not being a groupie.

"Clear the mechanism," this is what Chapel says to block out all the noise in the game and to focus on what he is doing.

"This can only end bloody for me," this is Jane talking to Chapel after she arrived at his place to visit and sees another woman in there with him half dressed. "Is this not America...," this is Jane in a panic to get help for Chapel at the hospital.

"My mom has no love story, so she doesn't believe in it...," this is Heather telling Chapel all about her mother and why she is irrational.

I think the performance delivered the message and intent perfect. I was not once confused, but it is that which starts out some what at the end and uses flashbacks to tell the full story.

381.          Forbidden Planet Comparison to Shakespeare

Forbidden Planet Comparison to Shakespeare's The Tempest

On first glance, Forbidden Planet can easily be seen to parallel many other

works relating to technology, nature, or both.  One of the most obvious

parallels is, of course, to Shakespeare's The Tempest,  the story of a man

stranded on an island which he has single-handedly brought under his control

through the use of magic.  Indeed, the characters, plot, and lesson of Forbidden

Planet mirror almost exactly those of The Tempest, with the exception that where

The Tempest employs magic,  Forbidden Planet utilizes technology.  At this point,

it is useful to recall one of Arthur C. Clarke's more famous ideas, which is

that any technology, when sufficiently advanced, is indistinguishable from magic.

Indeed, the technology presented in Forbidden Planet is not meant to be

understood by the audience, but rather is, for all intents and purposes, magic.

This is undoubtedly in part because the technology doesn't exist and therefore

cannot be explained to us.  What is more important, however, is that how the

technology works is irrelevant for the purpose of the movie, which is to

entertain and to teach us a lesson about man's control over the elements and

over his own technological creations.

At this point a brief synopsis of the movie would seem to be in order,

with special attention as to how it relates to The Tempest.

In The Tempest, a man named Prospero and his daughter Miranda have been

exiled to a remote island which is completely uninhabited, save for an evil

monster and her son Caliban, and which is in a state of primal chaos.  Using the

magical powers he has cultivated all his life, Prospero gradually brings the

forces of nature on the island under his control, and manages to somehow enslave

Caliban, whose mother has died in the interim.  (Some of these details are fuzzy

because I am familiar with The Tempest only through Marx).  A group of sailors

is shipwrecked on the island, one of whom falls in love with Miranda, the lovely

daughter of Prospero.  Eventually, Caliban and other servants plot to overthrow

Prospero, but are thwarted and taken back into servitude, thankful to get off

that easily.

Having summarized The Tempest, it is easy to summarize Forbidden Planet.

A man named Dr. Morbius and his daughter Altaira are stranded on a distant

planet when a government ship lands there, whose commander falls in love with

the beautiful Altaira.  The only significant difference in the two works, other

then setting, is the conclusion of each.  Before we look at the differences

there, however, it is necessary to look more closely at the symbolism behind

each.  In The Tempest, Prospero's magic is a symbol of technology.  It lets him

tame the island, is completely at his command, and even is understandable by

those who take the time to study it.  Caliban represents the forces of nature,

which Prospero has enslaved using magic, a.k.a. technology.  It is worth noting

here that Shakespeare perceives "nature" in the form of a wild, hostile

environment, not as a "garden of eden" form, a concept he pokes fun at in one of

the opening scenes.  Eventually, nature rises up and lashes out at Prospero, but

(from what one can gather from Marx), his magic saves him.  He then accepts

Caliban back into servitude.  The perfect harmony is thus achieved--man using

technology to tame nature, and doing it so well that he achieves the best of

both worlds.

Forbidden Planet teaches a different lesson, and teaches it in two

separate stories.  The first is the story of the Krell, a superintelligent race

that rose to its peak and then fell 2000 centuries before Dr. Morbius and his

daughter set foot on the planet.  The Krell had achieved what they considered to

be the pinnacle of technology--they had left behind their physical bodies in

exchange for computers.  Their consciousness resided in computers, which "

projected" bodies for them, so to speak.  The perfect blending of man (or

creature, anyway) and technology.  They were, in fact, a version of Hardison's "

silicon creature"--they had no physical bodies, save for a series of ones and

zeros stored somewhere in the memory of a supercomputer 40 miles long.  What the

Krell had forgotten to explore, however, was their own psyche.  Confronted with

the virtually limitless power they had due to the nature of what they had become,

all they did was loot, riot, and otherwise engage in self-destructive activity,

so that in one day the entire race was destroyed.  In this case, technology in

the form of the Krell's supercomputer became a slave to the most basic form of

nature--the subconscious, where primal emotions rage with all the fury of a

physical tempest.  As we see, the results when nature controls technology are

disastrous.

The second story is the story of Dr. Morbius.  At the outset, Altaira IV

could easily be mistaken for paradise, albeit an arid and lonely one.  While the

area that the ship is in is a desert like climate, the dwelling place of Morbius

and Alta seems climactic enough.  Deer frolick in the nearby forest, and tigers

which are normally fearsome killers are petted like kitty cats.  It is the tiger

which is the first clue that things are going wrong.  An obvious symbol of

nature, a tiger attacks Alta one day while Commander Adams is there.  Adams

quickly uses his blaster on the tiger, symbolizing the utter dominance of

technology over nature on Altaira IV.  Shortly afterwards, things start getting

worse, and culminate in a fearsome attack by "nature" in the form of Morbius's

subconscious on Adams's ship.  As the plot unfolds, we find out that Dr. Morbius,

by meddling with technology he didn't fully understand, managed to inadvertently

kill dozens of people.  It is worth noting that Morbius realizes on some level

the extent to which things have gotten out of hand when his daughter pleads with

him to help the crew of the ship.  His reply to her is along the lines of "I

cannot help him (Commander Adams) as long as he stays so willfully".  In short

what Morbius is saying is strongly reminiscient of Frankenstein's  message, that

is, "This technology that I am supposedly 'master' of has gotten out of my

control, and I am powerless to stop it".  Dr. Morbius is a grim reminder again

of what can happen when technology is allowed to increase unchecked, to the

point where human beings can no longer understand it, let alone control it.

Ironically, Dr. Morbius himself warned against the unchecked growth of

technology by refusing to allow mankind access to the Krell's wondrous secrets.

Instead, he insisted that he would dispense what pearls of wisdom he saw fit,

the better to keep mankind from destroying itself.  In the end, of course, the

entire planet was destroyed, along with several neighboring star systems.

There are several lessons to be learned from Forbidden Planet.  The

first is that before man can hope to control nature or  technology, he needs to

learn to control himself, as evidenced by the disaster which destroyed the Krell.

Second, when technology and nature are in direct conflict, the results will not

be beneficial, and will probably be destructive.  Third, when technology and

nature are too far off balance from each other, the results will again be

detrimental.

In short, Forbidden Planet is a kind of Frankenstein  which is more

developed and has better symbolism, which is to say that it councils the same

course of action that Florman does--caution, but not inaction.  If we allow

nature to run rampant, we clearly cannot survive.  (This statement again  takes

the assumption that "nature" is a tempest, not a garden of eden.)  If we allow

technology to go unchecked, it will eventually overwhelm us when we least expect

it.  And if we pit the two against each other, it will destroy our entire solar

system.  The proper course of action, then, is just what both Florman and

Morbius propose--proceed slowly, and take into account the fact that all that is

new is not necessarily good.

382.          Forbidden Planet Comparison to Shakespeares The Tempest

On first glance, Forbidden Planet can easily be seen to parallel many other works relating to technology, nature, or both.  One of the most obvious parallels is, of course, to Shakespeare's The Tempest,  the story of a man stranded on an island which he has single-handedly brought under his control through the use of magic.  Indeed, the characters, plot, and lesson of Forbidden Planet mirror almost exactly those of The Tempest, with the exception that where The Tempest employs magic,  Forbidden Planet utilizes technology.  At this point, it is useful to recall one of Arthur C. Clarke's more famous ideas, which is that any technology, when sufficiently advanced, is indistinguishable from magic.  Indeed, the technology presented in Forbidden Planet is not meant to be understood by the audience, but rather is, for all intents and purposes, magic.  This is undoubtedly in part because the technology doesn't exist and therefore cannot be explained to us.  What is more important, however, is that how the technology works is irrelevant for the purpose of the movie, which is to entertain and to teach us a lesson about man's control over the elements and over his own technological creations.

At this point a brief synopsis of the movie would seem to be in order, with special attention as to how it relates to The Tempest.

In The Tempest, a man named Prospero and his daughter Miranda have been exiled to a remote island which is completely uninhabited, save for an evil monster and her son Caliban, and which is in a state of primal chaos.  Using the magical powers he has cultivated all his life, Prospero gradually brings the forces of nature on the island under his control, and manages to somehow enslave Caliban, whose mother has died in the interim.  (Some of these details are fuzzy because I am familiar with The Tempest only through Marx).  A group of sailors is shipwrecked on the island, one of whom falls in love with Miranda, the lovely daughter of Prospero.  Eventually, Caliban and other servants plot to overthrow Prospero, but are thwarted and taken back into servitude, thankful to get off that easily.

Having summarized The Tempest, it is easy to summarize Forbidden Planet.  A man named Dr. Morbius and his daughter Altaira are stranded on a distant planet when a government ship lands there, whose commander falls in love with the beautiful Altaira.  The only significant difference in the two works, other then setting, is the conclusion of each.  Before we look at the differences there, however, it is necessary to look more closely at the symbolism behind each.  In The Tempest, Prospero's magic is a symbol of technology.  It lets him tame the island, is completely at his command, and even is understandable by those who take the time to study it.  Caliban represents the forces of nature, which Prospero has enslaved using magic, a.k.a. technology.  It is worth noting here that Shakespeare perceives "nature" in the form of a wild, hostile environment, not as a "garden of eden" form, a concept he pokes fun at in one of the opening scenes.  Eventually, nature rises up and lashes out at Prospero, but (from what one can gather from Marx), his magic saves him.  He then accepts Caliban back into servitude.  The perfect harmony is thus achieved--man using technology to tame nature, and doing it so well that he achieves the best of both worlds.

Forbidden Planet teaches a different lesson, and teaches it in two separate stories.  The first is the story of the Krell, a superintelligent race that rose to its peak and then fell 2000 centuries before Dr. Morbius and his daughter set foot on the planet.  The Krell had achieved what they considered to be the pinnacle of technology--they had left behind their physical bodies in exchange for computers.  Their consciousness resided in computers, which "projected" bodies for them, so to speak.  The perfect blending of man (or creature, anyway) and technology.  They were, in fact, a version of Hardison's "silicon creature"--they had no physical bodies, save for a series of ones and zeros stored somewhere in the memory of a supercomputer 40 miles long.  What the Krell had forgotten to explore, however, was their own psyche.  Confronted with the virtually limitless power they had due to the nature of what they had become, all they did was loot, riot, and otherwise engage in self-destructive activity, so that in one day the entire race was destroyed.  In this case, technology in the form of the Krell's supercomputer became a slave to the most basic form of nature--the subconscious, where primal emotions rage with all the fury of a physical tempest.  As we see, the results when nature controls technology are disastrous.

The second story is the story of Dr. Morbius.  At the outset, Altaira IV could easily be mistaken for paradise, albeit an arid and lonely one.  While the area that the ship is in is a desert like climate, the dwelling place of Morbius and Alta seems climactic enough.  Deer frolick in the nearby forest, and tigers which are normally fearsome killers are petted like kitty cats.  It is the tiger which is the first clue that things are going wrong.  An obvious symbol of nature, a tiger attacks Alta one day while Commander Adams is there.  Adams quickly uses his blaster on the tiger, symbolizing the utter dominance of technology over nature on Altaira IV.  Shortly afterwards, things start getting worse, and culminate in a fearsome attack by "nature" in the form of Morbius's subconscious on Adams's ship.  As the plot unfolds, we find out that Dr. Morbius, by meddling with technology he didn't fully understand, managed to inadvertently kill dozens of people.  It is worth noting that Morbius realizes on some level the extent to which things have gotten out of hand when his daughter pleads with him to help the crew of the ship.  His reply to her is along the lines of "I cannot help him (Commander Adams) as long as he stays so willfully".  In short what Morbius is saying is strongly reminiscient of Frankenstein's  message, that is, "This technology that I am supposedly 'master' of has gotten out of my control, and I am powerless to stop it".  Dr. Morbius is a grim reminder again of what can happen when technology is allowed to increase unchecked, to the point where human beings can no longer understand it, let alone control it.  Ironically, Dr. Morbius himself warned against the unchecked growth of technology by refusing to allow mankind access to the Krell's wondrous secrets.  Instead, he insisted that he would dispense what pearls of wisdom he saw fit, the better to keep mankind from destroying itself.  In the end, of course, the entire planet was destroyed, along with several neighboring star systems.

There are several lessons to be learned from Forbidden Planet.  The first is that before man can hope to control nature or  technology, he needs to learn to control himself, as evidenced by the disaster which destroyed the Krell.  Second, when technology and nature are in direct conflict, the results will not be beneficial, and will probably be destructive.  Third, when technology and nature are too far off balance from each other, the results will again be detrimental.

In short, Forbidden Planet is a kind of Frankenstein  which is more developed and has better symbolism, which is to say that it councils the same course of action that Florman does--caution, but not inaction.  If we allow nature to run rampant, we clearly cannot survive.  (This statement again  takes the assumption that "nature" is a tempest, not a garden of eden.)  If we allow technology to go unchecked, it will eventually overwhelm us when we least expect it.  And if we pit the two against each other, it will destroy our entire solar system.  The proper course of action, then, is just what both Florman and Morbius propose--proceed slowly, and take into account the fact that all that is new is not necessarily good.

383.          Forces of Corruption in The Great Gatsby

The theme of human corruption, its sources and consenquences, is a coomon concern among

writers from Shakespeare through J.D Salinger. Some suggest that it attacks from outside, while

others depict corruption occuring from within the individual. In the case if The Great Gatsby

and it's protagonist's fate, Fizgerald shows both factors at work. The moral climate of the

Roaring Twenties, Daisy Fay Buchanan's pernicious hold on him, and Jay Gatsby's own nature all

contribute to his tragic demise.

First, the loose morality of Dan Cody, Gatsby's unfortunate role model, and superficial

people who flock to Gatsby's parties contribute to Gatsby's downfall. Their examples encourages

Gatsby's interpretation of The American Dream- his naive belief is that money and social

standing are all that matter in his quest for Daisy. The self-absorbed debetants and their

drunken escorts are among those who "crash" his extravagent soirees. As Nick Carroway tells us,

"People were not invited- they went there." (pg.40) Shallow, corrupt people like Jordan Baker

gossip with reckless abandon about their mysterious host. Their careless, superficial attitudes

and wanton behaviour represent Fizgarald's depiction of the corrupt American Dream.

Another force of corruption responsible for Gatsby's fate is his obsession with a woman of

Daisy's nature. Determined to marry her after returning from the war, he is blind to her shallow,

cowardly nature. He is unable to see the corruptiion whick lies beyond her physical beauty,

charming manner and playful banter. That she is incapable of leaving her brutal husband, Tom, of

commiting herself to Gatsby despite his sacrifices, escapes him. As Nick observes, Gatsby's

expectation is absuredly simple:"He only wanted her to tell him [Tom] that she never loved him."

(pg.91) DAisy is not worthy of the pedestal on which she is placed. Since she is hallow at the core,

so is his dream which is based on a brief flirtation, nothing more.

Finally, Gatsby's own character-especially his willful obessesion-contributes to his fate.

Despite his naivete about Daisy and her friends who "are rich and play polo together," he, too, has

been seduced by the lure of money and fame. Unable to control his obsessive desire to have Dasiy, he

cares little about the means by which he acquires the money to marry her. He associates with

known criminals such as Myer Wolfsheim, apperars to be involved with bootlegging, and is rumored to

have killed a man. Finally, he lies about himself and his family to enlist Nick's support of his

grand quest. The means he uses to achieve his goal pervert his sacred dream. He prefers the pretty

illusions he concocts to the harsh reality of the obsession he allows to corrupt his life.

Gatsby's character is probably the single most important factor in the story of his life and

death. But Daisy and a society which rewards corruption play a part as well. F. Scott Fizgerald's

depiction of the soured American Dream dramatizes the internal and external forces at work in a

modern tragedy about human potential for corruption

384.          Framing Techniques used in The Searchers

Screening Report on The Searchers

John Ford did an excellent job at utilizing different framing techniques in his movie The Searchers. Ford used different framing techniques depending on the mood and location of the particular shot.

During the opening scene of the movie, Ethan rides across the dessert with mountains in the background. Ford uses natural surroundings extensively during the movie. During transitional scenes when the actors are moving from one place to another, the shot is usually from a distance. This technique shows the overall grandeur of the natural surroundings dwarfing the actors. During many of these shots, the actors themselves are indistinguishable while the mountains are clearly visible and distinct.

Ford also made extensive use of horizon shots during the movie. The horizon shots were usually used in conjunction with the use of the natural landscapes in the background. The horizon shots further illustrated the dominance of nature of the actors. Sometimes the horizon shots were dark and other times the horizon shots were lighted clearly. This depended on the mood of the shot. During the scene where the men race back to Ethan's cabin, the horizon looks foreboding. However at the end of the movie, the horizon seems warm and friendly. In most of the horizon shots, the actors start off camera and ride into the frame and across the horizon as the camera pans to follow them. There are also scenes in which the actors ride off into the distant horizon. Usually the actors start in the foreground and ride off into the background while the camera remains focused on the actors in the foreground.

One of the most widely used techniques in the movie is the use of caves and door openings to provide a natural frame for the action. This technique is seen during the gunfight at the cave between Ethan and Martin and the Indians as well as the end of the movie when Ethan leaves the cabin. The openings seem to represent different things throughout the movie. Sometimes the opening is comfortable and a desirable place and other times the outside is more comfortable and desirable.

Different framing techniques are used extensively throughout The Searchers. These techniques are essential at setting the mood of the movie and allowing the viewer to have an enjoyable cinematic experience.

385.          Francisco de Goya 1630

Francisco de Goya's The Third of May

"The artist's vision is more important than tradition." Francisco de Goya, a Spanish artist, believed that the most important thing was to draw what he saw rather than following the traditional style. Unlike any other artists of his time, Goya did not tend to imitate Renaissance arts targeting classical subject matters. Instead, he tried to bring the real people and the society that he observed up to the canvas. Francisco de Goya's early life and personal experiences are reflected in his exceptional paintings, such as The Third of May, which has had a lasting effect on the artists that followed.

During his childhood and adolescence, Goya met talented artists who developed his early style and had a great influence on his career and works of art. He was born in the Aragonese town of Fuendetodos located in northern Spain on March 30, 1746. His father, Jose was a glider master and his mother, Gracia Lucientes, was from a hidalgo family (Weems 1). He grew up in Zaragoza where he attended a religious school, Escuelas Pias, which provided education for the poor of Spain. During his school year, he met his lifelong friend, Martin Zapater, who later exchanged letters with Goya for over twenty-five years (Wagner). Friendship and country were very important to Goya and his career, and it is reflected on his portraits and other works of his family and friends. When Goya was fourteen, he actually began his formal education of art working at the studio of Jose Luzan. Goya himself wrote an autobiography about his four-year training under Luzan:

He was a pupil of Don Jose Luzan in Zaragoza, with whom he learned the principals of drawing and who made him copy the finest engraving that he possessed; he stayed with him for four years and his painting continued to be influenced by him until he went to Rome. (Weems 1)

After his training under Luzan, Goya went to Madrid to submit his works at the Academy of San Fernando as a young artist. He had a strong desire to be successful although he was only seventeen. His entries of art works were denied both in 1763 and 1766, however, he did not give up. Influenced by Baroque and Rococo style in Zaragoza and Madrid, he began his journey to Italy, the center of art during the time. While he was staying there for two years, his was brought into contact with Classicism and he won a prize for his skill at an open competition by the Academy of Parma. By June of 1771, he returned to Zaragoza and was offered to paint the basilica of Pilar in Zaragoza. He decorated the church with the fresco painting, Adoracion del Nombre de Dios in typical baroque style. Soon after his first commission, he became popular in Aragon and continued decorating churches and monasteries. The German artist, Anton Raphael Mengs who took the request of Bayeus summoned Goya to Madrid "to paint cartoons for tapestries for the Royal Factory of Santa Barbara" (Biography of Francisco de Goya). Mengs and Bayeu directed Goya on his career and he walked through "professional ascent to the ranks of academician, Adjunct Director of Painting at the Royal Academy, painter to the king, and court painter". As a first court painter he painted the tapestry cartoons and popular scenes that were "regarded as realistic depictions of everyday life...shown to be intrinsic to interpretation of the artist's subsequent works of caprice and invention" (Francisco Goya). He used many different styles while he was working at Court. For example, the Rococo was used in the tapestry cartoons dealing with joyful subjects while the Neo classicism was predominant in his religious and mythological paintings. He tried to use his own artistic sensibilities instead of following other artists' new style. He got aquatinted with other masters such as Velazquez, Rembrandt and Nature who influenced his later art works. By his early experiences stated earlier, Goya became a sharp observer and practiced various styles. His artistic talent was evolved through his early experiences and brought out by reputable artists (Marco).

Goya's experience of a serious illness and war during the invasion of French in Spain made a turning point in his life. After he worked as a court painter he had to go through a fateful sickness that made him entirely deaf. It brought a total change in his life as a painter and etcher. He started to see the extremely dark side of the world and drew the madness and imperfection of human. Pessimism or satiric mood entered his art works that reflected himself as the suffering individual. The Black Paintings is notable example of this:

The Black Paintings, scenes of witchcraft and other bizarre activities, are among the most outstanding works of the artist's late years. Executed about 1820, these paintings are now in the Prado. Originally painted in fresco on the walls of Goya's country house and now transferred to canvas, they attest to his progressively darkening mood, possibly aggravated by an oppressive political situation in Spain that forced him to leave for France in 1824. In Bordeaux he took up the then new art of lithography, producing a series of bullfight scenes, considered among the finest lithographs ever made. Although he returned to Madrid for a brief visit in 1826, he died in self-imposed exile in Bordeaux two years later, on April 16, 1828. (Sullivan)

Most of them are painted in dark colors expressing violence that distressed his mind. Following pessimistic point of view, he used "deformed and misshapen figures" to pull out sad and appalling mood. Expressionists and Surrealsits later appreciated these images (Goya 3). Besides the Black Paintings, his etching series called Los caprichos "mocked the social mores and superstitions of his time" (Evans) and another well known series, Disasters of War "presented more caustic commentaries on the ills and follies of humanity" (Sullivan). He combined fantasy and realism together in the Caprichos to produce "a savage, daring social critique" and dominated the series of The Disasters of War with "desolate realism" (Martins). Reflected on these notable art works, Goya was a successful Spanish artist but, at the same time, he was an individual who went through a deep exploration of human suffering. His paintings and drawings emerged as his "unique contribution to the critical ideas" grew through his own experiences (Stuart).

Among his famous paintings and etchings, The Third of May stands out for organized way of expressing the cruel scene of war through Goya's visual realism. French soldiers led by Napoleon invaded Spain in 19th century and the war was a great anxiety for Goya. "He observed the battles between French soldiers and Spanish citizens during the bloody years of the Napoleonic occupation of Spain," and recorded what he saw with the brush. For six years, Goya served as a court painter to the French creating paintings and etchings that were full of pain and sorrow. The Third of May, completed in 1808, described the terrifying scene of capitulated Spanish street fighters surrounded by aimed French soldiers (Sullivan). It "commemorates a specific incident in which French soldiers executed a group of citizens of Madrid on the hill called Principe Pio," emphasizing the "individuality of the prisoners" (Martins). In the painting, specific individuals were drawn in detail but joined altogether in the mood of brutality and corruption. While the faceless French soldiers are pointing their guns toward Spanish people simultaneously, one Spanish man is outstretching his hands over his head reminding "Christ like position" and the other man is wrapping his face with both hands. Another man who has already been fired is lying down on the ground in a pool of blood. Goya applied yellow and red highlights using a spoon. These colors are very noticeable on the background of dark colors. With a close look the rectangle can be drawn on the painting that is related to Picasso's triangle in Acrobat and Velazquez's circle in Water Seller. "The man in white is the focal point with all lines pointing to him" and the color of white attracts the attention as well as the yellow and red highlights. There is another explanation about this "Christ-like figure", "The differences in both body position and expressed emotions of the characters infer that the man in the middle is of greater importance" (Jelinek et al). The man in the white shirt is to be good from its white color on the contrary of soldiers in dark colors and the red color of blood symbolizes death. Be fascinated by his realistic exhibition, this outstanding example of Goya's genuine product delivers the suffering of human caused by violence and oppression. Until today, The Third of May left a great impact on countless number of artists and their way of seeing the world and allowed him to have the title of "Father of the Modern Art" who investigated realistic expressions (Stuart).

Pablo Picasso once said that Goya is the most successful artist in "poetically combining art with politics," calling him a "painter philosopher" (Stuart). Influenced by brilliant artists from the early age, Francisco de Goya developed his personal style by evolving his keen observations and attempting different manners. His experience through fatal illness and war affairs changed his life and point of view. In conclusion, Goya's early life and his experience during the hard time of battles and disease made it possible for him to create his great art works including The Third of May retaining his title as the Father of Modern Art. After his death, there was no instant followers of consequence, but his influence was "strongly felt in mid-19th-century painting and printmaking and in 20th-century art," especially in the principal movements of Romanticism, Impressionism, Expressionism and Surrealism (Sullivan).

386.          Frank Auerbach 384

Frank Auerbach

One of Britain's leading post-war painters, Frank Auerbach is among the most internationally acclaimed and collected of living artists from Britain.

The painting style of Frank Auerbach is both compactly expressionistic and highly individual. Determined by his desire to capture the spirit and reality of people and places, his paintings, which he works and re-works, produce a powerful surface impact. Auerbach's painting include landscapes, figure studies and Old Master inspired works. In particular Auerbach's glee in his intimacy with the urban landscape of London's Camden Town - where he has had a studio since 1954 - and nearby Primrose Hill. The investigation of the human figure and face is one of Auerbach's constant themes and he has painted portrait studies of the same small group of people close to him over many years. 'To paint the same head over and over' Auerbach has said 'gives one a sense of pursuing an essential truth'.

As an art student Auerbach made frequent visits to the National Gallery and he continues to draw inspiration from its collection of Old Master paintings. It is appropriate therefore that this nostalgic coincides with the RA's exhibition Rembrandt's Women which includes the National Gallery's Hendrickje Stoffels a painting that Auerbach has drawn. I went to these exhibitions to find out more and learn about Auerbach's paintings and his historic influences. As art critic Robert Hughes pointed out, it is the structure of masterpieces such as this Rembrandt portrait that must have affected Auerbach's own paintings such as Portrait of JYM Seated (1976).

Frank Auerbach was born in Berlin to Jewish parents in 1931. He was sent to England in 1939 and moved from school in Kent to London in 1947. Between 1948-55 he studied part-time under the artist David Bomberg. Bomberg had been a pupil of Walter Sickert and both these artists, among others, had a great influence on Auerbach's early development. He studied at Borough Polytechnic (1948), St Martin's School of Art (1948-52) and the Royal College of Art (1952-55). He had his first exhibition at Beaux Arts Gallery in 1956. In 1978 the Arts Council organised an exhibition surveying twenty-six years of work at the Hayward Gallery. Auerbach represented Great Britain at the Venice Biennale in 1986 and has shown regularly since 1965 at Marlborough Fine Art.

387.          Frank DeCosta 646

Frank DeCosta was born in East Patterson, New Jersey, November 19, 1943.  He is a dreamer, that is his job, he lies in bed everyday for an half hour after he is totally awake, to make sure that there is not a single dream left in him.  That one dream may contain something that could spark the beginning of  a new creation.  Ideas and dreams from within the deepest and secret most part of the brain are what DeCosta is after.  His art work shows his dreams to the world.

DeCosta uses the human form placed in a mythical or fantasy realm for subject matter.  The human form is the most complicated form on the face of the Earth.  Each form is unique and interesting yet, they all have a regular symmetry that is basically the same for all humans.  A tree is complicated but, every tree does not have the same symmetry.  The human form can be improved upon, the more it is practiced the better you can become at creating the human form.

The media that he primarily uses, besides sketches that are used for preliminaries, is oil on canvas.  An artist will try to achieve a palette that is his own unique creation.  The palette will develop naturally over time.  The colors that are used on an artist's palette are one that will represent that artist's inner self and best represent the artist.  DeCosta's palette is made up of the color purple and it's compliments.

Frank DeCosta was not actually part of a group art movement but, he does associate with a loosely nit group, that shunned  the endless quest for the cutting edge and returned to more fundamental areas.  His brush strokes are precise, the detail astonishing, and the freshness of his work is such that it makes the heart stop and the mind wonder in to the realm of imagination.

Society has given him reasonable acceptance even though his work is not fashionable or mainstreamed art.  He is surprised at the acceptance he has received even thought his art work in not popular and up on the latest fashion.    There has been significant recognition far from being renown or famous, that is only obtained by very few people and is based on luck and circumstances.  His work is an important standard of fine art, in 1996 and future years to come, we should study his work to see how a true artist painted and created work for all of the world to enjoy and respect.

When DeCosta was young and a budding artist he believed he was a genius, along with every one else who was an artist.  Now he has obtained the status which he believes he disserves for his work, which is a foot note in late 20th century painting and artist.  This is saying quite a bit, he will be in the history books even though he believes that he is "Not a truly grate painter but one of note."

I meet with Frank  DeCosta in his studio behind his house.  His studio is any budding painters's dream.  It has everything that would be needed to create paintings of excellence.  Every artist seems to be very visual with every thing placed so that it can be seen, exactly as it is in his studio.  I believe that Frank DeCosta is a man with talent, creativity, intelligence, and prestige.  His life has been painting and dreaming, eating is a pain that just gets in the way of dreaming and working.  His thrill is putting on that little touch of color that makes the difference in the painting.  Painting gives him the thrill not the fame or the money, even though money is still nice to have and a little hand clapping is appreciated now and again.  His style and attitude is one that is to be admired and studied.

388.          frankenstein 2

Frankenstein

Morality.  It has been questioned by people, honored by people and revered since the beginning of time.  Yet even today not one person can say what is morally right.  It is a matter of opinion.  It was Dr.Victor Frankenstein's opinion that it was alright to create a "monster".  Frankenstein's creation needed a companion.   Knowing that his first creation was evil should the doctor make a second?  With the knowledge at hand,  to Dr.Frankenstein, it is not at all morally correct to bring another monster into the world.

Looking at this probelm with his family in mind, the doctor begins his work on the second monster.  The first monster threatened Frankenstein and even his family.  The monster angrily said to Frankenstein, "I can make you so wretched." (pg. 162)  Trying to scare Frankenstein for not creating his mate the monster resorted to threats.  If the good doctor does create a companion for his first creation he may be endangering others.  "The miserable monster whom I had created," (pg.152) says Victor upon looking back at his work.  If there is another monster there will be twice the power and  possibly twice the evil, which could hurt or kill his family.  When and if Frankenstein commits the moral sin of creating another monster he may be rid of both monsters forever.  "With the companion you bestow I will quit the neighbourhood of man,"(pg 142) promises the morally corrupt monster to the doctor upon the completion of his partner.  When the doctor, if and when he, finished his first creation's mate there is a chance that the monsters will not keep their promise and stay in Europe envoking fear into townfolk.

The good doctor, trying to act morally, destroys the monster for the good of the world.  The monsters can potentially take over whatever they please.  "A race of devils would be propegated,"(pg. 163) thinks Frankenstein to himself in his study.  The monsters, if powerful enough, could possibly take over Europe.  Frankenstein realizes that he can not possibly doom the world to benefit himself.  "Shall I, in coold blood, set loose upon the earth a daemon.."(pg. 162) argues Frankenstein with his creation.  It is not morally right for one person to unleash such a terror on the world to benefit only himself and his family.    Frankenstein will not let any example change his mind on the point that the monster is and will always be morally corupt.  Continuing on his point that the monster was too evil to duplicate, Frankenstein says, "Your threats cannot move me to do an act of wickedness; but they confirm me in determination of not creating you a companion in vice."( pg. 163)   Frankenstein will not sacrifice his morallity because of persuation from a monster.  Although beholding the threat of death and misery Frankenstein held his ground and did not sacrifice his moral.

When and if Frankenstein creates another monster he can not feel as if he has done the morally right thing.  From creating the monster Frankenstein will some how be making people other than himself unhappy.  " I consent to your demand, on your solem oath to quite Europe forever, and every other place in the neighbourhood of man,"(pg. 143) says Frankenstein as he sees the power that the two could possibly possess.  The good doctor sees that with his own hands he could possibly scar the world forever.  The doctor wants, if anyone, himself to be unhappy instead of all of man kind.  "Begone!  I do break my promise," (pg. 162) states the doctor angrily.  Not thinking about himself but the world unselfishly breaks his promise to the monster.  Possessing such a great mind the doctor is able to realize that a greater evil will be realesed upon the earth then upon himself.  "Your threats cannot move me to do an act of wickedness,"(pg. 162) says the doctor as he argues his point with his creation.  The doctor sees that a greater and more horrible result can come from him making the second monster than not.

With the knowledge at hand,  to Dr.Frankenstein, it is not at all morally correct to bring another monster into the world.  On the one hand if the second monster was created Frankenstein's family would be saved.  By the same token the rest of the world could be forced to bow before two hideous monsters.  The problem, making or not making the second monster, played heavily on Frankenstein's mind, possibly caused his brief lapse into the realm of the insane.   Even though Frankenstein began his work for the good of man his experiment ended up hurting himself and his family.

389.          Frankenstein by Mary Shelly

Frankenstein-by Mary Shelley

Victor Frankenstein has always been fascinated by nature.  By the time he was in his late teens he was at a school of science.  This school sparked his obsession with recreating human life.  This was not an easy task because of the minuteness of the organs, etc, which forced him to design an oversized human, about eight feet tall.  After many unhealthy months of labor, he finally achieved his goal.  The hideous creature sat up and grinned at Victor.  Victor fled immediately.

When he returned to his chamber he was happy to not find the monster.  Two years passed and he got a letter from his father telling him his youngest brother, William, had been murdered.  He began his miserable trip back home.  On the way home he saw a giant beast running from a barn.  He realized this was his creation and he was the murderer.  An innocent woman (framed by the Monster) and a great friend of Elizabeth (Victor¹s cousin and future wife), was executed for the murder.  This devastated the family (especially Victor, who accused himself).  He set of to put an end to this creation.

Victor finally met up with his monster in the mountains near a glacier.  Here he listened to the monster¹s story.  How he studied and grew to love this family living in a cottage.  He wanted so immensely to be a part of their love and smiles.  He learned their language and how to write (by listening to them teach an Arabian relative).  After a very long time he walked into the cottage when only the blind old man was there and tried to befriend him.  He was very persuasive until the children and the woman returned.  The boy attacked the Monster.  He could have killed the boy, but, out of love, ran.  The family soon moved leaving the Monster so incredibly depressed and heart-broken that he suddenly hated the human kind.  But, most of all, he hated his creator for making in the first place.  He set out to Geneva, where he know Victor lived.

He was almost there when he found a little boy.  He thought he could make friends with him (because of his young, unprejudiced mind) until he discovered he was the son of his hated creator.  He murdered him, and took the boy¹s locket and put it in the pocket of the soon-to-be-executed woman sleeping in a barn.

At the conclusion of his story he persuaded Frankenstein to create a female for him.  In the middle of Victor¹s progress of making the female he stopped, realizing what could happen if he finished, and destroyed his work.  This angered the Monster so greatly that he swore to make Frankenstein the most miserable person in the world.  He murdered Frankenstein¹s best friend Henry Cerval, and nearly has Frankenstein executed for the murder.  He waited for the wedding night of Victor and Elizabeth and murdered Elizabeth that night.  Victor¹s father was so morbidly depressed soon died.  The only reason Frankenstein didn¹t kill himself was out of the rage and thirst to get a bitter revenge on this evil creation.

He pursued him up into the north and was, after a very long chase on dog-sleds, was nearly killed by breaking ice and rescued by a ship.  He laid there and recovered from his sickness enough to tell his entire tale to Robert Walton.  He quickly got very sick and eventually died.  That night Frankenstein¹s monster came to see him in his death-bed.  He met Walton, who hated him very much, and told him of the rage he felt, and how his objective was nearly over.. all he has to do now is kill himself.  He would do this by going up to the northern-most part of the globe (where no one could see him) and set fire to his miserable self.  He leapt out of the boat window onto some ice and disappeared into the darkness.

390.          Frankenstein Essay

Frankenstein: Technology

In  Frankenstein or The Modern Prometheus, written in the late

nineteenth century by Mary Shelley, Shelley proposes that knowledge and its

effects can be dangerous to individuals and all of humanity.  Frankenstein was

one of our first and still is one of our best cautionary tales about scientific

research..  Shelley's novel is a metaphor of the problems  technology is causing

today. Learn from me. . . at least by my example, how dangerous is the

acquirement of knowledge and how  much happier that man is who believes his

native town to be the world, than he who aspires to become greater than his

nature will allow (Shelley 101)

The popular belief of how Frankenstein came to be written derives from

Shelley herself, who explains in an introduction to the novel that she , her

husband Percy Shelly, and Lord Byron set themselves the task of creating ghost

stories during a short vacation at a European villa.  According to Shelley, the

short story she conceived was predicated of the notion as the eighteenth became

the nineteenth century that electricity could be a catalyst of life.  in her

introduction she recalls the talk about Erasmus Darwin, who had preserved a

piece of vermicelli in a glass case, till by some extraordinary means it began

to move with voluntary motion," (Joseph vii).  The extraordinary means forms the

basis for Frankenstein.  Many people also believe that a nightmare that Mary

Shelley had could also be partly responsible for the creation of the novel.

At the time the novel was written, England was on the brink of leading

the Industrial revolution in Europe.  The experiments of Huntsman (crucible

steel manufacture), Newcome (steam-powered pumps), and Cochrane (coal tar

production) throughout the eighteenth century in England were decisive in the

initial transformation of England into an industrialized country (Burke 137, 173,

195).  The emerging age of technology appears to have found followers throughout

the culture and to have become firmly reinforced by the time  Frankenstein was

written.  Eric Rabkin (author), says that in England early in the eighteenth

century, "there exist a populous discourse community that accepted the rhetoric

of science" (Rabkin 39).  This rhetoric has proof extending back to the English

Renaissance. Those sensitive to change and those prepared to embrace a rhetoric

of change need not be scientists.  While scientists address a discourse

community of scientists, novelists      address a wider discourse community of

the literate.  If we can accept the earlier  argument that science and poetry

are not ontologically antagonistic, then we might well hope to find fictional

uses of the rhetoric of science . . . in texts scattered from Francis Bacon's

time to the present.  These uses would change as the prevailing first principles

of  the time evolved under the impact the advances brought by science and as the

consequent needs of artist also changed . . .

In the early seventeenth century, when the prevailing first principles

in the artist's discourse community were theological, Bacon, as we have seen,

used the authority of theology to validate the rhetoric of science.  As science

and technology and the persuasiveness of the rhetoric of science changed the

world and the way people viewed it, the competing authorities changed their

balance until today the rhetoric of science is used to lend authority to

religion (Rankin 25, 37).

Tillyard confirms the proof of science and technology as firmly

established in Mary Shelley's lifetime by quoting a  book on Homer that

proclaimed England's arts improving and its sciences advancing.  Tillyard's

point is that "the eighteenth-century myth of freedom in England included the

doctrine of progress" ( Tillyard 106).  The doctrine of progress is connected

with the emerging doctrine of  industrialization and science.  It was this

doctrine, seemingly inside by English scholars and popular culture, although

reflected by imagination it may have been, that it can be said to have provided

scientific proof for Frankenstein.  Rankin states that "Shelley had written a

palpable fable and she knew that its full effect depended on authorizing some

possibility of belief"  (Rankin 42).  Science provided in the novel provided

that  authority, creating a foundation story in what the English culture current

with Mary Shelley would have taken as real world possibility. The rhetoric of

science in fiction is not merely a modern overlay on storytelling, nor is it

employed, except fortuitously, to convey newly discovered information about the

world.  Once upon a time fiction, which obviously is not true, took its

authority form the Muse: at other times from the Bible.  Neither of these

sources of authority would do for Shelley, but authority has always to be found

somewhere if we are to distinguish the lies that tell truths form the just plain

lies (Rankin 43).

Industrialization and the development of science were a sign that the

mind was no longer medieval as it was modern.  This explains the use by Shelley

of The Modern Prometheus, and it does not eliminate the potential for literary

investigation.  Fellman (178, 180) makes this point when he asserts that

Frankenstein was a  literary anticipation of the twentieth century  with

alienation of human beings and technologies.  He asserts that technology has led

to a culture of control of positive creative energy in favor of technology that

developed a life of its own and that there is a parallel in Frankenstein with

Victor's alienation and withdrawal from his family and from the world at large.

Tillyard deals with the troubling element of moral uncertainty certain in a

culture of scientism when he cites Percy Shelley's Prometheus Unbound, were "the

poet asks by what means liberty, once lost, can be regained." The answer is hope,

forgiveness, defiance of absolute power, love, endurance, steadfastness.  In

this passage Shelley descends from his ecstatic vision of a redeemed universe to

the sober thought that a happy state of things on earth is liable to mutability

(Tillyard 120).

There is uneasiness in the vision of the world could be improved by

scientific or at least technical progress.  The consequence of technological

action on this view is emotional and psychological on the part of human beings

connected with it.  In this regard (Brooks 592-4) suggests that in the novel,

the monster's comportment makes it impossible for him to access human

interaction; only his ability to speak and communicate offers any opportunity

for interaction.  Indeed, the monster's ability to communicate offers suspense

and pathos, particularly when he demands that Victor create a mate for him: You

have destroyed the work which you began: what is it that you intend?  Do you

dare to break your promise?  I have endured toil and misery:  I left Switzerland

with you: I crept along the shores of the Rhine, among its willow islands, and

over the heaths of England, and among the deserts of Scotland.  I have endured

incalculable fatigue, and cold, and hunger; do you dare destroy my hopes?

Begone!  I do break my promise; never will I create another like

yourself, equal in deformity and wickedness (Shelley 167).

This goes to the issue of the scientist as villain, as Issac Asimov puts

it.  Asimov says that Victor Frankenstein is the prototype of the mad scientist

who invades on those things not meant for man to know, because , presumably they

are reserved for God alone.

What lies behind Victor Frankenstein's scientific projects is obviously

an attempt to gain power.  Victor is inspired by the new scientists who acquired

new and almost unlimited power.  Frankenstein has sought this unlimited power to

the extent of taking the place of God in reaction to his creation.  In doing so,

Frankenstein has not only disrupted nature, but seized the power of reproduction

in order to become acknowledged.  This ambition is very close to capitalism (to

exploit natures resources for both commercial profit and political control).

This is a goal of what many of todays scientist are out to accomplish.

" Frankenstein, Asimov remarks "dared usurp what was considered the divine

choice of giving life and . . . paid dearly in consequence" (Asimov 66). The

subtle irony of the book is of course that Frankenstein is not portrayed as a

villainous character.  he is actually, a tragic hero: he meant well"  (Asimov

66).  The moral dilemma created by progress that outgrows its creator and

develops as it were a life of its own is identified in Frankenstein.  Robert

Spector sees this as a concern of Shelley's. Frankenstein (1818), which has

long enjoyed a reputation as a monster story, was a warning against man's

domination by the machines he was creating.  The evil is not inherent in the

monster, but is a result of the attitude toward it.  For Mary Shelley, imbued

with the ideas of progress and the perfectibility of man, the danger lay in a

lack of proper feeling, a failing of charity and understanding.  Her long

passages describing the education of the monster have often been criticized as

sentimental nonsense, but they were essential to her point of view.  If what the

monster learns about humanitarian principles comes only from book, it merely

increased his wrath to discover their perversion in practice.  .  .  . (Spector

10)

Shelley questioned the morals of the advancing technologies.  She saw

the consequences that all the advances might cause.  On this view, the novel is

a cautionary tale about  what is to come.  Shelley's tale of horror is a

profound insight of the consequences of morally insensitive scientific and

technological research.

Works Cited

Asimov, Isaac.  "The Scientist as Villian."  Asimov on Science Fiction.  New

York: Granada, 1983. 65-68.

Brooks, Peter.  "Godlike Science/ Unhallowed Arts:  Language and Monstrosity in

Frankenstein." New Literary History (Spring 1978)  591-605

Fellman, Gordon.  "The Truths of Frankenstein:  Technologism and Images of

Destruction." Psychohistory Review 19 (1991): 177231.

Joseph, M.K.  Introduction.  Frankenstein or The Modern Prometheus, by Mary

Shelley.  Ed.   M.K. Joseph.  Oxford: Oxford UP, 1969.  i-xx.

Rabkin, Eric S. "The Rhetoric of Science in Fiction. " Critical Encounters II:

Writers and Themes in Science Fiction.  Ed. Tom Staicar.  New York:

Ungar, 1982.  23-43

Shelley, Mary.  Frankenstein or The Modern Prometheus.  Ed. M.K. Joseph.

Oxford: Oxford Up, 1969.

Spector, Robert Donald.  Introduction.  Seven Masterpieces of Gothic Horror.

New York: Bantam, 1963.  1-12.

Tillyard, E.M.W. Myth and the English Mind.  New York:  Collier Books, 1961.

391.          Frankenstein

Frankenstein

Morality.  It has been questioned by people, honored by people and revered since the beginning of time.  Yet even today not one person can say what is morally right.  It is a matter of opinion.  It was Dr.Victor Frankenstein's opinion that it was alright to create a "monster".  Frankenstein's creation needed a companion.   Knowing that his first creation was evil should the doctor make a second?  With the knowledge at hand,  to Dr.Frankenstein, it is not at all morally correct to bring another monster into the world.

Looking at this probelm with his family in mind, the doctor begins his work on the second monster.  The first monster threatened Frankenstein and even his family.  The monster angrily said to Frankenstein, "I can make you so wretched." (pg. 162)  Trying to scare Frankenstein for not creating his mate the monster resorted to threats.  If the good doctor does create a companion for his first creation he may be endangering others.  "The miserable monster whom I had created," (pg.152) says Victor upon looking back at his work.  If there is another monster there will be twice the power and  possibly twice the evil, which could hurt or kill his family.  When and if Frankenstein commits the moral sin of creating another monster he may be rid of both monsters forever.  "With the companion you bestow I will quit the neighbourhood of man,"(pg 142) promises the morally corrupt monster to the doctor upon the completion of his partner.  When the doctor, if and when he, finished his first creation's mate there is a chance that the monsters will not keep their promise and stay in Europe envoking fear into townfolk.

The good doctor, trying to act morally, destroys the monster for the good of the world.  The monsters can potentially take over whatever they please.  "A race of devils would be propegated,"(pg. 163) thinks Frankenstein to himself in his study.  The monsters, if powerful enough, could possibly take over Europe.  Frankenstein realizes that he can not possibly doom the world to benefit himself.  "Shall I, in coold blood, set loose upon the earth a daemon.."(pg. 162) argues Frankenstein with his creation.  It is not morally right for one person to unleash such a terror on the world to benefit only himself and his family.    Frankenstein will not let any example change his mind on the point that the monster is and will always be morally corupt.  Continuing on his point that the monster was too evil to duplicate, Frankenstein says, "Your threats cannot move me to do an act of wickedness; but they confirm me in determination of not creating you a companion in vice."( pg. 163)   Frankenstein will not sacrifice his morallity because of persuation from a monster.  Although beholding the threat of death and misery Frankenstein held his ground and did not sacrifice his moral.

When and if Frankenstein creates another monster he can not feel as if he has done the morally right thing.  From creating the monster Frankenstein will some how be making people other than himself unhappy.  " I consent to your demand, on your solem oath to quite Europe forever, and every other place in the neighbourhood of man,"(pg. 143) says Frankenstein as he sees the power that the two could possibly possess.  The good doctor sees that with his own hands he could possibly scar the world forever.  The doctor wants, if anyone, himself to be unhappy instead of all of man kind.  "Begone!  I do break my promise," (pg. 162) states the doctor angrily.  Not thinking about himself but the world unselfishly breaks his promise to the monster.  Possessing such a great mind the doctor is able to realize that a greater evil will be realesed upon the earth then upon himself.  "Your threats cannot move me to do an act of wickedness,"(pg. 162) says the doctor as he argues his point with his creation.  The doctor sees that a greater and more horrible result can come from him making the second monster than not.

With the knowledge at hand,  to Dr.Frankenstein, it is not at all morally correct to bring another monster into the world.  On the one hand if the second monster was created Frankenstein's family would be saved.  By the same token the rest of the world could be forced to bow before two hideous monsters.  The problem, making or not making the second monster, played heavily on Frankenstein's mind, possibly caused his brief lapse into the realm of the insane.   Even though Frankenstein began his work for the good of man his experiment ended up hurting himself and his family.

392.          Franz Josef Haydn

Franz Josef Haydn

Franz Josef Haydn wrote quite a few concerti for piano, which have never really enjoyed the popularity of such pieces by Wolfgang Amadeus Mozart. While some accuse Haydn`s piano concerti of being too 'light' or having 'no meaning', I find those to be inaccurate surface impressions. I have found a great deal of enjoyment from these pieces of Haydn, and one of my favourites of his piano concerti is the seventh.

Haydn`s seventh piano concerto was written in the key of F Major, and is in incredibly cheerful work. One of my favourite things to do with this piece was to play it on a CD player at work. It seems, at least for me, to go well into the background, and doesn`t really require full attention to be effective. I have, of course, given it full attention, and it is superb either way; it is a piece of music to cheer a bad mood, or provide happy background sound to any environment.

In the first movement, an allegro moderato, the piano starts by playing with the orchestra, which was not found in the concerti of Mozart or most other contemporaries. I find it to be a good move on Haydn`s part, providing what approaches the ear as added happiness. The sound of the piano with the orchestra seems to make it seem somehow more alive and vibrant than it would with orchestra alone. The melody is, of course, in Haydn`s usual cheerful style, intended to bring entertainment and pleasant emotions. The orchestral opening has a sort of climax with a fugue, that repeats later in the movement in modified form; I always love fugues!

The second movement, andante, opens with a fluid piano solo introducing the theme quietly. Then, the orchestra takes it over. Everything has a soothing feel to it, bringing relaxation to the listener. It is wonderfully calming and the orchestra comes in occasionally to supplement the piano, which is often alone. The movement is very short, soon fading into silence.

In the third movement comes the fantastic ending of the seventh piano concerto, a cheerful presto. The opening piano/orchestral introduction of the theme is one of the most cheerful examples of concerto writing I have ever heard, and the entire movement alternates between this wonderful melody and some calming moments. The orchestra is often there to emphasize the piano, until together they introduce a climax of the sort that causes one to whistle and think on those few seconds for hours. The movement quiets down for a short time while the piano plays alone, the orchestra gradually fading back in as the music builds itself back up. Now flowing harmony of the orchestra under the piano, now the slightly-modified climax again, now it repeats again, then the end; nothing drawn out or dragged on, just a simple ending that leaves the memory fresh of the body of the last movement and grand climax.

I wonder that I had never heard this piece until I bought a CD of four Haydn piano concerti on the Naxos CD label. It is wonderful, most especially the third movement, which I will listen to repeatedly. On a list of happy music with piano, this ranges up near Mozart`s concerto works for that instrument, at least for me. If you want something you may not have heard before, something cheerful, something happy, you might want to give this piece a try. Haydn`s neglected seventh piano concerto is a work that may bring you a great deal of pleasure; try it after a long, hard day at work and see what you think!

393.          Franz Marc 402

Subjective

Influenced by Cubism, Impressionism, Expressionism and Futurism.

Was interested in art based on a wide spectrum of colour that expressed profound emotional and spiritual states and feelings.

Suffered from episodes of severe depression that impacted on his artwork in a big way.

Much of experimentations were motivated by a desire to have his own personal style.

Believed every person has an "inner world" and an "outer world" and that art can bring these worlds together. The outer world of colour and form can bring the artist or viewer into the inner world through the feeling s/he experiences.

Thus, Marc's artworks represented a major statement on his artistic beliefs and ideology.

Cultural

A pioneer of abstract art.

Founded Der Blaue Reiter (The Blue Riders) in 1911 with Kandinsky.

Studied at the Kunstakademie in Munich with Gabriel Hackl and Wilhelm von Diez.

Was introduced to Japanese woodcuts and the work of Parisian Impressionists during a visit to France. This marked a turning point in his artistic life.

Influenced by Theology.

Structural

Usually painted with oil paint on canvas.

Often painted animals. Taught anatomy classes. Depicted animals very realistically at first, but as he was gradually pulled into the abstract art community his depictions of animals became increasingly distorted and abstract, resulting in crazy, colourful and often indecipherable crystalline patterns. "I found people 'ugly' very early on; animals seem to me more beautiful, more pure; but even in animals I discovered much that was unfeeling and ugly, so that my pictures instinctively...became increasingly more schematic, more abstract."

Used bold colours to express emotions.

Many of his most famous works involve the use of rich, chromatic symbols. He uses horses as a symbol of nature, and later, as messengers of the spiritual "inner world".

Basic features of his works include impressively large scale, conscious and deliberate planning of the composition and the representation of increasingly abstract imagery.

In true abstract tradition, many of the figures in his works are completely unfathomable. Compositions of forms and colour are not recognizable or related to visible realist, but still prompt a certain emotional response from the viewer.

Post-Modern

While members of Der Blaue Reiter group were educated at a very intellectual level, they overtly rejected the ideas of "academic art".

The formulation of abstract art theory and Der Blaue Reiter Almanac was completely revolutionary for its time and presented the art world with unlimited new directions for art.

394.          Freddie Prinze Jr

Freddie Prinze Jr.

Introduction

Freddie Prinze Jr. was born on March 8, 1976 in Las Angeles, California. He would have lived a dream life in Hollywood fame. But when he was only ten months old, his father, Freddie Sr. had his sitcom "Chico and the Man" canceled and got high on prescription drugs and shot himself. Freddie Jr.'s mother, Kathy Cochran, moved her family back to Albuquerque, New Mexico, knowing that if they stayed in Hollywood her son would be haunted by his father's death. In New Mexico he met his best friend Chris Sandoval at Sandia Prep where he went for sixth to eighth grade. At his high-school, La Cueva he constantly cut classes and hardly ever studied, however he never got into drugs, for as he said, "My dad taught me one of the most valuable lessons in the world through his death, because he accidentally killed himself while using drugs. That's why I will never use them." After he graduated from high school, he started to think about acting. He started thinking about his father's life and how he would want to live a similar life. His mother would tell him things about his father like this line from Freddie Prinze Jr., "She told me about how much he loved me, the way his face light up when he held me, about how he called me 'Pie', she told me I brought him a lot of joy as a baby." He took an acting class and in 1994 (the year that he graduated) he got his first acting job.

Acting

Freddie's first acting job was on the hit sitcom "Family Matters" where he had a four line part in an episode called The Gun. He knew just what to do, "I went to my father's grave in Forest Lawn, I put my hand on his plaque and I said, 'Thank you. I hope you're watching now. I hope to make you proud.'" Soon he was starring on after school specials like Too Soon For Jeff, Detention: Siege At Johnson High, and The Watcher.

Freddie got his first big break in To Gillian On Her 37th birthday alongside Claire Danes, Peter Gallagher, and Michelle Pfeiffer. He played Joey Bost, Claire Danes' rugged boy friend. Freddie then played a part in Mar Waters black comedy The House of Yes, about a twisted family preparing for a Thanksgiving Feast, or so we are to believe. The movie premiered at The Sundance Film Festival and was nominated for several awards including the Golden Hugo at the Chicago International Film Festival.

The role which first brought Freddie to the attention of the world was in the hit horror hit I Know What You Did Last Summer. Freddie plays Julie's (Jennifer Love Hewitt) boy friend Ray. "It's a situation where Ray starts from being somebody who really lets you down, because he helps convince Julie the right thing to do is get rid of this, because he's the one who was driving. He comes full circle. He goes from somebody who really lets you down to somebody who wants to do right, to somebody who ends up saving the day. So it's a thing where he goes on a long journey, and that's the main reason I wanted to do this role." Freddie's first main role in a movie came with the hit movie, She's All That where he co-starred with Rachel Leigh Cook, Paul Walker and Usher. In She's All That Freddie plays Zach, a popular guy who gets dumped by his long time girlfriend. On a bet he asks out the school nerd and has to make her prom queen in six weeks. "This lady shaded me, and I looked up and yo! I had a chest! They make it look like you have muscles. And it looked real!" But Freddie isn't worried about his looks, "Hopefully people will say, 'well, he's fat, but he's cool'" His last film Wing Commander wasn't a big hit, but he has four upcoming films, Sparkler, Vig, Down To You, and Head Over Heels. Freddie is not done acting, "I'd love to play the bad guy; I'd love to be a cowboy; I'd love to be a husband, a big brother, a little brother - there are so many roles out there that I haven't ever gotten to touch." Family Life

Freddie lives in a house in North Hollywood, which he shares with two other people. The house is decorated with momentos of Freddie Sr. Freddie's mom lives in Las Vegas, where she works as a real estate agent. Freddie loves his mom and visits frequently. His mom is one of his only keys to his father besides watching old comedy shows with his father in them. Freddie feels very connected to his father and only wants to make him proud.

When Freddie was growing up he had a surrogate dad named Don Sandoval, Chris Sandoval's father? "He's like another son I didn't have," says Don, now a forty-nine year old office supply company manager. "It was very frustrating. It hurt growing up. As I got older, sometimes I became angry at almost everybody I knew had an old man except me. That wears on you after a while. It becomes like a rock that you have to push up a hill, which eventually rolls you over." As you can tell not having a father was very hard on Freddie. But acting is a way for him to feel closer to his father. "My mother didn't want meet to go down the same road as my father." Now his mother is supportive of his career choice, in fact, basically the whole world is. His father would be very proud of Freddie!

Fame!

Freddie is now a famous actor who is in demand all the time. In 1998 YM put Freddie in their Fox Files section. This was taken after I Still Know What You Did Last Summer, at the time he and his girlfriend, Kimberly McCullough had been together for two and a half years (now it is about three and a half). He talked all about his most embarrassing moments, "At a restaurant in France I tried to order steak, but I don't speak French. To make the waiter understand, I mooed like a cow til he figured it out." And he admitted his crush on Claire Danes when they were both in To Gillian On Her 37th Birthday. Future

Freddie wants to continue acting, and wants to be a father soon. "I know one day I'm going to be the best father in the world. Not having a father makes me want to be a great one. I have so much love I wanted to give him, and I'll be damned if I don't give it to a child." Good thing he has girlfriend Kimberly McCullough, she played Robin Scorpio on "General Hospital" until last April. She left to study film at New York University, "I can only describe her as an angel. I can't stop thinking about her." Freddie Prinze Jr.'s career is skyrocketing, ever since She's All That Freddie has been a major star. With his less than perfect childhood and a future still untold. With his four upcoming movies and him always being in demand, I am sure that Freddie Prinze Jr. will be a legend of an actor just like his father. Bibliography

Biography http://www.freddieprinzejr.com

Biography-Freddie Prinze Jr. http://www.members.xoom.com/_XMCM/fpjshrine/bio.htm

Freddie Prinze Biography Page http://www.gecities.com/Hollywood/Makeup/7866/Biography.html

Freddie Prinze Jr., A Biography http://moviething.com/bios/freddie prinze/

"Fox Files-YM Loves Freddie Prinze Jr." YM October 1998 pg. 15

"He's All That! Freddie Prinze Jr." Teen November 1999 pg. 34

Some History about our Fresh Prinze http://www.geocities.com/Hollywood/Makeup/7866/history.html

395.          Friday

Friday

The movie Friday is a comedy, but it also depicts many important social

issues. The story is set in the city of Los Angelos, California, in what

could be called a high class ghetto. The main theme of the movie is about a

young black man who looses his

job and is influenced by his best friend to smoke marijuana. The movie also

shows the relationships of his family and other members of his neighborhood.

With a zany cast of characters and a hilarious script this movie touches on

everything from gang v

lence to the use of drugs, crime, guns, relationships, sex and life in the

ghetto. Because of all these issues, I found this an interesting movie with

a wide variety of topics to address.

Marijuana has been around for a long time. It's use is once again becoming

popular. Although it's not legal, many people use it socially and for

medicinal purposes. The Hollywood elite smoke it. Musicians such as Dr. Dre

and the Black Crows celebra

it's use. Television shows like Saturday Night Live and Kids In the Hall

depict it as harmless fun. Marijuana fashion has grown into a ten million dollar industry, with the

seven branch marijuana leaf showing up on caps, T-shirts, earrings and

tattoos. Studies show that after a decade of declining drug use, marijuana

use has increased sharply among gh school students and college students in the last two years (Duschbaun 8).

In the movie Friday, rap star Ice Cube plays the character Craig. Craig has

never smoked marijuana. However, his best friend "Smokey" smokes marijuana

everyday. Craig looses his job, leaving him home all day with nothing to do

to occupy his time. H

just hangs out in the neighborhood with his friends. Smokey tries to

convince Craig to try some marijuana. At first Craig doesn't want to.

Smokey is persistent. He points out to Craig that he doesn't have to work

and doesn't have anything better to . Craig and Smokey eventually sit on the front porch and get stoned. Peer

pressure is obviously the only reason Craig gives in. Actually he had other

options, but he chose not to use them. Common sense and a simple explanation

would have worked for aig just fine (How to Say No and Keep Your Friends 23) Everyday we are faced

with choices. It is up to us to decide what's right and wrong. Craig

decides to try it and things start to happen that he really doesn't like.

Craig and Smokey get into some trouble with the neighborhood dealer, Big

Worm. Smokey sells pot for him, but can't pay him the money he owes because

he and Craig smoked the pot. Big Worm threatens them and sends a gang of

"hoods" after them with mach

e guns. They just barely escape and are scared shitless. The amount of gang

violence that can be contributed to the use and sale of illegal drugs has

risen dramatically in the past seven years (Gates 67). It's no wonder that

this is happening with th

use of marijuana becoming so popular again.

Violence and crime are issues we hear about every day. We can watch any

news broadcast and see the evidence of these increasingly worrisome problems.

In Friday, both of these issues are very apparent. Debone, the neighborhood

thief and "bully" is co

tantly harassing the people in Craig's neighborhood. He breaks into their

homes, steals their possessions, beats people up to take their jewelry and

other items and is just generally a pain in everyones ass. He is the most

violent person in the movie

Craig gets into a fight with him and pulls a gun on Debone. Craig feels

confused and not sure what to do. His father convinces him to give him the

gun. He insists that Craig should fight like a man with his fists. I don't

think that was very good a

ice. Debone was twice as big as Craig and probably 100 pounds heavier. They

do fight and surprisingly Craig wins. You would think that most problems can

be solved without violent acts. The reality is that sometimes, under certain

circumstances, that

ust doesn't work. Obviously, this was one of those times.

Sexual promiscuity was also depicted in this movie. Craig's neighbor has an

affair with a preacher. His sisters friend sleeps around to get drugs.

Smokey puts the moves on anything in a skirt. To so blatantly condone this

kind of behavior is repuls

e. With the rampant spread of the Aids virus and other sexually transmitted

diseases anyone with common sense would know better than to behave in this

manner. Unwanted pregnancies and the abortion rate or serious issues that

should also be considered.

Craig seemed to have a loving and supportive family. His dad was a real

trip. His ideas about how to handle certain situations were a bit

far-fetched, but he meant well. Because there was no indication of what age

the kids in the movie were, it's ha

to comment on how the parents should have advised their kids. I do know

that quite a few of the kids' actions were questionable, even illegal. For

example, if these kids were minors they would all be considered unruly.

Unruliness is an offense that ly a minor can commit (Fessler 105). All the kids in the movie were

disobedient, smoked pot and acted in ways their parents should have been

responsible to control. Both of Craig's parents worked, which left the kids

unsupervised the majority of the t

e. Some of the parents in the movie also set terrible examples for their

kids. Smokey's mom locked him out of the house so she could have sex with

her male friends. She also got high and disregarded her parental

responsibility to her kids.

Although the area where Craig and his friends lived didn't look like what we

might picture a ghetto to look like in our minds, it was still a ghetto.

Poverty and other social issues make it what it is.......a very depressing

and frustrating place to l

e. Because of all the negative ways of life including crime, violence,

gangs, drugs and all the other things I've referred to in this paper, I would

conclude this would not be the kind of lifestyle I would choose to live.

Unfortunately, many of the pe

le that live under these conditions don't have a choice. They are most often

born into these situations or faced with dealing with them because of

financial struggle or lack of resources to change their ways of life. We can

consider ourselves fortunat

to not have to deal with these kinds of problems on a daily basis. That is

not to say that ALL people in the ghetto stay there. There are some who

work hard and get the education or training they need to escape this kind of

lifestyle. Where there's will there's a way and depending on how strongly they want out, it can

happen.

All in all this movie was pretty entertaining. I wouldn't suggest it for

kids who might be influenced in a negative way by the things that happened or

who are not mature enough to know the difference between right and wrong.

The movie does portray a t of negative issues as being acceptable. This could be harmful to young

kids who are influenced by peer pressure and this kind of nonchalant attitude

toward breaking the law. It is up to us to determine what is okay for our

youth. Parents should de

rmine if this would be acceptable for their kids to view.

Friday is an entertaining, yet morally questionable flick. The social

issues it depicts are many. Viewing it also raised a lot of questions on how

the movie industry doesn't care what they produce. They are interested

solely in making money. Their

ob is to entertain us. They have accomplished that with this movie. It made

me laugh, but because of this assignment it made me realize that comedy was

not the important part of seeing this movie. Realizing how people live and

relate to each other is

ritical in understanding our society on the whole. Recognizing this is how

we can begin to make positive changes to things that are wrong and improve

our lives in general.

396.          Funeral

Was there a specter at the funeral of local resident Mrs. Drablow? An unexplained sighting of a mysterious woman in black has fuelled local legends of Drablow hauntings.

The late Mrs. Drablow, of Eel Marsh House, was a wealthy landowner and well known reclusive. Her funeral took place on the cold morning of November 6th at Crythin Gifford parish church.

Attending the burial service were Mr Jerome, the deceased's property manager, and her young solicitor, Arthur Kipps, who had travelled from London.

Towards the end of the service, on hearing a rustle in the near empty church, Mr Kipps turned and saw a mysterious female mourner.  According to Mr Kipps:

"She was quite alone, very erect and still and not holding a prayer book. She was dressed in deepest black, in the style of full moaning that had rather gone out of fashion." While Kipps did not get a good look at her face, partly hidden by a bonnet, he thought from her emaciated appearance she must be suffering from some terrible disease. Mr. Kipps went on to say " Not only was she extremely pale, her eyes seemed shrunken into her head."

Kipps admitted he was moved that a woman who looked as if she might be at death's door her self had made the effort to attend the funeral.

He noted that the enigmatic women in black disappeared after the burial. When Mr. Kipps inquired of Mr. Jerome as to her identity, the latter was deeply shocked.

"I did not see a young woman," said Jerome.

She reappeared moments after Jerome had told Kipps that he had seen no-one, but again was visible only to Mr. Kipps. Mr. Jerome appeared to be in a state of some agitation, doubtless perturbed to think that the Drablow Ghost might be once more manifesting itself.

397.          Gangs of New York

Hype machines be damned. Forget the rumors of derision behind the scenes, forget the cost over-runs and lack of onscreen chemistry between two of the leading actors. Forget that Miramax and Harvey Weinstein had anything whatsoever to do with cutting, budgeting or otherwise exercising creative control over the finished product. "Gangs of New York" is pure Scorsese through-and-through and for that audiences should be eternally grateful. We're not force-fed a toned down, been-there-done-that formula film. Instead Scorsese delivers an epic motion picture showcasing a critical time in our nation's history.

Violent, disturbing, and visually commanding, "Gangs of New York" succeeds because of Scorsese's determination to pay tribute to New York's brutal and chaotic past. Set in the Five Points neighborhood of 1860s New York, the movie follows a young Irish American, Amsterdam Vallan (Leonardo DiCaprio), who sees his father, Priest Vallon (Liam Neeson), leader of the Irish immigrants street gang the Dead Rabbits, killed in a street brawl with a rival gang led by William Cutting aka Bill the Butcher (Daniel Day-Lewis). Emerging from an orphanage 16 years after his father's death, Amsterdam is determined to ingratiate himself into Bill's confidence and then once in a position of power, cut down the man who butchered his father.

Amsterdam's plan works, however he finds himself falling under the spell of the captivating Bill the Butcher. His carefully laid plans for vengeance rage against his growing admiration for The Butcher. Then events occur which take the onus out of Amsterdam's hands and force him to become a leader like his father, taking up arms against the gangs who laid waste to the Dead Rabbits.

Set amidst urban uprisings and the 1863 Civil War Draft Riots, "Gangs of New York" paints a gritty picture of the struggle for freedom, dignity and the right to make a life for one's self in America.

While Scorsese's sets and costumes effectively evoke the feel of the late 1800s, it's Daniel Day-Lewis who gives life to the spirit of the times. Daniel Day-Lewis is seemingly possessed by his character, Bill the Butcher. His imposing presence onscreen overshadows every other actor, consuming the screen and reducing all other characters to mere side notes. The man is absolutely phenomenal. Hand him an Oscar now, there's no performance by a leading actor out there that stands up to Day-Lewis in "Gangs of New York."

Leonardo DiCaprio as Amsterdam Vallon is no match for Day-Lewis, however when not in the same scenes with Day-Lewis, DiCaprio handled his role like a Rottweiler going after a piece of juicy tenderloin.

The film had its slower moments when it focused on the romance between Leonardo DiCaprio and Cameron Diaz. I personally had a hard time seeing a spark between the two. I could have better envisioned Diaz and DiCaprio having more of a sibling-type relationship rather than a romantic one. There just wasn't any apparent sizzle. Diaz fared only slightly better when paired with Day-Lewis. "Gangs of New York" would have been an even better film had there not been any hint of a romantic angle. It didn't need the love story and seemed to bog down when focusing its energies in that direction. But who am I to second-guess Martin Scorsese?

Martin Scorsese has been justifiably labeled 'America's best director' and with "Gangs of New York," Scorsese shows his love of our history, his unparalleled skill at telling a story, and his moxey at dealing with a subject matter that resides outside the edges of the norm.

398.          Gangsta Rap

Gangsta Rap: Crime

The cultural majority in America is up in arms over the rising levels of

violence and horrific images that have seeped into popular entertainment.

Movies, television, and music have always been controversial, but even they can

cross the line between poor taste and immorality.  Entertainment corporations

and record labels don't even blink, when told of the excessive torture or

satanic lyrics found in material.  Producers and directors continue to push the

envelop on what is "done in good taste."

Gangsta rap is one of the current problems of society.  Popular music

for teens has always been controversial, or at least in conflict with middle

class attitudes.  Teen music has always been under scrutiny by those who are

older.  Parents, whether from the 60's or 90's, never welcome the sounds of the

younger generation.  Unfortunately this fact does not comfort someone when

listening to Snoop Doggy Dog or Ice Cube talk of sex, violence, beatings, and

suicide.

Hollywood, the country's Mecca for TV and movies, is another

contaminated disaster area.  This area has given us hero's such as Clint

Eastwood, Humphrey Bogart, and Bruce Willis.  Once filmmakers would evoke sexual

interests through eye contact or a touch of the leg.  Today cinematographers

resort to graphic sexual acts and horrific beatings.  A poll by Newsweek stated

that sexual moderation and fidelity are normal for both married people and for

those who live together.  In contrast, 7 out of 8 televised sexual encounters

involve extramarital sex (Newsweek, 1994).  This trend is startling when

compared to the fact that children spend more time watching television than they

spend in school.  According to the American Psychological Association, a typical

child sees 8,000 murders and 100,000 acts of violence on TV before graduating

from elementary school (Nation, 1994).

The results of how television, specifically sex and violence, affect

children is not completely known.  Although psychologists state, "Aggressive

children like to watch violent TV shows, and it appears that watching violent TV

shows makes children more aggressive; this is presumably due to their exposure

to aggressive models" (Eron, 1987). One of Hollywood's more remarkable aspects,

is that it has produced approximately 400 pictures that convey traditional

integrity and the mainstream virtues of love, loyalty, honor, duty, and

compassion.  Consider movies such as Forrest Gump, Little Women, and The Lion

King.  In contrast, a movie such as Natural Born Killers was intended to imitate

the link between violence and media attention in our culture.

In the long run, individuals will make decisions about what they will

buy, read, or see.  Some will lean towards the vulgar and the pornographic.  The

American society has some sense of this.  They may be irritated or outraged by

pop culture, but the polls state that the principal courses of violence and

other national problems lie beyond the entertainment industry (Congressional

Quarterly Weekly Report, 1995).  Parents are already aware that children are

affected by the general decline of public morality, family breakdown, lack of

religion, and poor parenting.

The price we pay for our cultural freedom is the movies and songs that

influence people to act out their fantasies of grandeur.  I would rather the

chaos of the free market than the government telling us what or what not to see

and hear.  Our culture would be definitely poorer without those who bring us

daily news, weather, and sports.  What would happen if government began to

censor our music, movies, and literature?  Children would grow-up never knowing

the internal conflicts faced by Huck Finn, the violent nature of the "Wild West"

or the songs that built America  "Their blood has wash'd out their foul

footstep's pollution," may sound like a excerpt from a Snoop Dog song, It is

actually part of the of the Star Spangled Banner.

399.          Garry Winogrand 1557

Garry Winogrand was born in New York City in 1928; he became interested in photography in the late 1940's when he was in the United States Air Force. When he was done his term of duty, he went on to City College in New York City to study painting. A year later he went to Columbia University to study both painting and photography. There he met George Zimbel, a student and photographer for the Columbia Spectator, the university newspaper. Zimbel introduced Garry to the darkroom in the college, which was open twenty-four hours a day. This was the first time Garry had been exposed to the process of photography, and it amazed him. Within two weeks, he dropped his painting classes. Winogrand started off experimenting with Graphlex, Rolleicord, and Kodak 35, but had a better love for the Leica.

He lived with his parents in the Bronx, during the two-year period when his photography didn't gain him any income. By the early 1950's Winogrand was taken on as a stringer (a freelance photographer) for the Pix agency, where his friend George Zimbel was also working.

The people at Pix recommended Winogrand to the photographer representative Henrietta Brackman. Winogrand arrived at his interview with Brackman with four piles of prints that reached from floor to desktop. During the mid-fifties Collier's, Argosy, Pageant, Redbook, Men, Gentry, Climax and Sports Illustrated published Winogrand's pictures.

Winogrand's work was still formed completely by his own insightful response to work in the magazines.  He was uneducated in the history of photography and the history of much else. Photography was a kind of magic for which he had a taste and a talent. It is not clear that he ever then considered the question of whether it was useful.

Late in 1955 Winogrand made his first independent excursion across the country, because of a vague sense that there were pictures to take out there. When Winogrand's friend found out about his adventure, he showed him Walker Evan's book American Photography, some one who Winogrand was not familiar with. When he looked at Evan's photos, he for the first time understood that photos had understanding and intelligence, other that just viewing pleasure.

In the same year Robert Frank began a cross-country trip that produced the pictures for his enormously influential book The Americans. Winogrand once again did not know Frank's work, but like Evans's he was deeply impressed.

In the early 1960's, Winogrand had begun to photograph women on the street. The subject remained a major preoccupation for several years. Winogrand's view on women was conceivably shocking, yet simple and enthusiastic. However awkward, Winogrand's pictures of women in public places mostly made during the sixties, wasn't published until 1975, as Women Are Beautiful. Winogrand thought his view of woman would be a commercial success, due to the rest of the male world. Too much of his disappointment, the book was not much of a success.  In general, woman disliked the book and men were mystified by it, demonstrating that an artist's enthusiasms can muddle even the most basic of issues. Many critics of Winogrand thought his book to be shapeless as a whole and the pictures uneven in quality. Even Winogrand himself thought it to be the weakest of his books.

Later during periods of separation with his second wife, he would spend time with his children at the Central Park Zoo. In 1962, he was reviewing his photos from the zoo and realized that some of the photos were more than just family souvenirs. He began to visit the zoo alone to photograph. He joined these photos together to publish the book called The Animals.

In order to peruse the strategy of Frank's The Americans, he photographed people on the street placing the camera back yet not vertical, and also inclining it at a forty-five degree angle. In this posture any lens will violate our belief that we should see the walls of buildings as parallel to each other, in a wide-angle lens, it will exaggerate the effect and destroy architectural order. Winogrand experimented with this technique, which composed his pictures with a freedom that he had not utilized before.

Winogrand was uninterested in making pictures that he knew would succeed, and one might guess that in the last twenty years of his life, excepting his commercial work, he never made an exposure that he was confident would satisfy him.

The general course of change in Winogrand's ideas about photographic form can be seen in two football pictures, the first made in 1953 at a game between the New York Giants and the Cleveland Browns, the second twenty years later in Texas. The first is simple both in graphics and content, and concentrates the game to its most basic confrontation-ball-carrier and tackler. The style of description is literal and encyclopedic the subject of the picture is not the drama but the excitement.

As Winogrand grew older and his ambition grew more demanding, his work grew larger. As his motifs became more complex, and more unpredictable in there the composition, the chances of success in a given frame became smaller.

In 1963, his first substantial museum showing, forty-five of his photos were included in the exhibition Five Unrelated Photographers, at The Museum of Modern Art. In that same year he first applied for a Guggenhiem Fellowship, which he was granted the following spring. The fellowship allowed him a year, more or less, in which to travel and photograph, free of commercial pressures for the first time in his career. Pictures from the

Guggenheim year constituted most of Winogrand's representation in the 1967 Museum of Modern Art exhibition New Documents. The exhibition received considerable recognition; it also directed Winogrand from traditional, to formal slackness.

Winogrand's new pictures proposed a standard of construction in which the appearance of the photograph is the unmediated result of the point of view, framing, and moment that best describes the photographer's definition of his subject. His own photos looked the way they did because his definition of the subject was unfamiliar and unsettling, and subversive of categorical assumptions.

Winogrand thought that the label "snapshot aesthetic", was an idiotic concept, and pointed out correctly that the typical snapshot was at least in intention. At a deeper level, there was perhaps some justice to the term; Winogrand agreed that the subject was everything.

In the late sixties, as interest in Winogrand's personal work began to grow, he began to be asked to teach at some New York art school. By the early seventies Winogrand was beginning to be courted as a minor cult

figure by the art departments of American universities, whose perspective was substantially different. By 1971, when he accepted a full-time teaching position at Chicago's Institute of Design, he was expected to explain his work in public.

Winogrand did not quite trust neither the motives nor the competence of art school, and perhaps did not altogether trust himself for accepting their support for no better reason than that he needed it. In compensation he went out of his way to make it clear to his students that venturing into the field was a bad risk.

Later in his life, when his confidence as a teacher had grown more secure, and as he was less in need of the modest fees supplied by workshops, his style became more relaxed. As Winogrand's name became better known, he was forced to try to explain in words matters that he knew could not be explained at all, but that might with luck be demonstrated in pictures.

In 1969, Winogrand received his second Guggenheim fellowship, to photograph the effect of the media on events. It is not clear whether he thought in the beginning that he could do quite that, or whether he meant to

say that he would photograph event s that are affected by the presence of the press. Twenty years as a journalist had persuaded Winogrand that all scheduled events were designed to be reported, and that it would be more rewarding to photograph them from the vantage point of that persuasion than to make photographs designed to suggest that the photographer was the chance witness of an unprompted event.

In 1979 he was exhibited at the Santa Barbara Museum in California and his work was shown at the Light Gallery in New York City. He was also given a third Guggenheim Fellowship. Six years later he visited a doctor to inquire about an itching that had spread from his arms too much of his body. The next day he was hospitalized for tests, and an exploratory operation, a week later he was diagnosed with cancer of the gall bladder. His condition deteriorated rapidly and within a month he was driven to a clinic in Tijuana, Mexico, he died there shortly after admission.

Winogrand has given us a body of work that provides a new clue to what photography is to become. One that remains dense, troubling, unfinished, and profoundly challenging. Garry Winogrand was a man of

extraordinary intelligence, original sensibility, and modest learning who from his early limited successes. He discovered through experiment and intuition. He learned to live in the process of photography. I believe that Winogrand was a refiner, he not only perfected, (if he liked it or not) the "snapshot aesthetic" but also made photography more elegant and alluring.

400.          Gatsbys Dream

Adam Cohen

English Essay #4

"Gatsby's Dream"

Jay Gatsby, the central character of F. Scott Fitzgerald's The Great Gatsby symbolizes the American dream. The American dream offers faith in the possibility of a better life. Its attendant illusion is the belief that material wealth alone can bring that dream to fruition. Through Gatsby, Fitzgerald brings together both these ideas. Jay Gatsby thinks money is the answer to anything he encounters. He has the best of everything. The fanciest car, the largest house, and the finest clothes. Jay has everything except the object he most desires, Daisy. Gatsby believes he can win Daisy over with wealth, that he could achieve the ideal she stood for through his material possessions.

One look at Gatsby's past and it could be seen that he was destined to get ahead in life. Mr. Gatz told Nick, "Jimmy was bound to get ahead. He always had some resolves like this or something. Do you notice what he's got about improving his mind? He was always great for that. He told me I et like a hog once and I beat him for it" (182). Gatsby's determination to gain a large bankroll is a huge part of the American dream. He believes that once he achieved his financial goal it would lead to a better life.

In America the car is one of the greatest status symbols. Gatsby's gorgeous machine is one of the most majestic cars created. Nick's comments on the vehicle describe its luster, "...and there in its monstrous length with triumphant hatboxes and supper-boxes and tool-boxes...Sitting down behind many layers of glass in a sort of leather conservatory we started towards town" (68). The use of the symbolic automobile can be seen as a demonstration of how an ideal based on materialism alone can be destructive. This was the fatal car which kills Myrtle Wilson and indirectly leads to Gatsby's death.

Appearance is another important factor toward Gatsby's dream. In his quest to win Daisy's heart Gatsby chooses to wear his best outfit. "...the front door opened nervously and Gatsby in a white flannel suit, silver shirt and gold colored tie hurried in" (89). Silver and gold are the colors of wealth, Gatsby's sartorial splendor is as lavish as any of the other items he owns. Gatsby's shirts are more then just garments towards Gatsby. They are some of the many fascinating objects he possesses that were created by money. These shirts contribute towards Gatsby's vision of the American dream, that his money and belongings will create happiness for him.

Another major object of Gatsby's dream was his incredible house. Jay states to Nick and Daisy,  "My house looks well, doesn't it? See how the whole front of it catches the light" (95). Jay gave Nick and Daisy the grand tour of his house showing of all of his worldly possessions. Room after room, everything was shown and mentioned. At the sight of his piles and piles of shirts Daisy broke down. "They're such beautiful shirts, it makes me sad because I've never seen such--such beautiful shirts before" (98). Jay Gatsby's ideals were parallel to the typical American dream. He wants to claim his objective by the use of his assets. He thinks that his money will give him happiness in life through love and his personal belongings.

Even the richest man in the world can't have everything. Material wealth could provide many things for Jay Gatsby but not the thing he most desired. Although his wealth drew Daisy closer to him, he never truly could have possessed her heart. He demanded Daisy to state that she had never loved Tom Buchanan. "Oh, you want too much!" she cried to Gatsby, "I love you now--isn't that enough? I can't help what's past. I did love him once--but I loved you too." (139-140). Jay's true love still remained with her uncaring husband, Tom. Jay Gatsby's dream was smashed when he found out that even all of his assets weren't enough to woo Daisy to him.

Jay Gatsby's belief in the American dream keep him from realizing reality. He believes that if he worked hard enough and made enough money that he could have anything. He wants to perceive the world as a place where sufficient wealth would enable him to recapture and recreate the past he desired with Daisy. Gatsby began planning for his dream when he was young. This can be seen from his journal he wrote as a young man which was discovered by Mr. Gatz.  His attempt to accomplish his dream with cars and shirts could not have been successful. The American dream cannot be accomplished, money is just one factor towards happiness in this world.

401.          Gema 1996

Suara Desa

Gema Dikir Barat Final '96

Nanyang Junior College

Lagenda Puteri Gunung Ledang

Introduksi:

Menghidupkan semula sebuah lagenda...

Puteri Gunung Ledang kembali menjelma...

Lagu Juara:

Senyuman yang muncul sejenak di dalam lena nian               mempesona

Sehingga ku disulami cahaya cinta

Apakan daya, kau menghilang kala ku terjaga

Siapakah... gerangan puteri seribu wajah?

Sekian lama hatiku dilanda gundah-gulana

Tetapi kini, puteri, dikau pula menjelma

Membawa cahaya senyumanmu seindah bintang Kartika

Adapun andang senyumanmu menerangi asmaraloka

Setiap ketika ku merenung jauh ke angkasa

Ufuk membentuk bayangan senyumanmu manis mendera

Cahaya senyumanmu menerangi hatiku yang duka-lara

Ibarat andang menyuluh hatiku yang gelap-gelita...

Karut Yegki:

Baginda raja duduk bertitah

Dimaklumkannya dengan megah

" Puteri raja tak ku idamkan...

...Yang kuimpikan puteri kayangan"

Karut Kelantan:

Berangkatlah tiga orang pahlawan membawa utusan lamaran Sultan

Mendaki mereka ke puncak gunungan bertemu dayang puteri kayangan

Lalu si tua pun menyampaikan pesanan dari puteri kayangan

Takkan puteri terima lamaran jika hasratnya tak dipenuhkan

Dari Melaka ke puncak gunungan harus dibina sebuah jambatan

Dipinta bukan sembarang jambatan emas dan fidzah bahan binaan

Ditambah lagi enam tuntutan sebagai lamaran hantaran Sultan

Lima tuntutan rela diberikan, yang terakhir ditinggalkan...(Yalahh!!)

"Apakah tuntutan terakhir yang dipinta

si puteri kayangan...

Yang tak tergamak dilaksanakan Sultan?"

Karut Matang I:

Menjadi gangguan di benak fikiran

Darah si putera menjadi tuntutan

Satu-satunya putera Sultan

Takkan nyawanya sanggup digadaikan

Cinta anakanda tiada bandingan

Walau diancam cinta puteri kayangan

Karut Matang II:

Bagai si pungguk rindukan rembulan

Begitulah kisah cinta si Sultan

"Walaupun cintaku setinggi langit sedalam lautan,

Namun titisan terimbaku tetap akan ku utamakan...

Biarlah aku kehilangan cinta puteri kayangan

Biarlah senyumannya menjadi kenangan di ruang                  khayalan..."

Karut Matamg III(Karut Penutup):

Seruan Suara Desaaaaaaaaaaa........

Majulah seni Budaya Bangsaaaaaaaaaa........

Wabilaihi Taufik Wal Hidayah

Assalamu 'alaikum Warahmatullahi

Ta 'ala Wabarakatuh

Sekian dari kami...

Suara Desa

402.          Georg Wilhelm Friedrich Hegel 703

Georg Wilhem Fredrick Hegel was born in August 27, 1770, in southwest Germany, in a town called Stuttgart. His father was a civil servant in the department of finance. He had one sister and a brother. Throughout growing up and studying, he was known as "the old man" because of his strict study habits. However, he was not considered an exceptionally gifted student. Hegel received his Master of Philosophy degree in 1790 and then started to study for his theological exam. In September of 1793, he passed his theological exam, but was too poor to take up parish work so he became a tutor. He hated tutoring in a house in Bern, Switzerland. However, the family did have a good library, which he used to advance his learning.

Human freedom is the central theme of modern political philosophy, and Hegel offers perhaps the most systematic modern attempt to understand the state as the realization of human freedom. In this comprehensive examination of Hegel's philosophy of freedom, Paul Franco traces the development of Hegel's ideas of freedom, situates them within his general philosophical system, and relates them to the larger tradition of modern political philosophy. Franco then applies Hegel's understanding of liberty to certain problems in contemporary political theory. He argues that Hegel offers a powerful reformulation of liberalism that escapes many of the problematic assumptions of traditional liberal doctrine and yet avoids falling into the romantic and relativistic excesses of a substantial communitarianism.

Hegel's aim was to set forth a philosophical system to comprehensive that it would encompass the idea of his predecessors and create a conceptual framework in term of which both the past and future could be philosophically understood. Such an aim would require nothing short of a full account of reality itself. According to Hegel, the task of philosophy is to chart the development of Absolute Spirit .This involves in :-

(1) making the internal rational structure of the Absolute clear.

(2) demonstrating the manner in which the Absolute manifests itself in nature and human history.

(3)  explicating the theological nature of the Absolute, that is showing the end or the purpose which the Absolute is directed to.

Hegel's thoughts on Reality:

Hegel believed that all real things in the world are ultimately one, so he is a monist (considers everything one). Hegel also stated that the study of history is "the thought that Reason rules the world." Hegel had a reoccurring idea that Reason, and Reason only rules the world.

Hegel's Thoughts on Bodies :

Hegel distinguishes between organic and inorganic bodies. Most of what he says agrees with Kant, however he points out that these ideas were originally for Plato. He states that physical reality encompasses both inorganic and organic matter. "We have now to make the transition from inorganic to organic Nature, from the prose to poetry of Nature."

Hegel's thoughts on Personality :

Hegel claims that "the actions of human beings stem from their needs, their passions, their interests, the satisfaction of selfish desire." Hegel also believes that the historical process interrelates two great elements, "the first is the Idea, the other is human passion; the first in the warp, the other the woof in the great tapestry of world history that is spread out before us." "But world history is not a place for happiness. Periods of happiness are empty pages in history, for they are the periods of harmony, times when the antithesis is missing."

Hegel's Thoughts on Knowledge :

Hegel proves a very interesting view of knowledge. He thinks that that knowledge is used, "either as the instrument to get hold of the Absolute, or as the medium through which one discovers it."

Hegel's Thoughts on Morality :

To Hegel, the ideals of moral virtue "are empty, ineffectual words which lift up the heart but leave reason unsatisfied, which edify, but raise no edifice." Hegel believed that everyone should speak the truth, in his or her own eyes. "'Everyone ought to speak the truth.' In this duty as expressed unconditionally, the condition will at once be admitted: if he knows the truth. The commandment, then, will now run: everyone ought to speak the truth at all times, according to his knowledge and conviction."

403.          George Bizek

George Bizek

Georges Bizet, who is best known for his opera, Carmen, has remained

somewhat of a mystery  as far as his musical education, social life, and

personal life.  He is not like so many other composers and musicians of the

Romantic Period who led a highly publicized life like Hector Berlioz, Peter

Ilyich Tchaikovsky, or Johannes Brahms. He spent his short life devoted to music

and he did not quite make it into the limelight like these other Romantic

composers.  The most  believable explanation for his obscurity  would be the

lack of scandal in his life.  He had a happy childhood, was well awarded with

musical scholarships, and a happy marriage.

Georges Bizet grew up in a musical house.  His father was a singing

teacher and his mother was a well-known pianist who had attended the Paris

Conservatory.  His parents encouraged him in music.  His father was confident

that his son would become a great musician.  His father was actually too

supportive of his musical education.  He had been known to hide young Georges'

other school books so he would not be distracted from his musical studies.  He

received his first music lesson from his mother when he was just four years old.

She was teaching him to read music at the same time she was teaching him his

alphabet.

Bizet was enrolled in the Paris Conservatory when he was nine years old.

This was a special exception arranged by his uncle who taught at the

Conservatory, since Bizet was still a year younger than the minimum age

requirement.  Here he studied piano, organ, singing, harp, strings, woodwinds,

and composition.  His instructors were the composers Charles Gounod, who is

known for his opera Faust, and who is considered the greatest musical influence

in Bizet's life.  And Jacque Halevy, who wrote the opera LaJuive, is also

considered an important musical influence.  He had a unique, unstructured

teaching style.  Halevy would listen to and correct his students but he would

never require them to do any specific types of composition.  This was to affect

Bizet throughout his life as he would be known to start and abandon work after

work. This was blamed directly on Halevy's lack of discipline.  At age fifteen,

Halevy tried to convince Bizet to go and compete for the Prix de Rome.  Bizet

refused sighting his immaturity and need for additional background.

During his time as a student he wrote Symphony in C Major (1855), which

was not performed during Bizet's lifetime, but from it's first performance in

1935 it has become an established symphony in a standard repertoire.  Bizet

won a number of awards during his time at the Conservatory including First

prize in piano when he was fourteen.  He also won a First Prize in fugue and

organ when he was seventeen; the year of his Symphony in C Major.  Bizet

remained at the Conservatory until he was eighteen.

Bizet first competed for the Prix de Rome when he was eighteen.  The

competition ended in a tie and the judges decided not to award a first prize but

two second prizes instead.  Second prize was free tickets to all of the lyric

theaters in Paris.  This in itself would have been a nice prize but not in

comparison to spending four years in Rome studying music.  None the less, the

prize proved to be useful as Bizet's next composition turned out to be a theater

piece.

Finally on his second attempt at the coveted prize he was awarded the

Prix de Rome when he was nineteen.  This prize entitled him to four years

at the Villa Medici in Rome with all expenses paid.  It was in this same

year that he tied for first place in a contest sponsored by Jacques Offenbach

who was trying to raise awareness of the operetta, then very popular in

Paris.  All contestants were given the same libretto, Le Docteur Miracle.

Bizet's winning composition was produced at a small Paris theater.  Ten days

after his arrival in Rome Bizet was asked to play at one of the Villa Medici's

Sunday evening dinners.  Of his experience Bizet said, "I had a great success,

it was the first time since M. Schnetz has been director that a musician has

been heard and applauded at the Academie.  It is fair to say that there are

no pianists in Italy, and if you can play your scales with both hands you

are regarded as a great artist."   This is a great example of Bizet's modesty.

Bizet had very positive things to say about his stay in Rome.  He loved the

Academie and learned to love Italy and its people.  He had even hired a tutor

to teach him Italian.

After attending Villa Medici Bizet considered returning to the Paris

Conservatory as an instructor or he thought of becoming a concert pianist.  He

decided against both and decided to return to Paris to be an operatic composer.

While working on his first opera he supported himself by teaching private piano

lessons to students who wanted to learn for social purposes.  He arranged many

opera scores for piano, and also composed third rate dance scores to make money.

His first major opera was La Guzla de l'Emir which was accepted by  the Opera-

-Comique for production but it was never presented.  Bizet withdrew it himself

because only one work by any composer could be underwritten by a money grant and

Bizet thought he could write better.  In it's place he submitted Les Pecheurs

des Perles (The Pearl Fishers), which used many of the melodies from La Guzla de

l'Emir.  This opera was accepted and presented when Bizet was twenty four.  It

was not a success.  It was received poorly by both the public and the press.  It

was dropped after only eighteen performances but has since become a permanent

repertoire of the Paris Opera-Comique since 1932.

His next work was another opera La Jolie Fille de Perth (The Fair Maiden

of Perth).  While this opera was in rehearsal Bizet announced his engagement to

Genevieve Halevy, the daughter of Bizet's teacher from his days at the

Conservatory.  This was the only opera Bizet ever wrote that received good

reviews on it's premier performance from both the public and the press.  Next he

wrote a melodrama, L'Arlesienne (The Girl From Arles).  This was his attempt at

revitalizing the melodrama form.  It's success was short lived  however, but the

music was so well liked that Bizet made an orchestral suite from it and it

became known as L'Arlesienne Suite #1.

Bizet's next and best known opera was to be Carmen.  This opera was

based on a play by Prosoer Merimee.  The opera was prepared for the Opera-

Comique and in the tradition of that theater included spoken dialogue.  The

opera was not well received at first but it held the public's interest.  It went

on for thirty one performances.  The Carmen that we know today has evolved over

many years and at the hands of many composers and musicians.  For example, the

original version included spoken dialogue taken from the original Merimee story.

When it was performed just four months after Bizet's death Ernest Guiraud

substituted recitatives for the original spoken dialogue.  Because these took

longer, many cuts in the original libretto had to be made.  Carmen was not a

great success until years later when it was performed in England.

There have been rumors surrounding Bizet's tragically young death.  Some

say that the unenthusiastic reception of Carmen prompted his early death.  The

actual cause was throat angina which he had suffered since he was seventeen.

These bouts were always followed by emotional crisis leaving Bizet in the state

of nervous breakdown.  Bizet described his illness in a letter to his friend as,

"colossal angina, imagine a double pedal from A flat to E flat going through

your head from ear to ear".   His condition would improve for a few weeks and

then would reoccur.  Toward the end of his life Bizet was confined to a

wheelchair and complained of fits of suffocation.  Shortly before Bizet and his

family were to move to the small country town of  Bougival, he suffered a severe

rheumatic attack, complete with high fever, and total immobility of his arms and

legs.  Country living seemed to make him well for a time, but his illness

finally did him in on June 3,1875, at the age of thirty six.  Bizet left behind

not only his wife and young son but also left behind a great opera with a

timeless story.

404.          George Frederic Handel

George Frederic Handel

George Frideric Handel was one of the greatest composers of the late baroque period (1700-1750) and, during his lifetime, perhaps the most internationally famous of all musicians. Handel was born February 24, 1685, in Halle, Germany, to a family of no musical background. His own musical talent, however, began to show before his tenth birthday. He received lessons from a local organist, the only musical instruction he would ever have. His first job was as church organist in Halle. In 1703 he traveled to Hamburg, Germany. It was here, in 1704, he composed his first opera, Almira. After achieving great success he soon felt the urge to move on to Italy, the birthplace of operatic style. He first stopped at Florence in the fall of 1706. Later on in the spring and summer of 1707 and 1708 he went to Rome, and in the late spring of 1707 he made a trip to Naples. In Italy Handel composed operas, oratorios, and many secular cantatas; he ended his Italian trip with the spectacular success of his fifth opera, Agrippina (1709), in Venice.

Other Composers of George Frideric Handel's Time

Bach was a German organist and composer of the baroque era, one of the greatest and most productive geniuses in the history of Western music. In 1756 Mozart was born in Salzburg, Austria. One of the greatest composers in Western music tradition, Mozart began composing at age five. By the time he was 13, he had written sonatas, operettas, and symphonies. His works include The Marriage of Figaro , Don Giovanni, and The Magic Flute. Beethoven was one of the world's greatest composers was born in Bonn, Germany, in 1770, Beethoven began to lose his hearing in 1802. By 1817 he was totally deaf. Beethoven wrote classical pieces greater than anyone else of his time like his third Symphony, Eroica and his Ninth Symphony. The Ninth Symphony, composed in 1824, begins with "void music" which may have originated in the silence and gloom of Beethoven's own deafness, but the symphony then explodes with a wonderful array of sounds. One of the most beautiful pieces of music ever composed. Arts and Architecture The Taj Mahal in India was completed in 1648. Built by the Mughal emperor Shah Jahan in honor of his favorite wife. It combined Indian and Persian architectural styles characteristic of Mughal architecture. Built by two Iranian architects, the Taj Mahal is surrounded by four spires and topped by an 80-ft dome. An oblong reflecting pool enhances its beauty. Events In 1607 the English established their first colony in America, at Jamestown, Virginia. Virginia had been named in honor of Queen Elizabeth, the "Virgin Queen." Jamestown was named after the King James.

405.          George Lucas And His Influence

Support Studies Part D

My paper discusses the success and influence of George Lucas in the entretainment industry.

Whether it be through his epic Star Wars saga, or through the exalted special effects crew he pioneered, Industrial Light and Magic, he continues to amaze audiences world wide. His name in synonymous with famous directors/producers in the world. His impacts reach out in more fields than just film. He has created companies that produce award winning video games, toy companies produce action figures designed after characters from his movies, many books by many authors based on his original film stories, and countless other wings of Lucas' reign exist in today's world. Since his youth, George Lucas has experienced many influences, which in turn push him to make the greatest contributions to the film industry which leave an ever increasing impact on film today and the world. Throughout history, it is apparent that those who are recognized as "great ones" were influenced in some way or another to become the leader who they are. In George Lucas' case, he was greatly influenced in his late teens and early twenties. Lucas claims to have chased girls and raced cars throughout high school, and barely made it through (Moritz 258). Soon after high school, Lucas attended Modesto Junior College in California and continued to work on cars as his main interest (Moritz 258). In Smith, Lucas is quoted saying, "I was a hell-raiser; lived, ate, breathed cars! That was everything for me"(84). Lucas even worked on pit crews for race cars when he met Haskell Wexler, who introduced him to film (Moritz 258). Eventually Lucas realized his new passion was film. Mr. Wexler helped Lucas gain admission into the University of Southern California's film department (Moritz 260). In college Lucas was the head of his film classes winning many awards and accolades. His first feature movie in college was titled THX-1138 and won his university's award for best film (Moritz 259). Lucas is also inspired by his circle of friends and fellow directors, producers, and collaborations with them. With the success of THX-1138 at the university, Lucas was awarded the chance to be an observer on the set of Finian's Rainbow directed by University of Southern California alumnus Francis Ford Coppola (Champlin 7). Soon the two began to chat, and then became friends, so Coppola let Lucas work for him on the movie. With his hard work, Lucas earned the respect of Coppola who in turn did Lucas the favor of convincing producers to let Lucas direct a major motion picture (Moritz 7). Lucas' first major motion picture was American Graffiti, with this film Coppola had given Lucas the chance to make a foothold in the film industry, and he certainly did. Also, Lucas is supported by friends Steven Spielberg, John Milius, Martin Scorcese, and Ivan Reitman (Moritz 260). The group often collaborate on projects and get advice from each other on filmmaking (Moritz 258). Steven Spielberg is quoted in Champlin's book saying: Lucasfilm touches our lives from many different directions, descending upon our eyes, our ears, and our children. George has never stopped asking, "Any Ideas?" and the whole world has been a better place for it.(7) On the other hand, George Lucas is best identified with the fantastic list of movies he has had a part in, whether it be a big part, or an even bigger one, Lucas has a great deal of influence on movies listing his name in the credits. It is for sure that at one time or another, everyone has heard of Star Wars, the first part of a three movie trilogy, for which he is best known for the conception and production of. Since it's release in 1977, Star Wars has grossed over four billion dollars in sales, making it the most money making movie ever (Lane and Samuelson 126). Lucas also produced all three of the Indiana Jones movies; Temple of Doom, Raiders of the Lost Ark, and The Last Crusade, which were directed by Steven Spielberg (Smith 83). Currently, Lucas has re-released his epic Star Wars saga, and titled it Star Wars: special edition, which has blown away viewers. Perhaps his most important contribution to film is his beginning of, and ownership of the special effects crew ILM, standing for Industrial Light and Magic. Over the years, ILM has won ten Academy Awards, two emmys, and six British Academy Awards (Wolkomir 112). Without the techniques still used today, pioneered by ILM, movie making today might still be stuck in a "Godzilla" like special defects world. Randall praises ILM in his article saying, "Indeed almost every digital effects company has had executives that learned the trade at Lucas' Industrial Light and Magic" (127). ILM has produced special effects for Star Wars, Indiana Jones, and Independence Day (Wolkomir 112). ILM is marked for being ahead of its time and all other special effects companies, especially in Star Wars which amazed audiences across the world (Randall 127). Furthermore, Lucas has impacted the film industry in countless ways. His main impacts are those on the film industry. Lucas set a benchmark for sound with his development of the sound system called THX (Champlin 7). The highest of quality home receivers and highest quality movie theater sound systems are designed with THX (Champlin 7). THX's motto is "the audience is listening" and they have been at Cineplex Odeon theaters across the USA, and other theaters hosting the dynamic sound system (Randall 127). Although the release of Star Wars in 1977 discouraged other directors by blowing away all special effects and sound barriers, this in turn set a new mark for directors to reach for in their movie productions. It's impacts like these that improve the film industry every day, and a lot of it traces back to George Lucas. The ability to make parents flock to toy stores day in and day out searching for much requested toys isn't hard to create in one's self. Twenty years after it's release, Star Wars is one of the top selling toy lines today (Leonhardt 79). Parents were described as "fleas" swarming the toy shops this past Christmas (Leonhardt 78). The fact that Lucas expected to make $500,000,000 in overall Star Wars saga related sales after the release of Jedi, but really topped $4,000,000,000 is quite the audience impact also (Moritz 259). Everyone remembers Steven Spielberg's E.T.: the extra terrestrial, parents and children couldn't get enough of the lovable foreigner, but Star Wars' profits exceeded that of E.T.'s for all time sales (Snead 6). Through his influences, Lucas has managed to impact our lives with his many contributions to the entertainment industry. With praise from others like Francis Ford Coppola and Steven Spielberg, it is definite Lucas is a film legend of our time. He has had many contributions and films we all know and love. He has reached out to all generations; the elder with memories in American Graffiti, and the young and young at heart with Star Wars, and the real science fiction fans with his perfected version of THX-1138. He has impacted other filmmakers and audiences alike. Traces of his greatness reach out through our world. Works Cited Champlin, Charles. George Lucas: The Creative Impulse. New York: Harry N. Abrams, 1992. Lane, Randall. "George's Industry" Forbes 11 Mar. 1996: 127. Leonhardt, David. "The Empire Strikes Again" Business Week. 1 Jan. 1996: 48. Moritz, Charles. "Lucas, George" Current Biography Yearbook Ed. Evelyn Lohr and Henry Swan. New York: The H.W. Wilson Company, 1978. Samuelson, James, and Lane Randall. "Money Machine" Forbes Mar. 1996: 126. Smith, Diane G. American Filmmakers Today. New York: Julian Messner, 1983. Sterritt, David. "Are Movie Marketers Too Mighty?" Christian Science Monitor. 31 July 1995: 1+ Wolkomir, Richard. "High-Tech Hokum is Changing the Way Movies are Made." Smithsonian. Oct. 1990: 112-125.

406.          George Lucas and Movies

George Lucas and Movies: No Future?

When looking into the future people see many different things.  Whether

it be flying cars, buildings floating in the air, or people walking around in

space suits, everyone has their own idea.  Most of the time when people look

into the future they look far into it, not in the next several years.  The

future is usually defined as twenty or more years beyond the present.  Many

movies and stories written about the future world seem to have the common theme

that technology will play a big part in the development of the future.  The

development of technology will lead to the advances that will take the world

into the next century and beyond.  George Lucas' film THX 1138 and Robert

Zemeckis' Back to the Future are both examples of movies that portray technology

and the advances of the future.  THX 1138 and Back to the Future both portray

technology as a danger to society that could ultimately lead to its downfall.

George Lucas made THX 1138 long before he became famous in his later

movies.  He based the film on his movie that he used as his graduate project and

thesis.  It was his first attempt at directing and producing a Hollywood film.

His goal was to create a film that would show the future state of the world if

it was to continue on its path of the search for perfection of everything.  He

shows the future as a place that many people would probably not want to live or

to be associated with.

Lucas shows that everyone will be the same.  People will wear the same

clothes and have the same haircut.  Names are no longer a part of society.  In

the movie each person is given a prefix of letters followed by a number.  They

are basically drones who follow orders.  Technology has advanced so far that

every motion or action of the person is monitored.  Anytime that one of them

does something wrong it immediately appears on the computer screen as to what

they are doing and what their number is. It is possible for the computer to

monitor all of their vital signs and mental activity.  Each person is carefully

monitored and watched.  The people are told what to do and act based on how they

were trained.  They work in shifts of labor and are almost extensions of the

computer that tells them what to do.  There is no more guessing about disease or

how a person is feeling.  Everything is fed to a computer which processes the

information and figures out what to do.  Computers have begun to control the

lives of the people and it is almost to the point that they are running society

as a whole.  Computers are no longer devices that simplify life for humans;

humans are now devices that help computers.

Science has developed a drug that keeps the people submissive and almost

with no thought of their own.  The drugs take away the humans ability to think

and to be creative.  Ironically it was those attributes that led to the

development of all of that technology in the first place.  Humans are no longer

allowed to think for themselves.  Instead of people controlling the development

of technology; technology is now controlling the development of the people.

One of the best scenes that tells about the technology of this movie

takes place in the prison.  The people who have broken the laws are sent to an

area that is totally white.  No other color can be scene.  They are put into

machines and forced to take the drugs and the computer monitors them.  Just

through several test the entire body of the person can be checked for what is

wrong.  The person is checked up on like a machine.  The computer then decides

what to do with the person.  When people are treated like machines and not

allowed any freedom of thought it is very dangerous to society as we know it.

This could easily end society through the emission of people's rights.

There are very few positive sides to this society.  There is no problem

of human error in society.   Computers make most of the decisions.  There is

almost no problem with crime or violence because all of the people are so

controlled and watched.  While those two positive aspects may seem good to some

people, the society that was created is not.   All of the things inside of

people that made it possible for technology to be developed have been taken away.

There is no more creativity or individuality.  Everyone is the same and they

have no way to be an individual.  There is no heart and no fun involved in life

any more.  The society is no longer a society of people.  It is a society of

machines.  The people have become the technology.  The technology that the

people worked so hard to create and control, now controls them.

Robert Zemeckis shows a much nicer and happier future in Back to the

Future.  Technology is still very present, but the people are still in control.

Society is almost the same place as it is today.  The people still work and

still have their own personality and still make decisions for themselves.

Nothing seems to have changed from the present except for several advances in

technology.  Zemeckis chooses to concentrate on one aspect of technology that

has been developed in this future time.  That one main aspect is the development

of the technology necessary for time travel to happen.

Doc Brown (Christopher Lloyd) has developed a time machine.  It looks

just like a DeLorean, but it has been modified to allow it to go into the future

or back into the past.  Marty (Michael J. Fox) gets in  the car to escape danger

and ends up in a time period before he was born to the time when his parents

were his age.  He goes back and forgets about the advances that have been made

in technology between then and the time in which he was living.  He keeps

remembering things from the future that are not in the time period in which he

is stranded.  Even his clothes represent changes that have occurred in

technology in the few years that separated these two time periods.  Technology

is truly evident in the way that things look and the way that things are run.

Time travel is not a new concept of technology, but it is a new concept

which is believed to have been invented this short distance into the future.

The technology that was used to develop this machine was based on an idea that

had occurred to the scientist long in the past.  Technology in this society has

allowed for the machine to be developed.  The society as a whole has not changed

from the present very much.  The time machine seems to be the only difference.

It is scary to think that people could use this technology to travel throughout

time.  The only problem with it is that it can be used to change history.  When

Marty returns from his trip, he realizes that he has created an alternate future.

Technology can now be used to change the past as well as the future.  It has

made it possible for people to control all the events that have ever happened in

the history of the world.

Back to the Future presents a much nicer picture of the future than does

Lucas in THX 1138.  It shows that it has not changed very much.  The one thing

that is scary is that the future could be constantly changing, if the technology

of the time machine was made available to everyone.  This would mean that there

would be no set future for the world.  Each person would try to change the

future so that everything would benefit themselves.  This would lead to the

eventually destruction of society and maybe no future at all.

George Lucas and Robert Zemeckis both portray the future in their films.

The future however is very different between the two movies.  In THX 1138

everyone is controlled by the technology that has created computers that can

control things.  In Back to the Future each individual person has the option to

control the future of the world.  Both movies give too much power to one thing.

Either Technology or the individual have too much power to have society run

smoothly.  Both of these things would most likely lead to the destruction of

society as it is.  A point must be reached somewhere in the middle or there may

not even be a future for people to dream about.

Works Cited

Back to the Future.  Dir. Robert Zemeckis.  Perf. Michael J. Fox, Christopher

Lloyd, Lea Thompson.  1985.  Videocassette.  Universal Pictures, 1986.

THX 1138.  Dir. George Lucas.  Perf. Robert Duvall, Donald Pleasence.  1970.

Videocassette.  Warner Brothers, 1971

407.          Georgia OKeeffe 808

It is a thorough report on the life of painter Georgia O'Keefe Well-developed, covers thesis statement, clear story of her life

Georgia O'Keeffe

During the early twentieth century, women suffered from discrimination and inferiority.  An exception to this case was Georgia O'Keeffe, who captured the attention of the world with her paintings.  She was the only female of her generation to be accepted as a professional artist.  Art critic Henry McBride noted, "Mona Lisa got but one portrait of herself worth talking about, O'Keeffe got a hundred....Everybody knew the name.  She became what is known as a newspaper personality."  Georgia O'Keeffe knew exactly what she wanted from life and was not frightened to reach out for it.  She left her mark in an artistic field believed to be exclusively for men.

Georgia Totto O'Keeffe was born in 1887 in Sun Prairie, Wisconsin.  She was a well-behaved, self-disciplined child.  At a very early age she decided where life was going to lead her: she was going to be a painter (Berry 23).  Not taking in consideration her family's opinion, O'Keeffe started to sketch.

One of her first sketches was of a man bending over.  She worked on this piece for quite a while, trying to get the position of the legs correctly.  But when she turned the drawing upside down, she noticed that the man looked fine with his legs up in the air.  O'Keeffe recalled, "I thought it a very funny position for a man, but after all my effort it gave me a  feeling of real achievement to have made something-- even if it wasn't what I had intended."

After graduating from college, O'Keeffe set out to the southwest taking up jobs as an art teacher in different schools and universities.  Her journey in Texas and its surrounding states during the years of 1912 to 1916 helped O'Keeffe define her personal style of painting.  She spent a great deal of time exploring the wild, empty spaces.  She observed the shapes found in nature and translated them into very personal abstractions (Berry 39).  O'Keeffe found her greatest inspiration to be the landscapes of this vast and colorful region.

One day in 1915, O'Keeffe shut herself inside her room and placed her drawings and paintings against the walls.  Seeing in them the influence of others, she decided to throw them away.  Above all, she refused to conform, to make herself a prisoner of the ideas of others (Streifer 182).

O'Keeffe was first discovered when a friend of hers, Anita Pollitzer, showed her charcoal sketches to the famous photographer Alfred Stieglitz.  He decided to exhibit them in his avant-garde New York gallery, 291 5th Avenue.  When O'Keeffe found out about this she went mad and demanded that her paintings be taken down.  Stieglitz, however, convinced her to leave the work on the walls; eight years later, he convinced her to marry him (Streifer 183). He also held twenty one-woman shows for O'Keeffe, beginning in April 1917 (Streifer 183).

Life in the Big Apple started drying up O'Keeffe's sources of inspiration.  After long discussions with her husband, O'Keeffe finally decided she would move to New Mexico, with or without him.  The southwest, she said, "That was my country-- terrible winds and a wonderful emptiness."  Her sojourn in New Mexico brought about the time of O'Keeffe's greatest productivity.  In 1940, she even bought a ranch house; she settled there permanently after Stieglitz's death in 1946.  Museums all over the northeast invited O'Keeffe to exhibit and put up major retrospectives.

Years later, O'Keeffe also started traveling, painting clouds as seen from above.

O'Keeffe was the only woman of her generation to have made a successful career out of art.  Many other women were painters for up to half a century, only to obtain recognition decades later.  O'Keeffe's recognition as an artist came sooner, when she was in her early thirties ( Castro 71).  Most artists at the time were men who learned to accept and even praise the work of O'Keeffe.  She was an original artist who defined her own self-image.

In 1986, almost blind and deaf, O'Keeffe died.  All throughout her life she never expressed fear of death.  The only thing she felt was regret.  Regret of not being able to come back.  She once said, "When I think of death I only regret that I will not be able to see this beautiful country anymore, unless the Indians are right and my spirit will walk here after I'm gone."

O'Keeffe led her life just the way she wanted to lead it.  She flourished as a woman artist in an age where art was a field predominated by men.  She remained true to herself, expressing everything on her mind through her paintings.  Georgia O'Keeffe is indeed a model for all women and a key figure in the development of modern American art.

408.          Gettysburg

Gettysburg, Ronald F. Maxwell's re-telling of four hot days during the summer of 1863 (based on the Pulitzer Prize winning novel The Killer Angels by Michael Shaara), is a spectacle that gathers power and momentum with every scene. Originally slated as a TNT mini-series, Gettysburg received the go-ahead for a theatrical run when Ted Turner realized the quality of the material he had on his hands. Those who are not daunted by the running time (two-hundred thirty-four minutes, easily the longest general release motion picture in a long while) and decide to see the film on the big-screen will find their choice well rewarded.

The film is divided into two parts, with an intermission in between (the length of the intermission varies from ten minutes to twenty-five minutes, depending on theater management). The first section, which begins on June 30, 1863 (the day before the start of the battle of Gettysburg) and ends during the day of July 2 with Col. Joshua Chamberlain's legendary defense of Little Round Top, is approximately two hours and twenty minutes long. The second part, which takes up the remaining 1:55, concentrates primarily on July 3 and the disastrous charge of Maj. Gen. George Pickett and 15,000 members of the Confederate Army against the entrenched Union position atop Cemetery Ridge.

Over 50,000 were killed or wounded during this pivotal battle of the Civil War, and Gettysburg takes pains to breathe life and logic into the reasons for this. Yet it does far more than that. Rather than functioning as a text book come to life, the film uses its actors to flesh out characters from history, giving not only personalities to those on both sides of the struggle, but believable causes as well. We are presented with the rare opportunity to see not only the clash of arms on the field of battle, but the clash of wills beforehand.

Four and a half hours (including the intermission) is a long time to sit in a movie theater, yet even towards the end, restlessness is unlikely. The films is adept at the tricky art of pacing, and just as the slower, dramatic elements of the story threaten to bog down Gettysburg, the rousing battle scenes start anew.

The film opens with exposition. These scenes are slow, but, coming at the beginning, they're not difficult to get through. Next is the initial confrontation between the troops of Gen. Buford (Sam Elliot) and the advancing edge of the Confederate army. Then, with the onset of night, there's a lull, and an opportunity for more character development and introspection. With the morning of July 2, there's the defense of Little Roundtop under the command of Col. Chamberlain (Jeff Daniels), a truly amazing sequence that lasts nearly an hour and keeps the audience involved for the entire time.

Of course, following Little Round Top, there's discussion and planning as Gen. Lee (Martin Sheen) prepares his decisive assault. The disagreements of Lt. Gen Longstreet (Tom Berenger) are presented and ignored, and Pickett (Stephen Lang) is chosen to lead the charge. While this section of the film may be a little too talky, it is positioned immediately after the intermission when the audience is better able to tolerate a slower forty minutes. The climax -- Pickett's charge -- is even more engrossing than the defense of Little Round Top. Those who get a few nape hairs standing on end will not be alone.

Historical accuracy was of great concern to the producers and director. They hired a veritable army of advisors to correct even the most minute mistakes in the script (if a general given a pale horse in the movie was known to have favored a dark horse, the mount was changed), used the actual sites in Pennsylvania as often as possible (where hiding war monuments became an art), and "recruited" more than 5000 unpaid re-enactors to fill up the screen during the battle scenes (thus helping to keep the budget at a reasonable $20 million). The result is a movie that looks and feels real.

The cast gathered for this recreation is impressive. There are no high-orbit names like Tom Cruise or Alec Baldwin to distract the viewer. While Berenger and Sheen are certainly known and recognized, their profiles, like their performances, are low-key. Both do solid jobs, and are especially effective at bringing out the more human sides of the officers. Sheen's Lee is a brilliant leader who carries a weight of weariness and guilt that only the end of the war can lift, and Berenger's Longstreet has tears in his eyes when he orders Pickett's charge, which he knows beforehand will be a failure.

More impressive than Berenger and Sheen are Jeff Daniels and the late Richard Jordan. Daniels gives a remarkable rendering of Col. Chamberlain, investing the legend with all the foibles and failures of humanity, and making us understand exactly why his name has been so lauded. Jordan, who plays Brig. Gen. Lewis Armstead, is the standout on the Confederate side, and his powerful portrayal is given an added dash of poignancy by the realization that the actor is no longer with us.

In epic movies, especially those that feature battles, the musical score takes on added significance. While not a masterpiece of originality or modern composition, Randy Edelman's work is loud, triumphant, and inspirational -- qualities which are perfect for the battle scenes. Additionally, Kees Van Oostrum's camerawork, while lacking the grandeur of the cinematography in Edward Zwick's Glory, offers a number of breathtaking battle shots.

Epic motion pictures are a rarity these days -- even more rare than films about the Civil War. Gettysburg should satisfy both cravings. This film is perfectly placed in the wake of Ken Burns' PBS series (Burns, incidentally, has a small role here as the aide to Union Gen. Hancock) for any who have a re-kindled interest in this segment of American history. For those with little more than a passing interest, Gettysburg is still gripping enough to captivate in its own right. Ambitious and successful, it is easily one of the most glorious U. S. productions of the year.

409.          Girls and Their Gangs

Gun Control

Fifth of July and me and my boyfriend are just sitting around watching T.V. when the

phone rings.  I answer the phone and here my best friend Laurie trying to tell me

something through her tears.  I knew it was more thana family problem because she

wouldn't call me at my boyfriends if it wasn't serious.  I tried to get her to calm down so

I could half way understand her.  I could here her say something about our good friend

Jerry.

I took her a few minutes but I finally understood her.  Jerry had been shot earlier that day

by two juviniles with handguns in search of drugs and money.

Contention 1.  Juvinile Crime with guns has gone up.

A.  Juviniles homocide with guns is tripling

Congressional Record 96' ( July 24, Senate Resolution 282)

"Juvinile homosides involving firearms trippled from 1980 to 1994.   Ask any police

chief of any major cities in this country and they will tell you the problem in violence is

that how the weapons are more powerful and they are used more frequently."

B.  Number of other teen murders by other means has remained the same

Montgomery, 96'  (Knight-Ridder, July 8)

"Noting that the number of gang murders by juviniles has tripled since 1980 while the

number of teen murders by all other means has stayed the same."

C.  Black Market is a great sorce of gun trading

Munsey, 96' (Christopher, March 31)

"Firearms stolen from residents and gun stores are the number one outlet for for

criminals.  'They are traded on the street in the brisk black-market whirl that includes

drugs &   cash.' state police said.

D. Guns kill  more teens than all diseases conbined.

Neergaad, 96'(AP, July 13)

"Guns kill more teen-agers than all other diseases combined. Gun related homicides &

suicides are rising.  Firearms send almost 40,000 americans to thier graves each year.

Contention 2.  Availability of guns to juvililes has gone up.

A. Guns are easy to steal

Munsey,'96 (Christopher, March 31)

"Criminals like stolen handguns because if they are somehow recovered after a crime,

they will turn up in the records only as stolen."

B. Handguns are sold frequently

Johnson,96' (Febuary 21, Columbia Dispatch)

"People can buy handguns at gunshows, flea markets, and on the black market without a

Brady Check.  Criminals with half a brain will advoid the gunstores and going through

the system."

C.  The Brady Law

Johnson, 96' (Febuary 21, Columbis Dispatch)

"The Brady Law which took effect Febuary 28, 1994, requires a background check during

the five day waitng period before the sale of a handgun.

D. Police are inadequate

Jeffery Synder (The Pblic Interest, 1993)

"Crime is increasing because citizen resistence & law inforcement is inadequate."

Plan

Plan Plank 1.  The plan will be administed by the Department of Justice and all oher

necessary agencies in the U.S.

Plan Plank 2.  Mandates

A.  The possession of a handgun by a juvinile will be classified as a Class 2

Misdemeanor

B.  Local police will be given the authority to search any juvinile suspected of carring a

handgun.

C.  A tip reward for a gun reporting, like the Charleston "Operation Gun Stoppers"

program, will be implemented nationwide.

D.  Any handguns possessed by juviniles will be confiscated and turned over to local

police.

E.  Block grants will be given to the states and localities in order to hire and necessary

law inforcement personnel required for plan implementaion

Plan Plank 3.   The proposal shall be funded by a simplification of the tax code, which

will raise $250 billion over the next 5 years.

Plan Plank 4.  Enforcement will be through normal means

Plan Plank 5.  The Aff.  claims legislative intent

Contention 3.  Gun Stoppers program will reduce juvinile crime.

A.  The "Gun Stoppers" progam will improve classification efforts

Rueben Greenburg(Police Chief, Charleston S.C. )  The status quo Researcher , March

15, 1996 p. 229

"Under the program, if a tip leads to the confiscation of an illegal gun, the tipster gets

$100 within an hour.   'We changed the situation from kids showing off their guns to one

where they are afraid for anyone to even know to have the gun.'  Greenburg says."

In conclusion, juvinile crimes with handguns are inreasing rapidly.  If we do not try to

take control of this problem now, then it will most likely only get worse. The juviniles

are the future of the U.S. ;  let's not give them a weopon that determain the life of

another.  Thank You.

410.          Gladiator

In the movie, many things portrayed are the same as what really happened in Roman history. Some things though, are a little different in the actual history of Rome than in the movie. Scenes were changed in the movie too, to make the plot more interesting. I connected what I could between the movie and the actual history of Rome.

Maximus was the general of Rome and a really good general at that. He lead Rome to many victories. He was so great and loyal that in the movie, Marcus Aurelius actually asked him to succeed him in the throne. When Commodus heard this from his father, he killed him and sentenced Maximus to death. When Maximus escaped, he was picked up by a group of men and sold as a slave to become a gladiator. As a gladiator, he fought many different types of gladiators. Quicker ones had nets with tridents and slower ones had curved swords with shields. There were some gladiators that even had chariots. In the actual history of Rome, there really were different types of gladiators. The gladiators with the net and trident were called the retarius. The gladiator with the curved sword and shield were called the samnite. I'm not too sure if there were gladiators that used chariots as their weapons but it sounds likely since it is thought that the colosseum was filled up and used for boat wars. Using chariots would be easy for them and entertaining for the crowd. There's a scene in the movie where it's a one on one battle between Maximus and a champion gladiator. Maximus is barely armed and protected. All he has is a sword and shield I believe. The other man has two swords, a mask for protection, and heavy armor. This shows how each type of gladiator was to fight a different kind of gladiator so the match would be even and fair.

In the movie, Commodus is very sneaky and vengeful. He uses murder in his politics also. He killed his father, tried to kill Maximus and even wanted to get rid of the senate in order for him to become a "true emperor." He thinks the senate is unneeded and believes himself to be more of a people's person then the actual senators. In history, there was much murder in the government also. The Gracchis were murdered as well as Caesar. Commodus tries to assassinate and kill Maximus since Maximus is supposed to be the successor to the throne after Marcus Aurelius. In Roman History, the Romans never developed a formal policy of succession. Although many emperors named their successors, the Roman army often refused to accept the new emperors and assassinated them. This is what Commodus tried to do with Maximus in order for himself to become emperor and rule.

Gracchus wants the citizens of Rome to be happy in the movie and makes sure the emperor hears the problems and needs of the people when he councils with him. He even suggests possible solutions to the problems. He seems to be a people's person very much and knows how some of the senators can be crooked. In Roman history, there were actually two Gracchis who were actually both murdered because they were disliked by crooked senators who used violence to get ahead. The real Gracchis wanted to help the citizens out also. They even used public funds to purchase grain to be sold to the poor at low prices so they can afford it. They also improved the political status of the equites (business and land owning people.)

Lucillia, sister of Commodus, has a son named Lucius. I did some research to find out that her son was named after his father who died in 169 A.D. His name was Lucius Veras. In the movie, she is portrayed as a widow, but, in real history, she remarries to Tiberius Claudius Pompeianus Quintianus of Antioch. In the movie, she joins the plot for the good of the Roman people but she really participated in this plot because she lusted after power. She also supports her brother in the movie but was actually involved in a plot with her cousin to assassinate Commodus and raise her husband up as emperor. The plan was figured out and she was banished to the island of Capri. In the movie, it shows her as out- living her brother but she is actually executed at the island because he changed his mind.

As you can see, many things throughout the movie were the same as to what happened in the history of Rome. A few minor details were changed but nothing too noticeable. The only major difference I could see was in Lucillia and how she was portrayed. Her role had to be changed or else the whole movie would have been different and probably more boring. Definitely when you put the two, movie and history, side-by-side, you see how good of a job they really did sticking to the facts and at the same time, making the movie wicked-awesome with its totally cool action.

411.          Glory A Review

Glory: A Review

Stephanie Beck

April 9, 1997

Prof. Deutch

Glory captures the heroism of Colonel Robert Gould Shaw and the first black

regiment in the Civil War, the Massachusetts "Fighting" Fifty-fourth.  An

extremely talented cast and crew earned three Academy Awards (cinematography,

sound and supporting actor) and five nominations for their work in Glory.  The

outstanding cinematography, sound, score and acting recreate the events leading

up to the Union attack on Fort Wagner on July 18th 1863.

Matthew Broderick portrays the young Bostonian abolitionist Col. Robert G.

Shaw who takes command of the Fifty-fourth, following the Emancipation

Proclamation.  Shaw along with Cabot Forbes (Cary Elwes) leads a band of ex

slaves, servants and other black volunteers including a rebellious runaway slave

Trip (Denzel Washington), Shaw's educated childhood friend Thomas Searles (Andre

Braugher), and a former grave digger Rawlins (Morgan Freeman).  Together these

men face the adversity of a racist Union Army, struggling to prove themselves

worthy of their government issued blue uniforms.

After months of training and exploitation for physical labor, the Fifty-

fourth gains the opportunity to fight in an attack on Fort Wagner on the beaches

of South Carolina.  Poised to dispel the belief that blacks would not be

disciplined under fire, the Fifty-fourth leads the almost suicidal attack on Ft.

Wagner.  There Col. Shaw valiantly falls and the Fifty-fourth, suffering great

losses, displayed the courage that persuaded the Union to enlist many more black

soldiers.

Matthew Broderick delivers a noteworthy performance in the role of Col.

Shaw, which Leonard Maltin calls his most ambitious part.  In an interview for

the New York Times, Broderick spoke of his method acting,

"The first step [in preparing for the role of Robert Gould Shaw in Glory]

was to try to learn as much as I could about the real person.  That was mostly

from letters, photographs, descriptions and a poem by Emerson.  The thing I had

to do was bring myself into that situation.  I didn't want to be an imitation of

what I thought Shaw must have been like."

Broderick's acting talent has been noted on Broadway as well as in films.

Broderick won a Tony Award for his performance in "Brighton Beach Memoirs" in

1983, a year after his film debut in Max Dugan Returns. (Maltin, 102) But it was

his role as a computer hacker in War Games and his role as a handsome young teen

touring Chicago in Ferris Bueller's Day Off that alerted moviegoers to his

talent.

Denzel Washington has received critical acclaim for his role as Trip (as

well as an Oscar for Best Supporting Actor). Denzel commented on the role of

Trip in an interview with the New York Times.

"Trip's an instigator - wild, rebellious, angry.  He's a product of racism

who's become a racist.  He hates all white people, Confederates most of all. But

in the end, when he sees the white officers make the maximum sacrifice, he's the

most patriotic one in the bunch."

Director of Glory, Edward Zwick described Washington by stating, "Whatever that

mysterious chemical process is that makes the camera love someone, he has more

of it than any one person should."(Maltin, 921)  It is that presence that earned

him an Oscar for Glory and nominations for his roles in Cry Freedom and Malcolm

X.

Equally as important as acting to the impact of the movie Glory is the

Musical score composed by James Horner.  In the final battle scene in Glory,

Horner chose the Boys Choir of Harlem which creates a moving effect during the

death of Col. Robert Shaw.(Magill, 158)  Horner won a Grammy Award for the score

for Glory.  He was nominated the same year for an Academy Award for the score

for Field of Dreams.  Horner's previous Grammy Awards include song of the year

and best song written for a motion picture or television, all for "Somewhere Out

There" from An American Tale in 1987. (CTFT, 228)  Leonard Maltin calls Horner

one of today's most prolific film composer's.  Horner composed thirty one motion

picture scores from 1979 to 1989. (Maltin, 411)

There are many elements that contribute to the success of a film.  Glory

combines the best cinematography, sound, score, and acting to create a moving

representation of this portion of U. S. history.   Roger Ebert called it a

"strong and valuable film." In his review written for the Chicago Sun-Times,

Ebert notes the amount of effort devoted to accurate period detail.

One of Ebert's criticisms of Glory is that the perspective of the movie is

constantly seen from one view, that of the white officer.  Ebert points out that

a white man is cast as the lead role when the movie is essentially about a black

experience. Glory could have been told from the eyes of a black soldier in the

Fifty-fourth.  Ebert makes a valid assumption when he suggest that a totally

different film could be made from the same material.

Indeed Glory is a story of how the freed blacks were able to prove

themselves in battle.  The Fifty- fourth regiment could also be considered one

of the first times we see blacks look for equal opportunity.  Ebert notes the

scene when the black soldiers of the Fifty-fourth learn they will not be paid

the regular (white) wage.  "Blacks march as far, bleed as much and die as soon,

they argue."(Ebert)  It would be 100 years later that they gained equal

opportunity when in Vietnam both black and white soldiers were interspersed in

the military.  While Roger Ebert discusses the idea of a different point of view

he notes that Glory is an important film no matter who's eyes it is seen from.

Blake Lukas on the other hand is far more critical of the film.  In Lukas'

review for Magill's Cinema Annual he picks at elements of the film, including

weak characterization and directing that leaves something to be desired.  Lukas

seems at times to be lost in his own rhetoric when he writes about the dismal

war genre.  He delves into the number of Vietnam films that are "a far more

popular subject in this period."(Magill, 155)

After a brief synopsis of the film Lukas comments on the dynamics of the

protagonist character who we see mature through the film.  The remaining

characters Lukas believes lack dimension.  He calls the role of Cabot Forbes

"fleetingly interesting"  and the role of Trip, (which Denzel Washington won

Best Supporting Actor for) "predictable."  He goes on further to say that the

role of Rawlins portrayed by Morgan Freeman is only enlightened by this

"brilliant actor's own characteristic intelligence."  Therefore without the

phenomenal acting talent presented in Glory Lukas feels the movie would be flat.

In addition to finding flaw in the characterization  Lukas compares

director Edward Zwick to the director John Ford.  Ford directed earlier Civil

War films such as The Horse Soldiers(1959) or Sergeant Rutledge (1960)which

based on the an all black calvary regiment in the  Civil War.  Lukas suggest

that Ford was able to attain a "thematic richness" that alluded Zwick.  Lukas

also remarks that Zwick used ineffective "emphasis on close ups and shallow

focus which do little to make the film's historical moment seem ...alive in

spite of admirable attention to detail in the art direction sets and costumes."

Lukas is impressed however by Zwick's direction of the final scene in which

he uses "vigorous tracking shots "  to create a "stunning effect."  Lukas also

comments on the James's Horner's inventive use of the Boy's Choir of Harlem.

Lukas suggest that Zwick looked to appeal to contemporary audiences.

Interestingly enough Lukas is surprised that Glory met with such "critical and

commercial success."

I was surprised to read the review written by Blake Lukas where he

constantly compares Zwick to a former director of Civil War films John Ford, and

when he persist in mentioning the dismal nature of most war films.  Lukas states

that "Glory offers an idealism and sense of heroism that contrast powerfully to

the spectacle of bloodshed and war's waste of life that it also visualizes."

Lukas seems hung up on the waste of life that is portrayed in war film's.  In my

opinion Glory was not a movie about whether or not we as a nation should

participate in wars. It was about the progress of the black race and the fierce

battle they had to fight a long the way to attain each rung on the ladder of

freedom.  Lukas criticism seems out of place when he writes about Vietnam and

the "American soldier's potential for barbarism."

Lukas also seems hung up on the past.  he makes two comments which seem out

of place.  First when comparing Zwick to Ford he states that Zwick does not

attempt the same "thematic richness" and that "(Zwick's) sensibilities are more

attuned with the responses of the 1989 audiences."  I don't think Zwick should

be faulted for creating a film that is appealing to contemporary audiences."  I

certainly would not go see a film directed by Lukas.

Desson Howe reviewing Glory for the Washington Post like Lukas notes that

the scriptwriter Jarre (who's credits include Rambo: First Blood Part II)

provides only a superficial characterization "his script is made better by the

performers." Howe believes that the is too much "liberal eyed giddiness (thanks

chiefly to the gushy, rhapsodizing score by James Horner)."

Both Ebert and Lukas acclaim Broderick's performance of Shaw, yet Howe

criticizes it writing, "In this movie he is an amiable non-presence, creating

unintentionally the notion that he Fifty-fourth earned its stripes despite wimpy

leadership."  This comment lead me to wonder whether Howe and I saw the same

movie. Howe notes that the performance of Denzel Washington, and Morgan Freeman

uplift the film.

Perhaps the reviewers did not have the luxury of time to research the

history of Robert Gould Shaw or the Fifty-fourth. If so they would have found

that Shaw was indeed a youthful officer given charge of the Fifty-Fourth as

Colonel at the age of 26.  Understanding Shaw philosophical views as an

abolitionist and the societal views of blacks being subservient to whites,

certainly a young man leading the first black regiment would experience a

certain degree of self doubt and contradiction.  In the end Shaw develops the

courage to lead his men into battle to a symbolic triumph displaying the bravery

of these black soldiers.  Broderick's portrayal of Shaw is credible from my

point of view.

The credibility of Glory is heighten by the amount of effort devoted to

recreating the historical details.  From the camps to the costumes Glory

captures the aura of battle.  Most of the critics agree that the historical

detail was a redeeming element of the film.

Glory is a film that balances it shortcomings out with exceptional talent.

Perhaps a lack of dimension in the characters is balanced with outstanding

performances.  Any faults in the directing are made up by the detail put in to

the film and the superior sound and score.  Glory is a carefully constructed

film with a didactic theme.  It is an accurate representation of the lives of

Civil War soldiers.

The climax of the movie is fairly accurately represented. The Fifty-fourth

regiment had slightly over five hundred members when they marched into battle on

July 18th, 1863.  Over two hundred and fifty members of the regiment died in

that battle and several more were injured.  That is what proved to the white

regiments looking on that the black soldiers were worthy of battle.  Glory

captures that triumph.

Bibliography

Contemporary  Theatre, Film and Television.  Detroit: Gale Research, Volume 10

Ebert, Roger. The Chicago Sun-Times, January 12, 1990

Howe, Desson. The Washington Post, January 12, 1990

Lukas, Blake. Magill's Cinema Annual 1990,  Englewood Cliffs, N.J.: Salem Press,

1990

Maltin, Leonard.  Leonard Maltin's Movie Encyclopedia,  The Penguin Publishing

Company, New York, NY 1994.

412.          Glory

The movie Glory (though having seen it 4 times) still amazes me.

It is a very emotional movie.  It is about the fact that blacks were

starting to not be discriminated against.  The racism was actually

not gone at all, just muffled by many people's views.

The 54th regiment was incorporated because people thought it would

only be fitting that blacks be able to fight for their own freedom.  The

problem was that the blacks were still thought of as inferior individuals.

This is why it took so long for a black regiment to come into existence.

A good example of the racism that was still existent in the north is when

the 54th met the white regiment coming back and were called "nigger"s and

were taunted.  Another good example was that Blacks were not allowed to go

to military academies, and that is why the regiment was led by white officers.

Colonel Shaw (in the beginning) was still prejudiced against blacks.  He did not treat them as humans.  As time went on, he discarded all his previous views, and learned that blacks are no different than us all.  He realized that the troops wanted to go out and die in the battle-field.  He also realized how bad the nation's views of blacks were.  So he volunteered them for a battle that would surely bring them to Glory and honor.  He was fully aware that the battle would not be a success, but it was a success morally.  The people finally learned that blacks were people. This movie was not only about the blacks having their own regiment, but how they changed the public's views on them, and showed them that they were humans.

413.          Godfather

Godfather

Mario Puzo's "The Godfather" was the first and most influential gangster movie that paved the way for gangster movies of the future. The movie was directed by Frances Ford Copolla, who made many different ingenious ways to portray this gangster classic. The movie was a very subversive movie, and one of the first of all time.The Godfather has a many different uses of light settings through the whole movie, in which the movie can be interpreted on.

The lighting in "The Godfather," is very dim and is often said to be compared with a Rembrant. The lighting suggest many things throughout the film like a painting. The light scenes in the movie are to portray the Corleone family as good people, someone you could relate to not look down upon. Such as the wedding scene. The scene is very happy and bright, to make you start off to think that the Corleone's are loving family, and family minded people. The dim light in the film is used to induce fear and death. Such as the scene where Don Corleone gets shot, or when Mike is going to kill the two people in the restaurant. The scene that contradicts the lighting theory is the heart attack of Don Corleone, but it could be look at as a happy time, a time of rebirth, Michael's coming into power.

"The Godfather," shows a tremendous amount of family values throughout the film. I think the best line in the film is when Don says to Mike " A man who does not spend time with his family is not a man." A good example of the Corleone's family values is taking Tommy off the streets and into their home to treat as one of their own. Another example is when Sunny beats up Conny's husband for abusing her. The most perfect example of their family values is when Don comes home from the Hospital and the family ahs a big dinner, and they do not talk business at the table. When the Family is look on as a regular family as you get drawn in, you then see surprisingly and rudely awakened to the killings of the movie.

The director of the movie(Frances Ford Copolla) has a very good use of montage, and long shots. Capolla starts off the movie with an extrodonary shot of an undertaker saying "this is America." Which gives a glimpse of how haunting the film is going to be? A good use of long shots is perfect when the camera pans around the long shot as Mikey takes on the responsibility of getting revenge for his fathers shooting. Also a good example of Copolla's long shots is when the film is about to end and there is a shot of Diane Keaton looking so innocent and really knowing nothing of the family business. In the film, montage is used in the baptism scene. The shots cut when all the highly religious questions are asked of Mike, and then the shots start cutting back in forth from the killings of the head's of the other top five family's and the baptism, portraying mike as a changing person(a god man to an evil one.)

The music of "The Godfather," is very haunting and scary at times, but also takes on a folklore type of theme. I think the music is typical for this type of film, but it does contribute a lot to the family values theme.

"The Godfather," the title leads toward the theme of the whole movie. Like in the movie, a Godfather is a title of utmost respect, and that person deserves it. The top father in other words. The man you go to for help, and council. Some people say it's a newer Greek tragedy. It sums up and begins the whole movie, it is a great title.

414.          Good VS Evil In Huckleberry Finn

On important theme within The Adventures Of Huckleberry Finn is the struggle between good and evil as experienced when Huck's personal sense of truth and justice come in conflict with the values of society around him.  These occurrences happen often within the novel, and usually Huck chooses the truly moral deed.

One such instance occurs when Huckleberry realizes that he is helping a runaway slave.  His moral dilemma is such that he is uncertain whether he should or should not turn this slave, named Jim, over to the authorities.  Society tells him that he is aided a criminal, and that is against the law.  However, he has grown quite attached to Jim, and is beginning to realize that Jim is a really good person.  He would also never hurt him.  This illustrates the concept and symbolism of Jim's freedom and societies influence on Huck.

At one point, Huck convinces himself that the nest opportunity he receives, he will turn Jim in, and clear his conscience.  The opportunity became available when slave hunters meet them on the river.  Huck had an absolutely perfect chance to turn him over.  However, he made up a story that his father was sick and needed help and asked the slave hunters for help.  They immediately assumed that his father had smallpox, and he wanted nothing to do with Huck or his father.  Thus, he had saved Jim, and actually felt good about it.  Further along in the book, Jim becomes a slave again.  Huckleberry, with the aid of Tom Sawyer, free's Jim.  Once again, Jim's escape and freedom are more important to Huck than societies viewpoint.

The river is also important.  The river is symbolic of freedom.  It is also symbolic of good.  When Jim and Huck are rafting down the river, they are free of society.  They have no laws.  This is not to say that they are lawless, however, the laws they obey are there own.  This is in direct contrast to being on land, where society reigns supreme.  Land is evil.  This contrast also seems to make the  river a character in itself.  It's at time's  calm and relaxed, and at other times fast and dangerous,  and sometimes foggy and confusing.  However, it's always moving.  Always taking Huck and Jim to new adventures, and to new places.  It is their backbone.

So you see, that the concepts of escape and freedom within the book and the ways in which these concepts are symbolized are extremely important.  They not only define what this book really  is  about, they single-handedly make the book worth re

415.          Goodfellas

Goodfellas

Goodfellas" is a dramatization of life in the New York Mafia. It is based on the accounts of real life ex-gangster turned state evidence. He tells his story from when he was hired by a wiseguy as a teenager in the fifties, to the time he is put in the witness protection program in the seventies.The movie portrays the spirit of the Mafia and demonstrates their distinctive values, customs,gangster like lifestyle.

The Mafia is groups of criminals that developed for the purpose of protecting those who can not go to the police for protection. Its roots can be traced back to Sicily, where the Mafia was based on the premise that any member suffering an injustice was to take personal vengeance while avoiding all contact with legal authorities. Even in the modern day American Mafia, each family ruled it's own territory and when others from outside the territory interfered they were dealt with through violent methods.The wiseguys paid for their protection by paying the head of their local family. This payoff was also known as paying tribute to the boss.

Many of the Mafia's morals and policies were identified throughout the movie. Some of the informal rules held by the Mafia were the codes of trust and silence. In other words, never rat on a friend and keep your mouth shut. These rules were highlighted when the narrator, Henry Hill, had his first arrest. He was brought to court, defended by a Mafia paid lawyer and after his release he received praise and money from the family for honoring the code. This was considered his Mafia graduation and as important as losing his virginity.

It was alsocommon for the mob to buy thier way in and out of the trouble with bribes to local authorities and officials. Because of fear and respect of family members in the community, it was very easy to persuade the authorities to look the other way when crimes were committed.

Mafia business transactions were usually done face to face as a one to one communication. No one but the two parties talking knew what was said. Business was rarely discussed around a board table or in a group meeting. When an action needed to be taken to correct a problem with a family member or to settle a dispute with a different family's member, the bosses communicated directly. They were private conversation between the boss and the person involved.

The Lufthansa heist clearly illustrates this. Every one involved had their own job to do, but that is all they knew, their own job. If they knew what other people's jobs were to be it was considered too much information. If they got caught they only knew what they had to do and couldn't "rat" on anyone else. Only the boss knew what everyone's job was. The theory was the less you know the safer you were.

Some of the important values depicted in this movie had to do with family and family position.The Mafia placed great emphasis on family. They demanded that their members respect their wives and provide for their children as well as honor the Mafia family. This was best shown when Henry Hill moved in with his girlfriend and Pauly and Jimmy met with him to tell him he must go back and make peace with his wife.

The symbols of the family values were the huge children's birthday parties, the expensive gifts given to the wives and the homes. To promote this social value your family were your friends and your friends were the family, no outsiders were allowed.

A member's position or family status was one of the most important Mafia values. There was no social value placed on earning a legitimate week to week paycheck for hard work. Great social value was given to the wiseguy who had the position and status to take whatever he wanted whenever he wanted.

This value was symbolized by the celebrity status that the neighborhood and local businessmen gave them. Other symbols were the flashy jewelry worn the expensive clothes and big cars.

Usually a member took a liking to a neighborhood kid and offered him a job. As the kid built trust the boss would slowly work the kid into more criminal type jobs.

416.          Grandpa

GRANDPA

By Eddy Arevalo

We were going to Las Vegas for vacation. I was looking foward to having

a lot of fun there. When we finally got to Las Vegas,it felt like an oven jacked up all the way.

When we got to the room it felt like when you open a refrigerator. Then we went to see all the

major attractions, like Cesar's Palace, this was one of my favorites because when you go inside

the roof looks like the sky inside of a building. I also took some pictures in front of the hotel near

the water fountain. The MGM Grand was my second favorite because when you go inside it this

thing were you go in and walk around and see the play Wizard of Oz. I also liked thePyramid

because outside the is this image of a persons face that appears on the splashing water. That

image was all done with Lazers. Las Vegas is a nice place to see a lot of cool hotels and sites.

Then it was even better because it was at night and all the hotels were lit up. It looked like it was

Christmas everyday there. Every single hotel was lit up of all different pictures. We had fun

seeing that but it was time to go back to the hotel room.

When we got back the front desk informed us that somebody had called from San

Fransisco. We all had an idea of what it was about. My mom and grandma were both sobbing.

They were crying in way that didn't show. My dad and I felt very sad even though we didn't

know my grandpa very well. Before we had gone to Las Vegas we sat down with my aunt and my

mom said " if anything happened to my grandpa to call us at the hotel room." When we heard

that they had called we were all sweating as if it was raining right above us. When we called

back it seemed like an eternity. My mom called, you could hear every button that she punched

in. We also could hear the ringing from the call. Finally, my aunt picked up and started talking to

my mom about how they called from Lima, Peru saying that my grandpa was waiting to die until

they got there. So that same night we called Hertz and said that we had to get back to San

Fransico and we were going to leave the car tomorrow. There was a big fit because my dad had

already paid for three days but we only used it one day. And my dad couldn't get his money

back. The same night they called from San Fransisco we called United Airlines saying that we

needed to go on an emergency flight to San Fransisco. They told us that they didn't have flight

until 6:45 at night.

After we got everything settled we had to go to sleep so that we could get up early to go

to the airport. I think that no one slept except for me and I only slept for a few hours. I was

listening to my parents conversation about who was going to Peru to see my grandpa before he

passes away. I was thinking how the situation was going to be solved. My dad said "I can't go

because someone has to stay with Eddy."I can go with Teresa (my aunt)." My grandma said "I

don't know if I could go because of my high blood pressure." Before they made their final

decision they thought that I would go with my mom and aunt because my grandma has high

blood pressure. Finally my mom said "I will go with Teresa and my mom." I would stay with my

dad and they would go because I had seen him that same year when I was at Peru.

When I woke up the next morning at 5:38 in the morning, my parents were all ready to

go. My parents looked like people who hadn't slept for a few days. Since the earliest flight we

could go on was at 6:45 P.M. we had excepted. We gathered up all our luggage and threw it into

the Taxi like it was a piece of cloth. We went to the airport as early as we could to see if anybody

would trade tickets with us. We asked a nice couple with their two kids if they could please trade

tickets with us. We explained the situation to them so they would trade, and they said yes. We

left Las Vegas as fast as we could. We couldn't wait until the captain said buckle up for take-off.

In the plane I felt that my stomach was growling at me. We were also  thinking of what to

do once we got to San Fransico. The plane landed in San Fransico at 8:49. When we got out of

the plane we ran down the stairs to get all the luggage. It seemed like we ran faster then Micheal

Johnson.After we got our luggage we called for the first taxi we spotted. In the taxi I felt like I was

never going to get to our house. I mostly wanted my mom,grandma, and aunt to get together and

discuss. I felt scared of what was going to happen. Finally, 54 minutes later, we got to our house

and my mom and grandma started talking to my aunt. They were talking about how they would

pay for the trip so quickly. Luckily, my mom and dad knew a man that work for Aerolinas

Argentina and could get some emergency tickets for us so that we could leave that same week.

My aunt agreed with that.

Then my grandma started to tell my aunt that she shouldn't get too mad or depressed or

her blood pressure would go up. My aunt said to not worry that everything was going to be okay,

my aunt was trying to calm down my grandma over the phone.Tears were rolling down their

cheeks like an open faucet. The next day they were off to Peru in the first airplane that left. The

next week my grandpa passed away.

417.          Grapes of Wrath 2

The book Grapes of Wrath tells about the dust Bowl people's troubles they had coming to California.  It tell about the Joad's trip from Oklahoma to California.  There are twelve people in the Joad family.  The one person that stood out the most between thee family was Ma.  Ma's great strength, and smart thinking is what keeps the Joad family together and going.  Ma's strong suites are shown through out the book.  Nancy Reagan once said, "A women is like a tea bag-only in hot water do you realize how strong she is."  I don't know how Nancy Reagan did this but she described Ma Joad to you exactly.

The first time that Ma's strength was showed was when grandma died.  She lied to an inspector telling him, "We got a sick ol' lady.  We got to get her to a doctor.  We can't wait."  The inspector bought the story and let them pass on their way to California.  Even then Ma didn't tell the family that grandma was dead, instead she laid there next grandma's dead carpus until they got to California.  "She looked over the valley and said , Grandma's dead."

She keeps the family together when they want to split up.  The first time that this was showed in the book when they pulled over to help the Wilsons with the car.  Tom suggested that him and Casey stay and fix the car while the rest of the family go's on to Bakersfield and that they would meet them there.  Ma then let out her fury, she held up a tire iron and demanded that they all stick together and that they will go to Bakersfield together.

Ma is also very smart.  Her common sense is a higher then the rest of the family's.  When Tom gets hit under the eye by a officer Ma devises a plan to get Tom out of that government camp.  She says, "We'll put one mattress on the bottom, an' then Tom gets quick there, an we take another mattress an' sort of fold it so it make a cave."  She really puts her foot down with what she wants to do and it works to perfection.

In this story there was one person who had a job the whole time.  That person was Ma.  She had to keep the family together and going.  She did get paid for this, not with money but with the love that she receives from her family.  W. Somerset Maugham once wrote, "A women will always sacrifice herself if you give her the opportunity.  It is her favorite form of self-indulgence."  This was from The Circle.  This quote describes Ma to the fullest.

418.          Grapes of Wrath and Of Mice and Men Character Study

The American Novelist, John Steinbeck was a powerful writer of dramatic stories about good versus bad.  His own views on writing were that not only should a writer make the story sound good but also the story written should teach a lesson.  In fact, Steinbeck focused many of his novels, not on average literary themes rather he tended to relay messages about the many hard truths of life in The United States.  Upon winning the Nobel Peace Prize in 1962 the Swedish academy introduced him by saying "He had no mind to be an unoffending comforter and entertainer.  Instead, the topics he chose were serious and denunciatory..."  This serious focus was not exempt from his two works "The Grapes of Wrath" and "Of Mice and Men".  "The Grapes of Wrath" has been recognized by many as "the greatest novel in American History" and it remains among the archetypes of American culture.  Although "Of Mice and Men" may not have received as much fanfare as the other it is still a great classic that was recently made into a motion picture.

The focus of "The Grapes of Wrath"  Is one family, the Joads,  who has been kicked off their Oklahoma farm and forced to move to California to look for work.  The story has historical significance as it is true that many families were forced, in the same way  as the Joads, to leave their homes to look for work during the depression.  It is in this fact that one can see how Steinbeck's intention in "The grapes of Wrath" was to depict the hardships people went through during an actual event in American history.  Perhaps the most solemn message in this novel was the poor treatment of the dispossessed families as they reached California.  In "Of Mice and Men" the reader is presented with a story that takes place in the same setting of "The Grapes of Wrath"  This story details the hardships of two traveling companions while they are working at a ranch in California.

The common thread between these two novels is not necessarily the plot or the setting rather, it is the way in which Steinbeck relays his message.  That is to say that, although  both novels carry different story lines they both portray hard truths about human suffering.  Steinbeck reveals these truths through his depiction of characters.  In each story it seems that the characters were crafted by Steinbeck in a bias manner so as to emphasize the overall message of the book.  It is quite obvious that all of Steinbeck's characters are either good or bad.  Steinbeck himself said "as with all retold tales that are in people's heart's there are only good and bad things and black and white things and no in-between anywhere"  In both novels the dispossessed characters are good and well intentioned and the wealthy people are brutal and mean.  This of course is done to make the situation seem all that more hard on the dispossessed characters.

In "The Grapes of Wrath"  the character of young Tom Joad is a prime example  of how bias Steinbeck's portrayal was.  With a quick glance at the history of Tom's life one would say that he is not really the good guy.  Yet after reading "The Grapes of Wrath" the reader feels sorry for Tom and all of his faults are justified because of his situation.  Likewise, the characters of Ma and the preacher, Jim Casey do not fit their traditional roles but, again, their actions are justified by Steinbeck.  In the same way, the book "Of Mice and Men" portrays two men (Lennie and George) running from the law, looking for work.  Lennie is a  mentally handicap person who brings most of the trouble to the pair.  Yet, despite all of his downsides the reader is made to feel sorry for him.  George is portrayed in a good way until the end of the book where he kills Lennie, and even then the reader feels for George because of the predicament he is in.  The rest of the characters in both novels are the rich and powerful.  In "The grapes of Wrath" these rich people were not even given names and Steinbeck's dislike for them is obvious.  This fact truly illustrates the message he is trying to get across .  In "Of mice and Men" the boss and his son Curley are portrayed as the bad guys.

Note:

This is only my introduction unfortunately due to some extenuating circumstances I have not had enough time to do a complete rough draft.  My plan is to characterize the characters in light of Steinbeck's bias portrayals and illustrate  how the technique he used was effective in getting his point across.  My next four points or paragraphs will be: 1.) Description of Tom Joad how he was bad yet good in the sense that his actions were bad but his cause was for the better.

2.)  Description of Ma and the preacher, how they were characterized out of their traditional roles and how their straying form the norm was justified and helped relay to the reader the desperation of the family's situation.

3.)  The roles of Lennie and George, how they were outcasts and Lennie killed a women yet the reader felt sorry for them both because they were on the opposite side of a greater injustice.

4.)  Portrait of the rich and powerful.  How Steinbeck's ignorance of not giving them names proved he did not like them. Every time they came up in the story they were doing something bad.

And my conclusion.

Hopefully I will get a chance to see you today, I have third period prep so I will look for you and we could chat. Thanx.

"The Grapes of Wrath", "Of Mice and Men"

Character Study

Max Raffoul

ENG OAC

March 3, 1997

Mr. Chevallier

419.          Grapes Of Wrath Awakening Of Tom Joad

Awakening Of Tom Joad

Grapes of Wraith by John Steinbeck portrayed the awakening of a man's conscience dealing with his troubling trials throughout the novel. The character that goes through this monumental change is Tom Joad, son of two tenant farmers from Oklahoma. Tom's conscience was changed from a loner who cared nothing about the people to a hardy leader of them.  He first looked after his family on their trip that evolved into including the impoverished migrant farmers in California.

At the beginning of the novel Tom Joad has just been paroled after spending four years in a state prison. He stops at a roadside cafe looking for a ride when he sees a truck with a "No Riders" sticker on it. Tom's conversation with this trucker is his first witness to the suppression of an honest working man by the larger more wealthy corporations since his release from prison. The trucker tries to socialize with him at this point but Tom is too absorbed into his own interest in keeping to himself.

Arriving at his house with Jim Casey, Tom visits the abandoned house with one corner having been knocked in by a tractor. His family had been compelled to leave their land through repossession by the large corporations another example in Tom's life how the larger are trying to control the less fortunate. This land had been his family's source of pride and livelihood throughout his life with them and it's loss was the first sizable impact on Tom's conscience that would lead him to an awakening.

After visiting the land the Joad family had lived on for many years Tom and Jim traveled to his uncle John's house nearby. There Tom meets his family as they are making preparations  to leave for California. Tom's family has already sold off every valuable possession they own while living under cramped conditions on old and soiled mattresses in a house not built to accommodate the size of the entire family. Tom realizes that a family cannot survive under these destitute conditions unless they cling together as one unit. Because of this realization  Tom becomes protective of his family, leaving casting off portions of his selfishness for the betterment of his relatives.

Tom's final awakening comes when he meets Jim Casy for the final time outside a work camp in the midst of a strike. There Jim Casy tells Tom that the only way the worker's can obtain law and order as well as, fair wages, is to unite all the migrant workers together and fight against the larger controlling companies. The  statement is driven home when he witnesses Jim Casy's passive resistance in response to the threatened violence by the cops. As the police advance on Jim Casy he yells towards them, " Listen, you fellas don' know what you're doin'. You're helpin' to starve kids."  moments before his head is brutally crushed by a pick handle. Enraged by the actions unfolded before him Tom grabs a pick handle and clubs  one of the officers to death before  hastily fleeing from the scene.

This event finally made possible the awakening of Tom Joad. He recognized that if a common man were to ever get a fair chance to live their life, they would be forced to do so under a united cause. Tom's awakening came slowly as he struggled to understand the toils of needing, not only to care for his family but organize the migrant workers into a force where they can achieve fair rights. During the final chapters of the novel Tom recognizes the importance of Jim Casy's work to unify the people  bringing about a final awakening of his conscience.

420.          grapes of wrath

February  28, 1997

The Grapes of Wrath

The Grapes of Wrath is a novel by John Steinbeck that exposes the desperate conditions under which the migratory farm families of America during the 1930's live under. The novel tells of one families migration west to California through the great economic depression of the 1930's. The Joad family had to abandon their home and their livelihoods. They had to uproot and set adrift because tractors were rapidly industrializing their farms. The bank took possession of their land because the owners could not pay off their loans. The novel shows how the Joad family deals with moving to California. How they survive the cruelty of the land owners that take advantage of them, their poverty and willingness to work.

The Grapes of Wrath combines Steinbeck's adoration of the land, his simple hatred of corruption resulting from materialism (money) and his abiding faith in the common people to overcome the hostile environment. The novel opens with a retaining picture of nature on rampage. The novel shows the men and women that are unbroken by nature. The theme is one of man verses a hostile environment. His body destroyed but s spirit is not broken. The method used to develop the theme of the novel is through the use of symbolism. There are several uses of symbols in the novel from the turtle at the begging to the rain at the end. As each symbol is presented through the novel they show examples of the good and the bad things that exist within the novel.

The opening chapter paints a vivid picture of the situation facing the drought-stricken farmers of Oklahoma. Dust is described as covering everything, smothering the life out of

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anything that wants to grow. The dust is symbolic of the erosion of the lives of the people. The dust is synonymous with "deadness". The land is ruined, way of life (farming) gone, people uprooted an forced to leave. Secondly, the dust stands for profiteering banks in the background that squeeze the life out of the land by forcing the people off the land. The soil, the people (farmers) have been drained of life and are exploited.

The last rain fell on the red and gray county of Oklahoma in early May. The weeds became a dark green to protect themselves from the sun's unyielding rays...The wind grew stronger, uprooting the weakened corn, and the air became so filled with dust that the stars were not visible at night. (Chp 1)

As the chapter continues, a turtle, which appears and reappears several times early in the novel, can be seen to stand for survival, a driving life force in all of mankind that cannot be beaten by nature or man. The turtle represents a hope that the trip to the west is survivable by the farmer migrants (Joad family). The turtle further represents the migrants struggles against nature/man by overcoming every obstacle he encounters: the red ant in his path, the truck driver who tries to run over him, being captured in Tom Joad's jacket. The driver of the truck works for a large company, who tries to stop the migrants from going west. when the driver attempts to hit the turtle it is another example of the big, powerful guy trying to flatten or kill the little guy. Everything the turtle encounters tries it's best to stop the turtle from making its westerly journey. Steadily the turtle advances on, ironically to the southwest, the direction of the migration of

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people. The turtle is described as being lasting, ancient, old and wise: horny head, yellowed toenails, indestructible high dome of a shell, humorous old eyes. (Chp 1) The diver of the truck, the red ant and Tom Joad's jacket are all symbolic of nature and man that try to stop the turtle from continuing his journey westward to the promise land. The turtle helps to develope the theme by showing its struggle against life; comparing it with the Joad struggle against man.

The grapes seem to symbolize both bitterness and copiousness. Grandpa, the oldest member of the Joad family, talks of the grapes as symbols of plenty. All his descriptions of what he is going to do with the grapes in California suggest contentment , freedom, the goal for which the Joad family strive for: "I'm gonna let the juice run down ma face, bath in the dammed grapes" (Chp 4). The grapes are talked about by Grandpa to help elaborate the theme by showing that no matter how nice everything seems in California, the truth is that their beauty is only skin deep, in their souls they are rotten. The rotten core verses the beautiful appearance.

The willow tree that is located on the Joad's farm represents the Joad family. The willow described as being immovable and never bending to the wind or dust. The Joad family does not want to move, they prefer to stay on the land they have planted their roots on, much the same as the willow. The willow contributes to the theme by showing the unwillingness of the people to be removed from their land by the banks. The latter represents the force making them leave their homes. Both of these symbols help contribute to the theme by showing a struggle between each other. The tree struggles against nature in much the same way that the Joad family struggles against the Bank and large companies.

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The rain that comes at the end of the novel symbolizes several things. Rain in which is excessive, in a certain way fulfills a cycle of the dust which is also excessive. In a way, nature has restored a balance and has initiated a new growth cycle. This ties in with other examples of the rebirth idea in the ending, much in the way the Joad family will grow again. The rain contributes to the theme by showing the cycle of nature that give a conclusion tot he novel by showing that life is a pattern of birth and death. The rain is another example of mature against man, the rain comes and floods the living quarters of the Joads. The Joads try to stop the flood of their home but yet are forced back when nature drops tree causing a flood of water to ruin their home forcing them to move. In opposite way rain can be helpful to give life to plants that need it to live. Depending on which extreme the rain is in, it can be harmful or helpful. This is true for man as well. Man can become both extremes , bad or good, depending on his choosing.

Throughout the novel, there are several symbols used to develop the theme of man verses a hostile environment. Each symbol used in the novel show examples of both extremes. Some represent man, that struggles against the environment, others paint a clear picture of the feelings of the migrants. As each symbol is presented chronologically through the novel, they come together at the end to paint a clear picture of the conditions, treatments and feelings the people (migrants) as they make there journey through the novel to the West.

421.          Graphic arts advertising

Graphic Arts

Graphic arts is a general term for drawing and other techniques used to reproduce words and pictures.  The techniques include block printing, engraving, etching, lithography, and silk-screen printing.  Painting was once considered one of the graphic arts, but today it is generally considered a separate art form.

The graphic arts are used both commercially and in the fine arts.  Commercially, they are used in advertising to prepare newspaper and magazine illustrations, posters, and brochures and pamphlets.  Other commercial uses include art reproduction, bookmaking, interior design and fashion design.  In the fine arts, many artists have created masterpieces of engraving, etching, and other graphic arts.  These artists include Albrecht Durer of Germany, Francisco Goya and Pablo Picasso of Spain, and Rembrandt Van Rijn of the Netherlands.

Advertising

I am currently studying Graphic Design, which uses many of the graphic art techniques in it's execution. When I graduate, I intend to go into the Advertising world, I hope to be developing dynamic concepts for 'Above the line' advertising (TV commercials, etc). I researched Advertising to learn more about my future career.

Advertising is a message designed to promote a product, a service, or an idea.  In many countries, people come into daily contact with many kinds of advertising.  Printed advertisements make up a large part of newspapers and magazines.  Poster advertisements appear in many buses, and in shops and other public buildings.  Commercials are advertisements which interrupt TV and radio programmes.  Other types of advertisements are called adverts or ads.

The purpose of most advertising is to sell products or services.  Manufacturers advertise to try to persuade people to buy their products.  Large business firms also use advertising to create a favourable "image" of their company.  They want the company name to be known and respected for the products the firm makes or the services it provides.  Local businesses use advertising to gain new customers and increase sales.  Advertising thus plays a part in the competition among businesses for the consumer's money.  It is the cheapest and fastest way to inform large numbers of people about products or services for sale and to persuade them to buy.  In many businesses, the volume of sales depends largely on the amount of advertising done.

The United States has the world's largest advertising industry.  Television commercials take up more viewing time than in other countries.  All television and radio costs are paid by advertising.  Other countries with large advertising industries include France, Germany, Japan, and the United Kingdom.

Where advertising is widespread it has enormous influence on people's lives.  Advertising encourages people to eat certain foods, wear certain clothes, drive certain cars, and use certain household products.  It promotes the use of labour-saving appliances and then suggests ways to enjoy the resulting leisure time.  In doing all these things, advertising helps shape tastes, habits, attitudes, and culture of a country.  In promoting the sale of many kinds of goods, advertising can help raise the standard of living.

Advertising is common in almost all countries.  In many countries, however, the use of advertising is restricted.  In most countries of Western Europe, for example, the governments limit the amount of advertising on television and the types of product that may be advertised.  In Norway and Sweden television advertising is illegal.

Ways of advertising

Advertising reaches people through various forms of mass communication.  These media include newspapers, magazines, television, and radio.  Advertisers buy space in newspapers and magazines to publish their ads.  They buy time on television and radio to broadcast their commercials.  National advertisers, such as airlines and food companies, use the media to reach consumers throughout large parts of the country or all of it.  Local advertisers, such as department stores, supermarkets, and restaurants, use the media to reach consumers within a district or town.

The chief advertising media are (1) newspapers, (2) television, (3) direct mail, (4) radio, (5) magazines, and (6) outdoor signs.  Newspapers and TV receive the largest share of the money spent on advertising.

Newspapers

Newspapers offer advertisers several advantages over other media.  Most adults read a daily newspaper, and many of them specifically check the ads for information about products, services, or special sales.  Daily newspapers also offer the advantage of timeliness.  An advertiser can prepare and publish an advertisement within a day.  Newspaper ads can thus quickly reflect a sudden demand for certain merchandise or use a theme that relates to current news.

Newspapers carry two main kinds of advertisements: display ads and classified ads.  Display ads range in size from less than 2.5 centimetres to a full page or more, and most include illustrations.  Advertisers can appeal to people with special interests by placing their ads on certain pages, such as those devoted to travel, home life, or sports.  Classified ads appear in a separate section of a newspaper.  Most classified ads consist of a few lines of print.  The ads list homes, used cars, furniture, and other property that individuals have for sale.  Used-car dealers, and firms with job vacancies also place classified ads.

Television.

A main advantage of television to advertisers is that it brings sight, sound, and action directly to consumers in their homes.  Advertisers can explain their products to viewers who are enjoying a TV programme and cannot easily avoid the commercials.  In addition, television reaches a vast, nationwide audience.  Although advertising time on television is expensive, the cost per person reached is low.

Television commercials can be broadcast from film, or from videotape.  Filmed or videotaped commercials are recorded in a studio or at another location.  The commercials may use performers in true-to-life situations, such as a family around the dinner table or a group of people at a party.  Some TV commercials consist of animation.

The majority of TV commercials last 30 seconds.  The commercials are usually run in groups of three to six.  In most countries, the government limits television commercial time to a set number of minutes per hour.  For example, in Britain commercials are limited to about 6 minutes per hour during prime time and 9 minutes per hour during most other broadcast times.  Prime time refers to the evening hours, when TV programmes draw the largest audience.

Direct mail

Direct mail is also known as 'junk mail' to some and includes leaflets, brochures, catalogues, and other printed advertisements that are delivered by a postal service.  Mail-order firms, which sell largely through the mail, are the main users of direct-mail advertising.  Companies that have mail-order departments, and many companies that do not, also advertise by direct mail.

The effectiveness of advertising by direct mail depends mainly on the quality of the mailing list.  Some lists consist of all the addresses in a city or a large area and are simply sent to "Occupant."  Other mailing lists consist of individual names with addresses.  Some firms specialize in preparing lists of people according to their occupation, age, income, interests, or other characteristics (E.g.: a firm might assemble a list of 20,000 new mothers or 10,000 lawyers.  These lists are sold to advertisers.  Some advertisers assemble their own lists.

Direct-mail advertising costs more per person reached than do other ways of advertising.  However, advertisers who obtain special mailing lists know they are reaching good prospects.  In addition, advertisers can choose from many different sizes and forms of advertisements.  Some products or services are too complicated to be explained in any other medium.

Radio.

One advantage of advertising on radio is that people can listen to programmes while doing other things, such as driving a car or working at home.  Another advantage is that radio audiences, in general, are more highly selected by the type of programming than are television audiences.  For example, stations that feature country music attract different kinds of listeners than do those that play rock or pop music.  By selecting the station, advertisers can reach the people most likely to buy their products.  Radio commercials include direct sales announcements, dramatized stories, and songs.  The majority of commercials last 30 to 60 seconds.

Magazines.  Magazines have a number of advantages over newspapers as an advertising medium.  They are usually read in a leisurely manner and are often kept for weeks or months before being discarded.  In many cases, several members of a family read each copy of a magazine.  Another advantage of magazines is that they offer better printing and colour reproduction than newspapers do.  Advertisers can thus show off their products to greater advantage in magazines.

Advertisers can choose from a wide variety of magazines.  Some magazines, such as news magazines, appeal to a mass audience.  Others are designed for specific groups of people, such as teenagers, homemakers, or amateur photographers.  Certain companies advertise in trade publications, which are devoted to particular businesses, industries, or professions.  For example, farm magazines are used by advertisers who sell agricultural equipment and supplies.

Outdoor signs.

One of the main advantages of outdoor signs is that people pass by the signs repeatedly.  In addition, large, colourful signs easily attract attention.  However, the ads on outdoor signs must be short and simple because most passers-by see a sign for only a few seconds.

The main kinds of outdoor signs are (1) posters, (2) painted bulletins, and (3) electric spectaculars.  Posters, commonly called billboards, are the most widely used form of outdoor advertising.  They consist of printed sheets of paper, which are pasted on large billboards.  Painted bulletins are signs painted on buildings or billboards.  Electric spectaculars consist of large illuminated displays.  Many feature changing messages and moving pictures.  Electric spectaculars are the most expensive kind of outdoor sign.

Other ways of advertising.

Other ways of advertising include the use of (1) transportation signs, (2) window displays, (3) point-of-sale displays, (4) telephone directories, and (5) novelties.

Transportation signs are small posters placed in or on local trains, buses, and taxicabs.  Posters placed inside vehicles can carry a longer message than outside ads because riders have more time to read it.

Window displays are designed to attract customers into a shop.  Many shops have a promotion department, whose duties include preparing window displays.  Other shops hire display firms.  Many manufacturers give display materials to shops that sell their products.

Point-of-sale displays are arrangements of signs, banners, and other items within a shop.  The displays draw attention to certain products and are designed to encourage impulse buying--that is, buying on the spur of the moment.  The materials for most point-of-sale displays are supplied by the manufacturers of the products being advertised.

Telephone directories often carry ads in a directory called the yellow pages.  Some of the ads consist of a few printed lines that give the name, address, and telephone number of local businesses.  Others take up more space and are like display ads in newspapers and magazines.

Novelties are inexpensive items that many advertisers give away.  Such items include calendars, matchbooks, and key rings that carry an advertiser's name and message.  People are reminded of the advertiser as long as they use the item.

Conclusion

"Advertising is designed to inform, influence, or persuade people.  To be effective, an advertisement must first attract attention and gain a person's interest.  It may then provide reasons for buying a product and for believing the advertiser's claims.

Advertisers use a variety of techniques to create effective advertisements.  They start with a basic appeal, which is the main selling point, or theme, of an advertisement.  They then use certain specific techniques to influence the consumer to purchase the product."  - Douglas, T. 'The Complete Guide to Advertising.' :   Papermac, London : 1986.

This is what I hope to be doing in 5 years from now, I find advertising very interesting and an important part of our lives.

422.          Grateful Dead

Grateful Dead

Throughout history there have been many musical "influences". One extremely important influence to modern music is The Grateful Dead. The group was formed in 1965 by bluegrass - enthusiast Jerry Garcia on guitar and vocals, Ron "Pigpen" McKernan on vocals and organ, Bob Weir on guitar and vocals, classical music student Phil Lesh on bass and vocals, and Bill Kreutzmann on drums. From the beginning, they brought together a variety of influences, from Garcia's country background to Pigpen's feeling for blues (his father was an R&B radio DJ) and Lesh's education in contemporary serious" music. Add to that, the experimentation encouraged at some of the group's first performances at novelist Ken Kesey's "acid test" parties-multimedia events intended to replicate (or accompany) the experience of taking the then-legal drug LSD-and you had a musical mixture of styles often played with extended improvisational sections that could go off in nearly any direction. The band signed to Warner Brothers in 1967, experiencing some difficulties early on with the restrictions of standard recording practices and the company's interest in producing a conventionally commercial product. As a result, the group's first few albums were somewhat tentative but showed promise for the future, especially with the key additions of Mickey Hart as a second drummer in 1967 and Garcia's old friend Robert Hunter as the band's lyricist. The Dead finally hit their stride with the release of Live Dead, a double album, in 1969. (They were always more comfortable on stage than in the studio.) Two studio albums in 1970, Workingman's Dead and American Beauty, found them exploring folk-rock and more tightly constructed song forms and, along with extensive touring, won them a much larger audience. In the second half of the '70s, the Dead recorded a series of commercially - oriented albums for Arista, then concentrated on roadwork for the better part of the '80s. In the Dark, released in 1987, was their first studio album in seven years. It sold a million copies and produced the band's first Top Ten hit in "Touch of Grey." One of the aspects of the Grateful Dead that made them stand out was their mixing of several different kinds of music. As mentioned earlier, the Dead's music is a hearty mixture of bluegrass, classical, and good old-fashioned rock and roll. Jerome "Jerry" Garcia's early or "pre-dead" work was with friend and partner David Grisman. Grisman is a still a renowned mandolinist, but while with Garcia, they both explored the bluegrass scene. This was Jerry's "foundation" for his musical contributions to the Grateful Dead. Without Jerry's influence, the Grateful Dead would not have it's distinct earthy timbre or feel that has been extremely significant in attracting their particular following.

Another contribution to the Dead's style was bassist Phil Lesh. With only formal jazz training on the trumpet, Lesh picked up a bass and learned as he went while playing with the Grateful Dead's then nucleus, The Warlocks. Lesh is famous for his jazz improvisational style. This particular style usually finds his fingers running up and down the neck of a five or six string bass (seen right), dropping what are affectionately known to fans as "Phil Bombs", furiously low frequency notes that tend to rumble in auditoriums and can only be created with a five or six string bass. As one can well imagine, these two aforementioned styles together could create somewhat of an interesting style. Well, it only gets better.

Bill Kreutzmann, the "heartbeat" of the Grateful Dead, had been behind a kit since the age of eleven when Jerry Garcia met him in 1962. His early love of drums allowed him to be heavily involved in the "rock and roll" scene. As a teen, Kreutzmann even created rock in roll bands in which to play, as the interest was barely there. After meeting Jerry, Kreutzmann formed The Zodiacs, Ron "PigPen" McKernan on harmonica; Jerry on bass and another friend, Troy Weidenheimer on guitar, and began working on his deeply intricate improvisational rhythms that he is so noted for. Upon Phil Lesh's arrival, the Zodiacs became the Warlocks, and the musical style evolved from a more rock and roll/bluegrass to an intermingling of jazz and the two. The son of the first Bay Area rhythm and blues disc jockey, Ron McKernan grew up in a predominantly black area and found a bond with the black music and culture. As a youth, McKernan began figuring out blues piano. In his early teens, McKernan was expelled from Palo Alto High and also developed a strong affinity for alcohol.

McKernan began hanging around coffeehouses and music stores where he eventually met Jerry Garcia. One night Garcia had McKernan hop onstage and play his harmonica and sing the blues. Garcia was sold. He knew he wanted the man he now called PigPen to be the blues singer in all the local jam sessions. PigPen was the high-energy bluesman. He played blues organ as well as harmonica and vocals. Pig had an incredible ability to rant improvised lyrics incessantly. While his buddies were experimenting with LSD, Pig stuck to his old favorites, Thunderbird wine and Southern Comfort. PigPen added more and more signature tunes to the Dead's repertoire, including some that lasted throughout their whole career such as Turn on Your Lovelight and In the Midnight Hour.

When the Warlocks went electric, and became the Grateful Dead, Mickey Hart became a full-time member of the band and the two drummers began working diligently to create perfectly locked rhythms. The two became adept at playing odd time signatures such as the 11/4 time in The Eleven.

Shortly after Mickey was made a member, Tom Constanten was added as a keyboardist in lieu of PigPen. The newest additions to the band, Hart and Constanten, caused the band to take a drastic turn from blues to psychedelia.

Over the course of three decades, the Dead saw other musicians come and go that included Keith and Donna Godchaux, Brent Mydland, Bruce Hornsby and Vince Welnick. All of these contributed in someway to the Dead's unique style, however the main blueprints had already been set. The Dead's variational style led to produce many interesting and at the time, quite unique albums with a wide variety of different songs. For example, on the album, Skeletons from the Closet (Warner Bros. 1974), Sugar Magnolia has a definite bluegrass or even country feel. However, if one were to hear the track Playin' in the Band off the 1987 Warner Brothers record Grateful Dead, you would classify them as a mainly rock and roll band. There are also other songs such as Big Railroad Blues off of 1995's release of a 1972 concert Hundred Year Hall, which are more of a blend of the two styles. It is this musical versatility that has attracted and kept fans hooked on the Grateful Dead for thirty years and counting. They present the unexpected in a quirky, psychedelic, yet pleasant way. The Dead's style has carried over and can be noticeably heard as an influence over many bands today. The Dave Matthews Band is just one extremely good example. At present, the DMB is in the process of feeling their popularity amongst college students out. They have decided to follow in the Dead's shoes and adopt a blue-grassy feel about their music. With Dave Matthews himself as the front man playing lead guitars and singing vocals he is accompanied by a slew of musicians that is almost eerily comparable to the Grateful Dead. A classically trained violinist, jazz sax and drum players, a child prodigy bass player, and a keyboardist are Dave's onstage buddies. The similarities are uncanny. Unsurprisingly, so is the sound that is produced. Dave's unconventional voice and the jazzy-rockish musical styling are sure to remind the old deadheads of yesteryear as they pulse from behind the walls of their college bound offspring. Another band that is comparable to "The Boys", is Blues Traveler. On the scene since 1984, John Popper (lead vocals and unbelievable harmonica) has lead this band up from the depths of the local party circuit to having a multi-platinum album (1994's Four). Also with the same blues-rock feeling, deadheads are sure to flashback to yesteryear with one of Popper's unreal harmonica riffs. Traveler has also touched millions of college kids and drawn them in with their unique musical style, just as the Dead were reeling them in in the 60's and 70's. The Grateful Dead's immense musical influence has by far been an underlying factor in many bands that we would consider influential today. Bob Dylan considered Jerry to be like an older brother. The Rolling Stones, The Allman Brothers, and countless other legends have played under the Dead's tutelage. This only shows that they have so greatly influenced the world of music as we know it today. Just as they were influenced to create their own unique style, they are still influencing bands today, thirty-four years after it all began. The Grateful Dead were certainly an implausible influence over the music world today. There is only one thing left to say.

We are truly Grateful.

423.          Great Gatsby Essay

F. Scott Fitzgerald's The Great Gatsby is considered a novel that embodies America in the 1920s. In it, the narrator, Nick Carroway, helps his neighbor Jay Gatsby reunite with Daisy Buchanan, with whom he has been in love with since 5 years before, during World War I. The affair between the two fails, however, and ends in Gatsby being shot and killed. The reason that this was inevitable is that Gatsby created a fantasy so thoroughly that he became part of it, and he fell with it when reality came crashing down.

The basis of all of this is Gatsby's obsession with Daisy and with meeting her. He did not want to deal with the reality that confronted him upon returning from the war. Fortunately, he had "an extraordinary gift, a romantic readiness," and  he found in Daisy someone to focus this on. She is perfection  to him, something for which he can strive, so he puts all of his energy into finding her again. He uses his inherited money to travel around the country, searching; when he runs out, he goes into the drug business, then oil, then liquor. He clips out articles about Daisy from every newspaper he can find; he buys a huge, romantic house that he hopes will merit her approval. The parties that he throws every night in hopes that she will come become almost famous for their extravagance and the variety of people that come.

A result of this is that Gatsby creates an illusion  around himself, also. His past is shrouded in mystery and speculation: some favorites of the party-goers' theories on why he is so free and generous with his resources are that he once killed a man and that he was a German spy during the war. He does nothing to discourage these rumours; rather, he often adds to them. He lets people believe that he was an Oxford man and that his money was inherited from his father, when in fact he only attended Oxford for a short time and his money all came from outside his family. Jay Gatsby is not even is real name, but part of the illusion of his identity; his real name is James Gatz.

This involved deception does result in a meeting with Daisy. After years of staring at the green ight at the end of her dock like a symbol of all of his yearning, he arranges for a meeting at Nick's house. Gatsby of course tries to make it perfect, hiring men to cut Nick's lawm and decorate his house with flowers, and "unexpectedly" showing up after Daisy's arrival. At this first reunion Gatsby is childishly nervous and embarrassed. He has decorated his house with lights, and he takes her on a tour of it. When later she does come to one of his parties and he detects that she is not enjoying herself, he discontinues them.

Gatsby, however, cannot plan for reality. While he and Daisy are driving in his car, Daisy accidentally hits Myrtle Wilson, a woman who lives above a service station in New York. Her husband, George, thinking that Gatsby was driving, comes and shoots him in the pool. This, however, is merely symbolic of reality crashing down on what Gatsby had created. Firstly, his fantasy could not have ever worked because Daisy is not perfect. She is instead more like her husbad, Tom: reckless and spontaneous. In  fact, Daisy was probably planning on leaving with Tom anyway. He had suspected her and Gatsby's  affair and found out about his bootlegging operation. This darker side of him is what primarily destroyed her illusion about Gatsby. He, on the other hand, probably still believed in her to the end; the knowledge that Daisy was leaving with Tom would have ha devastating effects perhaps equal to even his murder.

This hopefulness was the basis of what made Gatsby great  and why the novel was so representative of the 1920s. The American attitude was one of hopes and dreams and the illusions created fromt hem. And oftentimes the meeting with reality had tragic consequences as it did with Gatsby.

424.          Great Gatsby

The American Dream, as it arose in the Colonial period and developed in the nineteenth century, was based on the assumption that each person, no matter what his origins, could succeed in life on the sole basis of his or her own skill and effort. The dream was embodied in the ideal of the self-made man, just as it was embodied in Fitzgerald's own family by his grandfather, P. F. McQuillan. Fitzgerald's novel takes its place among other novels whose insights into the nature of the American dream have not affected the artistic form of the novel itself.  The Great Gatsby serves as Fitzgerald's critique of the American dream.

The Great Gatsby embodies a criticism of America and the American experience, more radical than any other author has attempted.  The theme of the novel is the destruction of the American dream during the 1920s, a period when the vulgar pursuit of material happiness has corrupted the old values that gave substance to the dream.  The characters are Midwesterners who have come East in pursuit of this new dream of money, fame, success, glamour, and excitement.  Tom and Daisy must have a huge house, a stable of polo ponies, and friends in Europe.  Gatsby must have his enormous mansion before he can feel confident enough to try to win Daisy.   Fitzgerald does not criticize the American dream itself but the corruption of that dream.  What was once for Ben Franklin or Thomas Jefferson a belief in self-reliance and hard work has become what Nick Carraway calls " . . . the service of a vast, vulgar, and meretricious beauty."  The energy that might have gone into the pursuit of noble goals has been channeled into the pursuit of power and pleasure, and a very showy, but fundamentally empty form of success.

Fitzgerald's critique of the American dream is developed through certain dominant images and symbols.  Fitzgerald uses the green light as a symbol of hope, money, and jealousy.  Hope signifies the center of the dream, but jealousy and lure of money pollute it.  Gatsby is a noble man whose vision is fouled by his dream because he remains in a "wonder" at Daisy's presence throughout the novel.  He is unable to see the carelessness and self-centeredness of Daisy whose "foul dust" destroys him.  Fitzgerald also uses the contrasting images of the East and Midwest to develop his critique.  The East denotes the place where the corruption of the American dream has occurred.  Finally, at the end of the novel, Nick decides to move back West.  Nick learns that this place of dishonesty, lack or morale, and lack of values is not the place for him.

In the novel, The Great Gatsby, Scott F. Fitzgerald gives some severest criticism of the American dream ever written.  That dream has been destroyed and polluted by the pursuit of material success.  Fitzgerald is successfully able to identify the deficiencies of the American vision itself.  Fitzgerald shows that the secret of life happiness is to fulfill the American dream purely and faithfully.

425.          Great Quotes by the characters in To Kill a Mockingbird

Atticus

Respectful of other people

Talking about Bob Ewell spitting in his face): "I wish Bob Ewell

wouldn't chew tobacco."  Page 220 Chapter 23

Responding to Jem talking about Mrs. Dubose not being a lady:

"She was.  She had her own views about things, a lot different from mine,

maybe...son, I told you that if you hadn't lost your head I'd have made

you go and read to her.  I wanted you to see something about her-I wanted

you to see what real courage is, instead of seeing courage is a man with

a gun in his hand.  It's when you know you're licked before you begin but

you begin anyway and see through it no matter what.  You rarely win, but

sometimes you do.  Mrs. Dubose won, all ninety-eight pounds of her.

According to her views, she died beholding to nothing and nobody.  She

was the bravest person I ever knew."  Page 116 Chapter 11

Talking to Scout: Atticus turned his head and pinned me to the wall with his good eye.

His voice was deadly: "First, apologize to your aunt."

Page 138 Chapter 14

Talking to Jem: "Mr. Cunningham was part of a mob last night, but he is still a man.

Every mob in every little Southern town is always made up of people you know- doesn't

say much for the, does it?" Page 160 Chapter 16

Determined

Talking to Scout: "Scout, simply by the nature of the work, every lawyer gets one case in

his lifetime that affects him personally.  This one's mine I guess.  You might here some

ugly talk about it at school, but do one thing for me if you will: you just hold your head

high and keep your fists down." Page 80 Chapter 9

Talking to Scout: "Simply because we were licked a hundred years before we started is

no reason for us not to try and win." Page 80 Chapter 9

Talking to Calpurnia: Atticus' eyes filled with tears.  He did not speak for a moment.

"Tell them I'm very grateful," he said.  "Tell them- tell them they must never do this again.

Times are too hard...." Page 216 Chapter 22

Talking to Calpurnia: Atticus' eyes filled with tears.  He did not speak for a moment.

"Tell them I'm very grateful," he said.  "Tell them- tell them they must never do this again.

Times are too hard...." Page 216 Chapter 22

Clever

Talking to Mayella Ewell: "You're becoming suddenly clear at this point.  A while ago

you couldn't remember too well, could you?" Page 189 Chapter 18

Talking to Scout: "Most people are (nice), when you finally see them." Page 284 Chapter

31

Talking to Scout: "I never went to school," he said, "but I have a feeling that if you tell

Miss Caroline we read every night she'll get after me, and I wouldn't want her after me."

Page 36 Chapter 3

Atticus: "I guess Tom was tired of taking white men's chances, and preffered to take his

own." Page 238 Chapter 24

Doing: "Atticus was speaking easily, with the kind of detachment he used then he

dictated a letter." Page 205 Chapter 21

Jem

Child-like

Jem (talking to Atticus about Mrs. Dubose): "A lady?" "After all those

things she said about you, a lady?" Page 116 Chapter 11

Jem (saying to Scout): "I swear Scout, sometimes you act so much like a girl it's

mortifyin'."  Page 42 Chapter 4

Jem (talking to the Reverend): "It's o.k.,Reverend, she doesn't understand it." Page 175

Chapter 17

Protective

Jem (Bob Ewell is attacking them): "Run Scout! Run! Run!" Page 264 Chapter 27

Jem (talking to Scout about Atticus): "Let's don't pester him, he'll know when it's time."

Page 75 Chapter 7

Jem (talking to Scout): "I reckon if he wanted us to know it, he'da told us.  If he was

proud of it he'da told us." Page 109 Chapter 9

Scout

Curious

Scout (talking to Jem): "The thing about it is, our kind of folks don't

like the Cunninghams, the Cunninghams don't like the Ewells, and the Ewells hate and

despise the colored folks." I told Jem if that was so, then why didn't Tom's jury, made up

of folks like the Cunninghams aquit Tom to spite the Ewells?" Page 229 Chapter 23

Scout (saying to Jem): "...Jem, how can you (the people in the town) hate

Hitler so bad an' turn around and be ugly about folks right at home-"

Page 249 Chapter 26

Scout (talking to Miss Maudie): "Nome, I mean the folks on our street are all old.  Jem

and me's the only children around here.  Mrs Dubose is close on to a hundred and Miss

Rachel's old and so are you and Atticus." Page 94 Chapter 10

Scout (talking): "I'm scared.."Scared about Atticus.  Somebody might hurt him." Page

149 Chapter 15

Tom Boy

Scout (doing): "With this in mind, I faced Cecil Jacobs in the school yard

next day: "You're gonna take that back boy?"  Page Unknown

Scout (doing): "Presently I picked up a comb from Jem's dresser and ran its

teeth  along the edge."  Page 136 Chapter 13

Scout (remembering): Before the first morning was over, Miss Caroline Fisher, our

teacher, hauled me up to the front of the room and patted the palm of my hand with a

ruler, then made me stand in the corner until noon.  Page 20 Chapter 2

Scout (thinking) Miss Maudie on a jury would be impressive.  I thought of old Mrs.

Dubose in her whell chair-"Stop that rapping, John Taylor, I want to ask this man

something." Perhaps our forefathers were wise.  Page 224 Chapter 23

Friendly/Witty

Scout talking to Boo Radley: "Won't you have a seat Mr. Arthur? This rocking chair is

nice and comfortable." Page 274 Chapter 30

Scout (observing and thinking): "Miss Maudie's hand closed tightly on mine,

and I said nothing.  It's warmth was enough."  Page 238 Chapter 24

Scout (saying to Dill): "Keep on- I reckon he even sent you a mounted police uniform!

That'n never showed up, did it? You just keep on telling 'em, son-" Page 52 Chapter 5

Scout (saying to Jem): "I forgot my shoes, they're back behind the stage." Page 262

Chapter 28

Tom Robinson

Charatable

Talking to Atticus about not getting paid: "No suh, not after she offered me a  nickel

the first time.  I was glad to do it." Unknown

Talking to Mr. Gilmer: "I was just tryin' to help her out, suh." Page 199 Chapter 19

Talking to Atticus about going by the Ewells: "Why, yes suh, I'd tip m'hat when I'd go

by, and one day she asked me to come inside..." Page 193 Chapter 19

Honest

Talking to Atticus about the fight he was in and getting cut: "Yes suh, a little, not

enough to hurt.  You see, I-" Page 193 Chapter 19

Talking to Atticus about Mayella: "I didn't wanta be ugly, I didn't wanta push her or

nothin'." Page 197 Chapter 19

Talking to Mr. Gilmer: "I don't say she's lyin', Mr. Gilmer, I say she's mistaken in her

mind." Page 200 Chapter 19

426.          great rock musicians their achievements and effect on music

Great Rock Musicians: Their Achievements and Effect on Rock and Roll

The blues are undeniably the roots of early rock and roll.  Rock today has mutated so much  that the basic blues patterns have been all but lost.              The purpose of this paper is to illustrate the birth of, and evolution of rock and roll by focusing on three of the arguably greatest rock musicians of the sixties and seventies.

The origin of the blues can be traced to the emancipation of the slaves in the rural black areas of the south, where most of the people worked on share-cropping farms. Musically the blues are defined as a 12-bar chord progression, harmonized with the corresponding scales and patterns. The chord progression pattern is four measures of tonic chords followed by two measures of sub-dominate chords, two more measures of tonic chords, one measure of dominate chords, one measure of sub dominate chords, and finally two

measures of tonic chords.

Blues performers would travel around the south singing about their loss of love and family, and the pains they were forced to endure.  The music became popular because nearly every one who heard it could identify with its message.  This type of Blues later became known as country blues because it was rooted in rural areas.  The Blues became more main stream and popular in the 1920's because of the  recording industry coming into existence.  More instruments were added such as pianos, organs, and wind instruments.

Big Band and Rhythm and Blues stemmed from City Blues.

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Rock and Roll then stemmed from Rhythm and Blues, in fact, many of the first recorded "Rock" songs where simply  white musicians re-recording Rhythm and Blues songs originally written by black artists.

It took Bob Dylan 23 years to realize that he wanted to become a rock musician.  Bob Dylan, whose birth name was Robert Allen Zimmerman,  had a relatively uneventful childhood in a Minnesota mining town.  He adopted his pseudonym when he went to the University of Minnesota.  "Dylan" came from the Welsh poet Dylan Thomas, with whom Zimmerman was frequently compared in the University folk circles.  After leaving the University, Dylan moved to New York's Greenwich Village to follow his folk hero, Woodie Gunthrie.  In fact, his main goal of moving to the Village was simply to meet his hero.  He not only met the folk guru, but became a member of his group of followers, or groupies.  They also became good friends.

Gunthrie got him a couple of gigs at various nightclubs around the Village.  Dylan got enough attention at his nightly gigs to be noticed by the Columbia Record Company, specifically the producer John Hammond.  His first record, Bob Dylan, was just his renditions of previously recorded songs, but it was popular enough to gain him a long term contract.  The recording was so bare bones that the record cost only $402 dollars to make,  not including production.

The songs Bob Dylan wrote weren't used by him exclusively,.  He actually got his first important recognition  when a song he wrote was used by the Byrds.  The song was "Mr. Tambourine Man" and it went to number 1 on the charts.  The introduction into the mainstream or pop arena was extremely important to folk-rock, giving it the recognition it desperately needed.  Before this song was released the Folk-Rock genre was hardly viewable in the public eye, and was only popular in small folk circles.

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Bringing the American folk scene mainstream did gain Dylan a lot of popularity, but it also got him some unwanted criticism from folk musicians across the Atlantic.  In particular from  a big name in British folk music , Ewan MacColl.  "I have watched with fascination the meteoric rise of the American idol and I am still unable to see him as anything more than a youth of mediocre talent.  Only a completely non-critical audience nourished on the watery pap of pop music could have fallen for such tenth-rate drivel. 'But the poetry!' they say, what poetry?  The cultivated illiteracy of his (Bob Dylan's) topical songs, are the embarrassing fourth grade schoolboy attempts at free verse."  MacColl failed to see that  American youth were not as interested in an idol following literary protocol as they were in the message and the overall sound.

Despite the criticism, Dylan produced many more incredibly successful songs for himself and others including:  Sonny and Cher's "I Got You Babe", the immortal "All Along the Watchtower" performed by Jimi Hendrix, and the eerily infectious "Knockin' on Heaven's Door" By Guns n' Roses.

His first musical stance was as a war protest folk singer.  .  During the Cuban missile crisis he wrote "A Hard Rain's A-Gonna Fall." It was a warning and a portrait of what a nuclear war would be.  Dylan gained the title of spokesman for his generation when he switched from folk to rock with Highway 61 Revisited.

In 1966 he [reportedly] broke his neck in a motorcycle accident. Whether he did or didn't, he got a chance to escape from the spotlight  He did make several albums privately after that but many said that he had lost his musical power, and the accident had broken his spirit as well as his neck.  If he had broken his  neck in the accident he would have achieved "mythical status."

He made a musical comeback in 1975 with Blood on the Tracks.  Over the years, Dylan has retained his popularity.  He constantly surprises his audiences  with

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impromptu changes in musical style.  Many critics say the only song writers that can be compared to Dylan are the team of Paul McCartney and John Lennon.

John Lennon began his musical career in high school, with he band called the Quarryman.  In his sophomore year he met Paul McCarntey.  A short time later, McCartney introduced Lennon to his friend, George Harrison, who was only 13 at the time.  The band had a number of names besides The Quarrymen before they finally decided on the Beatles, intentionally misspelled so it would have the word "beat" in it.

Like Bob Dylan They gained the attention of a record company by putting on an excellent show in a club.  However, unlike Dylan, the recognition they received wasn't direct.

They had played as the backup band on a Tony Sheridan record..  The two final songs on the record they wrote and performed themselves.  Word got around , and one  record store owners  noticed that he couldn't keep that specific record on the shelves.  Brian Epstein (the record shop owner) talked to the band, told them what was happening with the record and asked them to make a demo recording to send to several record companies.  After being rejected by two other labels, George Martin at Colombia like what he heard and signed the band.  His only condition was for the Beatles to loose Pete Best, their drummer.  They did, and hired Ringo Starr, who had sat in for Best several times, as the full time drummer.

In 1962 they released their first single, "Love Me Do".   It sold like crazy locally, but only reached number 17 on the charts,  still very good for a debut.  Their next single, "Please Please Me",  made it to number one on the charts.  They had become Britain's top rock band virtually over night.  Their popularity could only grow with the releases of two more number one singles:  "From Me to

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You", and "She Loves You".  When they released the album, Please Please Me., it stayed at number one for 30 weeks.  The release of the song "I Want to Hold Your Hand" in 1964 sparked on of the most important musical events of this century, The British Invasion of America.

The British Invasion was a movement of British music and musicians across the Atlantic to America.  Bands such as Led Zepplin, Black Sabbath, The Rolling Stones and The Zombies, Ccme through the hole that the Beatles had made.  Another phenomenon the song sparked was "BeatleMania".

"BeatleMania" saw it's beginnings when the Beatles made an appearance on the Ed Sullivan Show. When the Beatles toured the U.S. for the first time, the crowds exhibited a kind of "mob adulation".  Their first album was on the top over every chart it could be on in both the U.S. and Britain.  The only thing that could take it from its place was their second album (Rock Giants). The name of the album was Meet the Beetles.  It stayed at the top of the British charts for 22 weeks, and was selling extremely well all around the world.  The singles from the LP all went straight to number one on the pop charts, replacing each other in succession.  The sixth single of the album had the largest advanced orders in recording history.

The Beatles produced six more albums for a total of eight, all of which went to number one. The Beatles where also the creators of several films including The Yellow Submarine , which has become a musical cartoon classic.

By the time the Let It Be tapes came out in 1970, the "Fab Four" where falling apart, Paul desperately tried to keep the band together, but when he realized he was the only one who still cared about it, he gave up as well.  The group disbanded in 1971, through a law suit.  John 'Lennon had a fairly successful solo career with Yoko Ono after the band's breakup, until he was assassinated in 1980.          Paul continues to have a successful musical career to this day.  The number of

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number one Beatles' singles, 20 in the United States, "has never been matched, nor is it likely to be"(Rock Giants).

Jimi Hendrix was born and raised in Seattle, Washington.  His entire family was very musically inclined.  His father and aunt played together at the local Baptist Church.  His main influence was his father's immense collection of Blues and R & B records.

In 1959, he dropped out of high school and joined the military.  He was discharged when he hurt himself in a parachute drop (Rock Giants).  After he was discharged he joined a circle of  big name black performers, such as Little Richard and Wilson Pickett and others.  This is where he would learn some of his most impressive stage tricks like playing over his head and behind his back.

Hendrix didn't think that he could ever become a big name in Rock and Roll star, because of his unworthy voice.  But when he heard Bob Dylan, he realized that the voice wasn't important as he thought it was.

In 1965 he formed Jimmy James and the Blue Flames, and began touring Greenwich Village.  While playing at these clubs he started incorporating some of his trademark techniques into his performances, such as feedback and fuzzboxes.  Jimi got his break while The Animals where touring in the United States.  Chas Chandler, the bassist of The Animals, heard Jimi playing and convinced him to move to Britain.

Chandler matched Jimi with Mitch Mitchel and Noel Redding, to for the Jimi Hendrix Experience.  The group rose to fame in a matter of months playing in popular clubs.  Their first single, " Hey Joe", and their second, "Purple Haze", where both fairly successful, and they where both included on the group's first album, Are You Experienced.  His sound, matched with his talent, is a phenomenon no musician has ever been able to duplicate.   For example, he could give the impression that he

Scutellaro 7

was playing two guitars at once.  Hendrix made five albums in total but was only satisfies with Electric Lady Land, which contained his most successful single: Dylan's "All along the Watchtower".   Hendrix's most memorable performance was in 1969, at Woodstock, where he played his immortal "Star-spangled Banner", however it is still unclear if he played the song in such an unpatriotic, angry style in protest of the war, or from the pressure from black militant groups.    In 1970 Hendrix died from inhaling his own vomit after an intoxication of barbiturates.  The debate has never been put to rest over whether it was suicide or carelessness.  "Jimi Henrix was and original, and, unlike most great rock musicians suffered no imitators" (Rock Giants).

Rock and roll has become one of America's greatest musical culture contributions.  Indeed, America would not be the same if it did not have rock and roll.  One of the reasons rock has become so great is that rock groups in more present time have tried to follow the highly creative musical standards set by the musicians in this paper.  If rock continues to follow the trends set fourth by the greats, Neil Young's lyrics may prove true, "Hey, hey, my, my, rock and roll will never die."

427.          Great Rock Musicians

Great Rock Musicians: Their Achievements and Effect on Rock and Roll

The blues are undeniably the roots of early rock and roll.  Rock today

has mutated so much  that the basic blues patterns have been all but lost.

The purpose of this paper is to illustrate the birth of, and evolution of rock

and roll by focusing on three of the arguably greatest rock musicians of the

sixties and seventies.

The origin of the blues can be traced to the emancipation of the slaves

in the rural black areas of the south, where most of the people worked on share-

cropping farms. Musically the blues are defined as a 12-bar chord progression,

harmonized with the corresponding scales and patterns. The chord progression

pattern is four measures of tonic chords followed by two measures of sub-

dominate chords, two more measures of tonic chords, one measure of dominate

chords, one measure of sub dominate chords, and finally two measures of tonic

chords.

Blues performers would travel around the south singing about their loss of

love and family, and the pains they were forced to endure.  The music became

popular because nearly every one who heard it could identify with its message.

This type of Blues later became known as country blues because it was rooted in

rural areas.  The Blues became more main stream and popular in the 1920's

because of the  recording industry coming into existence.  More instruments were

added such as pianos, organs, and wind instruments.

Big Band and Rhythm and Blues stemmed from City Blues.

Rock and Roll then stemmed from Rhythm and Blues, in fact, many of the

first recorded "Rock" songs where simply  white musicians re-recording Rhythm

and Blues songs originally written by black artists.

It took Bob Dylan 23 years to realize that he wanted to become a rock

musician.  Bob Dylan, whose birth name was Robert Allen Zimmerman,  had a

relatively uneventful childhood in a Minnesota mining town.  He adopted his

pseudonym when he went to the University of Minnesota.  "Dylan" came from the

Welsh poet Dylan Thomas, with whom Zimmerman was frequently compared in the

University folk circles.  After leaving the University, Dylan moved to New

York's Greenwich Village to follow his folk hero, Woodie Gunthrie.  In fact, his

main goal of moving to the Village was simply to meet his hero.  He not only met

the folk guru, but became a member of his group of followers, or groupies.  They

also became good friends.

Gunthrie got him a couple of gigs at various nightclubs around the Village.

Dylan got enough attention at his nightly gigs to be noticed by the Columbia

Record Company, specifically the producer John Hammond.  His first record, Bob

Dylan, was just his renditions of previously recorded songs, but it was popular

enough to gain him a long term contract.  The recording was so bare bones that

the record cost only $402 dollars to make,  not including production.

The songs Bob Dylan wrote weren't used by him exclusively,.  He actually

got his first important recognition  when a song he wrote was used by the Byrds.

The song was "Mr. Tambourine Man" and it went to number 1 on the charts.  The

introduction into the mainstream or pop arena was extremely important to folk-

rock, giving it the recognition it desperately needed.  Before this song was

released the Folk-Rock genre was hardly viewable in the public eye, and was only

popular in small folk circles.

Bringing the American folk scene mainstream did gain Dylan a lot of

popularity, but it also got him some unwanted criticism from folk musicians

across the Atlantic.  In particular from  a big name in British folk music ,

Ewan MacColl.  "I have watched with fascination the meteoric rise of the

American idol and I am still unable to see him as anything more than a youth of

mediocre talent.  Only a completely non-critical audience nourished on the

watery pap of pop music could have fallen for such tenth-rate drivel. 'But the

poetry!' they say, what poetry?  The cultivated illiteracy of his (Bob Dylan's)

topical songs, are the embarrassing fourth grade schoolboy attempts at free

verse."  MacColl failed to see that  American youth were not as interested in an

idol following literary protocol as they were in the message and the overall

sound.

Despite the criticism, Dylan produced many more incredibly successful

songs for himself and others including:  Sonny and Cher's "I Got You Babe", the

immortal "All Along the Watchtower" performed by Jimi Hendrix, and the eerily

infectious "Knockin' on Heaven's Door" By Guns n' Roses.

His first musical stance was as a war protest folk singer.  .  During

the Cuban missile crisis he wrote "A Hard Rain's A-Gonna Fall." It was a warning

and a portrait of what a nuclear war would be.  Dylan gained the title of

spokesman for his generation when he switched from folk to rock with Highway 61

Revisited.

In 1966 he [reportedly] broke his neck in a motorcycle accident. Whether

he did or didn't, he got a chance to escape from the spotlight  He did make

several albums privately after that but many said that he had lost his musical

power, and the accident had broken his spirit as well as his neck.  If he had

broken his  neck in the accident he would have achieved "mythical status."

He made a musical comeback in 1975 with Blood on the Tracks.  Over the

years, Dylan has retained his popularity.  He constantly surprises his audiences

with impromptu changes in musical style.  Many critics say the only song

writers that can be compared to Dylan are the team of Paul McCartney and John

Lennon.

John Lennon began his musical career in high school, with he band called

the Quarryman.  In his sophomore year he met Paul McCarntey.  A short time later,

McCartney introduced Lennon to his friend, George Harrison, who was only 13 at

the time.  The band had a number of names besides The Quarrymen before they

finally decided on the Beatles, intentionally misspelled so it would have the

word "beat" in it.

Like Bob Dylan They gained the attention of a record company by putting

on an excellent show in a club.  However, unlike Dylan, the recognition they

received wasn't direct.

They had played as the backup band on a Tony Sheridan record..  The two

final songs on the record they wrote and performed themselves.  Word got around ,

and one  record store owners  noticed that he couldn't keep that specific record

on the shelves.  Brian Epstein (the record shop owner) talked to the band, told

them what was happening with the record and asked them to make a demo recording

to send to several record companies.  After being rejected by two other labels,

George Martin at Colombia like what he heard and signed the band.  His only

condition was for the Beatles to loose Pete Best, their drummer.  They did, and

hired Ringo Starr, who had sat in for Best several times, as the full time

drummer.

In 1962 they released their first single, "Love Me Do".   It sold like

crazy locally, but only reached number 17 on the charts,  still very good for a

debut.  Their next single, "Please Please Me",  made it to number one on the

charts.  They had become Britain's top rock band virtually over night.  Their

popularity could only grow with the releases of two more number one singles:

"From Me to You", and "She Loves You".  When they released the album, Please

Please Me., it stayed at number one for 30 weeks.  The release of the song "I

Want to Hold Your Hand" in 1964 sparked on of the most important musical events

of this century, The British Invasion of America.

The British Invasion was a movement of British music and musicians

across the Atlantic to America.  Bands such as Led Zepplin, Black Sabbath, The

Rolling Stones and The Zombies, Ccme through the hole that the Beatles had made.

Another phenomenon the song sparked was "BeatleMania".

"BeatleMania" saw it's beginnings when the Beatles made an appearance on

the Ed Sullivan Show. When the Beatles toured the U.S. for the first time, the

crowds exhibited a kind of "mob adulation".  Their first album was on the top

over every chart it could be on in both the U.S. and Britain.  The only thing

that could take it from its place was their second album (Rock Giants). The name

of the album was Meet the Beetles.  It stayed at the top of the British charts

for 22 weeks, and was selling extremely well all around the world.  The singles

from the LP all went straight to number one on the pop charts, replacing each

other in succession.  The sixth single of the album had the largest advanced

orders in recording history.

The Beatles produced six more albums for a total of eight, all of which

went to number one. The Beatles where also the creators of several films

including The Yellow Submarine , which has become a musical cartoon classic.

By the time the Let It Be tapes came out in 1970, the "Fab Four" where

falling apart, Paul desperately tried to keep the band together, but when he

realized he was the only one who still cared about it, he gave up as well.  The

group disbanded in 1971, through a law suit.  John 'Lennon had a fairly

successful solo career with Yoko Ono after the band's breakup, until he was

assassinated in 1980.       Paul continues to have a successful musical career

to this day.  The number of number one Beatles' singles, 20 in the United States,

"has never been matched, nor is it likely to be"(Rock Giants).

Jimi Hendrix was born and raised in Seattle, Washington.  His entire

family was very musically inclined.  His father and aunt played together at the

local Baptist Church.  His main influence was his father's immense collection of

Blues and R & B records.

In 1959, he dropped out of high school and joined the military.  He was

discharged when he hurt himself in a parachute drop (Rock Giants).  After he was

discharged he joined a circle of  big name black performers, such as Little

Richard and Wilson Pickett and others.  This is where he would learn some of his

most impressive stage tricks like playing over his head and behind his back.

Hendrix didn't think that he could ever become a big name in Rock and

Roll star, because of his unworthy voice.  But when he heard Bob Dylan, he

realized that the voice wasn't important as he thought it was.

In 1965 he formed Jimmy James and the Blue Flames, and began touring

Greenwich Village.  While playing at these clubs he started incorporating some

of his trademark techniques into his performances, such as feedback and

fuzzboxes.  Jimi got his break while The Animals where touring in the United

States.  Chas Chandler, the bassist of The Animals, heard Jimi playing and

convinced him to move to Britain.

Chandler matched Jimi with Mitch Mitchel and Noel Redding, to for the

Jimi Hendrix Experience.  The group rose to fame in a matter of months playing

in popular clubs.  Their first single, " Hey Joe", and their second, "Purple

Haze", where both fairly successful, and they where both included on the group's

first album, Are You Experienced.  His sound, matched with his talent, is a

phenomenon no musician has ever been able to duplicate.   For example, he could

give the impression that he was playing two guitars at once.  Hendrix made five

albums in total but was only satisfies with Electric Lady Land, which contained

his most successful single: Dylan's "All along the Watchtower".   Hendrix's most

memorable performance was in 1969, at Woodstock, where he played his immortal

"Star-spangled Banner", however it is still unclear if he played the song in

such an unpatriotic, angry style in protest of the war, or from the pressure

from black militant groups.    In 1970 Hendrix died from inhaling his own vomit

after an intoxication of barbiturates.  The debate has never been put to rest

over whether it was suicide or carelessness.  "Jimi Henrix was and original, and,

unlike most great rock musicians suffered no imitators" (Rock Giants).

Rock and roll has become one of America's greatest musical culture

contributions.  Indeed, America would not be the same if it did not have rock

and roll.  One of the reasons rock has become so great is that rock groups in

more present time have tried to follow the highly creative musical standards set

by the musicians in this paper.  If rock continues to follow the trends set

fourth by the greats, Neil Young's lyrics may prove true, "Hey, hey, my, my,

rock and roll will never die."

428.          Grecian Urn

A Word Is Worth a Thousand Pictures?

Shakespeare's sonnet 18 ("Shall I compare thee to a summer's day?") and Keats' "Ode on a Grecian Urn" were written with a common purpose in mind; to immortalize the subjects of their poems by writing them down in  verses for people to read for generations to come.  By doing so, both of the poets are preserving the beauty of the subjects, which are the young friend of Shakespeare and Keats' "Grecian Urn."

Beginning with Sonnet 18, and continuing here and there throughout the first major grouping of sonnets, Shakespeare approaches the problem of

mutability and the effects of time upon his beloved friend in a different

fashion.  Instead of addressing the problem of old age, he emphasises his friend's attributes:

"Shall I compare thee to a summer's day?

Thou art more lovely and more temperate... (lines 1-2)"

Though time and death work together to rob man, and particularly the friend, of his youth and beauty putting ugly wrinkles in his face and finally causing his death, the friend's beauty can be made immortal in spite of the ravages of time and death.  Shakespeare asserts that his poetry will survive the destructive effects and, since the subject of this poetry is his friend's beauty, it will immortalize his beloved friend's beauty.  The poet can make the young man immortal in his verse

429.          Greenhouse

While working at the brand new Mischels Greenhouse I found out it was different from any other job I ever had.  It  was one of the most responsible jobs so far of my life. Four thousand lives were almost totally in my exchange sisters, Tanya, and my hands.  By us watering them daily.  Because it was so hot out-side, the greenhouse was stifling. Watering mums was a very tedious job be-cause it was repetitious.  I started daily at 9 A.M.  my whole day consisted of taking care of Forty thousand mums.  They sat on top of many benchtops col-lecting sun and, heat rays waiting for us to water them.  After watering them, John, (My boss), would go behind me and pull flowers.  Which means picking out the best plants.  Then Tanya and I would pick them up and put them on a rack 5x5 and then shrink wrap them.  Shrink-wrapping was mainly my job throughout the day.  I would load an 8 foot tall rack then I would wrap the rack full of mums so the mums would not fall off.  Then I would take the palette jack and pick up the rack, and load it into the Ford truck.  Loading is hard because I have to make sure they go all the way to the back and to the side of the truck.  It can't be one inch off otherwise it could hurt the plants (They could rub together) and the racks wouldn't fit side by side.  It's  a endless cycle, day after day, until all the mums are gone.  When the mums are all gone, it's a glorious feel of relief.  All the benches had to be cleaned to get ready for poinsettias. Tanya went back to Belarus to live with her real family so I asked my friends if any of them wanted to help and only one said yes.  I told my boss and a week later my friend was working with me It was my job to "show him the ropes" with the poinsettias.  After he got the hang of things it was smooth sailing, to load poinsetias. We did eve-rything the same as the mums except we put eight plants in a cardboard box.  Then loaded the truck box by box.  The old Ford could hold nineteen hundred twenty plants which is a lot of work when we had to load each plant one by one. All the poinsetias are gone now, so we start with geraniums again.  I have no idea how to start those.  When I started working at Mischels Greenhouse, The geraniums were already grown.  I guess I will learn all over again.

I wonder if Tanya will be back to help me.  But that's another story...

430.          Greg Graffin Essay

Greg Graffin

The band Bad religion was formed in the early eighties and has now been

around over 15 years and has released over eight albums, the lead singer has

continued his schooling and now has one bachelors degree ,a masters and is

working on his Ph.D.

Greg Graffin was born in 1965 in Wisconsin.  His mother and father were

divorced after his birth. In 1976 his mother his brother and him moved to San

Fernando valley California, which is now the punk rock capital of the world.

"Like millions of other victims of divorce in the seventies I had to deal with

the fact that my father was now living far away(In Racine, Wisconsin) and that I

would not get to see him very much." While his father was in Wisconsin he began

work at the university of Wisconsin as a professor.  He still works their today.

Greg was often picked on in high school because of his "Punkness". "There were

three people at my high school who were punkers, I mean I got beat up everyday

by long haired people who listened to Rush and would beat me up because I didn't.

When he was fifteen he started a band with other social outcasts who didn't

quite fit in.   They settled on the name BAD RELIGION.

Bad Religion does not pertain to any kind of sacrilegious activities or

the like.  Instead it is a statement against any establishment that promotes

dogmatic thinking or punishes individualism and rewards followers.  Greg once

said in an interview "Instead of rewarding  uniqueness we, for some reason

probably because of cultural and social necessity, we chastise unique behavior

and reward conformity". On 15/10/93 Greg said BR has 108 songs and 5 or 6 are

about religious issues.

Greg has a very different view point about education then most punks.

When the band broke up in 1983 he moved back to Wisconsin and attend the

university of wisconsin-madison. soon the administration had found out that he

was not an official resident any longer so he was kicked out. (he had recently

spent several years as a California resident) He traveled back to California

where he was a resident and attended school at UCLA.  in 1987 he received his

masters degree in geology.  He had previously received his Masters degree in

Anthropology and a his B.Sc. in geology.  This work was very field oriented

since he had to study fossils to get the degrees.  In 1990 he transferred to

Cornell University (in Ithica where he currently lives) for a Ph.D..  It will be

a biology degree, but since he studies fossils it will be evolutionary biology-

paleontology.  Because of touring with his band the Ph.D. is on hold. Currently

he still has to write his thesis on bone tissue , finish up some of his actual

lab work and  take the orals.  He is planning to due this in 1997.  He was a

teaching assistant in The evolutionary department at Cornell university.  He

taught mainly pre-medical students when they took a course in comparative

anatomy.   His Ph.D. is in evolutionary biology  but he sometimes refers it to

Zoology since the fossils he studies are from vertebrates.   The actual Ph.D. is

on bone tissue he has been referred to as one of the top five bone

paleontologists n the world.  He has had one of his papers printed in a leading

scientific journal.  He says that he plans to stay involved in science for the

rest of his life. He said "if I could make a million dollars with Bad Religion ,

I would start an institute that would be for research on early vertebrates ,

that is what I study."

Greg says he chose punk rock as his medium because he saw a vacancy in

the music.  "Maybe that's what attracted me to it. I saw that there was

definitely a vacancy. People didn't perceive (punk) as valuable, and I like

challenges ... What better thing to do than use a style of music that the media

characterizes as all negative and use it for something positive?" says Graffin.

"There has always been this problem because the media stigmatized punk from the

earliest days. I think what they were concentrating on was the fashion. When you

say 'punk' people automatically think of spiked hair and leather jackets and

violent people. And that has nothing to do with what I thought of it in the

early days, (which was) really thought-provoking music with a great melody,"

says Graffin.  In fact he considers the music he and his band make as folk music.

"The music is very sparse, the guitars aren't Multi-layered or processed. It's

not elaborate; it's something that anyone can play in their garage. It's very

populist oriented. Even the things we talk about are populist in scope. So it's

very much like folk music. A lot louder of course..."

At a concert in '96 Greg announced  in a Philadelphia concert: "This is

about half over.......not the show, our career. We've been around 16 years and

we plan on being around 16 more!!!"   So hopefully they will be around to

inspire more people to use their minds for exploration and to create great music.

431.          greg graffin

Greg Graffin

The band Bad religion was formed in the

early eighties and has now been around over

15 years and has released over eight albums,

the lead singer has continued his schooling

and now has one bachelors degree ,a masters

and is working on his Ph.D.

Greg Graffin was born in 1965 in

Wisconsin.  His mother and father were

divorced after his birth. In 1976 his mother his

brother and him moved to San Fernando

valley California, which is now the punk rock

capital of the world.  "Like millions of other

victims of divorce in the seventies I had to

deal with the fact that my father was now

living far away(In Racine, Wisconsin) and that

I would not get to see him very much." While

his father was in Wisconsin he began work at

the university of Wisconsin as a professor.  He

still works their today.  Greg was often picked

on in high school because of his "Punkness".

"There were three people at my high school

who were punkers, I mean I got beat up

everyday by long haired people who listened

to Rush and would beat me up because I

didn't.  When he was fifteen he started a band

with other social outcasts who didn't quite fit

in.   They settled on the name BAD

RELIGION.

Bad Religion does not pertain to any kind

of sacrilegious activities or the like.  Instead it

is a statement against any establishment that

promotes dogmatic thinking or punishes

individualism and rewards followers.  Greg

once said in an interview "Instead of

rewarding  uniqueness we, for some reason

probably because of cultural and social

necessity, we chastise unique behavior and

reward conformity". On 15/10/93 Greg said

BR has 108 songs and 5 or 6 are about

religious issues.

Greg has a very different view point about

education then most punks.  When the band

broke up in 1983 he moved back to Wisconsin

and attend the university of wisconsin-

madison. soon the administration had found

out that he was not an official resident any

longer so he was kicked out. (he had recently

spent several years as a California resident)

He traveled back to California where he was a

resident and attended school at UCLA.  in

1987 he received his masters degree in

geology.  He had previously received his

Masters degree in Anthropology and a his

B.Sc. in geology.  This work was very field

oriented since he had to study fossils to get the

degrees.  In 1990 he transferred to Cornell

University (in Ithica where he currently lives)

for a Ph.D..  It will be a biology degree, but

since he studies fossils it will be evolutionary

biology-paleontology.  Because

of touring with his band the Ph.D. is on hold.

Currently he still has to write his thesis on

bone tissue , finish up some of his actual lab

work and  take the orals.  He is planning to

due this in 1997.  He was a teaching assistant

in The evolutionary department at Cornell

university.  He taught mainly pre-medical

students when they took a course in

comparative anatomy.   His Ph.D. is in

evolutionary biology  but he sometimes refers

it to Zoology since the fossils he studies are

from vertebrates.   The actual Ph.D. is on bone

tissue he has been referred to as one of the top

five bone paleontologists n the world.  He has

had one of his papers printed in a leading

scientific journal.  He says that he plans to

stay involved in science for the rest of his life.

He said "if I could make a million dollars with

Bad Religion , I would start an institute that

would be for research on early vertebrates ,

that is what I study."

Greg says he chose punk rock as his

medium because he saw a vacancy in the

music.  "Maybe that's what attracted me to it. I

saw that there was definitely a vacancy.

People didn't perceive (punk) as valuable, and

I like challenges ... What better thing to do

than use a style of music that the media

characterizes as all negative and use it for

something positive?" says Graffin.  "There has

always been this problem because the media

stigmatized punk from the earliest days. I

think what they were concentrating on was the

fashion. When you say 'punk' people

automatically think of spiked hair

and leather jackets and violent people. And

that has nothing to do with what I thought of it

in the early days, (which was) really thought-

provoking music with a great melody," says

Graffin.  In fact he considers the music he and

his band make as folk music.  "The music is

very sparse, the guitars aren't Multi-layered or

processed. It's not elaborate; it's something

that anyone can play in their garage. It's very

populist oriented. Even the things we talk

about are populist in scope. So it's very much

like folk music. A lot louder of course..."

At a concert in '96 Greg announced  in a

Philadelphia concert: "This is about half

over.......not the show, our career. We've been

around 16 years and we plan on being around

16 more!!!"   So hopefully they will be around

to inspire more people to use their minds for

exploration and to create great music.

432.          Grendel

Grendel is an unhappy soul in John Gardner's book "Grendel", because he feels useless in society and doesn't want to accept his given role. Throughout this whole book Grendel feels he has no friend in the outside word and no one to except him besides his own mother. He doesn't want to except his role in society which is to be the Great Destroyer. Man creates a huge problem in Grendel's life and has had a major effect on the way he lives with man.

Grendel is unhappy in many ways. He wants to be accepted by man but never knew why he was always shunned out of there society. Grendel in the beginning never set out to hurt man just understand him. When Grendel shows up the first time in the mead hall he yells "Mercy! Peace!" But no one even gives him a chance when he walks in holding a dead body and using it for protection against the drunken men swinging axes and swords at him. Grendel dose not understand this as he says "they were doomed, I knew, and I was glad." showing the hope for destruction of the human race. In Grendel's eyes humans are going to destroy themselves and he will be glad when it happens.

Grendel is very lonely in the world of man. He has only one person close to him and that is his mother. She cares for Grendel but just with the natural motherly instincts which Grendel sees as mechanical. Grendel doesn't understand,  "Why can't I have someone to talk to?" as the world starts to look darker in his eyes. Animals of all sorts are enemies of his because they don't understand him. Grendel is more superior

Grendel's role in society is to be the great destroyer. The Dragon tells Grendel this " You improve them, my boy! ... You stimulate them!" but Grendel dose not want to except it. HE want to be part of the humanistic world. He want a different role in society. This makes Grendel very unhappy that he cannot be accepted. The Dragon puts a spell on Grendel that lets weapons not harm him. At first he dose not like this because he thinks that the fun of destroying men would be to easy at this point. He starts to grow into this though and plays his role as the great destroyer.

This book shows how Grendel put up with man and learned to adapt to the humanistic ways of life. It took him a while to adapt but he did find it fun to reck the humans world. Since he was not excepted he would have to take the role of the great destroyer at the end of the story.

433.          gullivers travels 2

Although it appears simple and straightforward on the surface, a mere travelogue intended solely for the amusement of children, Gulliver's Travels, by Jonathan Swift, proves, upon closer examination, to be a critical and insightful work satirizing the political and social systems of eighteenth-century England.  Through frequent and successful employment of irony, ambiguity and symbolism, Swift makes comments addressing such specific topics as current political controversies as well as such universal concerns as the moral degeneration of man.  While he incorporates them subtly early in the novel, these observations and criticisms eventually progress to a point where they may shock or offend even the most unsuspecting reader.  In order to witness this evolution of presentation, one need only observe the development of the work's central character, Captain Lemuel Gulliver, as Swift has designed his novel in such a way that, as his aspersions harshen and intensify, so do Gulliver's actions and attitudes.

For instance, in book one, "A Voyage to Lilliput", when Gulliver finds himself lost in a world one-twelfth the size of his own, he proves himself to be quite naive and impressionable.  Although he is simply too large to perceive them in detail, Gulliver judges the country's inhabitants he meets to be as perfect and innocent as their toylike appearances.  He refers to the Lilliputian emperor, a being not even six inches high, as "His Imperial Majesty" and blindly agrees to perform any demanded service, even though he could easily overpower the tiny nation.  It is only after his services have been exploited and himself banished that Gulliver realizes how cruel and deceitful the Lilliputians truly are and his personality begins to transform.

In book two, "A Voyage to Brobdingnag", Gulliver faces quite an opposite situation, for in this world everything is twelve times its expected size.  Somewhat hardened by his unfavorable experiences on Lilliput, Gulliver approaches the Brobdingnagians from the outset with some degree of suspicion and contempt.  Although it is apparent to the reader that this particular race is far more benevolent and trustworthy than its predecessor, Gulliver bestows upon it a great deal more criticism and disrespect.  He demonstrates his hypocrisy, for instance, when he expresses his revulsion at the sight of the Brobdingnagians' physical imperfections but never attributes his ability to see their defects in such detail to his own diminutive size.  Furthermore, it becomes obvious that his dissatisfaction relates directly to his inferiority among these colossal beings.  Gulliver himself admits,

how vain an attempt it is for a man to endeavor doing himself

honour among those who are out of all degree of equality or com-

parison with him.

In essence, he is beginning to shed his role of observer and become personally involved in the moral controversies he observes.  In the same way, Swift, who devotes much of his satire in the first two books of Gulliver's Travels to social and political conditions, begins at the close of part two to discuss and criticize situations in which he is personally at fault.

By the end of book four, both Gulliver and the direction of Swift's novel have been utterly transformed.  In this part, titled "A Voyage to the Houyhnhnms", Gulliver becomes trapped in a world where horses represent civilization and reason, while men, indignantly referred to as Yahoos, run wild, savage and ignorant.   As the horses, called Houyhnhnms, make him realize how truly corrupt his untruthful and immoral race of human beings is, Gulliver learns to love their virtuous society while gradually beginning to abhor his own.  Just as Swift denounces the state of society outright, by depicting men as offensive, irrational beasts, Gulliver assumes a similar stance, declaring himself a shamed and spiteful misanthropist.  When he finally returns home after his adventures, he discovers that he cannot endure the company of other humans, he cannot even bear to look at his own reflection, knowing what degeneration it represents.

Notably, however, neither Swift nor Gulliver leave the novel without exercising that one attribute they believe man to possess, his capacity for self-understanding and change.  While Swift proposes his constructive criticism throughout the story in the form of irony and satire, Gulliver himself offers a solution to his situation at the close of the novel.  He realizes that there is little he can do about being human; he simply must learn to live with himself.  To achieve this, he suggests looking in a mirror as often as possible, not only so that he might learn to bear the sight of his own person but also so that he may be constantly reminded  of those shortcomings he seeks so desperately to overcome.

434.          Gullivers Travels

Gulliver's Travels

February 27, 1996

As a seemingly wise and educated man, throughout the novel Gulliver's Tarvels, the narrator cleverly gains the reader's respect as a thinking and observant individual.  With this position in mind, the comments and ideas that Gulliver inflicts upon those reading about his journeys certainly have their own identity as they coincide with his beliefs and statements on the state of humanity and civilization in particular. Everywhere Gulliver goes, he seems to comment on the good and bad points of the people he encounters. Sometimes, he finds a civilization that he can find virtues within, but he also encounters peoples and places which truly diusgust him in their manner of operation and civility. Overall, Swift gives Gulliver a generally negative and cynical attitude towards the manner in which his current day English counterparts behaved cleverly disguised in the subtext of his encounters with other nations that either contrasted the way they lived, or mirrored unflatteringly his contemporaries lifestyles.

In Gulliver's first voyage to Lilliput,  his role as the town giant not only put into perspective the selfishness and unrelenting need for power of the human race, but also opened his eyes to the untrusting and ungrateful nature of those aforementioned.  When he first arrived in their land, the Lilliputians opted to tie him up, giving him no freedom, which he luckily did not object to.  Then, once they had developed a somewhat symbiotic realationship with him, Gulliver was basically forced to abide to their whims and fancies, and ultimately to be their tool in war.  At any time, Gulliver could have escaped their grasp, but instead, he opted to stay and observe and oblige to their customs.  He was a very agreeable guest.  He did tricks for them, he saved their princess from her burning castle, he defeated their mortal enemies, and all he was rewarded with was their spite and mistrust.  From the start, no matter how cordial and well-behaved he was, there was little trust bestopwed upon him by the people that bound him to their home.   Also, Gulliver explains the rediculous manner in which one becomes accredited in their society.  "For as to that infamous practice of acquiring great Employment by dancing on the Ropes, or Badges of Favor and Distinction by leaping over sticks, and creeping under them; the reader is to observe, that they were first introduced by the Grand father or the Emperor now reigning; and grew to the present Height, by the gradual increase of Party and Faction."  This rediculous means of self-validation seems strickingly similar to some of the methods with which people will resort to in our societies, where personal achievment and values are secondary to their outward appearance, ability to impress, and skills totally unnessesary to the job described.  Gulliver's description of their government, way of life, and logic patterns reflected either his grievances with or his innability to comprehend the manner in which many decisions, traditions, and wyas of living developed in our own society.  He also, though, pointed out some redeeming values which he found in their way of living such as their innability to accept fraud, and their total separation of purity of smut, through reward and punishment.  When it came down to it though, the Lilliputian's lack of trust towards their giant helper ruined their chances of him staying, and Gulliver was forced to leave.  He found their hospiatlity to be great, but only at a severe stress to their own resources.  At this point, some very strong assertions have been made about humanity, but we must go farther into the story to draw any real conclusions.

Although there wasn't much said in this section of the book, the second voyage to Brobdignag put Gulliver in a very compromising situation which made him simply the pawn of social commentary by Swift.  The people of Brobdignag treated Gulliver in an almost rediculous manner.  They put him in a cage like we do with rodents, and were truly simple in their ideas.  "The Learning of this People is very defective; consiting only in Morality, History, Poetry, and Mathematicks; wherin they must be allowed to excel.  But, the last of these is wholly applied to what may be useful in Life; to the Improvement of Agriculture and all Mechanical arts; so that among us it would be little esteemed. And as to ideas, Entitites, Abstractions ands Transcendentals, I could never drive the least Conception into their heads."  This situation made Gulliver see a people totally preoccupied with their own ideas, and showed their ignorance of possibly better ideas simply becvause they refused to acknowledge the possible validity of a little man's ideas.  It is this attribute of human thought patterns that many times allows us to miss the fine details in life, overlooking them as trivial.

When venturing in Laputa, Gulliver was thougholy disgusted by the adamant ways of the inhabitants there.  Their obsession with the very specifics of their life not only put Gulliver off, but made him realize the follies of all those like them. Their oblivion to the obvious tendencies life engulfs made a great impression on him, seeing their wives totally confounded by the male inhabitants fetish with the workings that they had managed to contrive somehow.  Not only did these people behave strangely, but their odd manner of acting had affected their outward appearance, transforming them into convuluted, wretched creatures.  Their focus on Mathematicks and Musick were not viewed as unattractive traits, but their narrow-mindedness, and absense of thought on other subjects alarmed him, as he saw the reprocutions of such a lifestyle.  In Balnibari,  the people there also had a very distorted manner of living.  Their beurocratic, innefficient machine of experiments, improvements, and theories appalled Gulliver as he saw the degradation in society that occured as a result of it.  Both of these lands, although on somewhat opposite ends of the spectrum belonged to the same family of false maxims to live by.  Both systems showcased many of the problems our own societies can face.  If we ignore problems we have, that can make us worse, but if we try to fix every imperfection, no matter how rediculous-seeming, we would be totally engulfed by the process.

In Gulliver's last voyage to the land of the Houyhnhnms, there was by far the most demonstrative of comparisons to our society, or should I say, contrasts.  When he met those people, animals that we know as horses, he was shocked by their wisdom,  sensibility, and kindness.  On the other hand, the Yahoos, most closely related to humans as we know them were vile, uneducated, badly-behaved creatures. This reversal of roles demonstrated the shotty treatment we have for lower creatures, even though they have many traits that could be described as positive that we easily overlook.  When Gulliver returns to England, he is disgusted not only by the sight, smell, and actions of the people there, but he cant even stand his own family.  It is this fact that clearly shows how aweful and pitiful the human race would seem if one had the opporotunity to step back and take an honest, unobstructed view of it.

Throuighout Guliver's Travels, Swift uses anecdotes told through Gulliver's eyes to demonstrate the vices and virtues associated with the way we live.  No matter where he was, he was able to see enviable aspects of their society, and to demean the parts of their life that were silly, illogical, and offensive.  From each experience he grasped a stronger understanding of what it meant to run a government, how Power and prestige could corrupt, and how false logic could corrup a community.  Not only a powerful social commentary, Gulliver's Travels teaches us an important lesson about what we must keep important in our lives.

435.          Gustave Callebotte 419

Gustave Callebotte, Paris Street; Rainy Day, The World Essay

Gustave Callebotte was the first impressionist that painted realistic, photo paintings.  Callebotte was born in 1848, he was a French painter that was really influenced by impressionism.  Mostly all of Callebotte's work was, oil on canvas style.  He painted Paris Street; Rainy Day in 1877.  Callebotte was one of the less known impressionist painter during his time and this time.  He had to compete with such painters such as; Edgar Degas, Claude Monet, and Pierre Auguste Renoir.

Callebotte started painting during the 19th century French Impressionism period.  His paintings were neglected during his time, until now they have been appreciated.  Most people do not know what impressionism is, an understanding of impressionism is as follows; the impressionist style of painting is characterized chiefly by concentration on the general impression produced by a scene or object and the use of unmixed primary colors and small strokes to simulate actual reflected light.  Impressionism is painted mostly what a person sees in his mind rather than what he see with his eyes, therefore its not as easy as one may think it is to paint.

Although many impressionism paintings were more unrealistic, Guastave had more of a realistic perspective in his paintings.  He was one of the first impressionist painters that painted with that kind of perspective.  Caillebotte's most intriguing paintings are those of the broad, new Parisian boulevards.  In 1974 Cailebotte joined Monet and other impressionism painters as the Societe anonyme des artistes peintres, sculpteurs, graveurs.  Monet's, Sunrise painting was the first to be exhibited in the club.  Even thou they were losing a lot of money in that club they still preceded to show of their works all the way till 1886.

Also in 1870's there was a French war that killed a couple of new impressionist painters, that might have been famous, and it also moved Monet, and Sisley to London where they met Paul Durand-Rue.  This stay in London was a major step for the impressionism painting, because they both met their first merchant, and it actually started the impressionism period in matter of speaking.

In a nutshell Gustave Cailebotte was one of the first impressionism painters that painted a realistic perspective.  He was also friends, with the major impressionist painters in his country that set forward the impressionist period.  Because Caillebotte painted in a different style that the others he was neglected and was never really famous until now.  Where he is now appreciated for his impressionist art.

436.          Hamlet review

Part of the enduring appeal of Hamlet lies in its complex characterization and twisty, tragic plot. Hamlet deals with, among other things, madness and revenge, sex and love, politics and treachery, and ghosts, both real and figurative. Yet, despite the depth and weight of the issues it essays, there is still a great deal of humor and good, old-fashioned adventure. Hamlet can quite literally make you laugh and cry, hiss and cheer. It also contains a slew of famous lines, including, but not limited to the likes of "Frailty, thy name is woman!", "To thine own self be true", "Something is rotten in the state of Denmark", "Brevity is the soul of wit", "The play's the thing", "The lady doeth protest too much", and, of course, "To be, or not to be, that is the question."

One of the things that Branagh brings to his adaptation of the play is an amazing visual sense. From start to finish, this is a stunningly beautiful film, filled with vibrant colors, startling camera angles, and costumes and production values that are among the best of the year. Even if the story was weak (which it isn't), Hamlet would be worth seeing for its pure visual splendor.

Branagh has assembled a top-notch international cast. Well-known actors like Charlton Heston (as the Player King), John Gielgud (Priam), Judi Dench(Hecuba), Billy Crystal (First Gravedigger), Gerard Depardieu (Reynaldo), Jack Lemmon (Marcellus), and Robin Williams (Osric) fill small roles. Most are adequate, and a few (Heston and Crystal in particular) are excellent. Only Robin Williams, affecting a silly accent and even sillier mannerisms, stands out as an obvious concession to commercial pressure. Williams is out-of-place, but his presence is only the smallest of blemishes on a wonderful production.

437.          Hamley was not looney toones

Hamlet was indeed a very sane man. He was only feigning madness to further his own plans for revenge. His words were so cleverly constructed that others will perceive him as mad.  It is this consistent cleverness that is the ultimate evidence of his complete sanity. Can a mad person be so clever? No, a mad person cannot. Hamlet is sane and brilliant.

After Hamlet, Horatio, and Marcellus see the ghost, Hamlet tells Horatio that he is going to "feign madness". If Horatio is to notice Hamlet acting strange it is because he is putting on an act. "How strange or odd some'er I bear myself/(As I perchance hereafter shall think meet/To put an antic disposition on)/That you, at such times seeing, never shall,/With arms encumbered thus, or this headshake ,/Or by pronouncing of some doutful phrase,/As "Well,well,we know," or "We could an if  we/would,"/Or "If we list to speak," or "There be an if they/might,"/Or such ambiguous giving-out, to note/That you know of me-this do swear,/(I,v,190-201).Hamlet states that from this point forward I may act weird but to ignore my acts of madness for they are just that, acts, and are in no way a sign of true madness. Only a sane and rational person could devise such a plan as to act insane to convince others that he is insane when he actually has complete control over his psyche.

Hamlet only acts mad when he is in the presence of certain characters. When he is around Polonius, Claudius, Gertrude, Ophelia, Rosencrantz, and Guildenstern he acts completely irrational. When Hamlet is around Horatio, Bernardo, Fransico, the players, and the gravediggers Hamlet acts completely sane.

When Hamlet and Polonius meet in II,ii Hamlet calls Polonius a fishmonger and makes strange conversation with him. In IV,iii Hamlet refuses to tell Claudius were he has hidden the body of Polonius and goes on about how Polonius is at supper. When Hamlet encounters Gertrude in her closet, an unusual place, in III,iv. He yells at his own mother. In II,i Hamlet enters Ophelia's closet, a highly unusual act, he is dressed badly, and acts very strange towards her. Claudius and Polonius set up a clandestine meeting between Hamlet and Ophelia in III,i. Ophelia then tries to return some gifts that Hamlet gave to her and Hamlet claims that he did not give her any gifts and that he never loved her at all. During the play in III,ii Hamlet sexually harasses Ophelia in front of the entire audience of the play. In IV,ii Hamlet refuses to tell Rosencratz and Guildenstern where he has hidden the body of Polonius. Hamlet has Rosencratz and Guildenstern, two people that used to be his friends, put to death in England.

On all occasions when Hamlet is in contact with Horatio, Bernardo, Fransico, the players and the grave diggers Hamlet acts like a completely normal person under complete control of his psyche. Only a person that was truly sane and had a definite purpose behind a feigned madness could pull off such believable acts of feigned madness.

Even Claudius and Polonius believe that Hamlet is not insane.

"Love? His affections do not that way tend/Nor what he spake, though it lacked form a little,/Was not like madness. There's something in his soul/O'er which his melancholy sits on brood/And I do doubt the hatch and the disclose" (III,i,176-180). Claudius states Hamlet's emotions are not from love. What he does is not like madness, but it has a higher purpose. Hamlet knows something is amuck and that he is going to set things right. His madness is part of a plan that he has which is about to be hatched.

"Though this be madness, yet there is/method in't" (II,ii,223-224). This occurs when Polonius and Hamlet are talking and Hamlet is acting unusual and Polonius clearly states that he believes that there appears to be a reason behind Hamlet's actions and that they are logical in nature.

Shakespear gives a definite example of someone who has definitely gone mad in the play Hamlet. Ophelia is definitely crazy. After being rejected by Hamlet and the Death of her father she just could not handle it anymore. She went around dancing, singing about death, erratic behavior, and ultimately her "death". She just could not  handle everything that had happened to her and gave up. On the other hand Hamlet is not crazy, he has complete control over his psyche.

Hamlet tells his mother that he is not mad. "That I essentially am not in madness/ But mad in craft" (III,iv,209-210). Hamlet states, that he is not crazy in a sense that he has lost it completely and gone totally insane, but crazy like a fox. He has a plan to avenge his father's murder.

Hamlet is not mad. Everything he does has a purpose to it. He is out to avenge his father's murder. The facts that support this argument are Hamlet tells Horatio that he is going to feign madness, Hamlet only acts mad in front of certain characters. Claudius and Polonius believe that Hamlet is not mad but that there is a purpose behind his madness, Shakespear gives an example of a truly mad person, and that Hamlet tells his mother that he is not crazy. These facts prove beyond a doubt that Hamlet had complete control of psyche at all times throughout the play.

438.          Harriet The Spy Essay

Harriet The Spy Essay

In book 2 I think Harriet has mixed feelings. She is often rude, cruel, and impatient. Even  through that she is still old Harriet. She even tries to apologize to Sport and Janie!!

Harriet is very impatient with Dr. Wagner. When she goes to his office she thinks about what his office looks like. A closet full of games, a couch, and a spinet. When he gives Harriet a notebook she starts writing like there's no tomorrow.

FUNNIEST NOSE I'VE EVER SEEN. RUNS RIGHT DOWN THE MIDDLE OF HIS FACE. HE REMINDS ME SOMEWHAT OF PINKY WHITEHEAD BUT NOT AS REPULSIVE. HE HAS RED HAIR AND FUNNY TEATH. THEY ARE SORT OF YELLOW AND LONG. THIS OFFICE SMELLS OF CIGARS AND CHALK. I BET HE PLAYS WITH THOSE TOYS AFTER EVERYONE LEAVES.

When Harriet tries to appoligize to sport and Janie disaster strikes. She makes Janie spill some king of liquid by startling her. When Sport's turn comes Harriet is more nervious then before. At his house Sport is very happy because his father is getting one of his books published.

Harriet "Becomes very mean" and wants to do mean things to everyone.

MARION HAWTHORINE: FROGS. PUT ONE IN HER

DESK. A SNAKE WOULD BE BETTER.

RACHEL HENNESSY: HER FATHER. ASK HER WHERE HE WENT.

LAURA PETERS: HER HAIR. CUT IT OFF. OR MAKE A BALD SPOT.

PINKY WHITEHEAD: MEAN LOOKS. THAT'S ALL HE NEADS.

CARRIE ANDREWS: TELL HER FATHER SOMETHING TERRIBLE ABOUT HER WHICH IS A LIE.

BETH ELLEN HANSEN: HATES TO BE HIT. HIT HER.

JANIE : BREAK HER LITTLE FINGER.

SPORT: CALL HIM A SISSY AND TELL EVERYONE HE READS COOKBOOKS.

BOY WITH THE PURPLE SOCKS: ??

That is what Harriet writes in her notebook.

I think Harriet should have been less mean to her friends event though they were mean to her. Well it's a shame we can't take someones "mean gene" and replace it. Or can we? I know one thing's for sure Harriet is Harriet and that will never change!

The End

439.          Harrison Bergeron

In "Harrison Bergeron" Kurt Vonnegut depicts a society in which everyone is mentally, physically, and socially equal.  Throughout the history of our country, Americans  have sought racial, gender, and socio-economic equality.  On paper such a society seems ideal.  Through the story one might infer that Vonnegut views the concept of total equality as ludicrous.  Equality can be interpreted many ways.  One point of view is the American belief that everybody should be treated equally and another view is the one represented in the story that everybody is equal.  I completely agree with Mr. Vonnegut's view of the perfect society as being absurd.

Having everybody equal looks fantastic in planning but it would never work out that way.  If the government was allowed to impose handicaps on the naturally gifted, how could civilization ever make advancements?  The great thinkers would not be able to envision new ideas because of the mental handicap radios they had to wear in their ears.  Technology would come to a stand still with the gifted not being able to finish a complete thought because of the sharp sounds produced by the mental handicaps.  With the handicaps imposed there would not the breakthroughs that are needed to improve the population's way of life.  Suppose someone did not have the ability to invent the automobile.  It would be difficult to commute to school or work.  Imagine if you had to walk to work every day no matter how bad the weather is.  Now-a-days people complain about having to simply walk out to their car in the morning and wait for it to warm up.  Many jobs would have never been created if there were not any cars.  Without technological advancements, the economy would also come to a stand still.

If new goods and services were not being produced, the economy could not survive.  Monopolies would eventually form and eliminate competition because new and improved products would not be replacing the old and obsolete products.  The formation of these monopolies brings the nation one step closer to communism.  When you look at it, the perfect society is what Russia was looking to achieve before they realized it could not work.  The price of products will continually increase while the quality of the products continues to diminish without competition.  This is not the only area where competition will disappear.

With the limitations imposed on the gifted athletes by the physical handicaps, sports too would disappear.  The superb athletes would not be able to display their abilities because they were weighed down by sash-weights and bags of birdshot.  Try to picture Barry Sanders attempting to run through a hole in the offensive line while wearing sixty pounds of weights around his neck.  It would be impossible.  If the naturally athletic citizens were brought down to the level of the average person there would not be any point of even playing a sport.  Thus eliminating sports altogether.

Kurt Vonnegut's views might be a little exaggerated, but that is what he intended.  He used satire in attempt to reform the belief that the perfect society can be obtained.

440.          Harry Potter And The Prisoner Of Askaban

I'll go with the positives first. Excellent acting performances were given by the three leads. As they have become older, it makes the progression of the stories seem more realistic as they grow with their characters. It would be silly and tragic to replace our favorite HP characters in the next movie. Professor Trelawny was good even though no one in the movie bothered to point out who she actually was. The new Dumbledore was a big disappointment, he didn't really seem to capture the kindness and all-knowing qualities of J.K. Rowling's or Richard Harris's Dumbledore. Dudley could've been fatter and whatever happened to him having blond hair? Draco was good and fits better into the character everytime. But I was a bit confused by his friends; one of his croonies was replaced half way through the movie by some skinny guy who didn't seem to fit and was also nameless. The visuals were also awesome. Many things that couldn't have been real felt like they were real, such as the Quidditch scene and the flight of the dementors. Those were the things that made the movie good, not the story.

The story line itself was disappointing. Integral parts were taken out of the story, such as the details of Azkaban and dementors, and the whole story of Mooney, Wormtail, Padfoot, and Prongs was left out of the movie. They also never bother to explain how Sirius escaped from Azkaban, how he found out where Peter could be located, and the werewolf reveal at the end seemed pretty forced. Cuaron left me with a question, "Did he actually read the book?" I think i recall reading somewhere that Rowling was supervising the making of these movies. If so, she has sorely let down the fans. Another thing, the setting did not look the same at all as it did in the first two movies...since when is Hagrid's hut a mile away from the castle? And when is the whomping willow a far trek from its original position? Hmm, they must have replanted it.

In conclusion I'd have to say that the story went by way too fast and left out lots of details. So why was so much time wasted on the floating demonters and buckbeaks flight? That time could have been used to develop the plot more! Or maybe some Quidditch!!! Quidditch is a huge part of Harry's life and there was all of three seconds in the movie! It's Woods last year and Gryfindor wins the Cup after not winning for 8 years in the book! That definitely should have been in the movie. And what happened to Ron's big fight with Hermione? In the book they don't talk to each other for 2 months! Oh well, I just hope that the next Harry Potter film will have a better story line and bring back the true Harry Potter style.

441.          Hawthornes Pride of Intellect

Hawthorns Pride of Intellect

Many of Hawthorne's characters wrap themselves in a pride of intellect.  The characters

become victims of their pride and consequently suffer.  Goodman Brown, from "Young Goodman

Brown" and Hooper, from "The Minister's Black Veil" are two characters that suffer from a pride

of intellect.  Their pride causes them similar problems and they end up living similar lives, although

they came from different backgrounds.

Hooper and Goodman Brown both become isolated from society.  Hooper had a

revelation, and he feels that he truly understands human nature and sin.  However, he believes that

he is above everybody else because he has this understanding.  This is what causes the major

separation between Hooper and society.  After Hooper dawns the veil he can no longer function or

act as a normal person, because of this feeling of superiority.  His perception of an ultimate human

isolation leaves him the man most isolated in what Hawthorne describes as that saddest of all

prisons, his own heart . . . "(The Minister's Black Veil,228).  The veil affects all parts of his life,

his fiance leaves him and he can no longer relate to his congregation the same way. "As a result of

wearing the veil, Hooper becomes a man apart, isolated from love and sympathy, suspected and

even feared by his congregation"(Minister's Black Veil, 228).  Goodman Brown suffers the same

fate because he also has a feeling of superiority over the rest of the village.  He attains this feeling

after he sees all the people that he though were good and pure participating in satanic rituals in the

forest. He looses all faith in the community and feels as though he is above them because he was

able to resist the devil.  The lack or trust trusting that Goodman Brown had separated him from the

community because he was a strong Puritan and felt as though he could not associate devil

worshipers. "Brown, despairing and embittered, belongs neither to the Devil's party nor to the only

other life-sustaining cause he knows--that of the Puritan faith and the Puritan

community"(Levy,119).

Hooper and Goodman Brown's pride of intellect cause them to loose a loved one and their

kind and loving nature.  Hooper drives his fiance Elizabeth away by wearing the veil.  Elizabeth

sees how Hooper is separating himself and it scares her away from their purposed marriage.

"Hooper's fiancee, seems at first unawed by the veil.  To her it is merely a cloth that hides the face

she most delights to see.  But, like a sudden twilight in the air, Elizabeth suddenly senses the

unapproachable inner isolation of the man who wears it, and its' terrors fall upon her, too"(The

Minister's Black Veil,228).  As a result of Hooper pride, he looses his loving and kind nature.

"Hooper is shunned and even feared by the others in their times of health and happiness"(The

Minister's Black Veil,228).  He concentrates so much on the negative aspects of people that he

refuses to see the good in them.  "He makes the dark side of people the whole truth of human

existence.  His own kind and loving nature is lost for all"(The Minister's Black Veil,228).

Goodman Brown also looses someone very close to him.  He separates himself from his wife

Faith.  This is a result of Goodman Brown's pride.  He felt so strongly that he was the only

innocent person that he could not trust anybody else including Faith, his apparently religiously

devote wife.  When Goodman Brown saw Faith in the forest (Hawthorne, 178) she became just

like the other townsman.  "He now knows that Faith's voice has been mingled with the other

familiar tones, heard daily at Salem village"(Levy,118).  Goodman Brown's loving nature is also

lost due to his pride.  He becomes separates himself so much that he can no longer hold a loving

relationship with Faith like he did early in the story(Hawthorne,165).

Hooper from "The Minister's Black Veil" and Goodman Brown from "Young Goodman

Brown" both suffer similar fates from their pride of intellect.  It caused them to be drastically

separated from society, and to loose loved ones and their loving nature.  Their pride of intellect

changed their whole lives.  It can be seen as a cloak that the characters try to wrap themselves in to

escape human nature and mankind.  It is obvious that the characters did not consider or were not

aware of the penalties of their intellectual pride.

442.          HDTV Essay

HDTV

It all started when Thomas Edison invented the phonograph.  This opened up

the idea of receiving and playing professionally produced entertainment at home.

As the years went by,  there  have been many advances in technology and ways to

transmit signals through the air waves into people's homes.  After all, this is

what it's mostly used for, to get programs into people's homes.  Whether it be

movies, commercials, instructional videos, music, PSA's, news, sports.  Whoever

creates these programs have the intention of letting somebody else watch them.

Today in America our current broadcast standard is a 525 line/60 field

per second based system called the NTSC (National Television systems Committee) .

This committee was established to insure order in the development process

within the industry that would be accepted by the FCC.  This standard was

created in the 40's and 50's.  Each receiver sold to the American public must

conform to received the NTSC signal.  This signal has proved to be a durable way

of transmitting information for 50 years.  But with today's technology, a new

standard has been in the works, HDTV.

In September 1992 NBC's WRC-TV in Washington DC became the first

television station in the country to send HDTV signals over the air waves.  WRC-

TV's general manager then stated, "With advanced digital high-definition

television, viewers will experience unmatched picture quality and superior sound

resolution."

There are many pro's and con's regarding having HDTV as the new standard.

Not all broadcasters are interested in HDTV at all.  During the transitional

period, broadcasters will have channel space to send NTSC signals and HDTV

signals simultaneously.  At first, the timeline for this to take place was about

7 years down the road.  Now experts are saying 15 years is more accurate.

Broadcasters are eager to see which of the major corporations will be the first

to make the change.

Even though a broadcast standard is a handful of years away, HDTV is

already being  used in other ways.  Hospitals are taping surgical procedures and

corporations are using HDTV for presentations.  Dale Cripps, publisher of the

on-line newsletter HDTV Today says, "HDTV is slick.  If I were a corporate

executive today, I'd never consider putting my best foot forward on anything but

HDTV."  The director of the New Video Technology Project Baylor University, Cory

Carbonara says, "HDTV truly defined has 5 times the visual detail and 10 times

the color information and more than twice the vertical and horizontal resolution

of NTSC television."   He also says that the picture is substantially brighter,

the aspect ratio is more than a third larger and the sound quality is equivalent

to that of compact discs.

After reading a lot about this new standard of television, I have

reached different views.  I love the idea of having unmatched quality and sound

in my own home.  HDTV would fit perfect into my Sony home theater system.  Soon

I would like to see a demo presentation to have a better idea of it and get

really blown away like I've heard so many others have.  It's also exciting to be

living in this age of a new standard possibly coming.  In my lifetime (from what

I can remember) the only significant technology advances for home use has been

the PC.  It started out expensive and the price soon went down and everybody

jumped in.  I vaguely remember  our family's first VCR.  So living through this

broadcast change will be history in the making and I can't wait!

Then comes the dollar issue.  Hopefully when this becomes reality, I'll

be making enough money that it won't even be a factor.  But I cannot avoid

noticing that the first set sold in Japan was for $28,000!  Now they are down to

around $2800 .  Even though these prices would probably continue to decrease if

a new standard takes place, these numbers really do jump out at me.  Plain and

simple, I love the quality but the price scares me.  I'll just make sure I make

enough money to buy two sets because when this change comes I'm jumping on it.

443.          HDTV

It all started when Thomas Edison invented the phonograph.  This opened up the idea of receiving and playing professionally produced entertainment at home.  As the years went by,  there  have been many advances in technology and ways to transmit signals through the air waves into people's homes.  After all, this is what it's mostly used for, to get programs into people's homes.  Whether it be movies, commercials, instructional videos, music, PSA's, news, sports.  Whoever creates these programs have the intention of letting somebody else watch them.

Today in America our current broadcast standard is a 525 line/60 field per second based system called the NTSC (National Television systems Committee) .  This committee was established to insure order in the development process within the industry that would be accepted by the FCC.  This standard was created in the 40's and 50's.  Each receiver sold to the American public must conform to received the NTSC signal.  This signal has proved to be a durable way of transmitting information for 50 years.  But with today's technology, a new standard has been in the works, HDTV.

In September 1992 NBC's WRC-TV in Washington DC became the first television station in the country to send HDTV signals over the air waves.  WRC-TV's general manager then stated, "With advanced digital high-definition television, viewers will experience unmatched picture quality and superior sound resolution."

There are many pro's and con's regarding having HDTV as the new standard.  Not all broadcasters are interested in HDTV at all.  During the transitional period, broadcasters will have channel space to send NTSC signals and HDTV signals simultaneously.  At first, the timeline for this to take place was about 7 years down the road.  Now experts are saying 15 years is more accurate.  Broadcasters are eager to see which of the major corporations will be the first to make the change.

Even though a broadcast standard is a handful of years away, HDTV is already being  used in other ways.  Hospitals are taping surgical procedures and corporations are using HDTV for presentations.  Dale Cripps, publisher of the on-line newsletter HDTV Today says, "HDTV is slick.  If I were a corporate executive today, I'd never consider putting my best foot forward on anything but HDTV."  The director of the New Video Technology Project Baylor University, Cory Carbonara says, "HDTV truly defined has 5 times the visual detail and 10 times the color information and more than twice the vertical and horizontal resolution of NTSC television."   He also says that the picture is substantially brighter, the aspect ratio is more than a third larger and the sound quality is equivalent to that of compact discs.

After reading a lot about this new standard of television, I have reached different views.  I love the idea of having unmatched quality and sound in my own home.  HDTV would fit perfect into my Sony home theater system.  Soon I would like to see a demo presentation to have a better idea of it and get really blown away like I've heard so many others have.  It's also exciting to be living in this age of a new standard possibly coming.  In my lifetime (from what I can remember) the only significant technology advances for home use has been the PC.  It started out expensive and the price soon went down and everybody jumped in.  I vaguely remember  our family's first VCR.  So living through this broadcast change will be history in the making and I can't wait!

Then comes the dollar issue.  Hopefully when this becomes reality, I'll be making enough money that it won't even be a factor.  But I cannot avoid noticing that the first set sold in Japan was for $28,000!  Now they are down to around $2800 .  Even though these prices would probably continue to decrease if a new standard takes place, these numbers really do jump out at me.  Plain and simple, I love the quality but the price scares me.  I'll just make sure I make enough money to buy two sets because when this change comes I'm jumping on it.

444.          Heart Of Darkness And Apocolypse Now

Heart Of Darkness And Apocolypse Now : Analysis Of Book&movie

Heart of Darkness and Apocalypse Now Inherent inside every human soul is a savage evil side that remains repressed by society. Often this evil side breaks out during times of isolation from our culture, and whenever one culture confronts another. Joseph Conrad's book, The Heart of Darkness and Francis Coppola's movie, Apocalypse Now are both stories about Man's journey into his self, and the discoveries to be made there. They are also about Man confronting his fears of failure, insanity, death, and cultural contamination. Heart of Darkness is about a man named Marlo telling of a trip he took into Africa to find a man named Kurtz for a company. During Marlow's mission to find Kurtz, he is also trying to find himself. He, like Kurtz had good intentions upon entering the Congo. Conrad tries to show us that Marlow is what Kurtz had been, and Kurtz is what Marlow could become. Every human has a little of Marlow and Kurtz in them. Along the trip into the wilderness, they discover their true selves through contact with savage natives. As Marlow ventures further up the Congo, he feels like he is traveling back through time. He sees the unsettled wilderness and can feel the darkness of it's solitude. Marlow comes across simpler cannibalistic cultures along the banks. The deeper into the jungle he goes, the more regressive the inhabitants seem. Kurtz had lived in the Congo, and was separated from his own culture for quite some time. He had once been considered an honorable man, but the jungle changed him greatly. Here, secluded from the rest of his own society, he discovered his evil side and became corrupted by his power and solitude. Marlow tells us about the Ivory that Kurtz kept as his own, and that he had no restraint, and was " a tree swayed by the wind." (Conrad 209) Marlow mentions the human heads displayed on posts that "showed that Mr. Kurtz lacked restraint in the gratification of his various lusts." (Conrad, 220) Conrad also tells us "his... nerves went wrong, and caused him to preside at certain midnight dances ending with unspeakable rights, which... were offered up to him," (Conrad, 208) meaning that Kurtz went insane and allowed himself to be worshipped as a god. It appears that while Kurtz had been isolated from his culture, he had become corrupted by this violent native culture, and allowed his evil side to control him. Marlow realizes that only very near the time of death, does a person grasp the big picture. He describes Kurtz's last moments "as though a veil had been rent." (Conrad, 239) Kurtz's last moment of complete knowledge , showed him how horrible the human soul really can be. Marlow can only speculate as to what Kurtz saw that caused him to exclaim "The horror! The horror," but later adds that "Since I peeped over the edge myself, I understand better the meaning of his stare... it was wide enough to embrace the whole universe, piercing enough to penetrate all the hearts that beat in the darkness... he had summed up, he had judged." (Conrad, 241) Marlow guesses that Kurtz suddenly knew everything and discovered how horrible the duplicity of man can be. Marlow learned through Kurtz's death, and he now knows that inside every human is this horrible, evil side. Francis Coppola's movie, Apocalypse Now, is based loosely upon Conrad's book. Captain Willard is a Marlow who is on a mission into Cambodia during the Vietnam war to find and kill an insane Colonel Kurtz. Coppola's Kurtz, as he experienced his epiphany of horror, was an officer and a sane, successful, brilliant leader. Like Conrad's Kurtz, Coppola shows us a man who was once very well respected, but was corrupted by the horror of war and the cultures he met. The story Kurtz tells Willard about the Special Forces going into a village, inoculating the children for polio and going away, and the communists coming into the village and cutting off all the children's inoculated arms, is the main evidence for this implication in that film. This is when Kurtz begins to go mad, he "wept like some grandmother" when, called back by a villager, he saw the pile of little arms, a sophisticated version of the "escalating horrors." What Kurtz meant by "escalating horrors" is the Vietnamese army's senseless decapitation, torture, and the like. Kurtz is facing a new culture and has a terrible time dealing with it. This was the beginning of his insanity. The disconnection between the opening words of Kurtz's report "By the simple exercise of our will, we can exert a power for good practically unbounded" and the note on the last page, "Exterminate all the brutes!" illustrates the progressive externalization of Kurtz's fear of contamination. The personal fear of loss of self-which colonialist whites saw in the uncivilized, seemingly regressive lifestyle of the natives. Coppola makes a point to show us that the Chief of a boat armed to the teeth was killed by a native in a tree who threw a spear. Not even an advanced Navy boat can defend itself against some simple natives armed only with spears. This opens Captain Willard's eyes to the horror of the situation he now finds himself in. We live our lives sheltered in our own society, and our exposure to cultures outside of our own is limited at best. Often, the more technologically advanced cultures look down upon those that they deem to be simpler. On the occasion that some member of one culture does come into contact with another, simpler culture, a self discovery happens. Both cultures realize that deep down inside, all humans are essentially the same. We all posses a good and an evil side, and no culture, not matter how advanced, is exempt from that fact. This discovery often causes madness as this evil side is allowed out. Only those who have completed the journey into self can understand the actions of people such as Kurtz. Works Cited Apocalypse Now. Dir. Francis Coppola. With Martin Sheen, Robert Duval, and Marlon Brando. Zeotrope, 1979. Conrad, James. Heart of Darkness and Other Tales. Great Britain, BPC paperbacks ltd. 1990.

445.          Helene Blavatsky 1353

Helene Blavatsky

Helene P. Blavatsky was born H elene Petrovna von Hahn on August 12, 1831 (new style calendar), in Ekaterinoslav, now Dnepropetrovsk, Russia. Her father, Peter von Hahn, a captain in the horse artillery of the Russian army, was a direct descendent of Count von Rottenstern-Hahn of Mecklenburg, Germany, who had emigrated to Russia in the previous century.

Her mother, Helena Andreyevna von Hahn, was a highly regarded novelist. She wrote under the pen name of Zenaide R. or Zeneide R-Va and was called the George Sand of Russia by Belinsky and other literary critics who regarded her as one of the principal founders of the women's liberation movement.

In 1842 Helena Andreyevna died when she was only twenty-seven years old, but with her literary reputation already well established. She realized early how rebellious, how courageous and brilliant her eleven-year old daughter was. On her deathbed she stated that perhaps it was just as well that she was dying for she would be spared seeing what befell little Helene. "Of one thing I am certain," she was quoted as saying. "Her life will not be as that of other women, and she will have much to suffer." Her words proved all too prophetic.

After her mother's death, little Helene went to live with her maternal grandparents, the Fadeefs, first in Saratoff and later in Tiflis. Madame Nadejda Fadeef, the aunt whom Helene deeply loved, wrote about her in later years:

From her earliest childhood, she was unlike any other person. Very lively and highly gifted, full of humor, and of most remarkable daring; she struck everyone with astonishment by her self-willed and determined actions ... It was a fatal mistake to regard and treat her as they would any other child. Her restlessness and very nervous temperament, one that led her into the most unheard of, ungirlish mischief ... Her passionate love and curiosity for everything unknown and mysterious, wierd and fantastical, and foremost of all, her craving for independence and freedom of action - a craving that nothing and nobody could control; all this combined with an exuberance of imagination and wonderful sensitiveness ...

When nearly seventeen, she married General N.V. Blavatsky who admitted to being fifty but was more probably close to seventy.

In three weeks time she fled this unconsummated marriage, abondoned Russia, and spent ten years in Central Asia, India, South America, Africa, and Eastern Europe.

She had always seen the form of a tall Hindu man near her, helping her whenever she was in danger, and in London she saw Him in person for the first time. Countess Wachtmeister wrote in her Reminiscenses of H.P. Blavatsky:

"When she was in London, in 1851, with her father, Colonel Hahn, she was one day out walking when, to her astonishment, she saw a tall Hindu in the street with some Indian princes. She recognized him as the very same tall, commanding figure she had seen often as a child.

"Her first impulse was to rush forward and speak to Him, but He made her a sign not to move, and she stood as if spellbound while He passed on. The next day she went to Hyde Park for a stroll ... alone ... Looking up, she saw the same form approaching her, and then her Master told her that He had come to London with the Indian princess on an important mission, and He was desirous of meeting her personally, and He required her cooperation in work He was about to undertake. He then told her how the Theosophical Society was to be formed, and that He wished her to be the founder. He gave her a slight sketch of all the troubles she would have to undergo, and also told her that she would have to spend three years in Tibet to prepare her for her most important task.

"After three days serious consideration and consultation with her father, H.P.B. decided to accept the offer made to her, and shortly afterwards left London for India."

Although she reached Tibet earlier, it was not until 1864 that she was able to stay long enough to receive the necessary training from Him: Master Morya.

Finally, after many more exciting visits to several countries, she set out for America to bring the teaching of the Ancient Wisdom to the world once again.

In 1874, she met Colonel Henry Steele Olcott, and it was with his collaboration that the marvelous philosophy of the Ancient Wisdom began to be published. Isis Unveiled appeared in the fall of 1877 in New York. H.P.B. received her United States citizenship in 1878. At the end of 1888, her magnum opus, The Secret Doctrine, was published, and The Key to Theosophy followed in 1889.

On May 8, 1891, in London, this magnificent woman died. Her eventful life continues to be a great inspiration to all students of the Ancient Wisdom the world over. Biographies of her life and reminiscences of her by friends and relatives continue to be published and are read everywhere with increasing interest. However, biographies just show her personality traits. Powerful as they were, they were overshadowed by her tremendously developed beingness. A highly developed being can tame the most flamboyant personality and use it to penetrate into and express the higher mind, the intuition, and still higher levels of beingness. Her true greatness, then, was the high level of her beingness, or Soul qualities, and the ability to express the great truths here on the physical plane perceived by that very beingness for the benefit of all mankind.

What were these great truths which she sacrificed all to express? What philosophy did she give us that was so profound and useful for humanity that today thousands of students still eagerly study?

Out of many important contributions, the most important one was the revelation of the existence of the Masters of Wisdom. They are advanced Souls who, through self-sacrificing service, intense striving, and great thought, have conquered the physical plane. She revealed that these rare and glorious Beings, the Elder Brothers of humanity, really exist. Starting as ordinary human beings, they have raised themselves to such a height of achievement, of great beingness, that they have actually entered consciously the fifth, or divine, kingdom in nature. She further revealed that from this high point of achievement, these Elder Brothers of humanity are working ceaselessly for the benefit of mankind and helping all those who are struggling and sacrificing to raise themselves up also! In addition, she taught a small part of their great knowledge about the beginnings of our world and about the appearance of the various kingdom on earth, including the human kingdom.

In the core of each human being there is a latent divinity, a Christ Consciousness, waiting to be unfolded to lead man on to his divine destiny. Because man was late in his development, as alluded to in The Secret Doctrine, he has always had teachers helping him. This help has always consisted, one way or another, in helping him to find the keys to the unfoldment of his innate divinity and to see for himself that he is a part, an inseparable part, of the divine purpose. When he discovers this by raising his beingness to the divine realms and thus experiences that divinity directly, he will no longer need earthly teachers. Because his conscious penetration of divinity will allow him to experience every aspect of nature and her laws, he will know, by experience, where his rightful place is in the nature of things. Those Who already accomplished this banded together, forming the Spiritual Hierarchy to help the rest of the human race reach the same goal. They still teach, helping everyone who is ready to break the bonds of material limitation. It is the human being, each individual one, who has to do the work. There are no "free rides." The Plan of the Hierarchy has basically two objectives; to teach humanity to liberate itself from matter, superstition, glamor and illusion, and to help humanity find its purpose as administrators of the will of God here on earth.

Ershan

446.          Hello My Name Is Orson Welles Essay

Hello, My Name Is Orson Welles

Orson Welles liked to reuse certain elements throughout his films.  He

liked a good deep focus shot.  He liked low key lighting.  He liked the

grotesque side of life, blocking actors in groups of three, low camera angles

and especially pointy bras.  He also liked to open his movies in a certain

predictable way.  In Citizen Kane, he used the announcer in "News on the March"

to introduce the subject and main character, Charles Foster Kane.  In The

Magnificent Ambersons, Welles himself dubs the voice-over which introduces the

life and environment of the Amberson family.  The Irish Welles serves as a story

teller in the beginning of Lady from Shanghai, recalling the beginnings of his

plight and giving insight into his character.  Welles reads the enigmatic

parable, serving as the basis of Kafka's work,  The Trial.

However, in Touch of Evil, the viewer can not hear the booming

instruction of an announcer, nor is the primary character revealed or the plot

introduced by a Wellesian voice over.  In Touch of Evil, Welles parts with his

usual opening style in favor of a much more dramatic method of introduction;

this creates a less obvious, yet more intimate initial interaction between the

characters on the screen and the viewer in the seat.

Foremost, Welles's legendary long shot opens the film.  These three

minutes and twenty seconds have many effects upon the viewer in introducing this

movie.  The primary purpose of this shot is to slowly draw the viewer in to the

story by limiting the viewer's role in the film; he doesn't allow the viewer to

actively enter the world of the film.  Rather, he constrains the viewer to

simply observe the actions presented without allowing the viewer to get involved

in the action.  After the initial focus on the time bomb and its intrinsic

importance to the plot, the camera moves away from the action.  At the same

point, Mancini's score begins, providing intrigue and promoting the viewer's

interest in the scenes revealed while, through the rhythmic ticking of the

bongos, also supplies a constant reminder of the ticking time-bomb waiting to

explode.  Stepping back, the camera reveals the wider picture of the town; just

as an establishing shot serves to orient the viewer without displaying any

intimate action, Welles's camera then begins to introduce the setting to the

viewer.  However, Welles limits the viewer's interaction by not involving the

viewer in any specific action.  Rather, the focus of attention shifts

continually between different points of interest.  First, the focus is the

doomed car driving pulling out of the parking lot, then driving down the street.

Then attention shifts to the other activity on the street, then back to the car,

and then on the entrance of Mr. and Mrs. Vargas.  Until the end of the scene,

the Vargases and Linnaker's car battle for attention as they continually pass

each other within the camera's view.  This shifting of focus keeps the viewer

just that: an observer looking into this world through the camera.  Welles also

reinforces this feeling by raising the camera to unhuman points of view above

the action.  It eliminates any initial intimacy the viewer could form with the

characters.  Therefore, the viewer gets a broad overview of the town, the

atmosphere, and the people before gradually entering this world.

Welles first invites the viewer into the scene as the camera finally

returns to a human point of view at the border checkpoint.  This change, not by

coincidence, comes with the first words spoken in the film.  Welles uses these

two factors to humanize the camera and draw the viewer into this interaction

between the Vargases and the border guard.  However, the view remains imperfect

for a human participant in the scene.  The floating movement of the camera, a

left over attribute from the beginning of the shot, remains to remind the viewer

that he is not yet totally immersed in the action.  Then, with a dolly into the

kissing couple, Welles gains some intimacy between the viewer and the characters.

However, still just an outside observer, it takes the violent explosion to

suddenly snap the viewer into the story.  With the first cut of the film, Welles

shocks the viewer into entering this reality.

With the subsequent low angle, hand held tracking shot along the ground,

Welles finally changes the viewpoint of the film.  The high amount of energy in

the shot, as opposed to the previous dream-like sequence, energizes the viewer,

drawing him into the action.  The shaky style of the hand-held camera lends a

feeling of reality, as associated with documentary style filmmaking.  This

energetic reality finally allows the viewer to feel a connection with the action,

quickly becoming the viewer's temporary reality for the next two hours.

By withholding the story from the viewer, only to suddenly thrust the

viewer into the action heightens the excitement of this initial incident.

However, through the movie, Welles reveals the irony of this carefully

constructed opening sequence.  With the all the excitement created by these

techniques, the viewer expects that the explosion will be the basis of film's

plot.  However, Welles makes it eventually apparent that the search for the

bomber serves as a mere foundation for the true plot of the film: the

exploration of Quinlan's character and his downfall at Vargas's hands.

Just as he jolts the initial action, Welles also creates atmosphere by

shocking the viewer's sensations.  The first shot uses a truck mounted crane to

smoothly glide through the air, traveling through the city raising and lowering

swiftly from an obviously unnatural point of view.  The camera focuses on

various aspects of the scene, shifting attention like a stream of conscience

exploration of the setting. Welles lights the buildings and characters

relatively brightly.  This production method gives the shot a dream-like

quality; what the viewer is witnessing isn't a reality, but rather an illusion

of a reality which Welles soon reveals.

With the explosion, the dream instantly transforms into the nightmare that

Welles intended to create in this film.  The Vargas's leisurely stroll through

the town turns to chaos as the townspeople erupt in a frantic effort to reach

the burning car; actors seemingly run in circles around Vargas just to emphasize

this commotion.  Mancini's mysterious bongos have been replaced with sound

effects of burning wreckage, screaming Mexicans and eventually wailing sirens.

The gentle high-angle floating crane turns to a jarring low angle hand-held run.

The formerly bright lit buildings suddenly turn to darkness and shadows envelop

the characters as the run toward the fire.  In addition, Welles uses the

brightness of the fire and the darkness of the night sky to create the typical

high contrast shooting style of film-noir.

Welles also establishes many of the film's basic thematic elements through

this sequence of shots.  First, he introduces the relationship between the

Mexican and American border towns.  The visual lack of security and laxity with

which the Vargases cross the border indicate the close relationship between the

neighboring towns.  Even despite the lunatic ranting of Linnaker's date, they

too are allowed to cross the border.  The casual relationship between the towns

on either side of the border quickly becomes apparent, yet also a point of

controversy.  Indications such as the "Welcome Stranger" sign under which Vargas

soon stands show the surface friendliness, yet also reveal the sarcastic element

of racism that will appear.

Similarly, these opening shots introduce the forbidden relationships that

develop in the border situation.  Specifically, Welles briefly investigates two

couples, neither of which appear entirely acceptable.  Foremost, Mike and Suzy

Vargas appear as the first couple in the film.  They walk down the street, with

his arm around her, an apparently healthy couple.  However, the first

indications of a problem arise when they reach the border station.  The border

guard can not accept that the American blond beauty is in fact married to a

Mexican.  When she corrects him with "Mrs.," he retorts with confusion and the

brief question "what?"  Then when  Mike mentions that he's "on the trail of a

chocolate soda for my wife," the guard once again questions in disbelief, "Your

wife?"

Though not as obvious, Welles also dooms the relationship between Linnaker

and his date, the stripper.  By knowing his name and by his quick passage across

the border, the border guards reveal Linnaker's apparent status in the town.

Linnaker's reputation appears nearly as impressive as that of Vargas, to whom

the guards also knew and also granted easy passage.  In comparison, Zita appears

not only dumb, but insane with her rantings of the ticking sound in her head.

This forbidden couple, flawed by this apparent personality and status clash, is

doomed by a ticking time-bomb in the trunk; not only will this relationship not

work, the viewer knows that it won't even matter as they're about to become

"strainable."

Rarely in a film does a director pack so much insight into his movie than

Orson Welles does in the beginning three shots of Touch of Evil.  With minimal

dialogue and mostly visual elements, he clues the viewer into so many aspects of

the film.  In a very unwellesian way, Welles manages to introduce the setting,

the characters and some of the thematic elements which will later become

apparent.  However, although film critics may tag Welles's methods in the

beginning of this movie as "unwellesian," it nevertheless awes the viewer with

its splendor.  And what is more "Wellesian" than awesome splendor?

447.          Hello My Name is Orson Welles

Hello, My Name Is

Orson Welles

Orson Welles liked to reuse certain elements throughout his films.  He liked a good deep focus shot.  He liked low key lighting.  He liked the grotesque side of life, blocking actors in groups of three, low camera angles and especially pointy bras.  He also liked to open his movies in a certain predictable way.  In Citizen Kane, he used the announcer in "News on the March" to introduce the subject and main character, Charles Foster Kane.  In The Magnificent Ambersons, Welles himself dubs the voice-over which introduces the life and environment of the Amberson family.  The Irish Welles serves as a story teller in the beginning of Lady from Shanghai, recalling the beginnings of his plight and giving insight into his character.  Welles reads the enigmatic parable, serving as the basis of Kafka's work,  The Trial.

However, in Touch of Evil, the viewer can not hear the booming instruction of an announcer, nor is the primary character revealed or the plot introduced by a Wellesian voice over.  In Touch of Evil, Welles parts with his usual opening style in favor of a much more dramatic method of introduction; this creates a less obvious, yet more intimate initial interaction between the characters on the screen and the viewer in the seat.

Foremost, Welles's legendary long shot opens the film.  These three minutes and twenty seconds have many effects upon the viewer in introducing this movie.  The primary purpose of this shot is to slowly draw the viewer in to the story by limiting the viewer's role in the film; he doesn't allow the viewer to actively enter the world of the film.  Rather, he constrains the viewer to simply observe the actions presented without allowing the viewer to get involved in the action.  After the initial focus on the time bomb and its intrinsic importance to the plot, the camera moves away from the action.  At the same point, Mancini's score begins, providing intrigue and promoting the viewer's interest in the scenes revealed while, through the rhythmic ticking of the bongos, also supplies a constant reminder of the ticking time-bomb waiting to explode.  Stepping back, the camera reveals the wider picture of the town; just as an establishing shot serves to orient the viewer without displaying any intimate action, Welles's camera then begins to introduce the setting to the viewer.  However, Welles limits the viewer's interaction by not involving the viewer in any specific action.  Rather, the focus of attention shifts continually between different points of interest.  First, the focus is the doomed car driving pulling out of the parking lot, then driving down the street.  Then attention shifts to the other activity on the street, then back to the car, and then on the entrance of Mr. and Mrs. Vargas.  Until the end of the scene, the Vargases and Linnaker's car battle for attention as they continually pass each other within the camera's view.  This shifting of focus keeps the viewer just that: an observer looking into this world through the camera.  Welles also reinforces this feeling by raising the camera to unhuman points of view above the action.  It eliminates any initial intimacy the viewer could form with the characters.  Therefore, the viewer gets a broad overview of the town, the atmosphere, and the people before gradually entering this world.

Welles first invites the viewer into the scene as the camera finally returns to a human point of view at the border checkpoint.  This change, not by coincidence, comes with the first words spoken in the film.  Welles uses these two factors to humanize the camera and draw the viewer into this interaction between the Vargases and the border guard.  However, the view remains imperfect for a human participant in the scene.  The floating movement of the camera, a left over attribute from the beginning of the shot, remains to remind the viewer that he is not yet totally immersed in the action.  Then, with a dolly into the kissing couple, Welles gains some intimacy between the viewer and the characters.  However, still just an outside observer, it takes the violent explosion to suddenly snap the viewer into the story.  With the first cut of the film, Welles shocks the viewer into entering this reality.

With the subsequent low angle, hand held tracking shot along the ground, Welles finally changes the viewpoint of the film.  The high amount of energy in the shot, as opposed to the previous dream-like sequence, energizes the viewer, drawing him into the action.  The shaky style of the hand-held camera lends a feeling of reality, as associated with documentary style filmmaking.  This energetic reality finally allows the viewer to feel a connection with the action, quickly becoming the viewer's temporary reality for the next two hours.

By withholding the story from the viewer, only to suddenly thrust the viewer into the action heightens the excitement of this initial incident.  However, through the movie, Welles reveals the irony of this carefully constructed opening sequence.  With the all the excitement created by these techniques, the viewer expects that the explosion will be the basis of film's plot.  However, Welles makes it eventually apparent that the search for the bomber serves as a mere foundation for the true plot of the film: the exploration of Quinlan's character and his downfall at Vargas's hands.

Just as he jolts the initial action, Welles also creates atmosphere by shocking the viewer's sensations.  The first shot uses a truck mounted crane to smoothly glide through the air, traveling through the city raising and lowering swiftly from an obviously unnatural point of view.  The camera focuses on various aspects of the scene, shifting attention like a stream of conscience exploration of the setting. Welles lights the buildings and characters relatively brightly.  This production method gives the shot a dream-like quality; what the viewer is witnessing isn't a reality, but rather an illusion of a reality which Welles soon reveals.

With the explosion, the dream instantly transforms into the nightmare that Welles intended to create in this film.  The Vargas's leisurely stroll through the town turns to chaos as the townspeople erupt in a frantic effort to reach the burning car; actors seemingly run in circles around Vargas just to emphasize this commotion.  Mancini's mysterious bongos have been replaced with sound effects of burning wreckage, screaming Mexicans and eventually wailing sirens.  The gentle high-angle floating crane turns to a jarring low angle hand-held run.  The formerly bright lit buildings suddenly turn to darkness and shadows envelop the characters as the run toward the fire.  In addition, Welles uses the brightness of the fire and the darkness of the night sky to create the typical high contrast shooting style of film-noir.

Welles also establishes many of the film's basic thematic elements through this sequence of shots.  First, he introduces the relationship between the Mexican and American border towns.  The visual lack of security and laxity with which the Vargases cross the border indicate the close relationship between the neighboring towns.  Even despite the lunatic ranting of Linnaker's date, they too are allowed to cross the border.  The casual relationship between the towns on either side of the border quickly becomes apparent, yet also a point of controversy.  Indications such as the "Welcome Stranger" sign under which Vargas soon stands show the surface friendliness, yet also reveal the sarcastic element of racism that will appear.

Similarly, these opening shots introduce the forbidden relationships that develop in the border situation.  Specifically, Welles briefly investigates two couples, neither of which appear entirely acceptable.  Foremost, Mike and Suzy Vargas appear as the first couple in the film.  They walk down the street, with his arm around her, an apparently healthy couple.  However, the first indications of a problem arise when they reach the border station.  The border guard can not accept that the American blond beauty is in fact married to a Mexican.  When she corrects him with "Mrs.," he retorts with confusion and the brief question "what?"  Then when  Mike mentions that he's "on the trail of a chocolate soda for my wife," the guard once again questions in disbelief, "Your wife?"

Though not as obvious, Welles also dooms the relationship between Linnaker and his date, the stripper.  By knowing his name and by his quick passage across the border, the border guards reveal Linnaker's apparent status in the town.  Linnaker's reputation appears nearly as impressive as that of Vargas, to whom the guards also knew and also granted easy passage.  In comparison, Zita appears not only dumb, but insane with her rantings of the ticking sound in her head.  This forbidden couple, flawed by this apparent personality and status clash, is doomed by a ticking time-bomb in the trunk; not only will this relationship not work, the viewer knows that it won't even matter as they're about to become "strainable."

Rarely in a film does a director pack so much insight into his movie than Orson Welles does in the beginning three shots of Touch of Evil.  With minimal dialogue and mostly visual elements, he clues the viewer into so many aspects of the film.  In a very unwellesian way, Welles manages to introduce the setting, the characters and some of the thematic elements which will later become apparent.  However, although film critics may tag Welles's methods in the beginning of this movie as "unwellesian," it nevertheless awes the viewer with its splendor.  And what is more "Wellesian" than awesome splendor?

448.          Henrik Ibsen 4080

Loyalty, duty, obligation.  These are only some of the social

laws that Henrik Ibsen wrote out against in his later works.  Ibsen believed

that these bourgeois beliefs were hindering the individual's, as well as the

nation's, realization of the self.  To Ibsen, it was far more important to

have the freedom to express oneself than to adhere to outdated,

conventional ideas.  In "A Doll House" and "Ghosts", both heroines are

forced to confront these social hindrances.  Both women attempt to

overcome these powerful restraints in their attempts to find themselves,

one more successfully than the other.

"Ibsen's effect on his contemporaries and his influence on the

course of modern drama were immediate and profound".1  More than any

other dramatist, he gave theater a new vitality by bringing into European

bourgeois drama an ethical gravity, a psychological depth, and a social

significance which the theater had lacked since the days of Shakespeare.

For the better part of fifty years, Ibsen contributed to giving European

drama a vitality and artistic quality comparable to the ancient Greek

tragedies.  This contribution to theatrical history gained for Ibsen the

reputation of being the greatest and most influential dramatist of his time.

He "gave the stage its first distinctively modern characters:

complex, contradictory individuals driven by a desire for something - the

'joy of life', a sense of themselves - that they can barely recognize or

name".2  His realistic contemporary drama was a continuation of the

European tradition of tragic plays.

In these plays he portrays ordinary middle class people of his

day.  Routines, and schedules usually taken for granted, are suddenly

turned upside down as they are forced to confront a major crisis.  Nora, in

"A Doll House", must finally confess to her husband that she borrowed

money illegally in a desperate attempt to save him.  A fact she is terrified

to reveal.  Mrs. Alving in "Ghosts" must confront herself, the ghosts which

she carries around with her, and those she perpetuates into the lives of the

children in her care.  She is forced to come to terms with her own

cowardice in the face of stringent social norms.  Ibsen makes it painfully

clear that these women have only themselves to blame, and forces them to

deal with that knowledge.

It is the tragic life feeling that gives Ibsen's drama its unique

quality.  This experience of missing out on life and plodding along in a

state of living death.  The alternative is pictured as an existence in

freedom, truth and love, in short, a happy life.  In Ibsen's world the main

character strives toward a goal, but this struggle leads out into the cold, to

loneliness.  Yet the possibility of opting for another route is always there,

one can chose human warmth and contact. The problem for Ibsen's

protagonists is that the choices can be deceiving, and the individual cannot

always see the consequences of his decision.

His characters are distinguished by their staunch,

well-established bourgeois lives. Nevertheless, their world is threatened

and threatening. It turns out that the world is in motion; old values and

previous conceptions are adrift. The movement shakes up the life of the

individual and jeopardizes the established social order. Here we see how

the process has a psychological as well as a conceptual and social aspect.

Yet what starts the whole process is the need for change,

something springing forth from the individual's volition.  In this sense,

Ibsen is a powerful conceptual writer. This does not mean that his main

concern as a dramatist was the didactical use of theater, or the waging of

an abstract ideological debate. (Some of his critics, contemporary and

later, have made this accusation - and it is fairly obvious that Ibsen was

drawn towards the didactic.) However, the basis of Ibsen's human

portrayal is his characters' conceptions of what makes life worth living -

their values and their understanding of existence. The concepts they use to

describe their position may be unclear; their self-understanding may be

intuitive and deficient.

In 1879, Ibsen sent Nora Helmer out into the world with a

demand that a woman too must have the freedom to develop as an adult,

independent, and responsible person.3 The playwright was now over 50,

and had finally been recognized outside of the Nordic countries. "Pillars of

Society" had admittedly opened the German borders for him, but it was "A

Doll's House" and "Ghosts" (1881) which in the 1880s led him into the

European avant-garde.4

Nora is regarded by her husband as nothing more than as a

plaything or a pet rather than as an independent person with real needs and

emotions.  These attitudes reflect the shallow and sexual nature of their

marriage.  Nora is oblivious to this, however, until later in the play.  When

she finally faces this reality, she is humiliated and disgusted.  Nora has

forged her father's signature in order to borrow money.  This is the terrible

secret she must hide from Torvald.  She feels she cannot tell him the truth,

How painful and humiliating it would be for Torvald, with

his manly independence, to know that he owed me

anything.  It would upset our mutual relations altogether;

our beautiful happy home would no longer be what it is

now.5

Krogstad, the money-lender, threatens to blackmail Nora if she

refuses to convince her husband not to fire him.  Krogstad unknowingly

does much more than frighten Nora.  He also forces her to realize that her

social transgression was not so very different from his own.  This

realization sparks an awakening in Nora.  She is beginning to peel away

the layers and have a closer look at herself.

She speaks to Torvald about the forgery Krogstad once

committed.  She becomes increasingly agitated as he lectures,

Just think how a guilty man like that has to lie and play the

hypocrite with everyone, how he has to wear a mask in the

presence of those near and dear to him, even before his

own wife and children.  And about the children, that is the

most terrible part.6

This scene upsets Nora considerably.  It is also a turning point.

Shortly after this lecture she shies away from seeing the children and

makes plans to see them less often so that she may avoid 'polluting' them.

this is the first indication that she will begin to make some significant

shifts in her life.

It is not until she is forced into it that Nora accepts that she

must confess to Torvald.  There can be no true marriage if it is not based

on honesty and trust.  Sadly, Nora is still convinced that the 'wonderful

thing' will happen when Torvald discovers the truth.  She believes that he

loves her so deeply that he will protect her.  Not only will he stand beside

her, he himself will shoulder the blame.  He will dishonour himself in

order to save Nora, his "little lark".7

How disappointed she is when he does none of those things

and instead cares only for appearances.  She might have seen this coming

had she paid closer attention to his reactions to Krogstad's continued

attempts at friendship.  He denounces her as his wife and as the mother of

his children, but insists she remain living in the house in order to keep up

appearances.  It is at this point that Nora must confront her true self.

Helmer tells her, "but no man would sacrifice his honor for the ones he

loves."  Nora's poignant reply rings true, "It is a thing hundreds of

thousands of women have always done."8

Nora, having discovered she is no longer the little "squirrel"

Torvald thought her to be reflects upon the last eight years,

When I look back upon it, it seems to me as if I have been

living here like a poor woman - just from hand to mouth.  I

have existed merely to perform tricks for you, Torvald.

But you would have it so.  You and Papa have committed a

great sin against me.  It is your fault I have made nothing

of my life.9

Although he promises things will be different in the future,

Nora leaves him, her old ideals and even her children to search for her own

answers.  She leaves it all behind with the closing of the door.

"A Doll's House" has a plot which he repeated in many

subsequent works, in the phase when he cultivated "critical realism". We

experience the individual in opposition to the majority, society's oppressive

authority.  Nora puts it this way: "Now I'll begin to learn for myself.  I'll

try to discover who's right, the world or I".10  As noted earlier, when the

individual intellectually frees himself from traditional ways of thinking,

serious conflicts arise.

For a short period around 1880, it appears that Ibsen was

relatively optimistic about the individual's chances of succeeding on his

own.11 Although her future is insecure in many ways, Nora seems to have

a real chance of finding the freedom and independence she is seeking.

Ibsen can be criticized for his somewhat superficial treatment of the

problems a divorced woman without means would face in contemporary

society. But it was the moral problems that concerned him as a writer, not

the practical and economic ones.

In spite of Nora's uncertain future prospects, she has served in

a number of countries as a symbol for women fighting for liberation and

equality. In this connection, she is the most international of Ibsen's

characters. Yet this is a rather singular success. The middle-class public

has enthusiastically applauded a woman who leaves her children and

husband, completely breaking off with the most important institution in the

bourgeois society - the family!12

This points to the basis of Ibsen's international success. He

took acute problems that afflicted the bourgeois family and placed them on

the stage. On the surface, the middle-class homes gave an impression of

success - and appeared to reflect a picture of a healthy and stable society.

But Ibsen dramatizes the hidden conflicts in this society by opening the

doors to the private, and secret rooms of the bourgeois homes. He shows

what can be hiding behind the beautiful façades: moral duplicity,

confinement, betrayal, and fraud not to mention a constant insecurity.

These were the aspects of the middle-class life one was not supposed to

mention in public, as Pastor Manders wished Mrs. Alving to keep secret

her reading and everything else that threatened the atmosphere at

Rosenvold in "Ghosts".13

"Ghosts" is in many ways very similar to "A Doll House".

Both plays are quite short in duration, the main protagonist is female, and

both plays take place over a very short span of time.  However, this play

has no sub-plot.  Only the characters involved in the main dramatic action

are ever introduced.  This technique makes the strength of the play all that

much more powerful. There are no distractions to lessen the force of the

loss which Mrs. Alving suffers.

Mrs. Alving was raised to be a good girl.  She went on to

become a good wife.  She led a good and virtuous life because it was the

right thing to do.  Ibsen, in writing "Ghosts", made her pay for sacrificing

her own personal needs.Ibsen points out that each generation learns from

the one before it, and that the ghosts remain with us unless we are willing

to struggle against them.  He also makes clear that this struggle is not only

productive but necessary for our survival.  There is no mistaking the

message Ibsen sends with the severe punishment of Mrs. Alving in this

play.

In her first year of marriage to Mr. Alving, she was so

miserably unhappy that she ran to Pastor Manders for help.  He scolded

her and persuaded the miserable young woman to do the dutiful thing and

return to her husband.  For many years Mrs. Alving quietly ran the

house-hold.  She even tended to her husband when he was in a drunken

stupor.  What she didn't do, was express her true feelings.

It is only many years later that Pastor Manders feels her

resentment towards him.  Manders asks, "What was that upshot of my

life's hardest battle?"  To which Mrs. Alving remarks, "Call it rather your

most pitiful defeat."  Manders can't believe that and gently says, "It was

my greatest victory Helen - the victory over myself."  Here finally, an

utterance of Mrs. Alving's true emotions, "It was a crime against us

both".14

She is a very interesting and complex character for though she

wanted desperately to eradicate any trace of her "ghosts", she did

everything to perpetuate those old stigmas.  She goes so far as to send her

one source of happiness, Oswald away to school so that he will have no

trace of his father in him.  Then, ironically, she writes letters implying that

the boy's father is nothing less than a hero.  There are many such

inconsistencies in Mrs. Alving's character.

At the same time that she reads books of which the Pastor

disapproves, she is financing an orphanage in her husband's name.

Although she despised the man, she does it in order to quiet any slanderous

gossip that might be circulating.  Or it could have been an admission of

guilt.  "Her decision to be her own judge of what is right and wrong

marked so radical a revolt from the habits of a lifetime . . . that the

de-throning of authority and the installation of the self in its place could

not be erected without a feeling of guilt"15 Perhaps she felt that she had

failed him in some way, taking the responsibility upon herself to bear.

She wants her son to be happy, but when he shows interest in

Regina, she considers arranging her marriage to prevent the two being

together.  Mrs. Alving shows extreme emotional upset at the prospect of

telling her son the truth about his father.  She regrets her life-long

cowardice, and yet still does not speak out.  She is frightened by the ghosts

that haunt her,

It is not only what we have inherited from our fathers and

mothers that exists again in us, but all sorts of old dead

ideas and all kinds of old dead beliefs and things of that

kind.  They are not actually alive in us, but they are

dormant all the same, and we can never be rid of them.

Whenever I take up a newspaper and read it I fancy I see

ghosts creeping between the lines.  There must be ghosts

all over the world.  They must be countless as the grains of

the sands, it seems to me.  And we are all so miserably

afraid of the light, all of us.16

Perhaps Ibsen felt that he had not made his message clear with

Mrs. Alving.  Perhaps he felt that the loss of her own happiness was not

punishment enough.  For she now finds out that all of her efforts were for

naught.  Oswald tells her that he is very ill.  Her guilt grows as he tells her

about the doctor who diagnosed him.  He had insinuated that Oswald's

father was not a virtuous man.  Oswald had rushed to his father's defense

with his mother's letters as evidence.Mrs. Alving, although suffering

inner conflict still does not speak.

Mrs. Alving does something even more perplexing near the end

of the play.She feels freed that she can finally tell her awful secrets when

Oswald explains that he wants to take Regina with him simply because she

is full of "the joy of life".17  It is only at this point that Mrs. Alving feels

she can speak.  Sadly, this is because she can now make Mr. Alving's

sexual transgressions her fault.  She now feels responsible, "I brought no

holiday spirit into his home either.  I had been taught about duty and that

sort of thing that I believed in so long here.  As though this wasn't enough,

she goes on to shoulder the blame even further when she says, "I am afraid

that I made your poor father's home unbearable to him Oswald."18

Although she has spoken now, it is too late.  Oswald is dying.

He is suffering from the syphilitic paresis and will soon need his mother to

administer the fatal dose of morphine that he carries with him.  It is poetic

justice that Mrs. Alving should be the one to end his life.  She has let

cowardice beat her all her life and now she must face the consequences not

of her actions, but of her in-actions.

"Ghosts", is a painful clash with the melancholic, killjoy

aspects of the Christian bourgeois tradition which subdues the human

spirit.  Both this work, and "A Doll's House" contain, for all their despair,

a warm defense of happiness and the joy of life - pitted against the

bourgeois society's emphasis on duty, law, and order.  It was in the 1870s

that Ibsen oriented himself toward his "European" point of view. Even

though he lived abroad, he continually chose a Norwegian setting for his

contemporary dramas.19

As a rule, we find ourselves in a small Norwegian coastal

town, the kind Ibsen knew so well from his childhood in Skien and his

youth in Grimstad.20 The background of the young Ibsen certainly gave

him a sharp eye for social forces and conflicts arising from differing

viewpoints. In small societies, such as the typical Norwegian coastal town,

these social and ideological conflicts are more exposed than they would be

in a larger city. Ibsen's first painful experiences came from such a small

community. He had seen how conventions, traditions, and norms could

exercise a negative control over the individual, create anxiety, and inhibit a

natural and joyful lifestyle.

This was the atmosphere of his youth that formed the basis for

his writing and world fame. As an insecure writer and man of the theater

in a stifling Norwegian milieu, he set out to create a new Norwegian

drama. He began with this national perspective. At the same time, from his

first journey abroad, he oriented himself toward the European tradition of

theater.  In the history of drama, early in the 1850s Ibsen carried on the

traditions of two highly dissimilar writers, the Frenchman Eugène Scribe

(1791-1861) and the German Friedrich Hebbel (1813-63).21 For 11 years

the young Ibsen was occupied with day to day practical stagework, and it

follows that he had to keep himself well informed about the latest

contemporary European theatrical art. He worked with rehearsals of new

plays and was committed to writing for the theater.

Scribe could teach him how a drama's plot should be structured

in a logically motivated progression of scenes.22 Hebbel provided him with

an example of the way drama could be based on life's contemporary

dialectics, creating a modern conceptual drama. Hubbell's pioneering work

was his conveyance of the ideological conflicts of his day into the theater.

He also knew how the Greek tragedy's retrospective technique could be

used by a modern dramatist.  From this he may have arrived at the idea of

making "Ghosts" a family drama.  The "tragic flaw" in "Ghosts" is passed

down from the father to both of his children.  An inescapable, tragic flaw.

In other words, Ibsen was in close contact with the art of the

stage for a long uninterrupted period. His six years at the theater in Bergen

(1851-57) and the following four or five years at the theater in Kristiania

from 1857 were not easy.23 But he acquired a sharp eye for theatrical

techniques and possibilities.  Ibsen's apprenticeship was long, lasting about

15 years, and included theater work.  There was a strong pressure to

produce hanging over him; one that led to fumbling attempts in many

directions. He experienced a few minor artistic victories - and numerous

defeats. Very few believed that he had the necessary gift to become more

than a minor theatrical writer with a modicum of talent.

In spite of this insecurity, it is a determined young writer we

see during these years. His goal was clearly national. Together with his

friend and colleague Bjørnstjerne Bjørnson (1832-1910), he founded "The

Norwegian Company" in 1859, an organ for Norwegian art and culture.24

They had a joint program for their activities. Ibsen was especially

concerned with the role of theater in the young Norwegian nation's search

for its own identity. In these "nation-building" pursuits, he gathered his

material from the country's medieval history and perfected his art as a

dramatist.

What he had earlier treated as a national problem of identity,

now became a question of the individual's personal integrity. It was no

longer sufficient to dwell on an earlier historical era of greatness and focus

on the continuity of the nation's life. Ibsen turned away from history, and

confronted what he considered the main contemporary problem - a nation

can only rise up culturally by means of the individual's exertion of will.

Ibsen's message that the individual must follow the path of

volition in order to achieve true humanity, is clear. This is the only way to

real freedom - for the individual, and it follows, for society as a whole.

Nora and Mrs. Alving are two examples of this message.  The

only way either of these women could free themselves was to rid

themselves of all these outdated social restraints.  Choosing the right path

for themselves as individuals, not what was best for society or what was

expected of them.  Nora wasted eight years of her life married to a man

that she realized was a "stranger" to her.  She had been so busy playing a

role to suit and please him that she completely lost sight of her true self.

She risked her honour for a man that didn't appreciate or respect her as an

individual person.  In all fairness, however, it must be stated that it would

have been impossible for Torvald to know her any better as an individual

as she did not even know herself.

Mrs. Alving's story was more touching.  She spent twenty-nine

years with a man she did not love.  She focused her entire life on trying to

keep any part of her husband from infecting and contaminating Oswald,

her only son.  She had no idea that he had long since infected the boy with

syphilitic paresis.  She also had no idea that this same son would die in her

arms because of her inability to stand up for herself and demand respect.

Mrs. Alving lost the better part of her life, a chance at happiness and her

only son.  All because of a fear of breaking out of the old confinements.

Ibsen's message on the tragic consequences of ignoring one's inner

emotions and needs is loud and clear.

Even though Ibsen withdrew from his Norwegian starting point

in the 1870s and became "a European", he was always deeply marked by

the country he left in 1864, and to which he first returned as an aging

celebrity.25 It was not easy for him to return. The many years abroad, and

the long struggle for recognition, had left their indelible stamp. Towards

the end of his career, he said that he really was not happy with the fantastic

life he had lived.  He felt homeless - even in his mother country.26

His style and talent set a new precedence for the drama of his

day.  "Instead of setting before us a finished picture to contemplate, Ibsen

hands us an exposed photographic negative of the most sensitive quality,

and leaves the task of developing and the ultimate result to the individual

reader's ability".27

Ibsen's own desires and preferences deserve mention here.

Ibsen felt that studying individual plays without the whole as a group was

insensible, " . . . Ibsen [felt that] all the works he [had] created, however

they differ[ed] in style, to be integral phases of one consistent

development", and therefore should be studied as a whole not as separate

works.28 However, due to the length and nature of this paper, it was

impossible to adhere to these wishes.  Be it sufficient that the reader

should keep in mind that these two plays are simply that, two plays from

one integral work.

It is clear then, by Nora and Helen's experiences that Henrik

Ibsen greatly valued the individual's and the nation's search for the true

inner self.  He did not believe in conforming to rigid social structures, but

instead in discovering our individual needs and desires.  His work

regarding women's rights and freedoms will be warmly remembered by

women everywhere for many years to come.

449.          Heros Epic

Hero's Epic

In the course of time, many heroes have made their name and many stories have been written to proclaim their greatness. However, none as captivating as Beowulf. This Anglo-Saxon epic demonstrates it's  power with beautiful language, usage of kennings, metaphors, similes, and alliteration. Also, it gives wondrous supernatural beings as in God, and even of powerful creatures as Grendel. On the other hand, it has human struggles and afflictions.

The very first element that is discovered by reading this epic is the lofty language that is used. Although, having read only and excerpt, the writing is as glorious as the story itself. Alliteration usage and can easily recognized in line 33, "He found them sprawled in sleep, suspecting nothing..." which demonstrates the "s" sound. Another example of alliteration at work using the "p" sound is line 160, "From my prince, no permission from my people for your landing here."

Metaphors provide a distinct characteristic as in line 30 describing terror as "darkness had dropped." Line 128 when sailing across the sea, describing the seas "beating" on the sand. There are few similes but one that stands out most in line 133. "The ship foamed through the sea like a bird..." Using like to describe the similarity of the bird and how the ship traveled across the sea. Probably the most  important element of language are the kennings which describe something simple so indirectly. Line 241 describes darkness or night by stating how the moon hangs. Also line 325 describes Grendel in two different kennings as one form of evil.

Every hero has their way of fighting evil or protecting from it. In order to fight a supernatural being, one must have a superhuman power which brings us to another characteristic of epic poetry. The very first supernatural being described is the almighty God in lines 7-3 in the beginning. God is definitely been a supernatural being because of his ability and powers that he possesses. He is mostly associated with the Earth's origin and it's inhibitors. Monsters are also form of supernatural being. In this epic Grendel provokes death and cannibalizes human without thought but also enjoying it. What makes him so powerful is his appetite for people and how he acquires it. Without doubt the most obvious superhuman character must be Beowulf. Most recognized by inhuman strength and bravery. Human's greatest fear or enemy is death but Beowulf is not intimidated by death which proves him to be superhuman and uncommon among our race.

In a heroic epic poem, the most important element must as always and sometimes is the hero himself or herself. To be classified as a hero, one of the most important characteristic that must be included is devotion to duty and have a worth cause. Beowulf proves his nobility by venturing across the sea to fight evil bringing honor for his King Higlac. As noticed, in the section "The Coming of Beowulf" he (Beowulf) has mentioned his king more than once, not owning all the bravery to himself. Beowulf is devoted to his duty by immediately adjusting the problem, but without a doubt, his travels were all for a worthy cause which is to kill evil and end suffering.

Having all there elements mentioned, Beowulf holds true to it's title as a heroic epic poem.

450.          History and Origins of the Ducimer

ORIGINS AND HISTORY OF THE DULCIMER

The dulcimer is a member of the string family. It is further categorized into the Psaltrey family, a group of instruments that are comprised of strings stretched across a frame and played by plucking or drumming.  The only difference, in fact, between the dulcimer and the psaltrey is the fact that one is plucked and the other is drummed.  The dulcimer family is divided into two sections.  The dulcimers with keys and dulcimers without keys.  A dulcimer with keys would be played by depressing a key which would move a mechanism that would cause a hammer to strike the string.  The most improved instrument in the keyed dulcimer section is the piano.  Dulcimers that are played without the aid of a key are usually in the unusual shape of a trapezoid.  Early descriptions of this instrument, dating back to the Middle Ages, describe the instrument as a rectangular box with strings stretched over two bridges. Both the single and the double bridged dulcimers are common in traditional Irish music.  It is played by striking the strings with padded wooden hammer.

It is commonly believed that the dulcimer came to Europe from the East sometime in the fifteenth century.  This cannot be true.  The dulcimer is closely related to the yang ch'in from China.  However, the yang ch'in was introduced to the Chinese around 1800.  A similar traditional dulcimer found its way to Korea in about 1725.  The dulcimer originated as the santir in what is now Iraq from a Greek instrument, the psalterion.  The santir was a trapeziodal box covered with strings.  It was played by striking the strings with light sticks.  From there the Arabs carried the santir through North Africa where it was integrated into the Jewish culture.  From North Africa it was taken to Spain, for  a carving was discovered in the cathedral Santiago de Compostela, dated 1184.  It is unknown why the Irish make mention of the timpan, a generic term for any member of the psaltrey family, being used by St. Patrick in the 6th century, six hundred years earlier than the dulcimers first introduction into Spain from North Africa.

Dulcimers gained popularity from the churches and cathedrals throughout the 14th century.  But in the 16th century, as the violin and wind instruments became increasingly fashionable, the dulcimer virtually disappeared.  For the next two hundred years it went unnoticed.  In 1705 Pantaleon Hebenstreit presented the French King Louis XIV with a slightly revised dulcimer.  Hebenstreit built a larger sound chamber and used strings of gut and wire to span five octaves.  He hoped to revolutionize the dulcimer and its capacities.  Sadly, the instrument was not highly accepted, for the reverberation created in the larger sound chamber made the performance of rapid passages impossible, and the longer strings were harder to keep in tune.  Again the dulcimer lay dormant.

Although the dulcimer escaped the Western orchestral music, it was accepted amongst the folk musicians of places like Ireland.  It has really only gained popularity in the past fifteen years, although it has been a member of some Irish ensembles throughout history.

451.          History of chinese cinema

Chinese cinema

The history of film is an important one today. Many people in our society today may see film as simply a form of entertainment, but it is indeed more than that. Film is a medium of expression that is unlike no other. It can tell many tales of many different types of people throughout history. Film is also a good reflection of culture. The art of film can often be seen imitating life and telling the story of a nation and their peoples. China is one such country with a celebrated history of film.

Chinese cinema is often divided into six generations. The term "generations" is used to make it easier to group the different phases of Chinese film history, but they are not completely different from one another. A particular generation may share something in common with the previous generation, while also passing something onto the next generation. In a sense, the history of Chinese film can be said to have gone through a sort of evolution from its beginnings to the present.

The first and second generations of film began during the 1890's and continued through the beginning part of the early 1900's. These two generations of Chinese film are often seen as the pioneers for Chinese cinema. Many of these films consisted of operatic shorts and short comic skits. Eventually the Chinese would go on to make full length film features. The first film length Chinese film ever made was created in 1921 and was entitled Yan Ruishe. Some years later a new trend in film began. Many dancers ad stage performers began to move from the stage to the screen. This may have seemed like a good fit at the time, but many of the dancers-turned-actors were not successful. One actress who was successful was Ruan Lingyu. Unfortunately she committed suicide in 1935. Stephanie Donald tells us that in her suicide note, "she was in despair at gossip about her private life" (4). It's interesting to see that even in the early stages of film in China, there were the same types of problems that celebrities often face in modern day Hollywood. It seems that any culture tends to have a fascination with the lives of the celebrities of their time.

The third generation of Chinese film shows an evolution with regards to the way the camera is used and how the films are edited. These changes mirror the camera tyle of Hollywood of the time. According to Donald some of these techniques are, "two- to three-head dialogue sequences to introduce and develop story lines, jump cuts, and cuts on action to keep several narrative strands in place without losing momentum or suspense, and dream sequences or flashbacks" (5). Two figures who best represent the third generation of Chinese film are Sang Hu and Shui Hua. Some of Sang's films include Joys and Sorrows of Middle Age and A Make-Believe Couple. The latter movie focuses on a woman's hairdresser looking for a wealthy wife and a young single mother looking for a wealthy husband. The film is a comedy, which has many tones of Hollywood running through it. Shui Hai's best-known work is The White-haired Girl, made by 1950 and Land, made in 1954. Shui's film's often had very political themes. For example the movie, Land, deals with the story of land reform in the 1930's. Both Sang and Shui manage to deliver strong films, while staying with the policitcal constraints of their period.

The fourth generation of Chinese filmmakers is made up of men who were trained before the Cultural Revolution. Although they were trained long ago, many of these filmmakers have not made their first feature films until the last 20 years. Xie Jin is one of the more prominent names of the fourth generation of film. Some of his achievements include twenty-one films, several filmmaking awards, and a career that has spanned three decades. Donald describes his film as, "melodramatic epics of personal suffering, and particularly successful examples of the wound (shang hen) genre, stories of individual tragedy and eventual triumph that deal with the experiences of the Cultural Revolution in cathartic and personalized narratives" (7). Although Xie Jin has enjoyed a certain level of success, Xie and his fellow filmmakers of the fourth generation are often overlooked because of the fifth generation. The irony is that the fourth generation is often seen as having paved the way for the fifth generation. The benefactor of this student-teacher relationship is clearly the fifth generation because of the exposure they have received.

The fifth generation of Chinese filmmakers refers to the first group of students to graduate from the Beijing Film Academy since the Academy reopened after the Cultural Revolution. The most prominent of the fifth generation of filmmakers is Chen Kaige who has made such films as Yellow Earth, Farewell My Concubine, and The Blue Kite. The fifth generation of filmmakers also has its share of women involved. One of these female filmmakers is Peng Xiaolian who has made such films as Me and My Classmates and A Family Portrait. Peng is considered to be one of the better filmmakers of her generation, but is often overlooked in favor of her male counterparts.

Politics have shaped nearly every generation of Chinese film. In fact most of the major studios that have been active since the 1950's have had to submit every treatment and screenplay to the China Film, Broadcaast and Television Bureau (CFTB) before beginning the project. Films that went through problems during the next stage would often be shelved or printed in small amounts. Times of political uncertainty often saw a higher degree of censorship. The Cultural Revolution was one of these times. At this time many filmmakers were kicked out of their studios and sent to what were basically labor camps. This result was a relatively few number of films made during this time period. Films that were made had to be made to conform to the views of Maoist rule. This doesn't mean that the films of the period went unrecognized. In fact many of the films of the 1960's and 1970's had sizeable audiences. These films forced to conform because of politics also had traces of politics running through them. In fact many of these traces can be seen in the films of this era by the color red. The color red signifies the communist rule of Mao during the time. Although, Mao and his weaf have plong since passed there are still traces of communism and the color red in Chinese film today. Many of the films that do not conform to the "red" theme are described as "yellow". An increase in the number of yellow-themed films has led to a increase in retrospective censorship. This means censorship of films that have already been released. This censorship can often mean major cuts in the film or not even being distributed at all.

In today's times, censorship has not stopped China from being a major force in the international film industry. This is largely due to the popularity of the Chinese genre of film labeled Hong Kong Cinema. In fact Hong Kong Cinema has become quite a cult phenomenon in the West. This popularity has resulted in a large release of films that has often outnumbered Western releases and helped China become second in the world when it comes to the export of films. Hong Kong's films are often seen as a source of pride for the Chinese. They enjoy Honk Kong cinema so much in fact, that Hong Kong is one of the few places in the world where American films are not dominant in box office receipts on a regular basis. Even popular American films such as Raiders of the Lost Ark and Who Framed Roger Rabbit were outgrossed by other films in Hong Kong.

Many people may wonder how such a small city-state of China could make such an impact on the film industry. Much of the answer can be found in the demands of the films. The people want to see these films and Bordwell even goes as far as to say it's, "arguably the world's most energetic, imaginitive popular cinema" (1).

The most popular acclaimed director of Hong Kong Cinema is John Woo. Although Woo grew up around poverty and gangs, he was still able to go to high school and college because of donations from a local church. He started his film career as a production assistant for Zhang Che, an action director at the time. It is said that Woo learned a lot from Zhang and soon Woo was making his own films. One of Woo's first big film's was A Better Tomorrow. This gangster film enjoyed much success and helped launch the career of Chow Yun Fat. Woo soon followed up this film with other films such as The Killer and Hard Boiled. Woo's success has even spread to Western culture with his hits Face/Off, Broken Arrow, and Mission: Impossible 2. Woo's brand of action film directing is one that is unmatched In Hong Kong cinema or in the world for that matter.

As far as actors are concerned, Bruce Lee and Jackie Chan are the most famous men in Hong Kong cinema. As a child, Bruce Lee appeared in a number of films. As a youth he also began to study the martial arts and as a young man left Hong Kong to go to college in America. While in America he was able to win a part in the television series, The Green Hornet. Soon afterwards he filmed two pictures that were known in America as Fists of Fury and The Chinese Connection. The success of these two films led to a deal which allowed Lee to produce, wrie, and direct his own film. This led Lee's creation of The Return of the Dragon and an effort he coproduced entitled Enter the Dragon. Unfortunately, while working on his next project, entitled Game of Death, Lee passed away although the circumstances are unknown. Bordwell calls Lee, "the first Hong Kong Star to achieve worldwide reknown" and says that he, " helped popularize Chinese martial arts.

Another person to help escalate the popularity of Chinese martial arts is Jackie Chan. At the age of six Chan began to attend an institute which taught him to singing, dancing, martial arts, and acrobatics. Soon after he was able to find work in the film industry and even worked on a few Bruce Lee projects. Chan began as a stunt player, but eventually was able to work his way up as one of Bruce Lee's clones. Chan's career began to take off after filming Snake in the Eagle's Shadow. As his career began to take off Chan seemed destined to be the successor to be Bruce Lee's throne. Chan's problem was how to assume this position without becoming the direct clone of Lee. Chan accomplished this by playing the opposite of Lee's image. While Lee was often viewed as the hero, Chan likes to be viewed as the underdog. This theme runs in a lot of his films. Chan often plays a raw talent who learns whatever it takes to win the situation he is in. Another thing that separated Lee and Chan were their acrobatics. Lee never made it a point to learn acrobatics so he often used a double if any leaps or tumbles were required. On the other hand Chan is a master at acrobatics an always performs his own stunts. This is something that he is very popular for in Western culture. Chan truly enjoys performing his own stunts and has even said "I live for pain. Even when I was young I loved pain." This can often be seen in the outtakes that are commonly shown during the final credits of his films.

Although these two stars are very different, Lee and Chan both embody the spirit of Hong Kong. These two symbolize the cinema of their nation's time and it is from them that their people draw a source of pride. Lee and Chan have given Chinese film a face that the rest of the world won't easily forget.

The recent success of Chinese cinema in Western culture seems to indicate that they will only get better. Films such as Crouching Tiger, Hidden Dragon, directed by Ang Lee, have helped get Chinese cinema the recognition it deserves. The actors and directors of China have done a superb job of making quality films, but we must not forget that the people and culture of China are what influence the films. Without that influence Chinese cinema would quite possibly be just another story.

452.          History of Jazz and Classical Music

History of Jazz and Classical Music

Upon entering a modern record store, one is confronted with a

wide variety of choices in recorded music. These choices not only

include a multitude of artists, but also a wide diversity of music

categories. These categories run the gamut from easy listening dance

music to more complex art music. On the complex side of the scale are

the categories known as Jazz and Classical music. Some of the most

accomplished musicians of our time have devoted themselves to a

lifelong study of Jazz or Classical music, and a few exceptional

musicians have actually mastered both. A comparison of classical and

Jazz music will yield some interesting results and could also lead to

an appreciation of the abilities needed to perform or compose these

kinds of music.

Let's begin with a look at the histories of the two. The music

called classical, found in stores and performed regularly by

symphonies around the world, spans a length of time from 1600 up to

the present. This time frame includes the Renaissance, Baroque,

Classical, Romantic and Contemporary periods. The classical period of

music actually spans a time from of 1750 to 1800; thus, the term

Classical is a misnomer and could more correctly be changed to Western

Art Music or European Art Music. European because most of the major

composers up till the 20th century were European. Vivaldi was Italian,

Bach was German, Mozart and Beethoven were Austrian; they are some of

the more prominent composers. Not until the twentieth century with

Gershwin and a few others do we find American composers writing this

kind of art music. For the sake of convention, we can refer to Western

Art Music as Classical music.

Jazz is a distinctively American form of music, and it's history

occupies a much smaller span of time. Its origins are found in the

early 1900s as some dance band leaders in the southern U.S. began

playing music that combined ragtime and blues. Early exponents of this

dance music were Jelly Roll Martin (a blues player) and Scott Joplin

(ragtime). The terms "Jazz" and "Jazz Band" first surfaced in the year

1900. Some say this occurred in New Orleans, although similar music

was played at the same time in other places. The most prominent

exponents of this early music, called Dixieland Jazz, included Louis

Armstrong and Sidney Bechet. After World War I, Jazz music had evolved

and was aided by the development of the recording industry. The

small dance band ensemble grew into the larger orchestra known as the

"Big Band". The music of the Big Bands became known as "Swing." Two of

the more famous Swing band leaders were Tommy Dorsey and Harry James.

In the late 40s and through the 50s, a different kind of Jazz became

popular. This music, played by a very small ensemble, was much more

sophisticated and complex . Its rich harmonic changes and melodic

counterpoint were not conducive to dance. It became known as "Bop,"

with Charlie Parker and Dizzie Gillespie being the early proponents.

In the last twenty years there has been a combination of Jazz with

popular music of the US and Latin America. This modern Jazz music has

been called "Fusion." Present day exponents include Pat Metheny and

Chic Corea. There has also been a return to the sound of Bop in the

last ten years by such musicians as trumpeter Winton Marsalis and his

brother Branford, a saxophonist.

Let's focus on the instrumentation of the two kinds of music. In

Classical music, both large orchestras and small ensembles are used.

But generally, the greatest and most prominent compositions are for

the larger symphony orchestra. The largest part of the orchestra is

the string section consisting of violins, violas, cellos and string

basses. These instruments were invented very early in medieval times

but really matured into their present form during the late 18th

century. The wind instruments, comprised of brass and woodwinds, took

longer to mature. The brass section in particular did not posses the

ability to play chromatically (in all keys) until the advent of valves

which allowed the length of the instrument to be changed while

playing. This occurred around the middle to late 19th century.

Consequently, the brass instruments are less prominent in the music of

Bach, Mozart and Beethoven along with their contemporaries. Late 19th

and early 20th century composers make use of a very large orchestra

with all the fully developed wind instruments. Some of the master

orchestrator/composers of this time were: Wagner, Rimskey-Korsakov,

Ravel and Stravinsky. Currently, composers also make use of the full

orchestra but with the addition of increasingly larger percussion

sections which add many unique and unheard of sounds than in earlier

music.

Early Jazz music was played in small ensembles making use of

clarinet, tuba, cornet, baritone, drums, and piano. Dixieland groups

of New Orleans had similar instrumentation. During the Swing era,

larger groups were employed to achieve more of an orchestral sound.

The Big Bands of the this era were predominantly wind orchestras

containing alto and tenor sax sections, trumpet and trombone sections,

along with piano and drums. When Bop music arrived, the alto saxophone

and trumpet were the preferred instruments of the major soloists who

were backed up by piano, string bass and drums. With the advent of

Fusion, electric instruments such as the electric guitar and keyboard

synthesizer became prominent.

How has each of these kinds of music been transmitted to later

generations of musicians? Early in the evolution of classical music, a

system of notation was gradually developed which for the most part

remained stable from the Renaissance on. This gave the composer

control over how his compositions were to be played. Throughout the

history of Jazz, however, notation was more like a rough sketch. This

was because the syncopated rhythms of ragtime and the melodic riffs of

the blues were not easily notated. Also, early Jazz musicians were not

formally trained; they usually learned by ear. Some songs were

transcribed and written down, but not in precise ways. Jazz music

became more of a passed on tradition that a musician learned through

interaction with other players. In a similar way, the modern Jazz

musician must rely on previous recordings to get a feel for the

style and technique which he desires to learn from. But in classical

music, one composer can learn from an older composer by looking at and

analyzing the music that the previous composer wrote down. Likewise,

classical musicians can master the parts they must play by practicing

the music that has been written or published beforehand. These two

approaches to passing on tradition are both valid. However, without

the recording medium Jazz music might have developed much differently

than it has.

The cohesive element that keeps a musical group together is also

an interesting contrast. In Classical music, the conductor uses a

baton and plays the orchestra as if it were his instrument; he looks

at a complete score of all the events happening in the composition and

interprets these events based on his knowledge and intuition of what

the composer intended. Jazz groups rarely utilize conductors. The

swing era employed them for the sake of keeping the larger sized group

together but other jazz styles did not and do not to this day. The

drummer of the Jazz ensemble provides the beat that keeps the group

together but even he is interacting with the other soloists as the

song is performed.

Perhaps the most interesting point of comparison between the two

types of music is in improvisation. Improvisation is the ability to

play and compose spontaneously "on the spot" while the music is

playing. This has been an important element of Jazz from it's

inception. Although improvisation was less prominent during the swing

era, it regained importance with Bop and onward. Early Jazz was

improvised, using ragtime and blues as a loose structure. In the swing

era, popular songs were arranged by an arranger and soloists played

improvisations over the repeating sections in order to lengthen the

song for dancing. With the advent of Bop, improvisation assumed great

importance. The musicians memorized the chord changes to a song, along

with the melody, but then played very loosely and in the end

substituted new chords along with greatly embellishing the original

melody to the point of being unrecognizable. These factors, along with

the ability to interact with each other, became important and remains

so in the Fusion music of today.

In Classical music, modern listeners are mostly unaware of the

fact that many of the great composers of the past were not only

excellent performers but also great improvisers. Starting with J.S.

Bach (1685-1750), the greatest composer of the Baroque era, he in fact

made his living through his great skill as an improvisor. It was

common for the Lutheran Church organist of his day be able to

improvise on choral melodies and Bach was considered one of the

greatest at this. There are written accounts of other composers

improvisational abilities including Mozart (1756-1791), Beethoven

(1770-1829), and Franz Liszt (1811-1886). Yet, as time went on,

improvising gave way to the composer's desire to exert complete

control over his music. By the late 19th century, improvising was rare

and not used at all in public performances of classical music.

In summation, we can say that Jazz and Classical music represent

two approaches to Art Music. The Classical composer or performer has a

long and rich body of music in written form that he uses to learn from

while the Jazz musician uses a body of recorded music to learn.

Because of it's small size, the modern Jazz ensemble allows loose

interaction while the symphony orchestra's large size and diversity of

instruments provides many different sounds and wide dynamic range. In

classical music the composer strives for control; he uses printed

music to guide and direct the musicians through the conductor. In Jazz

music, the songs are loosely composed, thus forming a basis for

individual expression within an ensemble. When you go to hear a

symphony, you hear an orchestra conducted by the conductor playing a

composition. When you go to a Jazz club you hear a small jazz ensemble

interacting and improvising a song. Both of these kinds of music

provide rich expression and detail to the serious listener. They take

different paths to reach their final form but give a person equal

opportunities to appreciate the creative output of each.

453.          History of Pete Dalberg Family

History of Pete Dalberg Family

By Jesse G. More

This is Jesse G. More presenting a history of the Dalberg family starting with my Grandparents Pete and Ingaborg Dalberg.

Both of my grandparents were born in Apple Bowl Sweden in the province of Dollernaw.  Dollernaw is the province that is close to the Norwegian boarder that is in timber country.  Pete was born in 1858 he died in 1943 at the age of 85.  My Grandmother, Ingaborg was born in 1856 and died in 1944 at the age of 88.  Pete actually was born a twin but the girl baby was under developed and born dead.  His Mother had a total of 11 babies but only 6 possibly 7 survived.  Some were born dead.  Some may have lived only to infancy.  Pete had 5 sisters.  Pete and his 5 sisters all came to America.  According to one tape I have, that my mother gave me.  She said that the oldest child stayed in Sweden.  I am not sure.  Yet on another tape my Mother said that he had 5 sisters and no brothers that were living.  There may have been one who stayed in Sweden, the oldest.

Now I do not remember all the first names of his sisters.  Terry Johnson Rierson came to America first.  She actually was sent for by her husband who lived in Wisconsin working in a mill.  They were married in Wisconsin.  After he died and she had come to Idaho she then married Rierson.  Anna Dalberg, Emma Swanson then two sisters who were married to Andersons.  One was married the wife of John August Anderson, and one was married to John N. Anderson.  John N. Anderson was the father of Sam, victor and Florence.  One of their names was Breda.  Which of the Anderson's I don't know but one was actually named Breda.

Now with the exception of Mrs. Johnson or Reierson my Grandfather helped to bring all of them to America.  He also brought his own parents to America and helped them get land according to my mother.  He actually traded some land that he had in another place or the one up on the hill above Bear Creek which was the old Taylor place.  That is were they lived after they came to America until they died.  My Great Grandmother was also named Anna and she lived until 1912 and died at the age of 83.  My Great Grandfather L. M. Dalberg or Lars or Lewis Dalberg, and my father was named after him.  He died in

1911 at the age of 84.  Inagaborg had 5 or 6 sisters and brothers but only one other sister came to America all the rest of her family stayed in Sweden.  The only one that came was Christina one of her younger sisters and I believe Ingaborg was probably the oldest child in the family.  Christina Thompson was my Grandmother and she was Ingaborgs sister.  One brother of Ingaborgs married the widow of Ed Danielsons father.

Ed Danielsons father was a professional skater.  He fell through the ice and was drowned.  They actually saw him swimming under the ice.  He couldn't find the hole and he drowned when Ed was only about a year old.  His mother married my Grandmothers brother and, they had I believe 4 children.  When our Grandparents were married Grandpa was 23 and Grandma was 25.  She was not quite 2 years older than my Grandfather.

At one time when I was staying with my Grandmother at Bear Creek she told me a story about when they were engaged.  It seems in Sweden, at that time, when a couple became engaged the man had to leave and be gone for 6 months.  They couldn't even see each other for 6 month's.  So when Pete and Ingaborg became engaged Pete had to leave that particular village.  So he went to another village about 40 miles away.  Also they could not communicate for 6 months.  When the 6 months was up she expected him to come back.  He didn't arrive until three days later.  She told me, at the time, She said, "I thought he doesn't want me any more", but when he finally arrived they were married.

Pete worked in the woods and around saw mills in Sweden.  He could do almost anything around a saw mill.  Also when he was in Sweden, and before he was married he served in the Swedish army for a year, he was 21 at the time.  While he was in the army there was an officer whom he admired.  Now later on I don't know when this happened but one time this officer carried our Grandmother, Ingaborg, over a mile from a cabin where they were snow bound and without fuel for heat.  He carried her for over a mile on his back and she even had some frostbite feet.  They feel that this saved her life.  The officers name was Dalberg without an H.  When my Grandfather came to America he took that name.  He wanted to get away from the Swedish the Scandinavian custom of taking the fathers first name and adding a son to it.  Now his name would have been Larson because his father's name was Lars or Lewis.  But he decided that when he entered this country that he would take the Swedish name of the officer Dalberg and that is how we have our name today.

My father was born on November 15, 1928.  My fathers name was Lewis and did not have a middle name (Lewis Dalberg).  His brother Pete was born just about 15 months later.  Now Pete was only 22 months old when our Grandfather left for America.  The reason he left Sweden at that particular time was because there were hard times in Sweden.

In Sweden you could not own land only the Nobel's or the King owned land.  All the land was in the name of the King or the Nobels.  My Grandfather heard you could get free land in America.  More than anything else the wanted land of his own.  His sister and her husband were living in Wisconsin and he was working in a mill.  Now my Grandfather borrowed money from them to come to America.  Now he went to Wisconsin and he worked in a mill for a while until he earned enough money to send for my Grandmother and my father and his brother.  My grandmother almost did not come because she did not want to leave her father.  Her mother had died earlier.  She didn't want to leave her father and her other brothers and sisters because she knew that she may never return to Sweden.  She delayed almost another year after she received her ticket as she didn't want  to come alone.  Finally she agreed to come if somebody would come with her.  So her sister Christina, my Grandfather's sister Emma who later became a Swanson agreed to come with her.  Now according to my mother, Anna Dalberg may have also come on that ship with them.  But if she would have come with them, at that time, she also would have had a child with her.  My Dad in his tape didn't mention anything about another child being with them on that ship coming over so it may not have been Anna it may have been one of his other sisters.  But it seems that Anna Dalberg had a child and when Dalberg wanted to leave Sweden the minister wouldn't let him leave Sweden until he married her and then later he didn't want to bring her over.  So she may have come on the same ship as my Grandmother.  My Dad said that he and Pete really had a great time on the ship.  They would run into the toilets and pull the chain pull and hear the water swish through.  My Grandmother was always cautioning them because she was afraid that they would wash overboard.  Now the two younger women Christina who later became Christina Thompson and Emma had a great time.  There would be music and dancing on the ship, and there were quite few young single men, on board so the two young women danced and had a great time.  Now when I heard this a few years ago I was really surprised because Christina Thompson, when she was older, when I knew her, if

there was any music or dancing going on oh she thought that was a sin.  So I thought it was rather funny that this would happen.

Now the ship landed in Baltimore and it got hung up on a sand bar.  It seems that the captain of the ship didn't want to pay someone to steer the ship and of course Chesapeake Bay is very unpredictable.  The ship got hung up on a sandbar and was stuck for 24 hours.  They had to get tug boats to push it off when the tides were higher.  My Grandmother thought surely that they would sink there right then and there.  But they got off the ship all right and they took the train to Minnesota.

Pete Dalberg by this time was in Minnesota, and he was managing a farm in  Minnesota.  So they took the train to Minnesota and they stayed there about another year.  As I said before one of things my Grandfather wanted more than anything else was to own land.  It seems that land was opening up in Northern Idaho and by the time he was in this country maybe 2 or 3 years he could file on a homestead.  Now when he entered this country he had declared his intention to become a citizen.  Two years later he had to sign some more papers.

When the time was for him to go he and Doldrin left Minnesota and went to Idaho and they filed on homesteads at that time close to one another and they helped each other build log cabins.  So my Grandfather then sent for his family.

By this time another child was born, Anna.  Anna was the first one born in America.  She was born in Minnesota and she was only about 4 months old when they came to Idaho.  So they left Minnesota by train for Idaho.  It was Grandma, Dad, Pete, Anna and also Emma Swanson and possibly Anna Daldrin and children.  They arrived in Moscow and went to Bear Creek by wagon and they all lived in that one room log cabin which was close to the stream that ran by and also big trees up to the cabin.  Very little of the land at that time had been cleared.  I don't know how long they lived in that cabin but I don't think it was too long until a house was built.  This first house that was built was a little closer to the creek than the house that we knew.  Then later the house that we knew was built which was a big 2 story house.  Of course it never had any electricity while we were there.  My Grandparents lived on that land until they died.

My grandfather first arrived at what we know as Bear Creek in 1888.  Or late 1888 at some time.  The family would have arrived there in late 1889.  Emma was the first one born at Bear Creek and she was born in 1889.  A little over a year later Bill was born in 1891.  Hilma was born in 1892.  After Hilma there was another daughter born Ester.  I don't know when she was born but she died when she was a year and a half old of scarlet fever.  She is buried in that cemetery up by Bear Creek.  Hjolmer the youngest was born in 1897 December 30, 1897.

Pete was about 14 when he died of typhoid fever.  Pete was very determined young man and wanted to be considered an adult and felt he could work like any man.  He would work even when he wasn't feeling well.  This time he worked until he couldn't get out of bed.  My Dad and Pete had taken a load of lumber to Uniontown about 35 or 40 miles away with a horse and wagon.  On the way back on a very warm summer day.  They stopped at a spring near what is now Joel to get a drink of water.  Evidently the water was contaminated.  My Dad did have a mild case of typhoid fever first but got over it and Pete came down with it.  When they finally got a doctor for him it was too late.  Now he worked until he couldn't even get out of bed.  Now when he was seemingly better our Grandmother thought she was being good to him fed him some solid food that he shouldn't have had.  He got worse and soon after died.  Our Grandparents then had a total of 8 children.  Two of them didn't reach adulthood.  Here is somewhat of a rundown of their children.

My Dad Lewis P. Dalberg was the oldest in the family.  He married Ida C. Thompson in 1907.  Loel was born in 1908 and passed away in 1980.  Loel was born at Bear Creek and Loel was 71 years of age when he died.  Virgil was born in 1911 and he now lives in Oroville California.  After Virgil we had a sister Loraine and was born about 1913 in Deary.   She died in a tragic accident in Deary and died at about the age of 11 months.  When she tried to get off a bed and caught her head in a bottom railing, smothered and also broke her neck.  This was a very tragic accident and my Mother had a very difficult time emotionally getting over it.  Fortunately our sister Marshland was born about a year later in 1915 in Deary and now lives in Libby Montana.  Rowland was born in January of 1918 and died in 1985.  During world war II Rowland was a fighter pilot.  He had 59 missions when he was shot down in, Auckind Germany, and was a prisoner of war in Germany for 7 months.  He was pretty badly shot up which probably contributed to his early demise.  I Donald was born on Christmas day in Deary.  That particular day as always we had reunions at my grandparents.  My Mother during that day told my Dad, "you better take me home".  So I was born about 9:30 or 10:00 that night on Christmas day.  My mother, to build my ego a

little bit told me that was the best Christmas present she ever had.  Well I almost didn't make it past a year and a half old.  When I was a year and a half old my mother took me to a neighbor lady's house.  The two ladies were talking in the kitchen and I went into the living room and crawled up on the living room table.  There was a saucer of fly poison there and I tasted it.  It tasted good so I drank it all.  Just as I was setting the saucer down my mother came in checking on me and she immediately knew what I did.  She rushed me home and started throwing water on my face and everything else to try to keep me awake.  Tried everything else to get me to heave it up and I wouldn't.  She sent Marshland to get the doctor it was about a half hour before Dr. Faust arrived and he worked with me for a long time he pumped my stomach and finally he told my mother he said, "I better give him some pretty strong medicine to counter act the poison".  He said, "this medicine is so strong it will probably effect the joints in my feet and probably stunt my growth some."  He didn't dare not give me the medicine.  So I was given the medicine and he stayed with me for about 3 hours.  Finally after 3 hours I was on the floor again playing and he said, "now he will be all right".  But it actually did affect my growth some and did effect the joints in my feet.  But anyway I survived fortunately for me.  Alberta was born in 1923 in Troy and now lives in Aliment Colorado.  My Mother, who recently celebrated her 96 birthday lives with her there.  One other full term baby was born dead in 1924.  They named that baby Merle and it is buried up in that cemetery up in Bear Creek.

My Dad when he was 20 years old went up in the hills above Clarkia above Grandmother and Grandfather mountain and he squatted on what later became a homestead.  But he couldn't file on it then because it wasn't even set up for homesteading.  But later on he did file on that homestead.  He and a man by the name of Coolberg.  They filed on a homestead there.  Well when Loel was about 2 1/2 or 3 months old my Dad actually took my Mother on that homestead.  When they were in Clarkia, waiting to go, they stayed at an inn overnight.  A man looked and mad mention to another man he said, "that baby doll isn't going to stay up there very long".  Well when she stayed all summer and stayed until it was almost to late to come out because of bad weather.  They came back through Clarkia, why he said, "I didn't think that baby doll would ever make it".  Well that shows a little bit the determination of my Mother.

Later on my Dad had a lawsuit ( you can hear in the other tape) but they were able to save his homestead.  Later he sold his whitepine timber to the Dollar Lumber Company and they logged it off and my Dad was thinking later of logging the cedar poles.  Now he had from 3-5 million feet of virgin whitepine timber on his homestead.  Today that would really be worth a fortune.  But he only got about $7500 for the white pine timber on his land.  He and Coolberg actually sold together.  Dad because of a big bluff only had about 120 acres whereas Coolberg had 160 acres even though there was really more whitepine timber on my Dads homestead Coolberg got more of the money.  That was kind the way my dad was.  Sometimes he was a little bit too much that way other people were able to take advantage of it.  He wanted to be so fair that sometimes he wasn't fair to himself.  After they sold the homestead and after the whitepine timber had been logged off my Dad was going to log off the cedar poles.  He said there was as many cedar poles on that land as there was whitepine timber.  But before he could do that a big fire went through and just destroyed everything.  It appears that they had built a nice log plume from the top of the hill down into Marble Creek or Homestead Creek about quarter of a mile long.  And somehow the fire started in that log plume.  Somebody put to much and got fire too close to it and burned everything out.  So the homestead was worthless and my Dad had to let it go back for taxes.

But anyway after the homestead my Dad had a store in Deary he also worked in a store in Bovil for awhile and then later on he moved to Troy and had a store in Troy until 1928.

In 1928 we moved to Nez perce we lived there for a year and a half, then we moved to Garfield and lived there for year and a half and came back to Troy.  Now the Nez Perce adventure cost my Dad probably around 15 or 20 thousand dollars.  He had a forged contract that they gave him and he couldn't get out of it without a law suit.  He couldn't afford a lawsuit at that particular time.  So from that point on he had to work very hard.  My Dad only had about a 5th grade education but he was self educated.  He would read everything and he could converse on just about any subject.  He also could not only read and write Swedish but also English as well.  He worked very hard in elequition to rid himself of a Swedish accent.  I learned when I was in the army in the south pacific just what a learned man he was he would write me letters and everyone of them had some information there and I was utterly surprised and amazed at the knowledge he had.  My Mother also was a very determined person she

was totally and wholly dedicated to her family and she would sacrifice almost anything for us, believe me.  Now in her later years she is enjoying somebody else waiting on her and helping her which she certainly deserves.

When we moved back to Troy in 1931 my Dad worked in the butcher shop for Ted Thompson and Simon Hagen.  Later when Simon left Dad was out of work and even worked for the WPA for a while and all of us lived on $30 dollars month for about 6 months.   My Dad and Loel would even go out and cut wood and sell the wood for maybe even a $1.00 to $1.25 a cord and could only cut about one cord a day.  Later on my Dad worked at the Troy Mercantile in the butcher shop.  When the war broke out and they started building Faragut my Dad went up to Faragut and worked up there first of all filing saws and then worked in the kitchen cutting meats in the kitchen.  Later he came back and worked in Moscow.  My folks had moved to Moscow by that time.  Dad worked for Randelman till he was about 75 years of age.  Of course he only worked part time but he still worked.

Every Christmas he would make 200- 300 pounds of potatoskard.  Everybody around loved Dads potatoescard.  He made it with the best material.  So he really knew the formula for making that potatoescard.  Dad died in 1964 at the age of 81 and as I said my Mother is still living and just recently celebrated her 96th birthday.

Now the rest of the families I don't know as much about and some of you will have to fill in some of these things about your own Mother and Father on your own.

Anna I believe was the next one who was married and she married Frank Hayes and lived in Bovil.  Merle was born in 1911 and is now deceased.  Erma was born about 1914 or 1915 and lives in Spokane Washington.  Anna divorced Frank Hayes and moved to Spokane when Merle was in high school.  Merle actually lived with us for a year when we were in Nez Perce Idaho.  Later Anna married Joe Colverson and had a daughter, Donna Colverson born about 1930 Donna is now deceased.

One time when Anna was actually staying at Bear Creek Donna was about 8 years of age.  She was going to make some candy on the kitchen stove.  The fire was out.  She was going to start it with some kerosene.  She went out on the porch and got gasoline by accident didn't know it.  She threw it on the fire and it fused right out at her and caught her dress on fire, and she screamed.  Anna was up stairs and how she got down stairs and out of the bedroom before Donna could get out the front door I don't know.  Anna got her down

wrapped a blanket around her and got the fire out.  Donna was very badly burned.  Merle happened to be there at the time.  So they took her to Moscow to the hospital.  She almost died in the hospital in Moscow.  They really didn't know how to take care of her there and they finally transferred her to Spokane to a burn center.  She was in that burn center for I believe 9 months or almost a year.  They had to give her some pretty strong medicine or she would of died.  That caused her later on to develop somewhat of a dependency on some of those pain killers.  Donna was married 3 times and she died of cancer in her late 40's.

Anna was married for the third time and lived outside of Troy.  She married a man quite younger than her Brant Gunderson.  I believe she was happiest with him but she died when she was 78 and it wasn't long afterwards Brant died because he seemed to lose interest in life after she died.

Emma married Simon Hagon in 1910 they had 2 children. Eveylon was born in 1911 and Luette was born in 1919.  Eveylon lives in Clarkston Washington and Luett lives in Lewiston Idaho.  There is a little story about Emma when she was small.  It seems that Emma use to walk in her sleep and Grandma was always worried that Emma would get out side an the coyotes would get her.  The coyotes would howl every night.  Well one night she heard the coyotes howling very close.  She thought she even heard a wolf howling.  She went into check the bed and there were three of the kids that were sleeping crossways.  She couldn't see Emma.  She woke up my Grandfather and I think my Dad and they went out looking for Emma and they couldn't find her.  They went out calling Emma and Grandmother thought that surely the coyote or the wolves had gotten Emma.  Then somebody went to check the bed and there Emma had kind a fallen down in the middle of the bed and the other two kids were practically on top of her and Grandma didn't see her. Boy Grandma was relieved.

Well Emma was a very fun loving person and she would joke with her nieces and nephews.  She use to joke with me.  Sometimes my Mother would get a  little angry with her cause she would say, "you better look out cause the boogie man will get you."  Sometimes Emma would tell me that and when I would go home I would look under the bed for the boogie man.  But she use to love to go out in the woods and go Huckelberrying.   She past a way in 1980 at the age of 89.  Her husband Simon had a heart condition and past away in 1936.  He was only in his 40's when he past away.  Well from 1936-1980 somebody would

always tell Emma, "Emma you need to find another man".  Well she never even looked twice at another man because Simon was her love and that was it.

Bill was in his late 20's when he married a widow Ida Hawkinson Olson.  She had two sons Harald who was 12 who now lives in Spokane Washington and Leonard who was 6 and now lives in Utah when they were married.  But Bill thought of them as his children.  just like anybody else.  Bill just recently past away while living with a step grandchild, Sandra Miller, out of Spokane.  His wife Ida past away a few years ago.  Bill was a carpenter and built several houses in Moscow and Lewiston.  Sometimes they would build a house from scratch.  They would build a foundation and maybe one room and live in that room until the rest of the house was finished.  I remember one time visiting Ida said, "I wish that just once I could live in a house, a completed house, just once in my lifetime".  Well they did later on, but both of them were what you call pack rats.  If one was good enough they had to have two of everything.  So they had all sorts of gadgets and all sort of things around the house all the time.  But Ida just loved to have people come and sometimes when you'd come she would say, "I wish I knew you were coming I would of baked a cake", and then she would put out a spread you wouldn't believe.  But she past away in 1980 at the age of 87.

Now Bill was 95 when she past away just this year.  This is 1986 by the way.  Bill was also a landscape painter.  Many of you have pictures in your homes I don't have one.  Also he use to go around and collect rocks and various other things.  I know one time we visited him he had a whole shed filled with different kinds of rocks, garnets and various tools and things.  My wife Fran would of loved to have some, but he wouldn't offer.  He was a great kidder.  I remember that when we lived in a house in Troy when I was about 6 or 7 years old he lived with us and helped to remodel our house.  He would kid with me at night and he would go do his paintings and various other things.  They tell a story when Loel was a little kid they had gone out and caught some fish and one was a pretty good size and one was small well when they went to eat (they had been cooked).  Well Bill took the big one and Loel said, "you big pig you took the big fish.  He said, "which one would you of taken if you got to chose first" and he said, "I would of taken the small one.  Loel said, " well that is the one you got isn't it"?  That was the way Bill was he was always thinking.  Even I visited him last fall and he was always thinking.  He was thinking about prices and various other things.  In 1928 he actually invented a ball point pen.  It was rather large.  It was a cylindrical type of

thing.  In 1967 when we visited them that ball point still worked, but he never developed it.  He had a mind that was thinking but allot of times he didn't carry out what he wanted to do.

Hilma married Ed Danielson whose mother had married Grandma Dalberg's brother in Sweden after Ed's father had been drown in a skating accident when Ed was an infant.  So Ed's half brother and sisters were cousins to Hilma and my Dad and your Dad and so forth.  Ed was 20 when he came to America and came to Bear Creek.   He worked with my Dad in the woods and various other things.  My Dad even played a trick on him one time and got him to put snuff up his nose and it almost gagged him.  Hilma and Ed were married in about in 1913 or 1914 and Vivian was born about in 1915.  Later Vivian developed rheumatic fever and developed a serious heart condition and died of dropsy about in 1935.  Right after Ed and Hilma were married they lived in Elk River.  Ed was working in a mill there as a mill right.  The first month they were married Hilma ran up a grocery bill of $90.00 and Ed was only making $135.00 a month.  Well when he got the bill he told her I think you better go back home and ask your mother to teach you to cook.  Well Hilma all of her life was rather generous and sometimes rather inclined to be a little extravagant.  Ed was making $200 a month when other people were making $100 a month so they had the money to spend.  But after Ed worked for the Nyberg construction company for many years as a trouble shooter, he retired and came back to bear Bear Creek.  Well he worked at mills and various other things around there.  Ed was at times a heavy drinker and later on (at first Hilma was not) after Vivian died she kind a lost her will and she sometimes drank rather heavily.  She was the only one of Grandma and Grandpa 's children that developed a drinking habit.  Because they had seen what it had done to their father.  I'll tell you more about that later on.  But Hilma past away at the age of 65 from throat cancer. and as I said she really never got over their daughter Vivians early death.  Ed was 84 when he past away.

Hjolmer married Petre Slind in early 1917.  Lavern was born in 1917 in Deary.  Marjorie was born in 1919 in Deary, in fact Marjorie was born just a week before I was born in December of 1919.  Glen was born in 1923 in Deary.  Glen died of a hear attack in 1984.  Glen was very badly wounded in Europe in Normandy in 1944 he was the only one in his squad who came back alive.  He had a bullet go through his chest and lodge in his lung and it went between two arteries.  The doctor said later that even he couldn't have placed that bullet.  It was just miracle that it hadn't severed one of those arteries and he bled to death.

He was in the hospital for quite awhile and was discharged and came home.  He worked for the post office until he retired.

Alan or Jr. was born in 1933 in Deary.  By the way Laverne and Jr. and Marjorie you will have to fill in allot of the event that I don't know about and allot about your life history in your own.

Now Hjolmer was a very good baseball player and played on the Deary town team even into his late 40's now if he had the schooling and some additional training he could have played professional baseball.  Some say he was good enough to make the majors.  I think I watched him play once when Deary played Helmer at a 4th of July celebration and he hit the home run that won the game for Deary.  Now when Hjolmer was about 10 or 11 my Mother and Father were married and lived at Bear Creek for awhile.  There is one story that Hjolmer had a broad brimmed hat that Grandma made him wear and she didn't like it so he put the hat over a hot can and burned the brim off.  Grandma then took and cut off the rest of the brim and made him wear it.  You can imagine how funny he looked.  Also one year when he was suppose to go to school.  They only wen

454.          History of Rock and Roll Essay

History of Rock and Roll

INTRODUCTION

Rock and Roll started after the year 1955 with its roots being in Blues,

Gospel, and Jazz.  This influenced vocal music, which was popular with the

African American population.  Hep Harmony which added rhythm and harmony was

sung by groups such as The "Mills Brothers" and the "Ink Spots".

Small Swing Bands or Jump Bands featured saxophone soloists and repeated

phrases.  These city style blues featured singers such as Joe Turner, Dina

Washington, T-Bone Walker, and composer-singer Percy Mayfield.

During this era, country blues traditions of the south became

influential in the North as well.  Blacks moved from the South to the North and

Chicago became the center of blues recordings.  This emphasized electric

guitars, harmonicas, and drummers who emphasized after beats (beats 2 and 4 of

the measure).  Black gospel music was very popular and given the label of

rhythm and  blues (R&B).  This music was carried on radio and popular with the

disc jockeys.

In the mid 50's, Chuck Berry and Little Richard were popular and changed

the face of music, which was named rock and roll by the D.J.'s.

1956-1962

At age 21, in 1956, Elvis Presley was introduced to the public with his

rockabilly style of music.  His first record, "Heartbreak Hotel" was recorded.

It was the first of a consecutive 14 records to sell over one million copies.

He inspired other country singers to sing rock and roll.  This started a

trend for "cover" recordings.  This was when white singers simplified versions

of Black recorded songs. White singers were played on more radio stations and

became very popular.

Young listeners became their largest audience. Young singers were hired

to record songs featuring adolescent issues.  "Young Love", "16 Candles", and

"Teenage Crush".        Such singers as Little Richard, Chuck Berry, and Jerry

Lee Lewis became famous and popular.

Love ballads also became more popular, with the musical audience looking

for sentimental and honest expression.  This turned some of the more popular

music from rock to folk ballads.  Joan Baez, Bob Dylan, and Peter, Paul, and

Mary were the more popular folk singers.

1963-1969

During this period, the Beatles became the most popular band of the

1960's. In the 1950's, the Beatles were also known as Johnny and the Moondogs

and then the Moonshiners.  They first became known as the Silver Beatles.  They

brought about the renewal of rock and roll, starting in Liverpool, England.

John Lennon (10/9/40-12/8/80), led the Beatles as the lead singer and

songwriter. Also writing the songs for the Beatles was Paul McCartney (6/18/42-

present).  George Harrison (2/25/43-present) added to the sounds of the Beatles.

In 1962, Ringo Starr (7/7/40-present) became the drummer for the band.  They

were now known as The Beatles, (the Fab Four).

Their first song "Love Me Do" was recorded in 1962, after Ringo joined

the band. In 1964, the Beatles 'invaded' the United States, by bringing their

music here and driving the crowds wild.  The Beatles bridged the generation gap

and language barriers.  They were trend setters, with their style of dress and

hair changing the face of the young people.  They also influenced the use of

hallucinogenic drugs, Indian music, and Eastern mysticism.

The Beatles last concert was in San Francisco in 1966.   The band broke

up in 1970.  Lennon went on to record solo albums and with his wife, Yoko Ono.

McCartney went on to form Paul McCartney and Wings, with his wife, Linda.

Harrison and Starr also went on to do solo albums.  Ringo also starred in some

films.  Rumors of a reunion were believed until the murder of John Lennon in

1980.

Some of the groups influenced by the Beatles were The Who, Cream with

Eric Clapton, and Chicago Blues.  They brought out sounds such as loud music,

guitar screeches, and on stage smashing of instruments.  During this time, rock

operas and rock musicals became popular, such as Tommy, The Who and Hair.

Formed  in 1962 the Rolling Stones started becoming popular.  In 1964,

The Rolling Stones were first known as Muddy Waters.  They had wild stage

antics and brutal lyrics.  The group consisted of 5 members from London.  Mick

Jagger led the group as the lead singer.  Keith Richards on guitar, Brian Jones

(replaced in 1969 by Mick Taylor). Mick Taylor was replaced in 1976 by Ron

Wood (from Rod Stewart's band).  Bassist Bill Wyman and drummer, Charlie Watts

made up the rest of the Stones.  By the late 60's they called themselves the

world's greatest rock band.

The Stones were number one on both sides of the Atlantic, with their hit

"Satisfaction" in 1965.  The Stones put out more than 35 albums.  Many of their

lyrics covered taboo subjects ( for their time), such as sex and drugs.  In the

1980's, thier image mellowed and they went on to other endeavors.  In 1985,

Jagger recorded a solo album, "She's The Boss".  Following this album, he did a

hit remake with David Bowie of "Dancing in the Streets".  The Stones reunited

in 1989, for a 4 month, 40 city tour, which was seen by over 3 million people.

They rolled in over 70 million dollars from ticket and merchandise sales.

Motown became popular during the late 60's with the emergence of female

singers such as Diana Ross and the Supremes.  Other Motown singers such as the

Temptations used dance and music together to enhance their popularity.  Stevie

Wonder was also another Motown great.  This started the trend of soul music.

During the 1960's hippies, drugs (LSD and Acid), and protests filled the

air of this time.  Groups such as The Mamas and The Papas, Country Joe and the

Fish, Jefferson Airplane, and the Greatful Dead were influenced by these trends.

The Woodstock Festival that took place in August 1969, showed that by

this time that music was an important element in the life of America's youth.

This brought about a whole different look at the music industry.

1970-1979

This decade saw the division of rock into subdivisions beyond the

general categories of hard rock (extremely loud and electrically amplified) and

mellow rock (softer, and with acoustic instruments).  Rock blended with reggae,

which emerged from Jamaica around 1972, and is a mix of rock, soul, calypso,

and other Latin rhythms.

Other styles emerging in the 70's were punk rock, bubble gum music, and

heavy metal rock which continued the hallucinogenic approach of acid rock, but

using loud volume, electronic distortion, and vulgar stage antics.  Some bands

expressing these feelings were Kiss, Alice Cooper, Led Zeppelin.

Led Zeppelin, who is a British rock group was most popular during 1970s.

The members were: lead singer Robert Plant (born 1948), guitarist Jimmy Page

(born 1944), bassist and keyboardist John Paul Jones (born 1946), and drummer

John Bonham (1948-80).  Led Zeppelin was founded in1968 by Jimmy Page.   They

released their first album, Led Zeppelin, in 1968. Other popular albums

included Led Zeppelin II (1969), III (1970), and IV (1971), Houses of the Holy

(1971), The Song Remains the Same (1976), and In Through the Out Door (1976).

Their most famous song was `Stairway to Heaven' (1971). With the death of

Bonham in 1980, the band was at a great loss, and band members (Plant and Page)

went on to solo careers.  The reunion of  the remaining band members was in

1985, for a Live Aid benefit concert in Philadelphia.  Another reunion took

place in 1988 for Atlantic Records' 40th anniversary celebration (John Bonham's

son, Jason, played the drums).

SUMMARY

There were many other bands not mentioned in this report that influenced

music in the 60's, 70's, and the 80's.  Some of these bands include Pink Floyd,

The Doors, Eagles, Genesis, CSNY (Crosby, Stills, Nash, and Young), The Monkees,

Jimi Hendrix, Janis Joplin, Chicago, Fleetwood Mac, Jackson Browne, Michael

Jackson, and many others.

Rock and Roll has been an important part of young peoples lives for

decades and decades to come.  Music is a way of expression for some and a way

of relaxing for others.

455.          History of rock and roll

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INTRODUCTION

Rock and Roll started after the year 1955 with its roots being in Blues, Gospel,

and Jazz.  This influenced vocal music, which was popular with the African American

population.  Hep Harmony which added rhythm and harmony was sung by groups such as

The "Mills Brothers" and the "Ink Spots".

Small Swing Bands or Jump Bands featured saxophone soloists and repeated

phrases.  These city style blues featured singers such as Joe Turner, Dina Washington, T-

Bone Walker, and composer-singer Percy Mayfield.

During this era, country blues traditions of the south became influential in the

North as well.  Blacks moved from the South to the North and Chicago became the center

of blues recordings.  This emphasized electric guitars, harmonicas, and drummers who

emphasized after beats (beats 2 and 4 of the measure).  Black gospel music was very

popular and given the label of rhythm and  blues (R&B).  This music was carried on radio

and popular with the disc jockeys.

In the mid 50's, Chuck Berry and Little Richard were popular and changed the

face of music, which was named rock and roll by the D.J.'s.

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1956-1962

At age 21, in 1956, Elvis Presley was introduced to the public with his rockabilly

style of music.  His first record, "Heartbreak Hotel" was recorded.  It was the first of a

consecutive 14 records to sell over one million copies.

He inspired other country singers to sing rock and roll.  This started a trend for

"cover" recordings.  This was when white singers simplified versions of Black recorded

songs. White singers were played on more radio stations and became very popular.

Young listeners became their largest audience. Young singers were hired to record

songs featuring adolescent issues.  "Young Love", "16 Candles", and "Teenage

Crush".            Such singers as Little Richard, Chuck Berry, and Jerry Lee Lewis became

famous and popular.

Love ballads also became more popular, with the musical audience looking for

sentimental and honest expression.  This turned some of the more popular music from

rock to folk ballads.  Joan Baez, Bob Dylan, and Peter, Paul, and Mary were the more

popular folk singers.

1963-1969

During this period, the Beatles became the most popular band of the 1960's.

In the 1950's, the Beatles were also known as Johnny and the Moondogs and then the

Moonshiners.  They first became known as the Silver Beatles.  They brought about the

renewal of rock and roll, starting in Liverpool, England.  John Lennon (10/9/40-12/8/80),

led the Beatles as the lead singer and songwriter. Also writing the songs for the Beatles

page 3

was Paul McCartney (6/18/42-present).  George Harrison (2/25/43-present) added to the

sounds of the Beatles.  In 1962, Ringo Starr (7/7/40-present) became the drummer for the

band.  They were now known as The Beatles, (the Fab Four).

Their first song "Love Me Do" was recorded in 1962, after Ringo joined the band.

In 1964, the Beatles 'invaded' the United States, by bringing their music here and driving

the crowds wild.  The Beatles bridged the generation gap and language barriers.  They

were trend setters, with their style of dress and hair changing the face of the young

people.  They also influenced the use of hallucinogenic drugs, Indian music, and Eastern

mysticism.

The Beatles last concert was in San Francisco in 1966.   The band broke up in

1970.  Lennon went on to record solo albums and with his wife, Yoko Ono.  McCartney

went on to form Paul McCartney and Wings, with his wife, Linda.  Harrison and Starr

also went on to do solo albums.  Ringo also starred in some films.  Rumors of a reunion

were believed until the murder of John Lennon in 1980.

Some of the groups influenced by the Beatles were The Who, Cream with Eric

Clapton, and Chicago Blues.  They brought out sounds such as loud music, guitar

screeches, and on stage smashing of instruments.  During this time, rock operas and rock

musicals became popular, such as Tommy, The Who and Hair.

Formed  in 1962 the Rolling Stones started becoming popular.  In 1964, The

Rolling Stones were first known as Muddy Waters.  They had wild stage antics and brutal

lyrics.  The group consisted of 5 members from London.  Mick Jagger led the group as

the lead singer.  Keith Richards on guitar, Brian Jones (replaced in 1969 by Mick Taylor).

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Mick Taylor was replaced in 1976 by Ron Wood (from Rod Stewart's band).  Bassist Bill

Wyman and drummer, Charlie Watts made up the rest of the Stones.  By the late 60's they

called themselves the world's greatest rock band.

The Stones were number one on both sides of the Atlantic, with their hit

"Satisfaction" in 1965.  The Stones put out more than 35 albums.  Many of their lyrics

covered taboo subjects ( for their time), such as sex and drugs.  In the 1980's, thier image

mellowed and they went on to other endeavors.  In 1985, Jagger recorded a solo album,

"She's The Boss".  Following this album, he did a hit remake with David Bowie of

"Dancing in the Streets".  The Stones reunited in 1989, for a 4 month, 40 city tour, which

was seen by over 3 million people.  They rolled in over 70 million dollars from ticket and

merchandise sales.

Motown became popular during the late 60's with the emergence of female singers

such as Diana Ross and the Supremes.  Other Motown singers such as the Temptations

used dance and music together to enhance their popularity.  Stevie Wonder was also

another Motown great.  This started the trend of soul music.

During the 1960's hippies, drugs (LSD and Acid), and protests filled the air of this

time.  Groups such as The Mamas and The Papas, Country Joe and the Fish, Jefferson

Airplane, and the Greatful Dead were influenced by these trends.

The Woodstock Festival that took place in August 1969, showed that by this time

that music was an important element in the life of America's youth.  This brought about a

whole different look at the music industry.

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1970-1979

This decade saw the division of rock into subdivisions beyond the general

categories of hard rock (extremely loud and electrically amplified) and mellow rock

(softer, and with acoustic instruments).  Rock blended with reggae, which emerged from

Jamaica around 1972, and is a mix of rock, soul, calypso, and other Latin rhythms.

Other styles emerging in the 70's were punk rock, bubble gum music, and heavy

metal rock which continued the hallucinogenic approach of acid rock, but using loud

volume, electronic distortion, and vulgar stage antics.  Some bands expressing these

feelings were Kiss, Alice Cooper, Led Zeppelin.

Led Zeppelin, who is a British rock group was most popular during 1970s.

The members were: lead singer Robert Plant (born 1948), guitarist Jimmy Page (born

1944), bassist and keyboardist John Paul Jones (born 1946), and drummer John Bonham

(1948-80).  Led Zeppelin was founded in1968 by Jimmy Page.   They released their first

album, Led Zeppelin, in 1968. Other popular albums included Led Zeppelin II (1969), III

(1970), and IV (1971), Houses of the Holy (1971), The Song Remains the Same (1976),

and In Through the Out Door (1976).  Their most famous song was `Stairway to Heaven'

(1971). With the death of Bonham in 1980, the band was at a great loss, and band

members (Plant and Page) went on to solo careers.  The reunion of  the remaining band

members was in 1985, for a Live Aid benefit concert in Philadelphia.  Another reunion

took place in 1988 for Atlantic Records' 40th anniversary celebration (John Bonham's son,

Jason, played the drums).

page 6

SUMMARY

There were many other bands not mentioned in this report that influenced music in

the 60's, 70's, and the 80's.  Some of these bands include Pink Floyd, The Doors, Eagles,

Genesis, CSNY (Crosby, Stills, Nash, and Young), The Monkees, Jimi Hendrix, Janis

Joplin, Chicago, Fleetwood Mac, Jackson Browne, Michael Jackson, and many others.

Rock and Roll has been an important part of young peoples lives for decades and

decades to come.  Music is a way of expression for some and a way of relaxing for

others.

456.          History On Amazing Grace

History On Amazing Grace

"Amazing grace, how sweet the sound..." So begins one of the most beloved hymns of all times, a staple in the hymnals of many denominations. The author of the words was John Newton, the self-proclaimed wretch who once was lost but then was found, saved by amazing grace. Newton was born in London July 24, 1725, the son of a commander of a merchant ship which sailed the Mediterranean. In 1744 John was impressed into service on a man-of-war, the H. M. S. Harwich. Finding conditions on board intolerable, he deserted but was soon recaptured and publicly flogged and demoted from midshipman to common seaman. Finally at his own request he was exchanged into service on a slave ship, which took him to the coast of Sierra Leone. He then became the servant of a slave trader and was brutally abused. Early in 1748 he was rescued by a sea captain who had known John's father. John Newton ultimately became captain of his own ship, one which plied the slave trade. Although he had had some early religious instruction from his mother, who had died when he was a child, he had long since given up any religious convictions. However, on a homeward voyage, while he was attempting to steer the ship through a violent storm, he experienced what he was to refer to later as his "great deliverance." He recorded in his journal that when all seemed lost and the ship would surely sink, he exclaimed, "Lord, have mercy upon us." Later in his cabin he reflected on what he had said and began to believe that God had addressed him through the storm and that grace had begun to work for him. For the rest of his life he observed the anniversary of May 10, 1748 as the day of his conversion, a day of humiliation in which he subjected his will to a higher power. "Thro' many dangers, toils and snares, I have already come; 'tis grace has bro't me safe thus far, and grace will lead me home." He continued in the slave trade for a time after his conversion; however, he saw to it that the slaves under his care were treated humanely. In 1750 he married Mary Catlett, with whom he had been in love for many years. By 1755, after a serious illness, he had given up seafaring forever. He decided to become a minister and applied to the Archbishop of York for ordination. The Archbishop refused his request, but Newton persisted in his goal, and he was subsequently ordained by the Bishop of Lincoln and accepted the curacy of Olney, Buckinghamshire. Newton's church became so crowded during services that it had to be enlarged. He preached not only in Olney but in other parts of the country. In 1767 the poet William Cowper settled at Olney, and he and Newton became friends. Cowper helped Newton with his religious services and on his tours to other places. They held not only a regular weekly church service but also began a series of weekly prayer meetings, for which their goal was to write a new hymn for each one. They collaborated on several editions of Olney Hymns, which achieved lasting popularity. The first edition, published in 1779, contained 68 pieces by Cowper and 280 by Newton. Among Newton's contributions which are still loved and sung today are "How Sweet the Name of Jesus Sounds" and "Glorious Things of Thee Are Spoken," as well as "Amazing Grace." Composed probably between 1760 and 1770 in Olney, "Amazing Grace" was possibly one of the hymns written for a weekly service. Through the years other writers have composed additional verses to the hymn which came to be known as "Amazing Grace" (it was not thus entitled in Olney Hymns), and possibly verses from other Newton hymns have been added. The origin of the melody is unknown. Most hymnals attribute it to an early American folk melody. The Bill Moyers special on "Amazing Grace" speculated that it may have originated as the tune of a song the slaves sang. In 1780 Newton left Olney to become Director of St. Mary Woolnoth, St. Mary Woolchurch, in London. There he drew large congregations and influenced many, among them William Wilberforce, who would one day become a leader in the campaign for the abolition of slavery. Newton continued to preach until the last year of life, although he was blind by that time. He died in London December 21, 1807. Infidel and libertine turned minister in the Church of England, he was secure in his faith that amazing grace would lead him home. Now with the Authors History explained, I would like to add my own thoughts on this majestic piece of Music. I've been raised in a church all my life, so it's not surprising that I've heard, and sang, this hymn before. I have always found the word to be encouraging and hopeful. But it wasn't until I first heard the hymn played on Bagpipes that I fell in love with the music. I was watching a movie called "Tommy Boy", produced by Paramount Pictures in 1995, when I heard played on the bagpipes during a funeral in the movie. The second I heard it I knew that it was probably the greatest piece of music I've ever heard played. I liked it so much, in fact, that I have requested that Amazing Grace, played on the bagpipes, be performed at my grave site when I die. In case you've never heard the piece before, I will finish my paper with the original six stanzas that appeared in both the first edition in 1779 and the 1808 edition, the one nearest the date of Newton's death. It appeared under the heading Faith's Review and Expectation, along with a reference to First Chronicles, chapter 17, verses 16 and 17. Amazing grace! (how sweet the sound) That sav'd a wretch like me! I once was lost, but now am found, Was blind, but now I see. "Twas grace that taught my heart to fear, And grace my fears reliev'd; How precious did that grace appear, The hour I first believ'd! Thro' many dangers, toils and snares, I have already come; 'Tis grace has brought me safe thus far, And grace will lead me home. The Lord has promis'd good to me, His word my hope secures; He will my shield and portion be, As long as life endures. Yes, when this flesh and heart shall fail, And mortal life shall cease; I shall possess, within the veil, A life of joy and peace. The earth shall soon dissolve like snow, The sun forbear to shine; But God, who call'd me here below, Will be forever mine.

457.          Hitchcock and Poe

Hitchcock and Poe, masters of thrill and fear, do not possess occult powers that would explain their success in engaging audiences with their potent displays of horror. Instead, they focus on one simple technique that, while seemingly insignificant and trivial, produces results more satisfactory than those of flamboyant special effects or abstruse language. In Hitchcock's Rear Window and in Poe's "The Fall of the House of Usher," both storytellers use a first person point of view to build apprehension and suspense. This restraint establishes a connection in which the audience is accordant with the main character; they become harmonious in both their knowledge and perception of events, and are therefore left suspended in breathless anticipation.

In Hitchcock's Rear Window, the audience sees everything through the eyes of L. B. Jeffries, an immobile photographer who is confined to a wheelchair in his apartment, and spends his days gazing out of his window at the daily lives of his neighbors. While observing the apartment opposite to his, Jeffries gradually suspects that a murder has taken place, and as his suspicion rises, so does the audience's uncertainty. The audience is experiencing the event with him, learning the same information at the same time he learns it, therefore increasing feelings of foreboding. By denying the audience the luxury of advanced knowledge, and forcing them into the same position as Jeffries, Hitchcock creates an ambiguous atmosphere of frightful anticipation. Jeffries's belief that the husband, Mr. Thorwald, killed his wife is inferred from "clues" seen from his window. The audience is lured into perceiving the situation in the exact manner Jeffries perceives it, even though the assumption is not supported by fact. The viewers accept his thought process despite the possibility of making the same mistake if the accusation is a misconception of the distorted mind. Hitchcock effectively limits the audience's view of events and connects their thoughts and emotions with those of the character to establish doubt and hesitation.

Similarly, in Poe's "The Fall of the House of Usher," the reader visualizes the situation through the descriptive language of the narrator, a man visiting his childhood friend, Roderick Usher, who is plagued by an oppressing mental illness. When the narrator approaches the "melancholy House of Usher," he is overcome with feelings of "insufferable gloom," apprehension, and nervousness. As images and events are specifically observed and detailed in the writing, the reader experiences the same tension and unease towards the House of Usher. The narration defines the story's settings in the exact way the narrator sees them, allowing the reader to follow along, digesting the given descriptions. Later, when the narrator fears that the "madness" of the Usher family is gradually controlling his mind, the reader is filled with "creeping" dread that is parallel to that fear. The house, and the events that occur within it, are frightening because the narrator illustrates them in such a gloomy fashion. The reader is left to stand with the narrator, both blind and fearsome in expectation of subsequent events. Poe's specific prose and first person point of view bond the feelings of the reader and the narrator, to build shared suspense and anticipation.

However, despite apparent similarities in their use of first person point of view to invoke the audience's emotions, Hitchcock and Poe differ in the stringency of their limitations. In Rear Window, while the viewer is lacking in knowledge and information, events are presented in scenes, with occasional interjections by surrounding characters. A notable character who interferes is the police officer who questions Jeffries's assumption that Mr. Thorwald is a murderer. This provides the viewer with a chance to deviate from Jeffries's perception, and to form an independent opinion on the situation. In "The Fall of the House of Usher," there is no room for interpretation. The reader must accept the narrator's view, not only because there are no outside characters besides the remaining Usher family, but also because all comments and descriptions are written down in a narrative style. Poe's tale is strictly one sided, with no holes to stretch and distort, while Hitchcock's provides an opportunity for digression.

To understand why Hitchcock and Poe are considered masters in their genre, one only has to consider their simple uses of point of view to elicit appropriate reactions from their audiences. They don't need fantastic productions or grandiose words to get their point across. They have succeeded in creating classic works of horror and suspense just by limiting point of view and by creating a relationship between the audience and the main character.

458.          Hitchcocks Motifs An in depth reading of Vertigo

Alfred Hitchcock was an auteur who relied upon a set of codes and conventions which made his films some of the most memorable ever made. He was primarily concerned with authorship in his films and tended to use dark fears and imaginative settings to attract the audience. For example this type of setting was used in the film 'Psycho'. The majority of the films that Hitchcock made were very similar and this is because he included specific motifs that were symbolic of him and his style. He would somehow incorporate these motifs into his films, sometimes in different ways, and they would form the base of which the film was to work on.

Hitchcock liked to keep the audience thinking and wanted viewers to in a way be confused at what he is trying to show only for it to be revealed at the end. It eventually would become clear in his films but only because the audience were so familiar with his trademark cinematography and mise en scene.

He was quoted as saying, "Always make the audience suffer as much as possible". And this he did do. One of the defining characteristics of most of Hitchcock's films was that he would make a cameo appearance. However because this would also become so familiar, he would make his appearance in the beginning of the films because he knew viewers were watching out for him. This way it wouldn't deviate their attention away from the story's plot and this typifies the regard that he had to the importance of a films plot.

In the film Vertigo, we see the image of Hitchcock at its best. The film opens with an ominous chase over the rooftops of San Francisco that leaves police detective John "Scottie" Ferguson (James Stewart) overcome with an intense fear of heights. Hearing of his troubles, an old college acquaintance hires Scottie to take on a bit of freelance detective work where he wants Scottie to shadow his wife Madeleine (Kim Novak), whom he describes as "being possessed by a spirit" and being a "suicidal neurotic." Scottie is wary of agreeing to the job and this shows in the slightly uneasy performance that the character gives. Throughout the section that we are focusing on he is constantly looking around and the tentative look on his face suggests that he isn't completely comfortable with the situation that he is placed in. This all adds to the image of the crooked male that is so common in Hitchcock's movies. There is an air of vulnerability about Scottie and this has incurred from his fear of heights and the fact that this fear resulted in the death of one of his colleagues. So, in a sense Scottie is psychologically damaged and in following the lady around he is perhaps contradicting his character. There is an element of innocence within Scottie and this for one is portrayed in the fact that his car is white, a signifier of purity and genuinity.

He firstly follows Madeleine into a florist. Now, this is where we are faced with the main theme of the film and possibly Hitchcock's most popular motif, voyeurism. This is the idea of looking at someone without them being aware and Hitchcock uses it in a number of his films, namely Psycho and Rear Window. However, the way it is constructed in Vertigo is different to that of, lets say, Psycho. For example, voyeurism in Vertigo is more concerned with suspicion and mysteriousness whereas that of Psycho is to do with danger and spying. The only real similarity we see to Psycho in Vertigo is when Scottie is watching Madeleine through a gap in a door. This could be connected to the spy hole that is seen in Psycho.

The scene in the florist is also where we see Madeleine in full frontal, projecting her beauty and the image of the glacial blonde. Hitchcock was obsessed with a particular type of female image and he moulded them into appearing the same. He preferred to use blondes and this was evident in other films where he used actresses such as Tippi Hedren, Grace Kelly and Janet Leigh.

Madeleine is depicted in the centre of the screen and all the audiences' attention is focused on her. The fact that she is in a florist as well, surrounded by flowers complimenting her stature adds to her beauty and the effect that she gives. It is this moment that Scottie notices Madeleine properly for the first time and it has a real effect on him. He begins to fall for her and gradually becomes obsessed with rescuing her. This idea of Scottie being vulnerable is furthered with the fact that he falls hopelessly in love with this shadow of a woman he knows so little about. It exhibits signs of weakness which again is something Hitchcock liked to show. Eventually, this weakness results in Scottie being unable to save Madeleine from the top of the building because he's too scared.

This image of Madeleine in the florist is true of Hitchcock's beliefs of the role of females in films. The idea was that females were associated with visual pleasure and were simply objects to be looked at. The theory was that men act and women appear and Vertigo was no exception to this. The visual clip of Madeleine is a scene that male viewers were likely to get pleasure out of. The male role was associated with activity and narrative and the way Scottie is used suggests this.

Upon leaving the florist, Scottie then follows Madeleine to the church where she goes to the graveyard. This is where we see the familiar image of Scottie behind the wheel, with Madeleine a steady distance in front. This again tells us more about Stewart and the way that voyeurism should be interpreted. Scottie is being careful whilst following Madeleine by not getting too close to her but keeping at a distance where he can still keep an eye on her. This shows how Scottie has no intention of trying to frighten Madeleine by making her feel conscious of someone watching her. And it again suggests insecurity about him, whether he should really be doing this and feeling unsure of himself.

The shot we get of Madeleine in front is effective. Hitchcock liked to include P.O.V (Point of View) shots in his films and this is an example. The car, similar to Madeleine in the florist, is at the centre of the screen with the front window of Scotties car acting as a kind of cinematic frame to which all our attention is directed on Madeleine's car.

In a way, these shots involved the audience more.

The church is quite a domineering, white building. Hitchcock tended to be influenced by his background when producing his films and in this instance he has included the subject of religion. Catholicism influenced Hitchcock heavily and the notion of guilt within this is conveyed in the attitude of Scottie. He also attended a Presbyterian school which gave him a respect for religion and shows this as superior to any man, including James Stewart whom he regarded as one of the finest actors. By depicting Scottie in front of this foreboding landscape, the church in a sense is seen as superior.

The graveyard scene also conveys the importance of sound in Hitchcock's films. He understood the power of music in heightening tension where dialogue could not and this is proved throughout Vertigo. The music used is perfect for creating suspense and the lack of dialogue adds to its effect. In a way, the music creates dialogue. The effect of the strings invokes mystery on the part of Madeleine and the sound of the harp creates a feeling of romance. This is heard when Scottie sees Madeleine for the first time.

Most notably the effect of sound in this scene comes in the shot of the gravestone that Madeleine was looking at. The quiet sound of strings is suddenly interrupted by a loud tone involving brass. The impact of this unexpected sound makes the audience more aware of the gravestone and it signifies how it is likely to be an important part of the film.

Madeleine's final destination in this sequence is the art museum and this is where we are faced with more of Hitchcock's traditions. He liked to insert shots of a woman's hairstyle and frequently included close-ups of a woman's hair. This occurs as Madeleine is sitting down, looking up at a painting. She is holding a similar bunch of flowers as the lady in the painting and their hair is exactly the same. With this comes the motif of a double identity that Hitchcock used so often in his films. Again, it is used in Psycho and the case of a mistaken identity occurs in North by Northwest, also including James Stewart. This process had a lot to do with Hitchcock's aim to unease the audience and make them confused. In this case, Madeleine is seen as herself, the woman in the painting and later she becomes Judy. When Scottie asks the man at the museum who the painting is of, he finds out that it is Carlotta Valdez, the same name that was on the gravestone. The fact that Madeleine is attempting to be exactly the same as her shows she has some kind of problem which we recognise as being obsession.

Kim Novak plays three characters in Vertigo and her performance is very real. This is another Hitchcockian aspect that the audience tend to take for granted. He used mostly the same actors and actresses in his films and therefore we have a certain expectation of their performances. James Stewart in particular appeared in many Hitchcock films.

The cinematography is an integral part of the effect on the audience that Vertigo has, most notably, the effect of the camera zooming in and out to emphasize Scottie's fear of heights. This also is used to unbalance the audience. The colours used are vibrant and glowing and this all contributes to giving the film a haunting, tense aura.

Vertigo captures a snap shot of San Francisco which acts as a backdrop for the movie.

This is similar to the effect of Rear Window and the estate that is shown, which is reminiscent to that of a theatre backdrop.

Hitchcock was at the height of his skill when he directed Vertigo in 1957. The blend of mystery, romance, obsession, voyeurism and murder make the film typical of the Hitchcockian style. Every image, every musical note and every aspect of the film was at the closest level of perfection that he could attain.

459.          Hitchcocks ROPE

The film that I have chosen to base my assessment on is Alfred Hitchcock's Rope (1948). With reference to this film I will closely examine its production, distribution and exhibition. I will also consider film techniques, special effects and audience. In examining all these factors I will also bear in mind the year and era of the production and the implications that may have occurred as a resultThe film that I have chosen to base my assessment on is Alfred Hitchcock's Rope (1948). With reference to this film I will closely examine its production, distribution and exhibition. I will also consider film techniques, special effects and audience. In examining all these factors I will also bear in mind the year and era of the production and the implications that may have occurred as a result.

Rope, a screenplay based on a stage play by Patrick Hamilton, has been described by many as a milestone in Alfred Hitchcock's career with it being the first film he had produced as well as directed, his first colour film and possibly one of his biggest technical challenges.

The film centres on the action of two young homosexuals Brandon (John Dall) and Philip (Farley Grainger). The two boys take a rope and strangle a college friend, David (Dick Hogan), for a quick thrill, and then conceal his body in a chest in a room where David's parents and friends are later to have a cocktail party. The boys serve the buffet on top of what now is David's coffin and this scene is given a sense of eeriness as we see candles lighten and placed on the chest adding a funeral sense to the scene which is only apparent to the audience. Among the guests at the party is their former college professor Rupert Cadell (James Stewart). As the party goes on, the boys' attempts to impress their former professor leads them to disclose bits of the truth, and the big hint occurs when they hand Rupert the wrong hat as he is leaving; a hat bearing the initials of the dead boy. Rupert returns to the apartment after the guests have left and continues to quiz the boys, he finally works out what has happened and opens the chest, discovering the body and summons the police with a short, sharp gunshot. The gunshot was a very clever way of breaking the tension which builds up throughout the scene.

Alfred Hitchcock worked alongside Arthur Laurents who was responsible for creating part of the dialogue, the rest being taken from the original stage play. He also employed the help of Hume Cronyn who worked on the adaptation. Undertaking the challenge of Rope was a huge risk. It was a film like no other Hitchcock had ever made before and could have ended in disaster. There were many factors which made this production one of great risk: it was the first film he had produced as well as directed, it was his first colour production and the way it was to be filmed would prove the biggest challenge of all.

Alfred Hitchcock is famous for his theories on the importance of cutting and montage*  for the visual narration of a story and therefore this film was to go against everything that Hitchcock worked on and believed. Hitchcock states that he undertook Rope as a stunt, not really knowing himself why he decided to indulge in the project. Hitchcock's first personal challenge was that he wanted the film to be similar to the original stage play in terms of time. The stage drama was acted out in real time, that being the actual time of the story, the action being continuous from the moment the curtain is raised until the curtain goes down. He decided the only way that he would be able to achieve this is if he carried out all of the shooting in one continuous action, with no break in the telling of the story, which begins at seven thirty and ends at nine fifteen. This method of filming broke normal conventions of  the shooting a film because as a rule, a filmic sequence is divided into shots that last between five to fifteen seconds therefore an average length film ( 1 1/2 hours) will usually consist of  around six hundred shots. Hitchcock being a fan of montage and cutting frequently produced films that would average up to one thousand shots, one example being The Birds (1963). In Rope each shot runs to ten minutes. This film will remain in history as the only film that has been shot without any interruption for the many different camera set-ups.

Hitchcock was known to many as an auteur** director and therefore often using the same actor's throughout a majority of his films. Rope was no exception, using James Stewart in many of his productions including Rear Window (1954), The man who knew too much (1956) and Vertigo (1958). He also relied heavily on employing big name stars to sell his films throughout the post war era often using Ingrid Bergman, Cary Grant and Grace Kelly. Hitchcock encountered many problems with the filming of Rope one being that in the beginning of the film the action takes place in daylight and by the end of the film it is late evening and dark outside, this was overcome by gradually altering the flow of light through the background in order for it to appear as if there were gradual nightfall. Since the action never leaves the apartment Hitchcock had to make sure that the picture never turned into a static stage play, and he achieved this by keeping the camera constantly moving. Throughout the film the camera glides from one group of characters to the next, zooming in at times to capture important gestures or comments. He used 150 different camera movements to achieve the equivalent number of shots, it was suggested he was 'cutting the film inside the camera'. Hitchcock strived to make the viewer feel as if they were another guest at the party by allowing the camera to draw the viewer into the scene and allowing them to explore the action at close range. In trying to achieve continuous action with no dissolves and no time lapses, another problem he encountered was how to reload the camera at the end of each reel without interrupting the scene. Hitchcock claims he overcame this hurdle by having a figure pass in front of the camera therefore blacking out the action very briefly while people changed from camera to another and starting the next reel on that same close up of the same character. This gives the impression of a blackout allowing adjustments to be made while on the film it appears as a continuous movement of a character. The set of the film was built purposely for the production; the set consisted of a living room, a hallway and a small section of a kitchen. Hitchcock talks of the picture overlooking the New York skyline which had to be made into a semi-circular pattern which in turn meant that the camera was able to swing around the room and the skyline would always look in perspective, three dimensional rather than appearing as a flat, unrealistic looking two dimensional picture. For the background to appear in perspective it had to be made three times bigger than the living room décor itself. The clouds that appear between the skyline were made of spun glass and hung on invisible wires and were also set in the semi-circular pattern. Everything in this film was planned in advance even down to the clouds, which were shifted slightly from left to right in between reels. Although Hitchcock states that we never actually see the clouds move although we must remember that the camera isn't always on the window, and whenever a cloud reached the edge of the horizon it would be taken off and another one would appear in view of the window at the other side. Hitchcock also encountered production problems with the colour during filming as it was a new aspect of filming that he had not encountered before.

"The average cameraman is a very fine technician. He can make a woman look beautiful; he can create natural lighting that is effective without being exaggerated. But there is often a problem that stems purely from the cameraman's artistic taste."                                                                                       Alfred Hitchcock

Hitchcock's main problem concerning colour was that when filming the scenes that involve the sunset he decided that the sunset was far too bright and the colours far too strong, he stated that it was unacceptable and looked like a lurid postcard and in deciding this he has to re-shoot the last five reels of the film. Hitchcock had a theory regarding colour.

"..There is no such thing as colour, in fact, there is no such thing as a face, because until the light hits it, it is non-existent...there is no such thing as a line, there is only the light and the shade."

Alfred Hitchcock

In the end Hitchcock's cameraman that dealt with the colour went off sick so he employed the help of a Technicolor consultant who with the help of a chief electrician finished the job off perfectly.

As said earlier every tiny production detail was worked out well in advance of shooing the film, this pre-production phase is one of the most important of the whole process, it is where the producers can afford to make mistakes as mistakes during filming can be costly, especially with a production like this as each shot was filmed for so long, if something were to go wrong at the end of a shot it would mean a lot of wasted time and money. In filming Rope Hitchcock used a dolly and he mapped out a course of numbers all over the floor of the set which were used as a guide. This meant that all the dolly man had to do was move the camera to number one, two and so on at certain cues in the dialogue. When the camera was to move from one room to the next the walls would swing back on silent rails and furniture was mounted on wheels so that it could be pushed back as the camera went past. The amazing thing about this film, that amazed even Hollywood as it had never been achieved before was that Hitchcock was able to make a direct soundtrack even with all this movement going on around him, although sometimes things did go wrong.

"It was very hard to achieve this continuous shot without sound being heard, while walls are being moved and lights being raised and lowered. I was so scared something would go wrong that I couldn't even look during my first take. For eight minutes of consecutive shooting everything went smoothly. Then the camera panned around as the two killers walked back towards the chest, and there right in camera focus, was an electrician standing by the window! So the first take was ruined."

Alfred Hitchcock

Another issue that he had to handle delicately was the films representation of homosexuality. Scriptwriter Arthur Laurents claims that there are ways in which the homosexual pair is represented without it being too conspicuous. The way in which the couple clutch at their 'straight' victim during the murder was used to suggest a symbolic rape. This was so subtle that the film censors did not detect it themselves although they did remove some parts of the dialogue such as 'dear boy' that Laurents suggested made no sense as they had no homosexual connotation at all. Other subtle hints at the boys sexuality was the fact the apartment was over decorated and the boys were resentful to the dead boy's girlfriend. Theorist Jean Renoir, who is fully accustomed to homosexuality in European films, suggested that Hitchcock avoided the issue of sexuality too much stating

"I thought it was supposed to be about homosexuals, and you don't even see the two boys kiss".

In my opinion Jean Renoir obviously missed the whole issue of the film, the film by no means is meant to focus on sexuality but the crime committed and the suspense surrounding the film. Sexuality is not the issue, as the film could quite easily have had two 'straight' men commit the same crime and the film would not be altered in any way.

In total Rope took ten days of rehearsals and eighteen days of shooting. Although Hitchcock himself may regard Rope as a mistake many critics, as well as myself agree that rope should not be seen as a foolish experiment and that many directors have dreamed of linking all of a films parts into one continuous action and critics also claim, it is was a positive step in Alfred Hitchcock's evolution. One theorist that would appreciate the spectacle of Rope is Andre Bazin.

"Editing was the destruction of the cinematic form, indeed the destruction of the essence of cinema...it is the shot, the unedited gaze of the camera onto the world before its lens that constitutes cinemas aesthetic core"

Andre Bazin

Bazin believed that editing cuts off the viewer's opportunity to the wholeness and continuity of time and space. He believes that editing is manipulative as it forces the viewer to see what the film maker wants us to see. If a shot were uninterrupted and in deep focus, so that everything in the shot appeared equally clear, then the viewer would be free to choose what to look at within the frame. He talks of the importance of mis-en-scene, lighting and movement, stating that these are the key to a good film not editing. Rope could be compared to the works of the Lumiere brothers, who produced short films of everyday occurrences such as a train pulling into a station. They filmed long, unedited takes, this partly to do with the fact that cameras at this time were static, and editing was not a film form established. Bazin, not usually a fan of Hitchcock due to his use of montage, would appreciate this film and its filmic technique. I would agree with Bazin's statement that editing is manipulative but would have to disagree that mis-en-scene and lighting are the key to a good film as editing and montage lift the tempo of a film and directly make it more interesting and often less tiring to watch, as long takes often become monotonous, although in Hitchcock's defence I did enjoy this film as he uses many different camera movements to keep the film running at a steady pace and therefore my attention never wandered. One theorist in complete opposition to Andre Bazin is Sergei Eisenstein, a director himself, whom I am more inclined to agree with on the subject of montage and editing and its overall effect on films and its viewers.

"The shot is only raw material that the film maker uses to construct the edifice of his film"

Sergei Eistenstein

His theory stated that a shot has no meaning until it is put in contention with another shot in the form of montage. For Eisenstein montage was the film maker's most important tool but a sign of aesthetic and political control. He stated that the shot by itself was inert and that making the shot was only craft, turning the shot into a temporal structure of rhythmic, conflicting, kinetic montage was the director's art.

Rope was released in 1948 which meant that it fell into the post war era of film making which meant as well as production problems they Hitchcock also faced economical and societal problems which would interfere with distribution, exhibition and therefore revenue. America came out of the war a wealthy country; men had earned good money in the military industries but had had little time to spend it. Troops returned to rejoin their partners and set up households. The birth-rate increased during the war and rocketed after the war and this new generation was labelled the 'baby boom'. With all of this money at peoples disposal prospects seemed excellent for the movies. People flocked to the movies and the box-office figures for 1946 were the highest in U.S film history and probably remain the highest till this day. Hollywood's international market was also expanding and the studios turned to the foreign department of the MPPDA (Motion Pictures Producers and Distributors Association) into a new trade organisation, the Motion Picture Export Association of America (MPEAA). This new organisation was responsible for coordinating American exports and negotiating prices. While some countries struggled to rebuild their industries, Hollywood came to rely more on exporting its products. Before the war about one third of U.S box-office income had come from abroad, but by the mid 1960's the figure had risen to around one half.

Rules governing the exhibition of films took a dramatic turn in 1948, as a decision was made concerning the paramount case. The paramount case was concerned with the five main studio's at the time ( Paramount, Warner Bros, Loew's (MGM), 20th Century Fox, and RKO), of coming together to monopolise the film industry. These studios owned theatres and block booked films among other strategies to keep the smaller and independent film companies out of the business. The decision handed down by the U.S Supreme Court stated that the five companies were guilty of monopolising the market and were ordered to sell their theatres. It was also decided that they should not be allowed to block-book films. With this decision all of the five studios remained in the production/distribution side of film but no longer owned the theatres. This decision meant that exhibition became more limited, and places were the films were to be distributed had to be chosen with more caution. This decision also meant that small independent theatres that had only been able to get hold of cheap films were now able to show big cost movies and had a bigger range of films to choose from. Another positive action to come from this was that more stars and directors were able to break out on their own to start their own companies.

However from 1947 and for the next decade the movie industry took a turn for the worse, weekly ratings at the local picture houses fell from around 98 million viewers per week in 1946 to about 47 million per week in 1957. About 4000 theatres closed down in that same decade. As men returned and the baby boom began, families tended to stay in and listen to the radio rather that go to see films. Veterans decided to start their educations again and this cut into their leisure time. Men now having more money saved from their time at war decided to purchase more goods such as houses and cars, this therefore reducing the amount of money they had for disposable purposes such as going to the local cinemas. The impact of war on the film industry was huge and it had caused a drastic cut in the distribution of American films to European countries.  Bordwell  and Thompson state that Hollywood overseas negotiations were carried out by the MPEAA and its strategy was to make each country's domestic industry strong enough to support the large scale distribution and exhibition of American films. Penetration was very quick and by 1953 in virtually every country American films occupied at least half of all screenings. Europe had become America's main source of foreign revenue. Although distribution to these countries was vast, as to was exhibition, in 1948 European countries needed help as American films were taking over and countries decided on certain time allotments that would be dedicated to American films. France decided that at least 20 weeks per year would have to be filled with French products. Britain decided at least 45 percent of screen time be appointed to British films and Italy decided 80 days a year be allowed for Italian films. This was in order to bring revenue into their own countries in an effort to rebuild after the war.

Rope was released in1948 and it was this year that television began to expand at a more rapid rate. The number of television sets used by the public ascended by more than 1,000 percent from 14,000 in 1947 to 172,000 a year later. By 1954 the amount had risen to 32 million television sets being used. By the end of the fifties 90 percent of homes had a television set. Television had replaced film as the dominant leisure time activity of the American population.  When couples did decide to go the cinema they tended to be more particular than movie goers in the past. Rather that going to the local picture house regularly they tended to go les and would only choose an' important film' to watch. With this in mind directors tended to cut back on the number of films they produced, concentrating more emphasis on ways that the most could provide big attraction films that would attract the big audiences.

Here I would have to argue that Hitchcock does not fall into the majority of directors. Hitchcock did not cut down on the number of films he released, averaging 14 films a decade, and this is not to say that his films lacked depth, all his films had elements that he knew would attract the audience, from using big name stars, to advanced technical elements or simply just the plot of the films. Marketed as the 'master of suspense' Hitchcock was probably the most publicly recognised director of the post war era.

"...His films carried the stamp of his fussy, childish delight in discomforting the audience. Like his mentors the soviet montage directors, he aimed at pure, almost physical response. His goal was not mystery or horror but suspense. His plots, whether drawn from novels or his own imagination, hinged on reoccurring figures and situations. The consistency of his stories and themes furnished evidence for the European critics who proposed that an American studio director could be the creator -the 'author'- of his work..."

Bordwell & Thompson - Film History.

In conclusion to this essay I would say that I have examined aspects of production, problems faced during production and methods of production throughout my chosen film and in doing so have called upon the work of two well known theorists, one who agrees with this work and one opposed it. I have given my view of their theories, opposing or agreeing myself. I have also studied distribution and how it was changed in relation to the war. I have looked at methods of exhibition and how those methods came to change with time. With all I challenged in this essay I have kept everything in relation to its time of production and the implications that came as a result.

WORDS 3,593

* Montage is a specific kind of editing that is constructed out of shots that affect each other in particular ways. One shot takes on meaning in relation to the shot that precedes and follows it.

** Auteur directors are directors seen to be most responsible for a films form, style an meaning. E.g Hitchcock films as an auteur will have reoccurring themes, images, technical aspects or even actors. And each film will be studied in respect to all his other work.

BIBLIOGRAPHY

Phillips, G (1984) Alfred Hitchcock

Bordwell, D, Staiger, J, & Thompson, K (1985) The Classical Hollywood Cinema - Film style and mode of production to 1960

Balio, T ( 1985) The American Film industry - Revised edition

Hill, J & church-Gibson, P (1998) The Oxford Guide to Film Studies

Thompson, K &  Bordwell, D (1994) Film history - An Introduction

Hark, I (2002) Exhibition - The Film Reader

Klevan, A (2000) Disclosure of the everyday - Undramatic narrative in      Narrative film

WEBSITES

www.theinternetmoviedatabase.com

460.          Hitler Rise to Power 1957

ADOLF HITLER 1. THE BEGINNING At half past six on the evening of April 20th, 1889 a

child was born in the small town of Branau, Austria. The name of the child was Adolf Hitler. He

was the son a Customs official Alois Hitler, and his third wife Klara. As a young boy Adolf

attendated church regulary and sang in the local choir. One day he carved a symbol into the

bench which resembled the Swastika he later used as the symbol of the Nazi party. He was a

pretty good student. He received good marks in most of his classes. However in his last year of

school he failed German and Mathematics, and only succeeded in Gym and Drawing. He

drooped out of school at the age of 16, spending a total of 10 years in school. From childhood

one it was his dream to become an artist or architect. He was not a bad artist, as his surviving

paintings and drawings show but he never showed any originality or creative imagination. To fullfil

his dream he had moved to Vienna the capital of Austria where the Academy of arts was located.

He failed the first time he tried to get admission and in the next year, 1907 he tried again and was

very sure of success. To his surprise he failed again. In fact the Dean of the academy was not

very impressed with his performance, and gave him a really hard time and said to him "You will

never be painter." The rejection really crushed him as he now reached a dead end. He could not

apply to the school of architecture as he had no high-school diploma. During the next 35 years of

his live the young man never forgot the rejection he received in the dean's office that day. Many

Historians like to speculate what would have happened IF.... perhaps the small town boy would

have had a bit more talent....or IF the Dean had been a little less critical, the world might have

been spared the nightmare into which this boy was eventually to plunge it. 2. WORLD WAR I

While living in Vienna Hitler he made his living by drawing small pictures of famous landmarks

which he sold as post cards. But he was always poor. He was also a regular reader of a small

paper which claimed that the Araban race was superior to all and was destined to rule the world.

The paper blamed Communists and Jews for all their problems and hitler agreed to those views.

Hitler agree with most of the points made in the publication. He continued to live a poor live in

Vienna and in 1913 decided to move to Munich. Still living in Vienna and being Austrain by birth,

Hitler showed more loyalty to the Geramny. He thought that the Aryan race was destined to rule

the world. Many believe that he tried to escape the draft but it was never proven. His live in

Munich was not much better then before and he continued to be poor. Then in 1914 World War

I broke out and Hitler saw this as a great opportunity to show his loyalty to the "fatherland" by

volunteering for the Imperial army. He did not want to fight in the Austrian Army. Hitler was a

good soldier. Many of political opponents claimed that he was a coward but records clearly

show that he was not. He received to awards of bravery but never achieved a high Rank. In

1918 Germany surrendered and Hitler was very upset about the loss. He believed that it was the

Jews and the Communists who betrayed the "fatherland" and it was here that his disliking of the

Jews most likely began. Germany after the war was in chaos. With no real Government to control

the country, many groups tried to take control. One day a big communist group staged a big riot

but another group of ex-soldiers including Hitler managed to hold them back. 3. THE NAZI

PARTY Since there were not many chances for employment Hitler stayed in the army. Hitler was

assigned the job of going go to various meetings of groups which sprang up like mushrooms and

to report on them. One day September 12, 1919 - a fateful day in history, Hitler was sent to

investigate a small group which called itself the "German Workers Party". Hitler was not to happy

about his assignment. He thought it wouldn't be worth it to even go. At the group mainly talked

about the Countries problem and how the Jews, communists and others where threatening the

master race and offered their own solutions. Hitler was bored by the meeting but when a man

stood up and claimed that Bavaria should separate from Germany, Hitler got up and argued that

point. He argued that Germany and germans must unite into one to survive. His natural ability to

speak imprest the leader of the group and at the end of the meeting he gave Hitler a pamphlet and

an initiation the next meeting. He wasn't interested in attending but after reading the hand out he

accepted. He later joined the German Workers Party and was in charge of Propaganda. The

party was small at first but Hitler's great skill at deliberating speeches attracted more and more

listeners and it soon became a major party with many followers. Eventually Adolf Hitler became

it's leader and the rest as they say....is history. 4. HITLER IN POWER While spending time in

prison for trying to overthrow the government Adolf Hitler wrote his famous book "Mein

Kampf", in which he describes many problems and where he states that the Jews and communists

were responsible for those problems. He also decided on the "Final Solution" to the "Jewish

Question". It was his goal to eliminate the Jewish race from the European continent. It is

interesting to look and see how a small time boy from Austria with no education, money or

political background could become within a few years the leader of big nation such as Germany.

Historians believe that Hitler saw a great opportunity to get his views across to the German

people who have lost all hope. Of course people did not start to support him right away. After he

came into power, the Nazi party took control over every aspect of every day life. Hitler ordered

the creation of a special police force to make sure that all opponents would be elimanted, the

Gestapo. He also gave orders to set up a special force which would be used to transport and

take care of all political prisioners and people thought to be inferior. The name of the force was

the feared SS. Mass propaganda was used to persuade the German people that the "Fuhrer"

would make the country strong and powerful again. They also used propaganda against the Jews

and other minority groups which were considered enemies. Teachers had to belong to the Nazi

party, and children were taught that Jews very the source of all their problems. Since the country

was in chaos after the war, and was forced to pay billions in damages, The Germans saw hope in

Adolf Hitler. In the late 20's the depression hit which made the situation even worse. Hitler in his

speeches blamed the Jews and Communists for their misfortunes and many listed. Unemployment

was very high at that time standing at about 25%. Hitler also spoke out against the unfairness of

the Versailles treaty. Germany lost a lot of its territory. The Empire was no more. He believed the

pure Araban race is destined to rule the world and wanted to build an Empire that would last a

1000 years. He preached that all Germans must unite in order for this goal to succeed. Hitler

publicly stated his views on the Jews. But the Jews of Germany didn't see Hitler as a great threat

at first. However when Hitler became chancellor and eventually took over totally they changed

their mind. The first thing he did was to take the Jews their right to vote. Soon they were not

allowed to marry with a pure german, they could not hold positions such as teachers, doctors

lawyers,..and so on. Many Jews only then realized that he was serious and many fled Germany.

Why did so many Germans follow Hitler? When he took power the economy was basically non

existent. Many looked for answers and hope. Hitler was their answer. He promised to rebuild the

Glorious Germany of the past. First he started to build up the Wehrmacht. Germany was not

allowed to have more than 100,000 men, but Hitler broke the treaty and gave orders to increase

that number. Factories started putting out weapons and people now had jobs. To the Germans

this was a very good sign. Mass rallies were held, where Hitler continued to use his powers of

speech on the German people. 5. THE ROAD TO WAR At first the allies did nothing about the

fact that Hitler broke the Treaty. He gave speeches in which he indicated that the German people

needed living space. Later he Marched into the Reihnland, and area which Germany lost. Next

He moved into Austria, his home country and annexed it without a shoot being fired into the

Reich. Following Austria, he wanted control of the Sudetenland, a part of Czechoslovakia which

was mainly German speaking. He also achieved that goal. The allies didn't want another war so

they led Hitler do what he wanted to, but when he Attacked Poland on September 1st, 1939 the

allies no longer stood by and watched. Britain and France declared war on Germany a few days

after later, World War II began. 6. THE DARK SIDE After the Wehrmacht conquered and

occupied a territory the SS quickly followed. They would round up Jews, Communists, Gypsies,

Homosexuals and others which were viewed as "Inferior" according to Nazi racial theory and

enemies of the German people and put on trains. They were all sent to Concentration camps,

which were set up to implement the 'final solution'. Camps such as Auschwitz, Treblinka, Bergen

Belsen were all equipped with gas chambers to make the killing process quick and efectfull. In

those camps 6 million Jews and many others were killed by the Nazis. Hitler's army seemed

unstoppable but in the end, the allies managed to win many decisive battles. Eventually on Aril

30th, 1945 Hitler committed suicide in his bunker by shooting himself in the mouth. His body was

burned, but no ones knows what happened to the "Fuhrer's" ashes. On May 7th, 1945 Germany

surrendered unconditionally. 7. THE MAN Hitler was one of the most, if not the most cruel man

to ever walk the face of the earth. His believe of the superiorority of the "Aryan" race made him

hate all others. He believed that the slaws to the east should be made work for the German

people. He thought of blacks as being "Sub-human". And Most of all he hated the Jews. So

much that in early 1945, when equipment and manpower was badly needed on the front Hitler

insisited on man and equipment staying and continuing to tranport Jews to the camps. In his

Testament he left his money to his family. And message to the Germany people "Above all I

charge the leaders of the nation and those under them to scrupulous observance of the laws of

race and to merciless opposition to the universal poisoner of all peoples, international Jewry." The

only people which would be spared where the Scandinavians to the north, since they were

cl [Editor's note: Rest of essay was not included by submitter. We do not have it.]

461.          Holden Caufield

Holden Caufield was a high school student at a boy's academy by the name of Pency Prep.  He feels as though he had fought the world and lost, everyone is against him and that little can bring him joy.  He had lost his innocence, and saw himself as a "catcher in the rye", trying to save children from his fate.

Holden is quite the eccentric individual.  I say this because of the incident with Sally Hayes where he proclaims his love for her and how they should run off together.  The reason this makes him an eccentric is, he hates her and in his own words "Sally you're a pain in the ___!"  Holden Caufield has many bad qualities including one of his favorite pastimes getting rip-roaring drunk.  A good example of this is one of the many bar scenes when he gets quite drunk and asks the waiter to complement the singer.  This is a show of his drunkenness because the singer is awful or at least the thought so before he started drinking.  This is one among a plethora of bad habits like smoking, cursing, and being extremely cynical (everyone is a phony).  Holden is by far not all bad, inside he is moral and generous.  There are very clear examples of these good qualities.  He had some moral sense because when "bought" the prostitute Sunny for a throw he could not go threw with it, so he paid her anyway and sent her away from him.  Holden was charitable when he gave a considerably large donation of twenty dollars to the two nuns.

This action was nothing other than an act of pure kindness.

Holden Caufield has a foil or an opposite in the story, The Catcher in the Rye.  This person is his younger sister, Phoebe.  She has a positive outlook on life, while Holden hated it and thought he was doomed.  She was his "ray of hope" in life and she was the only thing that brought them true joy.  Phoebe was also the only person Holden knew who was not a phony about life and being happy (Sally Hayes).

Holden Caufeild seems to change and evolve throughout the book.  In the beginning, he is said to be very irresponsible for reasons like forgetting the foils for fencing at the subway or for getting kicked out of school.  Later, he Holden seems to become nicer, by giving twenty dollars to the nuns.  He also develops the ides of being a catcher in the rye, protecting children from the outside world, and from losing their innocence.

I enjoyed this book greatly and I find that Holden Caufield's life story is not that far fetched.  Holden is seen by most as just another flunkie, but he is much more than that and I hope my paper has proved this fact.  This book has stirred much controversy in its time (as many good books do), but I believe it is just true to life showing the workings of a single teenagers mind.

462.          HOOKED ON EBONICS

15 Feb 97 dayz:

Today's Lesson:

Hooked on Ebonics: 15 Feb 97 dayz:

Today's Lesson:

Hooked on Ebonics:

Leroy is a 20 year old 9th grader. This be Leroy's homework assignment. He must use each vocabulary word in a sentence.

Foreclose:

If I pay alimony this month, I'll have no money foreclose.

Rectum:

I once had two cadillacs, but my ol' lady rectum.

Hotel:

I gave my girlfriend the crabs and the hotel everyone.

Disappointment:

My parole officer tol me if I miss disappointment, they gonna send me back to the big house.

Penis:

I went to da doctor and he handed me a cup and said penis.

Israel:

Alonso tried to sell me a Rolex. I said, man that looks fake. He said "bullshit" that watch Israel.

Catacomb:

Don King was at the fight the other night, man somebody oughta give dat catacomb.

Undermine:

There is a fine lookin hoe living in the apartment undermine.

Acoustic:

When I was liddle, my uncle bought me acoustic and took me to da pool hall.

Iraq:

When I got to da pool hall, I tol my uncle Iraq, you break.

Stain:

My mother-in-law stopped by and I axed her" Do you plan on stain for dinner"

Seldom:

My cousin gave me two tickets to the Nicks game, so I seldom.

Honor:

At the rape trial, the Judge axed my buddy who be honor first.

Odyssey:

I tol my brother, you odyssey the tits on that hoe.

Axe:

The policeman wanted to axe me some questions.

Tripoli:

I was gonna buy my ol' lady a bra for her birthday, but I couldn't find a Tripoli.

Fortify:

I asked the hoe how much? She said "fortify"

Income:

I just got in bed with da hoe and income my wife.

Leroy is a 20 year old 9th grader. This be Leroy's homework assignment. He must use each vocabulary word in a sentence.

Foreclose:

If I pay alimony this month, I'll have no money foreclose.

Rectum:

I once had two cadillacs, but my ol' lady rectum.

Hotel:

I gave my girlfriend the crabs and the hotel everyone.

Disappointment:

My parole officer tol me if I miss disappointment, they gonna send me back to the big house.

Penis:

I went to da doctor and he handed me a cup and said penis.

Israel:

Alonso tried to sell me a Rolex. I said, man that looks fake. He said "bullshit" that watch Israel.

Catacomb:

Don King was at the fight the other night, man somebody oughta give dat catacomb.

Undermine:

There is a fine lookin hoe living in the apartment undermine.

Acoustic:

When I was liddle, my uncle bought me acoustic and took me to da pool hall.

Iraq:

When I got to da pool hall, I tol my uncle Iraq, you break.

Stain:

My mother-in-law stopped by and I axed her" Do you plan on stain for dinner"

Seldom:

My cousin gave me two tickets to the Nicks game, so I seldom.

Honor:

At the rape trial, the Judge axed my buddy who be honor first.

Odyssey:

I tol my brother, you odyssey the tits on that hoe.

Axe:

The policeman wanted to axe me some questions.

Tripoli:

I was gonna buy my ol' lady a bra for her birthday, but I couldn't find a Tripoli.

Fortify:

I asked the hoe how much? She said "fortify"

Income:

I just got in bed with da hoe and income my wife.

463.          Horror Movies

Horror Movies

"Natural Born Killers," " Psycho," " Friday the 13th ," and "The Legend of Sleepy Hollow" are all horror films. In these films there is always some crazy person or monster-like character that goes around and slaughters innocent people. And usually, but not all the time the killer is killed at the end of the movie. The media publishes or broadcasts stories that say that horror films influence people to imitate these wrongful acts of violence. I believe that these movies do not influence people to imitate these murderous crimes onto innocent people. Horror films are a way for people to exercise their violent emotions with out hurting anyone.

The media publishes ,in my mind stupid , stories about horror films that say that some whacked out kid has just killed someone because of a horror film he or she saw. I think that the kid blaming the movie is just a reason to get out of jail time. The parents of these kids should not be showing there 8 years old children horror films in the first place. That is why there is a ratings system. And all horror movies are rated R, which means no one under the age of 17 should watch the movie with out adult supervision. A movie that comes to my mind for a movie supposedly influencing people is the Oliver Stone movie "Natural Born Killers." In it Woody Harrelson and Juliette Lewis play a couple that go on a violent crime spree. They kill dozens of people. A lawsuit was filled against Oliver Stone for making this movie. In 1995, Patsy Byers, was working at a Louisiana convenience store when it was robbed. Byers was shot and left a quadriplegic. She later died of cancer. Her relatives say the couple that robbed the store was incited by watching "Natural Born Killers." The lawsuit accuses the film's director Oliver Stone and the producer, Time Warner Entertainment. It says they intentionally incited copycat crimes (Crabb). I believe this lawsuit is stupid. It is sad that someone was shot and later on died. But everyone knows the horror movie is a just a movie. The couple that shot Patsy Byers had a choice whether they were going to rob the convenience store or not . The horror movie did not force them to go rob. They had freewill.

Horror films provide people with an outlet for their violent feelings they have inside. When someone people watch horror films they imagine doing harm to their evil boss at work. But they just imagine this, they know if they acted on these emotions they will end up in jail or even worse, the death penalty. Even when I watch a horror film I imagine killing the bad guy in the movie, because of the awful crimes the bad guy commits in the movie. But I know killing people is wrong. The movie does not influence me to act on these anticivilization feelings that I have. The horror movies are a fantasy for some people to let out violent emotions.

I believe that if society did not have horror films to watch , then some people would actually go out and kill people because they do not have an outlet for the emotions they have. All throughout history society has had a form of horror films. This other form was public executions. Furthermore, people before the horror film time needed some way to practice their anticivilization emotions. I do not believe that horror films influence people to commit murders. I believe that people just use horror movies influencing them as a way to get out of prison or a reason to make up another frivolous lawsuit. Horror movies are for entertainment purposes only.

Works Cited

Crabb, Michael. "Oliver Stone being sued for Natural Born Killers." CBC Infoculture 10 Mar. 1999. 10 Dec. 1999. <http://www.infoculture.cbc.ca/archieves/filmtv/

filmtv_03091999_killers.html>.

Natural Born Killers . Dir. Oliver Stone. Perf. Woody Harrelson, Julliette Lewis.

Time Warner Entertainment, 1994.

464.          Houdini 1111

Magic is the second oldest profession that exists today.  It has not always been

accepted by the people.  In medieval times people who were thought to practice magic were

sentenced to death.  Around the mid 1900's magic began to serve as entertainment.  Magic

is an ability that requires a lot of skill and patience.  In this time it was very difficult to make

a living out of magic.  There are many types of magic, some examples are :  close up magic,

stage magic, mentalism, illusionism and escapism.  The art of  being an escape artist is

considered the most difficult type of magic to practice because it not only consist of a few

props and tricks but also involves physical ability.  There has been one man that with hard

work and a special talent triumphed not only in close up and stage magic but as an escape

artist, his name... Harry Houdini.  Houdini op to now, is considered to be the greatest

magician ever to live.

Houdini was born on April  6th , 1874, in the small town of Appleton , in the State of

Wisconsin.  His real name is Ehrich Weiss.  His father was Rabbi Mayer Samuel Weiss, at

that time he received a salary of$750 a year, which was a very poor salary due to the fact

that he had seven kids and a wife. After his father quit his job, they moved to Milwaukee,

where they had a very tough time getting everyone to eat.   Houdini's real  never went to

school and he started working as an assistant with a magician.  It was at this point where his

obsession for magic begun.  He wasn't making enough money from this job so he quit due

to the fact that his father died.  Houdini made his first appearance before an audience on

October 28, 1883.  He appeared as a contortionist and trapeze performer.  Later he worked

as a locksmith, electrical driller, photographer,  actor, etc...  During these jobs he began to

do his first handcuff tricks.  The beginning of  these tricks would change his whole carreer.

At the age of twenty one  he began to work in freak shows and circuses.  This type

of entertainment were very popular in this time because it broke with what was considered

traditional.. Houdini worked in many things at a time .  He worked as a fake wild man and

other conn jobs, but he also had a small magic show, "The Great Houdini."  During this time

she did not like him, but finally they got married and got their own place.  He went to work

as a locksmith again and he began to open hand cuffs very easily.  Soon he asked his fellow

workmen to lock him in safes they built so he could practice getting out.  In a Holloween

magic convention he and his wife were invited to a magician offered a reward to any person

who could get out of a straight jacket.  Houdini volunteered and naturally he got out of the

jacket.  He was the first magician in America to be able to get out of a straight jacket.  A

man told him that he was very impressed but he had seen it before in Europe by a magician

named Schweigel.  He warned Houdini that the obsession that Schweigel had could get him

killed.

The prize he won at the convention was a trip to Europe.  He took his wife with him

and began a tour.  It was at this point where he began to obtain a great deal of popularity

and fame around Europe.  During this tour he performed many tricks, his most famous trick

was called Metamorphosis.  This trick consisted of Bess (his wife) getting chained,

consequently she was put into a bag which was tied and then she was locked inside a box.

Houdini got on top of the box put a cape over the box and somehow traded places with his

wife.

After a show in Scotland, a man hired by Houdini began to shout that he was a fake.

Houdini to prove himself asked anyone to dare him to any escape.  The man told him to

escape from the jails of  Scotland Yard.  Houdini accepted the challenge.  He was frisked

and then put into a cell.  He managed to get out in time to make it to his show.  The people

build up a lot of confidence in him and he became even more famous

After his tour he was put to trial in Berlin accused of having transgressed the

boundaries of magic and claimed to be supernatural.  He answered by saying that  everything

was by mechanical means.  To prove himself  he was put to a test.  They put Houdini inside

into a vault and he managed to get out.  He explained to the judge that he was able to do

this because safes and vaults were built so nobody could get in not get out.  Because he

could prove himself the charges were dropped.

After the trial he went to Schweigel's house.  When he got there Schweigel had died

two days ago.  Otto (Schweigel's assistant) gave him a model of the torture cell.  Schweigel

had died attempting this trick.  Otto by orders of Schweigel became Houdini's assistant.

Houdini was about to attempt his most dangerous escape ever.  He was to be handcuffed

and chained into a box ; then he would by thrown into the ice covered Detroit River.  He

was missing for 48 hours until he finally found the ice opening and got out.  The next day he

was told that his mom had just died.  Houdini laid low for two years.

To get the people's attention again he hung tied up in a straight jacket on a roof top

50 stories high.  A crowd of over 20,000 people were watching when he miraculously freed

himself.  This made him a crowd favorite again.  After one of his shows he was asked for

another trick.  Houdini decided to take the torture chamber, which he had never attempted

before.  This escape consisted of Houdini being placed into a straight jacket and then placed

upside down into the torture cell which was full of water.  Houdini had been suffering from

a

appendix pains through the show, but he decided to carry on.  Needless to say Harry

Houdini died in the torture cell due to his appendix bursting.

Harry Houdini deserves to be called "The Greatest Magician Who Has Ever Lived ."

Houdini persued his dream of becoming an escape artist and he more than achieved his goal.

He surpassed many difficulties including his mother's death.  Harry Houdini is a roll model

which teaches perseverance, imagination and hard work.

465.          How activists and graphic designers can work together

For many years graphic designers have been influencing human behavior and thought through the use color, placement, font, and imagery to present specific moods or reactions in order to create a desired effect. When this is done for political purposes we have come to know it as propaganda. Many times throughout history people have utilized this power for great evil. For instance, both Hitler and Stalin used propaganda in the 1930's to bolster support and help initiate new recruits into their cause. These days propaganda has become much more subtle in nature. And used lightly because of the bad reputation that was instilled upon it in reaction to acts performed by Hitler.

Anti-War protestors have become smarter in the recent years, starting to realize the need to expand into the different types of media to spread their important message. Because of this they have forced themselves to create a relationship with designers who can create posters, fliers, newspapers, magazines, and websites to name a few. In a way that will reach a much broader ad more diverse group of people, protestors are imagined by many as the longhaired, flag burners that we saw much of in the 1960's. In response to this many of the decision-making republicans, and business people are discouraged from becoming allies with protest groups. As graphic designers we are able to define our audience and use many types of media to get a message to that audience. We have a great responsibility to use our skills in a moral and productive manner.

Many organizers are working to change their image and as a newspaper article in the New York Times put it "many organizer are trying to sound a note of patriotism and distance themselves from the stereotypical images of angry flag burners or scruffy anarchists." By doing this they have been able to reach much more diverse groups of people, for instance a group of republicans recently published a full page letter in the Wall Street Journal that opposed the war in Iraq, this was organized by movement leaders of a protest group that has been very successful in getting their message heard.

A problem that has arisen from the new technology era is the amount of information that is thrown out. People are forced to filter what they take in greatly. Because of this is formed the challenge to grab the attention of the potential audience. We must know the interests and workings of whom we are targeting in order to even get past that filter. Within a few seconds the reader will have either filtered it out or become interested and get involved in the message mentally.

Protestors have moved greatly to the Internet. This is a good thing in respect to the fact that it is now out there for anyone to see, however it can also be very limiting. Millions of web sites crowd the Internet and to get a single site noticed there must be other work going on. Other forms of media must be utilized to reach as many people as possible. Posters should be placed strategically around the city, fliers mailed, newspaper ads run. To do this effectively graphic designers must be used.

Because we all have to live in this world together there must be ways of communicating, I feel that Humans in a whole have come a long way in finding ways to relate to each other, and I feel that graphic designers have played a huge role in this process. We are able to bridge that gap of beliefs to get an important message out to everyone. We have also worked against ourselves also, by creating more and more cluster we have created a nation with such a short attention span that we have to work even harder to get their attention, on the good side I notice a trend that is producing much simpler and easy to decipher designs in a whole in order to stand out against all the clutter of today's electronic world.

466.          How Biff shows Irresponsiblility in The Death of a Sailsman

Have you ever felt as if you do not know what to do with your life? Everyone does sometimes, but certain people are like that their whole life. These people are irresponsible and depend on others to survive.  In "Death of a Salesman", Biff is one of these people.  He is irresponsible because he depends on Happy, depends on Willy, and does not know what to do for a living.

Biff looks up on Happy as an example of good life.  It seems to him that Happy's life is stable and successful. Even though this is not true, Biff lets it bother him. He wants Happy to get him a job in New York so they could work together.  This shows some of his dependency and irresponsibility.  Biff does not seem as if he could live on his own successfully.  This disappoints both Happy and Willy. But this is not the only problem Biff has.

Biff also depends on Willy to get him through life.  Willy's low morals cause Biff to think it's all right to concentrate on football when he was in high school.  Biff does not think he has to work in school. When he flunks math, he does not know what to do and once again turns to Willy.  Now Biff cannot go to college and since he has been concentrating on football, he has little or no skills at anything else.  He depends on Willy's support to help him. But since Willy's expectations of Biff are not met, Biff does not receive the help he needs and moves off on his own.  This leaves Biff to find a goal in life and reach it.

Finally, Biff does not know what to do for a living.  He is constantly moving around, unsure of what to do next.  This may be because of his uncertainty of a future. Biff has never held a steady job.  Because of this, he has never held a steady home. This shows a lot of irresponsibility.  Until he knows what he wants to do, Biff cannot settle down and become an adult.  This inconsistency in employment makes Biff irresponsible.

So far in Biff's life, he has not accomplished anything.  He depends on Happy and Willy, and does not know what to do for a living.  He realizes that he has wasted his life and has to find something besides football to succeed in.  With Happy becoming tired of his antics and Willy on the verge of a breakdown, Biff is now on his own and has to become responsible. Maybe next time you don't know what to do with your life, you'll think a little harder.

467.          How do TV shows reflect american culture

Television Shows Reflect American Culture

There are many movies and television shows that reflect American culture.  A show or movie must address some current societal problem or trend in order to truly reflect  American life; murder, rape, racism, and, on a less serious note, parties, shopping, and sports are topics that deserve serious consideration by the public and the media.

The show Beverly Hills 90210 attempts to be an accurate portrayal of the life of a typical well-off American teenager growing up in the 80's and 90's.  The producers of the show attempt to integrate many real life situations into the show.  By doing this they are suggesting to the audience, which happens to be geared toward teenagers, that what the characters do in the show is the ideal way to deal with these types of situations.

Many aspects of American culture are represented on the television show Beverly Hills 90210, or  just 90210 as it is commonly referred to.  Three to four years ago it dealt with the subject of murder or homicide.  One of David's, a star in the show, best friends was playing with a gun which he had acquired during a summer vacation to the mid-West.  The friend shot himself by accident; what followed was a time of mourning for David and a recollection of many fond memories of the times they shared together.  This episode's tragedy brought the characters in the show closer together.

Many innocent children, and sometimes adults, are killed accidentally playing with guns, or by drive-by random shootings. This is a major problem in the United States and the show is trying to get the message out that it is not a safe thing to do.  It also raises the question as to why access of guns is so readily available to anyone.

Every night on the news, someone can see many incidents in which there is suffering resulting from guns.  Furthermore, the availability of guns makes the public scared.  Children have images of adults using guns for hunting or game.  In the adolescents' mind it appears that guns are not a bad item to own, when in reality guns are extremely dangerous weapons. Beverly Hills 90210 makes a strong attempt to impress upon its viewers that these accidents can be avoided if people take the proper precautions.  The show sends a message to the younger generation, which are becoming more and more violent, to stay away from things that result in violence like guns.  A gun is an item which should only be in the hands of a properly trained and skilled user, in order to avoid horrible tragedies.

Another incident of tragedy occurred last season.  Dylan's girlfriend, whose father was an organized crime figure of some kind, was gunned down by a bullet intended for Dylan.  Ironically, the hit-man was hired by her very own father.  Not many parents go out and hire people to kill their children's boyfriends or girlfriends.  However, in this circumstance there was a history between Dylan and her father.  Her father had killed Dylan's father before they had meet.  Dylan was attempting to get revenge for his father's murder.  In the meantime, Dylan has fallen in love with his daughter.  The two lovers had just married and planned on a happy life when tragedy struck.  In many ways, this incident portrays the negative images that organized crime reflects on the American culture.  Although organized crime rings are decreasing, the problem of organized crime is still a detriment to American society.  The producers are doing a good deed in showing this because it sends a message to teens; hopefully, they will want to become productive members of society and will not want to get involved with the harmful aspects of the American culture.

The show also deals with the topic of suicide.  One of the newer stars of  the show, Valerie, moved to California after her father killed himself because she could not stand to be in the house where such a horrible thing had happened.  Valerie did not speak of the incident very frequently, but she was obviously disturbed about something.  Her experience was extremely valuable in later episodes when David's mother was having mental problems and he contemplated committing suicide.  Valerie was able to talk to David and relate to how he was feeling about the whole situation.  Although in real life the problem might not have been resolved as easily, the show provided a good portrayal of what a teen contemplating suicide would hope that a friend would do for him/her.

Teen suicides are rising because of many influences: drugs, alcohol abuse, mental and physical abuse, alienation from parents, poor performance in school, low self-image, rejection by peers, sexuality, or, as in this situation, a death in the family.  Many teens today feel themselves slipping off the edge and they need something to help them through though times.  They turn to drugs and other illegal substances when these situations arise.    Young people today seem to confide more in their peers than in their parents.  Many of them think their parents do not understand them.  Their friends provide comfort and advice which is valued.

Although parents may not provide guidance that is appreciated, they do provide money to their offspring.  One of the more common stereotypes of American life fits right in with the materialistic values promoted by our society - in print, in television, in commercials, in movies - in other words, in all aspects of the media.  All economic echelons of society in the United States are encouraged to purchase name brand clothing and other apparel.  The "American Dream" of shopping and credit cards is a reality in the show.  The setting of the show is Beverly Hills, California, the home of all the popular trends and famous stars.  This location, along with rich parents, provides for the perfect situation to make them look like rich brats.  Although Beverly Hills 90210 is not a perfect reflection of American culture, it does lend itself to the stereotype of having a huge wardrobe and living the "American Dream".

In the five years during which 90210 has been on the air,  the show has dealt with many topics.  From the Persian Gulf War and high school, to AIDS and the Internet, the show has reflected many aspects of American culture.  Beverly Hills 90210 sends a message to the viewers to make the best of one's life.  Hopefully many of the viewers will be able to attain the "American Dream" that is the essence of American culture.

468.          How does Hitchcock use cinematography to manipulate the emotions of his audience

Alfred Joseph Hitchcock, born August 13, 1899 in Leytonstone, England, was a film technician who deftly blended sex, suspense and humour, and who justly became known as "The Master of Suspense". His brilliance in film-making was envied as well as loved and his influence continues to be felt over many a filmmaker. He used intelligent plots and captivating and memorable scenes to enable his movies, still, to surprise and enchant silver screen lovers worldwide; and in doing so, inspired a new generation of film-making - revolutionising the thriller genre.

Hitchcock's most famous films include 'Vertigo' (1959), 'The Birds' and 'Psycho' (1960). 'Psycho', first screened in New York on the 16th June 1960, was an immediate box office hit, producing $15 million in its first year after being completed with an expenditure of only $800,000. Famed for its shower murder sequence and exceptional shot selection and editing, it is an exceedingly influential and impenetrable psychological thriller with a nightmarish recipe of disturbing corruptibility, confused identity and voyeurism. Produced and directed by Alfred Hitchcock, it shocked and amazed audiences all over the world and created a basis for such films as 'Deranged' (1974), 'The Texas Chainsaw Massacre' (1974) and 'Silence of the Lambs' (1991). In 'Psycho', Hitchcock manipulates his audience by leading them on a twisting and turning tale creating many contrasting emotions and responses as the film plays with different themes events and techniques.

Based on a novel by Robert Bloch, 'Psycho' was Hitchcock's 42nd film and followed his Technicolor hit 'North by North-West' (1959). Robert Bloch's Novel told of a legendary, real-life killer - Edward Gein - and after Hitchcock had anonymously bought the rights to the novel, he bought as many copies of the novel as he could 'lay his hands on', so the secret of the shifting storyline would be kept undisclosed.

With films and shows such as 'The Swiss Family Robinson', 'My Fair Lady' and 'Mary Poppins' present in the period of the 'Psycho' release, it is clear that 'Psycho' is very disparate to the expected content of cinema showings at the time. In fact, 'Psycho' broke all but one of the film regulations of the American 1960's Film Censorship, which all screen plays had to gain approval of. According to the code, the following provisions applied:

1.The sympathy of the audience should never be thrown to the side of crime, wrong doing or evil - (this was broken once Marion became the criminal - stealing money - but still was shown to appear naïve and guiltless, and still the audience is pressed into identifying with her.)

2.Excessive and lustful kissing, lustful embracing, suggestive gestures and postures were unacceptable - (this was broken in the very first scene when Sam and Marion execute a seedy lunchtime affair)

3.Explicit nudity was unacceptable - (this was also broken in the first scene and also during the celebrated shower scene)

4.Swearing such as 'Damn', 'God' and 'Hell' was unacceptable - (this was the only regulation not to be defied.)

5.Brutality and gruesomeness has to be treated with the careful limits of good taste - (this was broken on the occasions when a toilet was flushed for the first time ever on screen, the two murders and when 'Mother's' corpse is revealed.)

Several individuals went as far as to claim that Psycho ruptured many cherished American ethics, chiefly 'motherly love' when matricide was introduced to the 'increasingly scandalous' plot. This created outrage within the 1960's American public when something as sanctified as the devotion existing between mother and child was tainted with the permanent stain of these inimitable, never-before witnessed and unpardonable (for the era) scenes. It was also blamed for causing murders with its apparent horrifically brutal scenes being an influence to the unhinged serial killers of the time; therefore motivating an ongoing debate, still in impassioned question in the present day, about the relationship connecting the screen and street bloodshed.

Today, countless film spectators sit undeterred and impervious through the atrocious and daunting scenes of the re-released and restructured 'Texas Chainsaw Massacre' (2003) and such nerve-jangling and ethereal scenes of 'The Blair Witch Project' (2000); making the once 'scandalous' and 'terrifying beyond reason' shots from 'Psycho' more like a scene from the latest 'Winnie the Pooh' release. In all fairness, perhaps comparing the complete timid-ness of 'Psycho's' scenes to 'Winnie' is exaggerating a little, but I have to say, when shown to my English class of twenty or so 14 and 15 year olds, the chilling resonance of the human scream did not bounce off the walls, but the happy sound of cackling teenagers seemed to air at various stages of viewing. Yes, today's audiences can swallow huge amounts of gore and ghastliness before even a flinch is spotted. At present, filmmakers must break down a great barricade of fearlessness to jolt present day spectators, contrastingly, in the 1960's this barricade was more of a small hedge, but still, Hitchcock obliterated this with a 10 tonne bulldozer.

Hitchcock specifically requested that no people could enter the cinema to witness 'Psycho' once it had started, which at a time of cinema-goers thinking it natural to enter a film half-way through, was an abnormal request; an abnormal request that transformed the way we see films at cinemas today. One motivation for this demand was for one, that Janet Leigh - already a 1960's star and the only 'known' individual in the film - was 'killed off' in the first third of the film. This would have disappointed late-comers as I'm sure - just like today some (teenage girls in particular) would set out to see a film just because Brad Pitt, for instance, was starring - people of the time would go to see 'Psycho' for the reason that one of the biggest sex icons of the time - Janet Leigh -  was in it. Another reason would be that late arrivals wouldn't feel the immense, nerve-tingling effect of the opening credits. Accompanied with high, A-tonal music without direction, it crafts anxiety and edginess among the emotions of the audience and forewarns viewers as to what the film will contain.

The opening credits are in cold black and white which stresses the gothic darkness of the film, and adds emphasis to the contrast of the stark white lettering against the pitch black background. Rapid, slicing wipe-editing is added to the credits to generate a 'slashing' motion; this may well replicate a knife gashing skin (a main ingredient of the storyline). The music is very high-pitched short, dramatic and jarring to create anxiety and it engages interest - mimicking a nervous heart beating hurriedly. The split-screen effect suggests themes of the following movie are below the obvious and superficial. These effects and the non-directional music give the credits a swift pace which captures the attention of the audience and intrigues them using 'edge of your seat' techniques.

'Psycho' consists of many effective and dominant scenes using various 'on edge' atmospheres, non-diatonic or non-directional resonances and shots using darkening shadows to conceal or emphasise facial emotions, clever props to cunningly develop the storyline and subliminal messages.

Personally, I feel that the two most powerful scenes are the opening scene - of Marion and Sam's shameful and sordid lunchtime affair - and the ending scene - the unforgettable eeriness of the zoom in on Norman when 'Mother's' voice is heard. I think these two scenes are the most memorable because they seem to be prominent to other scenes and their impact on the plot and audiences' emotions is immense.

The opening scene begins with a panning shot of the city of Phoenix which then homes in on an 'unplanned' window where voyeurism is apparent as "you never did eat your lunch" is kinkily asked and we become 'Peeping Tom' on a fervent lunchtime 'quickie' in a low-priced hotel room. A feeling of awkwardness and of that we really shouldn't be viewing this couple's 'quality time' is noticeable as the viewers are deluded into thinking that the build up to a terrifying thriller in the opening credits is all a façade and the valid theme of the film is of cheap sexual thrills; a disgrace of the time which, in many peoples' eyes, should be kept well behind closed doors and not paraded on a large screen. However, the theme of a thriller is still secretly apparent in the scene as the parallel blinds are shown to be 'slashing' the screen horizontally, much a replica of the editing from the opening credits.

Today, this scene is the type that would be accepted for the 7 o'clock slot on BBC, as sex is quite frequent on today's screens. Today, outcries of shock aren't heard if two people are seen to be just that bit too close, in fact, from music videos on 'MTV' to adverts and even the odd 'Disney' movie, we cannot escape sexual experimentation and it has become a huge part of our lives and 'big cats'' incomes as scenes get more and more 'risqué' every year.

In the opening scene, Hitchcock uses 'close-ups' on the uneaten lunch to emphasise the reason why she hasn't consumed it, and also he applies the same technique to accentuate Marion and Sam kissing and the fact that they are lying half unclothed on a bed together. This stresses the ploy to render the audience to wrongly think the movie's theme is of sexual ecstasy and not of a chilling thriller. Other camera shots Hitchcock employs are showing Marion's facial expressions when her back is turned to Sam, this way the audience can better connect with her as they can associate her facial appearance with what she is feeling and are therefore able to feel the same.

As well as clever camera shots, Hitchcock also makes the best of the advantages of shooting a movie in black and white by laying emphasis on the way Sam is feeling by using the concealing shadows to faintly block what his facial expression are when he is talking of his ex-wife. This symbolises that Sam is upset about his past and wants to hide away from it.

The lighting is quite dull to suggest that there is something taking place in this inexpensive setting that shouldn't be brought into full daylight and should be veiled. However, the shot isn't in complete darkness or anywhere near it which suggests that Hitchcock wanted the audience to know exactly what was happening and there were no doubts about what was happening, it was very 'in-your-face'. Also the daylight and clear weather suggest that Marion and Sam are not ashamed of what they are doing and although it is hidden, in this case, behind horizontal blinds, it is still something that ensues. This reality was in the process of being an acceptance in the community; Hitchcock was just giving the truth a helping hand to emerge.

In the scene the audience is imposed into sympathising with the character of Marion, learning that she is independent in her thoughts as she informs Sam that 'it's over'. Furthermore that she is calm and sensibly outgoing but still has sudden illogical outbursts that make her less of a character and more of human - something that the audience can relate to. This is the foundation of an ingenious plan to coerce the audience to believe that when Marion steals the money she's innocent and pure, when in actual fact Marion's law-breaking character is unmistakably culpable - thieving a huge amount of money for the time period. Hitchcock, however, appreciates that Marion is on the wrong side of the law subsequent to stealing the money, so separates the guilty and the guiltless personalities of the character by nothing other than the underwear worn. To elaborate on this point - Hitchcock dressed Marion in white (representing purity and virtuousness) underwear prior to her committing a felony, then in black (representative of guilt and darkness). Very clever, Mr. Hitchcock!

Once the mystifying storyline has been solved, Norman (or 'Mother' should I say) has been imprisoned and countless questions are answered, 'Psycho' is ended with a disturbing and unsettling scene of Norman alone in a shadowy cell when 'Mother' has entirely taken over Norman's mentality. Norman's guilty conscience pushes him to punish himself for what he has done and the attraction he felt towards Marion.

In this scene it is silent which creates a more apprehensive atmosphere and an element of suspense. Also, the lack of music enables the audience to think more for themselves as to what the theme of the scene is and what will occur to conclude it. Norman's facial expression is very still and calm; his eyes meet with the camera to create a feeling of discomfort and uneasiness, the stare also makes him look very ill-omened and creates suspense. He is sporting a blanket which symbolises that he is burying himself behind it and he has a guilty conscience that he is trying to hide from others. This blanket could also symbolise that the insignificant element of Norman left is using the blanket as a barrier to attempt to confine his 'Mother' and not let her expand any further than she already has.

The scene hears 'Mother' condemning her son and commenting that she would 'never hurt a fly'. This remark is in reality the truth as 'Mother' is dead and so her killing someone is fairly impossible, however, what Norman remembered of his Mother lived on inside of him, nagging away at his already deranged mind, and this memory is the real killer, using Norman's body as a puppet to do the physical work. The statement is very effective as it forces the audience to think about the situation which makes the scene more memorable, and creates a sinister atmosphere and a feeling of an unwelcome presence attending the scene.

The camera stays focused on Norman's face, generating a nervous feeling among the audience, and then zooms in very slowly towards Norman. This dawdling zoom-in creates suspense and is very creepily effective. The lighting is very dull and gloomy to suggest a dark and sinister presence and theme. The dimness establishes an element of fear as the audience gets a feeling that anything could lurk in the shadows, or Norman could do anything at any minute. This lack of light is also symbolic of Norman's guilty conscience as, along with the blanket, creates a shade for him to hide behind.

The room contains nothing but Norman, so, when the audience puts themselves in the room, they get the feeling that there is no-where to hide. Also, the lack of objects symbolises that finally the truth has materialized as the room is clear of items for the reality to disappear behind.

In the closing stages of the scene, a faint image of a skeleton creeps over Norman's face. This is especially disturbing as, as soon as the audience thinks they understand Norman's mental condition, the skeleton makes an appearance and we are abruptly thrown back off course as a supernatural element is added to the running of explanations. This is effective because it creates a great debate for the public to argue about of whether the skeleton visage was significant to the film or not. This way would enable more people to go to see the movie to discover the truth, and even if people were arguing about the movie, as they say 'bad publicity is still publicity', which may be a reason why the film did so well.

The audience has recently been shaken with the true storyline - Norman's mental state, not revolving around the money - so they have no inspiration as to what will happen in the subsequent scene. Therefore, they have no expectations for the scene creating more trepidation and eeriness as the film's winding road of events could now turn in any direction.

I think the ending scene is by far the most powerful. Its originality has the ability to linger in the mind of the audience for some time following and therefore is extremely memorable. The scene combines the daunting and ethereal themes to form an extraordinary, original ending that will unnerve you to the core as it entwines sinister sensations and mystification throughout your mind. Hitchcock's brilliance in this scene can never be reproduced; however, Hitchcock illustrates his giant power most effectively in the opening scene when he successfully deceives the audience into thinking the film has an utterly contrasting topic. This opening scene also demonstrates Hitchcock's supremacy as this scene created one of the biggest reactions ever, triggering a chorus of disapproval all over the world and possibly facilitating the film to be as huge as it was (or is).

Hitchcock was a great filmmaker of the thriller genre crafting countless unforgettable movies that at the time could not be faltered. However, I think that if Hitchcock was around today to witness the astounding techniques used by current filmmakers, he could learn something new, like, for example, how to make someone appear to be falling down some stairs more realistically - one of the more unsuccessful qualities of the film. I think that if 'Psycho' was released now, the public would dismiss it beyond a shadow of a doubt firstly because it is filmed without colour. Secondly because there is no amount of gore or a great extent of violence, neither does it have any swearing to, let's admit it, make the film more 'cool'. Also, Janet Leigh, doesn't, if truth be told, have the qualities anymore to be the 'girl every man wants'. So, to bring it all together, the supposed thriller film, today, would be without colour, tame, 'uncool' and 'unsexy'. Not really the film that everyone will rush to see, is it?

However, Hitchcock, although he may be slightly dated for the present and even his ten tonne bulldozer wouldn't make a scratch on the vast barricade that present day thriller filmmakers must conquer before audiences are even vaguely fearful, his colossal dominance over the global public - an amount that cannot be matched - and his aptitude to fashion a worldwide uproar will be reminisced for years to come. He was an incredible influence for thousands of filmmakers throughout the years and his work will continue to be applauded and honoured. He will go down as one of the greats the world procreated.

469.          How M Butterfly Uses The Art Of Illusion To Foster Stereotypes Among Its Main Characters

Throughout human history, societies have divided members into varying groups based on stereotypes-- using simplified images to bring special meaning to traits held in common by members of each group. These stereotypes are usually learned behavior and are spoon-fed to families and communities as they are passed down from one generation to the next.  However, each individual must make the personal choice whether or not to incorporate these impressions into their own belief system.

Stereotypes are more often negative than positive and are not always based on fact, but rather on perceptions and illusions. Illusions, on the other hand, are a form of deception, seen as something objectively existing in such a way as to cause misinterpretation of its actual nature. As a result, illusions can generate a sense of mystery, excitement, and anticipation for the people who harbor them.

Unlike stereotypes, illusions are created or interpreted by the limits of our own imagination, and we choose whether or not to become swayed by our fantasies.  Stereotyping can in some cases create illusions, as is the case in M. Butterfly, where Gallimard was blinded by his Western male fantasies about the submissive nature and tendencies of Asian women.(Stratton Pg1)

Most people probably like to think of themselves as being impartial, unaffected by the conventionalized ideas that make up many of the stereotypes they see around

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them. However, stereotypical thinking plays a very powerful role in our perceptions and dealings with people of other cultures--even more so, perhaps, than we care to admit.  Maybe stereotypes are so persistent because they prove useful, providing shortcuts to our thinking in areas where we are unsure of ourselves, or skeptical about how we should think concerning a given situation.

Stereotypes occasionally creep into our lives in unexpected ways, and are even perpetuated in our literature, paintings, films, music and other art forms. We see examples of this in movies and television programming, which throughout the years have influenced our perceptions about Asians in both positive and negative ways.(Major Pg 3)

Hollywood has a long history of portraying Asian women as exotic, and they also are often portrayed as erotic, sensual and overly sexual.  Examples of these stereotypes can be seen in movies like Sayonara, Walk Like a Dragon, Flower Drum Song, and The World of Suzy Wong.  In each case, oriental women are depicted as assuming a sexual allure and are viewed as both mysterious and subservient.  These images portrayed by the media moguls in Hollywood have no doubt helped endorse already existing stereotypes in mainstream society.

The combination of quiet submission and overt sexuality as portrayed in M. Butterfly is further evidence of this characterization. (Hicks pg 2)   In this play, Gallimard feeds his fantasy of being with an Asian woman with artful guile, his illusion inspired by Asian stereotypes. When asked if he had ever seen his girlfriend naked, he

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answers: "I thought she was very modest.  I thought it was a Chinese custom."  Had Gallimard been attracted to a woman from a Western culture, this self-deception would have been much harder to achieve, and to believe.  Although it is customary in China to bow and blush, Gallimard fell in love not with the person, but with the fantasy, the stereotype. (Rich 1)

It seems hard to imagine that those that have read or seen the play--particularly the French, who stereotypically view themselves as somewhat expert in affairs of the heart--would believe that Gallimard could have had a intimate relationship with someone for twenty years and not have known that the object of his desires was, in fact, a man.  In reality, he pretended not to know because he did not want to impinge upon his desire to have a Madame Butterfly of his very own. It has been suggested that Gallimard was indeed blinded by his Western fantasies--the fantasy of the oriental women as a submissive servant. (Ebert 2)

The level of satisfaction we achieve for out sexual desires is often controlled by the images we create in our minds. While a person's sexual behavior can be influenced by many factors--including things like genetics, parental upbringing and religious beliefs--how we end up acting out sexually also can be influenced by the mental images that shape our imaginations.  These images are sometimes influenced by stereotypes that cannot easily be changed, and that can have dangerous consequences.  When Gallimard entered into his whirlwind illusion, for example, his self-deception not only allowed him to engage in a fantasy relationship but also permitted him to be

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undone by a spy. (Moy) In this case, this illusion, this false perception of reality, was self destructive since it led to Gallimard's eventual downfall.(Davis 6)

The way Gallimard slipped into ruination by crossing the line of healthy fantasy into a world of false conceptions got me thinking about the way we allow illusions to influence our daily lives. It is one thing to hope that something can happen, or to wish for something we desire to occur.  It's an entirely different circumstance to be convinced that something will happen simply by believing in it. It's clear that illusions can lead to destructive behavior, as illustrated by the case of Gallimard in M. Butterfly.  When our perception of reality is altered to such a state where we are seeing only what we want to see, instead of what is actually occurring, we begin to enter into a very dangerous area.  When we begin to act on these illusions, however, we only add to the problem.  In the play M. Butterfly there were times when Gallimard was totally absorbed in his own false beliefs.  For example, when Song produced a child that he claimed was his, Gallimard never questioned it.  Living in this sort of fantasy world cost Gallimard his marriage, his career and eventually his life.  The most devastating moment must have occurred when he finally realized just how far he had allowed himself to go, and that he had no way of transforming twenty years of his life into some form of reality.(Moy 1)

Sometimes the term "she's pulling a Butterfly" is used among Asian woman to describe a submissive behavior of sorts (Stratton).  I can only hope that in today's modern world, women of Asian descent are frowning upon this form stereotyping.  And that today, Asian women have advanced to the point of being deeply disturbed by these stereotypes.

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From a feminist perspective, M. Butterfly can be seen as being conceived as a form of revenge.  One can only imagine that ever since its inspiration, Madame Butterfly, was first staged, feminist have been awaiting an opportunity to affect revenge, and M. Butterfly fits the bill.  To begin with, Gallimard, as the dominating Western male figure, seeks to control a submissive oriental woman.  This fact is borne out by his insistence that she admit to being his "butterfly".  The set up is quite similar to the original play, right up to the surrendering of Song's character.  What subsequently follows, however, is a complete turning of the tables.  To make matters even worse, the object of his downfall is a man posing as a woman.  As a result of his stereotypical delusions, he loses control not only of his "butterfly" but also over his entire life, resulting in the act of suicide.

When we look at relations between men and women from the East and from the West, we see that Asians are often portrayed as being either enraptured or suspicious of their Western counterparts.  This is an underlining theme in the play, and it affects not only Gallimard personally but his political party as well. (Davis 6)

When we observe people as groups and form stereotypes, we are creating illusion in their simplest form.  Such behavior can be destructive for both the observer and those being surveyed. This is clearly witnessed in the play M. Butterfly.  Gallimard is drawn to a stereotype shaped by his own illusions.  The illusion quickly becomes a twenty-year fantasy that consumes him to the point of self-destruction. And as a result, he paid the ultimate price. (Davis 6)

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Works Cited

Stratton, Jerry.  "FireBlade, Book Review: M. Butterfly"

(http://www.hoboes.com/html/FireBlade/Books/butterfly.shtml)

Hicks, Chris.   "Desert News Movie Review"

(http://deseretnews.com/movies/view/1,1257,1109,00.html)

Rich, Frank. "Reviews"

(http://www.tuvy.com/resokurce/books/m/m butterfly.htm)

Elbert, Robert. "Chicago Sun-Times"

(http://www.suntimes.com/ebert/ebert_reviews/1993/10/882758.html)

Moy, James S.  "Classroom Issues and Strategies"

(http://www.georgetown,edu/faculty/bassr/health/syllabuild/iguide/hwang.html)

Davis, Rocio. "Just a Man: Subverting Stereotypes in David Henry Hwang's M. Butterfly"(Vol 6, No 2)

(http://www.bedfordstmartins.com/litlinks/drama/hwang.htm)

Major, John S."Asia Through a Glass Darkly:Stereotypes of Asians in Western Literature (Vol V No 3)

http://www.askasia.org/frclasrm/readings/r000015.htm

470.          How Phreaks Anarchist the KKK and SWP compare to Big Broth

Many organizations today are considered bad or "evil".

Groups like the Ku Klux Klan,   The Anarchy Organization,   Supreme White

Power,   which are Skinheads and Neo-Nazis,   and Phreaks are a few of

these groups.     These groups all have one thing in common......they

somehow break the law.     The Ku Klux Klan "terrorized public officials in

efforts to drive them from office and blacks in general to prevent them from

voting and holding office."    ( Microsoft Encarta 1995  Ku Klux Klan)

The "Klansmen" flogged, mutilated, or murdered their victims.     Supreme

White Power  (SWP)    or "skin heads" are somewhat like the Ku Klux Klan.

The skin head groups are more local rather than the Ku Klux Klan, who all

have one leader.     The Anarchy Organization is totally against

government.     Their main idea is to be free.     The reason why this

organization is considered "evil" is because of bombings and activities like

that from certain anarchists.     Phreaks are hackers,   but they don't just

specialize in computers.     They are also into phones and electronic things

that they can rip off.     As you will later see,  this organization and our

government strongly resemble 1984's government and the Brotherhood.

The Ku Klux Klan people  haven't gotten out of the idea

the black people and other foreigners are evil,   which they call,   "alien

outsiders".     These "outsiders" are "all non-Protestants, aliens, liberals,

trade unionists and striking workers".    (Microsoft Encarta 1995)     Their

traditions have been pasted  down from generation to generation since

1865.     Lately,   Klansmen have been running for office and other

government jobs like that.    Although the Ku Klux Klan and the

Brotherhood have nothing really outstandingly  in common,   they are both

considered  evil  by their society which are the U.S. government and the

Party.    The Ku Klux Klan is not  fighting to make things better,   nor are

they doing anything constructive.     In the  Brotherhood they are out to

make life  better for all.

The Anarchy Organization's purpose,  according to

Webster's Ninth New Collegiate Dictionary,   is to abolish "established

order using violent ways".     Basically anarchists are out to overthrow any

law.     In The Anarchy Organization's page they summarize what they are

after and what they want.    They call themselves "artists fighting infections

f capital plague-machine society and the assault of free minds."    (The

Anarchy Organization,  page one)     "TAO fights now for our lives,  our

minds,    and our planet."   (The Anarchy Organization,   page two.)

These people are not doing anything now to fight for their cause.     Like in

1984,    if these people surface,   government will quickly shut these

people up and try and cover up.     Anarchists have begun to think and

have chosen to rebel against their government.     Perhaps everyone else

has been brainwashed into thinking that government is the best.

Members of the Brotherhood think,   remember,  and know something is

not right with their society.     Just like the anarchists see all the laws being

broken and rights violated.   there is a new bill that simply wants to have

censorship on the internet so you cannot access anything "bad".    This

violates the 1st Amendment which gives us the right to freedom of speech

and freedom of the press,   but this bill some how even made it to court.

In  1984,  people against The Party saw that the quantity of food

distributed was becoming less.   The Party stated, while talking about

chocolate, something that now they'll be giving more chocolate to each

family.    This was obviously a lie when last week the quantity was more.

In the Brotherhood they believed in truth and letting people  live  life as

they  want to  live it,  just  like The Anarchy Organization.

Supreme White Power has over 30 different major

organizations.     "The members of these groups have one big thing in

common:    they hate members of racial,   ethnic or religious groups that

are not the same as their own."     (White supremacy on the rise by Mike

Harpin)     The main people  targeted of hatred and violence are Jewish

people,   Hispanics,   Asians,    blacks and people who are Catholic

Christians.      The more well-known groups are the Ku Klux Klan,   the

Neo-Nazis,   and the Skinheads.      The reason why the Ku Klux Klan is

separate from the Neo-Nazis and the Skinheads is because the Ku Klux

Klan's  hatred and violence is aimed more towards blacks rather than the

Neo-Nazis and the Skinheads, whose  hatred is aimed more towards the

Jewish people.     The Neo-Nazis,    sometimes called White Aryan

Resistance,    is a group that follows under Adolph Hitler's  philosophies,

which targets  Jewish people.     Unlike the Ku Klux Klan,   the Skinheads

do not join because they believe in the cause.    Many join the "gang"  to

feel apart of something because they feel that they do not belong anywhere

else.    "Then others join because they like looking "different"."  (White

Supremacy on the Rise.  by Mike Harpin)   You can spot a Skinhead by

their style.     This style or  "uniform"  includes fatigues,   flight jackets,

suspenders that hang down,   and steel-toed boots or Doc Martens.     The

most obvious thing about one is their shaved head.     These people stand

out purposely.     Unlike the Brotherhood,   they don't have to be afraid of

government.     The thing these Skinheads or Neo-Nazis fear are racial

groups that will and do fight back.     The Skinheads say they aren't afraid

of anything,   but when you have groups and tons of people out to kill you,

you should be afraid.    In  1984,    the Brotherhood could not march

around and protest like some Skinheads do.     The Skinheads and

Neo-Nazis do not target government like the Brotherhood does.    Either

way,   they are both hated by society.    It seems reasonable to hate the

White Supremacy groups because all they do is cause trouble,   anger,

and pain, which most people do not want.     In the Brotherhood they

believe in letting people choose what  religion or what they want to do with

their life.

Phreaks are hackers.     They are a group of people from

around the world that love to hack others computers and systems.     Many

people believe that these "hackers"  only cause trouble and hurt people.

When in fact many Phreaks go around and improve systems.     They write

programs and all sorts of things for the public to enjoy.     They may break

into bank's computers,   but they do not always take something.    One

Phreak was bragging about how he got into a bank's computer and saw "all

those numbers".  When he was asked,  "how much did you take?".   His reply

was,   " none".    Phreaks get satisfaction from knowing they can beat

security.    Every year different groups of Phreaks get together and hack the

world.    A couple times they played with NASA's temperature control,   air

port's times,   and power plant's  settings.    No harm was caused though.

The reason why powerful Phreaks are hated by government is because they

can control a lot of their computers and systems.    Many of the popular

Phreaks have connections into agencies like the Secret Service,   NSA,

etc.  and can get all sorts of information.     The Secret Service has been

making threats to these people and magazines.    Magazines like "Phrack"

and "2600",  are constantly being harassed because of what they put in

their magazine.    One of the writers for Phrack,   Emmanuel Goldstein,

was getting phone calls from anonymous people,   threating to shut them

down because they know too much or it could be because of their ideas

about government.    Their ideas are almost the same as the anarchists.

In many phreak's home pages,   they have a link to various anarchy pages.

The difference between the phreaks and the anarchist is that many phreaks

like to play around with government things,  instead of trying to get rid of

government.    They need  something to hack into that would be a

challenge.      The threats of shutting down the magazines or anything of

that sort  directly violates the 1st  Amendment.    The freedom of speech.

Emmanuel Goldstein is not this  person's real name.   The name

coincidentally comes from  1984.    Its obvious that Emmanuel Goldstein

thinks of himself as the Emmanuel Goldstein of 1984.    In 1984,   the

author pushes you towards believing that the Party members are  the bad

guys and the Brotherhood as the good guys.    If you thought of the

Brotherhood as good,  why would the Phreaks be bad?    Phreaks and

anarchists see society and government the same way,   but Phreaks only go

half way with government.    They want to get rid of many laws,   but they

do not want "chaos".     A difference between the Brotherhood and Phreaks

is the way they are treated.     If someone was caught being a part of the

Brotherhood,  the Party would make a big deal about it.    The way Phreaks

are treated is:   "What?"    The Phreaks that do cause trouble are locked

away quietly.    This might be  done because our government has

something to hide.    And when the police say they have caught the best

hacker in the world,   its to make them look good.    There is no best

hacker because there are many specialties and the best hackers do not get

caught.    Both organizations expose how bad and what our government is

doing.     The simple presence of the Brotherhood says that many people

see a problem in their government.    Some Phreaks have posted secret

messages,  de-coded on the internet,  showing what is happening in

different government agencies.    Phreaks have not opened security to the

public,   they were allowed to by their rights.

Some of these groups are considered bad,  but the

choice is up to the individual.    Our government seems to be moving

towards a 1984 society,  where you are not  free at all.     The Bill of Rights

is here to protect us from someone higher hurting us,   but  the US

Government seems to violate these rights.    We the people should not let

this happen.    1984  does a good job illustrating what might happen if we

do not stop this bill passing madness.    We have already begun to see the

slow process of government taking over.    It's just a warning to us all.

Bibliography

1.     "Ku Klux Klan,"   Microsoft (R)  Encarta.   Copyright (c) 1994

Microsoft Corporation Copyright (c) 1994 Funk & Wangnails Corporation.

2.     White Supremacy on the Rise.    By Mike Harpin

3.      Traditional Skinheads vs.  Non-Traditional Skinheads.      By

Anonymous

4.     The Anarchy Organization on-line     by ?????  (no name was given)

471.          How Technology Has Hurt Us Essay

How Technology Has Hurt Us

Although many inventions have helped us and made our lives easier they

have also caused some problems.

With the invention of the car came problems such as air pollution.

Cities are becoming more and more congested with people using their cars even

for short distances.  The government is trying to make this better by making

cars pass an emmission control test.  Another problem with cars is that hundreds

of people die or get seriously injured each year.

Another technical invention that maybe we would have been better without

is weapons.  Although weapons were made to protect our country and keep freedom

it seems to have done the opposite.  Drive by shootings are a daily occurence in

our big cities.  More people are turning the guns on themselves.  Kids bring

guns to school with them for protection against people who may use a gun on them

for retaliation.  Politically its divided the nation on whether private citizens

should be able to carry guns.

Disposable items have caused a big garbage problem.  We use everything

from disposable pens to disposable diapers.  We can stop some of the garbage

problem by recycling.

Air conditioners are using up allot of our electricity. There are times

in the summer when brown outs happen because if our excessive use of the air

conditioners.  Freon gets released into our environment.

Today people are being kept alive longer and longer. People that have

no chance of recovery are being kept alive on ventilators.  This causes a great

expense to society and an emotional stress on the family.  Even though older

people may beg to let them die medicine refuses to let them.  This is slowly

changing with living wills.

Even though we love to watch TV it has also caused problems.  Some

people say that violence has increased in America because there is too much

violence on television. Family time has become less because people are watching

TV.  Kids spend more time locked upstairs in their bedrooms watching TV.

Negative news comes into our living rooms every night.

I would rather try to solve the problems that technology has caused than

not to think of any new ways to make our lives easier.

472.          How Technology Has Hurt Us

How Technology Has Hurt Us

Although many inventions have helped us and made our lives easier they

have also caused some problems.

With the invention of the car came problems such as air pollution.

Cities are becoming more and more congested with people using their cars even

for short distances.  The government is trying to make this better by making

cars pass an emmission control test.  Another problem with cars is that hundreds

of people die or get seriously injured each year.

Another technical invention that maybe we would have been better without

is weapons.  Although weapons were made to protect our country and keep freedom

it seems to have done the opposite.  Drive by shootings are a daily occurence in

our big cities.  More people are turning the guns on themselves.  Kids bring

guns to school with them for protection against people who may use a gun on them

for retaliation.  Politically its divided the nation on whether private citizens

should be able to carry guns.

Disposable items have caused a big garbage problem.  We use everything

from disposable pens to disposable diapers.  We can stop some of the garbage

problem by recycling.

Air conditioners are using up allot of our electricity. There are times

in the summer when brown outs happen because if our excessive use of the air

conditioners.  Freon gets released into our environment.

Today people are being kept alive longer and longer. People that have

no chance of recovery are being kept alive on ventilators.  This causes a great

expense to society and an emotional stress on the family.  Even though older

people may beg to let them die medicine refuses to let them.  This is slowly

changing with living wills.

Even though we love to watch TV it has also caused problems.  Some

people say that violence has increased in America because there is too much

violence on television. Family time has become less because people are watching

TV.  Kids spend more time locked upstairs in their bedrooms watching TV.

Negative news comes into our living rooms every night.

I would rather try to solve the problems that technology has caused than

not to think of any new ways to make our lives easier.

473.          How Technology Hurts Us

HOW TECHNOLOGY Has Hurt Us

Although many inventions have helped us and made

our lives easier they have also caused some problems.

With the invention of the car came problems such as

air pollution.  Cities are becoming more and more

congested with people using their cars even for short

distances.  The government is trying to make this better by

making cars pass an emmission control test.  Another

problem with cars is that hundreds of people die or get

seriously injured each year.

Another technical invention that maybe we would

have been better without is weapons.  Although weapons

were made to protect our country and keep freedom it

seems to have done the opposite.  Drive by shootings are a

daily occurence in our big cities.  More people are

turning the guns on themselves.  Kids bring guns to school

with them for protection against people who may use a

gun on them for retaliation.  Politically its divided the

nation on whether private citizens should be able to carry

guns.

Disposable items have caused a big garbage

problem.  We use everything from disposable pens to

disposable diapers.  We can stop some of the garbage

problem by recycling.

Air conditioners are using up allot of our electricity.

There are times in the summer when brown outs happen

because if our excessive use of the air conditioners.  Freon

gets released into our environment.

Today people are being kept alive longer and longer.

People that have no chance of recovery are being kept

alive on ventilators.  This causes a great expense to

society and an emotional stress on the family.  Even

though older people may beg to let them die medicine

refuses to let them.  This is slowly changing with living

wills.

Even though we love to watch TV it has also caused

problems.  Some people say that violence has increased in

America because there is too much violence on television.

Family time has become less because people are

watching TV.  Kids spend more time locked upstairs in

their bedrooms watching TV.  Negative news comes into

our living rooms every night.

I would rather try to solve the problems that

technology has caused than not to think of any new ways

to make our lives easier.

474.          How The Beatles Changed Rock Music

How The Beatles Changed Rock Music

Rock music consists of many individual styles.  Even though there is a

common spirit among all music groups, all music made by them are very different.

Rock music evolved in the 1950s and the early 1960s.  At that time that Beatles

entered the world of music from Liverpool.  Rock music was a large piece of the

centerpiece of a largely rebellious group of young people.  Before the era of

the Beatles, Elvis Presley first took Rock 'n' Roll to the public.  Elvis

blended the black and white music influence to create this style of Rock 'n'

Roll.  He commanded a large group of faithful fans.  Elvis was the only singer

who was able to rival the Beatles.  Even so, the Beatles admired his music and

were greatly influenced by him.  The Beatles were pace setters.  Their ensemble

were supplemented with solo guitar, rhythm guitar, bass guitar, drums, sitar,

and violins.  They took advantage of the creative possibilities afforded by the

multiple track tape recording.  They made rock music into music that were

produceable in studios but were not possible to produce in live performances.

They were the "Greatest show on Earth."  They were the biggest concert

draws on Earth.  Their music and lyrics changed the lives of a generation and

the generation that followed.  Rock 'n' roll was a mixture of blues and country.

Its rhythm seemed to have an amazing power over young people that couldn't be

understood by anyone born before 1940.  John Lennon joined Paul McCartney, Pete

Best, and George Harrison to form the hottest group that was around at that time.

Their first hit music was the very well known song My Bonnie.

In 1962, Ringo Starr replaced Pete Best as the drummer and joined the

group on continuing their wonderful future.  The sum of four talents had come

together and critical mass has been achieved when the Epstein published their

tape.

Their second single received much more attention from the public and

they were given an invitation to appear live on BBC.  The Beatles moved quickly

to expand their national exposure in Britain with a pair of back to back

nationwide tours.  By mid 1963, the Beatles had reached nationwide stardom in

England.  Even the hairstyle of them became major trends at that time.  They

held large concerts and performed at clubs.  They became the hottest things on

the pop music scene in England.

They began as a modestly successful musician group and ended the year as

show business legends.  John Lennon and Paul McCartney were named composers of

the year.  They decided on a tour to United States in 1964 without knowing how

the Americans would react to the new type of music.  Beatlemania hit New York on

February 7, 1964.  Hundreds of people jammed at the airport.  They performed

their first concert in America at CBS television's 53rd street studio.  The

concert was broadcast live and attracted the largest one night audience in the

history of television up to that time.  The Beatles were described as a British

invasion by local and nationwide newspaper at that time.  Their conquest of

America was still remembered as a major turning point in the history of rock 'n'

roll.  Thanks to the Beatles, a large amount of opportunities were opened up to

new faces on the market.  Many rock bands were able to follow in the footsteps

of the Beatles.

Once the Beatles opened up the market in the United States, this led to

further "invasions" of other British rock groups such as the Kinks and the

Rolling Stones.  The 1960s rock scene has begun in February of 1964 when Bob

Dylan first met the Beatles.  After that day, nothing in the music world would

ever be the same.

475.          How the use of the diary form narrative is beneficial to the

How the use of the diary form narrative is beneficial to the novel Dracula.

Bram Stoker, being the creative and intellectual writer himself, wrote the novel

Dracula in the diary form of narrative.  This was a good choice of how to write the novel

since it was very beneficial to the plot of Dracula.  Examples of how the diary form is

beneficial to Dracula is seen in his writing and book.

One of the greatest benefits of the diary narrative is that the reader is allowed

see, and feel the emotional hearts and souls of the emotional characters.  This is great

because when a character is not feeling too great and is trying hide something, the reader

knows this, and therefore the reader knows everything that is happening; nothing is being

hidden from the reader.  An example of this happening is when Mina is at the insane asylum

and is worried sick about something happening to Jonathan Harker.  Mina hides all that she

feels when Jonathan Harker is near her.  All that Mina is feeling is written by herself, and

what, how she is feeling is ready for a reader to examine because they are able to see her

diary.  If Mina's diary was not open to the reader, or if Someone was telling of what he or

she saw, the observation could be false and the reader would lose valuable information that

would be valuable to the whole plot of the book.

Some things that can be noticed about the diary form is that different views of the

same thing can be expressed by many different people; all in first person view.  Then, along

with that, there are extensive and very detailed descriptions about a thing, or person that

is being described.  In the novel, this is seen as Jonathan Harker is traveling and he

describes almost everything, he does, eat, sees, etc.

Another use of the diary form is that Bram Stoker can have people "talk to

themselves."  So if the person who is writing in his or her diary, that person can make

notes to him/herself writing "I must ask the Count about this."  So by "talking to him/her

own self" in this manner, he is writing it down and they do not in any way make it so that

they seem strange in front of public.

The good thing about using the diary to write is that it can be used interchangeably

with periodicals and letters being written or read by a person.  In the same way as in a

diary, extensive descriptions and large emotional feelings can be expressed and felt by the

reader.  Also, during the usage of letters, two people conversing will and can be written

out in dialog form; because of this, the two people, while talking, will not have to switch

tenses after a couple of sentences.  When the newspaper form is used, the reader can see

what is happening and will be able to think for themselves and they will not have to have

the book, or someone in the book explain what they are reading to them.  So in other words,

if a newspaper is written in the book, the reader will have the freedom to think, derive,

and draw their own conclusions from the article being read.

When the diary form is used, many things can go on at once.  So one person can be

talking or writing about something, and then someone else can also be telling about what is

happening somewhere else.  An example is where Mina finishes writing a journal

entry and then all of a sudden, a new story of Dr. Van Helsing and his patient comes in

through a new start of a diary.

A great thing that is controlled wonderfully with the diary form is time.  Time,

which normally cannot be changed or moved around can be taken back through time for things

that need to happen when the diary form of narrative is used.  For instance, after Lucy had

written what was happening to her when her mother passed away, the story went back in time

for another important matter to take place.

When, there are different people of different places, they can be identified by how

they act and how they talk.  If, Bram Stoker did not use the diary form narrative, this

would not be possible because if one person was telling the whole story, the reader would

see and hear what the person telling the story heard and wrote down.  So using, the diary,

Bram Stoker could make the reader "see" exactly how a person was talking and acting through

the written dialects.

In the novel Dracula, all the diaries, of all the individuals come together and in

the end, become one powerful, combination of descriptions, facts, that represents a group as

a whole and the reader can feel as if they are part of the group and read, and think along

with the characters.

Another thing dealing with the diary form is quick referencing.  The reader, if

needed, can easily flip back through the book to look for something that he needs or wants.

The diary form is great!  It lets a reader feel, and see how characters interpret

things themselves.  The form lets dialogues take place, it lets many people altogether tell

a story in first person, and it lets a reader be able to see densely detailed scenes through a

person that isn't being a fool talking to him or her self.  The diary form of narrative is

basically a form of writing that lets a huge possibility of good ways to write into a good book.

476.          How to create a paper airplane

Instructions for Making a Paper Airplane

Materials:

1.One sheet of smooth, stiff paper. Use a standard sheet (81/2 x 11 inches).  Make sure it has 90° corners and straight edges.

2.A flat and smooth work surface.

It should be sturdy, and at least as big as the paper.

Procedure:

1.Fold the paper in half lengthwise.  Crease the fold, then turn it inside out and crease again.  (Open up the folded page and fold it along the same line in the opposite direction.)  Make sure that the edges are aligned so that they meet when the paper is folded in half.

2.Fold down the top left corner so that the top edge meets the middle fold.  Then, fold down the top right corner the same way.  Make sure that the new folds squarely meet the middle crease.

3.Fold the point down. Step two formed a

"point" at the top of the page. Fold this

point down (toward you) so that the flaps

formed in step two are on the inside of the

fold. Make the fold as high up on the page as

possible without folding or crushing the flaps

which are on the inside of this fold.

4.Fold in half lengthwise (along the first crease

from step 1) towards the back so that the

folded-down point is on the outside of the

fold.

5.Tear or cut a notch in the upper corners. If you have scissors available they will provide an easier and more attractive way to make the notches. Remove a square (about 1/2 inch) from the outer corners. Make sure you do not cut your notch along the center fold.

6.Open the fold from step four so that the point is again on top and pointed toward the bottom of the page. The notched corners will be at the top of the page.

7.Fold down the top left corner so that the top edge of the left half of the page is aligned with the center fold.  Then, fold down the top right corner in the same way. This step is very similar to step two.

8.Fold up the tip of the point to hold the flaps in place. Step seven created two "flaps" which expose the tip of the point through the notches created in step six. Fold the exposed tip of the point up so that it covers the edges of the two flaps. This will hold those flaps in the proper position during flight.

8.Fold the right side of the page back along

the center fold so the flaps and point are exposed on the outside. This creates two panels folded back-to-back along the center fold, with the notches and upturned point on the outside of the fold and the inside faces of the panels being smooth.

9.Rotate the page clockwise 90° so that the angled portion is to the right and the square end is to the left.  Fold down the right wing. This fold lifts just the top panel created in step 8 and folds it "in half" so that the angled upper edge of the panel is parallel to and even with the original center fold (now at the bottom of the page).

10.Flip the page over, left to right so that the fold created in step 9 is down against the work surface and the square end (with the protruding tail of the wing created in step 9) is to the right.  Fold down the left wing. This fold is a mirror image of the one just completed in step 9. The angled edge is folded down so that it is parallel to and even with the original center fold.

Finished Plane

The plane is now finished and ready to fly!

Operating Instructions:

In order to launch the plane you must get the plane back to its fully folded position as it was at the completion of step 10. Then, allowing the two wings to open upward until their two smooth top surfaces are parallel to each other, grasp the base of the plane between your thumb and forefinger at about the center point along the length of the first center fold.

This grip will hold the center of the plane together so that the plane will have a "T" shape when viewed head-on.

The plane should be launched, point-first (with the narrow, pointed tip toward the front; the direction of travel will be approximately parallel with the original center fold of the plane which is now at its bottom), at a medium speed (it does not perform well when thrown very hard or fast).

For these instructions I used the help of the following web sites:

http://www.1northpole.com/ToyShop/Paperairplanes.html

http://home.inreach.com/jdcard/engl3007/airplane.htm

http://www.paperairplanes.co.uk/planes.html

http://www.exploratorium.edu/exploring/paper/airplanes.htm

477.          how to listen to music not just hear it

How to Listen to Music, Not Just Hear it

To learn to listen to music, not just hear itYou need the right room, the right equipment, the perfect volume, the perfect spot, and (of course), the embracing of the music.  After you have all the proper tools, you can sit and enjoy the music.

The first consideration is to listen to music in a comfortable chair.  I would highly recommend a good quality Lazy Boy recliner.  Now, you need to find the best room to put that chair in, so you can listen to you music.  The room can be any normal room with four walls but,  the room can¹t be wide open.  For example, it can¹t be an unfinished basement with concrete walls and a cement floor.  The sound will not be able to bounce off the walls and give the effect as if the sound is coming from behind you, as well as in front of you (the surround effect).  A good room to listen in, is a typical family room with sheet rock walls and four ninety degree corners.

The second consideration is placement of speakers.  The corners of a room are the perfect spot for your speakers.  You shouldn¹t position them flush against the wall, but put the back of the speaker into the corner, so each side of the speaker is against each wall.  For this reason, the bass is extended (louder), and the tweeters, mid-range, and woofers give you their undivided attention.

Where to sit is simple, but it takes some easy calculations to find the perfect spot.  There is a common rule for a person to experience the full effect of the music.  In order to do this, measure the distance between the two speaker cabinets.  If the speaker¹s cabinets are placed twelve feet apart from each other, divide twelve feet in half, which gives us six feet.  That¹s the middle, so mark that location.  From that mark, measure twelve feet back, and mark that spot on the floor.  You have found the perfect spot for you to achieve the best sound from your music.

Next, you need a receiver.  The receiver is a power source and a switchboard for your additional stereo components.  Any receiver will do, as long as it has one-hundred watts per speaker out-put.  Then, you need a compact disc player, a single or a five disc is fine.  Some speaker wire is a must.

Speakers on the other hand, are a tough choice because there are so many of them.  You want to spend at least four-hundred dollars when buying speakers.  Anything lower than four-hundred dollars is usually low quality, which can increase the risk of destroying your speakers.

When you decide on three sets of speakers (one set equals two speakers) at you local speaker shop, have a salesman play some of your cd¹s that you brought with you.  Make sure you listen to the same song per set of speakers.  Also, bring different  types; classical, jazz, blues, rap, and 80¹s; whatever.  Forget what the salesman says.  Just remember, your ears won¹t deceive you.   Figure out what sounds the best to you, then slap your credit card down and lets¹ go home and listen to some music.

After you¹ve placed your speakers, hooked up your receiver, connected your compact disc player, and put your couch or music chair in the ³full effect² spot in your family room,  now you can turn on the receiver and compact disc player, and put in one of your favorite compact disc's.  One problem; do not hit the play button yet.  Sorry!  You first need to make sure the volume is at its lowest point.  Make sure the CD button on the receiver has been pushed.

Now here¹s a little advice from a male.  We males are supposed to know our remote controls, according to woman. So, if you¹re a woman who is reading this, you need to get to know your remote control(s).  You need to memorize where the mute button is, and where the CD skip, advance, and play are located.  The two most important buttons on a remote control are volume.  The remote control has to be an extension of your hand.  You need to love the remote control, and the remote control needs to love you.  Play with it until you can move your thumb and index finger over it with grace and precision.

Here comes the part when you need to test  your babies (speakers).  You¹ve been anticipating this moment from the time you got bit by the quality sound bug.  Press play on the compact disc player and sit back and listen to your favorite song.  Turn the volume up; don¹t be afraid. Now, turn it up to the ten o¹clock position.  If there¹s no distortion, only clean sound, then turn it up a little more.  Try the twelve o¹clock position.  If there's some or no distortion, you¹ve found the maximum sound out-put.  I would recommend that you don¹t go over the twelve o¹clock position, because you could damage your speakers.  Now fiddle with the volume until you can hear and feel every instrument clearly.  Also, it¹s best if you can close your eyes and visualize the music.  Picture all the sound surrounding you, working it¹s way into your ears.  The music will start to sound like its coming from behind you as well as in front of you.

Listening to music takes a little practice.  All you have to do is listen to the notes of the music.  You will feel the beat of the music in your chest.  I know it can be intimidating, but if you give it time, the music will flow through you.

When the music is flowing through you, I hope you have a big smile on your face.  That happiness may turn into tear in the eye.  It did for me the first time I listened to music.   I hope you successfully understood how to listen to music, not just hear it.

478.          How to Listen to Music

How to Listen to Music, Not Just Hear it

To learn to listen to music, not just hear itYou need the right room,

the right equipment, the perfect volume, the perfect spot, and (of course), the

embracing of the music.  After you have all the proper tools, you can sit and

enjoy the music.

The first consideration is to listen to music in a comfortable chair.  I

would highly recommend a good quality Lazy Boy recliner.  Now, you need to find

the best room to put that chair in, so you can listen to you music.  The room

can be any normal room with four walls but,  the room can't be wide open.  For

example, it can't be an unfinished basement with concrete walls and a cement

floor.  The sound will not be able to bounce off the walls and give the effect

as if the sound is coming from behind you, as well as in front of you (the

surround effect).  A good room to listen in, is a typical family room with sheet

rock walls and four ninety degree corners.

The second consideration is placement of speakers.  The corners of a

room are the perfect spot for your speakers.  You shouldn't position them flush

against the wall, but put the back of the speaker into the corner, so each side

of the speaker is against each wall.  For this reason, the bass is extended

(louder), and the tweeters, mid-range, and woofers give you their undivided

attention.

Where to sit is simple, but it takes some easy calculations to find the

perfect spot.  There is a common rule for a person to experience the full effect

of the music.  In order to do this, measure the distance between the two speaker

cabinets.  If the speaker's cabinets are placed twelve feet apart from each

other, divide twelve feet in half, which gives us six feet.  That's the middle,

so mark that location.  From that mark, measure twelve feet back, and mark that

spot on the floor.  You have found the perfect spot for you to achieve the best

sound from your music.

Next, you need a receiver.  The receiver is a power source and a

switchboard for your additional stereo components.  Any receiver will do, as

long as it has one-hundred watts per speaker out-put.  Then, you need a compact

disc player, a single or a five disc is fine.  Some speaker wire is a must.

Speakers on the other hand, are a tough choice because there are so many

of them.  You want to spend at least four-hundred dollars when buying speakers.

Anything lower than four-hundred dollars is usually low quality, which can

increase the risk of destroying your speakers.

When you decide on three sets of speakers (one set equals two speakers)

at you local speaker shop, have a salesman play some of your cd's that you

brought with you.  Make sure you listen to the same song per set of speakers.

Also, bring different  types; classical, jazz, blues, rap, and 80's; whatever.

Forget what the salesman says.  Just remember, your ears won't deceive you.

Figure out what sounds the best to you, then slap your credit card down and lets'

go home and listen to some music.

After you've placed your speakers, hooked up your receiver, connected

your compact disc player, and put your couch or music chair in the ³full effect²

spot in your family room,  now you can turn on the receiver and compact disc

player, and put in one of your favorite compact disc's.  One problem; do not hit

the play button yet.  Sorry!  You first need to make sure the volume is at its

lowest point.  Make sure the CD button on the receiver has been pushed.

Now here's a little advice from a male.  We males are supposed to know

our remote controls, according to woman. So, if you're a woman who is reading

this, you need to get to know your remote control(s).  You need to memorize

where the mute button is, and where the CD skip, advance, and play are located.

The two most important buttons on a remote control are volume.  The remote

control has to be an extension of your hand.  You need to love the remote

control, and the remote control needs to love you.  Play with it until you can

move your thumb and index finger over it with grace and precision.

Here comes the part when you need to test  your babies (speakers).  You'

ve been anticipating this moment from the time you got bit by the quality sound

bug.  Press play on the compact disc player and sit back and listen to your

favorite song.  Turn the volume up; don't be afraid. Now, turn it up to the ten

o'clock position.  If there's no distortion, only clean sound, then turn it up a

little more.  Try the twelve o'clock position.  If there's some or no distortion,

you've found the maximum sound out-put.  I would recommend that you don't go

over the twelve o'clock position, because you could damage your speakers.  Now

fiddle with the volume until you can hear and feel every instrument clearly.

Also, it's best if you can close your eyes and visualize the music.  Picture all

the sound surrounding you, working it's way into your ears.  The music will

start to sound like its coming from behind you as well as in front of you.

Listening to music takes a little practice.  All you have to do is

listen to the notes of the music.  You will feel the beat of the music in your

chest.  I know it can be intimidating, but if you give it time, the music will

flow through you.

When the music is flowing through you, I hope you have a big smile on

your face.  That happiness may turn into tear in the eye.  It did for me the

first time I listened to music.   I hope you successfully understood how to

listen to music, not just hear it.

479.          How to Make a no Sew Blanket

A no sew blanket is one of the easiest gifts for the sewing impaired.  I sew regularly although my no sew blanket is still one of my most popular gifts.  I start a no sew blanket by finding a persons favorite things.  For example one of my favorite things is Winnie the Pooh.  I have searched in many fabric stores and convenience stores for the perfect pattern to make a warm and comforting blanket.  Fabric patterns matter so much when it comes to giving the gift of a blanket.  I want it to match their   room or house whatever the case may be, and also I want it to match their personality.

To start one of the easiest projects I begin by selecting a fabric.  It has to be a two sided fabric, in other words both sides have to look exactly the same.  Personally I prefer to use a material that uses the name polar fleece.  It is a very warm, comforting material that has two sides and is one of the easiest fabrics to work with.  Polar Fleece is a popular material found in most every fabric store.  The first decision that needs to be made is how large of a blanket is needed.  Measuring the area to be covered is one of the easiest ways to find the size of the blanket in question.  To start measuring I first need to find a tape measure and extend it to the size needed.  I write down the length and width needed and bring them with me to the fabric store of my choice.  It has always been in my experience that it is best to figure an extra foot or more just for extra room for movement.  Selecting the fabric that was said before is critical because it is something that will make the blanket special to the person receiving the blanket.  After the fabric is chosen find a qualified professional to assist in cutting the fabric to the desired length.  I have found that the best thing to do is to ask the assistant for their opinion as to exactly how many yards of material to purchase.  After the assistant cuts the material as straight and clean cut as possible the material is ready to be purchased.  I walk up to the nearest cash register to give the fabric store money in exchange for the material to make my no sew blanket.  Returning to the mode of transportation that I used to get to the fabric store I then travel to the location which I prefer to be used to create this wonderful gift.

The ideal location for this project is a large clean area to completely lay out the material that has been chosen.  When a location has been chosen, I have to completely lay out my fabric, on a flat, smooth, and clean surface.  This is essential in order to get the cleanest cuts.  A fabric cutting sheers is ideal for cutting this fabric, although if one of these tools is not available for use a very sharp clean scissor will work.  To start this blanket I will need, a sheers or scissors and a ruler of any sort, preferably a clean one.

To begin construction, measure out a four inch square in each corner.  Using a fabric pen mark the square then cut the unneeded fabric in the square.  Now the four inch cut out is the guide to how large your next cuts should be.  Starting on the side of my choice I measure one inch over from my first cut with the regular wooden ruler.  With my scissors in hand I guide the blade up the four inches to match the cut of the previous square.   I will repeat this process until I have reached the square cut out on the opposite end.  Cut strips one inch wide, and four inches long around each edge of the material.   After all the edges are cut with one by four inch strips start at the same corner you cut out first.  Take one strip in your hand and the next strip in line in your other.  Cross the one over the other wrap the top strip down under the bottom strip and into the small opening between the crossed strips.  Pull it tight and repeat this process one more time on the same two strips.  Repeat this process with every one of your strips, completely around the blanket. This gives the blanket its own look and adds a little attitude. As soon as all strips are tied the blanket is finished!  So now I can curl up with my new warm comfy blanket and take a nice soothing nap.

480.          How to make a pinata

1 large balloon

1 cup flour

1/2 cup water

a squeeze of two of white glue

newspaper torn (not cut) into strips

for decorating

colored tissue

streamers

thin cardboard

decorations, glitter, gems...

hole punch

string

rope or strong cord

candies and small trinkets

Inflate the balloon (just air, not helium).

Tie the balloon with a string to hang it up.

Make papier-mâché paste, by combining flour, a little water, and a little glue. Keep mixing until the consistency of glue has been reached.

Soak newspaper strips in paste, squeeze off excess, and lay over the balloon.

Continue adding strips, slightly overlapping them, cover the entire balloon, except a small opening at the top for putting in candy and small toys.

Add a second layer, then let dry 24 hours.

Add two more layers of papier-mâché, let dry 24 hours.

Now for the real fun.

Glue on the colored tissue paper.

To make fringe, cut the streamers every 1/4 inch. Wrap around the piñata,

Make cones from the cardboard, decorate and attach to make a star.

If the balloon is still inflated, pop it.

With the hole punch, punch a hole at the top by the opening, and another hole on the opposite side of the opening.

Loop string though the holes, tie off.

Fill the piñata with candies and small toys.

Tie a rope to the sting.

481.          How to write a screenplay

Here's something people often forget: it takes a person to write movies. Screenwriting involves writing down ideas so that they'll be easily translated into visual art.

A screenplay, or script, is the backbone of any movie (well, except for Jean-Luc Godard movies). It's the first step in the moviemaking process.

Almost everybody on the movie set has a copy of the script because it reveals what they should be doing. It tells the actors how to act and what to say, the production designer how to build the set, and the director how to shoot the scene.

Of course, a film is a collaborative effort, but it all starts with the screenwriter. A good script has many facets (fame, fortune, love, marriage, affairs, divorce, despair, and so on); choose the ones you want. However, screenplays have their own language, their own slang, if you will. What I offer here are the basics you need to turn your burgeoning idea into a summer blockbuster.

Before You Start

At the outset, you must realize that screenwriting is a competitive sport. The Writers Guild of America registers over 10,000 scripts a year, and less than 1% of them are made into motion pictures. Everyone in Los Angeles and every second person elsewhere has a script they're trying to sell, so your chances as a beginner are slim to none.

Although there have been flukes over the years, like Shane Black hitting the jackpot with movies like Lethal Weapon ($250,000), The Last Boy Scout ($1.5 million) and The Long Kiss Goodnight, few people get rich writing movie scripts. In fact, the average working screenwriter earns about $50,000 US a year.

And fame shouldn't be a factor in your decision either. Not only does the public at large never bother to find out who wrote a film, but the major studios often show the same lack of respect toward screenwriters.

But if you are passionate about writing, about movies, and about making your dreams come true, then you should seriously consider writing for the movies. When you think about it, screenwriting is the toughest job in Hollywood. The screenwriter is the only person on a film crew who starts with absolutely nothing. That said, let's write this baby.

Get a story

First of all, you need to find a story that interests you. Wipe those illusions away, it's all been done before; the trick is to develop your story in a new and original way.

Start with a concept you can describe in a sentence such as: All the ghosts in America form an alliance to combat an evil corporation that's determined to eliminate them. Not the greatest story, but you get the idea.

Considering a screenplay is between 90 and 120 pages long (one page averages one minute of screen time), you must have enough material so your story can be interesting for the duration. You must ask yourself questions while developing your story. What happens then? Who does it happen to? Why? As you answer these questions, you will discover new twists to your story and, before long, you'll be ready to write it.

Write an outline

Before you actually start writing the script, you need to know where the story is going. Few writers start writing unprepared; it's like navigating with a blindfold. It's a risk since you might hit upon a fundamental story flaw or simply discover there's nowhere for your characters to go.

The solution is to have an outline. Some writers prefer to go scene by scene and include as much detail as possible, while others choose to reveal only the bare minimum of a sequence so that they won't lose interest when it's time to write the actual script.

A good method of outlining is to use 3x5 index cards. Write a scene on each card. The beauty of this technique is that your story is a lot more mobile; you can switch around scenes so that the story will be more fluid.

Use the right structure

Scripts have their own structure, which is meant to systematize the drama and conflicts in an organized fashion. There are three acts and each has its purpose. We'll use the example of the Bruce Willis movie Die Hard to illustrate the concepts. But these elements are not only for action movies; they work for every genre.

Act 1: (pages 1-30)

This is where you establish your characters and situation. It must begin with a bang to grab the attention of the readers. Often called the first reel, the first 10 pages are absolutely decisive. There's a mini crisis at mid-act that leads us to a dilemma.

In Die Hard, John McClane (Bruce Willis) escapes from the terrorists and knows he has to alert the authorities. By the end of this act, all the pieces are set and the story as you have imagined it begins. Takagi (James Shigeta) is dead, the terrorists want to open the vault, and McClane is on his own.

Act 2: (pages 30-90)

The second act is where the story develops. For the first half, the hero accumulates exploits, reacting to the established dilemma, and it seems like nothing can stop him.

McClane successfully alerts the police and kills the first terrorist. Now the bad guys are on to him. What's more, McClane inadvertently comes into possession of the crucial detonators, which makes him very valuable for the terrorists.

In the middle of the second act, which is also the midpoint of the movie, the story changes gear. Passive characters become active.

The police show up, Sergeant Al Powell (Reginald VelJohnson) becomes McClane's ally, and McClane takes it upon himself to save the day.

During the second half of this act, the hero is faced with problem after problem, which reaffirms the dilemma of Act 1.

McClane is distrusted by the police, the reporters snoop around, the FBI shows up, and Ellis (Hart Bochner) is killed. He's definitely on his own.

Act 3: (pages 90-120)

The third act is where all the conflicts are resolved and characters are changed forever by the events they have just been through. Here the stakes are higher and the dilemma is at long last dealt with. The hero must rise to the occasion when all seems to be lost.

McClane meets head terrorist Hans Gruber (Alan Rickman) and soon, he's wounded. The bad guys are about to blow up the roof of the building, the FBI guys are pulling a stunt that endangers the hostages, and finally, McClane's wife Holly (Bonnie Bedelia) is kidnapped. In the end, McClane makes up with his estranged wife and Sgt. Powell regains his nerves by killing a terrorist.

Create your characters

Although entire books have been written about how to build interesting characters, there are certain fundamental elements you must keep in mind when creating a hero.

First of all, realize that the main character represents the audience. The readers or moviegoers, if it gets to that, will live the events through the eyes of the hero. So this main character must be empathetic, someone the audience can relate to.

The character should have an external struggle (what he wants to achieve in the story) and an internal struggle (what he needs to overcome psychologically in order to achieve his goal). He must have a story arc, which means he must change through the course of the story.

The best characters have flaws -- they are vulnerable. They may be good at something but these flaws could be their downfall.

The antagonist, the bad guy, should be the opposite of the hero but at the same time, share some skills or character traits. Make him evil -- the audience must despise him and root for the other guy. But still, make him human and not a caricature; the reason behind his evildoing has to make sense in the end.

To create great characters, prepare biographies on them:

What are their desires or dislikes? Where are they from? What was their childhood like? How well did they relate to their parents? Are they happy, in general? Any chip on their shoulder? What accent and dialect do they have?

The more thorough you are, the more interesting the character will be. They will practically write themselves into the story!

Story Tips

With this knowledge you can now focus on the story's details.

Show, don't tell: Instead of having characters talk about what they do or how something works, show these events.

Create conflicts: Every scene should have a mini conflict, even if it's just people arguing about what kind of pizza to order.

Research: Even though people are encouraged to write about what they know, if you choose to explore something unfamiliar, you should research it thoroughly.

Explanations must be believable: There's nothing more irritating than when a character explains his actions and the audience realizes it makes absolutely no sense. This is especially true in science-fiction movies. At the same time, never let the audience get ahead of the story. Your characters must be smarter than the readers and make the inevitable conclusions before they do.

Avoid on-the-nose dialogue: You want to avoid characters who say things the other characters already know. They should never say what they mean so that there is constant subtext to the dialogue. Finally, questions should never be answered with straight "yes" or "no" answers.

Know the Format

As aforementioned, scripts have a language of their own. There are strict rules and guidelines that must be followed and this is often too harsh for novice screenwriters. Aside from trying to conform to Hollywood standards, the importance of mastering format has to do with readers.

Readers are people paid by production companies to read the screenplays that have been submitted to them. These people must sort through hundreds of manuscripts and determine which ones are worthy of the company's attention. When they come upon works whose formatting is deficient, it triggers the amateur alarm and they'll often dismiss this script for that very reason. So if you can master the format, your script will at least get read.

There is a variety of expensive software on the market, Final Draft and Movie Magic being the most popular, that basically do all the formatting for you. But if you're still learning and doing it for fun, your existing word processor will do just fine. You can even set up macro commands to make things easier.

Script Elements

Screenplays are not like novels. There are a number of elements, each with their own specific purpose. Let's take a detailed look at them:

Slugline: Also called scene heading, this is the section in which you specify the location of the scene. Identify whether the scene is indoors or outdoors, the exact location, and what time of day it is. This line should always be written in uppercase.

Action: Use this section to describe who the characters are and what's happening in the scene, like you would in any other story. However, always use the present tense, and the first time you introduce a character, display their name in uppercase letters.

Character cue: This is the character's name, which you must write above their dialogue. This line is always in uppercase.

Parenthetical: Used less and less because actors despise them, the parenthetical is a short descriptive line between the character cue and the dialogue that either calls for an emotion or a short action. Use it sparingly.

Dialogue: Obviously, these are your characters' spoken words.

Transitions: These are short expressions, such as "DISSOLVE TO:" or "SMASH CUT TO:", that indicate how you want the editor to end the scene. But since your work is not about to be produced, you should not use transitions in your script. The only ones you're allowed to use are "FADE IN:" when beginning the screenplay and "FADE OUT." at the very end.

As for the layout, here are the distances you should follow from the left side of the page:

Proper Presentation

As important as format is, the way you present your screenplay is paramount as well. Amateurs can be spotted a mile away because they think they can make it look better. But Hollywood insiders don't want creativity; they want the standard, run-of-the-mill presentation they're already familiar with.

Your paper should be standard, smooth 8.5x11 inches letter-size. It must be white and unless a producer tells you otherwise, print only on one side of the page. The font you use must be 12-point Courier. It's not the most attractive but it's a consistently-sized type, which means that each letter occupies the same space on the page. This is helpful for producers when doing the page count and therefore evaluating if it's producible.

This font is also important because screenplays must look like they were written on old-fashioned typewriters. Accordingly, never boldface words or italicize them. If you must put emphasis on a particular word, which you should do sparsely, underline it. Page numbers go in the upper right corner, making sure to skip the first page.

The title page, or fly page, must contain the script's title, with the author's name underneath and the contact information in the lower left or right corner. At both ends of your script you should put a cover of lightweight card stock. Opt for a pale color such as white or beige.

When all this is assembled, it should be three-hole punched and bound together using brass paper fasteners called "brads." Even if this method looks flimsy, don't put screws or bind it any other way; professionals use 1/4" to 1" long, size #5 brads. What's even weirder is that although you've punched three holes, you must only use two brads, leaving the middle hole empty. No one really knows why.

Be Careful

Before you can call it quits on your first screenplay, there are some things you must look out for.

Typos: Readers won't have a problem if they only run across a couple of typos in the entire script. But if there are dozens per page, it will be an indication to them that you're sloppy and didn't put much effort into it. It's often enough for them to stop reading altogether. Proofread meticulously.

No camera directions: As a neophyte, the type of screenplay you're writing is called a "spec"; it's meant as a calling card, a proof of your talents. Spec scripts by beginners are rarely produced, so lay off camera directions.

Respect conventions: As arbitrary as some of the format and presentation rules may appear, it's absolutely fundamental that you comply with those guidelines with minimal deviation. Follow these principles and instead focus your imagination on crafting a terrific story.

Fade Out...

Screenwriting is a creative job. You must not be stubborn in trying to develop a story in only one way. Explore different avenues and see if you can make your characters come to life and dictate where your storyline should go.

Your first screenplay will likely be terrible -- but don't worry, the more you try, the better you'll get at it.

482.          How World War I and World War II influence fashion

EZ report, dumb topic Excellent report. Covered all areas.

How World War I and World War II influence fashion.

Wars and social changes brought the last radical the type of clothing that seemed appropriate.  Since World War I and World War II,  men and women's cloths have changed dramatically.  The United States was one of the most involved countries in both of these wares.  Industrial and social change was always around.

Women's clothes seen to have changed more during the time of war.  A successful revolt by women against social and political restrictions led to the disappearance of physical restrictions of the corset.  Almost for the first time in five centuries, the natural shape of women reappeared in clothing after World War I (1914-1919), as did the practice of revealing the legs.  During World War I women were employed in factories, the wearing of long dresses became bothersome, so women's dresses started to become shorter.  They adopted the 'Boyish' look.  Loose, unfitted skirts that fell just below the knee were popular.  After World War I most clothes were being produced by mass production.  Due to mass production, Women's fashions were changing more rapidly than ever.  By the mid-1920s skirts had above the knee. By the 1930s women were wearing trousers

Men's clothing changed very little before and after war. Before World War I, double breasted and single breasted suits were popular.  After was they sill were only know they became a little more radical.  Solid color shirts in combination with wild ties accompanied their traditional suits.  Out of work men's cloths became more durable.  Sorts wear was the next popular style for the home environment

Since that time, almost any experiment in style has been labeled fashion. Industry, because of the war, had changed so they change everything with it.  The close alliance of the garment industry and the advertising business in the last 50 years has, in the opinion of some observers, killed fashion in its traditional sense and replaced it with faddism. The last real attempt at fashion was the New Look of the late 1940s and early 1950s, actually an attempt to retreat from the horrors of World War II (1939-1945).

If it was not for these new trends and constant changes.  Lifestyles would never change over time.  Industry makes money off of new ideas. Changes in peoples everyday lives make them who they are.  If no one ever changed their mind about anything, we might still be in a war.

483.          HR Giger 582

HR Giger is best known as the foremost artist of Fantastic Realism. He was born in a small town on the outskirts of Germany in February, 1940. Giger grew up in a normal, middle class family environment. His father was the local pharmacist. When he was quite young his father received a human skull as a professional promotion from a pharmaceutical firm, and the Giger was immediately spellbound from the moment he layed his eyes on it.

He soon developed a fascination with all things dark and strange, and later found inspiration from the works of Salvador Dali and Jean Cocteau. After high school Giger went on to study architecture and industrial design at Zurich's School of Applied Arts. He soon expanded his network of friends to include those in involved in various aspects of the arts, and began drawing creatively with oils in his free time.

In 1966 Giger began work as an interior designer, and at the same time, completed some early paintings which included Birth Machine, The Blinds, Kleiner Kopf, and Nach den 120 Tagen von Sodom. His first paintings were mostly done with oils, or ink drawings. In 1968 Giger began working exclusively as an artist, as well as filmmaker. In 1969, his first posters were published, and had his first solo exhibitions outside of Zurich.

In the next decade, Giger began using the airbrush.  These new works took on a unique otherworldly quality. His most well known works of this period were called "The Biomechanical Dreamscape paintings" and included many series of paintings such as "The Spell" and the "Passage Temple." These works were said to be the conerstone of his fame, and are some of his most famous pieces of art. He grew to be considered the leading airbrush artist in the world and was the first to prove that fine art could be produced using the object. These new paintings were meticulous to the last detail, and possessed erotic mystery, as well as alien elegance.

In 1973, the rock group, Emerson, Lake, and Palmer asked Giger to design art cover for their new album, "Brain Salad Surgery." The art on the cd was voted among 100 best in music history in a recent survey.

In the early 80s, the artist went as far as creating a total environment. His first, the Tokyo Giger Bar, is a cavernous, skeletal structure covered by double arches of vertebrae that crisscross the vaulted ceiling of an ancient castle.

Giger's third and most famous book, "Necronomicon," was the visual inspiration for director Ridley Scott's movie, "Alien." In 1978, the director asked Giger to design the alien creatures in the movie, as well as the sets for their science fiction environment. His work on the film won him an academy award in 1980 for the Best Achievement in Visual Effects.

In The mid 1990s, Giger began to work on his first museum, titled "The HR Giger Museum. The museum is located in a medieval castle in Gruyere, Switzerland, and is being continually expanded still today. The museum is home to many of his own paintings, and sculptures, as well as his own personal collection of art from around the world.

As of today, more than 20 books have been published with pages full of his art. Now, Giger lives in Zurich with his wife, Carmen Scheifele, creating new sculptures,  planning upcoming exhibitions, and working on a variety of, yet to be announced projects, including design sketches for a new European film.

484.          Huck Finn

Setting :  A rainy night, Jim and Huck find a cave to stay in for the night.  Jim caught

some fish for dinner.

Huck:  Gee Jim, dis fish be tastin mighty fine.

Jim:  I knows it, I's catched dem fish and cooked it good.

Huck starts choking on a fish bone and Jim gives him the hymlic to get it out.  He gets it

out.

Huck: Damned bones, Thanks Jim you saved my life.

Jim: No problem Huck, I been yer friend fer along time.

Huck: I knows it Jim.  You's been a good friend to me.

Jim: Huck! You's know it a bad omen te chock upon one of dem der fish bones.

Huck: Noo, Ya just kidden me, I never hear dat befo Jim.

Jim: Yesiree, Dat be da truth, wees gotta break da bad luck wit some good.

Huck: How we goin ta do dat Jim.  You's just gotta help me.

Jim: Don'tcha worry I already gots us a plan.

Huck:  C'mon Jim tell me what it is.

Jim:  O.K. Huck first ding in da morning wes gotta set us some traps and catch us a

rabbit.  Once we catch da rabbit we have to kill it and cut off one of it's feet so that you

could carry it around for good luck.  Den after we do dat we could eat da rabbit fer

breakfast.

Huck:  I thought you's did dat wit cats feet Jim.

Jim:  No Huck dats crazy its wit rabbits feet.  You gotta carry it in your pocket or wear it

around yer neck for da good luck.

Huck:  I gets it know Jim da good luck cancels out da bad luck.

Jim:  Dats right Huck yous got it know!

The Next Morning

Huck:  Hey Jim, Hey Jim, Wake up wes gotta go find us a rabbit.

Jim:  all right Huck We gots to make us a trap go Git some sticks and vines.

Huck: All right Jim I'll be right back wit dem fer you to help me.

They build a trap And catch a rabbit

Huck:  Hey Jim wes caught one let's kill it and cut of it foot.

Jim: O.K. Huck slow down a little bit so ya don't hurt your self.

Huck:  It's dead and I got it's foot know my bad luck is goin ta be all gone and I'll be safe

fer ever know.

%

485.          Huck Finns Use of the Tall Tale

Zach Hunt

January 9, 1997

Period 3

Mrs. Gillham

Huck Finn's Use of the Tall Tale

In Mark Twain's timeless American classic, The Adventures of Huckleberry Finn,

the narrator often finds himself in undesirable situations.  These situations, which are far-

fetched even for the nineteenth-century, provide much humor to the novel and

demonstrate Huck's cunning.  Huck's adept use of the tall tale becomes a survival tool on

this adventure.

In the novel, Huck sees lies as more of a practical solution to problems than as a

moral dilemma.  He rationalizes that he has "never seen anybody but lied, one time or

another"  (1).  Unlike the lawless adventurer of the frontier, Huck does not use his knack

for selfish purposes.  He, instead, uses his lies strictly as a means of escaping misfortune

and never for his own profit.  At one point in the story, Huck uses his skill to fabricate a

story that keeps a skiff of slave-hunters away from Jim:  " 'Well, there's five niggers run off

to-night, up yonder above the head of the bend.  Is your man white or black?'...'He's white'

"  (110).  Huck's tall tales are used for the survival of both Huck and Jim, and Jim knows

this.

Huck's stories are usually believed, but even when doubted, he manages to change

his fib just enough to make it believable.  An example of this is when he is caught as a

stow-away on a raft and his original story is not believed by the crew:  "Now, looky-here,

you're scared, and so you talk wild.  Honest, now, do you live in a scowl, or is it a lie?"

(106).  Huck then changes his story just enough to make it believable, displaying his

unique ability to adjust his tale to within the parameters of believability.  Throughout the

novel Huck fools many intelligent people.  His youth gives him a mask of innocence, that

people don't want to disbelieve.

Stretching the truth comes naturally to Huck Finn.  Although his lies may seem to

show a lack of good ethics, it is the lies themselves that truly show his virtue.

486.          Hucks Struggle Between Morals

Huck's Struggle Between Morals

In the novel "The Adventures of Huckleberry Finn" by Mark Twain, the protagonist, Huck, undergoes a series of developmental changes in his character.  He is often torn between the ideas of society and those of his friends.  This can all be very confusing for a boy who is about 14 years old.  Huck also has a drunken pap who doesn't care at all for him.  Huck is then forced to live with Widow Douglas and Miss Watson.  Throughout the story we see Huck represent the morals of the innocent prevailing over those of society.  In his "adventures," he learns the meaning of true friendship and what's really important in life.

In the story, Huck makes the decision to escape from his "family."  This is a decision that goes against the morals of Huck's society, church and state.  Children aren't supposed to run away from their parents.  Also, his decision to help Jim escape goes against the same morals.  In his "adventurous" escape down the Mississippi, he begins to feel truly free.  This is a feeling that is contrasted acutely of society's "oppression" of freedom, basically when he is on land.  In Jim's and Huck's escape, they are able to build their trust and friendship for each other.  However, at the same time he must leave behind societies ways...  getting "sivilized, money, and "family."

Along Jim's and Huck's "adventure," they have many conversations along the way.  These conversations consist about their freedom, money, and superstition.  In the story, they both have their own opinions about various things, like Solomon.

"'Well, but he was the wisest man, anyway; because the widow she told

me so, her own self.'

'I doan' k'yer what de widder say, he warn't no wise man nuther.  He

has some er de dad-fetchedes' ways I ever see.  Does you know 'bout dat chile

dat he 'uz gwyne to chop in two?'

'Yes, the widow told me all about it.'

'Well, den!  Warn' dat de beatenes' notion in de worl'?  You jus' take

en look at it a minute.  Dah's de stump, dah-dat's one er de women!  heah's                        you-dat's de yuther one; I's Sollermun; en dish yer dollar bill's de chile.  Bofe                 un you claims it.  What does I do?  Does I shin aroun' mongs' de neighbors en                        fine out which un you de bill do b'long to, en han' it over to de right one, all safe                 en soun, de way dat anybody dat had any gumption would?  No; I take en whack                         de bill in two, en give half it to you, en de yuther to de yuther women.  Dat's de                way Sollermum was gwyne to do wid de chile.  Now I want to ast you; what's                    de use er dat half a billl?-can't buy noth'n wid it.  En what use is a half a chile?                         I wouldn' give a dern for a million un um.'"

As you can see from this dialogue between them, they had a distinct contrast in thinking.  Huckleberry, being the young and innocent boy, believes and conforms to the ideas of Miss Watson and others of the dominant white society.  Huck would believe just about anything that comes out of a white person's mouth, and argue it against the words of a "nigger."  Jim on the other hand was much older and a lot smarter, for he could think for himself.  Jim knows better than to go with the ideas and beliefs of society, which are wrong.  Such a conversation leads to a very strong point made by Twain in its own irony; the story shows of how the white people are dominant over the blacks, but yet they couldn't think for themselves.  Whereas, on the other hand, the oppressed "niggers" are thinking things through using logic, instead of simply conforming to what others think.  Jim later goes on to talk about superstition, which totally goes against the society in which Huck was raised.  "God" was the almighty and made everything and controlled everything; that's what Huck was raised to believe.  However, on the other hand, Jim was able to not correspond to the ways of the church, but made his own beliefs.  Jim even had ideas about signs and stuff.

"'Ef you got hairy arms en a hairy breas', it's a sign dat you's a-gwyne to be             rich.  Well, dey's some use in a sign like dat, 'kase it's so fur ahead.  You see, maybe     you's go to be po' a long time fust,en so you might git discourage' en kill yo'sef 'f      you didn't know by de sign dat you gwyne to be rich bymeby.'

'Have you got hiary arms and a hairy breast, Jim?'

'What's de use to ax dat question?  Don't you see I has?'

'Well, are you rich?'

'No, but I ben rich wunst, and gwyne to be rich ag'in.  Wunst I had foteen dollars,             but I tuck to specalat'n', en got busted out."

Huck was more easily convinced about Jim's story this time, because there were no "white" signs like it.  He had no argument from his society that said otherwise, so he believed Jim.  This conversation shows the vulnerability of a youth with innocence.  Such a youth takes on the beliefs of others and defends them as his own.  Furthermore, if there had been an even more ridiculous story acquired from the words of a white man, Huck would in no way have believed Jim.  Such actions of a "whiteboy" shows the assumptive and gullible attitudes of a very conforming society.

In conclusion, Huck's "adventure" was filled with many decisions, decisions which were very revealing to the reader of the attitudes of the time.  He showed us many good decisions against the morals of society, such as escaping from his pappy, escaping the ideas of society to start new ones of his own, and to leave the worries of money behind him.  However, at the same time, he makes bad decisions against his society.  Huck had left his "family" and avoided getting "sivilized."  In his quest for true "freedom," Huck was able to grow considerably and mature, yet, he was still not mature enough to formulate ideas of his own.  Nonetheless, no matter how Huck's ideas and morals change, he will always remain a true friend to Jim.  Adventurous or not, this book was great in showing that the white's weren't always right and blacks could also be great in many respects.

Huck's Struggle Between Morals

In the novel "The Adventures of Huckleberry Finn" by Mark Twain, the protagonist, Huck, undergoes a series of developmental changes in his character.  He is often torn between the ideas of society and those of his friends.  This can all be very confusing for a boy who is about 14 years old.  Huck also has a drunken pap who doesn't care at all for him.  Huck is then forced to live with Widow Douglas and Miss Watson.  Throughout the story we see Huck represent the morals of the innocent prevailing over those of society.  In his "adventures," he learns the meaning of true friendship and what's really important in life.

In the story, Huck makes the decision to escape from his "family."  This is a decision that goes against the morals of Huck's society, church and state.  Children aren't supposed to run away from their parents.  Also, his decision to help Jim escape goes against the same morals.  In his "adventurous" escape down the Mississippi, he begins to feel truly free.  This is a feeling that is contrasted acutely of society's "oppression" of freedom, basically when he is on land.  In Jim's and Huck's escape, they are able to build their trust and friendship for each other.  However, at the same time he must leave behind societies ways...  getting "sivilized, money, and "family."

Along Jim's and Huck's "adventure," they have many conversations along the way.  These conversations consist about their freedom, money, and superstition.  In the story, they both have their own opinions about various things, like Solomon.

"'Well, but he was the wisest man, anyway; because the widow she told

me so, her own self.'

'I doan' k'yer what de widder say, he warn't no wise man nuther.  He

has some er de dad-fetchedes' ways I ever see.  Does you know 'bout dat chile

dat he 'uz gwyne to chop in two?'

'Yes, the widow told me all about it.'

'Well, den!  Warn' dat de beatenes' notion in de worl'?  You jus' take

en look at it a minute.  Dah's de stump, dah-dat's one er de women!  heah's                        you-dat's de yuther one; I's Sollermun; en dish yer dollar bill's de chile.  Bofe                 un you claims it.  What does I do?  Does I shin aroun' mongs' de neighbors en                        fine out which un you de bill do b'long to, en han' it over to de right one, all safe                 en soun, de way dat anybody dat had any gumption would?  No; I take en whack                         de bill in two, en give half it to you, en de yuther to de yuther women.  Dat's de                way Sollermum was gwyne to do wid de chile.  Now I want to ast you; what's                    de use er dat half a billl?-can't buy noth'n wid it.  En what use is a half a chile?                         I wouldn' give a dern for a million un um.'"

As you can see from this dialogue between them, they had a distinct contrast in thinking.  Huckleberry, being the young and innocent boy, believes and conforms to the ideas of Miss Watson and others of the dominant white society.  Huck would believe just about anything that comes out of a white person's mouth, and argue it against the words of a "nigger."  Jim on the other hand was much older and a lot smarter, for he could think for himself.  Jim knows better than to go with the ideas and beliefs of society, which are wrong.  Such a conversation leads to a very strong point made by Twain in its own irony; the story shows of how the white people are dominant over the blacks, but yet they couldn't think for themselves.  Whereas, on the other hand, the oppressed "niggers" are thinking things through using logic, instead of simply conforming to what others think.  Jim later goes on to talk about superstition, which totally goes against the society in which Huck was raised.  "God" was the almighty and made everything and controlled everything; that's what Huck was raised to believe.  However, on the other hand, Jim was able to not correspond to the ways of the church, but made his own beliefs.  Jim even had ideas about signs and stuff.

"'Ef you got hairy arms en a hairy breas', it's a sign dat you's a-gwyne to be             rich.  Well, dey's some use in a sign like dat, 'kase it's so fur ahead.  You see, maybe     you's go to be po' a long time fust,en so you might git discourage' en kill yo'sef 'f      you didn't know by de sign dat you gwyne to be rich bymeby.'

'Have you got hiary arms and a hairy breast, Jim?'

'What's de use to ax dat question?  Don't you see I has?'

'Well, are you rich?'

'No, but I ben rich wunst, and gwyne to be rich ag'in.  Wunst I had foteen dollars,             but I tuck to specalat'n', en got busted out."

Huck was more easily convinced about Jim's story this time, because there were no "white" signs like it.  He had no argument from his society that said otherwise, so he believed Jim.  This conversation shows the vulnerability of a youth with innocence.  Such a youth takes on the beliefs of others and defends them as his own.  Furthermore, if there had been an even more ridiculous story acquired from the words of a white man, Huck would in no way have believed Jim.  Such actions of a "whiteboy" shows the assumptive and gullible attitudes of a very conforming society.

In conclusion, Huck's "adventure" was filled with many decisions, decisions which were very revealing to the reader of the attitudes of the time.  He showed us many good decisions against the morals of society, such as escaping from his pappy, escaping the ideas of society to start new ones of his own, and to leave the worries of money behind him.  However, at the same time, he makes bad decisions against his society.  Huck had left his "family" and avoided getting "sivilized."  In his quest for true "freedom," Huck was able to grow considerably and mature, yet, he was still not mature enough to formulate ideas of his own.  Nonetheless, no matter how Huck's ideas and morals change, he will always remain a true friend to Jim.  Adventurous or not, this book was great in showing that the white's weren't always right and blacks could also be great in many respects.

487.          Human Flaws of Orgon in Tartuffee

The play "Tartuffe", by Moliere, is a work that was created to show people a flaw in their human nature. There are two characters who portray the main flaw presented in the play. Both Madame Pernelle and Orgon are blinded to the farces of Tartuffe and must be coaxed into believing the truth. The fact that Orgon and Madame Pernelle are too weak to see the truth is the main driving force throughout the play.

The most obvious weakness shared between Orgon and Madame Pernelle is gullibility. The trait of gullibility can be seen as a family trait as suggested in an essay on "Tartuffe" : "His mother shares his capacity for self-delusion even after Tartuffe has been found out ("We cannot always judge by what we see")" (Weals). Orgon believes because Tartuffe claims to be a man of God he should put everything he has into Tartuffe's hands. He proves how much he believes this after Damis tells him that Tartuffe was flirting with Elmire. From this accusation Orgon replies to Damis: "I disinherit you; an empty purse / Is all you'll get from me - except my curse!" (III, vii , 68). Madame Pernelle shows the family trait that she shares with her son when she states: "He's a fine man, and should be listened to."(I, i ,44), while speaking of Tartuffe. Although they share this trait throughout the play, Orgon's eyes are finally opened at the end of  the play while his mother is still held by the farce of Tartuffe.

Although Tartuffe is portrayed as the main character of the play, Orgon is the character who should really be paid attention to the most. As suggested in an essay on "Tartuffe" audiences who concentrate on the character who titles the work may miss the author's point: "...vitriol and spleen vented on one man suggests that Moliere's satire of Orgon, nevermind Tartuffe, was steeped in truth." (Smaje). Orgon is the character who represents the weakness in human nature. This weakness is shown throughout the play. Orgon is so willing to entrust everything he has into the care of Tartuffe.  He places Tartuffe above the well being of his family. When he returns from his trip and asks Cleante how the household was while he was gone, Cleante tells him that his wife had been very sick. Orgon's odd response is, "Ah. And Tartuffe?". When he hears that Tartuffe has been eating, sleeping, and generally living well Orgon retorts with another peculiar response, "Poor fellow!" (I, iv , 10).  Orgon demands that Mariane give up Valere and marry Tartuffe. This again shows how Tartuffe has taken over due to Orgon's weakness.:

That's wisely said, my Daughter. Say of him then,

That he's the very worthiest of men,

And that you're fond of him, and would rejoice

In being his wife, if that should be my choice.

Well?

(II, ii, 15)

This is obviously not what Mariane wants but Orgon continues to demand that she obey him.

Although Madame Pernelle is seen as gullible, she is consistent. At the beginning of the play she is ridicules her family and compares them to Tartuffe. She shows how much she is taken by him in this phrase: "Whatever he reproves deserves reproof. / He's out to save your souls, and all of you / Must love him, as my son would have you do." (I, i , 52). Near the end of the play when Orgon finally admits that he was wrong Madame Pernelle still will not believe Tartuffe is not who he pretends to be.  She consistently defends the innocence of Tartuffe when she says: "No, my son, I'll never bring / My self to think him guilty of such a thing." (V, iii, 17)

The flaw of weakness is the major driving force in the play. With out this flaw Tartuffe would have no one on which to practice his conniving ways. Both Orgon and Madame Pernelle are crucial characters to make this play work. Although Tartuffe carries the title of this play, it is well suited to focus more attention on Orgon and Madame Pernelle and their human weakness.

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Cititation:

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Works Cited

Moliere,  Jean-Baptise Poquelin.  "Tartuffe." The Norton Anthology of       World Masterpieces. Ed. Maynard Mack. New York: W.W. Norton & Company, 1995. 307 -356.

Smaje, Andrew. "Director's Notes". Internet Address: http://www.keighley.ac.uk:80/bpft/shows/dir-note/tartuffe.htm .

Weales, Gerald. "Orgon's Box". Internet Address:             http://libertynet.org:80/~forum/feb2996/08tartuffe.feb2996.html.

Photo credits: http://www.istos.net.gr:80/html/theater/htm.erga/ergo027.htm .

http://www-personal.ksu.edu/~selene/photo.html .

<citations are correct now>

.............................

488.          Human Intent and the Aftermath of It

Human Intent and the Aftermath of It

Washington Irving, in writing "The Devil and Tom Walker", and Stephen Vincent

Benet, in writing "The Devil and Daniel Webster" illustrate to the reader the

consequences of man's desire for material wealth and how a person's motivation for a

relationship with the devil affects the outcome of the "deal".  In these two different, yet

surprisingly similar narratives, the authors present their beliefs about human intent and

motive.

In "The Devil and Tom Walker", the story is seen of a stingy man and his nagging

wife who "...were so miserly that they even conspired to cheat each other" (128). In the

story, one sees a man make a deal with the devil, who in the story is known as "Old

Scratch", for the sole purpose of personal gain.  Tom Walker, seeing only the possible

wealth that he could achieve, bargains with the devil and finally reaches an agreement

which he sees to be fair.  Tom does not see the danger present in bargaining with such

a powerful force for so little gain.  There is a note of humor present in the narrative,

which adds to the sense of danger that is present making deals that one does not

intend to keep.  Commenting on the story, Larry L.   Stevens notes that "This tale,...,

comically presents the results of valuing the dollar above all else."  This story does a

very good job of conveying a message to the reader about human values.

In the story Tom is seen as a very self-centered man who cares only for himself and

his own well being.  He is not even phased when he discovers the remains of his wife

hanging in a apron in a tree; "Tom consoled himself for the loss of his property with the

loss of his wife" (132).    Tom is portrayed in the story as being typical of many of the

citizens who lived in the town, many of who's names Old Scratch had carved into the

bark of a tree near the Indian Fort.  When the devil shows Tom a tree for a greedy

townsperson, he fails to see that he is very much like that tree when he "looked in the

direction that the stranger pointed and beheld one of the great trees, fair and

flourishing without, but rotten at the core" (130).

As time passes after Tom has made his deal with the devil, and he is working as a

usurer in Boston, squeezing every last cent out of the unlucky speculators that walked

through his door, Tom begins to wonder whether he made the right choice when he

dealt with Old Scratch:  "He thought with regret on the bargain he had made with his

black friend, and set his wits to work to cheat him out of the conditions" (134).  Tom's

decision to attempt to cheat the devil becomes his downfall.  Tom now begins a routine

of attending a Church service and praying loudly for everyone to hear, and he outfits

himself with two Bibles which he thinks will protect him to the end.  In a great irony

Irving tells of how Tom will put down his Bible for a few minutes while he forecloses a

mortgage of some poor borrower, and the resumes his reading when he is finished.

Stevens recognized this irony and noted that "Irving has a keen eye for the ironies and

contradictions of human behavior."  Irving presents the reader with the difficulty that

can arise when intentions are based solely on personal gain.  In the story, one sees

how Tom Walker's actions contradict each other in their meaning and purpose.  It is

seen in the story how Tom walker would show his devotion to the Church and to God,

when he was truly only trying to protect himself from when the devil came to collect

what was due.  Stevens summarized Tom's actions by noting that "...the tale clearly

satirizes those who make a public show of devotion while retaining meanness of spirit".

Irving does a very good job of demonstrating the ill consequences that can and most

likely will be a result of man's lack of caring, and possibly ignorance.  Had Tom Walker

thought upon the deal more thoroughly, instead of jumping right into it, he most likely

would not have suffered the terrible outcome of the deal.  If he had realized that the

wealth that he would achieve would be useless to him in the end, he would probably be

living in his old house, unhappy and without a wife, but at least he would have had his

dignity, for he could know that he did not sink to such lows as to give up his soul for a

few years of unhappy wealth.  The humor present in the tale does help to add a bit of

liveliness to the narrative, keeping it from being completely dreary and having a

melancholy-like mood.  "While the selling of one's soul and the inhumane

consequences of greed are significant, they become subjects for laughter through

Irving's character portrayals and his use of ironic understatement", insightfully noted

Stevens of this, one of Irving's finest works.

In "The Devil and Daniel Webster", the reader learns the story of an extremely

unlucky New England farmer named Jabez Stone, who like Tom Walker, makes a deal

with the devil for personal gain.  In the narrative,  Jabez is frustrated with the illness of

his wife, the condition of his animals, and his unproductive crops.  Jabez inadvertently

summons the devil and makes a deal with him, stipulating that Jabez would have great

success in all his undertakings, and that in seven years time, he would relinquish his

soul to the devil, known in this story as "Scratch" or "Mr.  Scratch".  However when the

time comes for Jabez to give the devil what is legally his,  he manages to bargain for a

three year extension.  When that time is almost over, Jabez employs the services of the

notes speaker Daniel Webster, who, in the end, wins for Jabez stone his freedom and

makes the devil put in writing that no New Hampshireman will be bothered by him again

until "doomsday".

There is one striking difference present between the two stories, and it is a very

significant factor when analyzing the outcome of each character's separate bargains.

That is the intentions that each one had when they made their deals.  In "The Devil and

Tom Walker", Tom Walker bargains with the devil strictly for personal gain, without

considering the needs of others.  He does not see how his miserly ways are ruining him

and he suffers severe consequences because of it.  In "The Devil and Daniel Webster",

Jabez Stone signs a contract with the devil to save his family from starvation.  He was

thinking of others when he signed the contract, and not himself.  That is what leads to

Webster's strong point for his defense of Jabez Stone, "Then he turned to Jabez

Stone...an ordinary man who'd had hard luck and wanted to change it.  And, because

he'd wanted to change it, now he was going to be punished for all eternity" (641).

The story is truly a credit to the true Daniel Webster, as David Peck eloquently

noted: "The story tapped America's love for folklore and legend,..., it re-created the

story of a genuine American hero."  A "genuine American hero" is what Webster is truly

portrayed as in this narrative.  Peck also noted that "The story is praise not only for

Daniel Webster, however, but also for his country, for the two are inextricably

intertwined."  This story also hints to the fact even though people may seem to be cruel

and hard on the outside, they can be truly caring and compassionate.  The political and

spiritual lessons to be learned from "The Devil and Daniel Webster" are those which

are very important to the existence and survival of every human being alive today.

Both "The Devil and Tom Walker" and "The Devil and Daniel Webster" both are

beautifully written masterpieces of American literature that will undoubtedly be

cherished for generations of readers to come.  This beauty comes from each authors

uniquely different American heritage which adds a certain flavor to each of the works.

This is all summed up by Edward Wagenknecht in his "Washington Irving:  Moderation

Displayed", in reference to the book in which "The Devil and Tom Walker" was

published:  "'The Devil and Tom Walker' is,..., the finest narrative in this part of the

book".

Works Cited

Adventures in American Literature.  Ed.  Fannie Safier et al.  Athena Edition.  Austin:

Holt,  1996.

Benet, Stephen Vincent.  "The Devil and Daniel Webster".  in Adventures in American

Literature.  Ed.  Fannie Safier et al.  Athena Edition.  Austin:  Holt,  1996.  635-643.

Discovering Authors.  Macintosh.  CD-ROM.  Detroit:  Gale Research,  1993.

Irving, Washington.  "The Devil and Tom Walker".  in Adventures in American

Literature.  Ed.  Fannie Safier et al.  Athena Edition.  Austin:  Holt,  1996.  128-135.

Masterplots II:  Short Story Series.  Ed.  Frank N.  Magill.  Vol.  2.  Pasadena:  Salem

Press,  1989.

Peck, David.  Masterplots II:  Short Story Series.  Ed.  Frank N.  Magill.  Vol.  2.

Pasadena:  Salem Press,  1989.  575-578.

Stewart, Larry L.  Masterplots II:  Short Story Series.  Ed.  Frank N.  Magill.  Vol.  2.

Pasadena:  Salem Press, 1989.  579-581.

Wagenknecht, Edward.  "Washington Irving:  Moderation Displayed".  Oxford UP.

1962.  233.  in Discovering Authors.  Macintosh.  CD-ROM.  Detroit:  Gale

Research,  1993.  3.

489.          I am a Rock

I Am A Rock

Paul Simon said that the person or people in his poem were sick of society, and wanted to be isolated away from society.  He represents this by saying that they want to be like a rock, or like an island.  They wanted to be isolated away from society.

The poem talks about people being sick of society, and want to be isolated from it.  Even in the first line, he made an analogy between December being dark and dingy, by saying "A winter's day - in a deep and dark December."  The month of December is usually likened to being cold, dark, and 'dangerous'.  He also says that it is a lonely December in the second line where he says "I am alone gazing from my window to the street below" he feels left out, and now wants to be left alone, like an island, or a rock.  Like in the second poem, where he says that he "has no need of friendship."

The person in the poem wants to be left alone, like an island, or a rock.  In the second stanza, he says "I've built a wall, a fortress deep and mighty."  He has built a mental block to all outsiders, and he compares this to an inpenetrable wall.  Inpenetrable walls keep unwanted things out: bad feelings, love, etc.  Then, in the third line of this stanza, he says "I have no need of friendship - friendship causes pain,  It's laughter and loving I disdain."  He said that he doesn't want friendship because it just causes pain, and that the laughter and loving he hates or despises.  He wants to be left alone, like it says in the third stanza, "Hiding in my room, Safe within my tomb."

He wanted to be shielded from society.  In the first line of the third stanza, he says "I have my books and my poetry to protect me, I am shielded in my armour"  He used the books as a type of shield, to shield him from outside things that can hurt him.  All he needs are his books to keep him occupied away from society, and isolated.  Just like in the last stanza, "a rock feels no pain, an island never cries."

He wants to be like a rock, and like an island.  Rocks don't feel any pain, therefore, if he was a rock, he wouldn't feel any pain.  In the first line of the fourth stanza, it says "And a rock feels no pain, " He wants to be like a non-feeling rock, that nothing except god himself can destroy, then he would be tough and free of his troubles.  He wants to be like an island, because islands don't have much to deal with, some islands are so isolated, that no-one even knows that they are there.  This would be good to live on, to be isolated from society.  He wouldn't have anyone to be hurt by, and no one to hurt.  If he was isolated, and like a rock, then he would be in good shape.

Paul Simon simply used a rock to symbolify how the person wanted to feel.  "They" wanted to be isolated from society, which obviously hurt him in some way.  "I am a Rock" and no one can reach me on my island, is what Paul Simon wanted to put in the minds of the listeners, in my opinion at least.

490.          I Didn t Do It How The Simpsons Affects Kids

I Didn't Do It: How The Simpsons Affects Kids

The Simpsons is one of Americas most popular television shows.  It ranks

as the number one television program for viewers under eighteen years of age.

However, the ideals that The Simpsons conveys are not always wholesome,

sometimes not even in good taste.  It is inevitable that The Simpsons is

affecting children.

Matt Groening took up drawing to escape from his troubles in 1977.  At

the time, Groening was working for the L.A. Reader, a free weekly newspaper.  He

began working on Life in Hell, a humorous comic strip consisting of people with

rabbit ears. The L.A. Reader picked up a copy of his comic strip and liked what

they saw.  Life in Hell gradually became a common comic strip in many free

weeklies and college newspapers across the country. It even developed a cult

status.  (Varhola, 1)

Life in Hell drew the attention of James L. Brooks, producer of works

such as Taxi, The Mary Tyler Moore Show, and Terms of Endearment.  Brooks

originally wanted Groening to make an animated pilot of Life in Hell.  Groening

chose not to do so in fear of loosing royalties from papers that printed the

strip.  Groening presented Brooks with an overweight, balding father, a mother

with a blue beehive hairdo, and three obnoxious spiky haired children.  Groening

intended for them to represent the typical American family "who love each other

and drive each other crazy".  Groening named the characters after his own family.

His parents were named Homer and Margaret and he had two younger sisters named

Lisa and Maggie.  Bart was an anagram for "brat".  Groening chose the last name

"Simpson" to sound like the typical American family name.  (Varhola, 2)

Brooks decided to put the 30 or 60 second animations on between skits on

The Tracy Ullman Show on the unsuccessful Fox network.  Cast members Dan

Castellaneta and Julie Kavner did the voices of Homer and Marge.  Yeardley Smith

(later to star in Herman's Head) did the voice of Lisa.  Nancy Cartwright did

the voice of Bart. Cartwright previously supplied the voices for many cartoons,

including Galaxy High, Fantastic Max, Richie Rich, Snorks, Pound Puppies, My

Little Pony, and Glo-Friends. Tracy Ullman later added Cartwright to her cast.

(Dale and Trich, 11)

Brooks, Groening, and Sam Simon, Tracy Ullman's producer, wanted to turn

the Simpson family into their own show.  The Fox network was looking for

material to appeal to younger viewers.  The only show they had that drew a young

audience was Married With Children.  To Fox's pleasure, The Simpsons saved the

network from near failure.  (Varhola, 3)

On December 17, 1989, The Simpsons got their break.  The Christmas

special, "Simpsons Roasting on an Open Fire" aired.  (Dale and Trich, 19)

In the episode, Bart got a tattoo, much to Marge's dislike.  She

quickly spent all of the family's Christmas money to remove Bart's tattoo with a

laser.  At the same time, Homer, still on his morning coffee break at 4:00 in

the afternoon, learns that he will not receive a Christmas bonus.  When he

learns that Marge is relying on the money for Christmas, he decides that he will

do the Christmas shopping for the year.  He quickly buys Marge panty hose, Bart

paper, Lisa crayons, and Maggie a dog toy.  When he realizes that he is not

doing very well, he gets a second job as a mall Santa for the extra money.  On

the way home from work, he steals a Christmas tree.  The next day at the mall,

Bart sits on his Dad's lap and pulls down his beard.  Homer responds by choking

Bart and making him help make Christmas better.  On Christmas Eve, Homer

receives his check, $13.70 for over 40 hours work.  Homer takes Bart to the dog

track as a final chance for Christmas money.  They discovered a gem in the third

race, Santa's Little Helper.  How could this dog loose on Christmas Eve?  The

odds were 99 to 1, they were going to be rich.  Homer put all of his money on

Santa's Little Helper, and to his horror, he never even finished.  As Homer and

Bart were scouring the parking lot for winning tickets into the night, they saw

the track manager throw out a dog.  It was not just any dog, it was Santa's

Little Helper.  When Bart and Homer came home to their worried family, they had

a good Christmas after all.  Now they had a dog.  (Pond)

"Simpsons Roasting on an Open Fire" was not the typical Christmas story.

It dealt with body art, sleeping in the work place, sibling rivalry, stealing a

Christmas tree, a misbehaved son, and gambling.  Although it was unorthodox, it

was very successful. The Fox network decided to air it again on Christmas Eve.

(Dale and Trich, 19)

In a little over a month, The Simpsons made it's debut as a weekly show,

"Bart the Genius" was the first regular episode.  In the middle of a feared

assessment test, Bart switches his test with the completed one of Nelson Prince,

Class Nerd.  Bart and his parents are called into Principal  Seymour Skinner's

office where they are told that Bart has a 216 IQ.  (Homer thought is was 912.)

Skinner requests that Bart attends The Enriched Learning Center for Children.

Suddenly, Homer takes a liking to his son. They joke together, play ball

together, embarrass Marge at an opera together. ("Toreador, oh don't spit on

the floor.  Use the cuspidor.  That's what it's for." Bart sings along with the

opera Carmen.)  Soon at Bart's old school, Springfield Elementary School, Bart's

graffiti is roped off and tagged, "The Principal. By Bart Simpson.  IQ 216."

Bart's friend no longer like him, they refer to him as Poindexter.  The kids at

his new school trick him into giving up his lunch.  In frank, Bart is miserable.

Then, after turning himself green in an uneducated science experiment, Bart

reveals to his new principal that he cheated on the test.  That night, as Homer

is helping Bart clean himself off, Bart tells Homer the same.  Homer instantly

transforms into a murderous rampage again.  The episode ends with Bart locking

himself in his room and Homer trying to knock down the door so he can tear Bart

into pieces.  (Vitti)

Soon, Simpsons merchandise was all over America.  Every kid wanted an

"Underachiever and Proud of It, Man" or an "I'm Bart Simpson, Who the Hell Are

You?" shirt.  Hats could be seen everywhere that had Bart dressed like a devil

saying "Go For It, Dude!" or  with Homer, his arms open, lunging forward saying

"Why You Little."  The most popular shirt was a family picture with Homer

choking Bart.  During the first week of school in 1990, two thirds of the sixth

graders in America  wore Simpsons paraphernalia.  (Dale and Trich, 43)

As the popularity of The Simpsons grew, so did parents' fears.  To their

horror, Bart Simpson became a role model.  "Aye Carumba!" was a popular

expression among kids.  Almost anything a child did wrong was attributed to

"last Sunday's Simpsons." (Dale and Trich, 45)

Bad ideas continued to be broadcast into kids' minds.  In the third

episode, a baby-sitter robbed the Simpson household of most of it's belongings.

In the fourth episode, Homer caused a nuclear accident, got fired, and attempted

suicide.  Bart stole the head off of the statue of Jebidiah Springfield,

Springfield's founder in the sixth episode.  In the eighth episode, Bart took a

picture of Homer with an exotic dancer and distributed them to the entire town.

Marge had an affair in the ninth episode.  Homer stole cable, and almost

everything else imaginable in the fifteenth episode.  (Groening, 37)

The Simpsons  is often viewed as one of the biggest threats to

Christianity. The Simpson family goes to church on a regular basis, but Bart and

Homer loath it.  A typical Sunday School conversation is as follows: Child:

"Will my dog, Fluffy go to heaven?"

Sunday School Teacher:  "No"

Other Child:  "How about my cat?"

Teacher:  "No, Heaven is only for people."

Bart:  "What if my leg gets gangrene and has to be amputated?  Will it be

waiting for me in heaven?

Teacher:  "Yes"

Bart:  "What about a robot with a human brain?"

Teacher:  "I don't know!  Is a little blind faith too much to ask for?"

(Pepoon)

The pastor, Reverend Lovejoy is a hypocrite.  In "22 Short Films About

Springfield"  he leads his dog to the Flanders' yard to go to the bathroom.  He

praises the dog until Ned Flanders comes outside.  He then acts angry and

threatens the dog with hell.  When Ned leaves, he praises the dog again.

(Swartzwelder)  In one episode, Homer quits going to church and falls in love

with life.  He claims to have his own religion so he doesn't have to go to work

on holidays, such as the Feast of Maximum Occupancy.  In a conversation with

Lisa: Lisa:  "Dad, I don't understand, why have you dedicated yourself to

living a life of blasphemy?"

Homer:  "Don't worry Lisa, if I'm wrong, I'll repent on my death bed."

(Meyer)

The Simpsons is not just an enemy of Christianity, though.  In one

episode, where Krusty the Clown is reunited with his father, a rabbi, almost the

entire episode is spent making fun of Judaism.  Lisa asks Bart, "Do you know

what a rabbi's most valued possession is?"  Bart replied, "I dunno, those stupid

little hats."  Hinduism is constantly joked with by using East Indian, Kwik-E-

Mart clerk, Apu Mahasapeemapitalon.  Apu is once asked is he is Hindu.  He

replied, "By the thousand arms of Bishna, I swear it is a lie."  Once Homer was

in the Kwik-E-Mart: Homer:  "Hey Apu.  No offensive, but when they were handing

out religions, you must have been on the can."

Apu:  "Mr. Simpson, please take your jerky and get out and come again!" (Meyer)

The average child can acquire a plethora of foul words from one episode.

In "Flaming Moe's", Bart is "jinxed", meaning he can't talk until somebody says

his name.

Homer:  "What is it boy?"

Bart:  [Grunts]

Homer:  "Us anything the matter, my son?  Talk to me young man."

Bart:  [Takes a pencil and writes 'Say my name.]

Homer:  "Say your name?  Why should I do that, my lad?"

Bart:  "Because I'm jinxed damnit!"

Homer:  [Punches Bart in the arm.]

Bart:  "Ow!  What was that for!"

Homer:  You spoke while you were jinxed, so I get to punch you in the arm!

Sorry, it's the law!"  (Cohen)

Homer Simpson definitely has the worst influence on children.  Once,

Homer overheard Ralph Wiggum say the he would do anything for Lisa.  In the next

scene, Ralph is coating the Simpson's roof in tar.  Ralph calls out, "Mr.

Simpson, the tar fumes are making me dizzy."  Homer, relaxing in a hammock

replies, nonchalantly, "Yeah, they'll do that."  Homer fits the genera of the

parent who pressures his kid to do well in sports.  In one episode, after Bart

scored a winning goal, Homer congratulated him, "Okay Bart, you won the hockey

game.  Now, just as I promised, here's your turtle, alive and unhurt."  Homer

got angry at Marge once for spending lots of money to vaccinate Maggie against

diseases she doesn't have.  His advice on how to get out of jury duty is "to

tell them that you're prejudiced against all races."  His self proclaimed, best

advice is, "Sometimes the only way you can feel good about yourself is to make

other people look stupid."  (Groening, 26)

Personally, I believe that The Simpsons affects children, but not

necessarily in a bad way.  Children never hurt themselves mimicking The Three

Stooges, nor do they with The Simpsons.  Almost every episode ends with a family

that loves each other.

Some episodes have answered the question of them affecting children on

their own.  Once, Marge began to protest Itchy and Scratchy cartoons.  Itchy is

a psychopathic mouse who's only purpose is to kill and torture Scratchy, a cat.

Nearing the end of the episode, Marge realizes that Itchy and Scratchy is not

hurting anyone. They take a satirical view to the situation when a group of

mothers try to stop Michaelangelo's David from visiting the Springfield Museum

of Art by means that it is pornographic.  (Koger and Wolodarsky)

Unlike many sitcoms, The Simpsons is more like everyday life.  Homer

works in a power plant.  In many other sitcoms, the father works a popular job,

such as an accountant, or with a television studio.  The Simpson family is not a

wealthy family living in a $300,000 house.  Many children can relate to this.

(Rebeck, 622)

In some cases, The Simpsons is educational.  Karen Brecze credits Homer

Simpson with saving her 8-year-old son, Alex's life.  Bence, of Auburn,

Washington, says the boy was choking on an orange when his 10-year-old brother,

Chris, used the Heimlich maneuver, which he learned from "Homer at the Bat",

where Homer is choking on a doughnut.  Unlike Alex, Homer doesn't receive help

and coughs up the doughnut as his co-workers look at the Heimlich maneuver

poster.  (Dyer, D3)

The Simpsons affects kids, just as anything around them will.  Perhaps

people fear  The Simpsons because they can see a little of The Simpsons in

themselves.  We all have inner child's trying to get out that behave just like

Bart.  We all do "pull a Homer" sometimes.  It just happens.  The show doesn't

make us do it.  It just happens.  If this world did not have The Simpsons

children would behave in the same manner, they just might laugh quite as much.

WORKS CITED

"22 Short Films About Springfield."  The Simpsons.  By: John Swartzwelder, Dir:

491.          Jim Reardon, ProI didnt do it

I DIDN'T DO IT

How The Simpsons Affects Kids

The Simpsons is one of Americas most popular television shows.  It ranks as the

number one television program for viewers under eighteen years of age.  However, the

ideals that The Simpsons conveys are not always wholesome, sometimes not even in

good taste.  It is inevitable that The Simpsons is affecting children.

Matt Groening took up drawing to escape from his troubles in 1977.  At the

time, Groening was working for the L.A. Reader, a free weekly newspaper.  He began

working on Life in Hell, a humorous comic strip consisting of people with rabbit ears.

The L.A. Reader picked up a copy of his comic strip and liked what they saw.  Life in

Hell gradually became a common comic strip in many free weeklies and college

newspapers across the country. It even developed a cult status.  (Varhola, 1)

Life in Hell drew the attention of James L. Brooks, producer of works such as

Taxi, The Mary Tyler Moore Show, and Terms of Endearment.  Brooks originally

wanted Groening to make an animated pilot of Life in Hell.  Groening chose not to do

so in fear of loosing royalties from papers that printed the strip.  Groening presented

Brooks with an overweight, balding father, a mother with a blue beehive hairdo, and

three obnoxious spiky haired children.  Groening intended for them to represent the

typical American family "who love each other and drive each other crazy".  Groening

named the characters after his own family.  His parents were named Homer and

Margaret and he had two younger sisters named Lisa and Maggie.  Bart was an anagram

for "brat".  Groening chose the last name "Simpson" to sound like the typical American

family name.  (Varhola, 2)

Brooks decided to put the 30 or 60 second animations on between skits on The

Tracy Ullman Show on the unsuccessful Fox network.  Cast members Dan Castellaneta

and Julie Kavner did the voices of Homer and Marge.  Yeardley Smith (later to star in

Herman's Head) did the voice of Lisa.  Nancy Cartwright did the voice of Bart.

Cartwright previously supplied the voices for many cartoons, including Galaxy High,

Fantastic Max, Richie Rich, Snorks, Pound Puppies, My Little Pony, and Glo-Friends.

Tracy Ullman later added Cartwright to her cast.  (Dale and Trich, 11)

Brooks, Groening, and Sam Simon, Tracy Ullman's producer, wanted to turn the

Simpson family into their own show.  The Fox network was looking for material to

appeal to younger viewers.  The only show they had that drew a young audience was

Married With Children.  To Fox's pleasure, The Simpsons saved the network from near

failure.  (Varhola, 3)

On December 17, 1989, The Simpsons got their break.  The Christmas special,

"Simpsons Roasting on an Open Fire" aired.  (Dale and Trich, 19)

In the episode, Bart got a tattoo, much to Marge's dislike.  She quickly spent all

of the family's Christmas money to remove Bart's tattoo with a laser.  At the same time,

Homer, still on his morning coffee break at 4:00 in the afternoon, learns that he will not

receive a Christmas bonus.  When he learns that Marge is relying on the money for

Christmas, he decides that he will do the Christmas shopping for the year.  He quickly

buys Marge panty hose, Bart paper, Lisa crayons, and Maggie a dog toy.  When he

realizes that he is not doing very well, he gets a second job as a mall Santa for the extra

money.  On the way home from work, he steals a Christmas tree.  The next day at the

mall, Bart sits on his Dad's lap and pulls down his beard.  Homer responds by choking

Bart and making him help make Christmas better.  On Christmas Eve, Homer receives

his check, $13.70 for over 40 hours work.  Homer takes Bart to the dog track as a final

chance for Christmas money.  They discovered a gem in the third race, Santa's Little

Helper.  How could this dog loose on Christmas Eve?  The odds were 99 to 1, they were

going to be rich.  Homer put all of his money on Santa's Little Helper, and to his horror,

he never even finished.  As Homer and Bart were scouring the parking lot for winning

tickets into the night, they saw the track manager throw out a dog.  It was not just any

dog, it was Santa's Little Helper.  When Bart and Homer came home to their worried

family, they had a good Christmas after all.  Now they had a dog.  (Pond)

"Simpsons Roasting on an Open Fire" was not the typical Christmas story.  It

dealt with body art, sleeping in the work place, sibling rivalry, stealing a Christmas tree,

a misbehaved son, and gambling.  Although it was unorthodox, it was very successful.

The Fox network decided to air it again on Christmas Eve.  (Dale and Trich, 19)

In a little over a month, The Simpsons made it's debut as a weekly show,  "Bart

the Genius" was the first regular episode.  In the middle of a feared assessment test,

Bart switches his test with the completed one of Nelson Prince, Class Nerd.  Bart and

his parents are called into Principal  Seymour Skinner's office where they are told that

Bart has a 216 IQ.  (Homer thought is was 912.)  Skinner requests that Bart attends The

Enriched Learning Center for Children.  Suddenly, Homer takes a liking to his son.

They joke together, play ball together, embarrass Marge at an opera together.

("Toreador, oh don't spit on the floor.  Use the cuspidor.  That's what it's for." Bart sings

along with the opera Carmen.)  Soon at Bart's old school, Springfield Elementary

School, Bart's graffiti is roped off and tagged, "The Principal. By Bart Simpson.  IQ

216."  Bart's friend no longer like him, they refer to him as Poindexter.  The kids at his

new school trick him into giving up his lunch.  In frank, Bart is miserable.  Then, after

turning himself green in an uneducated science experiment, Bart reveals to his new

principal that he cheated on the test.  That night, as Homer is helping Bart clean himself

off, Bart tells Homer the same.  Homer instantly transforms into a murderous rampage

again.  The episode ends with Bart locking himself in his room and Homer trying to

knock down the door so he can tear Bart into pieces.  (Vitti)

Soon, Simpsons merchandise was all over America.  Every kid wanted an "Underachiever and Proud of It, Man" or an "I'm Bart Simpson, Who the Hell Are You?" shirt.  Hats could be seen everywhere that had Bart dressed like a devil saying "Go For It, Dude!" or  with Homer, his arms open, lunging forward saying "Why You Little."  The most popular shirt was a family picture with Homer choking Bart.  During

the first week of school in 1990, two thirds of the sixth graders in America  wore Simpsons paraphernalia.  (Dale and Trich, 43)

As the popularity of The Simpsons grew, so did parents' fears.  To their horror,

Bart Simpson became a role model.  "Aye Carumba!" was a popular expression among

kids.  Almost anything a child did wrong was attributed to "last Sunday's Simpsons."

(Dale and Trich, 45)

Bad ideas continued to be broadcast into kids' minds.  In the third episode, a

baby-sitter robbed the Simpson household of most of it's belongings.  In the fourth

episode, Homer caused a nuclear accident, got fired, and attempted suicide.  Bart stole

the head off of the statue of Jebidiah Springfield, Springfield's founder in the sixth

episode.  In the eighth episode, Bart took a picture of Homer with an exotic dancer and

distributed them to the entire town.  Marge had an affair in the ninth episode.  Homer

stole cable, and almost everything else imaginable in the fifteenth episode.  (Groening,

37)

The Simpsons  is often viewed as one of the biggest threats to Christianity. The

Simpson family goes to church on a regular basis, but Bart and Homer loath it.  A

typical Sunday School conversation is as follows:

Child:  "Will my dog, Fluffy go to heaven?"

Sunday School Teacher:  "No"

Other Child:  "How about my cat?"

Teacher:  "No, Heaven is only for people."

Bart:  "What if my leg gets gangrene and has to be amputated?  Will it be   waiting for me in heaven?

Teacher:  "Yes"

Bart:  "What about a robot with a human brain?"

Teacher:  "I don't know!  Is a little blind faith too much to ask for?"

(Pepoon)

The pastor, Reverend Lovejoy is a hypocrite.  In "22 Short Films About Springfield"  he leads his dog to the Flanders' yard to go to the bathroom.  He praises

the dog until Ned Flanders comes outside.  He then acts angry and threatens the dog

with hell.  When Ned leaves, he praises the dog again.  (Swartzwelder)  In one episode,

Homer quits going to church and falls in love with life.  He claims to have his own

religion so he doesn't have to go to work on holidays, such as the Feast of Maximum

Occupancy.  In a conversation with Lisa:

Lisa:  "Dad, I don't understand, why have you dedicated yourself to living

a life of blasphemy?"

Homer:  "Don't worry Lisa, if I'm wrong, I'll repent on my death bed."

(Meyer)

The Simpsons is not just an enemy of Christianity, though.  In one episode,

where Krusty the Clown is reunited with his father, a rabbi, almost the entire episode is

spent making fun of Judaism.  Lisa asks Bart, "Do you know what a rabbi's most valued

possession is?"  Bart replied, "I dunno, those stupid little hats."  Hinduism is constantly

joked with by using East Indian, Kwik-E-Mart clerk, Apu Mahasapeemapitalon.  Apu is

once asked is he is Hindu.  He replied, "By the thousand arms of Bishna, I swear it is a

lie."  Once Homer was in the Kwik-E-Mart:

Homer:  "Hey Apu.  No offensive, but when they were handing out religions, you must have been on the can."

Apu:  "Mr. Simpson, please take your jerky and get out and come again!"

(Meyer)

The average child can acquire a plethora of foul words from one episode.  In

"Flaming Moe's", Bart is "jinxed", meaning he can't talk until somebody says his name.

Homer:  "What is it boy?"

Bart:  [Grunts]

Homer:  "Us anything the matter, my son?  Talk to me young man."

Bart:  [Takes a pencil and writes 'Say my name.]

Homer:  "Say your name?  Why should I do that, my lad?"

Bart:  "Because I'm jinxed damnit!"

Homer:  [Punches Bart in the arm.]

Bart:  "Ow!  What was that for!"

Homer:  You spoke while you were jinxed, so I get to punch you in the arm!  Sorry, it's the law!"  (Cohen)

Homer Simpson definitely has the worst influence on children.  Once, Homer

overheard Ralph Wiggum say the he would do anything for Lisa.  In the next scene,

Ralph is coating the Simpson's roof in tar.  Ralph calls out, "Mr. Simpson, the tar fumes

are making me dizzy."  Homer, relaxing in a hammock replies, nonchalantly, "Yeah,

they'll do that."  Homer fits the genera of the parent who pressures his kid to do well in

sports.  In one episode, after Bart scored a winning goal, Homer congratulated him,

"Okay Bart, you won the hockey game.  Now, just as I promised, here's your turtle, alive

and unhurt."  Homer got angry at Marge once for spending lots of money to vaccinate

Maggie against diseases she doesn't have.  His advice on how to get out of jury duty is

"to tell them that you're prejudiced against all races."  His self proclaimed, best advice

is, "Sometimes the only way you can feel good about yourself is to make other people

look stupid."  (Groening, 26)

Personally, I believe that The Simpsons affects children, but not necessarily in a

bad way.  Children never hurt themselves mimicking The Three Stooges, nor do they

with The Simpsons.  Almost every episode ends with a family that loves each other.

Some episodes have answered the question of them affecting children on their

own.  Once, Marge began to protest Itchy and Scratchy cartoons.  Itchy is a

psychopathic mouse who's only purpose is to kill and torture Scratchy, a cat.  Nearing

the end of the episode, Marge realizes that Itchy and Scratchy is not hurting anyone.

They take a satirical view to the situation when a group of mothers try to stop

Michaelangelo's David from visiting the Springfield Museum of Art by means that it is

pornographic.  (Koger and Wolodarsky)

Unlike many sitcoms, The Simpsons is more like everyday life.  Homer works in

a power plant.  In many other sitcoms, the father works a popular job, such as an

accountant, or with a television studio.  The Simpson family is not a wealthy family

living in a $300,000 house.  Many children can relate to this.  (Rebeck, 622)

In some cases, The Simpsons is educational.  Karen Brecze credits Homer Simpson with saving her 8-year-old son, Alex's life.  Bence, of Auburn, Washington, says the boy was choking on an orange when his 10-year-old brother, Chris, used the Heimlich maneuver, which he learned from "Homer at the Bat", where Homer is choking on a doughnut.  Unlike Alex, Homer doesn't receive help and coughs up the

doughnut as his co-workers look at the Heimlich maneuver poster.  (Dyer, D3)

The Simpsons affects kids, just as anything around them will.  Perhaps people

fear  The Simpsons because they can see a little of The Simpsons in themselves.  We all

have inner child's trying to get out that behave just like Bart.  We all do "pull a Homer"

sometimes.  It just happens.  The show doesn't make us do it.  It just happens.  If this

world did not have The Simpsons children would behave in the same manner, they just

might laugh quite as much.

WORKS CITED

"22 Short Films About Springfield."  The Simpsons.  By: John Swartzwelder, Dir: Jim

492.          Reardon, ProIf At First You Dont Succeed

If At First You Don't Succeed

"Eureka!" Sam excitedly exclaimed. "I've done it! I'm set for life and my happiness is assured.

With this new invention I'll be honored for my brilliance, and I might even win the nobel prize!" he

chirped ecstatically.

Sam was a chicken, the great great great grandson of the Not-So-Great Chixken Little, who, in case the reader is ignorant, was the chick who thought the sky was falling and got everyone eaten by

a crafty old fox [SIC]. Sam was a well built chicken, quite muscular in fact, and extremely inventive, but, unfortunately, he had no brains when it came to reality. His motto was: " If at first you don't succeed, try, try again," and he would never give up even if there was no way he could win. To this very day he still has an

annual football game against a childhood friend, Bono, who is a prize winning, full grown bull. (In case the reader hasn't discovered it, after every game, Sam has a visit to the hospital where he is an infamous character, continually joked about by the nurses and doctors who work there.)

***

"You may see Mr. Monty now, sir," the secretary informed Sam.

He nervously eyed the door in front of him. The big, bold lettering stated:

MR. JP MONTY

EXECUTIVE PRESIDENT

Doubts about his ability to make a good impression entered his mind, but Sam immediatly gathered himself together, glanced back at the sheep secretary, and entered the room. THe stately pig sat behind a magnificently carved oak desk in the most luxurious office Sam had ever seen.

A plush oriental rug covered the floor from wall to wall, and paintings, pictures, and diplomas adorned the brightly colored walls. Extremely expensive ornaments were conspicuously displayed, spreading a DO-Not-Touch atmosphere around the room. But the room was nothing compared to the pig

lounged in the sleek, black, leather chair. He was not fat, he was immense, he had one of those stomachs that literally hung over his waistband. His four chins wiggled like Jell-O as he turned his chubby head to face Sam.

"Yeees," Mr. JP Monty stated suggestively.

" Sir, this is your lucky day! I am the esteemed architect of the greatest invention of all time, and I have picked you, to invest in it. This will certainly earn you enormous profits ince the public gets ahold of my wonderful creation. What do you say sir? Are you with me or not? I

know that if you decide to endorse my idea, then you will be greatly rewarded in the future, " Sam stopped, out of breath as he waited for an answer.

" Well it might be helpful to know what I've invested in before I risk unknown numbers of bushals of grain to produce the afore-mentioned product."

" Oh it will definitly be worth it Mr. Monty, sir, it will, it will, it will!"  Sam quickly and enthusiastically informed the famous business man before him. A silence that seemed to last forever to the amateur inventor enveloped the room.

"Well, what is it young man?" JP inquired impatiently.

" What is what?" Sam asked.

" Your supposedly great invention." The pig shot back, obviously annoyed.

"Oh, yessir, I'm sorry sir," stuttered Sam," I'll tell you now sir. It is artificially flavored grass... you know, for cattle."

" Artificially flavored GRASS!?!?"

"Yessir. It comes in cherry, lime, apple, chocolate, and rasberry. It's actually quite tasty. Even I, enjoy the vast array of flavors. Also, there is no end to the possibility of expansion of the product. We could always produce low-fat, more fiber, and more flavors. Isn't it an

incredible idea sir? I have some here if..." Sam's voice trailed off, and his face fell as he peered at Mr. Monty. " Are you all right sir?" The pig sat absolutely still and silent, as if in serious shock. "Sir, is my idea bad?"

Mr. Monty's expression suddenly changed to an animated happiness Sam had never seen before. " No, no my boy! It's a stupendous idea!" He pressed a button on his desk. " Miss Steward, notify my managers immediatly. I want them here precisly when the first star appears in the sky, not a moment later or they know the consequences.

Type it up and relay the information instantly. Go!" His hoof left the button and he turned to Sam again. "My boy, you've got yourself one enthusiastic endorser. By the way, what is your name boy?"

"Little, sir, Sam Little."

***

Sam leaned against the chair's back, in his office and sighed. It had been one of the most tiresome and busy months of his life. Everyone wanted artificial grass. It was a fad among the calves. The adults enjoyed it too. Orders poured in like rain during a monsson, and his new company, Arto-Grass was thriving. But Sam was not happy. He had thought the bushals of grain

would be enough to satisfy him, but he didn't want to deal with the responsibility of owning a company.

"I'm too young to be stuck in an office already." He said to himself.

"You are precisely right, Mr. Little, Preeecisely right." A low smooth voice agreed.

" Who are you?" Sam curiously inquired of the fox that stood before him.

" My name is E.Q. Exon Esq., but my friends call me Esquire. I will consider you a friend , so please, call me Esquire." The fox turned his head slightly to the right and seemed to be studying Sam for his reaction to the introduction.

""Okay, Esquire. What did you come to see me for?" Sam's curiosity about the walking mystery before him was aroused, and he wanted to know as much as possible about the only interesting thing that had happened to him all month.

" Since you are my friend, Mr. Little, I came to warn you. I have heard, from sources that I'm afraid are not at my disposal to reveal, so don't ask, that  your company

is going to suddenly turn around and go down the tube. Once the new idea has soaked in., the cattle are going to lose interest, and are already losing interest in Arto-Grass. Again, since I am your friend, I decided to buy the company for four bushals of grain, a bargain for a company that is about to go bankrupt. I'll give youu until this time tomorrow to decide. I warn you- this company is not worth one bushal, let alone four. I'm only offering that much because you are my friend. Goodbye." Esquire turned away and slowly and deliberately left the room.

" Esquire, wait!" Sam declared. " I don't want to lose everything I have earned. Please take my business. I'll sign it over to you right now if you want?" Sam took out a piece of paper and quickly scribbled something down and signed it. " Here Esquire, sign this too and we've got a deal."

The fox took the paper and signed it. A malicious grin flashed across his face and Sam cowered beneath his stare. " YOu fool," laughed the fox, " You imbecile! Now I own the fastest growing company known to all of Animalkingdom. Now get out of here before I eat you for dinner !

Sam ran, half-flying, from the room with terror. Mr. E.Q. Exon EsQ's thundering laughter pursued him to the street. Tears pured down Sam's face as he realized what he had done.

***

A few weeks later, Sam smiled. He had it this time. Baths for cats. Just what society would want. He would rise in fame , once again. Ha, ha! Nothing could stop Sam! After all, "If at first you fon't succeed..."

***

Moral of the story: " If at first you don't succeed... " can be carried too far.

493.          Image est il dangereux ou utile

Est-ce que l'image est dangereuzx ou utile?

De ne jours, nous sommes "inondes"des images par l'utilisation des nouvelles medias.

Cet age avait commence au debut de notre siecle avec l'importance gagnee de trouver des "colonies"des pays reignants de l'economie du monde sans indiquer le mot"colonie". Or, les reclames et par consequent,l'image avaient ete decouvertes au XIXe siecle, mais cela a commence a se montrer apres la Iere Guerre Mondiale quand l'economie de ces pays la, s'est bouleverse.

L'image se reflette dans notre oeil et nous raconte une histoire en utilisant beaucoup de dimensions, cela veut dire beacoup d'informations concentres dans un seul aspect physiologique.

Quant a l'ouie, bienqu'elle soit la deuxieme aspect de transfert d'information elle n'est pas du tout comparable avec la vue en norme de dimension et concentration. La vue contient des couleurs, des dimensions, des contrastes, des clairtes, des nettetes, des lignes, la geometrie mais l'ouie ne contient que des tones, des longueurs, et la volume. La muique mise ensemble avec l'image donne le plus grand influence nerveux a notre systeme. Comme dans les filmes, nous donnons un "rating" a chaque filme en accordance avec sa performance audio-visuelle. Les artistes filment un video-clip pour vendre plus.. etc. L'invention de la television, nous a fait oublie la radio.. Tout cela prouve que l'image nous reigne.

Il y a maintenant des gens a l'universite qui etudient les sons et les images et qui creent des nouveaux tactiques pour la conquete des cerveaux des gens. Il y a des informations cachees de temps en temps dans le monde que nous vivons. Ces informations cachees nous influencent sans que nousle sachions. Au supermarche, nous choisissons les packets rouges parce que notre cerveau a une tendance vers des couleurs chauds, le rouge etant le plus chaud, les grapho-artistes le mettent sur le packet intentionnellement.

Le soir, quand nous regardons la tele, peut etre sans intention, nous voyons des reclames provocatifs nous menant a l'achat des produits des compagnies....Une vraie histoire dramatique le montre tres bien.. Le celebre createur, M. Walt Disney, le roi des images n'avait pas appercu l'image d'une femme toute nue mise entre d'autres images d'une bande-dessinee, avec une vitesse de 35 images par seconde, cela devient assez difficile a voir. Peut-etre nous ne voyons pas,et ne pouvons pasdire" ah! c'est une femme toute nue!' mais d'apres des recherches cela influence nos nerfs....et le corps reacte physiologiquement ou/et  psychologiquement.

494.          Imagery In Jane Eyre

Jane Eyre tells the story of a woman progressing on the path towards acceptance. Throughout her journey, Jane comes across many obstacles. Male dominance proves to be the biggest obstacle at each stop of Jane's journey: Gateshead Hall, Lowood Institution, Thornfield Manor, Moor House, and Ferndean Manor. Through the progression of the story,  Jane slowly learns how to understand and control her repression. I will be analyzing Janes stops at Thornfield Manor

and Moor House for this is where she met the two most important men in her life. The easiest way to compare and contrast Rochester and St. John Rivers is by examining when and under what circumstances these two gentlemen come into contact with Jane.

\par

\tab It is at Thornfield Manor that Jane

first encounters Mr. Rochester.   While living at Thornfield, Rochester demands undivided attention from the servants, Jane included. He needs to be in control of  every aspect of his life, and he needs to feel superior to all of those around him. Jane de

cides to accept his control and she concedes to him by calling him sir, even after they begin to have an  intimate relationship. At one point, she even goes so far as to excuse herself for thinking. She says, "I was thinking, sir (you will excuse the idea;

\par

it was involuntary), I was thinking of Hercules and Samson with their charmers" (p.289). This statement possibly begins to  suggests Janes unsatisfaction with Rochester's position of complete dominance in their relationship.

To Jane, Rochester embodies the idea of love which she has so long been denied of. As I stated earlier, the whole movie is about Janes journey  towards acceptance, by herself and by others. It is this journey which persuades her to move on when she finds

Rochester's physical and material love unacceptable. \par

\tab Jane's next stop on her journey is Moor House. Here, she

meets St. John Rivers, her cousin. Unlike Rochester, St. John  is portrayed as  the ultimate sacrificer, willing to do anything for others, no matter how undesirable the task might be. St. John also

expects this sacrifice from  Jane, and she must decide whether to accept his proposal. At this point in her journey, Jane understands that her search for herself  can not be accomplished without real love. She denies St. John's

marriage proposal by saying, "I have a woman's heart, but not where you are concerned; for you I only have a comrade's constancy; a fellow

soldier's frankness, fidelity, fraternity. . .nothing more." (p.433). She knows real love can not be given to her by St. John and she must continue on her journey. She must continue towards her destiny rendezvous with Rochester\par

\tab Ferndean Manor is the final stop in Jane's journey. Once again, Rochester appears as the dominant figure, although his  air of superiority has become greatly reduced due to the accident.  Due to  his ailments he is n

ow completely dependent on those around him, a situation which humbles him.  A new man results in this change, and in him, Jane finds her real, spiritual and physical love. She says, "\par

All my heart is yours, sir: it belongs to you; and with you it would remain, were fate to exile the rest of me from your presence forever" (p.469). Rochester no longer demands people to act inferior around him to boost his eg

o. he is finally at a point in his life where  he demands an equal partner. He does not try to contai

n Jane; he sets her free. He says, "Miss Eyre, I repeat it, you can leave me" (p.468). She does not leave him though.   Rochester embodies the perfect balance between the physical and th

e spiritual, the natural and graceful, intellectual and physical beauty, and love and servitude. These were feelings that were not present with St. John.  Jane is now able to find  her true abilities and  her balance. \par

\tab Jane  makes many stops on her journey for happiness and equality but the two most important sto

ps I feel are with St. John and Rochester. It is through the experiences with these two gentlemen that Jane learns many of her life lessons. Through her experiences with these two gentlemen she is

able understand and realize qualities in herself and others. With each experience she has with these gentlemen, she learns how to confront her past  repression, which in turn leads to her own growth. \par

\par

\par

\par

\par

\par

\par

}{\plain \ul Essay 6\par

Symbolism In Jane Eyre \par

}{\plain \par

Charlotte Bronte employs symbolism in many interesting ways. Symbolism is used in Jane Eyre

to illustrate dangerous realities that Jane herself could not see. Symbolism drags the reader deeper into the story as well as bringing to attention points that otherwise might not be noticed. \par

}\pard \fi144\sl480\tx0\tx720\tx1440\tx2160\tx2880\tx3600\tx4320\tx5040\tx5760\tx6480\tx7200\tx7920\tx8640\tx9360\tx10080 {\plain \tab

A moment of particular symbolic importance to me was when lightning strikes the chestnut tree in the orchard on the evening of Janes engagement to Rochester. The tree splits into two and bursts into flames. Bronte uses this lightning strike to show the

turmultuous nature of the relationship, the troubles and perils that lay ahead for the two. Bronte also uses this image to foreshadow the transformations that will occur in Jane and Rochester. The eventu\par

}\pard \sl480\tx0\tx720\tx1440\tx2160\tx2880\tx3600\tx4320\tx5040\tx5760\tx6480\tx7200\tx7920\tx8640\tx9360\tx10080 {\plain

al success of the relationship can be seen as the roots of the tree, solid and unharmed planted deep in the ground. Vivid symbolism of fire serves to create the passionate nature of the work, and drag the reader deeper into t

he narrative. "Fiery iron" and "blackness and burning" are both used to illustrate Jane's emotions at this point. Visions of fire also link Jane to Bertha. Both characters are repeatedly involved with fire, especially in regards to Rochester. T

his can be seen with the physical presence of fire in the case of Bertha or with the fiery passion that Jane has for Rochester.Fire is used to describe many aspects of Rochesters life.

The early days of his marriage, the bedroom blaze which Jane saves Rochester from, the language that both Rochester and Jane use in describing their emotions towards each other

, and in the final fire that destroys Thornfield Hall, cripples Rochester, and kills Bertha. The image of fire possibly symbolizes the death and  rebirth of both Rochester and Jane. \par

\tab Since the passionate love that Rochester and Jane first held was sinful, it was accompanied by images of fire and burning possibly symbolizing Hell. \par

}\pard \fi144\sl480\tx0\tx720\tx1440\tx2160\tx2880\tx3600\tx4320\tx5040\tx5760\tx6480\tx7200\tx7920\tx8640\tx9360\tx10080 {\plain \tab After Jane leaves Thornfield, and her "burning" desires for Rochester are no longer openly present, the next and fina

l image of fire occurs. In the fire that destroyed Thornfield, Rochester proved his

worthiness to Jane by attempting to save Bertha from the blaze. This represents a great turning point in Rochesters life. He is no longer the self involved tyrant that he used to be. His heroic action indicates that he has quenched

his "burning" passions regarding Jane and Bertha.  Shortly after the fire, Jane and Rochester reunite and each prove to be reborn, Jane having undergone her own final period of personal and spiritual growth, and Rochester having faced his inner demons.

\par

}\pard \sl480\tx0\tx720\tx1440\tx2160\tx2880\tx3600\tx4320\tx5040\tx5760\tx6480\tx7200\tx7920\tx8640\tx9360\tx10080 {\plain \tab Bronte

uses many techniques to bring about emotions in the reader. Her use of  metaphors is particularly powerful. Although this is imagery and not symbolism it still makes a strong point about the characters and about Brontes writing style.  In this exa

mple a metaphor is used to compare Janes intense happiness and simultaneous confusion with the tossing and uncertain voyage of a ship. Jane slips from joy to insecurity and back, just as one might \par

toss back and forth in a turbulent sea

. "I regained my couch, but never thought of sleep. Till morning dawned, I was tossed on a buoyant but unquiet sea, where billows of trouble rolled under surges of joy. I thought sometimes I saw beyond its wild waters \par

a shore, sweet as the hills of Beulah; and now and then a refreshing gale wakened by hope, bore my spirit triumphantly towards the bourne; but I could not reach it, even in fancy, a counteracting breeze blew off land, and continually drove me back. Sense w

ould resist delirium, judgment would warn passion" ( 133).  This passage makes very clear Jane's love for Rochester and also that the match would be a good one (according to Bronte) \par

\tab Symbolism was a very important tool for the Victorian writer. Through the use of symbolism a writer is able to convey certain feelings and emotions to the reader. The writer is also able to write about things that possibly are not acceptable to write about in an open manner. Through the use of symbolism we are able to relate and to feel for the protagonist on a deeper level. It is through the use of symbolism that a book can truely come alive for the reader.\par

}}

495.          Impressionism 1615

Impressionism

Impressionism is classed as one of the most important artistic movements of the nineteenth century. The style of work, which the impressionists produced, changed the way a lot of people approached art. Most art critics would agree that the Impressionists pioneered what is known today as Modern Art (20th Century Art).

Some of the fore-figures of the movement are Claude Monet, Auguste Renoir and Edgar Regas. Although at the time that the Impressionists (who called themselves The Realists) lived, they were not really appreciated. Their work is now immensely popular and can often be seen on teh front of greeting cards, address books, diaries, mugs and even posters advertising companies.

Most people will recognise many of the famous paintings produced by the Impressionists.

I think that the members if the Impressionist group could see how popular their work is todat they would be greatly shocked, as during their lives they recieved nothing but scorn and abuse.

Claude Monet was born on November the 14th 1840, in Paris.

Monet is regarded as a French painter, initiator, leader and unanswering advocate of the Impressionist style. He is regarded as the archetypal Impressionist in that his devotion to the ideals of the movement were unwavering throughout his logn career.

His youth was spent in Le Havre, where he first excelled as a caricaturist but was then converted to landscape painting by his early mentor, Boudin, from whom he derived his strong affection for painting "en plein air" (out of doors). In 1859, he studied in Paris ar the Atelier Suisse and formed a friendship with Pissarro. After two years' military service in Algeirs, he returned to Le Havre and met Jongkind, to whom he said he owed ' the definitive education of my eye '. He then, in 1862, entered the studio of Gleyre in Paris and there met Renoir, Sisley and Bazille, with whom he was to form the heart of the Impressionist group. Monets devotion on paiting en plein air is illustrated by the famous story concerning one of his most ambitious early works, Women In The Garden. The picture is around 2.5 metres high, and to enable him to paint all of it outside, he had a trench dug in the garden, so the canvas could be raised or lowered by pulleys to the height required. Courvet visited him while he was working on it and daid Monet would not even paint the leaves in the background unless the lighting conditions were exactly right.

During the Franco-Prussian War (1870-71), Monet took refuge in England with Pissarro: he studied the work of Constable and Turner, painted the Thames and London parks, and met the dealer Durand-Ruel, who was to become one of the great champions of the Impressionists. From 1871 to 1878, Monet lived at Argentieul, a village on the Seine near Paris, and here was painted some of the most joyous and famous works of the Impressionist movement, not only by Monet, but also by his visitors Manet, Renoir and Sisley. In 1878 he moved to Vétheuil and in 1883 he settled at Giverny, also on the Seine, but about 40 miles from Paris. After having experienced extreme poverty, Monet begain to prosper. By 1890 he was successful enough to buy the house at Giverny which he had previously rented and in 1892 he married his mistress, with whom he had started an affair in 1876. From 1890 he concentrated on a series of pictures which he painted the same subject at different times of the day in different lights-- Haystacks or Grainstacks (1890-91) and Rouen Cathedral (1891-95) are the best known. He continued to travel widely, visiting London and Venice several times, but increasingly his attention was focused on the paintings of Water-lilies, that began in 1899 and grew to dominate his work completely, and in 1914 he had a special studio built so he could work on the huge canvases.

In his final years, failing eyesight troubled him, but he painted til the end. And he sadly passed away on December 5th, 1926. He was enormously prolific and many major galleries have examples of his work.

The picture that I have chosen to analyse by Claude Monet is "The Bridges At Argenteuil," 1873. This particular painting is completed in oil on canvas.

The foremost aspect that appeals to me about this picture is the varying tones of blue that have been used. There are so many different shades used that the viewer is drawn to the painting. The painting is of a railway bridge and has a steam train going over it. There is a yacht sailing down the river, and two men are standing on the riverbank observing the scenery, in a very relaxed manner.

The atmosephere of the painting is bright and happy and I think the bright colours make the painting even more attractive.

One of the main visual elements that Monet has used in this painting is texture. Monet creates an excellent impression of the water and cotrasts this with the texture of the grassy banks and trees. Monet has crossed over nature with technology at this point, where he has executed fantastically the image of a railways bridge with natural surroundings. I feel that he is trying to put the message across that even though technology is progressing - life as beautifully as we know it continues.

The visible brushstrokes, a trademark of Impressionist paintings, make the painting even more beautiful. The way, in which Monet has made the colours overlap each other, creates a fantastic texture, it's as if the colours are standing out of the canvas.

Edward Hopper was born in 1882. He was an American Realist, active mainly in New York.

Hopper trained under Robert Henri, 1900-1906 and between 1906 and 1920 made three trips to Europe, though these had little influence on his style. Hopper exhibited at the Armoury Show in 1913, but from then until 1923 he abandoned painting, earning his living by commercial illustration. Thereafter, however, he gained widespread recognition as a central exponent of American Scene Painting, expressing the loneliness, apathy and stagnation of town life. Yet Hopper remained always an individualist, as he once said, "I don't think I ever tried to paint the American Scene; I'm trying to paint myself."

Paintings such as Nighthawks (Art institute of Chicago,1942) convey a mood of loneliness, solitude and desolation by their emptiness or by the presence of anonymous, non-communicating figures. But of this picture Hopper said, "I didn't see it as particularly lonely... Unconsciously, probably, I was painting the loneliness of a large city." Deliberately so or not, in his still, reserved and blandly handled paintings, Hopper often exerts a powerful psychological impact - distantly similar to that made by the Metaphysical painter, De Chirico; but while De Chirico's effect was obtained by making the unreal seem real, Hoppers was rooted in the presentation on the familiar and concrete.

Edward Hopper painted American landscapes and cityscapes with a disturbing truth, expressing the world around him as a chilling, alienating and often vacuous place. Everyone in a Hopper painting appears terribly alone. Hopper soon gained a widespread reputation as the artist who gave visual form to the loneliness and boredom of life in the big city. This was something new in art, perhaps an expression of the sense of human hopelessness that characterised the Great Depression of the 1930's.

Edward Hopper has something of the lonely gravity peculiar to Thomas Eakings, a courageous fidelity to life as he feels it to be. He also shares Winslow Homers power to recall the feel of all things. For Hopper, this feel is insistently low-key and deliberate. He shows the modern world unflinchingly; even its gaieties are gently mournful, echoing the disillusionment that swept across the start of teh Great Depression.

Cape Cod Evening should be idyllic, and in a way it is. The couple enjoy the eveing sunshine outside their home, yet they are a couple only technically, and the enjoyment is wholly passive as both are so isolated, and not making any contact. Their house is closed to intimacy, the door firmly shut, and the windows covered. The dog is the only alert creature, but even it turns away from the house. The thick, sinister trees tap on the window panes, but there will be no answer...

Through my studies of these two artists, I have found that although their styles of work are very different, they have a lot in common. Such as the way they both had such dedication to perfection of their work, and the way they would put their love of painting before anything else, nothing could come between them and their work. Also, they both lived on riverside towns, where they gained a lot of their inspiration. Monet and Hopper both had verying subject matter, although Monet's paintings have a more relaxed feel to them, looking at them gives us the feeling of being laid-back and carefree. Whereas Hopper's tended to be more realistic, containing images of solitude, and emptiness. They give you a cold, chilling feeling when you look at them because they often contain unknown, anonymous people, who never seem to be enjoying themselves, to me they reflected the toils and hardship of how city life must appear to be when you are on your own.

Although both artists are different in many ways, their work is still as amazing as each others, in my eyes. With Edward Hoppers incredible talent of the perfect, realistic detail, where paintings could be mistaken for photographs, and Monet's desire for perfection in the smallest aspects of his work, these artists work will be remembered for many years to come...

496.          Impressions of Television Essay

Impressions of Television

SOME AMERICANS COMPLAIN THAT THERE IS TOO MUCH VIOLENCE IN TELEVISION,

PARTICULARLY IN AN ACTION SERIES OR CARTOONS.  THEY ARE AFRAID THAT PEOPLE,

ESPECIALLY CHILDREN, WILL SEE THESE SHOWS AND THINK THAT THE ONLY WAY TO RESOLVE

PROBLEMS IS THROUGH VIOLENT ACTS.  I THINK THAT THERE ARE A LOT OF FACTORS OTHER

THAN TELEVISION THAT EFFECTS PEOPLE.  HAVE YOU EVER TRIED SOMETHING JUST BECAUSE

YOU SAW IT ON TELEVISION?  I'M SURE THAT ALL OF US HAVE DONE THAT AT ONE TIME OR

ANOTHER.  TELEVISION SHOWS THAT ARE VIOLENT CAN HAVE NEGATIVE EFFECTS ON THE WAY

THAT CHILDREN ACT.

TELEVISION HAS EMBEDDED ITSELF WITHIN THE LIFE OF THE TYPICAL AMERICAN

PERSON.  ACCORDING TO THE ENCARTA 96 CD ROM ENCYCLOPEDIA THEY CLAIM THAT,

"BETWEEN THE AGES OF 2 AND 65 THE AVERAGE AMERICAN WILL WATCH 72,000 HOURS OF

TELEVISION-AT 24 HOURS A DAY, A TOTAL OF 8 FULL YEARS. THE DAILY AVERAGE IS

ABOUT 4 HOURS. THE HEAVIEST VIEWERS ARE HOUSEWIVES AND SENIOR CITIZENS. CHILDREN

WATCH THE SAME AMOUNT OF TELEVISION AS DO ADULTS; TEENAGERS WATCH ABOUT AN HOUR

LESS PER DAY."

"EARLY EXPERIMENTAL RESEARCHERS COMPARED THE PLAY OF CHILDREN WHO HAD

SEEN AGGRESSIVE BEHAVIOR ON TELEVISION WITH THE PLAY OF A CONTROL GROUP OF

CHILDREN WHO HAD WATCHED NONVIOLENT PROGRAMS. CONCERN WAS INTENSIFIED BY

FINDINGS THAT INDICATED A HIGHER LEVEL OF AGGRESSIVE PLAY IN THE VIOLENT-

TELEVISION GROUP"(ENCARTA).

ALL YOU HAVE TO DO IS SURF SATURDAY MORNING CARTOONS TO SEE THE VIOLENCE.

THE NINJA TURTLES ARE A PHENOMENON THAT HAS CAPTURED THE IMAGINATIONS OF MOVIE,

COMIC, AND EVEN CARTOON FANS ACROSS SEVERAL GENERATIONS. A GROUP OF YOUNG,

TEENAGE TURTLES WHO USE KUNG-FU AGAINST A GROUP OF DIFFERENT TYPES OF CREATURES.

THIS SHOW ANIMATES EXPLICITLY HOW THEY BATTLE THESE CREATURES TO FIGHT FOR

JUSTICE AND THE AMERICAN WAY.  THEY LIVE IN THE SEWERS WITH THEIR TEACHER WHO IS

A RAT, USING AN ASSORTMENT OF WEAPONS SUCH AS THE SWORD, NUMCHUCKS, NINJA FORKS,

AND A NINJA STICK TO FIGHT FOES.  IT SEEMS TO ME WHEN I LOOK OUTSIDE TO SEE THE

CHILDREN PLAYING, THEY MIMIC THE NINJA TURTLES, PRETENDING THAT THEY ARE KILLING

KRANG OR SHREDDER.  IT NEVER FAILS IT ALWAYS SEEMS THAT THERE IS ONE CHILD THAT

COMES IN CRYING BECAUSE ANOTHER KID (WHO THOUGHT HE WAS DONATELLO) WAS HITTING

HIM WITH A STICK THAT HE USED FOR A SWORD.  ALARMINGLY THIS PROBLEM SOMETIMES

ESCALATES WHEN THE CHILD GETS OLDER AND THE CHILD IS SUBJECT TO MORE IDEAS

BROUGHT ACROSS ON TELEVISION.

NOT TOO FAR AWAY IN THE CHANNELS OF THE TELEVISION YOU HAVE MTV.  IT IS

A MUSIC BASED CHANNEL THAT PLAYS ALL TYPES OF MUSIC VIDEOS AND AN OCCASIONAL

DEMENTED CARTOON SUCH AS BEVIS AND BUTTHEAD.  IT IS A CARTOON ABOUT TWO

ADOLESCENT BOYS WHO HAVE NO PARENTAL SUPERVISION.  THEY REEK HAVOC WITHIN THE

NEIGHBORHOOD AND AT THEIR SCHOOL.  THEY ARE ALWAYS GETTING KICKED OUT OF CLASS

FOR SOME GHASTLY ACT OR FOR MOUTHING OFF TO THE TEACHERS.  I THINK THAT THIS

SHOW PROMOTES  ALLOT OF NEGATIVE IDEAS THAT YOU CAN SEE DEMONSTRATED BY SOME OF

THE CHILDREN IN SCHOOLS.  SOMETIMES THIS PROGRAM SEEMS TO SHOW THAT IT IS ALL

RIGHT TO BE DISCOURTEOUS TO AUTHORITY FIGURES.

MTV IS A STATION THAT IS DIRECTED AT THE TEENAGE POPULATION OF AMERICA.

MOST OF THEIR VIDEOS ARE EXPLICITLY SEXUAL OR VIOLENT.  FOR EXAMPLE A VIDEO BY

RAP STAR COOLIO SHOWS HOW A GROUP OF CHILDREN PERSEVERE ON THE STREETS BY

KILLING, ROBBING, AND TAKING THE ATTITUDE KILL OR BE KILLED.  IT EXHIBITS TWO

KIDS FIGHTING A BLOODY FIST FIGHT AND ONE REVEALS A SWITCH BLADE WITH THE INTENT

TO KILL HIS OPPONENT.  IT IS SO DEPRESSING BECAUSE I KNOW IT IS REALLY HAPPENING

ON TODAY'S STREETS.  I DO NOT THINK THAT THE MAKERS OF THESE VIDEOS SHOULD

PROMOTE THE VIOLENCE.  INSTEAD THEY SHOULD BE TRYING TO PROMOTE THE SOLUTION:

TRYING TO FIND OTHER WAYS OF SOLVING PROBLEMS INSTEAD OF KILLING EACH OTHER.

TELEVISION HAS BECOME MORE COMMON WITHIN THE AMERICAN HOUSEHOLD.  DUE TO

THE AMOUNTS OF TELEVISION SETS IN THE HOUSEHOLD THERE HAS BECOME AN INCREASING

AMOUNT OF TELEVISION STATIONS.  ACCORDING  TO THE 1992 GUINNESS MULTIMEDIA DISK

OF RECORDS ,"AT THE END OF 1992 THERE WERE OVER 1,125 COMMERCIAL TELEVISION

STATIONS WITHIN THE UNITED STATES ALONE."  THIS STATISTIC IS VERY FRIGHTENING.

IT MAKES IT MORE DIFFICULT FOR PARENTS TO MONITOR OVER ONE THOUSAND CHANNELS.

CONGRESS IS NOW PASSING LAWS LIMITING WHAT CAN BE PLAYED ON TELEVISION WITHOUT

CROSSING OVER THE LINE OF FREEDOM OF SPEECH.  I DO NOT THINK THAT PASSING RULES

OR LIMITING TIMES THAT CERTAIN SHOWS CAN BE PLAYED WILL STOP CHILDREN FROM BEING

EXPOSED TO VIOLENCE ON TELEVISION.  THE ULTIMATE RESPONSIBILITY LIES NOT ON THE

FEDERAL GOVERNMENT, BUT UPON THE INDIVIDUAL PARENTS TO MONITOR WHAT THEIR

CHILDREN WATCH.

WORKS CITED

"BROADCASTING, RADIO AND TELEVISION," MICROSOFT ENCARTA 96 ENCYCLOPEDIA. CD ROM.

1993-1995 MICROSOFT CORPORATION. FUNK & WAGNALLS.

1995 GUINNESS MULTIMEDIA DISK OF RECORDS, 1994 GUINNESS PUBLISHING LTD. CD ROM

1995 GROLIER ELECTRONIC PUBLISHING, INC.

497.          Impressions of television

IMPRESSIONS OF TELEVISION

SOME AMERICANS COMPLAIN THAT THERE IS TOO MUCH VIOLENCE IN TELEVISION, PARTICULARLY IN AN ACTION SERIES OR CARTOONS.  THEY ARE AFRAID THAT PEOPLE, ESPECIALLY CHILDREN, WILL SEE THESE SHOWS AND THINK THAT THE ONLY WAY TO RESOLVE PROBLEMS IS THROUGH VIOLENT ACTS.  I THINK THAT THERE ARE A LOT OF FACTORS OTHER THAN TELEVISION THAT EFFECTS PEOPLE.  HAVE YOU EVER TRIED SOMETHING JUST BECAUSE YOU SAW IT ON TELEVISION?  I'M SURE THAT ALL OF US HAVE DONE THAT AT ONE TIME OR ANOTHER.  TELEVISION SHOWS THAT ARE VIOLENT CAN HAVE NEGATIVE EFFECTS ON THE WAY THAT CHILDREN ACT.

TELEVISION HAS EMBEDDED ITSELF WITHIN THE LIFE OF THE TYPICAL AMERICAN PERSON.  ACCORDING TO THE ENCARTA 96 CD ROM ENCYCLOPEDIA THEY CLAIM THAT, "BETWEEN THE AGES OF 2 AND 65 THE AVERAGE AMERICAN WILL WATCH 72,000 HOURS OF TELEVISION-AT 24 HOURS A DAY, A TOTAL OF 8 FULL YEARS. THE DAILY AVERAGE IS ABOUT 4 HOURS. THE HEAVIEST VIEWERS ARE HOUSEWIVES AND SENIOR CITIZENS. CHILDREN WATCH THE SAME AMOUNT OF TELEVISION AS DO ADULTS; TEENAGERS WATCH ABOUT AN HOUR LESS PER DAY."

"EARLY EXPERIMENTAL RESEARCHERS COMPARED THE PLAY OF CHILDREN WHO HAD SEEN AGGRESSIVE BEHAVIOR ON TELEVISION WITH THE PLAY OF A CONTROL GROUP OF CHILDREN WHO HAD WATCHED NONVIOLENT PROGRAMS. CONCERN WAS INTENSIFIED BY FINDINGS THAT INDICATED A HIGHER LEVEL OF AGGRESSIVE PLAY IN THE VIOLENT-TELEVISION GROUP"(ENCARTA).

ALL YOU HAVE TO DO IS SURF SATURDAY MORNING CARTOONS TO SEE THE VIOLENCE. THE NINJA TURTLES ARE A PHENOMENON THAT HAS CAPTURED THE IMAGINATIONS OF MOVIE, COMIC, AND EVEN CARTOON FANS ACROSS SEVERAL GENERATIONS. A GROUP OF YOUNG, TEENAGE TURTLES WHO USE KUNG-FU AGAINST A GROUP OF DIFFERENT TYPES OF CREATURES.  THIS SHOW ANIMATES EXPLICITLY HOW THEY BATTLE THESE CREATURES TO FIGHT FOR JUSTICE AND THE AMERICAN WAY.  THEY LIVE IN THE SEWERS WITH THEIR TEACHER WHO IS A RAT, USING AN ASSORTMENT OF WEAPONS SUCH AS THE SWORD, NUMCHUCKS, NINJA FORKS, AND A NINJA STICK TO FIGHT FOES.  IT SEEMS TO ME WHEN I LOOK OUTSIDE TO SEE THE CHILDREN PLAYING, THEY MIMIC THE NINJA TURTLES, PRETENDING THAT THEY ARE KILLING KRANG OR SHREDDER.  IT NEVER FAILS IT ALWAYS SEEMS THAT THERE IS ONE CHILD THAT COMES IN CRYING BECAUSE ANOTHER KID (WHO THOUGHT HE WAS DONATELLO) WAS HITTING HIM WITH A STICK THAT HE USED FOR A SWORD.  ALARMINGLY THIS PROBLEM SOMETIMES ESCALATES WHEN THE CHILD GETS OLDER AND THE CHILD IS SUBJECT TO MORE IDEAS BROUGHT ACROSS ON TELEVISION.

NOT TOO FAR AWAY IN THE CHANNELS OF THE TELEVISION YOU HAVE MTV.  IT IS A MUSIC BASED CHANNEL THAT PLAYS ALL TYPES OF MUSIC VIDEOS AND AN OCCASIONAL DEMENTED CARTOON SUCH AS BEVIS AND BUTTHEAD.  IT IS A CARTOON ABOUT TWO ADOLESCENT BOYS WHO HAVE NO PARENTAL SUPERVISION.  THEY REEK HAVOC WITHIN THE NEIGHBORHOOD AND AT THEIR SCHOOL.  THEY ARE ALWAYS GETTING KICKED OUT OF CLASS FOR SOME GHASTLY ACT OR FOR MOUTHING OFF TO THE TEACHERS.  I THINK THAT THIS SHOW PROMOTES  ALLOT OF NEGATIVE IDEAS THAT YOU CAN SEE DEMONSTRATED BY SOME OF THE CHILDREN IN SCHOOLS.  SOMETIMES THIS PROGRAM SEEMS TO SHOW THAT IT IS ALL RIGHT TO BE DISCOURTEOUS TO AUTHORITY FIGURES.

MTV IS A STATION THAT IS DIRECTED AT THE TEENAGE POPULATION OF AMERICA.  MOST OF THEIR VIDEOS ARE EXPLICITLY SEXUAL OR VIOLENT.  FOR EXAMPLE A VIDEO BY RAP STAR COOLIO SHOWS HOW A GROUP OF CHILDREN PERSEVERE ON THE STREETS BY KILLING, ROBBING, AND TAKING THE ATTITUDE KILL OR BE KILLED.  IT EXHIBITS TWO KIDS FIGHTING A BLOODY FIST FIGHT AND ONE REVEALS A SWITCH BLADE WITH THE INTENT TO KILL HIS OPPONENT.  IT IS SO DEPRESSING BECAUSE I KNOW IT IS REALLY HAPPENING ON TODAY'S STREETS.  I DO NOT THINK THAT THE MAKERS OF THESE VIDEOS SHOULD PROMOTE THE VIOLENCE.  INSTEAD THEY SHOULD BE TRYING TO PROMOTE THE SOLUTION: TRYING TO FIND OTHER WAYS OF SOLVING PROBLEMS INSTEAD OF KILLING EACH OTHER.

TELEVISION HAS BECOME MORE COMMON WITHIN THE AMERICAN HOUSEHOLD.  DUE TO THE AMOUNTS OF TELEVISION SETS IN THE HOUSEHOLD THERE HAS BECOME AN INCREASING AMOUNT OF TELEVISION STATIONS.  ACCORDING  TO THE 1992 GUINNESS MULTIMEDIA DISK OF RECORDS ,"AT THE END OF 1992 THERE WERE OVER 1,125 COMMERCIAL TELEVISION STATIONS WITHIN THE UNITED STATES ALONE."  THIS STATISTIC IS VERY FRIGHTENING.  IT MAKES IT MORE DIFFICULT FOR PARENTS TO MONITOR OVER ONE THOUSAND CHANNELS.  CONGRESS IS NOW PASSING LAWS LIMITING WHAT CAN BE PLAYED ON TELEVISION WITHOUT CROSSING OVER THE LINE OF FREEDOM OF SPEECH.  I DO NOT THINK THAT PASSING RULES OR LIMITING TIMES THAT CERTAIN SHOWS CAN BE PLAYED WILL STOP CHILDREN FROM BEING EXPOSED TO VIOLENCE ON TELEVISION.  THE ULTIMATE RESPONSIBILITY LIES NOT ON THE FEDERAL GOVERNMENT, BUT UPON THE INDIVIDUAL PARENTS TO MONITOR WHAT THEIR CHILDREN WATCH.

WORKS CITED

"BROADCASTING, RADIO AND TELEVISION," MICROSOFT ENCARTA 96 ENCYCLOPEDIA. CD ROM.

1993-1995 MICROSOFT CORPORATION. FUNK & WAGNALLS.

1995 GUINNESS MULTIMEDIA DISK OF RECORDS, 1994 GUINNESS PUBLISHING LTD. CD ROM

1995 GROLIER ELECTRONIC PUBLISHING, INC.

498.          In An Oldsters Mind

In An Oldster's Mind

Crowd and noise always interrupt my mind in the TV room. I desire someone to take me back to my private room. I want to be alone and think about my personal things. I appreciate that a nurse helping me to go back my room. Along the hallway, I look straight forward and do nothing like a plant. What factor causes the plant to move? I turn my head as if I have seen my friend, a close friend passing my wheelchair. What I see at the back actually is a nurse who is frightened by my active and rare movement. When I look back again, the nurse has a already fallen onto the floor. Screaming and nervousness spread out all over the floor. Bang! The door close behind me.

Staring at the mirror, I used to count the number of wrinkles on my forehead. They remind me the number of inerasable past events that I had involved in. Rapidly, I climb on the bed. Bed is my lovely place. I call it, the gymnasium.

I used to roll on my bed. Whenever my mind cannot function or do not know what should do next, I would roll, roll and roll. This time is unusual because my head is crashing the fence of the bed. It is not much painful. The crash stops me rolling but starts me getting recall of my friend, Angus. At a time, my brain is working like a computer loading an enormous file. A picture is appearing - a guy is walking towards me and gives me his saber. The saber is sharp and shiny, it reflects an intensive light to my eyes. My eyes shutter reluctantly. I see my school, my night school. I am glad that this recall is not being erased. I remember that Angus sat beside me.

"Do your best. You are new to this subject. Everything here is brand new to you. Don't worry. Just try your best." Angus held up his head by his hand and murmured. His eyes were staring on the page of a novel, but I knew he was talking to me. In my class Angus was the only one who retook the course. Everyday I attended the course because I would get the mark of attendance. The teacher's voice was gradually fading out until no words I could hear. Everyday the whole course started and finished like that.

At home I used to turn on the radio. Loneliness was my hatred. The louder the radio, the more it comforted me. Reluctantly, I heard a personal story from the radio. The voice of the caller seemed to be familiar, but what was the purpose to figure it out. I didn't care the other people. My mind was full of my own anxiety. "... Suicide is not a method to get your answer. Find your answer in the real life," the host said.

The caller shared his unsatisfactory throughout the air without taking a breath. The host did nothing to him with his talented mouth. The caller spoke restlessly within a few minutes. Impatiently, the host was trying to stop his speech, "Since it is the time for the commercial, our conversation is threatening to terminate right now. Thanks for your call, Angus." The radio was still on in my room but I was on the street. I was cycling to the park, where once I saw Angus sitting on an unique block of rock. That time his hand was holding a barbecue fork pointing to the fish in the pond, seemed like preparing for his dinner.

Next day, anytime I met him, I could see a heavy book in his hand. In the course, I knew he hadn't brought his textbook but in his hand was the unknown book. My curiosity led me into asking him about the book. He murmured and introduced it, "I love this book. There are many past cases of killings, kidnappings, suicides and that kind of excitement."

"You are preparing for out English independent study project, right?"

"No. I am preparing for kidnapping a girl."

"Stop joking. How about discussing your plan with me. Ha ha." I giggled as I turned my head to the professor.

"I'm not kidding," he responded conscientiously. Since the time I had not paid attention to what he said, I thought he just wanted the lesson's time to pass quickly.

I hadn't seen Angus for a week. One days a person with a sunglasses patted my shoulder when I was waiting for the bus after the class.

"You are joining my plan?" he murmured.

"What plan?" I had no idea what he was talking about. "Where have you been? Did you drop the course?"

"I got a girl in my basement. She is ill. I need money to get medication."

"Bring me to the girl." I stared at him with my suspicious eyes.

Going down the stair to the basement, I could hear the sobbing of the girl. Under the flame of the candle light I recognized her. She was my neighbour, Rebecca. Her eyes were swollen and I thought she could not see my face. When I touched her, she shrank at the corner, trembling.

What were the consequences if releasing the girl right now or if keeping her in the basement a few more days. These two questions were flashing in my brain alternately. "The coming Saturday I will come over here and decide what to do," I ordered Angus. "Make sure you leave her enough clothing and give her proper meals."

I had thought about what that stupid thing we were doing all the time. In that overnight to get done our group project. That night, I lied on my bed in the basement and Angus went outside for a walk. I had thought and wondered why Rebecca had never hit the locked door or screamed raucously for help. I got up tip-toed into her room, unlocked the door, searching something I could get the answer from, took out her stuff and locked the door. Among her stuff, I found a diary. I read it over page by page immorally. After reading, all her secrets and feelings were exposed to my mind. I was going to talk to her the next morning.

"Are you OK? I want to talk to you," With my mask on, I unlocked the door. I could see her mouth open like trying to say something but then closed. "I know your name is Rebecca. I am sorry about... I have read your diary."

"You read my diary! Read, read, read. Everybody read it. My da read it; my ma read it. Do I need to explain what 'personal stuff' means?"

"Sorry, sorry. My evil mind has controlled me to do that. It is not an excuse. I am just wondering why you have never screamed for help." My hidden face turned red.

"You got the answer, right?" She sobbed.

I got closer to her and tried hard to settle her fluctuant mood down. "Come out. Don't get close to her!" Angus yelled and was juggling his saber.

After the door was locked, he commanded me not to speak to Rebecca again. His conscientious behaviour frightened me. I knew he was not joking that time. However, I had talked to her regardless of Angus' recommendation. I was beginning to realize her as days went by. I knew why she had never screamed for help because she knew it was useless in a room in the basement. I knew why she hated her parents because they had never given her freedom and were always overly exact on everything. I wanted to help her, released her.

Angus had asked me few times if I ever talked to Rebecca.  He had been suspecting me if I would betray him.  Unfortunately, once when Angus rushed down to the basement, I was talking to her.  That time he had his gun in his hand and also yelled, "I told you to leave her alone.  You!  Spy!  Tie her hands at the back."

"Take it easy!  Angus, give me the gun.  It is no use to point that gun to us.  Everything would be OK,"  I tried to persuade him.

"I ... I also don't want to kidnap her but I have heard her cursing her parents.  I hate her.  I hate her not to cherish her parents.  How about me?  Where are my parents?  They passed away in a car accident."  He put the gun into his mouth and fired.

Everything has passed.  After the kidnapping, Rebecca lived with her parents in a small country.  Two years ago I got the message of her death.  Now I am old.  I still don't know what an orphanage feels and don't have a desire to find it out.  I only enjoys sitting on my wheel-chair.  I get nothing to do.  Nothing I can recall, except the suicide.

499.          In Cold Blood Movie Review

"In Cold Blood" Review

"In Cold Blood" is a tragic story of two men, Eugene Hickock and

Perry Edward, who murder an entire family in search of money and then find

themselves running from the law.  While writing the book, Truman Capote

used only facts to create a novel out of an actual event.  He had thousands of

notes on the subject, but his problem was making his book read like a novel.

He accomplished this by adding dialogue and describing characters feelings.

This technique is used in the film as well when flashbacks of characters

childhoods are shown.

The different plots are handled very well in the movie.  The main plot

obviously is the murders and the run from the law.  Other subplots that are

shown are Smith's internal fight with his past in which his father deserted him,

and at one point, had a gun pointed to his head.  Also there appears to be

tension between Smith and Hickock.  They think differently at times,

especially when it comes to the discussion of the crime.  You can't help but

feel sympathetic towards Smith, as it appears that he is forced into this by

Hickock.  All characters in the movie were played well by the actors in my

opinion.  They all seemed real and seemed to fit in with the setting and the

time period.

I think that Hickock and Smith are not victims of forces beyond their

control, they are victims of, at least in Smith's case, a bad upbringing.  The

two murderers have no direction in their lives.  The only skills that Hickock

seems to know is how to steal things and how to write phony checks.  Smith

seems more sane than Hickock, but all he has is his guitar and that is stolen in

Mexico.  This is reason that these two resort to crime to solve their problems.

The film was very well structured in comparison to the book.  Capote

purposely didn't tell the detailed version of the deaths until the end of the

book, and the same procedure was followed in the movie.  This technique is

used to keep the viewer or reader interested throughout the entire story.  The

first part of the movie moved a little slowly, but I think this was necessary to

show all the background information about the Cutter family and to show

how the two murderers developed their plan.  Once the night of the murders

arrived, the plot moved very quickly and there was lots of suspense to keep

the viewer interested.

At the end of the film, after the hanging of the two murderers , I did not

feel that justice had prevailed.  After an entire family has been murdered,

there is no justice because the people are already dead and there is nothing

that can be done to change that.  Even though Smith says that he apologizes

for what he has done, it is meaningless because it doesn't change anything.

One reason the film seems like it was a real event is how the producers

recreate the setting of the late 1950's in America.  Everything is correct from

the social lives of people to the music that was popular in that era.  The US is

in a period of transition, and this is shown by the way people react to the

crime.  After this crime, people become suspicious of even the closest of their

friends, and they begin to lock their doors at night to prevent more crimes like

this.

Truman Capote became extremely successful as a result of this novel.

I think that it is very similar to novels written today, and if it was published in

the 1990's, it would be just as successful as it was when it was first published

in 1966.  Today big writers such as John Grisham and Patricia Cornwell

could be compared to Capote, but they do not use real world events for their

crime-fiction novels.  This is what sets Capote apart from other writers and

makes him one of the great writers in American History.

500.          In Short

IN SHORT

It all started not so long ago. In fact, though I can't be completely sure about it, I

think it was only five months ago. My name is Jeff Washburn and I am a surgeon. Not

that long ago my life under went a huge change. Unfortunately a huge misfortune had to

take place first. Not that long ago, I had a terrible thing happen to me. A misfortune led

to my being expelled from the hospital and my medical license being revoked. Two

patients died on me. I might have gotten away with only one but the board of directors

are good at finding patterns. Don't get me wrong, I want these people to die. I just

happened to be drunk at the time. Now I drink even more just to soften the constant

hangover. The hearing were probably the worst part of whole ordeal. Three weeks of

being put in the spotlight.

Every inch of my life was put under a big magnifying glass. Every mistake I made in the

last fourteen years was read bunch of know-nothings who sit and pretend to run a

hospital. The mistakes weren't very frequent, at least, not until I started to drink.

I suppose you want to know the reason I started to drink. Well, I mess up big

time during a triple bypass and killed a patient. That's when the drinking started and the

drinking lead to the death of another patient. Now I drink even more and remember even

less which means its working.

About a month ago I left England, which is where I worked, and moved here to a

small fishing island off the coast of France. There is no doctor on the island so they

welcomed me, sort of. I scare them I suppose. They're afraid they might catch me when

I'm to drunk to work properly.

But now things are different. About three weeks ago I had a big wake-up call.

I was sitting in my normal Sunday drunken stupor when a man was brought in to my

office. This man had been seriously injured by gun shot wounds. Apparently he had be

found in the ocean by a group of fishermen. I knew that I could not perform the

necessary surgery in my present condition. I bandaged him up and stooped the major

bleeding. Then I took two hours and did all I could to dry out. With my condition a little

better I performed the most delicate surgery of my life. For another hour I scrubbed at

the wound in his head. Cleaning it as best I could. One wrong stroke and it would be all

over. Any evidence of intoxication still left in me disappeared at that point more out of

fear then need. Once his head was cleaned I made a small incision and attempted to

remove the bullet that was lodged inside. I then closed up the wound. From there it was

touch and go. He had a fifty percent chance of living. For the next two weeks I tried my

best to stay sober. When I couldn't stay sober I at least cut down the amount I drunk.

Then one day he woke up. We started a small conversation in which I asked him

his name. Amnesia. He had amnesia. I tried to help him remember anything I could about

his old life. And in some respects we made some progress. I thought it was finally time

for him to leave. I gave him whatever money I could muster up and he went off in search

of his life.

It wasn't till after he left that I realized I had not taken one drink since he woke up.

And ever since I  have been sober. It stuck me then that some people can have a very

big effect on other people. Since he left I was rehired by the hospital. I am doing pretty

good for my self and I just hope my former patient is finding what he was searching for.

501.          In The Heat Of The Night

Response Journal: 1

In The Heat Of The Night

Vocabulary Word:  Corpse (noun) - A deceased being.

Vocabulary Sentence:  When they arrived, Jane screamed, she was the first one to

notice, the corpse laying on the ground.

Response:  This was a very interesting first chapter to this book, that really tells a lot.  It starts off in a small town called Wells.  You can tell Wells, is a small town, by the way only one officer is used to patrol the city in the evening, if it had been a big town like Vancouver, a whole bunch of officers would have been patrolling the city.  Well it starts off, with Sam Wood doing his night patrol, checking out the neighbourhoods, and making sure everything was calm.  When Sam is about to finish his last part of his route, he sees a object laying in the middle of the road.  When he takes a closer look, he sees it is the corpse of Mr. Mantoli, a file celebrity of the town who was to conduct the big music festival for the town.  I liked the way everything was going nice and calm in the chapter, then all of a sudden, wham!  A murder pops out of nowhere.  I think this book promises to be a good read, with a lot of surprises.

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Response Journal: 2

In The Heat Of The Night

Vocabulary Word:  Misdialed (adjective) - to dial the wrong telephone number.

Vocabulary Sentence:  The blind man screamed in frustration, as he once again Misdialed the phone number.

Response:  They finally find a suspect for the murderer of Mr. Mantoli.  The suspect is a black man who was caught in the towns railway station. The man was loaded with money.  He was well dressed with freshly ironed pants.  The police thought that a black man couldn't possibly make that much money so they suspected that the wallet of Mantoli had to have been stolen by this man, too bad that Officer Sam Wood didn't look at the identification.  This must have been a really bad time for black people in America. This man who was arrested turned out to be a policeman himself, who was working in Pasadena, California.  If this would have happened in real life, I can only imagine the embarrassment of the police officer, Sam Wood, after he found out he had arrested a cop!  I think that this story is going to be a rough ride for Virgil Tibbs, because of the way everyone is treating him.  I think if Virgil has to face racism through out what ever ordeal he goes through, (I am making this guess because of the fact that I think Virgil is the main character) he is going to crack and retaliate at whoever is making him mad, after all he is only human.

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Response Journal: 3

In The Heat Of The Night

Vocabulary Word:  Fraternal (adjective) - friendly, brotherly.

Vocabulary Sentence: This will be the first meeting of the Disco Dudes, a fraternal club of disco dancers.

Response: We have now confirmed that the black suspect found at the train station was indeed an officer in Pasadena California. Of course the officers were shocked about this.  They thought that the blacks couldn't get decent jobs anywhere, especially a job as a police officer!  They are pretty choked about this incident and the whole department thinks badly of the situation.  They returned Mr. Tibbs back to the train station and let him go back to where he had to go.  As this was happening the another officer caught a man by the name of Harvey Oberst who was found with the wallet of the deceased Mr. Mantoli.  He is their number one suspect now and it looks as though he did it. He has been in trouble before for petty robbery and he has been known to hang out with the sixteen year old girl Delores Purdy.  I really think this man is the one who killed the Mantoli, I mean how else would he be carrying the dead guys wallet?!?  If my little idea is true, then the story would be over by now so this can't be the guy committed the homicide.  This novel is becoming more interesting than I originally thought it would be.

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Response Journal: 4

In The Heat Of The Night

Vocabulary Word:  Ambidextrous (adjective) - using both hands with equal ease.

Vocabulary Sentence:  The man was telling me that it took him four years of hard work to become  ambidextrous, I think I am going to start practising to be ambidextrous.  Then I will be cool.

Response:  At this point in the story Virgil gets called back from being kicked out of the station and has breakfast with the chief.  Sam Wood got Mr. Endicott to identify the body of Mr. Mantoli.  When they were finished he wanted to speak to the chief about the incident.  The man named Harvey Oberst was acquitted because the person who struck the deceased was right handed.  When Mr. Endicott was talking to the chief about the murder, Virgil jumped in and started to tell a whole bunch of things about the murder to Endicott.  Then when Endicott left, the Chief Gillepsie blasted Virgil for opening his big black mouth.  I think that was uncalled for and that the chief might be involved in the whole murder situation, or at least not wanting to let people see that he was jumping to conclusions.  I'm starting to get a bad feeling about the chief, he is getting to act a bit strange.  That would also explain for how much he yelled at Virgil for blabbing information to people.  I really think that this chief is the one who murdered the Maestro.  But what would be the motive?  Uh-oh, this novel is starting to get me thinking 2:-)

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Response Journal: 5

In The Heat Of The Night

Vocabulary Word:  Panorama (noun) - a view from every direction.

Vocabulary Sentence:  I looked over the panorama, it was beautiful.

Response:  I thought it was hilarious the way the chief kicks out our hero, Virgil, and ends up begging for him to come back. The mayor over there called up the Pasadena department and insisted Virgil stay until the case was over.  I think Chief Gillespie and the mayor are both involved in some sort of tricky scheme. My suspicions are starting to rise again about the chief committing the murder. But there is absolutely no motive for him at all.  To me, the chief seems like the type of person that would perform such an act.  I also think that Mantoli's daughter has something to do with it.  She sounded a bit suspicious to me. But why would she kill her own dad?  Virgil is quite the investigator, he notices details. Those are the sort of things that let you solve murders. If the town was bigger,  this wouldn't have been such a big deal. I think that is why the author described the size of the town so well at the beginning of the book. Now I am really starting to like this novel.  I wonder if their is a movie out?  I would like to see it!  I can't wait to find out who really killed Mantoli!

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Response Journal: 6

In The Heat Of The Night

Vocabulary Word:  Downgrade (noun) - A slope, a decline. Downward.

Vocabulary Sentence:  Mark,  raced down the downgrade on his brand new skiis.

Response:  Now, Virgil finally gets to ask some questions about the murder to Harvey Oberst.  He knows little about it and he seems to be clear of all charges so they will let him go now.  The killer is still at large and he could strike again at any time.  That night when Sam wood was patrolling the town he caught a man trying to get out of town. I think this man could also be a suspect because why would he want to leave town at such an hour.  The man was in no condition to be out driving either.  The man was out on his way to Atlanta to find a new parade conductor to fill in for Mr. Mantoli.  But why is the guy going at such a time, that is what I think is wrong with the situation. This chapter was quite hard to write about because so little happened in it. I think that there will be another murder within the novel.  There will need to be something for us to cling onto for more suspense. The last two chapters have seemed to be pretty boring.  I thought that they had too little action to them.  If I were the author I would make another murder in the story to really get the reader going.  I think a totally surprise ending for this story would be if we found out Virgil was the one who committed the murders!  Holy Moly!  Would that be an ending to a novel or what?

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Response 7

In The Heat Of The Night

Vocabulary Word:  Astonishing (adjective) - Breath taking, beautiful. Very surprising.

Vocabulary Sentence: Jane's mouth started watering at the site of the astonishing buffet.

Response:  In this chapter, Chief Gillespie interviews a man at the hotel. The man said that their was a guy named Kaufmann that came into the hotel at around the time of the murder. The man had a stain on his pants and his only excuse was that, "He was unwise while eating his cherry pie."  That could explain for the red stuff on his pants.  This man was later released on account of not being guilty.  Then they caught another suspect by the name of Mr. Gottschalk.  He was in town, passing by at around the time of the murder. He has no sufficient alibi, as far as we know, to prove this though.  He was in the town of Wells because he was on his way to the Cape Kennedy Centre.  He decided to take his car because he was going to go on a week long vacation with his wife, Mrs. Gottschalk.  He was supposedly driving in the night because he didn't want to drive in the extreme heat of the day so he decided to go in the cooler part of the day, night time. In the end, the fact of the matter was that the police didn't have him there by the law, he wasn't made clear of that in the beginning of the interview.  One thing that I have noticed is that the author always leaves a big clue at the end of each chapter.  That's good stuff, because now I am going to have my eyes peeled when I get to ends of chapters.

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Response Journal: 8

In The Heat Of The Night

Vocabulary Word:  Outskirt (noun) - The outer part of a town, far from the center of the town.

Vocabulary Sentence:  The house was located in the lonley outskirts of the town.

Response: Once again, Virgil does a very smart thing.  He went to a black reverend and talked to him about the murder.  They talked about the murder and how the youth group could help find out who murdered the man.  The reverend said that it was a small miracle that a black man didn't do the murder.  This once again goes to show the racial factor of the story, (just incase you didn't know there was one to begin with 2:-).  The reverend had a great idea, he could send all the youth group out to look for firewood for the church.  The weapon had to be a piece of wood about the size of firewood. This way if the found the piece used by the killer, the could pin it to the man who did it.  This in my opinion is a very smart thing to do, but there is a lot of wood out there.  I think that the reason that Virgil is trying so hard to find out the murderer is that he wants to show the police that a black men can be just as good at things as white men.  If this is the case I can only imagine the pressure he must be under.  After he left the reverend's place, he went on the patrol with Sam.  As they were going along the route, Sam started to feel like a suspect in the murder.  When they were going along, Sam would snap at Virgil for asking so many questions.  This is a side of Sam that we have not seen yet.  Why is Sam so defensive?

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Response Journal: 9

In The Heat Of The Night

Vocabulary Word: Wearily (adjective) - worn out of strength, endurance, and freshness.

Vocabulary Sentence: "Ahh, Captain! I can't dance no more! I have danced all night long!  I cannot feel me legs!  Please have mercy, Captain!" Said Ezekiel wearily to his captain.

Response:  We sure got a lot of stuff going on now! The main thing is that our friend and hero: Virgil Tibbs found the weapon used to kill Mr. Mantoli. As this was happening, Sam Wood was being put in the slammer for the murder of the man.  The murder was not done by Sam, as pointed out by Virgil.  The reason they thought that the officer did the crime was that he had installed the rest of his six hundred dollar mortgage payment all in one go. The money had to have come from somewhere, but where? The police think that the money was stolen from the deceased, and then used to pay off the mortgage.  That would be a good plan to get the money, seeing as how this old man always carried lots of cash.  It has been made clear that the chief is a bit scarred of the people who sent him the note about Virgil, that is why he has Sam in the jail because he is desperate to solve the case and get Virgil out of the town.  The note was probably sent by the members of the council. Why do they think so badly of Virgil if he is doing so much good for the case? That is why I think that the killer had to be on the council.

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Response Journal: 10

In The Heat Of The Night

Vocabulary Word: Captivating (adjective) - To attract by special charm or art.

Vocabulary Sentence: The way the girl could sing proved mighty captivating.

Response:  As we near the end of the novel, quite a few things occur. The first thing is that  a man named Mr. Purdy came into the police department and told the people a very shocking story. This mans daughter was  in the mid stages of her pregnancy and she had obviously been with a man. The father was complaining about how she was seduced and the girl said the offender was the one and only Mr. Wood!  This put another burden on the chiefs shoulders, knowing that Sam was guilty.  He was looking for one solid piece of evidence that Sam was innocent. But the piece of the puzzle he wanted so badly was not there.  Poor old Sam must have been in the pits for the whole day. Then the daughter of Mr. Mantoli came in and talked to Sam about the murder.  Sam said that he was innocent of the murder charges. She then told him to look her in the eyes and tell her that he didn't do it.  Now that he passed that test he became more happy. But as fast as those happy thoughts came, they then disappeared.  He knew that he still had one more charge on his hands. I don't think that Sam could have done it, but we will see what happens in the end now won't we?

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Response Journal: 11

In The Heat Of The Night

Vocabulary Word: Distinctive (adjective) - Special characteristics of an object or being.

Vocabulary Sentence: I new it was him by his distinctive high pitched voice.

Response: The last two chapters all come together will Ralph, that's right Ralph, the night guy at the dinning place being the murderer! What an ending!  I am very glad that Officer Sam Wood, the one and only was out of the line of fire and found not guilty for the murder of Mantoli.  This books was one of the coolest books I have ever read.  I can't wait to see the movie version of it.  The only thing about watching the movie is that is now will limit my imagination, and set a preset for all the characters in the novel.  So now what I thought of the characters, what they looked like, what they sounded like, and how they acted like will be set.  That kind of sucks, but it is cool none the less.  I know that this novel is old, but darn is it not cool!  I didn't think books this old would be so cool.  The author did a really neato spartific job!

502.          In what ways and to what effect did the British cinema of the second world war mobilize support for th

I think that it is very difficult to ignore the contribution made by British Cinema during the years 1939 to 1945.  Due to an entertainment tax imposed in an effort to boost the country' s economy cinema prices had risen, however, 'it was calculated, everybody in Britain under the age of 40 (sic) went to at least fifty three feature films a year'1.  This shows the widespread access and the potential influence cinema had on the general public.  Not only was the cinema used as a place of entertainment but also as a place to hear of current affairs from the weekly newsreels.  The late 1930s had been a struggle for Britain to successfully compete in the international marketplace, however, the Second World War gave the British film industry and its filmmakers an ideal opportunity to shine.  The nation was looking for support and reassurance and the film industry was in an ideal position to do just that.  British wartime cinema entered its most fruitful period on record with a sudden, and necessary, burst of creative activity.

As the documentary filmmakers of the 1930s had previously discovered their role to be that of commentator, to reflect society and to mirror the strengths of the British public, they were quickly utilised to produce films that would inform and unite a population in crisis.  A national identity was being sought and, at last, documentary had found its niche and enjoyed the greatest audience attendances of its history.  These films were championed for their realistic qualities and non-sensationalism of the war. However, whilst docu-realism was directly informing the public of wartime events purely fictional films were providing a light-hearted distraction from the atrocities of daily life.  These films echoed in a more subtle fashion the propagandist themes perpetuated by the government.  This newfound enthusiasm for British film may have sprung from a growing sense of patriotism as the war intensified, indeed it should not be believed that filmmakers suddenly developed new cinematic skills overnight.  It could be contested that this increased popularity for homegrown product was attributed to a desire to see a 'true' reflection of Britain after the uninspiring cycle of music hall comedies and documentaries produced during the 1930s.

A body was formed by the government to regulate and control the output of filmmakers in Britain during the war period.  The Ministry of Information decided that films made during wartime should focus on one of three themes to carry an underlying message of strength and power.  Whilst it was not compulsory for filmmakers to make propaganda films, there were certain incentives if a film carried a message of support or nationalism.  Artists could be released from their military ranks if a script was deemed suitable in the hope that the star's appearance would increase the film's appeal.  Whilst not helping the country directly, the actor was seen to be mobilising the war effort in other ways.  The government wanted as many people as possible to have access to these films that would potentially influence public opinion and this was a realistic way of reaching that goal.  Funding was another possibility with the Ministry of Information commissioning certain films to be made.  These films tended to be shorts, hoping that an important message could be communicated in a brief space of time.  However, as subtlety is the most effective propaganda, any official funding was closely guarded to ensure that it didn't affect the audience decision when choosing a film.

The three propagandist themes were very loosely categorised into 'what Britain is fighting for', 'how Britain fights', and 'the need for sacrifices if the fight is to be won' so that it was difficult for a film not to fit in some way.  The guidance offered was seen to be limited which prompted Michael Balcon to write a letter to The Times newspaper in January 1943 expressing his disgust as he felt that 'at no time has the government given us a lead in what it has required [...] Such national propaganda as emerged from the industry was made entirely on its own initiative and certainly without an overall scheme of propaganda.'2  The Ministry of Information, whilst it knew what it hoped the British film industry would provide in the way of support and motivation, had not realised what a difficult task lay ahead.  Little, or nothing, in the way of a national identity could easily and automatically be identified with by the public at large.   The film industry had to integrate all that it believed made Britain unique, more ostensibly English, into easily identifiable packages for effortless consumption by its audience.  There was little that had been seen on cinema screens prior to the war that could be instantly recognised as Britain or British.

Echoing these thoughts, Antonia Lant in her essay Blackout: Reinventing Women for Wartime British Cinema also realised that 'the stuff of national identity had to be winnowed and forged from the traditional aesthetic and narrative forms, borrowed from the diverse conventions of melodrama, realism, and fantasy, and transplanted from literature, painting, and history, into the cinema.'3  Previous texts of the 1930s had portrayed a very regionalised picture of Britain, splitting the nation by class and gender with very definite boundaries.  The northern working classes were portrayed in an almost cartoon like fashion and were often included in films for comedy relief. Strict guidelines were therefore enforced to raise the cultural and intellectual levels of the general public whilst also moderating the amount of information they were exposed to whether it be on the weekly newsreels or a feature film.  The general spirit of each film had to be one of strength and unity, portraying positive images despite the suffering that continued around the audience daily.  Cinemas were open daily varying their programme weekly. 'It took a war to compel the British to look at themselves and find themselves interesting'4 Dilys Powell remarked and I believe that this epitomises the way in which wartime propaganda theory helped British film to find an identity for Britain and the British that would persist.

As the war affected everybody cinema audiences became easier to target as class and other regional barriers were broken.  Everyone had to help each other through whatever difficulties they faced.  This newfound patriotism spread and audiences wanted to see themselves depicted on film whether in real or fictional situations.  The unifying effect of the war also extended to cinema attendance.  Cinemas were seen to be a refuge from daily life and, with a shortage of other entertainments, film not only provided an escape but also a safe haven from the dangers of falling bombs.  Despite on screen warnings of impending air raids, many patrons chose to stay in their seats as they felt safer in the cinema than in their own homes due to the structure of the buildings.

The use of 'story' documentary was popular in portraying real situations, often using real people instead of actors, to reflect a nation united in her difficulties.  Although often wooden, these new 'stars' exposed 'real' life in narrative form for the audiences back home. Critics preferred this documentary style of reporting and praised the way in which a new national cinema was emerging at a time when it was needed most.  The realist approach was seen to be more honest, if not quite so entertaining as 'the national ideal remained [...] The national disgrace was the dingy sensationalism of No Orchids For Miss Blandish (1948), or They Made Me A Fugitive (1947) and its fellow spiv dramas'.5  To Roger Manvell and his fellow film historians these realist features helped the British public to rediscover themselves, and to recognise the strengths each individual possessed.  The situations presented were, at last, 'real' and not distortions of the truth as had been previously depicted.  The characters had a sense of power and ability despite their background.

Many women found that, for the first time, they had a controlling power.  They could have a second role alongside that of wife or mother, and by 1944, seven and a half million women were working outside of the home.6 It was realised to be an advantage that only in these difficult times could one's true potential be harnessed.  Employed in a variety of roles, women were given the opportunity to challenge their previously subservient positions, they were made to realise that their part in daily life was as important to the war effort as those on the frontlines.  The government noted this newfound confidence and encouraged filmmakers to make sure that every effort was made to reflect and encourage it.  In Millions Like Us (1943) both actuality and fictional narration were used to portray the various roles of conscripted women across different classes.  The film hides the obvious propaganda message of 'you can help your country just as much in an overall as you can in a uniform'7 whilst tackling issues of love and looking forward to a post war society.  The fact that women should be relied upon to be glamorous and feminine was a further underlying feature and, once the war was over they could, again, return to their lives of domesticity should they choose to do so.  Despite this portrayal, the government did not show any concerted effort to encourage women back into the home once the war was over as had been done after World War I.  It had now been recognised that here was a strong workforce that could be utilised long after the war had ended.

Women were given much greater prominence in films during the war period, not least because they now made up the vast part of cinema audiences as the men had been conscripted, but mainly because their contribution was vital to the war effort.  They were being reassured and praised for their contributions in a wide variety of films.  The true experiences of women during this time, however, were rarely commented on. Most films concentrated on the periphery of daily life, such as friendships and work, rather than the real struggle to maintain a family whilst working long hours, enforced rationing, coping without loved ones and the very real temptation of extra-marital affairs.  Whilst the Ministry of Information were not unaware of these issues they wanted to maintain an image of strength.  These problems could only be seen as weaknesses to be eradicated or mistakes to be penalized.  Audiences did realise that films were not 'moral instruction manuals to prove that sins are punished, that unhappy ends don't flow from sins whose avoidance would have brought a happy end. And that unhappiness can hit us as arbitrarily as a German bomb, or illness, or fatal complications in childbirth.'8  The Ministry of Information, and filmmakers, were aware that women were becoming more adventurous with their sexuality.  Fashion was becoming more important and films began to reflect this fresh, new liberty.  Censorship ethics, whilst much more relaxed during the war years, still prevented many of these topics from being discussed openly but suggestions of promiscuity were more prevalent in films towards the end of the war.  In Love Story (1944) the main character knows that she will die within six months and has nothing to lose by expressing her sexuality freely.  As the nation lived under the constant threat of death the film seemed to echo the general feeling of living for the day.  The film concludes with 'the happiness we have is worth grasping - if only for a day or an hour'9.

In spite of the increasing transformation of women and their role in society, and whilst many women felt as though they had been freed from their shackles, most women were utterly exhausted by the demands being made on them.  However, they found their new challenges to be refreshing and empowering.  This common feeling forged an ever-growing solidarity amongst women from different social backgrounds that would change the portrayed image of women in British film forever.

Whilst the type of films being produced was varied throughout the war, cinema audiences were becoming increasingly restless with the prominently documentary repertoire.  Realism and the unsensational documentary drama was no longer sufficient to entertain the masses and demand was growing for the dramatic and entertaining films from studios such as Gainsborough.  These films offered fantasy, escapism and the hope that an end to the war was in sight.  However, not all critics approved of this blithe approach to production.  Whilst the war continued, many films' content was seen to be trivial, avoiding confronting the important issues of the day.  A rare exception to this rule seemed to be Henry V (1944) which being a historical representation, and Shakespeare play, was worthy of note.  'The success of Henry V challenges the assumption [...] that documentary style realism is the sole criterion of propaganda [...] the use of Shakespeare, the writer privileged above all others in discourses on English heritage, might be seen as an attempt by the propagandists to assert their own officially legitimated culture with audiences.  [...] In this sense Henry V perfectly exemplifies the operation of British film propaganda.'10  Patriotism and nationalism reverberated through the film whilst not on the same scale or with the same resonance that had been previously experienced in the documentaries of the early 1940s.  Nonetheless, the film made cinema audiences sit up once again and pay attention to the fact that they needed to remain united in order to win the war.  The film also had a second equally important role.  To project an image of Britain across the world.  Whilst most films were open for consumption on the world market, few caught international attention like this period drama.  The long-term hope was to prove British cinema could hold its place in the international marketplace.  In order to do this a high quality threshold had to be maintained.  Following from Korda's Private Life of Henry VIII (1933) Henry V was a prestige production whose nationalistic themes reflected the propagandist themes desired by the government.  Here was the hope for the future, a utopia hat never really stayed for very long.

To conclude, I believe that the British film industry truly found its strength and character during the early 1940s.  Film was utilised as an effective tool to not only support and reassure a nation facing difficulty, but to project this image across the water.  Film production may have been inhibited by strict controls of rationing and censorship but never before, or since, has British cinema experienced such a buoyant period.

Notes.

1.Geoffrey MacNab, J. Arthur Rank and The British Film Industry (London: Routledge, 1994), p.37.

2.Penelope Houston, Went the Day Well? (London: British Film Institute, 1992), p.25.

3.Angela Lant, 'Blackout: Reinventing Women for Wartime British Cinema' (Princeton, NJ: Princeton University Press, 1991), p.31 in The British Cinema Book, ed. by Robert Murphy (London: British Film Institute, 1997), p.71.

4.Dilys Powell, 'Films Since 1939' (London, 1947), p.28 in British Cinema. The Lights That Failed. James Park (London: BT Batford Ltd, 1990), p.69.

5.Geoff Brown, 'Paradise Found and Lost: The Course of British Realism', in The British Cinema Book, ed. by Robert Murphy (London, BFI Publishing, 1997), pp.187-197 (p.188).

6.Robert Murphy, Realism and Tinsel: Cinema and Society in Britain 1939-1949 (London: Routledge, 1989) p.99.

7.Ibid., p.58.

8.Raymond Durgnat, 'Some Lines of Inquiry into Post-war British Crimes', in The British Cinema Book, ed. by Robert Murphy (London, BFI Publishing, 1997), pp.90-102 (p.92).

9.Sue Aspinall, 'Women, Realism and Reality in British Films, 1943-53', in British Cinema History, ed. by James Curran and Vincent Porter (London: Weidenfield and Nicolson, 1983), pp.272-293 (p.275).

10.James Chapman, 'Cinema, propaganda and national identity: British Film and the Second World War', in British Cinema, Pas and Present, ed. by Justine Ashby and Andrew Higson (London: Routledge, 2000), pp.193-206 (p.204).

Bibliography.

Aldgate, Anthony and Jeffrey Richards, eds., Best of British. Cinema and Society from 1930 to the Present (London: IB Tauris, 1999)

Ashby, Justine and Andrew Higson, eds., British Cinema Past and Present (London: Routledge, 2000)

Betts, Ernest, The Film Business (London: Allen & Unwin, 1973)

Curran, James and Vincent Porter, eds, British Cinema History (London: Wiedenfield and Nicolson, 1983)

Dickinson, Margaret and Sarah Street, Cinema and State.  The Film Industry and the British Government 1927-1984.  (London: BFI, 1985)

Houston, Penelope, Went The Day Well? (London: BFI, 1992)

MacNab, Geoffrey, J. Arthur Rank and the British Film Industry (London: Routledge, 1994)

Murphy, Robert, Realism and Tinsel: Cinema and Society in Britain 1939-1949 (London: Routledge, 1989)

Murphy, Robert, ed., The British Cinema Book (London: BFI, 1999)

Park, James, British Cinema.  The Lights That Failed (London: BT Batford, 1990)

503.          Industrial Music Essay

Industrial Music

Rock and roll is dead.  It's a fact.  During the eighties romp of techno

and fashion bands, people forgot all about it.  In the late eighties and early

nineties alternative music tried to save rock and roll, but it was too big of a

category.  If a band didn't sing country or rap, they were considered

alternative.  Every alternative band had their own idea of music, and it all

spread apart, running farther away from rock.  Finally, when alternative became

more defined and broke off into categories, one specific type of alternative

offspring, industrial music, made the best attempt in a decade to revive the

long forgotten era of rock and roll.  The only problem with this new rock is

that it was angered from being forgotten for over a decade and now it's back,

filled with angst and hatred.  Industrial music has weaved rock and roll with

evil and misery.

The founder and leader of the industrial revolution is the band Nine Inch

Nails.  Most people do not classify Nine Inch Nails as a band though.  The

writer, producer, lead vocalist, keyboarder and guitarist of the band is Trent

Reznor.  For the past two years, Trent has been the artist of the year in Spin

magazine and NIN has been the number two band of the year.  In 1994, Nine Inch

Nails was announced MTV's band of the year.  This was a great honor because MTV

spends most of it's time with rap and hip-hop.  When NIN's first album came out

in 1989, it was mostly rock and roll with a techno twist, containing songs full

of depressing, suicidal lyrics.  Then as the next two albums arose, Trent

became more evil with his music, using machines and pretty much anything he

could find that would make his music sound angered and irritated.  This hard,

twisted music, backed up by words of pure hatred started the industrial ball

rolling.

One band that has tried to lighten up industrial just a tad is KMFDM, a

German industrial band.  The band name stands for Klein Mitlied Fuhr Das

Merhiet, which is Little pity for the tyranny.  Instead of using the suicidal,

evil lyrics, KMFDM has used their music as more of a philosophical

communication.  They sing about how screwed up they think the world is and how

much we are controlled by people we didn't know existed.  The lyrics may sound

depressing still, but the music is a little more upbeat. KMFDM got rid of the

tortured machine sounds and added horns and synthesizers, making the music

sound more digital and less like grinding gears.  Doing this, KMFDM was able to

appeal to a larger group.

After the invasion of rap and hip-hop, rock and roll was never the same,

and when it tried to make a comeback, it exploded into numerous little musical

categories, all with rock components, but none with the same hard flare of the

original. But now, rock and roll is back, and it's mad as hell.  Industrial is

the closest thing to rock that we have, just a little more demented.  Now that

people are getting bored of the same old pointless rap songs, all of the little

alternative categories are getting looked into more seriously and industrial

music is thriving, creating a new future for the once destroyed rock and roll.

504.          Industrial Music

Rock and roll is dead.  It's a fact.  During the eighties romp of techno

and fashion bands, people forgot all about it.  In the late eighties and early

nineties alternative music tried to save rock and roll, but it was too big of a

category.  If a band didn't sing country or rap, they were considered

alternative.  Every alternative band had their own idea of music, and it all

spread

apart, running farther away from rock.  Finally, when alternative became

more

defined and broke off into categories, one specific type of alternative

offspring,

industrial music, made the best attempt in a decade to revive the long

forgotten

era of rock and roll.  The only problem with this new rock is that it was

angered

from being forgotten for over a decade and now it's back, filled with angst

and

hatred.  Industrial music has weaved rock and roll with evil and misery.

The founder and leader of the industrial revolution is the band Nine Inch

Nails.  Most people do not classify Nine Inch Nails as a band though.  The

writer, producer, lead vocalist, keyboarder and guitarist of the band is Trent

Reznor.  For the past two years, Trent has been the artist of the year in

Spin magazine and NIN has been the number two band of the year.  In

1994, Nine

Inch Nails was announced MTV's band of the year.  This was a great honor

because MTV spends most of it's time with rap and hip-hop.  When NIN's

first album came out in 1989, it was mostly rock and roll with a techno

twist, containing songs full of depressing, suicidal lyrics.  Then as the next

two albums arose, Trent became more evil with his music, using machines

and pretty much anything he could find that would make his music sound

angered and irritated.  This hard, twisted music, backed up by words of

pure

hatred started the industrial ball rolling.

One band that has tried to lighten up industrial just a tad is KMFDM,

a

German industrial band.  The band name stands for Klein Mitlied Fuhr Das

Merhiet, which is Little pity for the tyranny.  Instead of using the suicidal,

evil lyrics, KMFDM has used their music as more of a philosophical

communication.  They sing about how screwed up they think the world is

and how much we are controlled by people we didn't know existed.  The

lyrics may sound depressing still, but the music is a little more upbeat.

KMFDM got rid of the tortured machine sounds and added horns and

synthesizers, making the music sound more digital and less like grinding

gears.  Doing this, KMFDM was able to appeal to a larger group.

After the invasion of rap and hip-hop, rock and roll was never the

same, and when it tried to make a comeback, it exploded into numerous

little musical categories, all with rock components, but none with the same

hard flare of the original. But now, rock and roll is back, and it's mad as

hell.  Industrial is the closest thing to rock that we have, just a little more

demented.  Now that people are getting bored of the same old pointless rap

songs, all of the little alternative categories are getting looked into more

seriously and industrial music is thriving, creating a new future for the once

destroyed rock and roll.

505.          Influence of Music

Influence of Music: Emotions and Effects

This Essay is about how music can influence the emotions and effects of a person.

I will be giving you precentages. I will also be giving you quotes of students

around my age group.

Music can influence the way a person can dress. If some one that is listens to

rock&roll will dress outraged and may wear nose rings. Students that listen to

country may dress with a cow boy hat. A person that listens to oldies may dress

with clothes from the past.

Music can also influence the way a person thinks about somthing. People that

listens to rap may think that drugs should be legal. A person that likes country

may think that raggedy cars should be used until it possibly can't run anymore.

A person that listens to oldies think that the fashion should be the way that it

was when it was the fiftys.

This concludes the essay for " music and how it influences." Music can influence

the way a person thinks about a subject, their emmotions, and what should be

allowed and not.

506.          Instrumental History of the Drums Essay

Instrumental History of the Drums

The first instrumental drum was called a timpani or kettledrums. This drums

origin is of Eastern origin. Small kettledrums were introduced into Europe as

early as the 13th century.

The European kettledrum , which is used in American orchestras also, derives its

special sound from the size and shape and diameter of its bowl. This bowl is

usually made of copper or fiberglass.

Another primary drum is the snare drum. It was developed drom double-skinned

drum of medieval times known as the tabor. This drum, also called a side drum ,

has its distinctive feature several gut or wire strings that stretch across the

instruments lower skin. The upperskin is struck with a drum stick, while being

struck the strings vibrate, giving this instrument  its characteristic crisp

staccato.

This small  medieval instrumnet gradually increased size, about the 15th century.

It was so often combined in a performance with a fife that these two instrumnets

became closely associated with one another. A fife is a small flute having from

six to eight finger holes and it also has no key, used mainly with drums in

playing  marches.

The tenor drum is closely related to the snare drum. It is somewhat larger in

size and it has no snares across its lower skin. This drum is played  with sofft

felt covered sticks and it produces a huskier sound. While it is occasionally

used in the orchestra this type of drum is found more frequently in military

marching bands.

The largest drum in the percussion family is the bass drum. The bass drum of the

classical era, though not equiped with snares, was infact a very deep snare drum

that was set up in a horizontal position to be played. This instrument was

eventually replaced by the bass drum that is now familiar-- a large and shallow

instrument with skins on either of its two sides. It is played in rock bands

with a foot petal,that when pressed down, makes a drum stick strike the drum.

I feel that all of the drums have evolved. They are also played in a variety of

places weather it is in a school marching band or a punk rock band. I think that

in this class I will learn a lot more about the instrumental history of the drum,

than I have while writing this paper.

THE END

507.          Instrumental History Of the Drums

The first instrumental drum was called a timpani or kettledrums.

This drums origin is of Eastern origin. Small kettledrums were introduced

into Europe as early as the 13th century.

The European kettledrum , which is used in American orchestras also, derives

its special sound from the size and shape and diameter of its bowl. This

bowl is usually made of copper or fiberglass.

Another primary drum is the snare drum. It was developed drom double-skinned

drum of medieval times known as the tabor. This drum, also called a side drum

, has its distinctive feature several gut or wire strings that stretch across

the instruments lower skin. The upperskin is struck with a drum stick, while

being struck the strings vibrate, giving this instrument  its characteristic

crisp staccato.

This small  medieval instrumnet gradually increased size, about the 15th century.

It was so often combined in a performance with a fife that these two instrumnets

became closely associated with one another. A fife is a small flute having

from six to eight finger holes and it also has no key, used mainly with

drums in playing  marches.

The tenor drum is closely related to the snare drum. It is somewhat larger

in size and it has no snares across its lower skin. This drum is played  with

sofft felt covered sticks and it produces a huskier sound. While it is occasionally

used in the orchestra this type of drum is found more frequently in military

marching bands.

The largest drum in the percussion family is the bass drum. The bass drum

of the classical era, though not equiped with snares, was infact a very deep

snare drum that was set up in a horizontal position to be played. This

instrument was eventually replaced by the bass drum that is now familiar--

a large and shallow instrument with skins on either of its two sides. It is

played in rock bands with a foot petal,that when pressed down, makes a

drum stick strike the drum.

I feel that all of the drums have evolved. They are also played in a variety

of places weather it is in a school marching band or a punk rock band.

I think that in this class I will learn a lot more about the instrumental

history of the drum, than I have while writing this paper.

THE END

508.          Instruments Of The Orchestra

Instruments Of The Orchestra

Instruments of the Orchestra

Strings: The viola is an important member of the orchestra, but is not often heard by itself. Because it is bigger than the violin, with longer strings, it makes a rich, warm sound that is lower in pitch. In contrast to the viola the violin is the smallest member of the string family. Because its strings are the shortest, it produces the highest sound. The viola is a little heavier, and its shape is slightly different, too. But it is still played on the violist's left arm, just like the violin. Unlike the viola, the violins play in two different groups: with the first violins playing the highest-pitched part and the second violins playing the second highest. Both the viola and the violin are placed to rest on one shoulder, and held in its place by the chin and the left hand. You have to hold the bow in your right hand, and draw it across the strings. Pitches can be change in two ways: by drawing the bow across different strings, and by pressing on the strings with the fingers of his left hand. The viola plays a beautiful "middle" part in the orchestra's harmony. The violas can be hard to pick out when the whole orchestra is playing, but you would really miss the violas if they weren't there! In the other hand the violin has stayed pretty much the same ever since the 1500s. That's almost 500 years! The modern violin has four strings, but the earliest ones had only three. Fiddlers played them on the streets, which hoped that people passing by would like their tunes and toss them a few pennies.

Viola Violin

Woodwinds: The bassoon is a double-reed woodwind instrument. It has almost 8 feet of wooden tubing, bent into a narrow U-shape. The reed is secured in a curved metal tube. Bassoons are the largest woodwind instruments in the orchestra - except for the contrabassoons, which are much bigger and plays a whole octave, lower than the bassoon! In contrast to the bassoon, you can hear the smooth, velvety sound of the clarinet in the orchestras, military bands, and in jazz groups. Clarinets are made of wood or molded plastic, and can be found in the different range of notes. The standard "B-flat" clarinet is a little more than two feet long. An orchestra also often includes an "E-flat" clarinet, which is smaller and plays a higher range of notes, and a bass clarinet, which plays an octave lower. To play the bassoon you may place on one side next to your knee if it's big for you. Blow into the reed in the same way an oboe player does. The weight of the bassoon is usually supported by the seat strap, which the player hooks on to the lower end of the bassoon and sits on - so the audience can't see it! Also, unlike the clarinet the bassoon has a rich and mellow sound.

Bassoon Clarinet

Brasses: The trombones form the middle of the orchestral brass section. They fill out the harmonies between the trumpets and the horns on top, and the low tuba below. Unlike the trombones, the Trumpet has a loud clear sound and has been use to send signals and messages for a long time. They both have been around for a long time. The trombones where around about 500 years ago when Columbus was busy discovering America and King Henry VII had a band of four trombones. They were called sackbuts back then, but they were very like today's trombones. The modern trombones have a rich tenor voice. The trumpet was used (about 3,500 years old) back then to frighten enemies in the battle, and to celebrate big ceremonies with blazing fanfares. Its distinctive shape produces the tone of the modern trumpet: a cup-shaped mouthpiece, narrow metal tube, and flaring bell. Using a slide in trombones is how a pitch is produce and in trumpet pitches may be produce in two ways: by pressing down on the keys that control the trumpet's three valves, and by changing the shape in your lips against the mouthpiece. Trombone Trumpet

Percussion: The snare drum was originally called the side drum, because the player would carry it around his waist and played off to the side. The snare drum is shaped like a cylinder, with skin stretched over its top. Unlike the snare drum, the timpani are sometimes called Kettledrums because they are shaped like big copper. They are have a piece of calfskin or thin plastic stretched over their opening. This is called a drumhead. Timpani are very important in the orchestra because they "underline" important chords. They are usually played in pairs - sometimes in threes or fours- because each drum is tuned to a different pitch. In contrast, the "snare" is a set of wires or strings strung across the bottom of the drum. This rattling helps to produce the snare drum's special sound. The snare drums are especially good at playing "rolls." They also play lots of other fancy rhythms. Sometimes the snare is tuned off, to make a dull thud sound. Snare drums do not have a definite pitch. The Timpani is played using sticks called beaters, hitting about three inches from the rim of the drum. Timpanists carry many different pairs of beaters to produce different tone qualities. Timpanists can change the pitch of each drum by pressing their foot on a pedal at the base of the drum. When they are not playing, pitches may be change by changing the tightness of its drumhead. To do this timpanist tightens or loosens screws on the side and base of the drum. A good timpanist can tune the drums very quietly and quickly while the rest of the orchestra is playing. Then, when its time for the timpani to play their part, the timpanist can make a very loud noise!

Snare Drum Timpani

* The big bowl-shaped main chamber is called the resonator stretched across the top of the drum.

*The timpanist uses two beaters to strike the drumhead.

*There are several tensions screw all around the side of the drumhead. When the are tightened, the drumhead is stretched and its pitch rises. When they are loosened, the drumhead is relaxed and its pitch gets lower.

*The pedal at the foot of the resonator activates all the tension screws around the side of the drumhead.

*The turning gauge allows the timpanist to set the drum at the right pitch before being sounded. Timpani that have these rapid turning mechanisms are called "machine drums."

509.          Intellegence

Jon Smith

Period 8

English 12

February 12, 1997

Intellegence

It all started in the interesting city of New York.  The smog ridden streets were filled with people.  On a quiet little street corner, there was a small shop owned by Harvey Goldstein.  Mr.  Goldstein  was a well-to-do merchant.  He traded in all sorts of imports, and was generally a moral man.  He did not buy goods from sweatshops nor did he ever cheat a customer.   At 1:31 P.M. on May 15, 1996, he stepped out of his shop on the Upper East Side of Manhattan to meet a man who dealt in Asian silk screens downtown.  He had been listening to traffic radio AM 530 and, deciding that traffic was too heavy, planned to take the subway.  Goldstein was a smart man, very smart, who had built his store and his fortune out of  blood, toil, tears, and sweat. Goldstein was also an upstanding member of the Jewish community whom everybody loved, but he never did anything extra, out of the ordinary, for anyone but himself.

On the other side of town  there was a new arrival to the city.  This man's name was Running Bear.  He was an American Indian who had gone to New York to seek his fortune; however, he soon fell upon hard times.  He had lived a life of monetary deprivation on the plains of Colorado, and had proceeded to New York by Amtrak with only a dollar and a dream.  Things did not go as planned, though; he could not find a job and had taken to panhandling and sleeping in the streets.  His dreams, no doubt influenced by the fumes coming up from the sewer, were of money.  A good man who only wanted to work and make a decent living, he had gone to the welfare office a few blocks north of Goldstein's shop.  He was sent to the employment office downtown, and decided to take the subway.  No doubt, the welfare officials and social workers sent him away with a sad shrug and a sigh.  They knew he was a simple man.

The two men saw each other waiting for the same train downtown.  Interestingly enough, they were the only two waiting for the subway car, as a terrorist group had threatened to bomb a train and New Yorkers had generally taken the threat seriously.  They looked at each other briefly, sized one another up, and got on the train. While on the train, Running Bear began fiddling with a hatchet;  tossing it up in the air over and over again in boredom.  Mr. Goldstein was staring at a quarter moving around on the ground debating whether or not he should pick it up.  Just as Mr. Goldstein reached down to pick up the quarter, Running Bear dropped his hatched on the ground.  Both of them took at a glance at the other;  just  then an explosion rocked the tracks.  The Islamic militants had not been bluffing this time.  Each man died without knowing exactly what had happened to him and both of the men's thoughts had been of money.  Goldstein was thinking about refinancing his mortgage and taking a loan out on the equity in his car in order to purchase new inventory and make a solid profit.  Running Bear had been thinking of how nice it would be to find a suitcase full of hundred-dollar bills.

The men both arrived at the gates of heaven.  St. Peter, following his superiors' orders, knew that he needed these men to fill the quotas for the new affirmative-action plan put into place; what better than a Native American and a Jew to place into spots that would have previously been occupied by only Christians.  St. Peter knew that these men weren't actually qualified for entrance into heaven, but he devised a plan to help.

"Running Bear" he said, "you were a hard-working guy, and you never did anything wrong.  However, you never did anything right either.  I think, however, that this fault was due to the fact that you had no money.  Therefore, I am going to send you back to Earth to live for five years.  There, you will have a chance to show me how you would act without worrying about material corruption.  See, I'm granting you one wish before you return, and I am sure you will use this wish to remedy your former problems."

"I wish for a million dollars." said Running Bear without thinking.

"So be it." said St. Peter, and Running Bear returned to Earth with his suitcase of cash.  Next, he pulled Goldstein's file.

"Well, Mr. Goldstein," he said, "you were certainly a moral man.  However, you never did anything out of the ordinary.  You were always straightforward, but you never gave anything back.  You never saved anybody's life or did community service.  Therefore, I am going to send you back to Earth for five years to attempt to correct these circumstances.  You, of course, have one wish as well."

Goldstein thought for a while.  Running Bear had gotten the money the easy way and had abandoned any sense of work ethic.  Goldstein thought that he would teach him a lesson and help out the community at the same time.  Thus he would gain his salvation.  "Give me the knowledge to earn a million dollars."  With this wish Goldstein could earn a million dollars a million times over instead of only having a set amount.

"A very wise wish," exclaimed St. Peter, and he granted the wish.

Goldstein then proceeded back to Earth.  There he decided to teach running bear his lesson.  Mr. Goldstein used his knowledge on Running Bear; he got him extremely drunk and was able to swindle away the Native American's money.  The next morning Running Bear Realized what had happened and went to reclaim his money.

"You will end up in hell for this," Said Running Bear. "And I will no longer be accepted because I will have to go work or beg again and will not have time to serve."

Goldstein smiled.  "You should have been more wise in your decision.  All is not lost.  You, see, I'm not pocketing your money.  I'm going to invest it in a social service center on the Upper East side  to help people train and find employment."

"You'll still go to hell for casting me out on the street." said the Indian.

"Not so fast," Goldstein said.  "I have plans for you.  You say you need a little money, and don't mind working, yes?  But at the same time you need to perform some good deeds to achieve salvation.  Here's what I'll do.  You'll be the head social worker at the new institution.  That way, you'll get a small salary and a big chance to help people with whom you've shared a common plight.  Both of  our problems will be solved.  I'm sorry I didn't ask you for the money, but you wouldn't have given it to me; instead you would have let someone else swindle you and you would have gone to hell.  So I decided to use the most powerful weapon in the world."

"You are very wise, sir," said Running Bear "but what is the most powerful weapon in the world?  Knives?  Guns?"

"No.  Intelligence."

Intelligence can be the most powerful and benevolent force in the world when used correctly.

510.          Interview with Julie Taymor about Frida movie

Interview with Julie Taymor

Julie Taymor is a director of Frida. In the film, Taymor showing that father played an important role. However, her mother was completely omitted, giving me the impression that Frida did not have a mother. Some of the reasons for her mistakes and fight back again the current of life because maybe her mother wasn't there for her when she needed her the most?

In the meantime, everything about Frida was worth my time and money. One of the themes Taymor trying to show us is that the blood throughout Frida painting. In the scene, Frida is lying on her side looking at her hand stained with her own blood. I think the blood represents the pain she had endured throughout her life. Pain that Frida has suffered is represented in all of her art.

The first scene, that Taymor talks about is the streetcar crashed into the bus that Frida was riding, broke her spinal column, her pelvis, etc. The impact of the crash left Frida naked and bloodied, but covered with gold dust. Taymor was saying that Frida painted that she never dreams, but only painted her own reality. Taymor has an extra on the bus holding a caged bird. One could only guess that the birds is released fro the cage upon impact. I am not sure what director trying to show throughout Frida life. Maybe from that point on, Frida have to right to do whatever she want instance for what her parents want her to.

During the interview, Taymor discuss the scene where Frida's cut her hair. "I had two big accidents in my life, Diego; the trolley and you...You are by far the worst." When Frida say this word, then clock the door from Diego, this is another turning point at

her life. She starting to cut her hair means that as an audience I do see different images of Frida. This shows her divided self. The connection is that Frida paint her self-portraits with a light and shadow of a woman in the wheelchair. This is an aftermath of when Kahlo ends up working under and sleeping with Rivera (her sister). Julie talks about the key they are not be faithful, but only loyal. I don't really see the connection between husband and wife of loyal in this case. It is really hard to tell who faults versus who faults. This main concept is the reality of the truth on our world today.

Taymor work seems to focus in representing how political and personal events resonate through their art. Frida, is a great example to show her work. She talks that Frida created the best painting in the worse of time. Frida paint because she was passionate about her painting and not for making a living. Taymor still ask the question, why did Frida take her into her arm and wing. I still don't know the answer to that question, maybe cause she needed love at that time. There are a scene, that Taymor talk about is "can you be loyal, "to you always," because I miss us." I am not sure what this quote means, but I think it is means when Diego make a promise to Frida that he will be loyal only to her.

511.          Invitation

Jan. 30, 1997

Eric Tang

97 Benson Street 2nd Floor

Albany, NY 12203

USA

Mr. and Mrs. Qifan Tang

School of Management

Fudan University

Shanghai, P.R. China 200433

Dear parents,

It has been almost seven years when I last saw mother in Shanghai.  I miss you very much.  As you know, I am graduating from the State University of New York at Albany this May.  I would like to invite you to attend my graduation ceremony.

Of course, I understand that father is always busy with his teaching and research duties.  If he can not find the time, then I wish at least mother can come to Albany for a short stay.  I would like to go sightseeing with her.

In this letter I have enclosed my bank statement and a status letter from my school to confirm my enrollment here at University at Albany.  Please present these documents to the U.S. consulate.

I look forward to hearing from you.

Love,

Eric Tang

[Enclosure]: 1. Status letter from Office of International Student Services

2. Bank statement

512.          Is Huck finn too mature

Is Huck Finn too Mature?

Huck Finn knows more than a fourteen year old boy could possibly know.  He has the maturity level of one in their twenties at least.  Huck's knowledge and decisions in certain situations in the book exceed the intelligence  in general fourteen year old boys.  When Samuel Clemens wrote this book, he was well into his mature adult years.  Huckleberry Finn represents the adventurous, free spirited life that we all would like to have led in our childhood years.  Clemens wrote this book with the frame of mind of a fourteen year old.  Huck Finn is Twain's dreams and childhood ambitions come to life.

On Huck's adventure he encounters alot of different views of society.  He experiences the restrictions of the company in which he surrounds himself.  This knowledge that Huck get's first hand ultimately ends with Huck's mature decision to oppose the views of society and risks going to hell for his friendship with Jim.  This is a very mature and noble decision for a boy of Huck's age to make.  It is also noticeable that Huck is unlike other boys of his age with the introduction of Tom Sawyer.  Tom is always thinking of amazing plans and activities.  In contrast, Huck's ideas are sensible and well thought out.  This fact shows that Twain made his own character superior in a way to the others, giving him a practical edge on situations.  Huck is definitely superior to other boys of his age, but it may not be just his intelligence.  Also, Huck has a tendency to confide in the way things are rather than looking for a deeper meaning.  This aspect of Huck's character  allows him to express his own system of values which seem to give him an edge on other fourteen year old boys.  Whatever the reason, Huckleberry is definitely advanced in life.

In this book, it is noticeable that Twain has given the narrator all of the major and necessary attributes needed by an adventurous boy.  Huck has no religion to keep him from doing what he feels is necessary.  He has family that cares about him or his well-being.  He has seen many views of society and has decided that he does not want anything to do with it.  He prefers the freedom of the wilderness to the restrictions of society.  Huck has his own set of morals and values to govern his life.  He also has perhaps the most needed quality of all.  Huck has the ability to adjust to any situation, and to adjust to almost any surroundings.

The situation with Jim and the rattlesnake is surprising to the reader.  It is one of the three specific situations in the book where Huck makes a decision without thinking it through.  Huck forgets that a rattlesnakes mate always curls around its dead partner.  This turns out to have bad result when Jim is bitten by the snake which was not at all Huck's intent.  Twain may have put that case in the book to show that Huck is not always right and is capable of making bad decisions.  At this point, it is likely that Twain realized how good Huck was turning out to be, and therefore had him make a mistake.  Not just a mistake, but a mistake that went against one of his main morals, which was to be kind to others.  The second trick played on Jim will be the last immature and childish thing that Huck does before the end of the book.  Huck lies to Jim and tells him that they were never separated on the river.  Jim finally realizes that Huck is lying to him, and then becomes extremely upset.  It is at this point that Huck understands his need for Jim's friendship and, sees Jim's dedication to him.  Huck's next action shows that he does not care about societies views and does an act that would never be accepted by his society. "It was fifteen minutes before I could work myself up to go and humble myself to a nigger: but I done it, and I warn't ever sorry for it afterward, neither.  I didn't do him no more mean tricks, and I wouldn't done that one if I'd' `a' knowed it would make him feel that way."

During Huck's time spent with the Grangerford and Shepherdson families he sees an view of society that he has never faced.  Huck does not understand why people are fighting to the point of death when they fail to remember the original reason for the feud.  Huck's common sense allow him to judge the situation, seeing through the shallow ideas that keep the feud going.  Huck is eventually shocked at the notion that boys his age are trying to kill each other.  Huck's true advancements to other boys of his age come out in his dealings with Buck Grangerford.  Huck forgets his name and must be smooth enough to devise a way where Buck would spell it for him.  This episode displays Huck's understanding of people and his ability to put it to use.  This is probably a feature that Twain would  have liked to have had in his childhood years.  Huck Finn has more knowledge and maturity than any boy of his age at that time.  His individuality and failure to agree to society often make it seem to the reader that he is well beyond his years.  Twain wrote this book with never having accomplished his childhood dreams and wishes.  It is likely that Twain realized how advanced Huck was turning out to be, and therefore had him make a few acts which were performed without the use of common sense.  Huckleberry Finn is the image of an adventurous boy with nothing to hold him back from doing what he wants.  He is what Samuel Clemens hoped to be as a child, and regretted not having had these experiences to carry through adulthood.

513.          Its in his mouth

The Meaning of Chow (It's In His Mouth)

Ultimately, it comes down to his mouth.

Chow Yun-Fat is the coolest movie actor in the world today,

and the only way I can explain this is to talk about his

mouth. He does cool things with his mouth. Smoking cigarettes

is no longer an emblem of cool in the USA, but Chow does

wonders with cigarette smoke in Prison On Fire. Director

Ringo Lam understands this; like most of the great Hong Kong

directors, he loves using slow motion and freeze frames to

pinpoint important moments in his movies, and he saves a few

of the most elegant slow-motion sequences for Chow blowing

smoke and looking cool.

In John Woo's over-the-top classic, Hard Boiled (the rough

literal translation of the Chinese title is Spicy-Handed Gun

God), Chow plays with a toothpick. There are few movie

moments more violently cool than the shot of Chow, a gun in

each hand, sliding down a stair banister blasting a dozen bad

guys while letting his toothpick hang just so from the side

of his mouth. In God of Gamblers, Chow plays a gambler who

gets a bump on his head that turns him into some

quasi-autistic prodigy, like Dustin Hoffman in Rain Man. Chow

retains his intuitive skill at playing cards, but now he must

be pacified by constant pieces of chocolate that he scarfs

greedily, goofy smile on his face. Blowing smoke, dangling

his toothpick, eating chocolate, or just smiling ...

ultimately, when trying to explain why Chow Yun-Fat is cool,

it comes down to his mouth.

Everything I have said so far describes a subjective reaction

to watching Chow Yun-Fat on the screen. Fill in the name of

your favorite actor or actress, change the specific

references, and this could be your essay. We don't learn

anything new from such subjective meanderings; we only

identify taste preferences. I'm proud to be a Chow fan, but

then, I am proud to be a fan in general. With other favorites

of mine, though, I am able to get at least a little bit

beyond subjectivity. Be it Murphy Brown or X-Ray Spex, Bruce

Springsteen or NYPD Blue, at some point I can analyze my

relationship to the cultural artifact in question, place it

in some cultural context, and come to some hopefully useful

conclusions about both the particular text and our

interaction with that text. Chow Yun-Fat, however, seems to

defy my attempts at analysis; ultimately, it all comes down

to his mouth and nothing more.

Try describing Chow Yun-Fat to someone who has never seen him

on the screen. Comparisons sometimes help, so how about this:

Chow Yun-Fat is the Asian Cary Grant. He makes everything

look easy; there are always other actors chewing the scenery

in Chow's movies, but he rarely goes for the obvious and the

overdone, preferring the smile and the toothpick. He looks

good in a tuxedo; he looks good in an expensive silk suit; he

looks good with nothing on at all. And it all seems so

effortless.

Cary Grant, but there is more: in one scene from Prison on

Fire, Chow is Cary Grant taking a dump. He's gotta go pretty

badly, he's shitting and farting and talking to a fellow

inmate, all at the same time, he's waving away the smell and

sending looks of displeasure to his stomach, finally he's

asking his friend to leave the room, because Chow can't 'do

it' if someone is watching. And yes, through it all, Chow is

cool. Cary Grant taking a dump.

Cary Grant taking a dump, but there is more: in film after

film, Chow is the object of desire for men. In Ringo Lam

movies, this is often overt; in Full Contact the main villain

is a gay mobster with a hard-on for Chow, and somehow his

gayness is a positive aspect of his character, unlike so many

American action films where gay means psychopathic or

neurotic or evil. His gayness is positive because he obsesses

over Chow Yun-Fat; it is hard to find fault with anyone who

merely recognizes what Chow fans know in their own subjective

worlds, that Chow Yun-Fat is the coolest. At the end of Full

Contact, with the villain about to die, he tells Chow that he

only hopes that they will meet in the afterworld where they

can finally consummate their repressed affair. Chow kills the

bad guy, telling him in the wonderfully bizarre phrasing so

common to HK English subtitles, 'Masturbate in Hell!,'

condemning the villain to death, to hell, but also to an

eternity of fantasizing about Chow Yun-Fat.

And still I haven't gotten beyond my own subjective

fantasies. Readers who have never seen Chow Yun-Fat might

have a better picture in their minds of what he is like, but

we still don't really have an inkling of What Chow Means.

We're still at the level of establishing taste preferences.

And I am still puzzling over why I find it so hard to get

beyond the surface of Chow Yun-Fat.

Maybe the answer is in the subtitles. English subtitles in HK

movies are often unintentionally hilarious, an odd and

charming combination of fractured grammar and almost-right

cliches (in Once a Thief Chow tells Leslie Cheung, 'it takes

turn to tango'). When reading those subtitles, an American

viewer realizes that there are differences between HK and US

culture that language can't precisely express. Similarly,

when someone speaks English in an HK film, the English

subtitles are frequently different than the spoken words,

never more comically than in Woo's Heroes Shed No Tears,

where an American soldier screams 'Motherfucker!' and the

subtitles read 'Son of a bitch.' It is as if the soldier's

English is first translated into Mandarin or Cantonese, then

retranslated into English subtitles; something is indeed lost

in the translation.

Even such an excellent reading of these movies as Jillian

Sandell's piece elsewhere in this issue 'loses something in

the translation.' (Her clearly-stated analysis of Woo/Chow

collaborations is just the kind of examination I claim here

is close to impossible; I would have said completely

impossible, but Jillian has proven me wrong.) In her

discussion of The Killer (rough literal translation of the

Chinese title: A Pair of Blood-Splattering Heroes), she

mentions the nicknames 'Dumbo' and 'Mickey Mouse' which the

subtitles have given to the two primary heroes, and makes an

interesting connection to the image of Disney these nicknames

suggest. Her comments are well-taken for American audiences

of The Killer, but in the original, the nicknames for the two

characters have no connection whatever to Disney characters.

Dumbo and Mickey Mouse were chosen by the translator as

effective names to convey the 'real meaning' of the Chinese

nicknames; I have no idea whether or not the translator was

successful. We can only examine The Killer as it is presented

to us, which in the case of non-Chinese speaking Americans

means the characters are indeed Dumbo and Mickey Mouse. This

does not in any way 'invalidate' an American audience's

response to The Killer, but it would seem to indicate how

different the text is, depending on how it is seen and what

the audience brings to the movie. This is always true, of

course, but I suspect it is truest when the cultural

differences between the text and the audience are as great as

they are here.

And it is odd and charming ... yet I feel like my words have

been spoken before, by other American dilettantes, taking

pleasure in the 'exotic' Orient. Charming, because different.

Odd, because different. Above all, different. However Hong

Kong action movies are perceived in Hong Kong itself, in the

U.S. they are first and foremost different, alien, even as

they freely borrow from our own movie traditions. It is that

difference, in part, that I am responding to when I watch

Chow Yun-Fat. Perhaps I even make a fetish of that

difference; I embrace the alien, make it, for a moment, mine.

In an earlier issue of Bad Subjects, I related my discomfort

at using a person dressed in a bird costume as fodder for my

Bad Essay, noting that while this poor drone was only trying

to earn a living in tough times, I was deriding his efforts

and then writing about them for Bad Subjects. At the time, I

called this 'cultural imperialism.' My discomfort was perhaps

well- deserved; I was indeed using this bird-person for my

own enlightenment. My mea culpas began because I felt funny

writing about something I didn't like to begin with. It was

one thing to take apart Murphy Brown, I suggested, because I

was trying to understand a text I enjoyed. It was another to

take apart the favored texts of others, without properly

appreciating the value of those texts to their recipients.

I can't deny that I love Hong Kong movies, and I most

certainly love Chow Yun-Fat. Yet that love is related to my

experiences with the bird-person: I am, as we called

ourselves in that earlier issue, a 'Bad Tourist,' stopping

by, taking what I want, leaving the rest, ultimately

un-illuminated as to the essence of Hong Kong culture, but

nevertheless enriched by the experience. I don't want to

belittle that enrichment. The beginning of this essay is

testament to how much I love my relationship to Chow Yun-Fat.

But I began writing because I couldn't get beyond my

attraction to Chow's coolness, and the longer I write, the

more I come to believe that I will never understand Chow as

well as I understand myself. Because the point of my

consumption of Chow Yun-Fat, the point of the dilettante's

love of the exotic, is not really to understand what I

consume. The point is to understand me.

This is often how people of one culture appreciate the

cultures of others; as anthropology it most likely sucks, but

for enrichment, it can't be beat. It goes both ways, of

course; no one should assume that only Americans are

dilettantes. Jackie Chan has seen Buster Keaton. The

resulting movies are 'pure' Jackie Chan, but the Keaton

influence is apparent, which doesn't necessarily mean that

Jackie Chan understands the Meaning of Keaton any more than I

understand the Meaning of Chow. Jackie Chan loves Buster

Keaton, he makes Buster Keaton his own, and then he produces

Jackie Chan movies. When an American watches a Jackie Chan

movie, one of the pleasurable aspects is making the

connection to Buster Keaton. Jackie Chan helps us understand

Keaton better than we would if we didn't have Chan to help

illuminate Keaton. We use Jackie Chan to understand our own

culture.

There are aspects of Jackie Chan, of course, that cross

cultural barriers. His exuberant acrobatics dazzle an

audience whether or not we know the Chinese cultural context

for his stunts. But the Meaning of Jackie Chan escapes me, at

least, if not all American viewers. And now we are back to

Chow Yun-Fat, who is cool. His coolness crosses barriers.

When he performs a romantic dance from a wheelchair in Once a

Thief, the combination of elegance and comedic grace is

lovely beyond words. When, in Hard Boiled, he demolishes a

zillion bad guys with one hand and carries a tiny baby in the

other, cooing and shooting, he is the ultimate big brother.

This coolness crosses barriers. But beyond that, we are

victims of our subjective experience; we don't understand the

Hong Kong culture that produces these movies, and so we fall

back on cool. It all comes down to his mouth.

The clearest example of this is the homo-erotic charge that

permeates HK action movies. In one sense, this is no

different from similar relationships in American action

movies ... Mel Gibson and Danny Glover in the Lethal Weapon

series come to mind, along with countless other buddy films.

But what is beneath the surface in American movies is out

front in HK films. It doesn't take much digging to find the

homo-erotic undercurrents in Lethal Weapon, but it does

require digging. HK films, with their endless discussions

between men about love and honor and friendship, seem to

bring those undercurrents to the surface, however, in a

manner that is not exactly innocent but is accepting of the

bonds between men and willing to allow men to discuss those

bonds. Chow Yun-Fat is not the strong silent type. When the

inmates of Prison on Fire are happy, they celebrate with a

dance party unlike, say, the scene in Jailhouse Rock where

Elvis is fetishized as the focus of homo-eroticism (and we

are 'the cutest little jailbirds he ever did see'). In Prison

on Fire, the inmates are happy, and so they dance, and their

partners are their fellow inmates with whom they share their

happiness. It's not only sexual, though sex is part of it.

It's about friendship, and loyalty, and love, and bonding.

At least, I think so. Again I am confronted with the barriers

between my experiences and Asian culture. For an American to

watch a Chow Yun-Fat movie is to partake in an ultimate

experiment in audience-response theory. We don't understand

the culture that produced a Chow Yun-Fat, so we are left to

the subjective experience we bring to the movie theatre. We

watch, we react, but when we later try to analyze, all we

know for certain is that it all comes down to his mouth.

And so I am no closer to the Meaning of Chow than I was at

the beginning of this essay. I've enjoyed Chow, I've used

Chow, I've done what I could with Chow, but I fear I haven't

explained him. I've only explained myself as a 'Bad Tourist.'

Go watch a Chow Yun-Fat movie for yourself, and if you figure

out What Chow Means, let me know. In any event, I'll bet you

think he's cool.

514.          Jackson Pollock 717

Jackson Pollock

Did he put more into his paintings than most artists?

Jackson Pollock was a revolutionary painter and took his methods to new heights so that he could work more directly with the canvas to show pure emotion within his art work.

In 1938, Jackson Pollock went to see a psychoanalysis to help him get over a drinking problem, but he couldn't express himself well enough through words so he decided to draw a series of paintings in which he tried to convey his emotion Jackson Pollock used autobiographical drawings to create a series of paintings of distorted heads in which noses teeth, mouths and eyes became expressive rhythmic patterns.

At this time Jackson Pollock used certain images to express his feelings and this wasn't what he wanted. He no longer wanted to express feelings as illustrations but rather to express feelings that couldn't be seen. In stead of drawing a representation of an angry man he wanted to somehow convey the feeling of anger onto the canvas with out subject matter.

The Moon-Woman Cuts the Circle (1943; 109.5 x 104 cm (43 x 41 in) is an early Pollock, but it shows the passionate intensity with which he pursued his personal vision. This painting is based on a North American Indian myth. It connects the moon with the feminine and shows the creative, slashing power of the female psyche. It is not easy to say what we are actually looking at: a face rises before us, vibrant with power, though perhaps the image does not benefit from laboured explanations. If we can respond to this art at a fairly primitive level, then we can also respond to a great abstract work such as Lavender Mist. If we cannot, at least we can appreciate the fusion of colours and the Expressionist feeling of urgency that is communicated. Moon-Woman may be a feathered harridan or a great abstract pattern; the point is that it works on both levels.

By the end of 1946 Jackson Pollock had gotten rid of subject matter entirely and was painting his feelings on the canvas. But this was still not enough of Pollock, he wanted to work directly with the canvas. He wanted direct contact with his unconscious mind. Jackson Pollock believed that using a brush inhibited his work, that it censored his unconscious mind with his conscious mind in the time that it took to mix the paint load the brush and draw the line. The work was also suffering as a result of his using the brush because by the time he would get the desired effect on the canvas there would be so many layers of paint that it would begin to crack and fall off. Jackson Pollock also believed that the bush was to painterly to be truly free.

Now Jackson Pollock could get the desired effects from his art without the complications of his conscious mind interfering with the unconscious mind. He would roll his canvas out on the floor get some buckets of paint and begin to pour, now his work was quickly and directly all he had to consciously have to think of was what colour he would want to use. Pollock could now put layer on top of layer, work on the entire painting at once, and best of all draw unbroken lines of paint that never had to end. Unconscious images could emerge in Pollock's work while the painting was being created.

Blue Poles is one of Jackson Pollock's most famous works, in this picture the subject matter is totally gone and you are left looking at pure emotion which is what Jackson Pollock was trying so hard to accomplish by putting so much of himself into his work.

As one can see Jackson Pollock tried his whole artistic career to find better ways to show feelings and emotions through his work. He is truly a revolutionary painter who tried very hard to add more to his paintings than most people he tried to add a bit of himself to each picture by letting his unconscious mind flow freely over the canvas and putting more into his paintings than most artists.

Bibliography

#1Art & Man, Mar 1985, Vol15 No5

#2Discovering Art Hisrtory, Gerald F Brommer, 1988, Davis Publications inc.,

Pg# 473-474

#3Sunsite.unc.edu/wm/paint/auth/pollck/

#4132.229.192.124/www.let.data/Arthis/Modernism/works.htm

515.          James Bond

James Bond Phenomenon

James Bond has gone through a lot of changes in the years with 19 films. James Bond has been played by Sean Connery, Roger Moore, Timothy Dalton, George Lazneby, to Pierce Bronsman. All being great James Bond characters. The best of them being Sean Connery, why? I don't know why, he has always just been a better actor in every movie he has been in. Then comes Pierce Bronsman because he has been in movies for my generation and I can relate with the stuff going on in his movies. Then would come Timothy Dalton because he looks and acts a lot like Pierce Bronsman. I would guess Roger Moore comes in fourth, why? because I HATE George Lazneby and I have no where else to put him. George Lazenby comes in way last because he is not a actor, he is a talking mannequin. They have all gone through different types of adventures, well ok they were all action/spy problems but they were all different, in some ways anyway. Hey if they suck so much why can't you stop watching them? Why have they made so many of them? eh? thats what I thought. I had my doubts about watching all these James Bond movies, but they were all good. Sean Connery Played a nice cool, slick James Bond, well so did the others but he was better at it because he naturally is cool and slick. Pierce Bronsman played also as a cool, slick James Bond, he really looked like he was a spy, he kept his cool, I really liked that scene in Golden Eye when he is at the tanks of fuel where the satellite comes out of the water and they are shooting at him and there is sparks right next to his eye and he keeps on doing what he is doing. Talk bout a great and intense scene there. Timothy Dalton played as fast acting, nervous person as he played James bond. In my opinion he looked very nervous and very like hyper, he really wasn't that good, but he looked like he was a really bad acting Pierce Bronsman. Roger Moore, well he TRYED to act as a cool, slick James Bond, but he didn't really pull it off right, he just looked like a big dork in my opinion, he wasn't aggressive enough to be a good James Bond. He tryed to be aggressive but he just made a fool of him self, In his movie Live and Let die, the co-starring actors and actresses really made the movie any good. Well George Lazenby is not an actor, he is a mannequin that you can program one line scenes into. You THINK he has a brain, but he really has one of those TalkBoy things up there. There really isn't that much different in all of the James Bond films except for maybe the villains, henchmen, and the problems needed to be solved. All of the James Bond actors tryed to be cool, and slick. Some of them pulled it off in some movies, in others they didn't. They all definitely got the chick of there dreams in each movie, George even got married, although that didn't last very long, he still got married. Hey wait a second, thats ANOTHER Reason why George Lazenby is a really bad actor, or maybe it was just his role, he got married, James Bond isn't supposed to get married. Getting Married is like against the James Bond code of ethics!! I bet if George starred in another James Bond film, he would prolly die! even if the script says he isn't soppsed to! In the end of each film James Bond kills his villain and henchman except one, but hey we all can't be perfect. Well in the end pretty much every person who has played James Bond has been the same, or tryed to be the same as the last.

516.          James Earl Jones

James Earl Jones:

A Voice in the Crowd

March 19, 1996

People all around the world know the voice of James Earl Jones.  From Star Wars fans listening to the voice of Darth Vader to news junkies who hear a voice that dramatically intones "This is CNN" just before all the cable network's station breaks to children who hear the stately voice of the majestic Mufasa, the king of the jungle in Walt Disney Pictures" animated The Lion King - people know this deep harmonious voice belongs to this consummate actor of stage and screen.

James Earl Jones was born January 17th, 1931, in Arkabutala Township, Mississippi. His natural parents, Ruth and Robert Earl, moved away to the Mississippi Delta when he was an infant.  Raised for the rest of his young life by his maternal grandparents, James Earl developed a close relationship with the Connollys. "Maggie and John Henry were always there, day by day, and they became for me, once and for all, my mama and my papa" (18) .

Less than three years later, the Connollys moved to Dublin Michigan where James Earl and his >brother' Randy grew up in a remodelled chicken barn.  His early school life had a great impact on his style of speech and diction. "On my first day at school, I could not believe my ears," recalls Jones, "They called me James Earrrrl instead of James Uhl, as it had sounded in the South"(40).

After the initial shock of hearing Northern dialect, Jones "quickly absorbed this different rhythm and style" and embarked on the first half of a long vocal journey leading to his distinctive speaking style.  Until he was 14 years old, James Earl Jones rarely spoke mostly due to shyness, preferring silence to the sound of his own voice.

Around the age of 10, James Earl Jones witnessed his brother, Randy, having an epileptic seizure.  His grandmother applied the only remedy she knew - a thimbleful of bluing dye - and told James Earl to run for help.  After travelling a mile through a Michigan blizzard and recalling the sight of his brother on the floor with Ablue liquid spilled out of his mouth," Jones' epic battle with stuttering began. At a local store, Jones panicked and couldn't speak. After a time, he "finally calmed down and the words came. The doctor was called.  Randy recovered. But the stuttering - that stayed."(42)

The same year his brother almost died, Jones was sexually assaulted by the minister of a church he attended.  The incident scarred him for life.  Jones recalls, "I was afraid and very confused. I was on my guard from then on...I had no need for words"(54).

The "turning point" in Jones' ability to cope with stuttering came in Professor Donald Crouch's English classroom in high school.  After falling in love with Longfellow's "The Song of Hiawatha,"James Earl was inspired to write a poem about his love for grapefruit.  He patterned his work after Longfellow's cadence and rhyme scheme.  When Professor Crouch accused Jones of plagiarism Jones was forced to recite his work from memory in front of the class (63).

Considering his honour of greater value than the teasing of his classmates James Earl approached the front of the room to avoid academic disgrace:  "I was shaking as I stood up, cursing myself. I strained to get the words out, pushing from the bottom of my soul.  I opened my mouth -- and to my astonishment, the words flowed out smoothly, every one of them.  There was no stutter.  All of us were amazed, not so much by the poem as by the performance"(66).

The voice of James Earl Jones was a new sound to himself and everyone around him.  "My voice had changed, almost without my awareness, so in addition to the novelty of being able to speak, I could now speak in a deep, strong voice"(67).  Crouch and Jones became inseparable for the remaining three years of high school, resurrecting the powers of speech in the young lad through public speaking, debating, orating and acting.

The training he received from Crouch enabled Jones to win a public speaking championship and a college scholarship to the University of Michigan.  In 1947, he enrolled intending to pursue a medical degree. He worked several jobs and enrolled in US Army Reserve Officers Training Corps to support his college career.  But science took its toll on Jones, and he changed majors to the study of drama but "technically, because there was not an official degree in drama then at the university, (his) degree had to be in English"(75).

James Earl Jones' first introduction to the semi-professional theatre was a casting call for a campus production of The Birds by Aristophanes.  Intending to read for one of the minor parts, Jones was surprised when he was asked to audition for, and was later cast as the lead role of Epops, the King of the Birds.  Less than a year later Jones was cast in his first professional theatre production, as Verges in Much Ado About Nothing.

Robert Earl Jones moved away when his son, James Earl, was an infant.  James Earl was not allowed to communicate with his father, who was considered no good since he was "off in New York with a new wife, trying to make it as an actor, instead of doing real work" (62).  Later his career turned sour when he found himself "on the blacklist during the McCarthy days"(79).

Robert Earl wanted to see his son for "a long, long time..and was hurt by the family's constant refusal" to let him see his son(79).  But when James Earl was 21, they were reunited in New York for a week as father showed son the sights on and off Broadway. Jones attributes his father, Robert Earl, with "the best acting advice..'Pay attention to the little things actors do"(Culhane 122).

After two years in the Army at Camp Hale near Aspen, Colorado, Jones decided to commit to acting. AThere was nothing to lose, I thought. I could use my GI Bill to go to acting school, and if it didn't work out, I could step back into my Army career"(Jones 83).

Jones lived by the premise "Acting can never really be taught. It must be learned in a thousand ways, over and over again.  Learning to act is ongoing, a lifelong process, and the responsibility rests with the actor"(89).  Under this idea, Jones felt the only place to learn was in New York, and in 1955 he packed his bags.

Once they were reunited in New York, Robert Earl let his son move in and they pursued separate careers. Recalling a childhood nickname, Jones assumed the stage name of Todd Jones and, at the age of 24, was accepted by the American Theatre Wing.  One year later, after an argument with his father, James Earl Jones rented his own "cold-water-flat" and went back to his full name. After receiving his diploma at the Theatre Wing in 1957, Jones auditioned for Tad Danielewski's acting workshop, where he was accepted and set to work on scenes from three memorable plays: Othello, Of Mice and Men, and Miss Julie.

In October, Jones received his first chance to be in a Broadway production as an understudy for Lloyd Richards who played the role of Perry Hall in The Egghead, starring Karl Malden and directed by Hume Croyn at the Ethel Barrymore Theatre.  The understudy's dream did not come true then , but three months later Jones received a speaking part on Broadway, playing the valet in Dore Schary's Sunrise at Campobello, a drama about Eleanor and Franklin D. Roosevelt, starring Ralph Bellamy (105).

With only three lines to deliver as Edward the valet, Jones' "worst fear" came true one night on stage as he stuttered delivering the line "Mrs. Roosevelt, supper is served"(105).  "Mary Fickett, the actress playing Mrs. Roosevelt, just stood there and (Jones) got through it...(he) recovered..and miraculously it never happened again"(106.)

Two teachers at the American Theatre Wing noticed Jones while he was a student: director Joseph Papp and acting teacher Lee Strasberg of the Actors Studio in New York. Jones auditioned seven years in a row and was never invited to become a member of the Actors Studio. But he did manage to come up with the funds to enroll in Strasberg's private school.  While he didn't find Strasberg an "effective" director, he did find Strasberg to be a Agreat teacher".   Jones later learned that Strasberg, Cheryl Crawford and Elia Kazan "shared the consensus that there were actors such as (Jones) who, by following their own particular drumbeat, had already found an effective technique. Rather than pull (Jones) back and them the Method," they decided to "let (him) go (his) own path."(107.)

Papp gave Jones his first acting breakthrough opportunity as Micheal Williams in Shakespeare's Henry V.   Papp was credited with injecting a "dash of social conscience by casting Williams..as a negro (ably played by James Earl Jones)" (Gelb 23).  Papp was a visionary who enjoyed bringing his productions to a different setting.  Henry V was performed in Central Park with no admissions charge.

Before Henry V opened, Jones was also given a job as the leading role in Lionel "bel's play The Pretender directed off Broadway by Herbert Machiz.  Jones "fared better with the critics than the play did, but not by much.  "One critic said Jones was "first rate,"(Jones 113) while others gave considerably less praise saying that Jones as the character of Jesse Prince, "plays the part of the novelist as well as anyone could."(Atkinson 42).

In 1961, James Earl Jones moved into high gear and had what he termed a "breakthrough year" in 1961 (Jones 123).  Papp again cast Jones in a production, this time as Oberon in Midsummer Night's Dream at the New York Shakespeare Festival.  Although his performance was not critically acclaimed, Jones began to get small parts on television with roles on "Playhouse 90,"' The Brighter Day,"A The Catholic Hour,"A Camera Three," and the popular "Phil Silvers Show"(382).

Jones left the cast of The Blacks in the fall of 1961 to play a featured role in a new comedy by Josh Greenfield, Clandestine on the Morning Line.  The production opened in the "ctors Playhouse to mixed reviews that generally agreed that "some likable characters (were) interrupted by a story"(Gelb 30).  The show had a short run and helped Jones land a role in another experimental drama, Jack Gelber's The Apple.

The production opened at the Living Theatre in December 1961 and was billed as Experimental theatre with a vengeance" (Taubman 31.) And for the next several years, Jones struggled off Broadway "bulling his way to success" where "in play after play Jones (was) never guilty of underplaying; he invariably (came) on strong, and often effective" (qtd in Jones).

Jones has a self-expressed passion for Othello. He has played Othello at seven different time in his life in the theatre beginning at the age of 25 in Michigan and ending at the age of 50 at the Winter Garden Theatre in new York in 1981(377-381).

The year 1964 produced two major Othello's, one in London which cast Sir Lawrence Olivier as the title role.  The second major production cast James Earl Jones as the moor and debuted in Central park with the Summer Shakespeare festival and re-opened in October at the Martinique.   Calling it "unjustly neglected," Life magazine compared Jones to Olivier and called Jones "immensely moving," as a reminder of "civil rights and race relations" (qtd. in Jones).

Producer Joe Papp and director Gladys Vaughan fought over how Jones should play the tragic stranger in service to the Duke of Venice.  Jones recalls "Joe wanted me to play Othello tough, because in time of racial tension, Othello should be tough and militant" (158).  But Vaughan fought to give the character a sensitivity and benevolence and Jones took her up on the idea. Critics loved it.  Believing Othello could fall into the trap set by Iago has never been easy, "but Mr. Jones succeeds in giving it credibility throughout.  He is genuinely moving in his deep affection for (his) wife... His disintegration into a man in whom Iago has unloosed the furies is well prepared and pitiful to behold.  Restrained and soft in speech up to this moment, (Jones) has deep strength and force as he propelled along his wrath and grief..."(Funke 48).  For his work as Othello, Jones was honoured with the Drama Desk-Vernon Rice Award.

When the production began to wane some 224 performances after opening night in the Martinique, director Vaughan closed Othello and formed a repertory company with the cast.

One of the turning points in the life of James Earl Jones came inside the gloves of the first black heavyweight boxing champion, Jack Johnson. Playwright Howard Sackler wrote about Jack Johnson's turbulent life and career in The Great White Hope. For legal reasons Sackler named his boxer Jack Jefferson.

Director Edwin Sherin and playwright Sackler recruited Jones for the lead, treating him as if they "had found

a gold mine"(Jones 188).  Using the same trainer that brought Olivier into shape for Othello, Jones prepared for the role with grueling roadwork and intellectual exploration he later compared to basic training in the Army (189).  After six weeks of rehearsal, The Great White Hope opened on December 7 at the Arena Stage in Washington, D.C., for a seven week run with Ed Sherin directing.

At the age of 37, Jones realized he was involved in a Asignificant theatre experience" but was "completely unprepared for the critical praise, the later fame, and the thunderous response of (the) audience" (192).  Comparing his performance to that Marlon Brando's in Tennessee Williams' Streetcar Named Desire, critics acclaimed Jones an "overnight success"(qtd in Jones).  Calling it "immeasurably moving,"Clive Barnes wrote in the New York Times: "With head shaved, burly, huge, Mr. Jones stalks through the play like a black avenging angel.  Even when corrupted by misery, his presence has an almost moral force to it, and his voice rasps out an agony nearly too personally painful in its nakedness" (Barnes 58).

In October the following year, The Great White Hope opened on Broadway at the Alvin Theatre.  Catapulted into the limelight, "..Jones was receiving a standing ovation of the kind that makes Broadway history"(Barnes 58).

Since then Jones has gone on to become critically acclaimed film and television actor. He has appeared in over 200 films and even had his own weekly television show called, "Gabriel's Fire."  Jones has journeyed far from the boy who never spoke a word to anyone who walked on two legs.  James Earl Jones has delighted millions of people across the country with his body and voice, but for himself, life is nothing more that "Words, Words, Words" (Jones 190).

Works Cited

Atkinson, Brooks."The Pretender by Lionel Abel." New York Times 25 May 1960: 42:1.

Barnes, Clive. AWhite Hope: Tale of Modern Othello Opens in Capital." New York Times 14 Dec. 1967 58:1.

Culhane, John. "How james Earl Jones Found His Voice." Reader's Digest Nov, 1994: 51-53.

Funke, Lewis. "Theatre: Fun and Frolic."New York Times 3 Aug. 1961: 13:1

"Theatre: Othello from the Park Festival Production is at the Martinique." New York Times 13 Oct. 1964: 48:1.

Gelb, Arthur. "A rousingly Paced >Henry V'." New York Times 30 Jun. 1960: 23:1.

"Clandesting on the Morning Line Opens." New York Times 31 October 1961: 28:1.

Gilroy, Harry. "Rain and Praise Shower on MacBeth." New York Times 29 Jun. 1966: 38:1.

Hughes, Allan. "Theatre: Boston Festifal O'Neil's Emperor Jones is revived - 12 dancers act as scenery." New York Times 6 Aug. 1964: 20:4.

"Dancers Are Scenery in Emporer Jones." New York Times 16 Aug 1964: II,5:1.

Jones, James Earl., and Penelope Niven. James Earl Jones: Voices and Silences. NY: Macmillan, 1993.

Kauffman, Stanley. "Theatre: Bohikee Creek at Stage 73." New York Times 29 Apr. 1966: 39:1.

Kerr, Walter. "You Can't Just Watch."New York Times 24 Dec. 1967: II,3:1.

Leahy, Michael. "Gabriel's Ire." TV Guide 27 Oct. 1990:

8-12.

MacKenzie, Robert. "Review: Gabriel's Fire." TV Guide 8 Dec. 1990: 48.

"The Dynamo." Newsweek. 2 Dec. 1963.

Oliver, Edith. "Interlude 1897: Fences."New Yorker 31 May 1993: 136.

Taubman, Howard. "Jack Gelber's The Apple." New York Times 8 Dec. 1961: 44.

"Theatre: Man's Solitude." New York Times 28 Nov. 1963: 69:2.

"Theatre: A Penatrating Play."New York Times 3 Mar. 1964:30:2.

Othello' in the Park." New York Times 15 Jul. 1964: 29:1.

"Theatre: Brechtian Tale of Decadence."New York Times 07 May 1965: 33:2.

"Theatre: Coriolanus in Central Park: Gladys Vaughn Gives Production Vigor."New York Times 15 Jul. 1965: 23:1.

"Theatre: Danton's Death at Beaumont." New York Times 22 Oct. 1965: 46:1.

Woolson, Jennifer Daack. "James Earl Jones: A Voice of Hope." Vim & Vigor Fall 1995: 14-18.

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517.          Jan van Eyck 1706

Jan Van Eyck was a Flemish painter born 1390 in Maaseik, Belgium and died 1441 in Bruges, Belgium. Eyck was associated with the Renaissance, Flemish School (Ars Nova) movement. Famous paintings and artwork of this artist include Arnolfini et sa femme and Vierge au chancelier Rolin. Related websites: WebMuseum, Microsoft Encarta

Jan van Eyck is considered to be a founder of the Early Renaissance style in the Northern Renaissance. Until 1425 Jan van Eyck served at the court of Duke Johann of Bavaria in Hague, painting and restoring pictures. After that, he served at the court of Philip the Good of Burgundy, where he was greatly valued not only as an artist, but he also was entrusted by Duke with various diplomatic missions. Since 1430 van Eyck lived and worked in Bruges as painter to the court and city. It was believed, that Jan van Eyck invented painting with oils, maybe it is not true, but his technique in painting with oils is exceptional. His paint is so transparent that his works have a unique, almost luminous sheen. So outstanding was his skill as an oil painter that the invention of the medium was at one time attributed to him. Van Eyck exploited the qualities of oil as never before, building up layers of transparent glazes, thus giving him a surface on which to capture objects in the minutest detail and allowing for the preservation of his colours.

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Jan Van Eyck was a Flemish painter born 1390 in Maaseik, Belgium and died 1441 in Bruges, Belgium. Eyck was associated with the Renaissance, Flemish School (Ars Nova) movement. Famous paintings and artwork of this artist include Arnolfini et sa femme and

Biography

Jan van Eyck, the most famous and innovative Flemish painter of the 15th century, is thought to have come from the village of Maaseyck in Limbourg.

No record of his birthdate survives, but it is believed to have been about 1390; his career, however, is well documented. He was employed (1422-24) at the court of John of Bavaria, count of Holland, at The Hague, and in 1425 he was made court painter and valet de chambre to Duke Philip the Good of Burgundy. He became a close member of the duke's court and undertook several secret missions for him, including a trip (1428-29) to Spain and Portugal in connection with negotiations that resulted in the marriage (1430) of Philip of Burgundy and Isabella of Portugal. Documents show that in 1432-33 van Eyck bought a house in Bruges. He signed and dated a number of paintings between 1432 and 1439, all of which are painted in oil and varnished. According to documents, he was buried on July 9, 1441.

Van Eyck has been credited traditionally with the invention of painting in oils, and, although this is incorrect, there is no doubt that he perfected the technique. He used the oil medium to represent a variety of subjects with striking realism in microscopic detail; for example, he infused painted jewels and precious metals with a glowing inner light by means of subtle glazes over the highlights.

Van Eyck's most famous and most controversial work is one of his first, the Ghent altarpiece (1432), a polyptych consisting of twenty panels in the Church of St. Bavo, Ghent. On the frame is an incomplete inscription in Latin that identifies the artists of the work as Hubert and Jan van Eyck. The usual interpretation is that Hubert van Eyck (d. Sept. 18, 1426) was the brother of Jan and that he was the painter who began the altarpiece, which Jan then completed. Another interpretation is that Hubert was neither Jan's brother nor a painter, but a sculptor who carved an elaborate frame for the altar. Because of this controversy, attribution of the panels, which vary somewhat in scale and even in style, has differed, according to the arguments of scholars who have studied the problem.

Equally famous is the wedding portrait of Giovanni Arnolfini and his wife (1434; National Gallery, London), which the artist signed "Johannes de Eyck fuit hic 1434" (Jan van Eyck was here), testimony that he witnessed the ceremony. Other important paintings are the Madonna of Chancellor Rolin (1433-34 Louvre, Paris) and the Madonna of Canon van der Paele (1436; Groeningen Museum, Bruges).

an Van Eyck (IKE) was born in the Netherlands.

His paintings are very detailed. He was not the first to use oil paint, but he perfected the use of oil in paints. The colors in his paintings are delicate and have a beautiful shine. He was called "The King of Painters" by people even hundreds of years after his time.

The painting we are studying; The Arnolfini Marriage , is a record of the marriage of the two people in the picture. In modern days, a couple would hire a photographer to record their wedding. Giovanni Arnolfini hired an artist to paint the picture. In addition to being a portrait, it is also a legal record showing that the marriage took place. The artist signs it as a legal document.

You will enjoy looking at some of the details of the painting in the links below.

It is thought that Jan Van Eyck had a brother named Hubert. Supposedly, the famous Ghent Altarpiece was started by Hubert and finished by Jan after his brother's death. This magnificent painting is very large; two stories high and painted in three parts. It is called a triptych (TRIP tik) because it is a picture in three panels.

an van Eyck is the most famous member of a family of painters traditionally believed to have originated from the town of Maaseik, in the diocese of Liège. The work of the van Eycks, epitomized in the Ghent Altarpiece, brought an unprecedented realism to the themes and figures of late medieval art.

Van Eyck pursued a career at two courts, working for John of Bavaria, count of Hainaut-Holland (1422-24), and then securing a prestigious appointment with Philip the Good, duke of Burgundy (1425-41). Employment at court secured him a high social standing unusual for a painter, as well as artistic independence from the painters' guild of Bruges, where he had settled by 1431. Evidence that the van Eycks bore a coat-of-arms, and thus belonged to the gentry, and that Jan was literate (as shown by his own handwriting on a drawing), is consistent with the probability that some of his frequent travels for the duke were diplomatic missions. Many aspects of his work were surely intended to promote his personal reputation and abilities, including his practice of signing and dating his pictures (then unusual), and his playful and quasi-erudite use of Greek transliteration in his personal motto Als ich kan (As well as I can).

His artistic prestige rests partly on his unrivaled skill in pictorial illusionism. The landscape of his Crucifixion (32.92ab), with its rocky, cracked earth, fleeting cloud formations, and endless diminution of detail toward the blue horizon, reveals his systematic and discriminating study of the natural world. Van Eyck's ability to manipulate the properties of the oil medium played a crucial role in the realization of such effects. From the fifteenth century onward, commentators have expressed their awe and astonishment at his ability to mimic reality and, in particular, to re-create the effects of light on different surfaces, from dull reflections on opaque surfaces to luminous, shifting highlights on metal or glass. Such effects abound in the Virgin of Canon van der Paele (1434--36), as shown by the glinting gold thread of the brocaded cope of Saint Donatian, the glow of rounded pearls and dazzle of faceted jewels in the costumes of the holy figures, or the small, distorted reflections of the figures of the Virgin and Child repeated in each curve of the polished helmet of Saint George. The almost clinical detail in the face of the kneeling patron vividly illustrates van Eyck's acute objectivity as a portraitist. Through his understanding of the effects of light and rigorous scrutiny of detail, van Eyck is able to construct a convincingly unified and logical pictorial world, suffusing the absolute stillness of the scene with scintillating energy. Despite this legendary objectivity, van Eyck's paintings are perhaps most remarkable for their pure fictions. He frequently aimed to deceive the eye and amaze the viewer with his sheer artistry: inscriptions in his work simulate carved or applied lettering; grisaille statuettes imitate real sculpture; painted mirrors reflect unseen, imaginary events occurring outside the picture space. In The Arnolfini Portrait, the convex mirror on the rear wall reflects two tiny figures entering the room, one of them probably van Eyck himself, as suggested by his prominent signature above, which reads "Jan van Eyck has been here. 1434." By indicating that these figures occupy the viewer's space, the optical device of the mirror creates an ingenious fiction that implies continuity between the pictorial and the real worlds, involves the viewer directly in the picture's construction and meaning, and, significantly, places the artist himself in a central, if relatively discrete, role. Another reflected self-portrait, this time in the shield of Saint George in the Virgin of Canon van der Paele, functions as part of van Eyck's textural realism but likewise challenges our credulity by reminding us, through this minor intrusion of the artist's image, that his ostensible realism is an artifice.

Despite his individual fame, van Eyck's achievement was not carried out in isolation: as was customary, he employed workshop assistants, who made exact copies, variations and pastiches of his completed paintings. Such works no doubt helped to supply a vigorous demand for his work on the open market, while contributing to the recognition of his name throughout Europe. After Jan's death in June 1441, his brother Lambert, who was also a painter, helped to settle his estate, and perhaps oversaw the closing of his workshop in Bruges.

Van Eyck's principal artistic successor in Bruges was Petrus Christus. In his Portrait of a Carthusian (1446; 49.7.19), Christus not only adopted the Eyckian style, but also the motif of the parapet with illusionistic carving which curtails the portrait at the lower edge: van Eyck had used this device earlier in his portrait Leal Souvenir (1432).

518.          Jane Alexander 1183

Jane Alexander was born in Johannesburg in 1959.  From a very young age she started showing great artistic talent, and is now one of South Africa's most acknowledged sculptors.  She studied at the University of Witwatersrand and obtained a Bachelor of Arts in Fine Art degree in 1982.  That same year, she was the winner of the National Fine Arts Student Competition as well as the Martienssen Student Prize.  In 1988 she completed her Masters in Fine Art.  She had initially started her degree majoring in painting, but eventually changed to sculpture as she found it much more appealing and realized that she was more suited to it.  At university, Alexander was exposed to information about the political situation in South Africa through students' underground organizations and activities, and this contributed greatly to her work.

When growing up in the suburbs, Alexander had been shielded from everyday police- and street violence.  However, when she moved to city of Braamfontein in order to be closer to her university, she was faced with reality and was directly confronted with these aspects of society.  At the same time, the political situation in the 1970's was changing, and black consciousness had become very noticeable - the 1976 Soweto uprising had been an eye-opener for many people.  Despite the fact that Alexander, herself, was not politically active and did not contribute to the struggle in any way, her work was extremely influenced by the socio-political situation in South Africa at the time.  Her work clearly responds to the violence in South Africa during these years, and because of this she is seen as one of   West Coast African Angel, '85    the most important artists of the Resistance.

After completing her degree, Alexander went to a school in Rehoboth, Namibia to teach English.  She now lives in a flat in Long Street in the centre of Cape Town from where, on her balcony, she has a view of the old Cape architecture, as well as bookshops, antique stores and sex shops.  In 1995 Jane Alexander was the winner of the Standard Bank Young Artist Award for Fine Art.  This award is given to people who are acknowledged as being important artists within the South African art scene.  In 1996 she was the joint winner of the First National Bank Artist of the Year award with Kevin Brand.  Probably her most famous piece, "The Butcher Boys, 1985", is in permanent exhibition at the South African National Gallery, and is the most popular contemporary piece in the collection.  It was made while Alexander was still in the process of completing her Masters degree at Wits.  In 1995, it was chosen by Jean Clair for his show "Identita e Alterita" ("Identity and Alterity") in the Palazzo Grassi at the Venice Biennale.

Jane Alexander is currently the senior lecturer in sculpture, photography and drawing at the Michaelis School of Fine Art, the University of Cape Town.  She also is the proud mother of a baby boy.

Jane Alexander never gives any comment about her works, and therefore we have to depend on critics to guide us to a closer understanding of her work.  It also forces viewers to examine her work more carefully, and to make their own interpretation.  Earlier in her career, Alexander said that part of the reason why she makes things realistic is because she doesn't really want to explain her work.  She likes people to make their own interpretation, and doesn't mind if it's completely different from her own.  To quote Ivor Powell, (Grahamstown Festival catalogue writer) Alexander's work "reflects and explores a sense of being.  It presents, through the sustaining metaphor of the human figure and its transmutations, a relation of the individual to the society".

Of her exhibition at Grahamstown, 1995, he wrote, "Alexander is a sufficiently mediumistic artist to have captured in those forms the brutalized spirit of a disturbed time - the rampant violence of the mid to late 1980's.  But by the same token, she is a sufficiently authentic artist to be concerned with subtler and more philosophical issues of identity in our own time.  Those expecting to find raw meat and dangling entrails - the paraphernalia of art as a horror movie - at the Settlers' Monument in Grahamstown are in for a disappointment..."

In Alexander's earlier years, she had already begun to focus on her reoccurring themes of violence, aggression, cruelty and suffering.  Her work is always related to the human figure as she is interested in anatomy as a form of expression.  Because of the fact that her figures are life-sized, they have an amazing presence and create a dramatic impression.  Her earliest figures were concerned with victimization, and were much smaller than her later pieces.  "Untitled, 1982", the piece that won her the National Fine Arts Student Prize, is a good example of it.  Using anthropoid and human forms, Alexander created two skeletal carcass images through the incorporation of bones, and using wax as a covering with plaster.  Before being coated with wax, the bones and modelled plaster were painted in watercolours, creating the effect of anatomical materials.  The figures are elongated as if they had been stretched by a torture rack, or deformed and shrunken due to starvation.         Untitled, 1982

The exposure of internal human anatomy signifies injury or deformity.  As her works developed, she began to give them a more decorative quality and they became increasingly more representational.  She realised that by making her works bigger, they would have a more dramatic sense and certain meanings could be more appropriately conveyed.  Many themes have been explored over the years, such as seductiveness, sensuousness, vulnerability, victims, suffering and aggression.  Her earlier works were often of mutants, animal-like figures, and distorted beings.  She eventually progressed towards realism, and when it comes to her portrayal of the human figure, her work definitely matured.  When one compares her earlier work with her more recent sculptures, one can see that although her message has not changed much, the way that she portrays it has changed considerably.

Alexander does not only create sculptures, she also incorporates them into photomontages.  Through the making of these photomontages, she explores environmental and contextual possibilities which help her with her sculptures.  One of her best-known photomontages is "By The End of Today You're Going To Need Us, 1985-6" containing "The Butcher Boys, 1985".  Alexander enjoys the fact that photographs can be distorted, changing the viewer's perspective of the actual incident.  The subject matter of the photomontages varies - some is very personal, others are less tied to specific events and are often images taken from newspapers or her own photographs.

Her personal photomontages deal with her own experience and family history.  Her father, who was a German-Jew, lived near Berlin during the rise to power of the Nazi Party during the 1930's.  Because of this, Alexander created a series of photomontages - "Triumph over Capitalism", dealing with the Nazi's and has titles such as "Fur Deutsche Geschichte", "Sozialistisches Vaterland DDR", "Erbschein", etc.  Her less personal photomontages are less tied to specific events, and often explore ideas through juxtaposition.

519.          Jane Crawford finds out about living for herself

Everybody has to find out about living for themselves

Janie Crawford evolving selfhood through three marriages.  Fair-skinned, long haired, dreamy

as a child, Janie grows up expecting better treatment than she gets.  Living life as one man's mules or

another man's adornment.  Janie is one black woman who does not have to live in lost sorrow,

bitterness, fear, or foolish romantic dreams, for Janie has learned "two things everybody's got tuh do

fuh theyselves.  They got tuh go tuh God, and they got tuh find out about livin' fuh themselves."  Janie

Crawford is better off at the end of the noval Their Eyes Were Watching God.

Janie is confused when she was a young woman.  The noval explains her life as a young girl.

Her mother left her when she was really young.  Janie never met her.  Her grandmother explains that

her master rapped her, "Den, one night ah heard de big funs boomin' lak thunder.  It kept up all night.

And de next morin' Ah could see uh big ship at a distance and a great stirrin' round.  So Ah wrapped

mah way on down to de landin'.  The men was all in blue, and Ah heard people say Sherman was

comin' to meet de boats in Savannah, and all of us slaves was free.  So Ah run got mah baby and got

in quotation wid people and found a place Ah could stay."  Grandmother was wanting to make a school

teacher out of Janie's mother.  Janie found out that a school teacher rapped her mother so she never

met her father either.  Janie's mother was seventeen, when she was pregnant with Janie.  After Janie

was born, Janie's mother took to drinking a lot.  Janie's grandmother  raised Janie since she was born,

grandmother says "Maybe it wasn't much, but Ah done de best Ah kin by you.  Ah raked and scraped

and bought dis lil piece uh land so you wouldn't have to stay in de white folk's yard and tuck yo' head

befor' other chillun at school."  When Janie turned sixteen years of age, her childhood had ended with

a kiss from a boy named Johnny Taylor.  Grandmother wanted to see her married at once but Janie did

not understand what was going on.  Janie did not feel love for this man or any man at this time but

grandmother explains that she is not going to be around forever and she wants to protect her from harm

and danger.  Janie's life as a young person was a hardship she did not understand what purpose in life

she has and she does not understand what love is.

Janie dreams marriage will bring her love.  Logon is a man wanting to marry Janie.  Janie had

no chance to know things, so she had to ask.  "Did marriage end the cosmic loneliness of the unmated?

Did marriage compel love like the sun the day?"  After Grandmother's talks and Janie's own conjectures

she made a sort of comfort for herself.  She came to the conclusion that she would love Logon after

they were married.  "I saw no other way for it to come about, but Nanny and the old folks had said it,

so it must be so.  Husbands and wives always loved each other, and that was what marriage meant.

It was just so."  Janie felt glad for a moment in her life she felt that for then it wouldn't seem so

destructive and moldy.  She would not be lonely anymore.  Janie married Logan in Nanny's parlor.

Janie felt lonesome when she went to Logan's house "It was a lonesome place like a stump in the

middle of the woods where nobody had ever been.  The house was absent of flavor, too.  But anyhow

Janie went on inside to wait for love to begin."  After two months have gone by Janie had to reconsider

her marriage with Logon.  "Janie waited a bloom time, and a green time and an orange time.

Nevertheless, when the pollen again gilded the sun and sifted down on the world she began to stand

around the gate and expect things."  She did not know exactly what to expect.  "Janie knew that God

tore down the old world every evening and built a new one by sun-up."  Janie knew now that marriage

did not make love.  Her Grandmother dies and leave Janie to explore life for herself.  Janie's first dream

was dead, so she became a woman.

Janie's marriage with Logan is falling apart.  Before long Janie noticed that Logan had stopped

doing what he used to do to her.  He had stopped playing with her long black hair.  He said "If Ah kin

haul de wood heah and chop it fuh yuh, look lak you oughta be able tuh tote it inside.  Mah fust wife

never bothered me 'bout choppin' no wood nohow.  She'd grab dat axe and sling chips lak uh man.  You

done been spoilt rotten."  One morning Logan has to go to Lake City to see a man about a mule.  Janie

had started noticing how beautiful it is outside and went outside.  Janie had been outside for a long time

when she heard a whistling coming down the road who she later found out his name was Joe Starks.

Janie and Joe starting talking and she found out that he was aiming to go down to the new part of

Florida.  He later decided he needed a rest so it would do him good to rest a week or so.  Every day

after that they managed to meet.  They would talk about when Joe would become a big ruler of things.

He spoke for change and chance.  Still Janie hung back.  The memory of Nanny was still powerful and

strong.  Joe says "Janie, if you think Ah aims to tole you off and make a dog outa you, youse wrong.

Ah wants to make a wife outa you."  Janie debated the matter that night in bed.  That morning Janie

hurried out of the front gate and turned south.  She thought that even if Joe was not there waiting for

her, the change was bound to do her good.  After she came, their Joe Starks was waiting for her with

a hired rig.  He was a very solemn and helped her to the seat beside him.  With him on it, it sat like

some high, ruling chair.  She thought "From now on until death she was going to have flower dust and

springtime sprinkled over everything.  A bee for her bloom.  Her old thoughts were going to come in

handy now, but new words would have to be made and said to fit them."  Joe and Janie were married

before sundown, just like Joe had told her.  Janie starts a new life with Joe Starks hoping to find love.

Janie understands that she is an independent person it's she that makes her not her husband

that makes her.  On the train the day after they got, married Joe did not make many speeches with

rhymes to her, but he bought her the best things the butcher had, like apples and a glass lantern full

of candies.  Mostly he talked about plans for the town when he got there.  Janie liked the looks of Joe.

Joe and Janie go to the new down and they noticed it was a major disappointment.  People thought that

Janie was Joe's daughter because of the age difference.  Joe wanted to be a big voice in this town.

Life went on in Eatonville and Joe bought some more land for the town.  People were impressed about

Joe.  They astonished Janie to see the money Jody had spent for the land come back to him so fast.

Later ten new families bought lots and moved to town in six weeks.  It seemed all too big and rushing

for Janie to keep track of.  Joe had a store built for him, before it had a complete roof there where

canned goods piled on the floor and was selling so much he didn't have time to go off on his talking

tours.  The people of Eatonville have liked him so much they decided to make him mayor.  Janie was

talking to Joe "Joe, it jus' looks lak it keeps us some way we ain't natural wid one 'nother.  You'se

always off talkin' and fixin' things, and Ah feel lak Ah'm jus' makin' time.  Hope it soon gits over.  Joe

says "Over, Janie?  I god, Ah ain't even started good.  ah told you in de very first beginnin' dat Ah aimed

tuh be uh big voice.  You oughta be glad, 'cause dat makes uh big woman outa you."  Janie soon began

to feel the impact of awe and envy against her sensibilities.  "The wife of the Mayor was not just another

woman as she has supposed.  She slept with authority and so she was part of it in the town mind."

Janie started to think the inside state of her marriage.  She was not petal-open anymore with Joe.  She

was twenty-four and seven year's marriage when she knew.  She found that out one day when Joe had

slapped her face in the kitchen.  Joe had got really badly sick and died.  Janie never loved him, and the

first thing she did when he died was to get ride of the embargoes he had put on her like him wanting

her always to have her hair up.  Janie is finally starting to understand who she is and she understands

what independency means.

Janie is going to do things her way not her grandmother's way.  After Joe Starks death Janie

spent six months or more grieving about him.  She would dress in black and after awhile she dressed

in white.  One most of the town went to a ball game so the store was very slow.  A man came into the

store and asked for some cigarettes.  Janie later found out that his name is Virgibil Woods whom

everybody called Tea Cake.  This man did not want to go to the game.  He asked Janie if she wanted

to play checkers but she did not know how because nobody has ever taught her.  Tea Cake showed

her how to play checkers.  Janie felt good for the first time, she did not understand what this feeling was

"Janie found herself flowing inside.  Somebody wanted her to play.  Somebody thought it natural for her

to play."  Janie looked at Tea Cake and like what she saw "Janied looked him over and got little thrills

from every one of his good points.  Those full, lazy eyes with the lashed curling sharply away like drawn

scimitars.  The lean, over-padded shoulders and narrow waist."  Tea Cake came back a week later for

some snub.  Tea Cake told Janie that he loved her "Ah didn't aim tuh let on tuh you 'bout it, leastways

not right away, but Ah ruther be shot wid tacks than fuh you tuh act wid me lak you is right now.  You

got me in de go-long"  Tea Cake was twelve years younger then Janie, Janie told him "Aw, Tea Cake,

you just say dat tuhnight because de fish and corn bread tasted sort of good.  Tomorrow yo' mind would

change."  Tea Cake disagreed to the comment and Janie said that she would love to hear what he

thought of her in the morning.  Teak Cake came back two days later to tell Janie his thoughts about her.

Janie was starting to feel what love really is "Janie awoke next moring by feeling Tea Cake almost

kissing her breath away.  Holding her and caressing her as if he feared she might escaped his grasp

and fly away."  After found days Tea Cake returned to her Janie adored him and hated him while she

felt how could he make me suffer so much by not being here.  Janie and Tea Cake were to be married.

Janie's first dream has come true.  She has finally felt love.

Janie's first love was her last love.  Tea Cake was a gambling man.  He played dice, cards, or

anything in which there was a stake.  At first Janie was afraid Tea Cake was going to leave her because

she had twelve hundred dollars and it was missing she thought he took it and left her.  Tea Cake came

back and said that "Ah don't blame yuh but it wasn't lak you think."  Tea Cake had promised that he

would pay back every dime with his gambling and he did.  Janie felt really wanted for the first time Tea

Cake wanted her to participate in everything that he did.  Tea Cake taught her how to shoot and hunt,

play cards, anything that he did he wanted her to do.  Tea Cake missed her when he was working in

the fields so he came back and sees her throughout the day.  Janie finally went to work in the fields with

him so they would be together always.  Janie and Tea Cake moved to the Everglades.  Everything in

the Everglades was big and new for Janie.  Janie learned what it felt like to be jealous "A little chunky

girl took to picking a play out of Tea Cake in the fields and in the quarters.  If he said anything at all,

she'd take the opposite side and hit him or shove him and run away to make him chase her."  Janie

thought that Tea Caked loved this women and not her Tea Cake said "New, never did, and you know

it too.  Ah didn't want her.  Mrs. Turner was a person that did not like black people and she thought that

it was such a sin for Janie to be married with a person so black.  Mrs. Turner wanted to introduce Janie

to her brother, Janie did not want that, she had no feelings for Mr. Turner.  When Mrs. Turner's brother

came and Mrs. Turner brought him to be introduced to Janie.  When that happened Tea Cake had a

brainstorm and before the week was over he whipped Janie "Not because of her behavior justified his

jealousy, but it relieved that awful fear inside him.  Being able to whip her reassured him in possession."

Later there were a hurricane coming and Janie and Tea Cake decided to ride it out.  The hurricane we

much more then they had expected "Tea Cake touched Janie and said, "Ah reckon you wish you had

of stayed in yo' big house 'way from such as dis, don't you?" Tea Cake was the only love Janie has ever

had.  After the hurricane has passed many, repair and work up was due.  Three weeks or so Tea Cake

started getting really sick.  During the storm a Wild Dog and got rabbis bit Tea Cake in the face.  Tea

Cake started getting delusional about things, the doctor wanted Janie to sleep by herself.  Tea Cake

could not drink water and he was dieing.  One day Tea Cake started wondering why Janie was leaving,

he did not understand that she was going to the doctors to find if there was.  Janie really started to

worry about the well being of her life.  Tea Cake was confused about everything and he got a gun and

aimed it at Janie.  There were only three bullets in the gun and he pulled the trigger three times on an

empty chamber.  Janie shot and killed Tea Cake in self defense.  Her first love was out of her life

forever.

Janie is better off at the end of the noval Their Eyes Were Watching God then at the beginning.

When Janie was a young girl she was confused about many things.  Although her grandmother told her

that marriage will bring her love Janie finds out for herself that love must come first.  Logan treats her

as property not as a wife.  Janie understands that you are what you make your self to be nobody else

makes who you are.  Janie figures out that she must do what she feels she must do not what her

grandmother wants her to do.  Janie felt love for the first time with Tea Cake and when Tea Cake was

gone so was her last love.  Janie experiences a lot throughout the noval but the greatest thing she has

achieved is that she knows who she is.

520.          Janies Great Identity Search

In the novel, Their Eyes Were Watching God by Zora Neale Hurston, there are many lessons on a person's search for identity.  Janie's search for identity throughout this book is very visible.  It has to do with her search for a name, and freedom for herself.  As she goes through life her search takes many turns for the worse and a few for the better, but in the end she finds her true identity.  Through her marriages with Logan, Joe, then Tea Cake she figures out what is for her and how she wants to live.  So in the end, she is where she wants to be.

In Janie's early life she lived with her grandmother, Nanny.  Nanny and Janie were pretty well off and had the privilege to live in the yard of white folks.  While Janie was growing up she played with the white children.  While she was in this stage, she was faced with much criticism and was called many names, so many that everyone started calling her alphabet, "'cause so many people had done named me different names."  Soon she started piecing together what she knew of her odd identity.  Then one day she saw herself in a photograph and noticed that she looked different, that she had dark skin, and she said, "before Ah seen de picture Ah thought Ah wuz just like de rest."  From this point, Janie fell into somewhat of a downward spiral, setting her off of the path toward finding her own identity in society.  Finally when she was older Nanny saw her doing somethings under the pear tree that she thought were unacceptable.  Nanny quickly arranged a marriage between Janie and a well-off local man, Logan Killicks.  In this marriage Janie resisted.  She felt as if she was losing her freedom was well as her identity, she wasn't Janie anymore she was now Mrs. Logan Killicks, and she was somewhat obligated to do what he wanted.  Not long into this marriage, Janie has had enough, and when the chance to go away with a smooth, romantic man, she takes the chance.

The man Janie left Logan for was named Joe Starks.  Joe was a smart man who started his own town, Eatonville.  In the beginning of her relationship with, Joe, she felt loved, something she never really felt while she had been with Logan.  At first, when she ran away with Joe, she felt as if she was finding her new identity, but all there was for her to find was a great maze not always heading her toward her new identity.  While she was with Joe she felt as if she had a position of subservience to Joe, he did not see her as an equal.  When Joe was nominated to be mayor, and the people wanted to hear from Mrs. Mayor Starks, Joe said, "mah wife don't know nothin' 'bout speech-makin'."  What he was saying was that Janie wasn't there for her smarts, she was there to be his wife, to beat for the show, to run the store and the post office, and most of all to be Mrs. Mayor Starks.  Throughout this marriage Janie as though  she was losing more and more of her identity and freedom in this marriage.  By the end of the marriage, she did not have her kitchen and house work that she loved to do, and she had lost her name.

After the timely demise of Joe, another man came into Janie's life, Vergible Woods, a.k.a. Tea Cake.  He was an unpretentious man without the status of high class, unlike Logan and Joe.  He was just what Janie had wanted.  Tea Cake gave Janie the freedom to do whatever she wanted.  He allowed her to play checkers and talk to whom ever she wanted.  The name issue arose again in this relationship.  When Janie was with Tea Cake most of the people called her "Janie."  By this time she had finally found her identity.  She was just an average person who wanted freedom and who didn't always like having complete security.  In her marriage to Tea Cake, Janie finally had peace and love.  She wanted to do most of whatever Tea Cake was doing.  She did not feel any obligation to work with Tea Cake, she just wanted to.  So when she returned to Eatonville in her overalls, she had inside of her, true inner happiness and knowledge of her identity.

In this novel, Zora Neale Hurston shows many points on her view of a woman's place in America in the twentieth century.  One of the points that she makes is that women need to search for their independent identity.  That women should not settle for a simple life of being put down and controlled by men.  If women are dissatisfied in a marriage they need to move on toward the things that do satisfy them.  She is also stating that women in the twentieth century can hold their own in life.  They should become equals of men in work, because they are not the stupid weaklings that should be forced to fill a roll of subservience to men.  Finally her last comment about women's place in America in the twentieth century is that women can be independent and don't have to lose their identity when they get married.

Janie had a hard time finding her identity.  Through her childhood, her marriage to Logan, then Joe, and then finally Tea Cake, Janie has always hoped to have an identity independent of anyone else.  Hurston's model for twentieth century women is a very defined model.  One which holds freedom, an identity, and an equal level of stature to men, all of which Janie strived to have.  Overall Janie's end identity is one that many women in the twentieth century strive to behold.

521.          Janies Struggle To Find Her Voice

Janie Crawford, the main character of Zora Neale Hurston's Their Eyes Were Watching God, strives to find her own voice throughout the novel and, in my opinion, she succeeds even though it takes her over thirty years to do it.  Each one of her husbands has a different effect on her ability to find that voice.

Janie discovers her will to find her voice when she is living with Logan.  Since she did not marry him for love, tensions arise as time moves on and Logan begins to order her around.  But Janie is young and her will has not yet been broken.  She has enough strength to say "No" and to leave him by running away with Joe.  At this point, Janie has found a part of her voice, which is her not willing to be like a slave in her husband's hands.

After Janie marries Joe, I think that she discovers that he is not the person she thought he was.  He tells her what to do the same way Logan did, just a little bit more delicately by saying that it is not a woman's job to do whatever he does not want her to do.  Throughout her twenty years of life with Joe, Janie loses her self-consciousness because she becomes like a little kid being told what to do by an adult, Joe.  She does it without even questioning herself, which is why I think that she loses the part of her voice that she has discovered by running away from Logan.  At times, she has enough courage to say no to Joe, but he always has something to say back that discourages Janie from continuing her argument.  But, in my opinion, Janie does not lose her will to find herself and it might have even become stronger because the reader can see that Janie is not happy with the way things are now and that she will probably want to change them in the future.

When Joe dies and Janie marries Tea Cake, she feels free because even though Tea Cake asks for her opinion when he does something and cares about her.  Since this is Janie's first marriage where she actually loves her husband, she feels free and discovers many new things in life that she has not noticed before.  She becomes more sociable, wants to go places with Tea Cake, enjoys working with other people, and likes shooting game.  Although she never shot a rifle before, she becomes a better shooter that Tea Cake, and he respects her for that, which allows Janie to get back her self-respect which she had lost while being with her previous husbands.  In a way, Janie's spiritual awakening begins when she lives with Tea Cake.

As the reader can see, Janie has a hard life where she has to struggle in order not to become inferior to her husbands.  She succeeds when she is with Tea Cake, which also marks the time when her inner voice starts to awaken.  But not until after Tea Cake's death does she realize that she has understood her place in life, or in other words, she has found her voice.

522.          Japanese Street Fashion

&lt;Tab/&gt;Living in the United States for two and half years, I have been surprised how influential Japanese pop culture has been on some aspects of American culture now. I see many people wearing shirts and caps with Japanese calligraphy on it. I hear a lot of things about Japanese animation. I see a lot of articles talking about Japanese pop culture. More recently, a movie called "Lost in Translation" written and directed by Sofia Coppola was all about Tokyo culture.

Many American young people seem especially interested in Japanese street fashion. Teenage magazine "ELLE" shows Japanese street fashion in Harajuku where most young people hang out. The magazine "Teenvogue" shows photos of an American girl with young people in Tokyo. The weekly magazine, "The New Yorker", had seven very interesting pages about the fashion scene in Tokyo. It discussed special issues of teens and their cultural view. This paper will discuss why Japanese young people are so wild about fashion and it will included little bit of history and my experiences because I was also crazy about fashion when I was in Japan.&lt;Tab/&gt;

The fashion community in Japan in the 1950's, wiped away a dark atmosphere of war. Japan's fashion sense by global fashions which began in Paris, fashion in the 1950s was upbeat, colorful and stylish. Moreover a specific fashion style came into being when movies such as "The Holiday in Rome" captured Audrey Hepburns fashion statement and became extremely popular. While high economic growth progress, attention to the fashion industry also grew. The music world also came to life in the 1960s with the rock'n'roll age. The Beatles visited Japan in 1966. The MOZZU emerged after the Beatles came to Japan and the combination of music and men's fashion shocked the Japanese culture. The fashion which symbolizes soul nature called for freedom and dissidence (by wearing bellbottom jeans and hippy shirts) and continue from the 60s into the first half of the 70s. Then, the view on the fashion of the young man began to change as the trend of the times changed a lot. The student movement wore jeans from the second half of the 60s and this hippy fashion statement spread around the world. The Jeans symbolized freedom, resistance, and were a dissident symbol of fashion for a young-man. This was especially true in Japan. Jeans became a part of the workingman's culture during the first half of the 70s. Young men began to wear jeans as outdoor sport fashions on an everyday basis in the mid-70s. The fashion of the 1980s from which the buff bubble economy began is the time when fashion brands, such as a designer/character brand, and brand-name goods attracted attention. Then in the late 80s, bubble business would gather in popularity. As you can see, Japanese fashion has been always influenced by western cultures and history. However, In the early to mid 90's things were beginning to change in Japan. Young people started to seek more originality and unique style.

&lt;Tab/&gt;Aoki Shoichi is a well known photographer of Tokyo street fashion for his magazine "FRUITS". Aoki's magazine "FRUITS" has sold more than 100.000 copies worldwide. He has been taking pictures and documenting young street fashion around Harajuku town in Tokyo which is well known as the shopping district since 1996. Since he started documenting the Harajuku trends Aoki has seen quite a few changes. "They are much freer in expressing themselves and can think for themselves. They even decide their own hairstyles now. In the mid 90's it was truly revolutionary when people started to dye their hair and choose their own color. You eventually saw all kinds of colors: green, red, anything" ("Street", par50.).

&lt;Tab/&gt;So why are young Japanese so serious about fashion? In Japan today we still have the authoritarian, socialistic style, working man mentality and the guiding principle of this seems to be "The nail that sticks out will be hammered down." People who display too much individuality or assert themselves too forcefully are disliked. In other words, we have a society that considers it best to fall in line with the average. This feeling remains strong, so even though many people may not find that way of doing things interesting, most Japanese end up conforming to these expectations anyhow. Consequently, there are now many Japanese youngsters who think themselves that when they become adults they will have nothing more to look forward to than the uninteresting, boring life of a salaried employee. They abhor this kind of society and want to enjoy themselves to the fullest while they are young. They look to fashion as a way to express their obsession for self-expression and individuality. I believe that is why they are so ardent about fashion.

Perhaps my way of explaining things is a bit too cynical. But it is against the backdrop of these conditions that when magazines or other mass media outlets introduce DJs, designers, stylists, graphic designers, beauticians, and other professionals as people who are engaged in creative jobs, enjoying a life of freedom doing what they want to do, and making good money; these people are transformed into fashion leaders. They are said to have "charisma," and young people want to emulate their styles, what they recommend, and so on. That is very evident in the "street scene." These individuals who exude "charisma" have been under the influence of various cultural and fashion trends abroad. The "street fashion youngsters" in turn really go for the T-shirts or whatever that such fashion leaders create or recommend.   As evidence, the Japanese young fashion magazine "SEDA" shows what those with "charisma" wear as fashion. Now we have reached an age in which these charismatic fashion leaders are not only introducing trends from abroad but also beginning to diffuse Tokyo-generated fashion worldwide.

Aoki also accentuated the meaning of clothes for young Japanese. Unlike in the West, clothes are not a social statement in Japan according to Aoki, "instead of expressing yourself, it is a way of communicating with the members of your group. A message without words. You show your feeling, your awareness of fashion. It has no social context whatsoever. They don't care at all about how other people in society or how other groups see them" As a consequence, there are many types of fashion style groups in Japan such as Hrajuku girls (the name of town in which young people hang out.) and Shibuya girls (also the name of town in which young people hang out.). Aoki said  "Harajuku girls would never become friends with Shibuya girls. It is a different universe."  ("Street" par58.).

&lt;Tab/&gt;When I was in Japan I was fascinated by fashion because everyone was also crazy about fashion. I always looked for clothes that everyone others did have it so I cold feel different. Tokyo is a city where everyone seems particularly good at catching news about the latest fashion trends, and young people in particular are ardent in their desire to be in the know. So it quickly becomes known what is hot and what is not. There is always something new come up. Last year, "there were over 1,000 new drinks launched by distributors and marketers on this tiny island. There are more magazines titles per capita in Japan then anywhere in the world" (Jay 58).

&lt;Tab/&gt;Through my paper, I realized that a lot of young people know that they have to change their fashion when they start to work in the real world. So I think that's why they are so ardent about fashion. I believe that if you go to Japan, you will care more about fashion because everyone will care about your fashion.

523.          Jarassic Park

Jarassic Park: The Dinosaurs Were Not To Blame For The Destruction of Jurassic

Park

'Nature won't be stopped .......or blamed for what happens'(Ian Malcolm ,

Jurassic Park by Michael Crichton).  Jurassic Park mystifies its critique even

as it makes it; or rather, to be more precise, it offers us contradictory

messages about whom to blame for what goes wrong.   Science finally takes the

blame. Near the end of the book, while the humans are fighting off the

velociraptors, Malcolm (the mathematician) delivers a long and didactic speech

about how science is to blame for messing up the world because it has no

morality; science tells us how to do things, not what things are worth doing and

why. Malcolm talks about how the inventions of science, like Jurassic Park, are

fated to exceed our control, just as his chaos theory predicts. According to

Malcolm, chaos theory was developed in response to problems like predicting the

weather, and the theory says it simply can't be predicted beyond the space of a

few days, because the forces involved are too complex and unstable. If

everything in a popular narrative like Jurassic Park really means something else,

then so too does chaos theory.

The basic plot of Jurassic Park is fairly simple. A Palo Alto

corporation called International Genetics Technologies, Inc. (InGen) has become

able -- through an entrepreneurial combination of audacity, technology, human

ingenuity, and fantastic outlays of capital (mostly funded by Japanese investors,

who are the only ones willing to wait years for uncertain results) -- to clone

dinosaurs from the bits of their DNA recovered from dinosaur blood inside the

bodies of insects that once bit the now-extinct animals and were then trapped

and preserved in amber for millions of years. (This is, by the way,

theoretically possible.) The project is the dream of John Hammond, a billionaire

capitalist with a passionate interest in dinosaurs, who comes across in the

novel as a bizarre combination of Ross Perot and Ronald Reagan -- part

authoritarian martinet, part dissociated and childish old man. With the

resources of his wealth and power, Hammond buys a rugged island a hundred or so

miles off the coast of Costa Rica and turns it into Jurassic Park, 'the most

advanced amusement park in the world,' with attractions 'so astonishing they

would capture the imagination of the entire world': a population of living,

breathing actual dinosaurs.

With the park just a year away from opening to the public (those rich

enough to pay, that is), the nervous investors insist on sending a team to the

island to determine whether or not the park is as safe and under control as

Hammond continually insists. It isn't, of course, and most of the novel tells

the story of everything getting completely out of control, most especially the

incredibly fast, vicious and intelligent dinosaurs known as 'velociraptors,'

which are six-foot tall, bipedal and socially-organized pack hunters with teeth

that can chew through steel bars, and whose only response to their human

creators and captors is to attack and kill them. Velociraptors are the most

dangerous dinosaurs because they are pack hunters -- they know how to work

together. We also learn that in addition to their collectivism, they are

characterized by bad attitudes and a talent for breaking out of their

confinement (making them, I suppose, the bad subjects of the dinosaur

population).

The team of experts includes Alan Grant, a famous paleontologist known

for his theories about dinosaur infant-rearing behavior, and his paleobotanist

graduate student assistant, Ellie Sattler; and also John Malcolm, a brilliant

and idiosyncratic mathematician whose field of expertise is chaos theory, which

deals with turbulence and unpredictability -- complex 'real world' conditions

that can only be described through non-linear equations. Malcolm, of course,

predicts that the park is inherently unstable and its security precautions must

inevitably break down. There are also Hammond's grandchildren, whose parents are

getting a divorce: an eleven-year old boy, Tim, and his seven-year old,

ceaselessly obnoxious sister Lex (if only the tyrannosaur had killed her halfway

through, when it had the chance!). Hammond invites them for a 'fun weekend,' and

to demonstrate the safety of his park.  There are other characters, of course,

but these are the principals, all of them our heroes except for the perversely

blind and stupid Hammond, who, like all of the bad guys, eventually gets what he

deserves. Much of the story is detail, and I won't give away any more of it than

I need to in case you haven't read it and want to. It's enough to say that the

park's control systems fail, the dinosaurs menace the humans, and some

velociraptors almost make it to the mainland as stowaways on a supply ship. At

the end, the Costa Rican government bombs the island's dinosaurs back into

extinction... except for the ones that have somehow already escaped. But for the

purposes of our analysis, the movements of the plot matter less than the role

played by the dinosaurs themselves.

In Crichton's novel the dinosaurs are literally a class of beings

created  in order to serve people. They are genetically-engineered, their DNA

sequences altered just enough to make them patentable and thus private property;

then they are held in captivity, where they must perform the labor of acting out

their dinosaur identities for the benefit of wealthy tourists. Moreover, they

are altered so that they are completely dependent upon their owners, the

island's literal ruling class: they have been deprived of the ability to

manufacture a particular amino acid and must receive it regularly in their food.

'These animals are genetically engineered to be unable to survive in the real

world,' the dinosaurs' designer tells the visitors. 'They can only live here in

Jurassic Park. They are not free at all. They are essentially our prisoners.'

To the extent that we feel sympathy for the dinosaurs, we wish that they

could be set free to pursue their innate dinosaur identities and societies, free

from human domination and exploitation. But the problem with this noble

sentiment, as Jurassic Park repeatedly reminds us, is that the dinosaurs aren't

really dinosaurs any more -- they are artificial reconstructions of dinosaurs,

close copies or images of the originals. In order to reconstruct dinosaur DNA,

the scientists had to paste in equivalent segments of DNA from other, later

(more developed or evolved) species. This is what allows Hammond to 'own' the

animals: it was his capital that brought them into being. There's still a lot of

'real dinosaur' to them, but they are the creations of their exploiters: they

are definitely not authentic, but still live and breath just like real animals

and as primitive vicious animals they can't be blamed for what happened.

524.          Jazz and Classical Music Essay

Jazz and Classical Music

Upon entering a modern record store, one is confronted with a wide variety of

choices in recorded music. These choices not only include a multitude of artists,

but also a wide diversity of music categories. These categories run the gamut

from easy listening dance music to more complex art music. On the complex side

of the scale are the categories known as Jazz and Classical music. Some of the

most accomplished musicians of our time have devoted themselves to a life-long

study of Jazz or Classical music, and a few exceptional musicians have actually

mastered both. A comparison of classical and Jazz music will yield some

interesting results and could also lead to an appreciation of the abilities

needed to perform or compose these kinds of music.

Let's begin with a look at the histories of the two. The music called classical,

found in stores and performed regularly by symphonies around the world, spans a

length of time from 1600 up to the present. This time frame includes the

Renaissance, Baroque, Classical, Romantic and Contemporary periods. The

classical period of music actually spans a time from of 1750 to 1800; thus, the

term Classical is a misnomer and could more correctly be changed to Western Art

Music or European Art Music. European because most of the major composers up

till the 20th century were European. Vivaldi was Italian, Bach was German,

Mozart and Beethoven were Austrian; they are some of the more prominent

composers. Not until the twentieth century with Gershwin and a few others do we

find American composers writing this kind of art music. For the sake of

convention, we can refer to Western Art Music as Classical music.

Jazz is a distinctively American form of music, and it's history occupies a much

smaller span of time. Its origins are found in the early 1900s as some dance

band leaders in the southern U.S. began playing music that combined ragtime and

blues. Early exponents of this dance music were Jelly Roll Martin (a blues

player) and Scott Joplin (ragtime). The terms "Jazz" and "Jazz Band" first

surfaced in the year 1900. Some say this occurred in New Orleans, although

similar music was played at the same time in other places. The most prominent

exponents of this early music, called Dixieland Jazz, included Louis Armstrong

and Sidney Bechet. After World War I, Jazz music had evolved and was aided by

the development of the recording industry. The small dance band ensemble grew

into the larger orchestra known as the "Big Band". The music of the Big Bands

became known as "Swing." Two of the more famous Swing band leaders were Tommy

Dorsey and Harry James. In the late 40s and through the 50s, a different kind of

Jazz became popular. This music, played by a very small ensemble, was much more

sophisticated and complex . Its rich harmonic changes and melodic counterpoint

were not conducive to dance. It became known as "Bop," with Charlie Parker and

Dizzie Gillespie being the early proponents. In the last twenty years there has

been a combination of Jazz with popular music of the US and Latin America. This

modern Jazz music has been called "Fusion." Present day exponents include Pat

Metheny and Chic Corea. There has also been a return to the sound of Bop in the

last ten years by such musicians as trumpeter Winton Marsalis and his brother

Branford, a saxophonist.

Let's focus on the instrumentation of the two kinds of music. In Classical music,

both large orchestras and small ensembles are used. But generally, the greatest

and most prominent compositions are for the larger symphony orchestra. The

largest part of the orchestra is the string section consisting of violins,

violas, cellos and string basses. These instruments were invented very early in

medieval times but really matured into their present form during the late 18th

century. The wind instruments, comprised of brass and woodwinds, took longer to

mature. The brass section in particular did not posses the ability to play

chromatically (in all keys) until the advent of valves which allowed the length

of the instrument to be changed while playing. This occurred around the middle

to late 19th century. Consequently, the brass instruments are less prominent in

the music of Bach, Mozart and Beethoven along with their contemporaries. Late

19th and early 20th century composers make use of a very large orchestra with

all the fully developed wind instruments. Some of the master

orchestrator/composers of this time were: Wagner, Rimskey-Korsakov, Ravel and

Stravinsky. Currently, composers also make use of the full orchestra but with

the addition of increasingly larger percussion sections which add many unique

and unheard of sounds than in earlier music.

Early Jazz music was played in small ensembles making use of clarinet, tuba,

cornet, baritone, drums, and piano. Dixieland groups of New Orleans had similar

instrumentation. During the Swing era, larger groups were employed to achieve

more of an orchestral sound. The Big Bands of the this era were predominantly

wind orchestras containing alto and tenor sax sections, trumpet and trombone

sections, along with piano and drums. When Bop music arrived, the alto saxophone

and trumpet were the preferred instruments of the major soloists who were backed

up by piano, string bass and drums. With the advent of Fusion, electric

instruments such as the electric guitar and keyboard synthesizer became

prominent.

How has each of these kinds of music been transmitted to later generations of

musicians? Early in the evolution of classical music, a system of notation was

gradually developed which for the most part remained stable from the Renaissance

on. This gave the composer control over how his compositions were to be played.

Throughout the history of Jazz, however, notation was more like a rough sketch.

This was because the syncopated rhythms of ragtime and the melodic riffs of the

blues were not easily notated. Also, early Jazz musicians were not formally

trained; they usually learned by ear. Some songs were transcribed and written

down, but not in precise ways. Jazz music became more of a passed on tradition

that a musician learned through interaction with other players. In a similar way,

the modern Jazz musician must rely on previous recordings to get a feel for the

style and technique which he desires to learn from. But in classical music, one

composer can learn from an older composer by looking at and analyzing the music

that the previous composer wrote down. Likewise, classical musicians can master

the parts they must play by practicing the music that has been written or

published beforehand. These two approaches to passing on tradition are both

valid. However, without the recording medium Jazz music might have developed

much differently than it has.

The cohesive element that keeps a musical group together is also an interesting

contrast. In Classical music, the conductor uses a baton and plays the orchestra

as if it were his instrument; he looks at a complete score of all the events

happening in the composition and interprets these events based on his knowledge

and intuition of what the composer intended. Jazz groups rarely utilize

conductors. The swing era employed them for the sake of keeping the larger sized

group together but other jazz styles did not and do not to this day. The drummer

of the Jazz ensemble provides the beat that keeps the group together but even he

is interacting with the other soloists as the song is performed.

Perhaps the most interesting point of comparison between the two types of music

is in improvisation. Improvisation is the ability to play and compose

spontaneously "on the spot" while the music is playing. This has been an

important element of Jazz from it's inception. Although improvisation was less

prominent during the swing era, it regained importance with Bop and onward.

Early Jazz was improvised, using ragtime and blues as a loose structure. In the

swing era, popular songs were arranged by an arranger and soloists played

improvisations over the repeating sections in order to lengthen the song for

dancing. With the advent of Bop, improvisation assumed great importance. The

musicians memorized the chord changes to a song, along with the melody, but then

played very loosely and in the end substituted new chords along with greatly

embellishing the original melody to the point of being unrecognizable. These

factors, along with the ability to interact with each other, became important

and remains so in the Fusion music of today.

In Classical music, modern listeners are mostly unaware of the fact that many of

the great composers of the past were not only excellent performers but also

great improvisers. Starting with J.S. Bach (1685-1750), the greatest composer of

the Baroque era, he in fact made his living through his great skill as an

improvisor. It was common for the Lutheran Church organist of his day be able to

improvise on choral melodies and Bach was considered one of the greatest at this.

There are written accounts of other composers improvisational abilities

including Mozart (1756-1791), Beethoven (1770-1829), and Franz Liszt (1811-1886).

Yet, as time went on, improvising gave way to the composer's desire to exert

complete control over his music. By the late 19th century, improvising was rare

and not used at all in public performances of classical music.

In summation, we can say that Jazz and Classical music represent two approaches

to Art Music. The Classical composer or performer has a long and rich body of

music in written form that he uses to learn from while the Jazz musician uses a

body of recorded music to learn. Because of it's small size, the modern Jazz

ensemble allows loose interaction while the symphony orchestra's large size and

diversity of instruments provides many different sounds and wide dynamic range.

In classical music the composer strives for control; he uses printed music to

guide and direct the musicians through the conductor. In Jazz music, the songs

are loosely composed, thus forming a basis for individual expression within an

ensemble. When you go to hear a symphony, you hear an orchestra conducted by the

conductor playing a composition. When you go to a Jazz club you hear a small

jazz ensemble interacting and improvising a song. Both of these kinds of music

provide rich expression and detail to the serious listener. They take different

paths to reach their final form but give a person equal opportunities to

appreciate the creative output of each.

525.          Jazz and Classical Music

Jazz and Classical Music

Upon entering a modern record store, one is confronted with a wide variety of choices in recorded

music. These choices not only include a multitude of artists, but also a wide diversity of music

categories. These categories run the gamut from easy listening dance music to more complex art

music. On the complex side of the scale are the categories known as Jazz and Classical music. Some

of the most accomplished musicians of our time have devoted themselves to a life-long study of Jazz

or Classical music, and a few exceptional musicians have actually mastered both. A comparison of

classical and Jazz music will yield some interesting results and could also lead to an appreciation of

the abilities needed to perform or compose these kinds of music.

Let's begin with a look at the histories of the two. The music called classical, found in stores and

performed regularly by symphonies around the world, spans a length of time from 1600 up to the

present. This time frame includes the Renaissance, Baroque, Classical, Romantic and Contemporary

periods. The classical period of music actually spans a time from of 1750 to 1800; thus, the term

Classical is a misnomer and could more correctly be changed to Western Art Music or European

Art Music. European because most of the major composers up till the 20th century were European.

Vivaldi was Italian, Bach was German, Mozart and Beethoven were Austrian; they are some of the

more prominent composers. Not until the twentieth century with Gershwin and a few others do we

find American composers writing this kind of art music. For the sake of convention, we can refer to

Western Art Music as Classical music.

Jazz is a distinctively American form of music, and it's history occupies a much smaller span of time.

Its origins are found in the early 1900s as some dance band leaders in the southern U.S. began

playing music that combined ragtime and blues. Early exponents of this dance music were Jelly Roll

Martin (a blues player) and Scott Joplin (ragtime). The terms "Jazz" and "Jazz Band" first surfaced in

the year 1900. Some say this occurred in New Orleans, although similar music was played at the

same time in other places. The most prominent exponents of this early music, called Dixieland Jazz,

included Louis Armstrong and Sidney Bechet. After World War I, Jazz music had evolved and was

aided by the development of the recording industry. The small dance band ensemble grew into the

larger orchestra known as the "Big Band". The music of the Big Bands became known as "Swing."

Two of the more famous Swing band leaders were Tommy Dorsey and Harry James. In the late 40s

and through the 50s, a different kind of Jazz became popular. This music, played by a very small

ensemble, was much more sophisticated and complex . Its rich harmonic changes and melodic

counterpoint were not conducive to dance. It became known as "Bop," with Charlie Parker and

Dizzie Gillespie being the early proponents. In the last twenty years there has been a combination of

Jazz with popular music of the US and Latin America. This modern Jazz music has been called

"Fusion." Present day exponents include Pat Metheny and Chic Corea. There has also been a return

to the sound of Bop in the last ten years by such musicians as trumpeter Winton Marsalis and his

brother Branford, a saxophonist.

Let's focus on the instrumentation of the two kinds of music. In Classical music, both large

orchestras and small ensembles are used. But generally, the greatest and most prominent

compositions are for the larger symphony orchestra. The largest part of the orchestra is the string

section consisting of violins, violas, cellos and string basses. These instruments were invented very

early in medieval times but really matured into their present form during the late 18th century. The

wind instruments, comprised of brass and woodwinds, took longer to mature. The brass section in

particular did not posses the ability to play chromatically (in all keys) until the advent of valves which

allowed the length of the instrument to be changed while playing. This occurred around the middle to

late 19th century. Consequently, the brass instruments are less prominent in the music of Bach,

Mozart and Beethoven along with their contemporaries. Late 19th and early 20th century

composers make use of a very large orchestra with all the fully developed wind instruments. Some of

the master orchestrator/composers of this time were: Wagner, Rimskey-Korsakov, Ravel and

Stravinsky. Currently, composers also make use of the full orchestra but with the addition of

increasingly larger percussion sections which add many unique and unheard of sounds than in earlier

music.

Early Jazz music was played in small ensembles making use of clarinet, tuba, cornet, baritone,

drums, and piano. Dixieland groups of New Orleans had similar instrumentation. During the Swing

era, larger groups were employed to achieve more of an orchestral sound. The Big Bands of the this

era were predominantly wind orchestras containing alto and tenor sax sections, trumpet and

trombone sections, along with piano and drums. When Bop music arrived, the alto saxophone and

trumpet were the preferred instruments of the major soloists who were backed up by piano, string

bass and drums. With the advent of Fusion, electric instruments such as the electric guitar and

keyboard synthesizer became prominent.

How has each of these kinds of music been transmitted to later generations of musicians? Early in the

evolution of classical music, a system of notation was gradually developed which for the most part

remained stable from the Renaissance on. This gave the composer control over how his

compositions were to be played. Throughout the history of Jazz, however, notation was more like a

rough sketch. This was because the syncopated rhythms of ragtime and the melodic riffs of the blues

were not easily notated. Also, early Jazz musicians were not formally trained; they usually learned by

ear. Some songs were transcribed and written down, but not in precise ways. Jazz music became

more of a passed on tradition that a musician learned through interaction with other players. In a

similar way, the modern Jazz musician must rely on previous recordings to get a feel for the style and

technique which he desires to learn from. But in classical music, one composer can learn from an

older composer by looking at and analyzing the music that the previous composer wrote down.

Likewise, classical musicians can master the parts they must play by practicing the music that has

been written or published beforehand. These two approaches to passing on tradition are both valid.

However, without the recording medium Jazz music might have developed much differently than it

has.

The cohesive element that keeps a musical group together is also an interesting contrast. In Classical

music, the conductor uses a baton and plays the orchestra as if it were his instrument; he looks at a

complete score of all the events happening in the composition and interprets these events based on

his knowledge and intuition of what the composer intended. Jazz groups rarely utilize conductors.

The swing era employed them for the sake of keeping the larger sized group together but other jazz

styles did not and do not to this day. The drummer of the Jazz ensemble provides the beat that

keeps the group together but even he is interacting with the other soloists as the song is performed.

Perhaps the most interesting point of comparison between the two types of music is in improvisation.

Improvisation is the ability to play and compose spontaneously "on the spot" while the music is

playing. This has been an important element of Jazz from it's inception. Although improvisation was

less prominent during the swing era, it regained importance with Bop and onward. Early Jazz was

improvised, using ragtime and blues as a loose structure. In the swing era, popular songs were

arranged by an arranger and soloists played improvisations over the repeating sections in order to

lengthen the song for dancing. With the advent of Bop, improvisation assumed great importance. The

musicians memorized the chord changes to a song, along with the melody, but then played very

loosely and in the end substituted new chords along with greatly embellishing the original melody to

the point of being unrecognizable. These factors, along with the ability to interact with each other,

became important and remains so in the Fusion music of today.

In Classical music, modern listeners are mostly unaware of the fact that many of the great composers

of the past were not only excellent performers but also great improvisers. Starting with J.S. Bach

(1685-1750), the greatest composer of the Baroque era, he in fact made his living through his great

skill as an improvisor. It was common for the Lutheran Church organist of his day be able to

improvise on choral melodies and Bach was considered one of the greatest at this. There are written

accounts of other composers improvisational abilities including Mozart (1756-1791), Beethoven

(1770-1829), and Franz Liszt (1811-1886). Yet, as time went on, improvising gave way to the

composer's desire to exert complete control over his music. By the late 19th century, improvising

was rare and not used at all in public performances of classical music.

In summation, we can say that Jazz and Classical music represent two approaches to Art Music.

The Classical composer or performer has a long and rich body of music in written form that he uses

to learn from while the Jazz musician uses a body of recorded music to learn. Because of it's small

size, the modern Jazz ensemble allows loose interaction while the symphony orchestra's large size

and diversity of instruments provides many different sounds and wide dynamic range. In classical

music the composer strives for control; he uses printed music to guide and direct the musicians

through the conductor. In Jazz music, the songs are loosely composed, thus forming a basis for

individual expression within an ensemble. When you go to hear a symphony, you hear an orchestra

conducted by the conductor playing a composition. When you go to a Jazz club you hear a small

jazz ensemble interacting and improvising a song. Both of these kinds of music provide rich

expression and detail to the serious listener. They take different paths to reach their final form but

give a person equal opportunities to appreciate the creative output of each.

526.          JAZZ

Jazz

When it comes to music, most people don't say they like it.

People say they like heavy metal, pop, rhythm and blues, or any

other type of music, since they have their own preference to what

type of music they like, not just enjoying the broad area of

music.  One of those types of music which many enjoy is jazz.

Actually right now jazz is really big and popular in Europe, and

is rising in its popularity in the USA through its many forms.

Jazz does have many forms, so many that some people wouldn't

consider just saying they like jazz, they would say they enjoyed

bebop, ragtime, blues, or other types of jazz.  Jazz has survived

longer than many types of music, and it has always influenced the

ways people involved in jazz compose or perform.  It has also

brought out many famous people.

Although jazz is not the most influencing music currently in

the nation, its history proves  that it is a great form of music

with many origins, a multigenerational life span, numerous

styles, many legendary musicians, and its own creative,

independent interpretation.

Jazz is over 100 years old, probably making it one of the

longest, lasting forms of music so far.  Jazz was not created by

Europeans, it was created by Afro-Americans who descended from

ancestors in Africa.  These Afro-Americans learned how to play

these European instruments well, including percussion or the drum

set, trumpet, cornet, saxophone, trombone, tuba, and many other

instruments.  They wanted to show what they were like to other

races, so they attempted to express themselves and their feelings

through music and the instruments which were so foreign to them.

A lot of the music which they played came from black folk music.

Jazz did have a part of it come from Europe.  The instruments of

course, and the basic beginning forms of music helped jazz to be

created.  Another part of jazz which is not of African origin is

improvisation, which is similar to interpretation but has no

melodic restrictions.  Improvisation began with the Greeks and

their music over 2,000 years ago, before the many emotional and

creative types of music were even composed.  At one time, baroque

and classical music used a lot of improvisation in their music.

It was very important, and composers such as Bach, Mozart,

Beethoven, and Liszt used it in their unique composing.  These

composers were also good at improvising themselves, and were

among the best in the world in their time.  Many types of music

are created from other types of music, and jazz is among the

many. Many people influenced jazz along its development, and it

was usually a performer or composer.  This includes Buddy Bolden,

Benny Goodman, Louis Armstrong, Art Tatum, Billie Holiday, Duke

Ellington, Count Basie, Charlie Parker, Dizzy Gillespie, Miles

Davis, and John Coltrane.  There are even more jazz greats who

have contributed to jazz.

The form of music we know as jazz has existed ever since the

late 19th century, and is still alive.  It consisted of many

different eras, each one with one or two different styles of

jazz.  Each era also had many good performers and composers which

made a certain era stand out.  Through the late 19th century to

about the early 1920s the form of jazz we know as New Orleans

Jazz, which included Dixieland jazz and ragtime.  The 20s and 30s

developed the Swing Era, which made many performers famous

through the first recordings.  The 40s and the postwar decades

led to bebop, also called bop for short.  Bebop's performers also

changed the way jazz was looked at.  The 50s through the 70s

created a few types of jazz which were very loose and had no

limits, but could be critized.  The 80s and to the present

developed a type of jazz which was more calm and smooth than

other types of jazz.  The present has brought back all the forms

of jazz, and now is experimenting with the many different

instruments from the orchestra, including the french horn,

bassoon, or violin.

There are so many styles in jazz that jazz could not be defined

clearly without ignoring one of its forms.  It included vocals,

ragtime, blues, New Orleans jazz, Chicago and New York City jazz,

Big Band, bebop, modal or free jazz, fusion, and modern jazz.

Vocals were definitely a style of jazz which performers could

easily express moods or feelings, since the instrument was the

human voice.  The singing of the performers had great freedom and

color, and could be expressed by many syllables.  Grunts,

vibrato, and the impersonation of instruments could all be done

by voice.  These many possiblities made this form of jazz very

popular by bringing out many famous singers, such as Ella

Fitzgerald.  Vocals can be put into any form of jazz, and make it

even better.

Ragtime emerged near the end of the 19th century and

continued through World War I.  It combined many elements, such

as syncopated rhythms, harmonic contrasts, and formal patterns of

European marches.  It is usually played in the time signature of

2/4.  Scott Joplin's "Maple Leaf Rag" made ragtime very popular

throughout the whole nation.  Other ragtime composers included

Thomas Turpin, James Scott, and Eubie Blake.  The piano and banjo

are the most common used instruments in ragtime.

Blues was another popular form of jazz in the late 19th

century.  It was derived from the banjo music of black slaves and

was very popular among the southern part of the United States.

It developed all the way through the 1950s.  Blues worked its way

from vocals to the instruments such as the piano, electric

guitar, and saxophones.  Blues has been considered to be separate

from jazz but it is very similar in many aspects, including the

instrumentation and the use of vocals.  Many famous singers and

performers were created through the blues, such as Ma Rainey,

Bessie Smith, and B.B. King.

New Orleans jazz was one of the first types of jazz to be

fully documented, and it came from New Orleans, Louisiana.  From

the early 20th century and up to the mid-1920s New Orleans jazz

was well known.  The instruments used were the cornet, trumpet,

clarinet, trombone, tuba, string bass, and rhythm secton.  Buddy

Bolden was one of the big figures in New Orleans jazz, and he led

some of the first jazz bands.  One of the first bands included

the Original Dixieland Jass Band, which was later changed to the

Original Dixieland Jazz Band.

Chicago and New York City jazz was one of the first periods

of time where jazz was being experimented with, and many new

things were being discovered in music.  Throughout the 20s and

30s jazz piano was developed, it was called stride piano.  It was

called this for the hard-driving and highly technical soloing

with the piano.  Boogie-woogie is another piano style which

developed in Chicago and New York City jazz.  It related back to

a form of the blues, where the pianist solos with his right hand

while keeping a repetitive bass line in his right hand.  Chicago

and New York City jazz included one of the highest figures in

jazz, Louis Armstrong.  It also included a musician who was

considered very different in his style when compared to

Armstrong, his name was Bix Beiderbecke.  It also included Benny

Goodman, the famous clarinet player.

The Big Band style of jazz can be explained easily, it

involved a big band of about 18-20 members.  It included 4

sections: the saxophones, trombones, trumpets/cornets, and the

rhythm section consisting of the piano, bass guitar, and drums.

It was invented during the 20s to the 40s, when jazz musicians

decided to have large groups play together.  In New York City a

man named Duke Ellington led a big band.  Ellington was famous

for his songs, which many are considered jazz standards.  Some of

his songs are "Sophisticated Lady" and "Koko".  In Kansas City

during the mid-30s a man named Count Basie also lead a band.  His

style involved improvisation to be used more than the melody, or

the "head" of the song.  Once again vocals were involved with

another type of jazz, Big Band.  This era was ultimately one of

the largest developing.

Bebop is an exciting, energetic form of jazz which involved

big bands but was used a lot more in jazz combos.  Bebop totally

redefined the way to improvise in a song, and it is full of

creative and unique musical ideas, also called "licks".  Famous

people such as the saxophonist Charlie Parker, the trumpeter

Dizzy Gillespie, and the drummer Max Roach created bebop during

the 40s and the Postwar Decades, which was definitely a big leap

for jazz.  This style of jazz is less restricted, and

improvisation involved longer phrases, more choruses, and more

emotions.

Modal jazz, also called free jazz, has no rules at all.  It

was created during the late 50s through the 70s.  Improvisation

has ultimate freedom and so does the songs.  A famous trumpeter

named Miles Davis helped created modal jazz by arranging songs so

certain parts of each song would be kept in the same key, chord,

and mode for up to 16 measures.  This allowed the improvisor to

have more freedom.  John Coltrane, a tenor saxophonist and

composer, had participated in the bebop period by composing the

complex and famous song "Giant Steps".  Later he composed songs

which were for modal jazz, such as "My Favorite Things".

Jazz began to fall in the late 60s when younger audiences

were exposed to soul music and rock.  Jazz musicians developed

fusion, a combination of jazz and rock, to gain back the interest

of the nation.  Once again Miles Davis participated, totally

changing his style to record and play in fusion bands.

From the 80s to the present all forms of jazz are coming

back, each one influencing the other.  People such as Pat Methany

have composed songs which involve ideas from bebop, swing,

fusion, and other mixtures of the many styles of jazz.  Currently

the most influencing form of jazz is bebop.  These many forms of

jazz will never disappear as long as their musical ideas are

implemented into new songs.  Of those who contribute the most to

jazz, the musicians themselves have done the most.  Buddy Bolden,

the first jazz legend, contributed to jazz by leading the first

jazz bands and influencing many others to lead bands or compose.

He was considered the first jazz trumpeter, and he was a very

driving, rhythmic, and emotional player who was an inspiration to

all jazz musicians.  Benny Goodman contributed to jazz by helping

to start the Swing Era of jazz.  He played clarinet in the big

bands he lead, and he improvised amazingly.  He went from rags to

riches very quick, and other than jazz he appreciated classical a

lot.  Louis Armstrong contributed to jazz by being one of the

first virtuoso improvisors.  He also sang very well, with the

perfect attitude and tone for each song he sang in.  Art Tatum

was a very famous soloist who played the piano.  He helped

develop stride piano. Tatum accomplished much in his life, with

many recordings.  What made him famous was for his virtuosity on

the piano, just like Louis Armstrong was on the trumpet.  Billie

Holiday was a leading singer among many in the 1930s.  She was

very talented in taking regular songs and jazzing them up or

making them "blue".  She worked with many famous people such as

the saxophonist Lester Young and the composer Count Basie.  Duke

Ellington was one of the most respected figures in jazz.  He was

a composer, conductor, and pianist in the 20s through the 60s.

As he led famous jazz bands, usually big bands, he composed many

jazz standards, such as the song "Take the A-Train" and

"Sophisticated Lady".  Ellington went to Carnegie Hall and

conducted the first 9 annual concerts.  Count Basie was another

popular bandleader, but from the 30s to the early 80s.

His band was always known for being a big band with many

good soloists, such as the saxophonist Lester Young.  He was also

a great pianist, whose style was thought to be elegant and

graceful.  Charlie Parker was the ultimate king of bop, the style

created in the 40s.  He was a saxophonist with a talent for

improvising.  There was a story once that when he first started

playing, Parker decided to play with a band.  Parker really

messed up during the performance and everyone ridiculed him.

Even the drummer threw his symbol at him.  So Parker went home,

practiced 11 to 15 hours a day for 3 to 4 years, and came back to

the same place he performed that embarrassing night.  Parker blew

everyone away.  His improvising was creative beyond anyone's

imagination, and so were the songs he composed.  Usually he

played very fast songs, and Parker himself played so fast that no

one could see his fingers.  He had totally redefined improvising

in jazz.  Dizzy Gillespie was another bopper like Charlie Parker,

but he played the trumpet.  Dizzy improvised exactly in the same

style as Parker, and the two of them often were in a combo

together.  Miles Davis was a man of many styles.  He was first

influenced with bebop, and he improvised on the trumpet with a

"cool" style soon to be copied by many other musicians.  Later in

his life he was influenced by rock, and he helped develop fusion.

John Coltrane was a tenor saxophonist and composer.  Appearing

famous in the 50s and 60s, Coltrane was known for his awesome

soloing on the tenor sax and the complexity of the songs he

wrote.  He wrote the songs "Giant Steps" and "A Love Supreme".

Interpretation of jazz has been questioned many times.  What

distinguishes it from other types of music?  It could be

explained in this quote:  "The conventional symbols could, in

other words, indicated in a general way what should be played,

but could not indicate (precisely) how it should be played"

(Pleasants 32).  This means that what is shown as music on the

paper is not exactly what should be played.  You are allowed to

change the music a little, speed it up or slow it down, or

articulate it different.  One important factor in jazz is rhythm.

The musicians do not always play directly on the beat or tempo.

Players can be "on top" of the beat, which means ahead of the

beat, or play "laid back", which is to play behind the beat.

Improvisation is another factor of jazz which separates it from

other styles of music.  The standard way to improvise in jazz is

to keep the original melody in mind while improvising and invent

a new melodic line.  "Free form" or "free improvisation" is when

a person's improvising is only restricted that he/she improvises

related to the musical sounds of the other musicians.  Basically

when improvising you are allowed to play anything you want to, to

show off your talent and abilities to please the audience.

Another important factor of jazz is syncopation.

Syncopation is to place an accent or extend the note value of a

weak beat.  Syncopation may give a song better feeling and

movement, basically improving the feel of the song.  The form of

jazz, when related to notes, scales, and modes, is very complex.

Songs can be in any key, including any pitch of any octave, and

the song may be built on many complex music scales and modes.

Chord progressions, where certain chords are played in order, can

also be complex, such as the II-V-I progression.  Jazz has

unlimited  possiblilties since it is not so restricted to certain

scales, notes, or sounds.  Jazz's interpretation can only go so

far, since it splits into many different styles.  Here is another

person's idea of jazz:  Jazz, then, is not a composer's art.  The

particular melody and harmonies which formed the basis of a

performance, improvised or arranged, are of secondary importance.

Rather jazz is the art of the performer, the performing ensemble,

the arranger.  And the quality of the art is dependent upon their

creative ideas. (Ulrich 449)

Jazz still has a even better future to come, and it will

develop into a even greater influence than it is now.  Jazz will

never have an echo, where people reminisce about the old times.

It has survived for a very long time, and the musicians and

styles of jazz will continually change the interpretation of jazz

itself.  People will even to have to get more specific when they

say they love jazz, but variety is good.  Variety in jazz allows

many to express their feelings and musical ideas.  Without it,

variety in the world of music would drastically reduced.

527.          Jean Basquait 1644

&lt;Tab/&gt;Jean Basquiat was brought into this world in 1960 and grew up in New York. His mother was Afro-Puerto Rican, father was Haitian, and both were middle class citizens. He didn't try to keep his background from the public, and did not exhibit shame or the need to reverse negative stereotypes about African-Americans, but rather publicized details of his life in paintings. He did not try to involve himself in the black political arena because he didn't feel welcome in the upper-class black art communities. Although he didn't become involved in politics concerning African Americans, he certainly did criticize and make statements in his works that revolted against the mistreatment of his race and others as well. He died at the age of twenty seven after painting professionally for only seven years.

He repeated themes in his paintings, portraying his ideas innovatively and intellectually. His paintings at first glance seem to have a primitive style, but the symbolism he uses and his chaotic, discordant technique merely enhances the impact of the message he tries to send. His use of words, phrases, arrows, symbols and scribbles are the reason for much of this discord; but perhaps he felt as if his message would not be heard unless he made use of them.

&lt;Tab/&gt;His messages are bold and defiant; at times, his paintings almost express a sort of anger and contempt towards the human condition. It seems that his works suggest a deep-rooted hostility toward the exploitation and corruption of the innocent for capital gain through the use of religion, taking lands from natives, and excessive industrialization and commercialism at the expense of those who have no power to reverse any undesired effect. The placement of words and symbols seem at first to be unimportant, and only after looking deeper can one reach any conclusions.

&lt;Tab/&gt;In his 1984 untitled painting, he uses the phrase SUN GOD/TRICKSTER which parallels this idea; his use of the word trickster in relation to God brings about this same skepticism and contempt for the use of religion to manipulate and exploit people. It could also mean that exploitation runs deeper than a means through which to acquire profit, but that it goes as far as to manipulate the beliefs and religions of people as well.

In his 1983 untitled painting (QUALITY?), he combines the phrases "Rest in Peace" and "In God We Trust." He manipulates the phrase that is seen on United States currency in the combining of the two to form the expression "REST IN PEACE WHO TRUST?" leaving out any mention of God. This could point to a questioning of trust in God by replacing this with the word WHO. The combining of these phrases implies a death or morality (indicated by the clich&amp;eacute; phrase 'rest in peace' commonly associated with death, and the replacement of God with 'who'). This death or corruption, according to Basquiat, is brought about by the exploitation and tainting of pure ideals and excessive greed (from the use of the phrase on our currency). This skepticism of God, representation of God, or representatives of God is a recurring theme in Basquiat's paintings.

Basquiat points to corruption and exploitation in the conquering of lands and natives for the purposes of greed. In his 1983 untitled painting (Quality?), the words "ORIGINAL THEIVES FROM THE MAYFLOWER," appear in bold black lettering. The general theme of this painting is capitalism, and its negative effects on the human condition, so perhaps Basquiat traces the roots of America's capitalism to the Pilgrims from the Mayflower and other early settlers who assumed superiority and took over land that was not theirs.

Another reference to the stealing of lands from natives can be seen in the painting Natives Carrying Some Guns, Bibles, Amorites on Safari. At the bottom of the painting reads "I WON'T EVEN MENTION GOLD," and an arrow points to various spellings of "CORTEZ." Hernando Coronado Cortez was a man who went in search of the 'West Indies' to find cities made of gold that were rumored to have been seen in the 'New World.' While this painting focuses mainly on the Black laborers and how they were exploited for profits in colonialization, this 'oh--and by the way' statement seems to say that there are many examples of how native people are taken advantage of due to greed.

The Doctrine of Discover was practiced by European countries who were in search of new lands; this doctrine held that those who are conquered in a new land need not be negotiated with unless they are Christian. This belief--and the fact that it led discoverers to believe that those who were Christian were inherently of a higher standing than those who weren't--led to conflict and the mistreatment of those who were natives of these 'new lands'. Because those who Basquiat refers to in his paintings were obviously not of the Christian faith, they were abused, stolen from, and violated. This also ties in with his contempt for the use of religion to manipulate and abuse.

Basquiat hints to his feeling that corruption and abuse id directly linked with greed and capitalism. In his 1983 untitled painting, he makes use of consumeristic symbols and concepts to imply that these are the source of the mistreatment and manipulation of pure and innocent peoples and ideals. Going back to the phrase "REST IN PEACE WHO TRUST?", the fact that the phrase that is seen on the currency in the United States is manipulated into a dubious question and has intentionally been left with no mention of God could imply that the death of morality as mentioned earlier is at the hands of money and capitalism. Basquiat could be suggesting that the United States is corrupt and deteriorating due to the very capitalistic nature of our society.

In the same painting, there are words in both red and black which are dominant and seem to represent the already corrupt, tainted, and manipulated, and there are smaller and less threatening words in black print. In red is a crown which is directly above the words "MASS SLUMS," and an arrow pointing from the words "MASS SLUMS" to the words "PUBLIC GHETTO." This points to the colonialization theme that is evident in Basquiat's painting Natives Carrying Guns, Bibles, Amorites on Safari. This again suggests the abuse of innocent lives for profitable means. This also implies that profit is made for those who are in authority positions at the expense of others; the common stereotype is that the ghettos, projects, and slums are inhabited by minorities--predominately African and Mexican Americans--so perhaps Basquait is trying to say that even today in the United States the government still exploits the 'underclass.'

The smaller words in this painting seem to resemble ideas and things that have been brought about by capitalism or regions and things that have been affected by it. For example, the word DISNEY&amp;Oacute; appears with the copyright symbol. The Disney Corporation is supposed to be one that brings joy to children and provides suitable entertainment for today's youth. It, however, is ridden with consumeristic ideals that are ignored; Disney World and Disney Land, clothing, bedroom decorations and furniture, and toys that are used for profit and not intended solely for the purpose of pleasing children are perfect examples.

Another word in 'fine print' is HARLEM. This could be in reference to his love of jazz music and his feeling that even that has been tainted by materialism and capitalism.

In his 1984 Untitled painting, he centers his work around the boxed phrase "GLOBAL INDUSTRIAL&amp;Ocirc;," and uses these same consumeristic symbols with everyday things like colors and the miracle of birth. Below those words are seemingly random sketches that resemble blueprints or construction plans with a cat in front of them. To the left of these 'blueprints' on a yellowish-orange background are a number of items placed together in disarray. Again in this portion of the painting, it appears to be construction plans, calculations, measurements, chemical compounds, and blueprints in the backdrop. Towards the top of this technical background is a Christmas ornament on its side and the boxed words YELLOW AND GREEN&amp;Ocirc; .

In the top left portion of the painting is a heavy-set aboriginal woman giving birth with the title "ABORIGINAL GENERATIVE &amp;Oacute;." This is a statement voicing the opinion that even the purest of ideas and the most innocent concepts are manipulated for greed and profit. The use of trademark and copyright symbols in conjunction with everyday concepts, ideas and objects such as colors and even childbearing insists that innocence and the natural world is being advantageously exploited through GLOBAL INDUSTRIAL projects and plans in exchange for capital gain.

The only obvious consumeristic symbols in Basquait's Native Carrying Some Guns, Bibles, Amorites on Safari are the dollar signs that replace the s's in the words "TUSK$" and "$KIN$". These are the symbols that point to the Black laborer in the painting to be viewed as a commodity. As discussed earlier, the missionaries and poachers in this painting are one and the same, so by using the dollar signs in these words, it reinforces the idea that the laborer seen in the picture is the 'animal' that is being hunted and used for profit.

Basquait's use of monetary and capitalistic symbols in association with everyday objects seems to say that all things and all aspects of society have been tainted, manipulated and exploited in order to satisfy the greed of those in authority positions. They appear to say that global and United States industrialization does not serve anyone's best interests except those who are doing the exploiting and industrializing. He seems to be saying that it serves no other purpose than to extend corruption, manipulation, deceit, exploitation, and abuse to that which would exist and thrive without the intrusions of capitalism and greed.

528.          Jean Luc Godard

Jean-Luc Godard was born into a wealthy Swiss family in France in 1930. His parents sent him to live in Switzerland when war broke out, but in the late 40's he returned to Paris to study ethnology at the Sorbonne. He became acquainted with Claude Chabrol, Francois Truffaut, Eric Rohmer and Jacques Rivette, forming part of a group of passionate young film-makers devoted to exploring new possibilities in cinema.

They were the leading lights of Cahiers du Cinéma, where they published their radical views on film. Godard's obsession with cinema beyond all else led to alienation from his family who cut off his allowance. Like the small time crooks he was to feature in his films, he supported himself by petty theft. He was desperate to put his theories into practice so he took a job working on Swiss dam and used it as an opportunity to film a documentary on the project. The construction firm bought the film, an early indicator of Godard's more recent success working on corporate video commissions.

A bout de souffle (Breathless) (1959) was his first feature, based on an idea by Truffaut. Made on a shoe-string budget with Chabrol as artistic supervisor. Suddenly the typical B-feature crime plot was reborn, with startling cinematic techniques, hand-held camerawork and natural lighting. References to Sam Fuller and Humphrey Bogart and quotations from Faulkner, Aragon and. It was to be Godard's only box office hit that I could find.

By the early 60's Jean-Luc Godard was probably the most discussed director in the world. He made a an enormous impact on the future direction of cinema, influencing film-makers as diverse as Robert Altman, Martin Scorsese, Jim Jarmusch, Wim Wenders, Steven Soderbergh, Quentin Tarantino and Wong Kar-Wai.

As the 60's progressed, Godard became less and less accessible, both in his personal life and his work. After making Week-end (1967), which features a ten-minute tracking shot of a hideous traffic jam, Godard abandoned his increasingly antagonistic relationships with film industry colleagues (his mutual disaffection with Truffaut, for example, is well documented).

He left Paris for Switzerland, which has been his home for the last 20 years. Fascinated with developments in new media, he has experimented with video, making several on commission for clients including Channel 4, France Telecom and UNICEF. Amongst his 'revolutionary films for revolutionary people' is his highly regarded eight-hour history of cinema, recently edited into a 90 minute version.

His latest film is Eloge de l'amour (In Praise of Love), concerning in part an elderly couple who are former heroes of the Resistance and whose life story Steven Spielberg has offered to buy. The film has just received its premiere at the Cannes Film Festival 2001 to great acclaim. It is expected to have a British release later this year.

Godard's reputation for being a bitter and reclusive figure clearly does not go unnoticed, but is not observed without humour, as a recent anecdote in the New Yorker illustrates. He told Richard Brody that he and his partner (the filmmaker Anne-Marie Mieville) had clipped a cartoon from the paper which exemplifies their situation: a unicorn in a suit is sitting at a desk and talking on the phone with a caption reading "These rumours of my non-existence are making it very difficult for me to obtain financing."

In 1979, Godard came back to Commercial movie world again with his self-declared the second debut [Sauve qui peut: La vie (Every man for himself; slow motion)]. From this debutic come-back till present time, it is called the 4th stage. Since this is on-going period, it is hard to evaluate and it is not easy to find consistency among the characteristics of each film he made as much as he showed in the past. Critics are also divided into extremes. Anyway, Godard of this period continues his ceaseless search for the new cinematic experiments with new philosophical approach, demonstrating his well-experienced maturity in his pursuit of 'surface layer and nature of everything' and in deep contemplation on human existence and sometimes on religious issues.

Last point.. Godard married three times. His first marriage was with Anna Karina right after filming [a bout de souffle (breathless)] but they got divorced immediately after the completion of Pierrot le fou (Pierrot goes wild). Later, he got married to Anne Wiazemsky who was leading actress of La Chinoise during its filming. His third wife is Anne Marie-Miéville who was joint founder of 'SonImage' company. Although I respect to the endless contemplative but practising life of Godard, I have a perhaps less important but rather quite interesting question raised in my mind about how was his gender role or his role in the family.

529.          Jean Michel Basquiat 644

Jean Michel Basquiat

Jean Michel Basquiat was born on December 22 1960 in Brooklyn, New York. At an early age his mother, Matilde, introduced him to art by taking him to museums and theatres, and he learned to draw from the books she brought him, like Gray's Anatomy. For a brief time he attended school Puerto Rico, where he had a first attempt at life drawing in year 9 and was the only student to fail. Basquiat soon left and fell into CAS ("City as school"). CAS was a program designed for kids who struggled at traditional schools.

Feeling cramped and like he was getting nowhere he left home and lived on the streets for some time. Sleeping in cardboard boxes and on park benches in Washington square. "I did whatever it took. I stole from grocery stores. I hustled ... guys sucking me off for twenty bucks."

While in the CAS program, Basquiat came up with the idea that led to his first taste of fame. On night in 1978, after smoking some pot with friend Al Diaz in the CAS student lounge, Jean Michel came up with the idea of SAMO (SAM Old shit). They drew cartoons and wrote essays about SAMO for the CAS student paper, but the most important aspect of the SAMO project was the graffiti. Basquiat and Diaz sprayed phases like "SAMO saves idiots" and "Plush safe he think" and signed them with the name SAMO, all over lower Manhattan. The ploy worked so well that a $100 reward was posted for the capture of SAMO. When Basquiat and Diaz had a falling out, Basquiat finalised the end of their partnership by writing "SAMO is dead".

Basquiat showed his work for the first time in 1980 at the Times Square Show. There he made a huge graffiti inspired work and signed it "SAMO". After that show a publisher wrote a major article in the Artfrom Magazine titled "The Radiant Child".

In 1981 he flew to Italy to do his first European exhibition. Upon returning to New York he signed on with his first full-time dealer, Annina Nosei. As apart of this arrangement Nosei cleared out the basement of her gallery for Basquiat to use as a studio, though this arrangement led to several conflicts between the two. In addition, she sold paintings that were not even finished. Their partnership soon ended.

One of the things that Basquiat was well known for was his collaboration with Andy Worhol. Andy Worhol's first encounter with Basquiat was when he knocked on his door and Basquiat answered it naked. Basquiat then proceeded to show Andy Worhol his apartment/gallery which was a big mess of art history books, a small TV, tapes, a mattress, art supplies, clothing which consisted of Armani suits covered in paint, art work and finally wads of cash and marijuana. During this time he was also dating Madonna just before she became famous. Andy Worhol and Basquiat worked on several painting together and remained good friends until Worhol's death in 1987.

1988 - Many of Basquiat's friends become concerned about his excessive drug use, apart form smoking pounds of pot he was also using cocaine and heroin. Basquiat attempted to kick his addiction by leaving New York for his home in Hawaii.  He returned to New York in June saying he was drug-free. On August 12, Basquiat died from a heroin overdose. He was 27.

The Whitney museum and Madonna put together the funds to hold an exhibition for Jean Michel Basquiat in 1992. Some of the critics that went regarded Basquiat's work as "true master pieces", like the Yale art historian, others just dismissed the importance of his art. Basquiat was able to achieve fame, wealth and recognition within the art world, and perhaps more importantly he left a body of art work to will forever intrigue viewers.

530.          Jems Journal

Dan Latham                Jem's Journal

Chapter 4 - I think at times my sister, Scout can be disgusting.  I came home from a long day at school.  I found Scout on the porch chewing a wad of gum.  I knew it was gum because she had it in her mouth for a long time and plus I could see it in her mouth.  So just like any normal brother would do, I told her not to eat things you find and she said that she didn't find it on the ground but rather in a tree.  I put an expression on my face that clearly communicated to her that I didn't think she was funny.  I also growled at her.  She told my like an innocent girl that it was sticking in a tree on the way home from school.  I really didn't care about where she got it from I just wanted that disgusting piece of trash out of her mouth immediately before she caught some germs.  I told Scout to spit it out immediately.  She was actually pretty obedient and spit the gum out.  She told me that she had been chewing it all afternoon and that if she wasn't dead and didn't feel sick.  She was obviously mad at me for ruining her chewing enjoyment but I didn't want her getting sick because knowing Atticus, I'd be the one who would have to take care of her and that wouldn't go over to well with me since I know I could have stopped her from getting sick.  I think I yelled at her and said that isn't she supposed to know that she isn't allowed even near those trees.  We all know about that weird guy Boo Radley and we know that property is off limits.  I told her that she would probably get killed if she were caught.  She said in defense that I touched the house once.  This was a clear reference to Boo Radley's house but I ignored her comment and told her that it was different.  I also ordered her to go and use some mouth wash to get rid of the germs that she collected from that stick of gum she just spit out.  She wasn't pleased that I just ordered her to wash her mouth out and told me in defense that washing her mouth out will dissolve the taste in her mouth but I still didn't care.  I wanted her to wash her mouth out so I told her that I would tell Calpurnia about how she found some gum in a tree near Boo Radley's house.  I guess she didn't really want to risk a tangle with Calpurnia so she did as I told her.

Chapter 7 - Scout asked me about what went on last night and I decided to tell her.  I told her that after we heard the gun shot and ran I got my pants caught on the fence.  I tried to get them unhooked but I was too freaked out but that gun shot and I feared for my life so I left the pants behind.  The next morning my father, Attaicus told me to go get the pants and so I did but this is the part that was really spooky.  I told Scout that the pants weren't like the way that I left them.  They were folded neatly across the fence and the hole that I made from my struggle with the fence was mended.  But it wasn't mended like a woman would mend it.  I mean it wasn't neat and all perfect but it actually looked like that kind of sewing job that I would do.  It seemed like someone was reading my mind but if no one over there knows me then how could they know was I was thinking.  I think that by the expression on her face, I could tell that Scout was equally as mystified by the events that have taken place over the past two days.  First was find some strange objects near Boo Radley's tree and then I find that my pants which were ripped by a fence while I was running from a gun shot from some strange shadow have been sewed to my satisfaction.  We weren't sure what to do next but I was beginning to think that those items that were left in the tree were some how meant for us.  I don't know how or who is doing it but I think the answers all lie within the Radley house hold.

Chapter 5 - I was scared and I think my father made it worse.  After Scout, Dill and I went to the Radley house to give Boo Radley the letter we made, we heard a gun shot.  All of us ran as fast as we could but I stupidly got my pants caught on the fence.  I had to think quick and so and split second decision making, I decided to ditch my pants.  I ran as fast as I could and we reached our house.  I rang the door bell many times and that got Atticus pretty upset.  He wanted to know what was going on.  He asked me what I was doing and I replied to him that I was innocently doing nothing and ended it with a "sir."  He didn't buy it and said he didn't want any lying going on and he said, "tell me."  That was my cue to spill the beans to my father.  I didn't want to lie but I didn't want to tell him everything.  I said that we were trying to give him something. I was hoping my father wouldn't pry any deeper into the topic of conversation.  But he did.  He asked me what it was we were trying to give Boo Radley.  And I told him it was just a letter.  He asked me to let him see it.  I gave him the filthy piece of paper and Atticus tried to read it.  He asked why we wanted Boo to come out and this was a question that I could answer that wouldn't make us look guilty.  I told him that we were hoping he might like us and that we were just trying to make friends with him.  As usual, he didn't buy it.  My father grew very stern and it drained all the blood from my face.  He said, "Son, I'm going to tell you something and tell you one time: stop tormenting that man."  He turned to Scout and Dill.  "That goes for the other two of you."

Chapter 6 - I think those final days before Dill left were the best.  We asked Atticus if we could go over to Miss Rachel's pond and he said we could.  Me, Dill and Scout leaped over the low wall that separated her driveway from ours.  I whistled and Dill responded.  I looked around and noticed that the wind was hardly blowing.  I informed my friends of the same thing telling them that the wind wasn't blowing hard.  Then I noticed a gigantic moon was rising behind Miss Rachel's pecan trees.  I told my sister and friend that the moon looked gigantic.  But to them it only made things look hotter than they really were.  I noticed that Dill was making a cigarette out of the things he had and then he challenged me.  He asked if I'd cross the part that I was pointing to.  I noticed that Dill was almost done with his cigarette and I wanted to change the subject so I told him not to smoke his cigarette because he'd stink up this side of town.  I told Dill that we would definitely miss him and I knew that went double for Scout.  Dill stretched out and asked if we all would like to go for a walk.  We replied that it sounded great and we told him that we would.  But I asked Dill where should we go.  He pointed in a southerly direction.  I said, "okay," but Scout protested and Dill replied, "you don't have to come, Angel May."  I thought it was kind of cute but Dill wanted to leave now because our time with him was numbered and we wanted to spend as much time as possible with him but we didn't want to get in trouble like we seem to be pretty good at which is why Scout is probably going to protest to our little "walk."

Chapter 2 - I remember the days when Dill wasn't around and Attaicus sent me and Scout to school.  We were learning about cows and Scout didn't like the idea too much.  That didn't matter because we had to learn and plus cows are a big part of Maycomb County.  She told me that she really didn't want to know about cows and I told her that I had to learn about the Dewy Decimal System.  Our teacher was Miss Caroline and we had students of all ages in our school.  I remember when Miss Caroline asked about the little Cunnigham boy.  She didn't know at the time that the Cunningham's are too proud to take money from anyone and Scout told her that it would be useless to try and give him something when he couldn't return it.  She just thought that idea was silly but the Cunningham boy didn't take any money for lunch.  I don't think in that particular year that Miss Caroline liked Scout too much.  She found out that Scout could read and that Atticus taught us both that and she also found out that Scout was very smart.  One time that year, Scout asked me if I could write something for her and I told her that we don't write like in the first grade, we print.  She didn't like my sarcasm too much but I helped her out anyway like any big brother would do.  Scout had a grudge with Calpurnia, our new black maid.  I told Scout that we go home for lunch and she liked that idea because that meant that Calpurnia had to make her whatever she wanted.  I also told her that the kids who bring lunch keep it on their desks.  This is the point of the Walter Cunningham incident.  Miss Caroline also calls Scout, Jean Louise, which is her real name but no one calls her that. Not even Atticus.  Scout, that same day, asked me what entailment was.  I told her its when you get your tail caught in a crack. She got the humor that I was trying to get across to her but as usual, I was joking around and she was completely serious.

531.          Jerry Garcia and The Grateful Dead

Jerry Garcia and The Grateful Dead

Jerome John Garcia was born in 1942, in San Francisco's Mission District.

His father, a spanish immigrant named Jose "Joe" Garcia, had been a jazz

clarinetist and Dixieland bandleader in the thirties, and he named his new son

after his favorite Broadway composer, Jerome Kern.  In the spring of 1948, while

on a fishing trip, Garcia saw his father swept to his death by a California

river.

After his father's death, Garcia spent a few years living with his

mother's parents, in one of San Francisco's working-class districts.  His

grandmother had the habit of listening to Nashville's Grand Ole Opry radio

broadcasts on Saturday nights, and it was in those hours, Garcia would later say,

that he developed his fondness for country-music forms-particularly the deft ,

blues-inflected mandolin playing and mournful, high-lonesome vocal style of

Bill Monroe, the principal founder of bluegrass.  When Garcia was ten, his

mother, Ruth, brought him to live with her at a sailor's hotel and bar that she

ran near the city's waterfront.  He spent much of his time there listening to

the drunks', fanciful stories; or sitting alone reading Disney and horror comics

and pouring through science-fiction novels.

When Garcia was fifteen, his older brother Tiff - who years earlier had

accidentally chopped off Jerry's right-hand middle finger while the two were

chopping wood - introduced him to early rock & roll and rhythm & blues music.

Garcia was quickly drawn to the music's funky rhythms and wild textures, but

what attracted him the most were the sounds that came from the guitar;

especially the bluesy "melifluousness" of players such as; T-bone Walker and

Chuck Berry.  It was something he said that he had never heard before.  Garcia

wanted to learn how to make those same sounds he went straight to his mother

and told her that he wanted an electric guitar for his next birthday.

During this same period, the beat period was going into full swing in

the Bay Area, and it held great predominance at the North Beach arts school

where Garcia attended and at the city's coffeehouses, where he had heard poets

like Lawrence Ferlinghetti and Kenneth Rexroth read their best works.

By the early Sixties, Garcia was living in Palo Alto, California,

hanging out and playing in the folk-music clubs around Stanford University.  He

was also working part-time at Dana Morgan's Music Store, where he met several of

the musicians who would eventually dominate the San Francisco music scene.  In

1963 Garcia formed a jug band, Mother McCree's Uptown Jug Champions.  Its lineup

included a young folk guitarist named Bob Weir and a blues lover, Ron McKernan,

known to his friends as "Pigpen" for his often disorderly appearance.  The

group played a mix of blues, country, and folk, and Pigpen became the frontman,

singing Jimmy Reed and Lightnin' Hopkins tunes.

Then in February 1964, the Beatles made their historic appearance on The

Ed Sullivan Show, and virtually overnight, youth culture was imbued with a new

spirit and sense of identity. Gracia understood the group's promise after

seeing its first film, A Hard Day's Night.

As a result, the folky purism of Mother McCree's all-acoustic form

began to seem rather limited and uninteresting to Garcia and many of the other

band members, and before long the ensemble was transformed into the Warlocks. A

few dropped out, but they were soon joined by two more; Bill Kreutzmann, and

Phil Lesh.

It was around this time that Garcia and some of the group's other

members also began an experiment with drugs that would change the nature of the

band's story.  Certainly this wasn't the first time drugs had been used in

music for artistic expression or had found their way into an American cultural

movement. Many jazz and blues artists had been smoking marijuana and using

various narcotics to intensify their music making for several decades, and in

the Fifties the Beats had extolled marijuana as an assertion of their non-

conformism.  But the drugs that began cropping up in the youth and music scenes

in the mid-Sixties were of a much different. more exotic type. Veterans

Hospital near Stanford University had been running experiments on LSD, a drug

that induced hallucinations in those who ingested it and that, for many, also

inspired something remarkably close to the patterns of a religious experience.

Among those taking these drugs was Garcia future songwriting partner Robert

Hunter.  Another that later joined the  band was Ken Kersey, author of One Flew

Over the Cuckoo's Nest and Sometimes a Great Notion.  Kersey had been working on

an idea about group LSD experiments and had started a loosely knit gang of

artists, called the Merry Pranksters, dedicated to this adventure.  This group

included several rebels including Garcia's future wife, Carolyn Adams.

These Acid Tests became the model for what would shortly become known as

the Greatful Dead trip.  In the years that followed, the Dead would never really

abandon the philosophy of the Acid Tests.  Right until the end, the band would

encourage the sense of fellowship that came from and fueled the music.

Throughout all the public scrutiny it was still the Greatful Dead who

became known as the "people's band" ; the band that cared about the following

it played to and that often staged benefits or free shows for the common good.

Long after the Haight's moment had passed, it would be the Greatful Dead, and

the Dead alone, that would still display the ideals of fraternity and compassion

which most other Sixties-bred groups had long ago relinquished and many rock

artists did not use in favor of more incisive ideals.

The San Francicso scene was remarkable while it lasted, but it could not

endure forever.  Its reputation as a youth haven hurt it and because of this the

Haight was soon overrun with overrun with runaways and the sort of health and

shelter problems that a community of mainly white, middle-class expatriates had

never had to face before.  In addition, the widespread use of LSD was turning

out to be a little less ideal than some people actually expected. There were

nights where on such bad "trips" that the emergency room could not hold all of

them.  By the middle of 1967, a season known as the Summer of Love, the Haight

had started to turn ugly. There were bad drugs on the street, there were rapes

and murders, and there were enough unknown newcomers that arrived in the

neighborhood without any means of support and they were expecting the scene to

feed and nurture them.  Garcia and the Dead had seen the trouble coming and

tried to prompt the city to prepare for it. Not long after, the Dead left the

Haight for individual residences in Marion County, north of San Francisco.

By 1970, the idealism surrounding the Bay Area music scene, and much of

the couterculture, had largely evaporated.  The drug scene had turned fearful;

much of the wild dream of a Woodstock generation, bound together, first by the

Manson Family murders, in the summer of 1969, and then, a few months later, by

a tragic and brutal event at the Altamont Speedway, just outside of San

Francisco.  The occasion was a free concert featuring the Rolling Stones.

Following either the example or the suggestion of the Grateful Dead, the Stones

hired the Hell's Angels as a security force.  It proved to be a day of horrific

violence.  The Angels battered numerous people, usually for no reason, and in

the evening, as the Stones performed, the bikers stabbed a black guy to death

in front of the stage.

The record the band followed with, Workingman's Dead, was the Dead's

response to that period.  The album was a statement about the changing and

badly corrupt sense of community in America.  the next album American Beauty,

made it plain and apparent that they were not breaking up even though the first

album put doubts in the minds of fans, called Deadheads.

It was the sort of standard fan club pitch that countless pop acts had

indulged in before, but what it set in motion for the Dead would prove

remarkable: the biggest sustained fan reaction in pop- music history, even

bigger than the Beatles.  Clearly the group had a devoted and far- flung

following that, more than anything else, simply wanted to see the Gratful Dead

live.  One of the slogans of the time was "There's nothing like a Grateful Dead

show," and this claim was very much justified.  On those nights when the band

was performing, propelled by the double drumming of Mickey Hart and Bill

Kreutzmann, and the dizzying melodic joining of Garcia's gutiar along with

Weir's, and then Lesh's bass; the Grateful Dead's imagination proved matchless.

It was this dedication to live performances, and a penchant for near-

incessant touring, that formed the groundwork for the Dead's extraordinary

success  during the last twenty years or so.  Even a costly attempt at starting

the bands own record company in the early Seventies plus the death of three

consecutive keyboardists; McKernan, of alcohol-induced cirrhosis of the liver,

in 1973; Keith Godchaux, in a car accident, in 1980, a year after leaving the

band; and Brent Myland, of a morphine and cocaine overdose in 1990; never

really took away from the Dead's momentum as a live act.

After the 1986 summer shows with Bob Dylan and Tom Petty and the

Heartbreakers, Garcia passed out at his home in San Rafael, California, and

slipped into a diabetic coma.  His body was not agreeing with all the years of

road-life and drug abuse. When he came out of the coma the Dead made a tribute

song to growing old gracefully and bravely, "Touch of Grey."

Unfortunately, though, Garcia's health was going nowhere but downhill,

and according to some people so was his drug problem. He collapsed from

exhaustion in 1992, resulting in many cancellations in their tour that year.

After his 1993 recovery, Garcia devoted himself to a regimen of diet and

exercise.  At first it worked and he wound up losing sixty pounds. There were

other positive changes at work: He had become a father again in recent years

and was spending more time as a parent, and in 1994 he entered into his third

marriage, with filmmaker Deborah Koons.  Plus, to the pleasure of numerous

Deadheads

532.          Jerry Garcia and the rest of The Grateful Dead

Jerome John Garcia was born in 1942, in San Francisco's

Mission District.  His father, a spanish immigrant named Jose

"Joe"

Garcia, had been a jazz clarinetist and Dixieland bandleader in the

thirties, and he named his new son after his favorite Broadway

composer, Jerome Kern.  In the spring of 1948, while on a fishing

trip, Garcia saw his father swept to his death by a California river.

After his father's death, Garcia spent a few years living with

his mother's parents, in one of San Francisco's working-class

districts.  His grandmother had the habit of listening to Nashville's

Grand Ole Opry radio broadcasts on Saturday nights, and it was in

those hours, Garcia would later say, that he developed his

fondness

for country-music forms-particularly the deft , blues-inflected

mandolin playing and mournful, high-lonesome vocal style of Bill

Monroe, the principal founder of bluegrass.  When Garcia was ten,

his mother, Ruth, brought him to live with her at a sailor's hotel and

bar that she ran near the city's waterfront.  He spent much of his

time

there listening to the drunks', fanciful stories; or sitting alone

reading

Disney and horror comics and pouring through science-fiction

novels.

When Garcia was fifteen, his older brother Tiff - who years

earlier had accidentally chopped off Jerry's right-hand middle

finger

while the two were chopping wood - introduced him to early rock

&

roll and rhythm & blues music.  Garcia was quickly drawn to the

music's funky rhythms and wild textures, but what attracted him

the

most were the sounds that came from the guitar; especially the

bluesy "melifluousness" of players such as; T-bone Walker and

Chuck Berry.  It was something he said that he had never heard

before.  Garcia wanted to learn how to make those same sounds

he went straight to his mother and told her that he wanted an

electric

guitar for his next birthday.

During this same period, the beat period was going into full

swing in the Bay Area, and it held great predominance at the

North

Beach arts school where Garcia attended and at the city's

coffeehouses, where he had heard poets like Lawrence Ferlinghetti

and Kenneth Rexroth read their best works.

By the early Sixties, Garcia was living in Palo Alto,

California,

hanging out and playing in the folk-music clubs around Stanford

University.  He was also working part-time at Dana Morgan's

Music

Store, where he met several of the musicians who would

eventually

dominate the San Francisco music scene.  In 1963 Garcia formed

a

jug band, Mother McCree's Uptown Jug Champions.  Its lineup

included a young folk guitarist named Bob Weir and a blues lover,

Ron McKernan, known to his friends as "Pigpen" for his often

disorderly appearance.  The group played a mix of blues, country,

and folk, and Pigpen became the frontman, singing Jimmy Reed

and

Lightnin' Hopkins tunes.

Then in February 1964, the Beatles made their historic

appearance on The Ed Sullivan Show, and virtually overnight,

youth

culture was imbued with a new spirit and sense of identity. Gracia

understood the group's promise after seeing its first film, A Hard

Day's Night.

As a result, the folky purism of Mother McCree's all-acoustic

form began to seem rather limited and uninteresting to Garcia and

many of the other band members, and before long the ensemble

was

transformed into the Warlocks. A few dropped out, but they were

soon joined by two more; Bill Kreutzmann, and Phil Lesh.

It was around this time that Garcia and some of the group's

other members also began an experiment with drugs that would

change the nature of the band's story.  Certainly this wasn't the first

time drugs had been used in music for artistic expression or had

found their way into an American cultural movement. Many jazz

and

blues artists had been smoking marijuana and using various

narcotics

to intensify their music making for several decades, and in the

Fifties

the Beats had extolled marijuana as an assertion of their non-

conformism.  But the drugs that began cropping up in the youth

and

music scenes in the mid-Sixties were of a much different. more

exotic type. Veterans Hospital near Stanford University had been

running experiments on LSD, a drug that induced hallucinations in

those who ingested it and that, for many, also inspired something

remarkably close to the patterns of a religious experience.  Among

those taking these drugs was Garcia future songwriting partner

Robert Hunter.  Another that later joined the  band was Ken

Kersey,

author of One Flew Over the Cuckoo's Nest and Sometimes a

Great

Notion.  Kersey had been working on an idea about group LSD

experiments and had started a loosely knit gang of artists, called

the

Merry Pranksters, dedicated to this adventure.  This group included

several rebels including Garcia's future wife, Carolyn Adams.

These Acid Tests became the model for what would shortly

become known as the Greatful Dead trip.  In the years that

followed,

the Dead would never really abandon the philosophy of the Acid

Tests.  Right until the end, the band would encourage the sense of

fellowship that came from and fueled the music.

Throughout all the public scrutiny it was still the Greatful

Dead who became known as the "people's band" ; the band that

cared about the following it played to and that often staged benefits

or free shows for the common good.  Long after the Haight's

moment

had passed, it would be the Greatful Dead, and the Dead alone,

that

would still display the ideals of fraternity and compassion which

most other Sixties-bred groups had long ago relinquished and

many

rock artists did not use in favor of more incisive ideals.

The San Francicso scene was remarkable while it lasted, but

it

could not endure forever.  Its reputation as a youth haven hurt it

and

because of this the Haight was soon overrun with overrun with

runaways and the sort of health and shelter problems that a

community of mainly white, middle-class expatriates had never

had

to face before.  In addition, the widespread use of LSD was

turning

out to be a little less ideal than some people actually expected.

There were nights where on such bad "trips" that the emergency

room could not hold all of them.  By the middle of 1967, a season

known as the Summer of Love, the Haight had started to turn ugly.

There were bad drugs on the street, there were rapes and murders,

and there were enough unknown newcomers that arrived in the

neighborhood without any means of support and they were

expecting

the scene to feed and nurture them.  Garcia and the Dead had seen

the trouble coming and tried to prompt the city to prepare for it.

Not

long after, the Dead left the Haight for individual residences in

Marion County, north of San Francisco.

By 1970, the idealism surrounding the Bay Area music scene,

and much of the couterculture, had largely evaporated.  The drug

scene had turned fearful; much of the wild dream of a Woodstock

generation, bound together, first by the Manson Family murders, in

the summer of 1969, and then, a few months later, by a tragic and

brutal event at the Altamont Speedway, just outside of San

Francisco.  The occasion was a free concert featuring the Rolling

Stones.  Following either the example or the suggestion of the

Grateful Dead, the Stones hired the Hell's Angels as a security

force.

It proved to be a day of horrific violence.  The Angels battered

numerous people, usually for no reason, and in the evening, as the

Stones performed, the bikers stabbed a black guy to death in front

of

the stage.

The record the band followed with, Workingman's Dead, was

the Dead's response to that period.  The album was a statement

about the changing and badly corrupt sense of community in

America.  the next album American Beauty, made it plain and

apparent that they were not breaking up even though the first

album

put doubts in the minds of fans, called Deadheads.

It was the sort of standard fan club pitch that countless pop

acts

had indulged in before, but what it set in motion for the Dead

would

prove remarkable: the biggest sustained fan reaction in pop- music

history, even bigger than the Beatles.  Clearly the group had a

devoted and far- flung following that, more than anything else,

simply wanted to see the Gratful Dead live.  One of the slogans of

the time was "There's nothing like a Grateful Dead show," and this

claim was very much justified.  On those nights when the band was

performing, propelled by the double drumming of Mickey Hart and

Bill Kreutzmann, and the dizzying melodic joining of Garcia's

gutiar

along with Weir's, and then Lesh's bass; the Grateful Dead's

imagination proved matchless.

It was this dedication to live performances, and a penchant

for

near-incessant touring, that formed the groundwork for the Dead's

extraordinary success  during the last twenty years or so.  Even a

costly attempt at starting the bands own record company in the

early

Seventies plus the death of three consecutive keyboardists;

McKernan, of alcohol-induced cirrhosis of the liver, in 1973; Keith

Godchaux, in a car accident, in 1980, a year after leaving the band;

and Brent Myland, of a morphine and cocaine overdose in 1990;

never really took away from the Dead's momentum as a live act.

After the 1986 summer shows with Bob Dylan and Tom Petty

and the Heartbreakers, Garcia passed out at his home in San

Rafael,

California, and slipped into a diabetic coma.  His body was not

agreeing with all the years of road-life and drug abuse. When he

came out of the coma the Dead made a tribute song to growing old

gracefully and bravely, "Touch of Grey."

Unfortunately, though, Garcia's health was going nowhere

but

downhill, and according to some people so was his drug problem.

He collapsed from exhaustion in 1992, resulting in many

cancellations in their tour that year.  After his 1993 recovery,

Garcia

devoted himself to a regimen of diet and exercise.  At first it

worked

and he wound up losing sixty pounds. There were other positive

changes at work: He had become a father again in recent years and

was spending more time as a parent, and in 1994 he entered into

his

third marriage, with filmmaker Deborah Koons.  Plus, to the

pleasure

of numerous Deadheads

533.          Jerry Maguire 5

Movie Review of Jerry Maguire

If you want to take a break from the frigid air of a Montreal winter, go to see Jerry Maguire; it will be sure to warm your heart. If you're like me, you're a little tired of going to see big name stars in overly hyped, big time busts. Combine that with the fact that sports movies are rarely impressive, (Necessary Roughness?!? The Program?!?) and I have to say that my hopes were not too high for this movie. Let me tell you, I was pleasantly surprised.

The title character, played by Tom Cruise, is a sports agent at the top of his business, and at the bottom of humanity. He works for Sports Management International as a ruthless devil procuring the largest contracts and endorsement deals he can muster, at the expense of personal well-being and old-fashioned love of the game. The movie begins when one night, in a fit of passion, he has a revelation and writes a mission statement about how the business can be altered to include humanity. His plan focuses on reducing the number of clients to produce higher quality relationships with them. He then distributes it to all his colleagues before realizing what a big mistake he made. His boss fires him promptly. Only one client out of his previous 72, Arizona Cardinals wide reciever Rod Tidwell (Cuba Gooding Jr.), remains faithful. Ironically enough, his only concern is money. Only one former colleague, Dorothy Boyd (Renee Zellweger), joins Jerry when he forms a new company. His memo inspired her. Her five-year-old son, Ray (Jonathan Lipnicki), develops a huge crush on Jerry and is the deciding factor in convincing Jerry to marry Dorothy on impulse after he breaks up with his fiance, Avery (Kelly Preston). The movie tracks the trials of his relationship with Dorothy, and Rod's ascent to stardom.

Jerry is not a typical role for Tom Cruise. He's accustomed to playing, and we're used to seeing him in, macho, heroic type roles, (Mission Impossible, A Few Good Men, Days of Thunder etc. . .). In this movie he plays a loser, and I would call it his best performance yet. He really has to do some serious acting, and he renders his part brilliantly.

Another huge surprise in this movie was newcomer Renee Zellweger. Part of her succcess in this movie, is rooted in her relative anonymity. Had her character been played by a big name actress, like a Gweneth Paltrow or Sara Jessica Parker, the movie wouldn't have been the same. She is perfectly suited to the struggling, single mother role that she plays. In addition, she carries off the love scenes that Cruise seems to have a little trouble with.

I can't say enough about Cuba Gooding Jr. I first spotted him in Outbreak, and his performance in Jerry Maguire has furthered my contention that this guy is destined for stardom. He brings life, action, humour, and charisma to the movie. This guy can be anything he wants to be. I'd keep an eye out for him in the future.

Rounding out the cast: Bonnie Hunt (Jumanji, Beethhoven). She plays Dorothy's cynical, divorcee older sister. Her down to earth personality and skepticism perfectly contrast Dorothy's wholesome idealism and optimism. Next is Johnathon Lipnicki, Dorothy's kid. The sugar factor on this five-year-old is off the scales; he's a teaspoon too cute, but his scene stealing antics and expressions are used in perfect moderation. Regina King plays Tidwell's wife, and pulls off the tender, amourous scenes of young love with perfection.

Some credit must go to director Cameron Crow (Singles) for some some great camera work. You can't help but notice, as a viewer, the expressions and moods caught on tape. These instances had to be captured at precise moments. They make a zealous impact on the movie.

I think I've done enough raving about Jerry Maguire. Listen, this movie won't win any Oscars, it's not that kind of movie, but it's a heartwarming tale with great people to bring out its full potential. It's a realistic plot that we can all relate to; that's a rarity these days.

534.          Jerry Maguire Essay

Jerry Maguire

In his movie Jerry Maguire, director Cameron Crowe illustrates how failures and successes are all part of life and if you have love and are happy with your life then you will shirley succeed. It is part of life to experience failure which propels one forward to take risks and make changes to find the answers on how to succeed in lives little games. Jerry Maguire is an inspiring movie based on this theme, demonstrating success and failure with business endeavors, love relationships, friendships and self realization. Relationships between characters in this movie were numerous and were very intense. The relationship between Jerry and Rod Tidwell was initially one of strong control exhibited by Tidwell when he asks Jerry to yell "show me the money!" and when he refuses to complete the camel car commercial. This in turn adds to Tidwells failure with company endorsements and extra cash. Jerry also tries to exhibit control over Tidwell because he expects him to act in a certain way which he doesn't always do. Jerry proves this when he tells Tidwell the truth about his arrogant actions towards society and the team. Jerry knows it is in Tidwells best interest to tone down his arrogance in order to succeed which he does. In the end both men come to realize their faults and change their behavior which results in the success of Tidwells career. The other relationship that drives the story is that between Jerry and his secretary, Dorothy Boyd. She worked as an accountant for Jerry's agency, and was so inspired by his "mission statement", she was the only one to join him out on his own. Jerry has significant trouble in being alone, Dorothy is compassionate to him. Both were definitely taking a big risk but following their hearts. Control is also shown when Dorothy is receiving advice from her sister about the type of guy Jerry is. Dorothy of course doesn't follow the advice and exerts her own controls over the matter consequently falling in love with Jerry. Laurel failed in her marriage and Dorothy succeeded. The main idea of the movie is that people find happiness in all aspects of life to follow their hearts finding a common ground between heart and head. This required risk taking on the part of Dorothy and Jerry when they ventured out to start their own company and when Dorothy followed her heart to marry Jerry. Rod Tidwell had to learn to add more feeling and compassion or heart to his career which in turn pushed him further along in his success as a football player and increased his salary. Jerry Maguire on the other hand gave up his successful job to follow his heart not letting money interfere with his personal business relationships. A variety of very meaningful symbols were used to emphasize the movies most inner meaning. Dorothy's black sweater was seen on the first date and on the night when she broke it off with Jerry. The sweater symbolizes her love for him but she knew she couldn't live without his love in return. The action and use of the word punch was seen when Jerry was actually punched in his face by his fiancee on the night of their breakup. Prior to this scene he had just lost Cush Avery, his biggest client, it was like a punch in the stomach. And then there is the statement by Jerry's mentor "roll with the punches, tomorrow is another day." Maguires use of the word's "love you" was a general statement that he used often but not in the context of love. This was emphasized the night of his engagement party when all of his previous girlfriends and co-workers said over and over again " love you Jerry". As the plot develops and the story reaches it's climax the use of the words "love you" either by Jerry or other people were more sincere and meaningful. The use of the word love changes from a statement made coming from the head at the beginning of the movie to a statement made coming from the heart towards the end of the movie. This is seen in the beginning of the movie when Tidwell hangs up the phone after keeping Jerry on as his agent, speaking from his head not from his heart. Towards the end of the movie Tidwell uses the statement after his successful football game in a sincere manor which you can tell. In conclusion the movie Jerry Maguire illustrates how failures and successes are a part of life and if you have love and are happy with your life you will surely succeed. Jerry Maguire succeeded in business and love by "following his heart" and "rolling with the punches" along the way. For anyone who has forgotten the feeling that a wonderful movie can trigger, Jerry Maguire, is a welcomed reminder.

535.          Jerry Maguire

³Jerry Maguire²

Certain de gagner toutes sortes de prix, ³Jerry Maguire² marque un ³touchdown² pour toutes les personnes qui a travaillé sur le film.  Les vedettes sont Tom Cruise et Cuba Gooding Jr., qui deserve beaucoup de crédit.  Le film se sent très court, et les deux heures et demi passe très vites.  ³Jerry Maguire²  est un des peu de films qui <<invocer>>  toutes les emotions san avoir l¹appearance d¹être peu sincère.  Même si le personage central est un agent sportif qui est couronné de succès, l¹histoire du film (focuses?) sur les politiques de l¹athlétisme moins que le conflit de Jerry Maguire (Tom Cruise) pour conserver son integrité et sa réputation après d¹avoir été renvoyer à cause de sa conscience.

Jerry Maguire est renvoyé parce qu¹il a écrit un optimist ³mission statement² qui sugère que sa compagnie doit avoir moins de clients pour moins de l¹argent afin qu¹ ils ameliorent la qualité et (customer service).  Fidèlement, un de ses clients, Rod Tidwell (Cuba Gooding Jr.), reste avec Maguire.  En plus une comptable appellé Dorothy Boyd (Renee Zellweger) abadonne son travaille à l¹agence parce qu¹elle est inspiré par Jerry Maguire.  Les scènes suivantes sont caractisés par l¹émotion de douleur et (exultation), et finalement Maguire découvre une capacité pour l¹amour, l¹amitié, et l¹engagement qui l¹oblige de faire face à ses problèmes et trouver le bonheur.

À mon avis, Tom Cruise a donné sa meilleur performance de sa vie.  On peut dire la même chose pour Cuba Gooding Jr., qui est connu pour le film ³Boyz N the Hood.²  La raison pour laquelle ³Jerry Maguire² est une heureuse expérience se trouve dans les liens entre les personages.  Gooding Jr. et Cruise ont des moments comiques et amicables.  Aussi, il y a de fortes relations entre Cruise et Jonathon Lipnicki, qui joue le rôle du fils de Dorothy Boyd.  ³Jerry Maguire² est un film qu¹on doit voir.

536.          Jimi Hendrix 2

JIMMI HENDRIX

James Marshal Hendrix was born on November 27th 1942, in Seatle Washington.

He was considered by many to be the greatest guitarist to have ever lived.

When he was 12 years old, his father traded his saxaphone to buy an inexpensive acoustic guitar for Jimmi.

Though he never learned to read music, he tought himself by getting together with other local no-named bands and gigged for about 50 cents an hour and all the pop and food they could consume.

When he was 17 he had his father sign his enlistment papers so he could join the army. While in the army he was a paratrooper, and on his 26th jump, he hurt his back and his foot.

Jimi formed his own New York band in 1965, they called themselves "Jimi James and The Blue Flames"

After a few gigs they played, Jimi began to make a name for himself.

This led to a visit from Bryan "chas" Chandler (formerly the bass guitarist for "The Animals")

After arranging for passports, Chas presented Jimi with a ticket, some money, and a promise to meet Eric Clapton, Jimi was off to London.

While in London, Chas got Mitchel and Noel Reddin to join Jimi. They formed "The Jimi Hendrix Experience"

Jimi went back to America and toured with the monkeys. But unfortunatley, this was not a good idea because both bands styles were TOTALLY diffrerent.

When Jimi returned to England, he joined up with "Band of Gypsies" and recorded one album.

On september 18, 1970, James Marshal Hendrix was pronounced dead at St. Mary Abbot's Hospital in Kennsington England.

His cause of death was:   He took an offbrand of sleeping pills to get some rest, but they were not his usual brand, and he overdosed, although he overdosed, he was really killed by choking on his own vomit on the way to the hospital.

537.          Jimi Hendrix Essay

Jimi Hendrix

James Marshal Hendrix was born on November 27th 1942, in Seatle Washington. He

was considered by many to be the greatest guitarist to have ever lived. When he

was 12 years old, his father traded his saxaphone to buy an inexpensive acoustic

guitar for Jimmi. Though he never learned to read music, he tought himself by

getting together with other local no-named bands and gigged for about 50 cents

an hour and all the pop and food they could consume. When he was 17 he had his

father sign his enlistment papers so he could join the army. While in the army

he was a paratrooper, and on his 26th jump, he hurt his back and his foot. Jimi

formed his own New York band in 1965, they called themselves "Jimi James and The

Blue Flames" After a few gigs they played, Jimi began to make a name for himself.

This led to a visit from Bryan "chas" Chandler (formerly the bass guitarist for

"The Animals") After arranging for passports, Chas presented Jimi with a ticket,

some money, and a promise to meet Eric Clapton, Jimi was off to London. While in

London, Chas got Mitchel and Noel Reddin to join Jimi. They formed "The Jimi

Hendrix Experience" Jimi went back to America and toured with the monkeys. But

unfortunatley, this was not a good idea because both bands styles were TOTALLY

diffrerent. When Jimi returned to England, he joined up with "Band of Gypsies"

and recorded one album. On september 18, 1970, James Marshal Hendrix was

pronounced dead at St. Mary Abbot's Hospital in Kennsington England. His cause

of death was:   He took an offbrand of sleeping pills to get some rest, but they

were not his usual brand, and he overdosed, although he overdosed, he was really

killed by choking on his own vomit on the way to the hospital.

538.          Jimi Hendrix paper

Jimi HENDRIX

(1942 -70)

Jimi Hendrix var mer än en vanlig sjuttitalist. Han var gitarrist, sångare och låtskrivare. Men mest imponerande är att han ses som världens bästa gitarrist i rock-n-roll musikvärlden.                             Hans födelse namn var egentligen James Marchall  Hendrix, och föddes i Seattle, delstaten Washington ,USA.                         Den korta karriären började 1961 med turneringar runt på "rhythm and blues" shower. 1966   åkte  Jimi  till England och bildade "the Jimi Hendrix Experience", som var en framgångsrik trio med b.la Mitch Mitchall. De släppte succé låtar som och "Hey, Joe", "Purple Haze" och "The Wind Cries Mary". Dessa singlar klättrade upp på de Engelska topplistorna och blev snabbt stora hitar.

1967 kom Jimi tillbaka till staterna och gjorde han en livekonsert på "Montery Festival". Där spelade han den kanske mest kända låten: "Wild Thing". Detta uppträdandet blev dokumenterat på filmen the montery pop. Han blev också hyllad efter woodstock festivalen 1970 på filmen om Woodstock, efter att han gjort sin livs konsert. Den gången när han gjorde en version av "The Star Spangled Banner" och ryckte bort strängarna på sin gitarr med tänderna, har blivit legendarisk. Jimi Hendrix hade mycket gemensamt med en annan "gitarrkung", nämligen Elvis Presley, som båda kunde spela gitarr bra. Han hade ett sorts "erotiskt framträdande", ovanligt tempo, hög volym och demolering av sin gitarr. Konstigt kan man tycka, men det blev väldigt populärt. Den tråkigaste likheten mellan Elvis och Hendrix var att båda missbrkade droger.

1970 avled jimi hendrix av en överdos, men klassas fortfarande som en av världens störtsta gitarrister.

539.          Jimi Hendrix

Jimi HENDRIX

(1942 -70)

Jimi Hendrix var mer än en vanlig sjuttitalist. Han var gitarrist, sångare och låtskrivare. Men mest imponerande är att han ses som världens bästa gitarrist i rock-n-roll musikvärlden.                             Hans födelse namn var egentligen James Marchall  Hendrix, och föddes i Seattle, delstaten Washington ,USA.                         Den korta karriären började 1961 med turneringar runt på "rhythm and blues" shower. 1966   åkte  Jimi  till England och bildade "the Jimi Hendrix Experience", som var en framgångsrik trio med b.la Mitch Mitchall. De släppte succé låtar som och "Hey, Joe", "Purple Haze" och "The Wind Cries Mary". Dessa singlar klättrade upp på de Engelska topplistorna och blev snabbt stora hitar.

1967 kom Jimi tillbaka till staterna och gjorde han en livekonsert på "Montery Festival". Där spelade han den kanske mest kända låten: "Wild Thing". Detta uppträdandet blev dokumenterat på filmen the montery pop. Han blev också hyllad efter woodstock festivalen 1970 på filmen om Woodstock, efter att han gjort sin livs konsert. Den gången när han gjorde en version av "The Star Spangled Banner" och ryckte bort strängarna på sin gitarr med tänderna, har blivit legendarisk. Jimi Hendrix hade mycket gemensamt med en annan "gitarrkung", nämligen Elvis Presley, som båda kunde spela gitarr bra. Han hade ett sorts "erotiskt framträdande", ovanligt tempo, hög volym och demolering av sin gitarr. Konstigt kan man tycka, men det blev väldigt populärt. Den tråkigaste likheten mellan Elvis och Hendrix var att båda missbrkade droger.

1970 avled jimi hendrix av en överdos, men klassas fortfarande som en av världens störtsta gitarrister.

540.          Jimmy Smits

On July 9, 1955, one of the most prominent Hispanic actors was born.  His name is Jimmy Smits, a.k.a. Detective Bobby Simone on NYPD Blue.  Smits has helped increase the visibility of Hispanics in non-typecast roles on television.  He has also made his appearance in several movies, and he lends his support to groups concerning themselves with Hispanic issues.

Jimmy Smits was born in Brooklyn, New York.  His father came from Surinam, and his mother came from Puerto Rico, where he spent most of his childhood.  Smits eventually returned to Brooklyn and attended Jefferson High School.  Jimmy played football at first--standing six feet, two inches tall--but decided later on that acting was more important to him.  He quit football and joined every dramatic production he possibly could, even at other schools.

No one in Smits' family went away to college, but he changed all that by going to Brooklyn College to study drama and earn a B.A.  After that, he attended Cornell to earn an M.A. in theater.  As an ambitious young actor, Jimmy's dream was to perfect his craft and work on high-quality projects with high-minded people.  In reality, however, he spent his first years in the business playing roles that did not meet his artistic expectations.

At that time, many Hispanics and African Americans were not given that much of a chance in acting.  Sure, they got parts, but the roles they played were misleading toward their race.  After landing a part in L.A. Law in 1986, Smits changed all that.  More and more Hispanics were appearing in films and television shows.  Soon after Jimmy's debut on L.A. Law, he landed parts in Running Scared, The Believers, Stamp of a Killer, and Glitz in only three years!

Then, in 1994, Smits joined the cast of NYPD Blue, a very popular TV series.  During his course of his five seasons of NYPD Blue, Smits garnered six Emmy nominations and won a Golden Globe Award.  In 1999, after leaving the series (having played out the death of his character), he won the Emmy Award for best actor, drama series.  After his contract with the hit television series ended, Smits expressed a desire to produce all-Latino projects in the future.

541.          Joels Dream

JOEL'S DREAM

Joel was sitting in the airport lounge, sipping his mineral water, when the tanoy came on," BA flight two-six-one to Milan is now boarding. Please make your way to departure gate three, Thank you."

" That's me! See you later Shaz, I'll phone you when I get there !"

" See you Joel, hope everything goes okay!"

After exchanging kisses, Joel picked up his bags and heads off through the Departures corridor and to the plane.

Joel was possibly the best talent to come out of Scotland for years. He could play football with such style and skill, this was why he had been offered the most lucrative deal for a Scottish player ever. AC Milan, arguably the greatest team in the world had offered him a deal which would see him earn more than £40000 a week. This would make him the highest paid player in Europe and accelerate him to the top of world football.

He was due to meet the manager on Monday to discuss the terms of his contract and if all went well he would sign for Milan and fulfill his dream of being a star footballer and also make his wife Sharon very very happy. Sharon was a gold digger and was after Joel for his money, but she did stick by him, they had been married for two years and if Joel got the contract Sharon would be able to move to Milan and have everything and have everything she desired. So obviously she was very determined to see this deal go through.

After arriving at the hotel Joel settles in and unpacks before going to the Milan training camp to meet the players and his (hopefully) new manager, Roberto Ravelli.

" Hello! I'm Erigo I will be your guide while you are in Italy.  I'm sorry if my English is no good but I am still getting lessons.  Anyway welcome to Italy!! Anywhere you want to go I will take you."

" Oh thanks but I just want to meet the players then go back to the hotel and get some rest."

" I understand it has been a long flight and you need to rest."

" Yeah maybe we can go somewhere tomorrow or something!" said Joel who was getting a bit bored of talking and just wanted to get home and sleep.

" OK then it's a date," replied Erigo." But I've been instructed to take you on a tour of the stadium before you go!"

" Can't we do this tomorrow?" Said Joel tiredly.

" No I'm sorry I must do as I have been instructed.

" Okay but lets make it quick."

After his tour Joel went back to his hotel for some well needed sleep. As he was lying there he began to drift away into a dream, thinking about the stadium he had been in barely an hour ago and the players he had just met. His dream of being a professional football player was so close to coming true and Joel was overjoyed about it, so much so that he barely got a wink of sleep that night.

The next morning Joel was up really early to meet Erigo at 8:00pm before driving to Milan's stadium, newly named the 'San Siro Stadium', for his meeting with the manager and the board.  The managers office was massive, as Joel stepped inside he was stunned.  Trophies filled the room on all sides.  There was a massive marble desk in the middle of all these trophies and sitting at the desk was the manager, Roberto Ravelli and sat next to him were the ten members of the AC Milan Board, including the Chairman multi-millionaire Geirmund Zeige. These people were legends to him.  He had never been so excited in his life.

" Ah, Joel please sit down," said Mr. Ravelli invitingly.

" Thanks," replied Joel, who was still partly in shock.

"I'll make this quick," said Mr. Ravelli," I've made you a very good offer and I hope that you will agree to play for us."

" Em what? So do I just sign?"

" Well I'll finalize things today and you'll have your medical tomorrow afternoon, but, enough of this business talk.  Tonight is celebration time!  I've organized a party with all the players tonight and I would be delighted if you could attend!" asked Mr. Zeige.

" Yes I'd be delighted to!" replied Joel.

" Okay then I'll see you at the club suite at about seven o'clock.  Is that okay with you?"

" I'll be there Mr. Zeige," said Joel.

" It was nice to meet you Joel and I hope we can become better acquainted at the party tonight."

" Yeah me too Mr. Zeige.  Bye Mr. Ravelli, I'll see you at the party tonight."

" Yes bye Joel," said Mr. Ravelli.

Joel went back to his hotel filled with excitement and he couldn't wait to get to the party to meet more of his team mates.  In fact he was so eager that he was ready a full half hour before Erigo arrived with the car.

When they got there the party had just started and Joel went around and started to get to know his team mates better.

" Hi, my name's Joel pleased to meet you!"

" Yeah I know, I'm Marco, and this is Jurgen."

" Pleased to meet you," said Joel," I hope I'll be playing with you soon."

" Yeah me too," replied Marco.

" Hey Jurgen," whispered Marco.

" Yeah," replied Jurgen.

" I can't stand this anymore- all this about Joel.  If he signs what's going to happen to me, I'll be dropped and I'll have to play for the reserves and I don't want that to happen."

" Hey how do you know he'll take your place? How do you know he wont take my place?"

" Yeah!" replied Jurgen," Well we'll have to do something about it wont we,"

" Well what can we do?"

" This happened a few years back, this guy came and he was going to sign and take my place so I spiked his drink and when he took his medical it showed up and the manager got him charged!"

" Do you think that'll work?"

" It did the last time,"

" OK! You go and get the stuff while I go and get our friend Joel a drink."

" Okay," said Marco.  Marco turned and walked off while Jurgen went to get Joel a drink.

Soon after Marco returned with the drugs Joel collapsed and was taken to hospital.  Hours later Joel awoke and was greeted by his doctor.

" Ah Joel your awake. Look I've had to call your manager you know that don't you?"

" Why? What's wrong with me?" asked Joel.

" We've found traces of drugs in your system!"

" What!!" shrieked Joel," But how can there be? I don't take drugs!"

" Well their in your system and there's nothing anyone can do about. Your manager should be here soon but for now I recommend that you get some more sleep!"

" No way I don't take drugs!" said Joel to himself as the doctor walked away.

Soon after Mr. Ravelli and Mr. Zeige arrived and, after consulting the doctor, came over to talk to Joel," Hi Joel, I've just been speaking to your doctor, it seems you like to experiment with drugs!"

" No Mr. Ravelli it's not like that! I honestly don't know how the drugs got there but I promise you I didn't know anything about it." Begged Joel.

" Well do you honestly think we can believe you?" said Mr. Ravelli.

" Look I really don't know how it happened!"

" Joel, I don't know about you but if one of your, soon to be, players showed up in hospital with drugs in their system what would you think?"

" Oh please Mr. Ravelli!"

" Look Joel you must understand that I am going to have to put in a report to the Italian FA about this and I wouldn't be surprised if they handed you a worldwide ban!!"

" What!! How can you be thinking about worldwide bans, I didn't do anything!" pleaded Joel," Somebody must have spiked my drink at the party!"

" Well IF it was, it wasn't any of my players."

" How do you know?" said Joel angrily," It probably was one of your players they're animals!"

" How dare you insult my team! Mr. Zeige I recommend that we press ahead and file our report," said Mr. Ravelli," You never know we might be lucky enough to get this idiot a lifetime ban or maybe a worldwide ban!"

" Look please Mr. Ravelli I didn't mean it like that," begged Joel.

" It's too late for apologies now."

It was too late for anything now....

THE END

542.          JOHANN SEBASTIAN BAC1

JOHANN SEBASTIAN BACH

Johann Sebastian Bach was born in 1685 in the town of Thuringia, Germany where he was raised and spent most of his life. Due to a shortage of expenses, he was confined to a very limited geographical space, as was his career. This greatly affected his, in that his music was not as widley known as other composers of the time. On traveling he never went farther north than Hamburg or farther south than Carlsbad. To look back on the life of Bach many have referred to him as "one of the greatest and most productive geniuses in the history of Western music", particularly of the baroque era. Born to a family that produced at least 53 prominent musicians within seven generations, Bach received his first musical instrument from his father. Johann studied music with his father until his father's death in 1695, at which point he moved to Ohrdruf to study with his brother, Johann Christoph. In the early 1700's Bach began working as a chorister at a church in Luneburg. In 1703, he became a violinist in the chamber orchestra of Prince Johann Ernst of Weimar, but later that year he moved to Arnstadt where he became church organist. In 1705, Bach took a one month leave to study with the renowned Danish-born German organist and composer Dietrich Buxtehude who was staying in Lubeck. Later, Buxtehude's organ music would greatly influence that of Johann Sebastian Bach. Bach's stay was so rewarding that he overstayed his leave by two months to be greatly criticized for his breach of contract by the church authorities. Fortunately, Bach was too highly respected to be dismissed from his position. In 1707, Bach married his second cousin, Maria Barbara Bach, he also moved to Mulhausen as organist for a church there, but, 1708 brought him back toWeimer. He came back as an organist and violinist at the court of Duke Wilhelm Ernst, where he stayed for the following nine years to become concertmaster of the court orchestra in 1714. In Weimer he composed about 30 cantatas, including his well-known funeral cantata "God's time is the best", and also wrote organ and harpsichord works. Bach also began traveling throughout Germany as an organ virtuoso and a consultant to organ builders. 1717 found Bach beginning a six year employment as chapelmaster and director of chamber music at the court of Prince Leopold of Anhalt-Kothen. During this period he primarily wrote secular music for ensembles and solo instruments, he also prepared music books (including: Well-Tempered Clavier, Inventions, and the Little Organ Book) for his wife and children with a purpose of teaching them keyboard technique and musicianship. In 1720 Bach's first wife died , a year later he married Anna Magdalena Wilcken a singer and daughter of a court musician. Anna bore him 13 children in addition to the 7 had to him by his first wife, and helped him by copying the scores of music for his performers. In his later years, Bach moved to Leipzig and spent the rest of his life there. He was positioned as musical director and choirmaster of Saint Thomas's church and church school, this position was unsatisfactory to him. He continuously argued with the town council, and neither the council nor the town people appreciated his musical genius. To them all Bach was, was a stuffy old man who clung stubbornly to an obsolete form of music. Nonetheless, the two-hundred and two cantatas surviving from the 295 that he wrote while in Leipzig are still played today, where as much that was new at the time has long since been forgotten. Most of Bach's cantatas open with a section with chorus and orchestra, continue with alternating recitatives and areas for solo voices and occumpaning, and conclude with a chorale based on a simple Lutheran hymn. The music is at all times closely bound to the text, ennobling the latter immeasurably with its expressiveness and spiritual intensity. Among these works are the Ascension Cantata and the Christmas Oratorio, the latter consisting of six cantatas. The Passion of St. John and The Passion of St. Matthew also were written in Leipzig, as was the epic Mass in B Minor. Among the works written for keyboard during this period are the famous Goldberg Variations; Part II of the Well-Tempered Clavier; and the Art of the Fugue, a magnificent demonstration of his contrapuntal skill in the form of 16 fugues and 4 canons, all on a single theme. Bach's sight began to fail in the last year of his life, and he died on July 28,1750, after undergoing an unsuccessful eye operation. After Bach's death, he was remembered less as a composer, and more as an organist and harpsichord player. His frequent tours had ensured his redemption as the greatest organist of the time, but his contrapuntal style of writing sounded old-fashioned to his contemporaries, most of whom preferred the new preclassical styles then coming into fashion, which were more homophonic in texture and less contrapuntal than Bach's music. Consequentially, for the next 80 years his music was neglected by the public. Although a few musicians admired it, among them were Wolfgang Amadeus Mozart and Ludwig Van Beethoven. A revival of interest in Bach's music occurred in the mid-19th century. The German composer Felix Mendelssohn arranged a performance of the Passion of St. Matthew in 1829, which did much to awaken popular interest in Bach. The Bach Gesellschaft, formed in 1850, devoted itself assiduously to finding, editing and publishing Bach's work. Because the "Bach Revival" coincided with the flowering of the romantic movement in music, performance styles were frequently gross distortions of Bach's intentions. Twentieth-century scholarship, inspired by the early enthusiasm of the French Protestant, medical missionary, organist and musicologist Albert Schweitzer, gradually has unearthed principals of performance that are truer to Bach's era and his music. Bach was largely self-taught in musical composition. His principal study method, following the custom of his day, was to copy in his workbooks of the French, German and Italian composers of his own time and earlier. He did this throughout his life and often made arrangements of other composers' works. The significance of Bach's music is due in large part to the scope of his intellect. He is perhaps best known as a supreme master of counterpoint. He was able to understand and use resource every of musical language that was available in the baroque era. Thus, if he chose, he could combine the rhythmic patterns of French dances, the gracefulness of Italian melody, and the intricacy of German counterpoint all in one composition. At the same time he could write for voice and the various instruments so as to take advantage of the unique properties of construction and tone quality in each. In addition when a text was associated with music, Bach could write musical equivalents of verbal ideas, such as an undulating melody to represent the sea, of a canon to describe the Christians following Jesus. Bach's ability to assess and exploit the media, styles and genre of his day enabled him to achieve many remarkable transfers of idiom. For instance, he could take an Italian ensemble composition, such as a violin concerto, and transform it into a convincing work for a single instrument, the harpsichord. By devising intricate melodic lines, he could convey the complex texture of a multivoiced fugue on a single-melody instrument , such as the violin or cello. The controversial rhythms and sparse textures of operatic recitatives can be found in some of his own works for solo keyboard. Technical facility alone of course was not the source of some of Bach's greatness. It is the expressiveness of his music, particularly as manifested in the vocal works, that conveys his humanity and touches listeners everywhere. That is why Johann Sebastian Bach was considered one of the greatest musical composers, but more specifically one of the greatest baroque composers of all time.

543.          Johann Sebastian Bac2

Johann Sebastian Bach

Johann Sebastian Bach was a musical composer of the late 17th and early

18th centuries.  He was one of the greatest composers of all time.  He was born

in Eisenach, Thuringia, in 1685.  He spent his life in music and was known for

his ability in that subject.

At age 15, Bach got his first job as a court musician at Weimar.  There

he became known as a great organist.  In 1717, the Prince of Cothen invited Bach

to become Kappelmeister in Cothen.  The Duke of Weimar refused to let Bach go to

Cothen, however, and confined him in a gaol for a time.

After Bach was released by the Duke of Weimar, Bach took up the Prince

of Cothen on his offer and stayed with him in Cothen for a period of six years.

It was there in Cothen that Bach became widely known for his skill as organist

and his ability to compose sacred and secular music.  His stay in Cothen staged

his fame in his country for his music.

Bach's last job was as Cantor at St. Thomas's school in Leipzig.  This

was one of the most prestigious posts in Germany.  There in Leipzig he spent 20

years constantly battling with the school and church authorities.  However, he

did write some of the best work in his lifetime during this period.

Johann Sebastian Bach spent his life devoted to his music.  In that

respect he was a genius.  He was one of the greatest composers and organists in

his period of time.

544.          Johann Sebastian Bac3

Johann Sebastian Bach

Regarded as perhaps the greatest composer of all time,

Bach was known during his lifetime primarily as an

outstanding organ player and technician. The youngest of

eight children born to musical parents, Johann Sebastian

was destined to become a musician. While still young, he

had mastered the organ and violin, and was also an

excellent singer. At the age of ten, both of his parents died

within a year of each other. Young Sebastian was fortunate

to be taken in by an older brother, Johann Christoph, who

most likely continued his musical training. At the age of

fifteen, Bach secured his first position in the choir of St.

Michael's School in Lüneburg. He travelled little, never

leaving Germany once in his life, but held various postitions

during his career in churches and in the service of the courts

throughout the country. In 1703 he went to Arnstadt to

take the position of organist at the St. Boniface Church. It

was during his tenure there that Bach took a month's leave

of absence to make the journey to Lübeck (some 200

miles away, a journey he made on foot) to hear the great

organist Dietrich Buxtehude. One month turned into five,

and Bach was obliged to find a new position at Mülhausen

in 1706. In that year he also married his cousin, Maria

Barbara. Bach remained at Mülhausen for only a year

before taking up a post as organist and concertmaster at

the court of the Duke of Weimar.

In 1717, Bach moved on to another post, this time as

Kapellmeister at the court of Prince Leopold in Cöthen.

During the years Bach was in the service of the courts, he

was obliged to compose a great deal of instrumental music:

hundreds of pieces for solo keyboard, orchestral dance

suites, trio sonatas for various instruments, and concertos

for various instruments and orchestra. Of these, the most

famous are the six concerti grossi composed for the Duke

of Brandenburg in 1721, and the Brandenburg Concerto

no. 3 exemplifies the style of the concerto grosso in which

a small group of instruments (in this case a small ensemble

of strings) is set in concert with an orchestra of strings and

continuo. Of Bach's music for solo instruments, the six

Suites for violoncello and the Sonatas and Partitas for

solo violin are among the greatest for those instruments.

The Violin Partita no. 3 contains an example of a popular

dance form, the gavotte.

Maria Barbara died suddenly in 1720, having borne the

composer seven children. Within a year Bach remarried.

The daughter of the town trumpeter, Anna Magdalena

Bach would prove to be an exceptional companion and

helpmate to the composer. In addition, the couple sired

thirteen children. (Of Bach's twenty off-spring, ten died in

infancy. Four became well-known composers, including

Carl Philipp Emanuel and Johann Christian.) Soon after his

second marriage, Bach began looking for another position,

and eventually took one in Leipzig, where he became

organist and cantor (teacher) at St. Thomas' Church. He

remained in Leipzig for the rest of his life.

A devout Lutheran, Bach composed a great many sacred

works as his duties required when in the employ of the

church: well over two hundred cantatas (a new one was

required of him every week), several motets, five masses,

three oratorios, and four settings of the Passion story, one

of which, The St. Matthew Passion, is one of western

music's sublime masterpieces. Bach also wrote vast

amounts of music for his chosen instrument, the organ,

much of which is still regarded as the pinnacle of the

repertoire. One such work is the tremendous Passacaglia

and Fugue in C minor.

Towards the end of 1749, Bach's failing eyesight was

operated on by a traveling English surgeon, the catastrophic

results of which were complete blindness. His health failing,

Bach nevertheless continued to compose, dictating his

work to a pupil. He finally succombed to a stroke on July

28, 1750. He was buried in an unmarked grave at St.

Thomas' Church.

Bach brought to majestic fruition the polyphonic style of

the late Renaissance. By and large a musical conservative,

he achieved remarkable heights in the art of fugue, choral

polyphony and organ music, as well as in instrumental

music and dance forms. His adherence to the older forms

earned him the nickname "the old wig" by his son, the

composer Carl Philip Emanuel Bach, yet his music

remained very much alive and was known and studied by

the next generation of composers. It was the discovery of

the St. Matthew Passion in 1829 by Felix Mendelssohn

that initiated the nineteenth century penchant for reviving

and performing older, "classical" music. With the death of

Johann Sebastian Bach in 1750, music scholars

conveniently mark the end of the Baroque age in music.

545.          Johann Sebastian Bach 600

As German family of musicians and composers, the Bachs achieved the height of their fame in the 17th and 18th centuries. Seven Bach generations achieved greater or lesser prominence in music from 1580 to about 1800. Of the group, Johann Sebastian Bach has been acclaimed as one of the giants of musical history.

Johann Sebastian Bach was born in Eisenach, Germany, on March 21, 1685. Or-phaned when he was ten, he was cared for by his eldest brother. In 1700 he became part of a select choir of poor boys at the school of the Michaelskirche, Luneburg. He held various musical posts, including that of organist at Arnstadt (1703-07), at Muhlhausen (1707-08), and at Weimar (1708-17). He was kapellmeister (music director) at Kothen from 1717 to 1723.

As an organist and choirmaster for Lutheran churches near his birthplace, Bach devoted his life to composing music for the church services. His incredible output marks the summit of the polyphonic, or contrapuntal, style.

Amazingly versatile and productive, he wrote magnificent music for the organ, for choral groups, for clavier and harpsichord, for orchestra, and for small groups of instru-ments. Bach was the master of the technique known as the fugue. In this, voices or in-strumental parts enter at different points, each imitating the first. After entering, however, each part is varied. The result is a very complex counterpoint.

Bach perfected the chorale-prelude, a contrapuntal composition based upon a cho-rale, or hymn tune, of the Lutheran church. Chorales were also used in Bach's cantatas--large works for a chorus of singers and accompanying instruments. Other compositions by Bach include a number of suites, whose various movements consist of dance rhythms of the 16th to 18th centuries--the allemande, courante, saraband, and gigue.

One of Bach's most famous works is `The Well-Tempered Clavier,' a collection of preludes and fugues (the prelude is a freer form than the fugue). It was written to show the advantages of the even-tempered method of tuning keyboard instruments. Also well known are the six `Brandenburg Concertos'.

Johann Sebastian Bach, 1685-1750 was famous as a master of the organ and other instruments during his lifetime. Johann Sebastian Bach's music was neglected after his death until the early 1800s. His works brought to a climax the baroque period during which many new forms and styles were developed. The "English Bach," Johann Christian Bach as a young man became a fashionable composer who deeply influenced English mu-sical life. In 1764, while he was serving as master of music to King George III, he and Carl Friedrich Abel started a popular series of concerts.

The youngest son of Johann Sebastian, Johann Christian Bach was born in Leipzig on Sept. 5, 1735. He received musical training from his half brother, Carl Philipp Emanuel. Johann Christian moved to Italy when he was 20. He studied in Bologna, converted to Roman Catholicism, and was named organist of the Milan Cathedral in 1760. Johann Christian died in London on Jan. 1, 1782.

Bach wrote literally thousands of compositions, many for use in churches or in in-struction. Combining elements of the Lutheran chorale, the French and Italian orchestral styles, and baroque organ music, Bach produced the `Brandenburg' concertos (1721) for orchestra, `The Well-Tempered Clavier'  (1722-44) for keyboard, the `St. John' (1723) and `St. Matthew' (1729) passions, nearly 200 cantatas, the `Mass in B Minor' (completed about 1738), and hundreds of others.

Married twice, Bach fathered 20 children. In 1723 he accepted the posts of cantor of the Thomaskirche school and director of church music for the city of Leipzig, Germany. He died in Leipzig on July 28, 1750.

546.          Johann Sebastian Bach Essay

Johann Sebastian Bach

A Great Contributor Of Music

Throughout the history of music, many great composers, theorists, and instrumentalists have left indelible marks and influences that people today look back on to admire and aspire to. No exception to this idiom is Johann Sebastian Bach, whose impact on music was unforgettable to say the least. People today look back to his writings and works to both learn and admire. He truly can be considered a music history great.

Bach, who came from a family of over 53 musicians, was nothing short of a virtuosic instrumentalist as well as a masterful composer. Born in Eisenach, Germany, on March 21, 1685, he was the son of a masterful violinist, Johann Ambrosius Bach, who taught his son the basic skills for string playing. Along with this string playing, Bach began to play the organ which is the instrument he would later on be noted for in history. His instruction on the organ came from the player at Eisenach's most important church. He instructed the young boy rather rigorously until his skills surpassed anyone's expectations for someone of such a young age. Bach suffered early trauma when his parents died in 1695. He went to go live with his older brother, Johann Christoph, who also was a professional organist at Ohrdruf. He continued his younger brother's education on that instrument, as well as introducing him to the harpsichord. The rigorous training on these instruments combined with Bach's masterful skill paid off for him at an early age. After several years of studying with his older brother, he received a scholarship to study in Luneberg, Germany, which is located on the northern tip of the country. As a result, he left his brother's tutelage and went to go and study there.

The teenage years brought Bach to several parts of Germany where he mainly worked as an organist in churches, since that was the skill he had perfected the best from his young training. However, a master of several instruments while still in his teens, Johann Sebastian first found employment at the age of 18 as a violinist in a court orchestra in Weimar. Although he did not remain there terribly long, he was able to make good money playing for the king. He soon after accepted a position as a church organist in Arnstadt. It was here that Bach would soon realize his high standards and regards that he had for music. In Arnstadt as well as in many other places that Bach worked he was notorious for getting into fights over the quality of music that was being produced. A perfect example of this can be seen in Arnstadt. Previous accounts of history claim that Bach was upset with the performance of the church choir for which he played for. He claimed that "the voices could never make the music soar to the sky as it should" (loosely translated). Here Bach realized the high level of music and perfectionism that he wanted. In 1707, at the age of 22, Bach moved on from Arnstadt to another organist job, this time at the St. Blasius Church in Muhlhausen. Once again he did not remain there too long, only a little over a year, when he moved again to Weimar where he accepted the position of head concertmaster and organist in the Ducal Chapel. It was here that Bach settled himself and began to compose the first collection of his finest early works which, included organ pieces and cantatas.

By this time Bach had been married for several years. He actually became married to his cousin Maria Barbara. They, for the most part, had a happy marriage. He was happy. By this stage of his life he had "composed" for himself a wonderful reputation of being a brilliant musical talent. Along with that his proficiency on the organ was unequaled in Europe by this time. In fact, he toured regularly as a solo virtuoso, and his growing mastery of compositional forms, like the fugue and the canon, were already attracting interest from the musical establishment, which, in his day, was the Lutheran church. The church began to look at Bach's writings and saw the opportunity to possibly use his music in their masses. Thus was the slow birth of the German chorale, which Bach later became renowned for. Bach's virtuosic career did suffer minor setbacks along the way. He occasionally would be passed over for deserved positions within the court that he worked. However, in 1715 when he did not receive a truly desired position of "Kapellmeister" (choral master) of Weimer, he was insulted and left the city. He accepted a position as a court conductor in Cothen, where he began to work on another part of his musical genre, that of instrumental music. Up until this point, Bach was mainly writing organ pieces and church cantatas. One of his most famous, "Wachet auf ruft uns die Stimme," became well known around the world and is still looked upon as a classic today. However, when he arrived in Cothen he began to focus on all other instruments and used his talents as a string player and knowledge of "wind & brass" instruments to begin composing instrumental pieces. It was during his stay here in Cothen that the orchestral masterpiece known as the "Brandenburg Concerto" was born.

Bach's tenure in Cothen lasted approximately seven years. In that time his wife Mara became ill and died. Although distraught, he soon remarried to Anna Magdalena. It was during this time that Bach had several children, three in particular would grow to become talented musicians like their father. Wilhelm Friedmann, C.P.E. Bach, and J.C. Bach. They to became virtosos of the organ and later the harpsichord, much like their father was. After Bach left Cothen, he received a prestigious position as music director at the St. Thomas Church in Leipzig, Germany. Here Bach accepted his most demanding position of all. He had the responsibility of composing cantatas for the St. Thomas and St. Nicholas churches, conducing the choirs, overseeing the musical activities of numerous municipal churches, and teaching Latin in the St. Thomas choir school. Although demanding, Bach persisted and succeeded in Leipzig and continued to write music of various kinds with a level of craft and emotional profundity that was his alone. Bach remained at his post in Leipzig until his death in 1750. Although he was blinded by cataract problems in the early 1740s, he still managed to compose masterful pieces up until days before his death. His last musical composition that he crafted happened to be a choral prelude, which was dedicated to his son-in law. To this day more than 1,000 of Bach's accomplished compositions survive. Some of his most famous works include the "Brandenburg Concerto," The "Mass In B Minor," "The Goldberg Variations for Harpsichord," his vast amount of toccatas, especially his "Toccata In F Major," his collection of variations on organ preludes captured in the "Well Tempered Clavier," his immense amount of fugues and chorales including his "Fugue in G minor," major as well as his tremendous amount of chorales, and his Christmas and Easter oratorios, which was another schism in his music genre. Quite frankly, the list goes on and on and on. Surely, Johann Sebastian Bach never believed that his success would become so heroic and monumental. However, we today perceive him to be one of the key individuals to shape the music we listen to. It is no secret that his writings, especially chorale writings, are used to illustrate the principles of our functional system of harmony. It is in this example alone that it can be seen that Bach's works have not only survived to the point where they are still heard and listened to, but they also still provide us with knowledge and understanding from which we can learn and discover music. It is for these reasons that the life of Johann Sebastian Bach was truly a great one and it is without any apprehension that he can be considered a musical great.

547.          Johann Sebastian Bach

Chris Kouffman

February 11, 1997

Period 7

Johann Sebastian Bach

Johann Sebastian Bach was a musical composer of the late 17th and early 18th centuries.  He was one of the greatest composers of all time.  He was born in Eisenach, Thuringia, in 1685.  He spent his life in music and was known for his ability in that subject.

At age 15, Bach got his first job as a court musician at Weimar.  There he became known as a great organist.  In 1717, the Prince of Cothen invited Bach to become Kappelmeister in Cothen.  The Duke of Weimar refused to let Bach go to Cothen, however, and confined him in a gaol for a time.

After Bach was released by the Duke of Weimar, Bach took up the Prince of Cothen on his offer and stayed with him in Cothen for a period of six years.  It was there in Cothen that Bach became widely known for his skill as organist and his ability to compose sacred and secular music.  His stay in Cothen staged his fame in his country for his music.

Bach's last job was as Cantor at St. Thomas's school in Leipzig.  This was one of the most prestigious posts in Germany.  There in Leipzig he spent 20 years constantly battling with the school and church authorities.  However, he did write some of the best work in his lifetime during this period.

Johann Sebastian Bach spent his life devoted to his music.  In that respect he was a genius.  He was one of the greatest composers and organists in his period of time.

548.          John Ford & Frank Capra a study of there movies

"A great man and a great American, Frank Capra is an inspiration to those who believe in the American dream" John Ford

"The megaphone has been to John Ford what the chisel was to Michelangelo.....Ford Cannot be pinned down or analyzed. He is pure Ford--Which means pure great" Frank Capra

Frank Capra and John Ford have directed many classic movies and it is unfair to only view two of their  works and summarize all there is too say about their styles, so I won't. Instead, I will be discussing different styles and conventions that Frank Capra and John Ford used in the four movies I viewed. These movies  are  Mr. Smith goes to Washington,  Mr Deeds goes to Town  both Capra, films and The Informer and Grapes of Wrath by Ford.

America in the 30's was a time of hardship economically, politically and socially. If you have taken an American history course you know all about the depression and the crisis that it bestowed upon the land. Hollywood,  the movie making capital of the world tried its best not to reflect the problems of the country in its products. Instead of the grim realities of world, Hollywood lured in the audience with escapist movies. The classic thirties genres like screwball comedies,  glamourous musicals and fantasy movies, were mere ploys to divert the sad reality of the time and in doing so Hollywood firmly defined its role as entertainer not critic. Capra and Ford can also be accused of following this pattern too, with other movies they made. The 30's were also a time of the great studio system and one had to work under the control of these institutions, although both directors managed to achieve enough fame and power that they could create their own visions. With this power and fame, Capra and Ford were able to turn out movies that went against the usual Hollywood style; critical of society, authority, government, newspapers, the police and political rebels. These men where able to make movies about the injustice in the world and they created simple folk yet(much like Forrest Gump in Capra's case) complex enough to deal and in some cases win against the evils of the world. Although they deal with similar topics and  understands about society and man, they have different ways of delivering their message. Capra used humor, fantasy, splendor, and a quick moving camera.  Ford on the other hand used gritty realism, harsh environments, and a static camera, with slower cuts and movements. They both can be considered anti-establishment directors, but I would say that their movies go beyond simple anti-establishment attitudes and actually try to and establish a new more righteous establishment.  Ford and Capra believed so much in America that during her time of great crisis in WWII, they left Hollywood and all the money to work for the U.S. Forces.  Ford became an Admiral in the U.S. Navy and Capra a Colonel for the Army.

Of  the four movies by Capra and Ford, The Informer is the only one that was not a box-office smash at its time of release, however all four movies carry the prestigious titles of being called some of the greatest films of all time. All these films can be enjoyed on a simplistic entertainment level, but there is so much hidden between the texts that makes them great, therefore they were obviously made for more than just enjoyment.

There are strong issues being dealt with about man and his relationship within the society he lives in. From the most basic problems about individuals suffering from lack of shelter and starvation to mass starvation and political corruption. There also seem to be the tone in Capra's and Ford's movies that man was doing fine until society interfered with him, not just society in general but more city society. There is a feeling that city people are corrupt and infect all that they touch, while the simple country folk are pure and good. This point is proven over and over again, it is not the individual that is corrupt it is the society that corrupts the individual. Deeds and Smith both from there respective self titled movies are happy and fine living quiet sheltered lives in their small town. As soon as city society comes knocking on their door trouble begins. Whereas when we meet Fonda in Grapes of Wrath, society has already beaten him down and now he must rise again or perish. Gypo too in The Informer has been defeated by society and he too must rise or perish. So as Capra's hero's are virginal,  Ford's have already been around the block a few times but insist that they are still virgins.

The character's in Ford and Capra's movies are microcosms for all that is happening and these movies are mainly character centered and driven so it is a fair way in dealing with their idea's. Capra's characters are modeled on the belief that one man can make a difference and help society, while Ford's characters are almost incapable of helping themselves. (although Fonda in Grapes of Wrath speaks of wandering the earth to bring truth and justice to the world,) Fonda will only effect small minorities of people, while Capra's characters change the world. Yet both styles of character are modeled on the simple and common folk. They are naive to the world and as the movie progresses, they and we, the audience learns how corrupt the world is, but whereas Capra gives you the golden ending, (believable and happy) Ford takes a much more cynical look. Gypo the main character is killed while the Joad family future in Grapes of Wrath is not that much better than when they statred out.

Capra's heroes come from small town, happy middle America and are the epitome of the common man. They are well liked and respected in the community that they live in. Capra's men have greatness thrust on them by luck, while Ford 's characters have trouble thrust upon them. Both Smith and Deeds achieve their honored positions by the misfortune of someone else. In both cases it is the death of a famous individual who perishes and Deed's and Smith are called up from the ranks of the common people to eventually achieve greatness. However, their call is based on pure luck. Deeds luck was due because he was an heir of a wealthy relative, and Smith because a coin toss ends with the coin standing erect. Ford's men come from the outside of society,  Fonda from prison and Gypo had been kicked out of the IRA. They have been disgraced and are at low points in their lives, while Fonda tries to redeem himself in a society that keeps dropping him down. He is released from prison, finds out the authorities have taken his home and starts out with nothing. Fonda tries his hardest not to become a "Mean Man".(Ma Joad's  name for what happens when you go to prison and become evil) Gypo also wants redemption but is so lost in a society that rejects him. The society in this case is the IRA and once Gypo is kicked out he has no money and becomes lost. He wants to do good but is helpless until the end when he begs and is granted  forgiveness and dies redeemed, religiously speaking.

Ford used religion in both movies as turning points and a way to reflect the inner struggle of characters, the death of the preacher changes Fonda forever and Gypo's redemption in the church where he has at last found peace. Capra on the other hand uses real American monuments in the same way. Grant's Tomb and the Capitol building are seen by Deeds and Smith as great American institutions that symbolize the truth and greatness of  their nation. During the monument scenes we learn a lot about the inner emotions of the characters. No one else see's the beauty and ideological importance of these monuments as we are told by supporting characters but this reflects that twentieth century man has lost his faith in the institution. Although Capra's movies can be considered to show American society and authority in poor light, he on the surface can be considered anti-establishment or anti-American, but on a deeper level he is more pro-establishment and American because he wants the institutes to work and  mean something, not just to be  hollow houses to be used by the wealthy and cunning to swindle the land. Smith actually argues these point when he is holding the filibuster and is trying to explain why kids must learn to understand an appreciate the Constituent. So when they grow up they hold them of value and the principals of the founding father actually meaning something.  Ford too shows the same if not even stronger anti-establishment views. At the same time as tearing down the institution they support but not in its present corrupt form  making these directors super-patriots, they are willing to go against something they believe to be wrong in the hope it will get better. In this way both Ford and Capra can be seen as Caprasque heroes  both men somehow achieved enough luck that they where in a position to change the world and they did.

Ford and Capra also make comments on the society of  the educated man and the written word. In fact the written word is used by both directors in various forms, it motivates, destroys and can redeem. The written word is always paralleled with money or prosperity but, once unmasked is usually wrong or bad. Gypo sees a poster of his friend that reads reward 20 pounds, Gypo out of confusion turned to this poster and betrays his friend and his society for the money. The Joad family is of on a quest to California on account that they read a pamphlet,  this could be compared to the newspaper clip Ma Joad has of her son's imprisonment. In both these Ford movies the news or the written word is somehow a motivation for people to do something. But  the written word always leads to misfortune. Comparing the pamphlet with the article on Fonda's imprisonment could symbolize and verify that nothing good ever comes from the written word.  Ford way of secretly criticizing the learned man.  Perhaps he is commenting on the fact that we pay to much attention to what is written, which could lead to our downfall. Don't just believe what you read investigate to find out the truth. Later on in Grapes of Wrath we find out that the pamphlet is actually a tool of the rich man to lure lots of workers out to California so they can offer really low wages. The wealthy man controls the news and will always use it to his advantage, even though most common folks believe what they read they must learn not to be so blind.

The use of newspapers and written words are more obvious in the two Capra films. They not only affect the characters but they also help explain the story to the audience. In the Capra films we learn that news is subjective to mistruths and when silly stories appear of  Deeds in the paper we know they were not meant in the context that they were printed. Yet it seems that in Capra's films the society believes without question everything they read in the paper,  yet as spectators we learn the truth about the media. Babe the reporter who loves Deeds says in the court room she colored the articles to sell more papers. Finally when we are introduced to Taylor in Smith we realizes how corrupt the news actually really is. Taylor's name can be used as a metaphor for tailor as someone who alters something. Although control of the paper is done in typical Capra fashion, by the power of one man. The newspaper is another institution that must be unveiled because it has the power to confuse and corrupt people. Taylor is the ultimate in corruption and when Babe was working for the paper she too cheats. Anyone associated with the written word is portrayed in a cynical or devious ways.

Finally the most destructive theme in Ford's and Capra's movies is money. Money is used in many ways in these four films sometimes their is plenty and some times their is not any.  Money ends up playing a big role in each of these films, money is also used as a device to show how characters behave when serious matters occur.

Deeds and The Informer are very similar in their dealing with money. Both movies begin with a large written banner about money. Gypo is faced with a poster claiming reward money, while Deeds begins with the newspaper proclaiming millionaire heir not found yet. In both cases death is the cause that there is the transfer of money to the main characters. Gypo becomes paranoid and drunk indirectly due to the money. Deeds also misuses his fortune at first, getting drunk and running around New York naked. With money comes responsiablity and both Gypo and Deeds in the beginning are not capable of handling responsesablity. It takes them many lesson to learn the real value of money and when they firgure it out they end up givening their money away to help someone less fortunate. Deeds gives his millions to the out of work people, while Gypo gives his money to a lady in need of transportation home. Both cases the money is used for the purpose of good. In Deeds the twenty million dollars brings many leeches, the same happens to Gypo with his 20 pounds. Gypo starts to spend money more and more frequently as the night wares on. He attracts leeches who care little about Gypo but a lot about his money. These leeches end up guiding the character into deeper and deeper trouble. Wheras Deeds has professional leeches like lawyers, because Deed lives in the world of high fainace the thief where suits and have offices. Both films end up using money as a test of a persons strength in the case of Gypo he fails at first but eventually learns right even though it is too late. Deeds on the other hand passes the test at first easily, but there are moments when he is close to failing.

Smith and Grapes of Wrath are also very similar with the use of money potrayed in these pictures. Both are centered on the fact that society through money is being abused and the little guy can not fight these odds. The big buisness men who smoke fat cigars and buy up land and kick off the farmers in Grapes of Wrath are the same men that work in the Senate in Smith. These men the wealthy are extremly greedy whereas the Joads just want enough money to feed the family and live. These rich land owners are willing to starve children just to make more of a profit. coincidently while the rich steal and make illegal deals to become richer the Joads do not even try to steal a loaf of bread. Which is the point of these moves that there is more important thing than money, even thought are society is based on it.

Capra and Ford worked very hard to achieve the positions in society they did, both grew up in poor large families and hence started at the bottom and worked their way to the top. They lived the American dream yet they were not so blinded by their success that they did not see the misfortune of others. They knew the American system was corrupt and unfair and set out to criticizes  and even help change it. Either men cannot be labeled as liberal or socialist because  there political allegance was not towards a party or a theory, it was rooted in simple and obvious universal truths. And because their movies deal with universal themes and truths I believe there movie do not or will not ever appear old or dated.

American Film I

FA/FILM 3210

"FORD & CAPRA"

DEC 3 1996

549.          John Ford and Frank Capra

John Ford and Frank Capra: A Study of Their Movies

"A great man and a great American, Frank Capra is an inspiration to those who

believe in the American dream" John Ford

"The megaphone has been to John Ford what the chisel was to

Michelangelo.....Ford Cannot be pinned down or analyzed. He is pure Ford--Which

means pure great" Frank Capra

Frank Capra and John Ford have directed many classic movies and it is

unfair to only view two of their  works and summarize all there is too say about

their styles, so I won't. Instead, I will be discussing different styles and

conventions that Frank Capra and John Ford used in the four movies I viewed.

These movies  are  Mr. Smith goes to Washington,  Mr Deeds goes to Town  both

Capra, films and The Informer and Grapes of Wrath by Ford.

America in the 30's was a time of hardship economically, politically and

socially. If you have taken an American history course you know all about the

depression and the crisis that it bestowed upon the land. Hollywood,  the movie

making capital of the world tried its best not to reflect the problems of the

country in its products. Instead of the grim realities of world, Hollywood lured

in the audience with escapist movies. The classic thirties genres like screwball

comedies,  glamourous musicals and fantasy movies, were mere ploys to divert the

sad reality of the time and in doing so Hollywood firmly defined its role as

entertainer not critic. Capra and Ford can also be accused of following this

pattern too, with other movies they made. The 30's were also a time of the great

studio system and one had to work under the control of these institutions,

although both directors managed to achieve enough fame and power that they could

create their own visions. With this power and fame, Capra and Ford were able to

turn out movies that went against the usual Hollywood style; critical of society,

authority, government, newspapers, the police and political rebels. These men

where able to make movies about the injustice in the world and they created

simple folk yet(much like Forrest Gump in Capra's case) complex enough to deal

and in some cases win against the evils of the world. Although they deal with

similar topics and  understands about society and man, they have different ways

of delivering their message. Capra used humor, fantasy, splendor, and a quick

moving camera.  Ford on the other hand used gritty realism, harsh environments,

and a static camera, with slower cuts and movements. They both can be considered

anti-establishment directors, but I would say that their movies go beyond simple

anti-establishment attitudes and actually try to and establish a new more

righteous establishment.  Ford and Capra believed so much in America that during

her time of great crisis in WWII, they left Hollywood and all the money to work

for the U.S. Forces.  Ford became an Admiral in the U.S. Navy and Capra a

Colonel for the Army.

Of  the four movies by Capra and Ford, The Informer is the only one that

was not a box-office smash at its time of release, however all four movies carry

the prestigious titles of being called some of the greatest films of all time.

All these films can be enjoyed on a simplistic entertainment level, but there is

so much hidden between the texts that makes them great, therefore they were

obviously made for more than just enjoyment.

There are strong issues being dealt with about man and his relationship

within the society he lives in. From the most basic problems about individuals

suffering from lack of shelter and starvation to mass starvation and political

corruption. There also seem to be the tone in Capra's and Ford's movies that man

was doing fine until society interfered with him, not just society in general

but more city society. There is a feeling that city people are corrupt and

infect all that they touch, while the simple country folk are pure and good.

This point is proven over and over again, it is not the individual that is

corrupt it is the society that corrupts the individual. Deeds and Smith both

from there respective self titled movies are happy and fine living quiet

sheltered lives in their small town. As soon as city society comes knocking on

their door trouble begins. Whereas when we meet Fonda in Grapes of Wrath,

society has already beaten him down and now he must rise again or perish. Gypo

too in The Informer has been defeated by society and he too must rise or perish.

So as Capra's hero's are virginal,  Ford's have already been around the block a

few times but insist that they are still virgins.

The character's in Ford and Capra's movies are microcosms for all that

is happening and these movies are mainly character centered and driven so it is

a fair way in dealing with their idea's. Capra's characters are modeled on the

belief that one man can make a difference and help society, while Ford's

characters are almost incapable of helping themselves. (although Fonda in Grapes

of Wrath speaks of wandering the earth to bring truth and justice to the world,)

Fonda will only effect small minorities of people, while Capra's characters

change the world. Yet both styles of character are modeled on the simple and

common folk. They are naive to the world and as the movie progresses, they and

we, the audience learns how corrupt the world is, but whereas Capra gives you

the golden ending, (believable and happy) Ford takes a much more cynical look.

Gypo the main character is killed while the Joad family future in Grapes of

Wrath is not that much better than when they statred out.

Capra's heroes come from small town, happy middle America and are the

epitome of the common man. They are well liked and respected in the community

that they live in. Capra's men have greatness thrust on them by luck, while Ford

's characters have trouble thrust upon them. Both Smith and Deeds achieve their

honored positions by the misfortune of someone else. In both cases it is the

death of a famous individual who perishes and Deed's and Smith are called up

from the ranks of the common people to eventually achieve greatness. However,

their call is based on pure luck. Deeds luck was due because he was an heir of a

wealthy relative, and Smith because a coin toss ends with the coin standing

erect. Ford's men come from the outside of society,  Fonda from prison and Gypo

had been kicked out of the IRA. They have been disgraced and are at low points

in their lives, while Fonda tries to redeem himself in a society that keeps

dropping him down. He is released from prison, finds out the authorities have

taken his home and starts out with nothing. Fonda tries his hardest not to

become a "Mean Man".(Ma Joad's  name for what happens when you go to prison and

become evil) Gypo also wants redemption but is so lost in a society that rejects

him. The society in this case is the IRA and once Gypo is kicked out he has no

money and becomes lost. He wants to do good but is helpless until the end when

he begs and is granted  forgiveness and dies redeemed, religiously speaking.

Ford used religion in both movies as turning points and a way to reflect

the inner struggle of characters, the death of the preacher changes Fonda

forever and Gypo's redemption in the church where he has at last found peace.

Capra on the other hand uses real American monuments in the same way. Grant's

Tomb and the Capitol building are seen by Deeds and Smith as great American

institutions that symbolize the truth and greatness of  their nation. During the

monument scenes we learn a lot about the inner emotions of the characters. No

one else see's the beauty and ideological importance of these monuments as we

are told by supporting characters but this reflects that twentieth century man

has lost his faith in the institution. Although Capra's movies can be considered

to show American society and authority in poor light, he on the surface can be

considered anti-establishment or anti-American, but on a deeper level he is more

pro-establishment and American because he wants the institutes to work and  mean

something, not just to be  hollow houses to be used by the wealthy and cunning

to swindle the land. Smith actually argues these point when he is holding the

filibuster and is trying to explain why kids must learn to understand an

appreciate the Constituent. So when they grow up they hold them of value and the

principals of the founding father actually meaning something.  Ford too shows

the same if not even stronger anti-establishment views. At the same time as

tearing down the institution they support but not in its present corrupt form

making these directors super-patriots, they are willing to go against something

they believe to be wrong in the hope it will get better. In this way both Ford

and Capra can be seen as Caprasque heroes  both men somehow achieved enough luck

that they where in a position to change the world and they did.

Ford and Capra also make comments on the society of  the educated man

and the written word. In fact the written word is used by both directors in

various forms, it motivates, destroys and can redeem. The written word is always

paralleled with money or prosperity but, once unmasked is usually wrong or bad.

Gypo sees a poster of his friend that reads reward 20 pounds, Gypo out of

confusion turned to this poster and betrays his friend and his society for the

money. The Joad family is of on a quest to California on account that they read

a pamphlet,  this could be compared to the newspaper clip Ma Joad has of her

son's imprisonment. In both these Ford movies the news or the written word is

somehow a motivation for people to do something. But  the written word always

leads to misfortune. Comparing the pamphlet with the article on Fonda's

imprisonment could symbolize and verify that nothing good ever comes from the

written word.  Ford way of secretly criticizing the learned man.  Perhaps he is

commenting on the fact that we pay to much attention to what is written, which

could lead to our downfall. Don't just believe what you read investigate to find

out the truth. Later on in Grapes of Wrath we find out that the pamphlet is

actually a tool of the rich man to lure lots of workers out to California so

they can offer really low wages. The wealthy man controls the news and will

always use it to his advantage, even though most common folks believe what they

read they must learn not to be so blind.

The use of newspapers and written words are more obvious in the two

Capra films. They not only affect the characters but they also help explain the

story to the audience. In the Capra films we learn that news is subjective to

mistruths and when silly stories appear of  Deeds in the paper we know they were

not meant in the context that they were printed. Yet it seems that in Capra's

films the society believes without question everything they read in the paper,

yet as spectators we learn the truth about the media. Babe the reporter who

loves Deeds says in the court room she colored the articles to sell more papers.

Finally when we are introduced to Taylor in Smith we realizes how corrupt the

news actually really is. Taylor's name can be used as a metaphor for tailor as

someone who alters something. Although control of the paper is done in typical

Capra fashion, by the power of one man. The newspaper is another institution

that must be unveiled because it has the power to confuse and corrupt people.

Taylor is the ultimate in corruption and when Babe was working for the paper she

too cheats. Anyone associated with the written word is portrayed in a cynical or

devious ways.

Finally the most destructive theme in Ford's and Capra's movies is money.

Money is used in many ways in these four films sometimes their is plenty and

some times their is not any.  Money ends up playing a big role in each of these

films, money is also used as a device to show how characters behave when serious

matters occur.

Deeds and The Informer are very similar in their dealing with money.

Both movies begin with a large written banner about money. Gypo is faced with a

poster claiming reward money, while Deeds begins with the newspaper proclaiming

millionaire heir not found yet. In both cases death is the cause that there is

the transfer of money to the main characters. Gypo becomes paranoid and drunk

indirectly due to the money. Deeds also misuses his fortune at first, getting

drunk and running around New York naked. With money comes responsiablity and

both Gypo and Deeds in the beginning are not capable of handling responsesablity.

It takes them many lesson to learn the real value of money and when they firgure

it out they end up givening their money away to help someone less fortunate.

Deeds gives his millions to the out of work people, while Gypo gives his money

to a lady in need of transportation home. Both cases the money is used for the

purpose of good. In Deeds the twenty million dollars brings many leeches, the

same happens to Gypo with his 20 pounds. Gypo starts to spend money more and

more frequently as the night wares on. He attracts leeches who care little about

Gypo but a lot about his money. These leeches end up guiding the character into

deeper and deeper trouble. Wheras Deeds has professional leeches like lawyers,

because Deed lives in the world of high fainace the thief where suits and have

offices. Both films end up using money as a test of a persons strength in the

case of Gypo he fails at first but eventually learns right even though it is too

late. Deeds on the other hand passes the test at first easily, but there are

moments when he is close to failing.

Smith and Grapes of Wrath are also very similar with the use of money

potrayed in these pictures. Both are centered on the fact that society through

money is being abused and the little guy can not fight these odds. The big

buisness men who smoke fat cigars and buy up land and kick off the farmers in

Grapes of Wrath are the same men that work in the Senate in Smith. These men the

wealthy are extremly greedy whereas the Joads just want enough money to feed the

family and live. These rich land owners are willing to starve children just to

make more of a profit. coincidently while the rich steal and make illegal deals

to become richer the Joads do not even try to steal a loaf of bread. Which is

the point of these moves that there is more important thing than money, even

thought are society is based on it.

Capra and Ford worked very hard to achieve the positions in society they

did, both grew up in poor large families and hence started at the bottom and

worked their way to the top. They lived the American dream yet they were not so

blinded by their success that they did not see the misfortune of others. They

knew the American system was corrupt and unfair and set out to criticizes  and

even help change it. Either men cannot be labeled as liberal or socialist

because  there political allegance was not towards a party or a theory, it was

rooted in simple and obvious universal truths. And because their movies deal

with universal themes and truths I believe there movie do not or will not ever

appear old or dated.

550.          John Huston the Dead

John Huston "the Dead"

The film, The Dead, directed by John Houston, is based on a short story that takes place in Dublin, Ireland around 1904. In Ireland at this time there is much conflict between the Catholics and the Protestants, whether Ireland should be part of Great Britain or not. This narrative is intended to show life in Ireland at this time as real as possible. The music during the story is a constant reminder of the mood of the film; the music is generally sad, but when needed it is in a happier tone. Everything about the film adds to the despair that all of the characters eventually feel at some time in the film.

The movie ends up being a very morbid film. All of the emotions from the characters make the film have a melancholy undertone. Even the events in the movie add to the gloomy aspect. When the woman, Greta, starts to descend the steps, and she stops because she hears a man singing, the lighting on her face and the expression that she eminently portraits give the viewer chills. The lighting around her makes her look as if she was possessed by a spirit, but she is just listening very intently to the man who is singing. Her character is very complex and is sometimes misunderstood. So, for the viewer this event will add to the confusion of what her character is all about. One does not know if she is going insane or if she is just appreciating the beautiful sound of the man's voice.

Throughout the story, The Dead, Greta's husband takes many aspects of his life for granted. He does not appreciate his wife and he does not respect her as much as he should. He constantly undervalues his relationship with her and does not understand the impact that she has had on his life. He never realizes how much she means to him until she tells him a story about a boy whom died for her sake. The boy was waiting outside her house one night, and he was already sick. He was waiting for her to come out to talk to him, but she never went out. When the man finds out that another man loved his wife he starts to understand his love for his wife. He finally sees that he will never share a love that strong with his wife; he knows that she does not love him as much as she loved that boy. He also understands that he does could never love her that much.

The narrative does not have a direct plot, but instead it tells a story, so all of the events are not completely understood until the final minutes of the film. The end of the movie ties all of the other events in the film together showing real characters develop into strong people. Along with the viewer realizing that all of these people will not live forever, the characters finally realize that they are mortals.

551.          John Keats

John Keat's poems, On First Looking into Chapman's Homer, and On Seeing the Elgin Marbles for

the First Time, express an irresistible, poetical imagination. They convey a sense of atmosphere to the

reader. In comparison they exemplify his intense love of beauty. The connection between these two

poems is not so much in subject, but the feeling of awe. Both these poems show more emotion and

amazement in the experience of discovering something new.  Keats looked with eyes of wonder at

new adventures and expressed them verbally with delicacy and reserve.

In the poem On First Looking into Chapman's Homer, the description of his experiences

overflows with youth and excitement.  But as the poem continues the writing is toned down to

convey the most important and meaningful experience.  Keats describes how after traveling in lands

of gold, and seeing many great states and kingdoms, he never truly realized the wonders of these

things until reading  Chapman's translation of Homer.  Crossing many western islands bards have

sung about, he never was able to comprehend their true serene nature until reading man's wondrous

words.  This narration  explains that though these were sights well visited , their beauty and Keats

imagination kept them alive.  Having read Chapman's translation til dawn with his teacher, he was so

moved he wrote this his first great poem and mailed it by ten A.M. that day.

In On Seeing the Elgin Marbles for the First Time, the description of his experiences overflows

with depression and experience.  As the poem continues you see his sad point of view has faded .  It

gives it a familiarity that hides its true serene character.  He describes how his spirit is weak (mortality)

and his wonderful memories have faded in his mind due to worries and unrest at his coming death.

It should be said death does play a key role in this poem and is the main reason behind all his

dreariness and heavy heart.  His self-pity masks the appreciation that he was granted this length of

time to even experience them. Having viewed these time worn memorials of Grecian skill, in this

poem he expressed the indescribable feelings of wonder .

In  comparison Keats expresses similarities in his concreteness of description in which all the

senses combine to give the total comprehension of an experience (new or old). He writes with an

intense delight at the sheer existence of things outside himself, and seems to lose himself in his own

mortality and the identification of the object he contemplates. His imagination is unleashed on the

works of poetry and art that so amazed him. Keats style of poetry speaks of truth in beauty.

His motto is captured in a line of his own poetry -"A thing of beauty is a joy forever."

552.          John Lenno1

John Lennon: Biography

I, John Winston Lennon, was born in Liverpool, England in 1940.  I was

the founding member of a group called the Beatles, which was the most popular

music group in the history of rock and roll (World Book 197).  The group

included George Harrison, Paul McCartney, Ringo Starr, and myself.  We

originally formed in 1958, but it wasn't until 1960 that we decided to name

ourselves the Beatles (World Book 191).  My philosophy of the Beatles was, "when

you said it, it was crawly things; when you read it, it was beat music (The New

Book of Knowledge 108).

I, along with Paul, wrote most of the Beatles' music.   Songs that were

written primarily by myself include "Help," "All You Need is Love," and "A Day

in the Life."(World Book 197).  In 1970 we decided to break up for a number of

artistic, business, and personal reasons (World Book 190).

I, like the other former Beatles members, continued to perform as a solo

artist.  Yoko Ono, whom I married in 1969, became my partner (World Book 197).

Yoko and I, being extremely opposed to the war, performed together making peace

our theme (Rolling Stone 229).  As our taste for war bittered, Yoko and I became

involved in many anti-war protests.  We recorded "Give Peace a Chance" in our

hotel room in Montreal, and I had it rush released (Rolling Stone 229).  In

January of 1970 I wrote and recorded "Instant Karma" in one day and had it

released (Rolling Stone 229).  Three months later, Yoko and I flew to Los

Angeles for four months of primal scream therapy with Dr. Arthur Janov (Rolling

Stone 229).  Because of this experience the album John Lennon/Plastic Ono Band

was made (Rolling Stone 229).

In 1971 I moved to the United States to continue my campaign for peace

(World Book 197).  That year, the US Government made continual attempts to

deport me (Rolling Stone 229).  A protest concert that we planned to hold on the

doorstep of the Republican National Convention made the Nixon administration a

bit upset (Rolling Stone 229).  Claiming that my 1968 drug arrest made me an

"undesirable alien," they also made attempts to deport me (Rolling Stone 229).

In 1976 I was granted permanent resident status that ended this problem (Rolling

Stone 229).

In 1980 Yoko and I released Double Fantasy, which was my first album in

five years (World Book 197).  On the eighth of December that year, I was shot to

death outside my New York City apartment by a man named Mark David Chapman

(World Book 197).

That, to some extent, is my life's story.  I hope people will look

deeper into my music and find its meaning instead of just reciting the words.

Music was my way of communicating with the world.  I also hope that I have made

people realize the value of peace in the world.  If only everyone could

understand how great world peace would be.

553.          John Lennon 2

JOHN LENNON

John Lennon was a great song writer and musician.  He played the rhythm guitar, the piano, and sang.  He was in the most popular group in the history of rock music.  In 1959, John founded this group, called The Beatles.

The original Beatles were John Lennon, Paul McCartney, George Harrison, and Pete Best.

Brian Epstein became the manager of the Beatles in 1961.  Epstein made many changes in the group.  John rebelled and did not want to "package" and "clean up" the group in order to please fans.  These changes were made anyway despite John's protests.

The Beatles had signed a contract with EMI records and were beginning to record with them.  On August 16, 1962, Pete Best, the drummer was suddenly fired from the group.  Ringo Starr was inducted into the Beatles two days after Best was fired.

John Lennon and Paul McCartney shared the credit of songs written by either one of them.  The credit simply read Lennon-McCartney.  The two as song writers were a perfect mix.  John had a quick artistic sense and he was easily excited by new challenges, he projected a sarcastic and rebellious tough-guy personality, who was actually a vulnerable romantic.  While Paul projected the sweet image and who was underneath an injured, controlling, perfectionist.

By 1964, The Beatles arrived at JFK Airport.  They were greeted with mass hysteria.  Two days later, more than 73 million people watched them perform live on the Ed Sullivan Show.  Four weeks later, The Beatles held the top five music singles in America at the same time.

John was influenced by many things in 1965-1966 such as psychedelia, marijuana, and Bob Dylan.  Many felt that these years were the best song writing years of John Lennon's life.

1966---The Beatles had been touring for over four years, and they, especially John were tired of it.  John wanted to spend more time with his wife, Cynthia, and his song, Julian.  At one time, they had to do 32 concerts in 19 days.  On their next album, Beatles For Sale, the material reflected how unhappy John and Paul were with life on the road.  Songs like "I'm a Loser" and "No Reply" spoke of depression and the frenzy of life in the spotlight.  John once said, "It's like we're four freaks being wheeled out to be seen, shake our hair about, and get back into our cage afterwards."

The Beatles felt that they needed to work only in the studio now.  So, on August 29, 1966, The Beatles performed their last live performance ever at Candlestick Park in San Francisco, California.

Almost a year later, Brian Epstein, the Beatles Manager was found dead in his apartment of a suicidal overdose.  This caused many problems for the group.  John later admitted that "The Beatles were finished when Eppy died.  I knew, deep inside me, that that was it, without him, we'd had it."

John met a Japanese artist name Yoko Ono in 1967.  In just a few weeks, the two were inseparable.  This new relationship destroyed John's marriage with Cynthia and eventually destroyed his relationship with Paul McCartney, and the other Beatles.  After John's divorce from Cynthia, John Winston Lennon changed his name to John Ono Lennon in honor of Yoko Ono.  He insisted on using "JOHNANDYOKO" as his official signature and identity.  John and Yoko were married in the year of 1969.

John released his first solo single in 1969, "Give Peace a Chance."  He did not credit this song to Lennon-McCartney, but to The "Plastic Ono Band."

On April 10, 1970, Paul McCartney resigned from the Beatles.  The group dissolved officially in 1971.

John Lennon and Paul McCartney became rivals after the Beatles broke up.  They were at constant competition with records.  John released his "Signature" solo album: Imagine in 1971.  One song on the record, entitled "How do you Sleep?" includes the lines:

The only thing you done was Yesterday

And since you've gone you're just

Another Day

How do you sleep?

These lines were directed to Paul McCartney.

John Lennon recorded seven albums during 1970-1975 which included Imagine--1971 and Rock and Roll--1975.

John semi-retired from music in 1975-1980.  He was raising his son, Sean, with wife, Yoko Ono.

In 1980, John and Yoko released Double Fantasy.  By November, their album was climbing to the top of the charts.

On December 8, 1980, John Lennon and Yoko Ono left their Dakota apartment to go to the recording studio.  A young man named Mark David Chapman approached John, wanting to get his picture taken with im.  The two were photographed together.  At 10:49 p.m. that night, John and Yoko were returning from the studio when Chapman stepped out of the shadows and gunned down John Ono Lennon at the age of 40.

The world mourns the loss of John Lennon.

554.          John Lennon Essay

John Lennon

John Lennon was a great song writer and musician.  He played the rhythm

guitar, the piano, and sang.  He was in the most popular group in the history of

rock music.  In 1959, John founded this group, called The Beatles.

The original Beatles were John Lennon, Paul McCartney, George Harrison,

and Pete Best.

Brian Epstein became the manager of the Beatles in 1961.  Epstein made

many changes in the group.  John rebelled and did not want to "package" and

"clean up" the group in order to please fans.  These changes were made anyway

despite John's protests.

The Beatles had signed a contract with EMI records and were beginning to

record with them.  On August 16, 1962, Pete Best, the drummer was suddenly fired

from the group.  Ringo Starr was inducted into the Beatles two days after Best

was fired.

John Lennon and Paul McCartney shared the credit of songs written by

either one of them.  The credit simply read Lennon-McCartney.  The two as song

writers were a perfect mix.  John had a quick artistic sense and he was easily

excited by new challenges, he projected a sarcastic and rebellious tough-guy

personality, who was actually a vulnerable romantic.  While Paul projected the

sweet image and who was underneath an injured, controlling, perfectionist.

By 1964, The Beatles arrived at JFK Airport.  They were greeted with

mass hysteria.  Two days later, more than 73 million people watched them perform

live on the Ed Sullivan Show.  Four weeks later, The Beatles held the top five

music singles in America at the same time.

John was influenced by many things in 1965-1966 such as psychedelia,

marijuana, and Bob Dylan.  Many felt that these years were the best song writing

years of John Lennon's life.

1966---The Beatles had been touring for over four years, and they,

especially John were tired of it.  John wanted to spend more time with his wife,

Cynthia, and his song, Julian.  At one time, they had to do 32 concerts in 19

days.  On their next album, Beatles For Sale, the material reflected how unhappy

John and Paul were with life on the road.  Songs like "I'm a Loser" and "No

Reply" spoke of depression and the frenzy of life in the spotlight.  John once

said, "It's like we're four freaks being wheeled out to be seen, shake our hair

about, and get back into our cage afterwards."

The Beatles felt that they needed to work only in the studio now.  So,

on August 29, 1966, The Beatles performed their last live performance ever at

Candlestick Park in San Francisco, California.

Almost a year later, Brian Epstein, the Beatles Manager was found dead

in his apartment of a suicidal overdose.  This caused many problems for the

group.  John later admitted that "The Beatles were finished when Eppy died.  I

knew, deep inside me, that that was it, without him, we'd had it."

John met a Japanese artist name Yoko Ono in 1967.  In just a few weeks,

the two were inseparable.  This new relationship destroyed John's marriage with

Cynthia and eventually destroyed his relationship with Paul McCartney, and the

other Beatles.  After John's divorce from Cynthia, John Winston Lennon changed

his name to John Ono Lennon in honor of Yoko Ono.  He insisted on using

"JOHNANDYOKO" as his official signature and identity.  John and Yoko were

married in the year of 1969.

John released his first solo single in 1969, "Give Peace a Chance."  He

did not credit this song to Lennon-McCartney, but to The "Plastic Ono Band."

On April 10, 1970, Paul McCartney resigned from the Beatles.  The group

dissolved officially in 1971.

John Lennon and Paul McCartney became rivals after the Beatles broke up.

They were at constant competition with records.  John released his "Signature"

solo album: Imagine in 1971.  One song on the record, entitled "How do you

Sleep?" includes the lines:

The only thing you done was Yesterday

And since you've gone you're just

Another Day

How do you sleep?

These lines were directed to Paul McCartney.

John Lennon recorded seven albums during 1970-1975 which included

Imagine--1971 and Rock and Roll--1975.

John semi-retired from music in 1975-1980.  He was raising his son, Sean,

with wife, Yoko Ono.

In 1980, John and Yoko released Double Fantasy.  By November, their

album was climbing to the top of the charts.

On December 8, 1980, John Lennon and Yoko Ono left their Dakota

apartment to go to the recording studio.  A young man named Mark David Chapman

approached John, wanting to get his picture taken with im.  The two were

photographed together.  At 10:49 p.m. that night, John and Yoko were returning

from the studio when Chapman stepped out of the shadows and gunned down John Ono

Lennon at the age of 40.

The world mourns the loss of John Lennon.

555.          John Lennon

John Lennon

I, John Winston Lennon, was born in Liverpool, England in 1940.  I was the founding member of a group called the Beatles, which was the most popular music group in the history of rock and roll (World Book 197).  The group included George Harrison, Paul McCartney, Ringo Starr, and myself.  We originally formed in 1958, but it wasn't until 1960 that we decided to name ourselves the Beatles (World Book 191).  My philosophy of the Beatles was, "when you said it, it was crawly things; when you read it, it was beat music (The New Book of Knowledge 108).

I, along with Paul, wrote most of the Beatles' music.   Songs that were written primarily by myself include "Help," "All You Need is Love," and "A Day in the Life."(World Book 197).  In 1970 we decided to break up for a number of artistic, business, and personal reasons (World Book 190).

I, like the other former Beatles members, continued to perform as a solo artist.  Yoko Ono, whom I married in 1969, became my partner (World Book 197).  Yoko and I, being extremely opposed to the war, performed together making peace our theme (Rolling Stone 229).  As our taste for war bittered, Yoko and I became involved in many anti-war protests.  We recorded "Give Peace a Chance" in our hotel room in Montreal, and I had it rush released (Rolling Stone 229).  In January of 1970 I wrote and recorded "Instant Karma" in one day and had it released (Rolling Stone 229).  Three months later, Yoko and I flew to Los Angeles for four months of primal scream therapy with Dr. Arthur Janov (Rolling Stone 229).  Because of this experience the album John Lennon/Plastic Ono Band was made (Rolling Stone 229).

In 1971 I moved to the United States to continue my campaign for peace (World Book 197).  That year, the US Government made continual attempts to deport me (Rolling Stone 229).  A protest concert that we planned to hold on the doorstep of the Republican National Convention made the Nixon administration a bit upset (Rolling Stone 229).  Claiming that my 1968 drug arrest made me an "undesirable alien," they also made attempts to deport me (Rolling Stone 229).  In 1976 I was granted permanent resident status that ended this problem (Rolling Stone 229).

In 1980 Yoko and I released Double Fantasy, which was my first album in five years (World Book 197).  On the eighth of December that year, I was shot to death outside my New York City apartment by a man named Mark David Chapman (World Book 197).

That, to some extent, is my life's story.  I hope people will look deeper into my music and find its meaning instead of just reciting the words.  Music was my way of communicating with the world.  I also hope that I have made people realize the value of peace in the world.  If only everyone could understand how great world peace would be.

556.          John Woo

John Woo's Road to Fame

"I'm not a master; I'm just a hard-working filmmaker. I would like everyone to see me as a friend rather than a master."

--John Woo

We see him as a master, but he only thinks of himself as a hard-working filmmaker. We see him as an inspiration to all action movies while he thinks of himself as a simple human being. We are all different in our very own ways and as for John Woo, his sense of action sequences and camera work extinguishes him from the rest of the world. He might have been poor growing up, but his love for films never died ever since he had stepped into a theatre.

His passions for movies started back in his childhood, the days when his family was poor and had to be supported by churches and various charities. Even in those desperate times, John Woo's mother would still take him to the western theatre daily, where he first saw the magic of the moving picture. He studied each and every film carefully, inspecting every little aspect, the good parts and the bad parts. As a teenage, he still didn't have any money to do any in-depth hand on work with films, but eventually, he would get his hands on some borrowed film equipment - and that was when he first experimented with cameras and films with his very own hands.

"I was fascinated by the musicals, I think they influenced me the most. Seven Brides for Seven Brothers and Singing in the Rain are my favourites."

--John Woo

"When I was 11, even though we were poor, my mother was a fan of movies from the west. She used to bring me to the theatre. At that time, a parent could bring a child to the theatre for free. I was fascinated by the musicals, I think they influenced me the most. Also a lot of Fred Astaire...I loved movies and I wanted to be a filmmaker some day."

--John Woo

As time went on, he finally caught his first break in 1969 when Cathay Studios in Hong Kong hired him as a script-supervisor. Two years later, he moved to Shaw Bros., where he officially took as an assistant director. As the assistant director, he was mentored by Chang Cheh, who was one of the most recognized director during that era. Working under Chang Cheh, Woo learned two valuable aspects of films that he would never forget - the art of filming action and the importance of editing, which we still see today in every one of his films.

After years of study and hard-work under Chang Cheh, Woo finally made his director debut. A movie named "The Young Dragons" was this special piece of work. The film was a great success in the box office and was Woo's first official step to being a world-class director. Inside this film though, Woo showed everyone two things that soon he would be recognized by - dynamic fluid camera work and elaborated choreographed action sequences.

Upon the success of "The Young Dragon", Woo would go on to sign with Golden Harvest, another huge and uprising producing company. At Golden Harvest, Woo would soon produce his newest hit. The special part about this film was that Woo didn't only direct it, he had also written the movie and put his own thoughts, ideas and beliefs into it. The film was called "Hand of Death" and was a great accomplishment for him. The industry he worked in had only trusted in experience, not talent and for a director to work on such a big project at his age was just very unlikely.

"It was a great honor to be able to do the movie...most directors were in their forties and I was still in my twenties."

--John Woo

After the success of "Hand of Death", Woo would eventually move on to his next big project, his first comedy film. The title of this movie was "The Pilferer's Progress", which starred Hong Kong comedian Ricky Hui. To his surprise, this film had great success, knowing that he didn't have any experience filming comedies. Ever since this film, Woo was recognized as a comedy director and for most of the 1980's, worked on many comedies as he started to leave the action genre slowly.

Around the 1980's though, ever since the creation of "The Pilferer's Progress", his movie directing career started to break apart. Woo was producing a few movies a year, which was a fast and tiring rate. Not only that, but people just didn't find his movies hilarious anymore. His ways of filming combined with jokes are just not amusing to the viewers as they use to be. After years and years of filming unsuccessful comedies, even Woo found himself doing something that he didn't enjoy and life was as hard as it can ever get for him.

John would soon get a new contract with a new studio though, but with this new studio, Cinema City, he had to work in Taiwan. There were some adaptations he had to make and there were things that just couldn't be changed for him at that moment for Woo. He was now working in a new city, but still yet, he was doing comedy. During his years in Taiwan, he made two new films, "The Time you need a Friend" and "Run Tiger Run". Both of these movies made basically no money and it just seemed like Woo was a has-been director. He slowly took up drinking and everyday, you could see him in a bar drinking, you can almost say that he was on the edge to being an alcoholic.

"John was in Taiwan for two years and made two comedies that were not successful. He wanted to go back to Hong Kong but he had a contract with Cinema City and at the time those people there thought he was washed up as a director. And then his friend, Tsui Hark, helped him. Tsui had become a very successful producer and he had left Golden Harvest and had a deal at Cinema City. It was his insistence that got 'A Better Tomorrow' made."--Terence Chang (Producer Partner)

Tsui Hark and John Woo both went back to Hong Kong together, where they produced a film which would turn all of John Woo's hardships upside down. "A Better Tomorrow", a film starring Chow Yun Fat, Ti Lung and Leslie Chung. This was the first action movie that John had done in a while and he did put loads of hard work into this making it as good as possible. The finished product sold enormously! Not only did this movie proved that Woo is not a has-been director and turned his whole career back on track, but it would also changed the views of gun play in action movies forever.

"Comedies and Kung Fu films dominated Hong Kong cinema in the mid-eighties. Other genres rarely got the support of the studio and the audience. And also, right before 'A Better Tomorrow,' I shot two films in Taiwan...[that] were commercially unsuccessful; so it seemed quite impossible for me to make the films I really wanted to make. Both Tsui Hark and myself felt that Hong Kong at that time was seriously lacking in moral values. Young people were lost and trust toward the government was shaken. So I wanted to make an uplifting film to highlight the lost traditional values, including the values of family, friendship, tolerance etc. So I decided to remake a sixties film (''True Colors of a Hero,' directed by Lung Kong), and that became 'A Better Tomorrow.'"--John Woo

Audiences back in the 1980's didn't appreciate guns in movies much, many thought that they were dull and boring compared to high risk kung-fu moves and gracious swordplay. But with "A Better Tomorrow", all was changed. Woo used his unique way of filming to collaborate gun play, martial arts and camera movement to create a perfect and exciting action sequence which blew everyone's mind away. With this film, John Woo had once again earned his place in the movie business as an action director. Also, upon the release of "A Better Tomorrow", Woo had created a new genre in the industry known as the Heroic Bloodshed, which is a combination of relationships and themes such as loyalty and friendship along with ultra-violence.

After the creation of Heroic Bloodshed and Woo's career back on track to stardom, the film "Heroes Shed No Tears" was released. This film was not made in the year it was released though. It was actually made during Woo's hardship era. Apparently though, the board thought that the film was too violent and had decided to shelf it. But every since they saw how people reacted to the violence in "A Better Tomorrow", they believed that the film would produce great incomes and so, they released it.

The year is now 1987 and Woo once again starts a new project. This time, the movie is called "Just Heroes" and this was sort of a charity for his mentor Chang Cheh and friend Wu Ma, who were having financial troubles at the time and were in need of serious help. Although this film did well in the box office, it was recognized as one of Woo's less interesting film. Even though is had many great John Woo action sequences.

After "Just Heroes", Woo was in search of a new project. He had wanted to stay away from "A Better Tomorrow", but it was just too popular. The film influenced many people and teenagers started to dress alike the characters in the movie and started acting like certain characters too. Because of this, Woo decided to do a sequel to the first film. "A Better Tomorrow 2", it had all the action packed sequences alike the first one, but this time, with an amazing thriving finale that had one of the highest body counts per minute on film. The film was another huge success in the box office for Woo.

The next big movie for John Woo was called "The Killer" (1989), a film with controversies between loyalty and duty, friendship and honour. The plot of this story is about an assassin named Jeff, played by Chow Yun-Fat who accidentally blinds a nightclub singer during one of his hits. Because of this, Jeff's thoughts about his job changed and wanted to quit. Unfortunately though, he was convinced to do one last hit so he can accumulate money for the singer's eyes surgery and during this, he was spotted by a hot-headed cop named Danny. Danny starts tracing after the trail of Jeff until he realizes that Jeff wasn't as bad as he seemed, in fact, he was only doing this so he can save others. So at the end, Danny and Jeff teamed up together to take out Jeff's bosses, which would eventually become a 15 minute showdown inside a church at the end of the movie containing all of Woo's unique style of action sequences. "The Killer" was the movie that brought John Woo onto the international scene despite its underachieving run in the box office. Every since the release of this movie, Woo had been invited to film festivals all around the world and soon, even to Hollywood.

Even though "The Killer" brought Woo international recognition, other directors had started to slowly form controversy with Woo. Many big directors in the Hong Kong film industry say that Woo had ruined the action genre. Instead of people enjoying real and old-fashion martial arts, they would rather see Chow Yun-Fat with 300 bullets. At the moment also, rumours about "A Better Tomorrow 3" started to spread. Unfortunately though, dispute between Woo and Hark separated the two of them and Hark went off to direct "A Better Tomorrow 3" by himself. Not only did he take the movie by himself, he also so others that Woo was unreliable to work with. Woo's reputation in the business was ruined because of this and was rejected by many major studios.

With nowhere to go, Woo decided to make his own producing company but first, he would need a new business partner. Soon, he would find Terence Chang and together, they created their own production studios. Using this new production company, Woo used his own version of "A Better Tomorrow 3" and transformed it into a film called "Bullet in the Head". The film relates to the lives of 3 men when they become fugitives in Vietnam because of a murder case in Hong Kong. But in Vietnam, their friendship starts to break apart due to money as one of them would eventually kill the other for the money. So as the two remaining men return back to Hong Kong, one seeks for revenge towards the murder. The audience reaction to the movie wasn't very pleasant. They disliked the film because it related to the Tiannemen Square Massacre which has recently happened. Woo was forced to re-shoot the ending to this film but still, the studio thought it was inappropriate as they took the film on to their own hands and edited it.

The year now is 1991, a year after the release of "Bullet in the Head" as Woo started on his next project, "Once a Thief". "Once a Thief" talks about three orphans who grew up together and were trained as thieves. Apparently though, as they grew up, their step father who raised them started to use them for his own good, he made money off them, betrayed them and even tried to kill them. When the thieves figured out that they were being played as little toys, they set out for revenge on the man who was once their dad.

"Hard-boiled" was release in 1992 and would be Woo's farewell gift to Hong Kong as he would move on to the Hollywood scene after this movie. This electrifying film has to do with a hot inspector, Tequila, an illegal arms dealer, Johnny, and an undercover cop, Tony. The story has to do with both cops after the trail of Johnny as they interfere with each others work. Soon enough though, they would combine their forced together to take down Johnny which leads to an explosive, action-packed finale in a hospital. Once again though, this film didn't have much success with the audience. Many thought that it was too rough with its ultra-violent gunplay.

After leaving Hong Kong, Woo started his work in Hollywood with a movie named "Hard Target" (1993), starring Jean-Claude Van Damme. This movie wasn't very successful for Woo though. The fact of working in a new environment with new restriction really did bother his style of working. Also, the script of the movie was unlike the typical John Woo action film, too many things were straight-up, where were no mysteries or change in characters. Jean-Claude Van Damme also played a problem for Woo. Woo's specialty was in the collaboration of martial arts and gunplay, but Van Damme just couldn't work with a gun. He would go with the gun for a couple minutes and then revert to pure kicking afterwards. So, John Woo's first Hollywood debut was a disappointment.

Due to his unsuccessful first film, it was a full 3 years before Woo had gotten to direct another film. This time, he worked with John Travolta in a filmed named "Broken Arrow". But just like last time, this film was another disappointment for Woo. Although it did contain certain Woo style action sequences at times, it still didn't give Woo the chance to show his skills and style to the American audience. Nevertheless, "Broken Arrow" still did okay in the box-office and gained him enough respect to start his own movie soon afterwards.

Before getting to start his own film, Woo agreed with FOX and Canada's Alliance Production to create a television series called "Once a Thief", which is still on air today. The story talks about 3 trained thieves growing up dealing with their relationship problems with one and other. Throughout the series, there were parts when Woo's camera work clearly came into play, such as the slow-motion, dolly-ins and freeze frames. But since it was a television series, there wasn't much gunplay into it.

The next movie Woo makes who become one of hit most successful movie ever. The year was 1997 and the movie was called "Face/off". This film was a huge success in the box office with over $100 million made. Also, unlike "Broken Arrow" and "Hard Target", this was a typical John Woo film that made him famous back in Hong Kong. The story revolves around two characters, Sean Archer (played by John Travolta) and Caster Troy (played by Nicholas Cage) as they switch identities with a surgical procedure. This film contains many of Woo's famous style, the mid-air combats, double guns, and slick action sequences. With this film, Woo would also eventually move on to win a couple awards.

The next project for Woo was another television series named "Blackjack", which in many people's opinions, was another so-so production lacking many of John Woo's real potential. This television series talks about a guardian of a little girl when her father is killed by Russian mafia members. Apparently though, this guardian also has the fear of white colour.

The next movie Woo made was in the year 2000 and once again, was a huge hit and success. For this film, Woo would work with Hollywood star Tom Cruise in a sequel to a famous film called "Mission Impossible". "Mission Impossible 2" made over $200 million in box office and like all of other Woo's hits, was a typical exciting action-packed John Woo film. The plot of this film talks about an undercover agent, Ethen Hunt (played by Tom Cruise), being sent on a mission to retrieve and destroy a stolen virus called "Chimera". Throughout the whole movie, there were slow motions, freeze frames, extreme gun plays and dynamic camera work. With all of these aspects coming into play, the whole movie was a piece of artwork.

The latest work from Woo was just made last year. A film called "Windtalkers" starring Nicholas Cage. The film takes place during World War 2 when the Americans were fighting battles after battles with the Japanese over the Pacific. During the war, all the coded messages of the U.S marine has been broken by the Japanese and so, the U.S recruited many Navajo Americans into the marine to use as a code. They would speak their own language among one and others to transfer messages. This has been the only successful code that has not been broken. Inside the movie, Joe Enders (Nicholas Cage) is given the task to protect Navajo American talker, Ben Yahzee (Adam Beach). This John Woo production has been an inspiration to many Navajo people and made $14 million on its opening weekend.

Over the years of Woo's career, he has been through up's and down's, from the 1980 comedy drought to the creation of the Heroic Bloodshed genre. He has also received many awards over the years. In 1987, at the Hong Kong Film Awards, the Best picture of the Year was "A Better Tomorrow" and in 1990, the Best Directing was Woo in "The Killer". In 1991, he won another award at the Hong Kong Film Award for Best Film Editing in "Bullet in the Head". Two years later, in 1993, he won Best Film Editing again for his last Hong Kong film, "Hard-Boiled". Then in 1996, he won the Lifetime Achievement Award at the Cine Asian Awards. Moving on to his International career, he has won the Best Director Award at the 1997 Saturn Awards for "Face/off". Also in 1997, he won the Jury Grand Prize at the Sweden Film Fest for "Face/off' once again. In 1998, he would win another award for "Face/Off" and it was at the MTV Movie Award for Best Action Sequence. Then in 2001, he won 2 more awards, another Best Action Sequence at the MTV Movie Award for "Mission Impossible 2" and Action Director of the Year at the World Stunt Awards.

Throughout the years of Woo's long and amazing career, he has been recognized for his own unique style of filming. One of his most recognized style is his camera work. Throughout his movies, you would often see frame freezing or slow-motion to show an important action or aspect of the movie. Woo is also known for his ultra-violent choreographed action sequences. During many of his sequences, Woo would combine gunplay with traditional martial arts to spice up the whole scene. Also, his characters would often use guns in both of their hand along with a "Mexican standoff", where two characters are pointing guns at each others heads. Another one of his unique style would be gun throwing. His characters would often throw a gun to his allied when they are in need of help. His most unique style though, in my opinion, would be the way his characters detects danger. In most of his movies, his hero would often notice danger heading his/her way through a reflection. Although most of his action sequences are very rough and violent, Woo would usually play pleasant music in the background to contrast the action. As for his plots, many of Woo's movies often have to do with honour, loyalty, friendship and revenge. But at the end of his movies, he would often have sceneries with birds inside to resemble peace and the end of the fighting.

As an international known director, he has also played a major impact in all of our action films today. Ever since the Heroic Bloodshed came into existence, the action genre around the world had been made enormous changes. In china, action movies aren't all about old fashion martial arts anymore. There are more gun plays with more violent action sequences involved. The audience's taste in action movies has also changed because of Woo. There is more diversity to their taste nowadays. In the western part of the world, action heroes have changed dramatically. Their attitude, actions and look have all changed. Before the Heroic Bloodshed era, the heroes have hardly killed inside the movies. But after the Heroic Bloodshed, they have all of a sudden become killing machines. Not only that, but many of the new heroes have also copied Woo's style. Many of them have Mexican standoffs and also guns in both hands.

So as you can see, John Woo has basically devoted his entire life to filming and it has paid off. He is one of the best known action directors internationally and is also the father to the Heroic Bloodshed genre. He had impacted the action genre we watch on the big screen today. Although he had been through good and bad during his career, he has ended up being recognized by the world, especially by his unique style of filming. So when you watch an action film in the theatres next time, study the film, look at the scenes and ask yourself, if it wasn't for John Woo, could I be seeing this movie in front of me right now?

557.          Johnny Depp

"If a man does not keep pace with his companions, perhaps it is because he hears a different drummer. Let him step to the music which he hears, however measured or far away."

In simple terms, this quote is referring to those who do not conform to the standards placed on them by their culture or subculture.  In Hollywood, the way one becomes an A-List actor is by conforming to the Hollywood system: take the roles that provide the largest paychecks.  Ben Affleck did not become a superstar celebrity by following his passion; Reindeer Games and Gigli are perfect examples of that.  However, there is one actor who has consistently chosen his own roles, much to the dismay of his agent, based solely on his interest in the character he will portray.  This actor has never taken a role that he did not feel passionate about, regardless of the flack he received from critics or the general public, and he is now one of Hollywood's finest.  Johnny Depp stands out from the crowd because rather than conforming to the Hollywood standard he has become an A-List actor by following his own muse, or walking "to the beat of a different drummer."

A perfect example of Johnny Depp's passion for his work is his starring role in the movie, "Ed Wood," about Ed Wood, a filmmaker best known for making bad movies.  It sounds ironic, but Johnny was insistent that this was a great movie.  Despite, at the height of his career, being told that making this movie would ruin his professional image, he pursued the role.  The movie was made, and it went on to win an Academy Award.  Another example of Johnny Depp's dedication is the movie "Once Upon A Time In Mexico" filmed in the heat of the summer of 2002.  Because he wanted this role, Johnny agreed to film for seven consecutive days at 12-16 hours per day!  A typical A-List actor will, under no circumstances, work for more than 8 hours per shooting day.  Other movies that Depp was warned not to do, which went on to become successful were: "Edward Scissorhands," "Dead Man," "What's Eating Gilbert Grape," and "Pirates of the Caribbean," for which he is nominated for Best Actor at the Academy Awards this year.

Johnny Depp is renowned for his choice of movie roles.  He does not simply work for the paycheck; he is truly pursuing his passion, and he has done it quite successfully.  Roger Ebert, a well-known film critic, has called Depp "a modern Thoreau - a philosopher among actors."  At the 76th Annual Academy Awards, Johnny Depp was recognized specifically for his success in taking part in only films that he truly wanted to be a part of.  Considering the standards that the industry places on actors, the fact that Johnny Depp has not sold out and taken a role simply for the money, is an admirable quality.  If everyone possessed such commitment in their work, and more so, such conviction, life would be much more enjoyable to live.

558.          Jonathan Larson

Jonathan Larson

January 21. The time is around 6:45 pm.  Writer, composer Jonathan

Larson was sitting in the very last few rows listening as cast he had chosen for

his "about to be" Broadway musical, "Rent" went through one of the final dress

rehearsals in The New York Theater Workshop. He and the Director of "Rent"

Michael Grief began to sing one of the songs form the show when Larson began to

feel a pain in his chest. The pain worsened. Larson (being the compulsive

worrier and hypochondriac close friends and relatives knew him as) turned to an

actor and said,"You better call 911. Think I'm having a heart attack."

Lagon was rushed to the Emergency Room of New York's Cabrini Medical

Center. There, doctors gave him an ECG which showed evidence of no heart

problems or anything else for that matter. Symptoms included pale and clammy

skin shortness of breath.  Larson's best friend, Jonathan Burkhart noted,

"You've breath as hard as he was breathing." After a few more test were done,

Larson was Diagnosed with food poisoning.  The doctor then proceeded to pump his

stomach and send him home with a prescription for Toradol, a potent painkiller,

in hand.

January 22.  Morning. Jonathan Larson telephones Cabrini Medical to

query the results of the tests taken the previous evening for food poisoning.

The employee on the other end of the line claimed no results could be found but

tried to assure Larson that if any thing serious had been found he would have

been notified immediately. The rest of the day, Larson spent being nursed by

Eddie Rosenstine.

Evening.  Brian Carmody found his roommate in bed, short of breath and

mumbling in a low voice. The only food he could seemingly stomach was Jell-O and

some tapioca pudding.

January 23. Afternoon. Jonathan called his father in Albuquerque

complaining of chest and lower back pains and a small degree temperature. His

father felt it was nothing serious.

Evening. His condition worsens. The chest pains are again excruciating.

He decides to return to the hospital. Carmody again a member of the staff says

the hospital could not attain the records form Larson's visit two days earlier.

Instead, he is taken by way of cab to St. Vincent's, a closer hospital. When he

arrived, Larson rated his pain as being seven out of a possible 10.  A nurse

classified his case as "urgent".

After some examination, he was told this was no more than a virus (due

to flu-like symptoms) and it would pass.

January 25. It has been a long, hard, nerve-racking day for Larson. He

has just returned to his downtown Manhattan apartment on Greenwich Avenue from

the final dress rehearsal before the preview of his On-Broadway musical "Rent".

Perhaps he was trying to relax with some nice, hot tea, or perhaps it was just

to heat up some remedy he had picked up from a stage hand in passing through the

cloud of hectic activity which consumed him that day. Larson collapsed there, in

front of the stove that day, dead, and was later discovered by Mr. Carmody.

Dead. After six years of obsessive toil and obscurity, dead. One night before

his life's dream was to be born into reality. Dead. Before he could witness the

utter awe of the sold out audience to the opening night preview! Dead. Before he

could see with his eyes what he had watched in his head a million times already.

And what was the final cause of death you might ask? Was it a deadly

infection of ecoli? Possibly  a rare virus ?  Or mabey a combination of the two.

Like a virus introduced to him through food poisoning. The answer is no. An

undeniable no at that. The actual cause of death, aortic aneurysm (a foot long

tear in his aorta).

New York State Health Commissioner  stated that it could have been

treated with` a surgery which had a survival rate of 80%.

Ironies like these plagued and enchanted Larson's life, almost as if

they were part of a great big story the outcome of which, if one could have only

read it, could have been easily guessed.

559.          Journal

This week I read Ender's Game by Orson Scott Card. I read

from page 1 to 353.

The book starts off with Ender getting his monitor off.

A monitor is something that they but on the back of these

peoples necks to see if they are a good candidate to be a

general to fight the buggers. The buggers are aliens. Well,

since he is not monitored anymore people who have always

wanted to fight him can now fight them. He ends up

winning all of the fights and he goes home. As it turns out

taking off his monitor was a test to see how he would

handle people that fight him. A general then explains that

he want to send Ender to battle school so he can learn how

to fight in space. Ender decides to go. When he gets there

he finds out that it is very tough. He ends up killing 2 kids

and breaking count less numbers of bones in the 4 years

that he is there. While he is there he plays a virtual reality

game. When he beats the game the computer makes up  a

place called the end of the world. There are some very

disturbing things here. Eventually Ender graduates battle

school (2 years earlier that anybody has ever graduated,

he's a genius.) He then goes to command school were he

learns how to control fleets of star ships. They put him in a

simulator and he is given many missions to fly. Then one

day his inspectors say that today is his final mission before

they grade him. He up agents a whole planet and a vast

number of ships. He ends up winning by using a secret

weapon on the planet that blows it up. When he finishes the

battle he realizes that everyone is cheering behind him.

When he asks why they tell him that all of his missions

were real ones against the buggers and that he had just

destroyed all of the buggers.

My favorite character in this book is Ender. He is my

favorite character for many reasons. One reason is that he is

really smart. He has a photographic memory and he has a

200 IQ. He also could out smart adults when he was 5.

Another reason why I like him is because he likes to play

video games. He says that they make him even smarter.

Another reasons why I like Ender is because he doesn't let

people take advantage of him.

My least favorite character in this book would have to

be Peter Wiggin. I despise him for a few reasons. First off

because he is a jerk. He always beats up Ender and

Valentine. He does this because he always needs to be in

control. Another reason why I don't like peter is because he

is just as smart as Ender but he uses his smarts for evil

purposes. He once skinned a squirrel with out killing it so

he could watch it die. Another reason why I don't like him

is because even after Ender saves the world he still doesn't

give Ender any respect.

My favorite part in this book is when Ender defeats

the buggers. This is my favorite part for 3 reasons. One,

because the buggers have been destroying mankind since

the year 2034. Two, Because they are ruthless killers.

Finally because they have been abducting humans since

1940. They would freeze them in tubs or cut them open.

My least favorite part in this book is when they take

the monitor off Ender. I dislike this part for a few reasons.

First off is because it is a very painful process. It has been

in the back of kids necks since they were 4 and they are

taking it out when they are 6. They end up having to knock

him out in order to remove it. Another reasons is because

after he gets the monitor taken off he gets beet up. Another

reasons is because everyone hates Ender because when they

take off your monitor that means you didn't make it to the

battle school when infact he did make it.

We'll, I loved this book! I read the whole thing in less

than a week. You should read it, especially if you like vivid

descriptions. I got to go. See you later.

Sincerely,

560.          Joy Luck Club 2324

There are numerous conditions in human life that mold people into who they presently are. A person's identity and way of thinking are influenced greatly due to their family's surroundings, and relationships they are involved in.  In the novel, The Joy Luck Club, the characters are generic, in the sense that, although they are from different families, the problems and emotions experienced are similar.  The daughters are in an on-going search to discover themselves, who they are and what they represent.  With their precious mother-daughter bonds, four immigrants are bewildered at American culture as they

struggle to instill in their daughters remnants of their Chinese heritage.

Throughout the course of the novel, the mystery of the mother-daughter

relationship is revealed to the reader by various means.  First, such a strong connection can only be the product of an essential, timeless, emotion called love: "She loved you very much, more than her own life" (Tan 29).  Unfortunately, in Chinese culture, mothers rarely say "I love you" and find little to no time at all to provide for their daughter's emotional needs.  Such attitudes occasionally lead the children to sense that "My mother did not treat

me this way because she didn't love me.  She just had a hard time showing her love for me" (Tan 45).  As well, the link is also nourished in other ways, such as the swift protection of  a mother's young: "She grabbed my hand back so fast that I knew at that instant how sorry she was that she had not protected me better" (Tan 111).

There are other ways in which the mystery of the mother-daughter relationship isuncovered.  Because of a mother's enduring love, they often put up high expectations that are often hard to meet.  As well, in the case of  Waverly and June, a mother's love is expressed in the novel by proudly showing of.  In any case, every small act or gesture done out of deep love for one another, strengthens the bond, that is enkindled at

birth.

They are frightened.  In me, they see their own daughters, just as ignorant,just as unmindful of all the truths and hopes they have brought to America.  They see daughters who grow up impatient when their mothers talk inChinese, who think they are stupid when they explain things in fractured

English.  They see daughters who will bear grandchildren born without any connecting hope passed from generation to generation.  (Tan 31) Culture gratly influences the youth of today as American circumstances considerably

influenced the daughters of the novel.  In some instances, the Western culture dominates as the mothers strive on, in its shadow: "...and because I remained quiet for so long now my daughter does not hear me.  She sits by her fancy swimming pool and hears her Sony Walkman, her cordless phone..." (Tan 64).  Ying-Ying ponders upon the fact that, "She follows my Chinese ways until she learned how to walk out the door by herself and go to school" (Tan 289).  Because of heavy resentment on the mother's part, in some instances,

the American culture is frowned upon and is stereotyped as having "morbid thoughts"(Tan 105).

Many problems, especially embarrassment, surface when the younger generation attempts to become absorbed into a new culture, while the parents insist on clinging to their old ways.  The daughters experience troubles while trying to cope with their immigrant parents.  There is an obvious language barrier that may result in feelings, such as that of Jing-mei: "These kinds of explanations made me feel my mother and I spoke two different languages, which we did.  I talked to her in English, she answered back in Chinese" (Tan 23).  Often, the daughters feel ashamed.  The people who embarrass them and whom they resent are their parents: "I wish you wouldn't do that, telling everybody I'm your daughter" (Tan 101).  The young ladies later realize that it is childish to think that way, and they focus on the future, rather then on past mistakes.

The children feel that their mothers nag constantly when moral issues are concerned, for example, in the case of a divorce.  An-mei prefers that her daughter talks and works out her personal problems with her husband.  If Rose's husband leaves her, then ultimately she must resort to a divorce.  Regardless of what the circumstances are, mothers are diligently looking out for the well being of their daughters: "...she'd do anything to warn me, to help me avoid some unknown danger" (Tan 108).  The mothers of the novel try their best to provide for their daughters, but this is taken for granted at times.  Lindo explains at one point that "inside I am ashamed.  I am ashamed she is

ashamed.  Because she is my daughter and I am proud of her, and I am  her mother but she is not proud of me" (Tan 291).

...but I couldn't teach her about Chinese character.  How to obey  parentsand listen to your mother's mind... Why easy things are not worth

pursuing.  why Chinese thinking is best.  No, this kind of thinking didn't

tick to her.  She was too busy chewing gum, blowing bubbles bigger thanher cheeks.  Only that kind of thinking stuck. (Tan 290) A mother's hunger is to inject what is left of her way of life.  Obedience is first and foremost amongst the mothers: "Only two kinds of daughters, those who are obedient and

those who follow their own mind!  Only one kind of daughter can live in this house. Obedient Daughter!"  (Tan 153).  Materialistic needs are not worth pursuing but finding yourself is: "With all these things, I did not care.  I had no spirit" (Tan 286).  Other times, in trying to instill what is left of the Chinese heritage, the American way of life is blended in, but alas, "I wanted my children to have the best combination: American circumstances

and Chinese character.  How could I know these two do not mix?" (Tan 289).

The characters of the novel, The Joy Luck Club, unravel the intricacies of combining a Chinese heritage with American circumstances and tell of the relationships between mothers and daughters.  The strong bond, that is present amongst the characters, will infinitely outlast all obstacles.  From each generation, all of the women "are like stairs, one step after another, going up and down, but all going the same way" (Tan 241).  There are advantages and disadvantages to growing up with American circumstances, as well as learning and obtaining Chinese character, but one must be chosen over the other to

be free.  "I think about two faces.  I think about my intentions.  Which one is American? Which one is Chinese?  Which one is better?  If you show one, you must always sacrifice the other" (Tan 304).Bottom of Form

Amy Tan weaves many elements of Taoism and Confucianism into the subtle fabric of The Joy Luck Club. A reading of the text with attention to the way these two sacred systems interact between each mother and daughter offers a unique way to make sense of her group of loosely linked stories and ambiguous resolutions. Taoism as a tradition is concerned with conflicts and ambiguities, asserting that ambiguities themselves are significant and may point to the invisible core of life. Tan may weave elements of Taoism into the narrative to locate the "invisible core" of Chinese women's culture, of the immigrant family--and of the novel itself--within apparent conflicts or ambiguities. Tan's use of Confucianism may reveal her hypothesis of how a women's version of that patriarchal ethico-moral-ritual tradition might be passed down from mother to daughter and carried to America. Just as in the Confucian ritual system, very little of the mother-tradition in the text is told explicitly from mother to daughter: ritual actions are supposed to be observed, absorbed, read, and understood in order to be transformed, preserved and handed down in turn.

I.

From a Taoist perspective, the fact that The Joy Luck Club is divided into four sections of four stories each, about four mothers and four daughters, carries symbolic weight. In Taoism (see Appendices I & II), there are not four directions, but five, the fifth being the dynamic center (Corless, 2/13/92). The dynamic center of the novel is contained within the four sets of four stories. For example, the four places at the Mah Jong table are thrown out of balance by the death of Jing-Mei Woo's mother, and Jing-Mei must replace her at the table to restore the balance and support the dynamic center which is the ritual of the game itself (Tan, 19, 22). In this same way, the structure of the first section is unstable (due to her mother's death), and Jing-Mei must narrate all four Woo stories in her mother's absence.

Confucianism and Taoism were both responses to times of conflict. Confucianism is usually dominant in times of peace, while Taoism is dominant in times of war or strife. Jing-Mei's mother created the Joy-Luck Club during a war, and although the Joy Luck Club is a ritual (Tan, 21), its relativism is essentially Taoist:

People thought we were wrong to serve banquets

every week while many people in the city were

starving . . . to celebrate when even within our

own families we had lost generations . . .

(Tan, 11)

The Taoist, Chuangtze, was known to have sung songs and beat on a pot when his wife died, to the horror of his neighbors. "If I should break down and cry aloud, I should be like one who does not understand destiny [Tao; the relativity of life and death]. Therefore I stopped" (Yutang, 180). A healthy sense of relativity is useful to the Taoist for dealing with life's extremes.

Jing-Mei completes the fourth corner of the Club after her mother's death, only to find that the Aunts wish her to correct a greater imbalance: to meet her two sisters in China, and fulfill her filial obligation to tell her sisters about their mother. The entire novel pivots around the Aunt's tension ("Tell them!") about the transference of the mother-tradition (Tan, 31).

The second tale, "Scar," introduces what Tan may be producing as women's version of Confucian Analects: the Moral Tale. An-Mei Hsu absorbs these stories from Popo, the grandmother, who bewilders the girl with stories of little girls with melons in their stomachs or brains leaking out of their head (Tan, 34). These are Popo's attempts to instill concepts of shou, or filial respect, in An-Mei and her little brother (Tan, 35). An-Mei only begins to understand the stories when she realizes that her mother had no shou and that she therefore lost "face" (Tan, 36). Loss of face, in Confucian terms, means a loss of social standing. Since one's social standing defines the self in the Confucian context, the mother is, for all intents and purposes, "dead" to her family (Fingarette, 30; Tan 33).

When Popo is sick and dying, the mother returns. An-Mei watches her slice a piece of skin off her own arm to try and make a (Taoist magic) potion to heal the grandmother. This is a radical demonstration of shou that goes deep into An-Mei's consciousness:

Even though I was young, I could see the pain of

the flesh and the worth of the pain. This is how

a daughter honors her mother. It is shou so deep

it is in the bones . . . You must peel off your

skin, and that of your mother, and her mother

before her. (Tan, 41)

This is the first of a series of images in the book which portray woman-tradition as stretching backward in time.

"Red Candle," the next story, revolves around another Confucian principle, that of hsin, trustworthiness, or "person who is reliable-in-word" (Lau, 25). Confucius wrote:"Let the ruler be a ruler, the subject a subject, the father a father. the son a son" (Lau, 114). This means, one's function or role defines the self in the Confucian context or the whole system breaks down. "To be hsin in word applies to all of one's words . . . promises, resolutions concerning future conduct, or even plain statements of fact" (Lau, 25). As with shou, if one is not hsin, one loses social standing.

Lindo Jong's story is an illustration of the importance of hsin and the way she circumvents it with her integrity intact. She laments that in America promises are virtually meaningless, or at least work by a different system than she is used to (Tan 42). In her backwater province of China, duty meant "stupid, old-fashioned customs" such as matchmaking of wives who would "raise proper sons, care for the old people, and sweep the family burial grounds" (Tan, 45). This is the sum and total of what most women in Confucian society could expect--unless they learned to manipulate the system, which is exactly what Lindo Jong does, and does honorably.

Lindo's conflict is between her individual wishes and the expectations of her immediate community. She knows her "standing," which is in the kitchen, and she must endure it in order that her mother not lose face. At the wedding, her mother gives her a luck-pendent, a chang, with an admonition to be obedient in the new family. But Lindo "lacks metal," one of the Taoist elements said to determine one's personality--a determination that is outside Confucian parameters--and this allows her to "think as an independent person" (Tan, 59). Because she is able to think in an alternative system, she can value her self-identity above the communal identity. The pendant her mother gives her directly opposes her mother's words: the pendant is the point of transference of the mother-tradition, and with its "luck" comes the key to unlocking or adapting the Confucian women's role without losing face.

561.          Juan Gris 1044

Juan Gris (born Jose Victoriano Gonzalez) was brought up in Madrid 1887;; in 1906 he fled to France to avoid military conscription, where he joined the circle of avant-garde poets and artists (which included Braque). His first works were post-impressionist still life but he soon eagerly followed the path towards abstraction right behind Picasso and Braque and converted to cubism. Cubism dated back to the beginning of the 20th century, it was a turning point in the modern art and with its different ideals it confused many artists. It was established for a synthetic purpose, so that when an image was depicted its views were not limited and it would be able to be viewed simultaneously with multiple perspectives. In 1911 Gris followed this shifting trend and began to produce analytical works. Eventually his works began to acquire certain uniqueness, which was the due to Gris' own conception of cubism. He believed in creating and explanation of forms rather than a complication, he expresses this approach in his remark about Cezanne ~ "Cezanne made a cylinder out of a bottle. I start from the cylinder to create a special kind of individual object, I make a bottle out of a cylinder..." the cubist movement had now moved from analytical to synthetic and Gris was one of its strongest supporters. Gris lived a concise and miserable life, suffering chronic depression, implications of war and a physical illness. He was highly dedicated to his work and had a strong passion for art. He died at the age of 40 in 1927.

Juan Gris work "The violin" 1916 is composed with few objects, overlapping in colour planes and balanced diagonals. The composition is focused on a musician's violin, stool, music sheet and bow. The picture appears to be sombre and depressing with dull colours. Creating a feeling of solitude and confinement, with the violin giving off an essence of relief, an escape amongst the wooden doors and stool. It appears to be entrapped within the chaotic muddle of objects leaving a feeling of confusion about the whole painting but certainty of the violin.

Gris was very fond of musicians and the way their talents were expressed through musical instruments; Gris view was explained by Mark Rosenthal ~"The musical instrument, as a tool of the musician, was an analogue to the implements of the painter". The violin is presented as being an opportunity for expression; the music and bow allow the audience to realise that there is nothing restricting self-expression. Even though there is a great perplexity with its surroundings the violin is depicted very clearly and it's meaning is easily conveyed; the violin is an opportunity for expression which can be a refuge amongst anything.

"The Violin" is cubist style oil on panel painting consisting of overlapping colour planes (grey, black and brown), angular and diagonal shapes, shallow space with light and shadows. The tones of the painting are very sombre and subtle, which mainly reflect the time period and emotional state of Gris. Gris was also a great perfectionist  of the collage, a part of that is visible with the highly contrasting white piece of music paper. It stands out from the dull colourings of background and violin, but still it attracts more focus towards the violin. Even though the painting has different tones and shadows, the space remains shallow, nearly flat, allowing everything in the picture to be visible almost at the first glance. The subject of the painting appears to be very classical; the objects are representative of a classical culture of art and music and were also popular amongst cubist painters. With the violin placed in the middle, it allows it to be immediately recognised as the focal point, projecting its meaning about how the ability to express yourself is an asylum amongst chaos. The shapes are very angular and the diagonals are parallel.

The year "The Violin" was painted in was 1916, time of war. Many artists of this period were struck by the brutality of war, which squandered their outlook of life to a mere miserable disappointment. Most paintings now reflected their feelings and emotions of depression. Gris was one of the few men that did not enlist in the war, left in France, the gallery containing his works was ceased by the government, leaving Gris with no source of income. He became highly susceptible to the grief and was commencing his decline to depression. However during these years Gris was able to truly explore himself and became highly creative, Kahnweiler (Gris' art dealer and patron) stated post war about Gris artistic progression ~"I had left behind a young painter whose works I liked. I had returned to find a master." "The Violin" was considered to be one of Gris most successful works. The tonal colours of the painting reflect Gris emotions, also in the previous years he had begun to experiment with tones and began to incorporate the object's tones with the background; this is seen in "The Violin".

The Cubist movement was a break through in the history of art as it allowed a wider acceptance of new artistic styles and movements. Gris work followed that of Picasso and Braque, but his work however was not classified as pure abstraction: it was much more depictive. Nevertheless he was not a realist and one historian described his artistic goal as ~"basic faith in the possibility of transfiguring reality without hopelessly compromising its identity". Gris was irritated by the extensive theory of abstraction, and tried consistently to differentiate himself from the more famous Picasso and Braque. The objects in "The Violin" remain recognisable and whole, but still retain the effect of abstraction. "The Violin" is subtle but still conveys a meaning more defined than that of many other cubist works. He was seen as a Cubist supporter who spent much effort trying to personalise his appropriations. Cubism sparked off a stream of artistic movements influencing Orphism, Purism, Precisionism, Futurism, Constructivism and Expressionism.

Juan Gris was a highly intellectual artist, even though he did not receive the recognition he deserved through out his life. He was a valuable influence on the Cubist movement and many others to follow. His works contained great sense of balance, prolific use of collage and colour tones.

562.          Jude the Obscure

Jude the Obscure

In Hardy's Jude the Obscure, Hardy shows his views on religion and commitment to the Church which were said to have declined in the latter years of his life. (Ingham, xxvii) Throughout the book Hardy displays his feeling that religion is something that people use in order to satisfy themselves by giving their lives' meaning. One instance in which Hardy clearly displays this is when he writes, "It had been the yearning of his heart to find something to anchor on, to cling to." (Ingham, 94) In order to bring out this point Hardy chooses to create Jude as an orphan and has him come from obscure origins. By doing this he creates a character who is looking for something to give him an identity. As a result of his relationship with Mr. Phillotson (who leaves for Christminster in order to become ordained), he finds religion and feels that he can use it to help him gain an identity.

Hardy feels that people should shy away from their old ways of thinking and begin to form new opinions of their own. He feels that people should not just blindly follow religion without deciding for themselves that this is what they want. People should not be as Jude who becomes obsessed with religion simply because his mentor Phillotson felt this way. One of the major reasons that causes Hardy to have these views is that he feels religion leads to hypocrisy. He feels that man has many desires that go against the laws of religion, and these desires lead man to feel very hypocritical. These feelings of hypocrisy then cause man to have many inner conflicts that lead to many problems.

This negativity towards religion is seen both through symbols in the book and in the plot itself. The symbols that convey this message are the name Jude, which is an allusion to Judas Iscariot who was a traitor to Jesus. The name Jude can also be a reference to the wandering Jew. The second symbol is Christminster. Christminster symbolizes a world in which Jude sees how remarkable the Church is, but it is a place that exists only in Jude's imagination. Another symbol that we encounter is that of Samson who is symbolic of man going after women that are forbidden to him. We also encounter a reference to Nebuchadnezzar's  furnace, which is used to question God by asking why the righteous suffer. Finally, the job Jude chooses is also symbolic of the anti-religious attitude that is shown.

The negativity towards religion is first revealed in the name Jude. Jude is an allusion to Judas Iscariot. Judas betrayed Jesus to his enemy for thirty pieces of silver. He identified Jesus to the soldiers by kissing him, and this is what led to Jesus's death. He later returned the money he received to kill Jesus and then went off and killed himself. Jude's life seems to contain many similarities to Judas's life. When Jude was in his younger years he had strong feelings towards religion. Jude began to move away from God as his life progressed. This occurred when he started to feel the guilt that arose from his feelings for Sue. These feelings of guilt caused Jude to move away from the Church and "betray" God, as he states, "The Church is no more to me." (Ingham, 221)

By making the comparison to Judas, Hardy is conveying to us the message that religion causes one to feel very unsure of oneself. Judas's life is filled with uncertainty; at first he is very religious and spends much time with Jesus. He then abruptly betrays Jesus for a mere thirty pieces of silver, the price of a slave. He is very unsure of himself and it is the hypocrisy that seems to eat away at him until he can longer take it, and as a result he ends up killing himself. Jude is very unsure of himself when it comes to religion, mirroring Judas. At first, he wants to be ordained, but, only because he wants to follow in the footsteps of his mentor Phillotson. He then is no longer able to keep his religious views because he can not live with the fact that they go against his deepest desires to be with Sue. As with Judas, religion causes Jude to act very hypocritically. Jude wanted to be religious, yet at the same time he wanted to remain together with Sue. Finally, Jude can longer cope with all these feelings of guilt and confusion and he is forced to leave the Church.

Thus we see that religion causes someone to be very confused and act in a very hypocritical manner. Hardy feels that these feelings are not necessary and could be avoided by avoiding religion. Had Jude and Sue not fallen into the "trap" of  religion, it is very probable that the whole story would have been different, and would have ended on much brighter note. Had Jude and Sue not had the conflict of religion they would have been able to marry each other without having any guilty feelings. They also would have been able to avert any ill feelings that the towns' people had felt towards them.

The word Jude can mean the wandering Jew. By calling the main character of the book Jude, Hardy is making a reference to a group of people who believe in God and are classified as wandering. By using this allusion Hardy is trying to convey to us that the path of religion is not one that has a true destination, but rather it is one of fallacy that leaves people wandering. Hardy further illustrates this point by making Jude a "wanderer." Jude is a wanderer both literally and figuratively. Literally we see him wandering from place to place to find work, and figuratively we see him searching for his own identity.

We encounter a negativity towards religion by the town called Christminster. Christminster can be broken down into Christ and minister. At first, Christminster is symbolic of a place that is supposed to be wonderful like the world of the Church. It is likened to the Church by the phrases in which Hardy uses to describe it. He writes that Jude sees Christminster as "the city of the light," in fact it is seen as "a place he had likened to the new Jerusalem," the city of redemption. (Ingham, 85) These biblical references lead us to make a religious connection between the Church and Christminster.

Christminster  is also seen as a place where he hopes to fulfill all his hopes and dreams. "From the beginning, Jude sees in Christminster  and  its university the image of an attainable ideal world. His desire for this ideal vision involves a rejection of reality. For his own sporadically controlled, partially understood world, he substitutes the image of an ideal unified, stable, and understandable one." (Bloom, 193) However, this wonderful world exists only in Jude's imagination. He does this in order to escape his complicated reality. Hardy is trying to tell us that we should not fall into the same predicament as Jude; we should not allow ourselves to run after religion as an escape to our problems because it will only lead to hardships. We see Hardy's message  as Jude encounters many major rejections in Christminster; included in these are his not getting into any of the colleges he desired to attend and his love Sue leaving him for Phillotson. Here we see that the two major goals that Jude had hoped to achieve in Christminster both remained unfulfilled. What Hardy is trying to tell us is that at in many instances religion may seem to be the path to take. However, after one delves deep into the meaning of religion he finds, as Jude does in Christminster, that while it may seem great from a distance, it is actually just filled with many letdowns. Thus, the view on religion is: it seems to be the "light" we should follow, but, it is actually only an illusion.

Hardy shows that Jude's desire to go to Christminster and dedicate himself to the church stemmed from his admiration of Phillotson. By saying this, Hardy is telling us that it was not Jude's own true wish be a part of the Church, but rather he was just following someone there. He then realizes that with  his true feelings he can not continue to follow the Church because it would be hypocritical. What Jude is realizing is that one must choose his own path and should not feel compelled to follow God, if he does not come to the conclusion himself.

When Jude an Arabella go walking together, they stop at an inn to drink tea. At this time Hardy makes mention of the picture on the wall. The hanging picture is of Samson and Delilah. Samson, although a fighter for his nation, was not someone who strictly adhered to the laws of religion. Samson showed his lack of adhesion to the laws of the bible by sleeping with three forbidden women. This is very similar to Jude who is going after the "forbidden woman" (forbidden because she is his cousin). Samson is thus a symbol of one going against the proper views of the bible, as Jude.

By bringing up Samson at such a time Hardy is trying to tell us something. He is trying to tell us that even though one of the great heroes of the bible has gone and committed sin with forbidden women, he was still able to become a hero. Hardy therefore brings this to our attention to show us that religion is not necessary in order for one to lead a successful life.

By making this reference Hardy is trying to make Jude into a tragic hero. This is done through the mention of Samson. Hardy is saying that as Samson Jude is also a hero. While Samson was a hero because of his strength and ability to triumph in battle, Jude is a hero because he has the strength to fight against what society deems to be acceptable (the ways of the Church). Jude is not swayed like most by what others feel he should do, but rather he is a fighter.

Hardy compares Jude to Jesus in many instances, one of which is when Jude is angry at Sue for marrying Phillotson. This comparison is brought up when Jude and Sue are talking about which inn to go to, in order to avoid being seen by others. Here we have Jude intending to commit adultery with Sue and we have Hardy comparing him to Jesus. Although in the end of the seen Jude and Sue do not end up sleeping with each other, at the time the comparison to Jesus is made, it is Jude's intention to sleep with Sue.

"You simply mean that you flirted outrageously with him, poor old chap, and then to make reparation, married him, though you tortured yourself to death by doing it."

"Well-if you will put it brutally!--it was like that-that and the scandal together-and you concealing from me what you have told me before!"

He could see that she was distressed and tearful at his criticisms, and soothed her saying, "There, dear; don't mind! Crucify me if you will! You know you are the world to me, whatever you do!" (Hardy, 216)

In this instance Hardy's negative views towards religion are seen. We encounter Jude and Sue arguing about her feelings for Phillotson. Once Jude realizes that he has caused Sue to feel bad he immediately tries to comfort her. Here Hardy compares Jude to Jesus by having him say "crucify me if you will." This phrase is very

563.          Judgement

Judgement

People can often be treated and judged in a less than equal manner before people even know the true nature of the person, such as the way that the Finch children think that Boo Radley is some kind of a monster.  Or the way people call Atticus Finch is called a nigger-lover.  One of my most favorite quotations is that of Martin Luther King Junior.  "I have a dream, that one day my children will be judged not by the color of their skin, but by the content of their character."  People should make judgements of the person's character, not by their appearance, race, religion, sexuality, and morals.

One of the main focuses of the book is the Finch children trying to get Boo Radley next door to come out of his house.  To them he is a mean monstrous person.  But for some reason they seem to think that tormenting him is the best way to occupy their time.  In fact, to the whole town the Radley family are mean people that kept to them selves.  "There goes the meanest man ever God blew breath into,"  said Calpurnia (page 12).  This shows how mean people can be just by judging others by their outsides.  What gives these people the right to make these kind of conclusions without ever even meeting the person(s).

Later in the book the Finch children find presents hidden in a tree next to the Radley place.  They can't figure out who would set these nice gifts out for them.  Later they find out that is Boo Radley.  He is just trying to be nice and other people won't accept his original approach on life.  At one point in the book the children decide to go up onto the porch to try and get a peak inside the window.  Then they see Mr. Radley inside with a shotgun and they ran away.  Jem got her pants ripped off on a fence and returned later to retrieve them and she found them mended and laying over the fence.  Another example of how nice the Radley's are is when it was shivering cold outside someone places a blanket over Scout's shoulders.  Only later does she realize that the act was performed by the mysterious Boo Radley.  I have just given multiple examples straight from the book of how the personalities of the person can be radically different from their appearance.  That leads back to my thesis of judging people by their character not their outer shell.

One more maddening incident in the book that made me just furious when I read it was when people started calling Atticus Finch a nigger-lover.  When I think of the Nazi Holocaust, and slavery in the U.S. in the 1800's, I just get an anger built up inside of me.  I don't see how people can hate a group of people because of their religion or race.  Back to the Atticus Finch incident, there is nothing wrong with defending someone you think is guilty and there is no reason to believe that they're guilty just because of the color of their skin.  Why must people use the term nigger-lover is someone is helping out a black person.  Why must people make it their business, and why must they get into something that has nothing to do with them.  They don't even know the real truth.

In conclusion, people make me sick.  There is no reason why there should be any kind of racial or religious kind of discrimination.  This book is a perfect example of discriminating people based upon their outer shell.  I liked this book and it should be read by all so that everyone can understand the horrors of discrimination, past and present.

JUDGMENT

James Brager

English 10

Mr. Frye

March 12, 1997

564.          Judy Garland

Many of you know her as Dorothy from the Wizard of Oz. But there was much more trouble behind Judy Garland than just a pair of ruby slippers. At the young and innocent age of 17 she starred in her 7th film, "The Wizard of Oz". The same year she had her hand and shoe prints forever embedded in the Hollywood Walk of Fame. The reality of her envied life was not so pretty however. The pressures were harsh and so was the work load. Her contract stated that if her physical appearances were to change, her voice became impaired or she couldn't work satisfactorily she would be suspended without pay.

Drugs were naturally used to help her maintain her life and schedule. She did not start out abusing drugs or using them for pleasure, Benzedrine and Phenobarbital were taken to control her appetite and weight. She was worked so hard that she became too exhilarated to sleep. Sleeping pills helped her get as much sleep as possible for the next day of hard work. In order to wake up able to function in the morning she had to take a wake-up pill, or Benzedrine. These psychotropic drugs were newly discovered and considered medicine, such as amphetamines. The consequences that we now know of these drugs were not known back then. They did not know how addictive these new drugs were or of the severe physical and mental side effects. They took they're toll on Judy Garland and she became very addicted and slowly completely dependant on the drugs.

She decided that she needed help when the people around her began noticing the differences. She saw a psychiatrist and he told her that she had problems and that they would become serious; that she needed help and that she should begin seeking it. And even though she saw a psychiatrist and many therapeutic promises were made she kept getting worse. The drugs began taking over her life and her behavior. It was also slowly becoming apparent to the public.

She was taking deadly combinations of drugs, not knowing what it could do or what they could do together. She was taking "stimulants that can cause psychotic states and insomnia, and barbiturates causing headaches, fatigue and behavior changes", plus combinations that could lead to hallucinations, shortness of breath and suicidal tendencies. All the while she was going through her therapy to get off these very drugs. Medical evidence showed that they were destroying her physically as well. She was called a human with a literal chemical atom bomb going off inside her. When Garland tried to go without her drugs she experienced severe physical pain and felt so bad she had to take her pills again. As Gerald Frank wrote in Judy, "her cure became her illness which became her cure which became her illness."

She sustained many stays in psychiatric hospitals with her psychiatrist's orders and at the age of 26 she went through the severe treatment of electroshock. Sadly all her attempts of psychiatric help failed her. She even tried hypnosis to "calm her nerves and help her lose weight."

Even through her depression and sorrows from her addictions, which were of no fault of her own besides choosing the path of Entertainment at a time when consequences were unknown, she worked on. She was an amazing performer as she had been since she was old enough to carry a tune, and her illness didn't affect that. And in her mid to late 30's her heath problems caused by the drugs became critical. She was hospitalized because her liver and spleen were largely swollen and her body had become poisoned from fluids. The result of her lifetime of drugs was tearing her apart physically and mentally.

After the hospitalization that had followed many she was put on powerful psychiatric drugs once again. Valium, Ritalin, Thorazain were some of the drugs she was taking and by 1968 she was taking as much as 40 Ritalin pills every day. The effects of these drugs cause hallucinations, disturbed thinking, confusions, depression, anxiety, rage and sleep disturbances. Her "cocktails" of drugs was frightitinngly deadly.

To deadly in fact. Judy Garland died of a drug overdose on June 15, 1969 in her London hotel, 6 days after her last performance. Had Judy Garland known the effects of the drugs she was taking before she took them, had she not been so pushed, wanted and worked, maybe her fate would have been different. It shows the importance of knowing the side effects of drugs and what they can do to you without your even knowing it. No matter how innocent you think it is, drugs of any kind can be seriously deadly if you are not aware of its effects in time.

565.          Juicy

The Notorious B.I.G.

"Juicy"

It was all a dream

I use to read "Word Up" magazine

Salt 'n' Pepa and Heavy D

Up in the limousine

Hangin pictures on my wall

Every Saturday, rap attack

Mr. Magic Marlly Mar

I let my tape rock

Till my tape pop

Smokin' weed and bambo

Sipin' on private stock

Way back

When I had the red and black

Lumberjack;

With the hat to match

When remember rappin do

The high, the high

You never thought that hip-hop would take it this far

Now I'm the lime light

Cause I rhyme tight

Time to get paid

Blow up like the World Trade

A born sinner

The opposite of a winner

Remember when I use to eat sardines for dinner

Peace to Ron G, Brucee B, Kid Capri,

Funk Master Flex, Love Puff Starski

I'm blowin' up like you thought I would

Callin' the crib same number, same hood

It's all good

And if you don't know

Now you know nigga

Chorus:

You know very well

Who you are

Don't let 'em hold you down

Reach for the stars

You gotta a goal

We're not that many

Cause you're the only one

I give you good and plenty

Song:

I made the change from a common thief

To 'Up Close and Personal" with Robin Leach

And I'm far from cheap

I smoke blunts with my peeps all day

Spread love it's the Brooklyn way

And Alaze keep my pissy

Girls use to dis me

Now they write letters cause they miss me

I never thought it could happen

This rappin stuff

I was to use to

Packin' gats 'n' stuff

Now honeys play me close

Like butter plays toast

From the Mississippi

Down to the East Coast

Condos in Queens

Indo for weeks

Sold out seats

To hear Biggie Smalls speak

Livin' life without fear

Puttin' 5-karts in my baby girl ear

Lunches, brunches interviews by the pool

Considered a fool

Cause I dropped out of high school

Sterotypes of a black male misunderstood

And it's still all good

And if you don't know

Now you know nigga

Chorus

Super Nintendo, Sega Genisis

When I was dead broke

Man, I couldn't picture this

50 inch screen

Money green

Leather soafs

Got 2 rides

A limosuine with a chauffer

Phone bill about 2Gs flat

No need to worry

My accountant handles that

And my whole crew was loungin'

Celebratin' everyday

No more public housin'

Thinkin' back

On my one room shack

Now my mom pimp acts

With minks on her back

And she loves to show me off of course

Smiles every time my face is up in "Source"

We use to fuse

When the landlord dised us

No heat

Wonder why Christmas missed us

Birthdays were the worse days

Now we sip champagne when we thirsty

Damn right I like the way I live

Cause I went from negative to positive

And it's all ...

And if you don't know

Now you know nigga

2 x Chorus

566.          Jules Verne Essay

Jules Verne

Going to moon, a balloon trip around the world, adventure under the sea,

all this in the late 1800s? All this was possible in the writings of Jules Verne.

Jules Verne was born in Nantes on February 8, 1828. He had a vivid imagination

and as a child, he often sailed down the Loire River with his brother. He always

wondered about air and undersea travel. In the 1800s, none of these advances

were discovered.

His father was a lawyer and wanted young Verne to be one, too. Jules was

sent to Paris to study law and while he was there, he became interested in

literature. He graduated with a degree in law in 1850. Jules began to write and

give private law lessons in Paris. His father voiced some concern in pursuing

literature as well as law.

When Jules was in his young 20s, he wrote operettas librettos for about 2

years while continuing to practice law. He was appointed as the Secretary of the

Theatre Lyrique in Paris. He made some letters to his mother commenting on his

shabby clothes compared to the clothes poets there. He started to become a very

busy people.

Verne was married on January 10, 1857 to Honorine de Viane. He only had 1

child, a boy named Michel, who was born on August 3, 1861. Verne also had 2

stepdaughters, Valentine, and Suzanne. Michel grew up to be a very disobedient

child. Verne tried many means of stopping this delinquency. He put Michel in

jail in an attempt to stop the "madness". He was really unhappy over his son's

behavior problem. Late 1879, Verne ended up throwing Michel out of the house.

Michel ran off and married an actress. In 1887, he attended and recognized

Michel's second marriage which helped in reviving the relationship between

father and son.

Jules Verne was an avid traveler and sailor. He visited many places with

his brother, Paul. Paul helped Verne in many technical parts of his novel. In

1859, he and Paul made a summer trip to Scotland. Verne was very impressed by

Scotland as a whole and it became the setting in one of Verne's novels. He also

visited North America for a week. He visited New York, Buffalo, Niagara Falls,

Toronto. He loved America and was very sad that he was never going to come again.

Verne owned 3 boats, a sailboat, a sailing yacht, and a stem yacht. They were

christened Saint-Michel 1, Saint-Michel 2, and Saint-Michel 3, respectively. He

loved sailing and visited many place of Europe with his beloved boats.

In 1869, Verne moved to Le Crotoy. His family liked this seaside town and

it was less burden on Verne's paycheck. This was where his boats were docked,

even after they moved again to Verne's next and final homeplace, Amiens in 1872.

Even though he was famous, he contributed to his community in many way a

lot of times. He received the Legion Of Honor, a French order of Merit

instituted by Napoleon in 1802. It recognizes people for achievement in civil or

military life . He acquired the Honor only days before the Franco-Prussian War.

In Amiens, he was elected to different positions in the town legislature. In

1872, he was voted into the Acad3/4mie d'Amiens, a local learned society. He was

also elected to the Town Council of Amiens when he was 60. He said "My sole aim

is to make myself useful...."  He was very active in his life.

1863 marked the beginning of a new genre in literature. "Five Weeks in a

Balloon" appeared in bookstores. It became the first science-fiction book

published. The publisher, Jules Hetzel, and Verne had started a friendship that

was to last for life when Hetzel accepted "Five Weeks in a Balloon". "Five Weeks

in a Balloon" became an instant success. It quickly soared to the best-seller

list in both the children's and adult's market. He started working on other

books after the success of his first book. He also took a job in Hetzel's

company. He was always a very busy man. Verne's books were some of the most

popular of his time. What he writes about air travel back then is what we hear

about space travel nowadays. He also started the dreams of traveling to the

bottom of the ocean and venturing deep to the center of the Earth.

Some of his most popular books were: "Five Weeks in a Balloon" (1863), "A

Journey to the Center of the Earth" (1864), "The Mysterious Island" (1870),

"Twenty Thousand Leagues Under the Sea" (1870), his most popular, "Around the

World in Eighty Days" (1872), and "Michael Strogoff" (1876).

"Around the World in Eighty Days" was about Phileas Fogg and his servant

Passepartout traveling around, visiting London, Paris, Brindisi, Suez, Bombay,

and other places. All of Jules Verne's books give his readers a way to imagine

about things they've never seen, such as airplanes, submarines and spaceships.

Places, people never thought of going to and have never been, for example, the

moon, the center of the earth, and the bottom of the ocean. Some of his books

have been made into numerous plays and movies. "Twenty Thousand Leagues Under

the Sea" and "Around the World in Eighty Days" have been adapted a lot of times

by various movie companies.

March, 1886 marked the beginning when Verne's life began to fall apart. He

was shot in the foot by his nephew and had a permanent limp as a result. His

great friend and publisher, Jules Hetzel passed away on March 17, 1886. His

mother died next, in February of 1887. He was very sad over the death of mother

as that marked the fact that both his parents were gone. He became further

immobilized in June, 1893, when he had to battle attacks of dizziness, leg and

eye problems. His immediate family as a youth all left him with the death of his

much loved brother, Paul in 1897.

At the turn of the century, Verne stayed as an active person and

continued to write, even with age and illness. March 24, 1905, his family were

all with him as he lived his last day of his life. 4 days later, he was buried

at La Madeleine in Amiens. With the burial, the world lost the "Father of

Science Fiction", a great writer and a prophet.

567.          Jules Verne

Jules Verne

Going to moon, a balloon trip around the world, adventure under the sea, all this in the late 1800s? All this was possible in the writings of Jules Verne. Jules Verne was born in Nantes on February 8, 1828. He had a vivid imagination and as a child, he often sailed down the Loire River with his brother. He always wondered about air and undersea travel. In the 1800s, none of these advances were discovered.

His father was a lawyer and wanted young Verne to be one, too. Jules was sent to Paris to study law and while he was there, he became interested in literature. He graduated with a degree in law in 1850. Jules began to write and give private law lessons in Paris. His father voiced some concern in pursuing literature as well as law.

When Jules was in his young 20s, he wrote operettas librettos for about 2 years while continuing to practice law. He was appointed as the Secretary of the Theatre Lyrique in Paris. He made some letters to his mother commenting on his shabby clothes compared to the clothes poets there. He started to become a very busy people.

Verne was married on January 10, 1857 to Honorine de Viane. He only had 1 child, a boy named Michel, who was born on August 3, 1861. Verne also had 2 stepdaughters, Valentine, and Suzanne. Michel grew up to be a very disobedient child. Verne tried many means of stopping this delinquency. He put Michel in jail in an attempt to stop the "madness". He was really unhappy over his son's behavior problem. Late 1879, Verne ended up throwing Michel out of the house. Michel ran off and married an actress. In 1887, he attended and recognized Michel's second marriage which helped in reviving the relationship between father and son.

Jules Verne was an avid traveler and sailor. He visited many places with his brother, Paul. Paul helped Verne in many technical parts of his novel. In 1859, he and Paul made a summer trip to Scotland. Verne was very impressed by Scotland as a whole and it became the setting in one of Verne's novels. He also visited North America for a week. He visited New York, Buffalo, Niagara Falls, Toronto. He loved America and was very sad that he was never going to come again. Verne owned 3 boats, a sailboat, a sailing yacht, and a stem yacht. They were christened Saint-Michel 1, Saint-Michel 2, and Saint-Michel 3, respectively. He loved sailing and visited many place of Europe with his beloved boats.

In 1869, Verne moved to Le Crotoy. His family liked this seaside town and it was less burden on Verne's paycheck. This was where his boats were docked, even after they moved again to Verne's next and final homeplace, Amiens in 1872.

Even though he was famous, he contributed to his community in many way a lot of times. He received the Legion Of Honor, a French order of Merit instituted by Napoleon in 1802. It recognizes people for achievement in civil or military life . He acquired the Honor only days before the Franco-Prussian War. In Amiens, he was elected to different positions in the town legislature. In 1872, he was voted into the Acad3/4mie d'Amiens, a local learned society. He was also elected to the Town Council of Amiens when he was 60. He said "My sole aim is to make myself useful...."  He was very active in his life.

1863 marked the beginning of a new genre in literature. "Five Weeks in a Balloon" appeared in bookstores. It became the first science-fiction book published. The publisher, Jules Hetzel, and Verne had started a friendship that was to last for life when Hetzel accepted "Five Weeks in a Balloon". "Five Weeks in a Balloon" became an instant success. It quickly soared to the best-seller list in both the children's and adult's market. He started working on other books after the success of his first book. He also took a job in Hetzel's company. He was always a very busy man. Verne's books were some of the most popular of his time. What he writes about air travel back then is what we hear about space travel nowadays. He also started the dreams of traveling to the bottom of the ocean and venturing deep to the center of the Earth.

Some of his most popular books were: "Five Weeks in a Balloon" (1863), "A Journey to the Center of the Earth" (1864), "The Mysterious Island" (1870), "Twenty Thousand Leagues Under the Sea" (1870), his most popular, "Around the World in Eighty Days" (1872), and "Michael Strogoff" (1876).

"Around the World in Eighty Days" was about Phileas Fogg and his servant Passepartout traveling around, visiting London, Paris, Brindisi, Suez, Bombay, and other places. All of Jules Verne's books give his readers a way to imagine about things they've never seen, such as airplanes, submarines and spaceships. Places, people never thought of going to and have never been, for example, the moon, the center of the earth, and the bottom of the ocean. Some of his books have been made into numerous plays and movies. "Twenty Thousand Leagues Under the Sea" and "Around the World in Eighty Days" have been adapted a lot of times by various movie companies.

March, 1886 marked the beginning when Verne's life began to fall apart. He was shot in the foot by his nephew and had a permanent limp as a result. His great friend and publisher, Jules Hetzel passed away on March 17, 1886. His mother died next, in February of 1887. He was very sad over the death of mother as that marked the fact that both his parents were gone. He became further immobilized in June, 1893, when he had to battle attacks of dizziness, leg and eye problems. His immediate family as a youth all left him with the death of his much loved brother, Paul in 1897.

At the turn of the century, Verne stayed as an active person and continued to write, even with age and illness. March 24, 1905, his family were all with him as he lived his last day of his life. 4 days later, he was buried at La Madeleine in Amiens. With the burial, the world lost the "Father of Science Fiction", a great writer and a prophet.

568.          Julia Kristeva 664

Kristeva on the Symbolic and the Semiotic elements of signification

Semiotic elements: the drives as they discharge into language, associated with rhythm and tone, subterranean element of meaning that doesn't signify

Symbolic elements: that which signifies, associated with syntax and grammar

Semiotic gives rise and challenges the symbolic.

Without the symbolic we have only delirium or nature.

Without the semiotic, language would be completely empty, if not impossible. We would have no reason to speak if it were not for the semiotic drive force. So this oscillation and fluctuation between the semiotic and the symbolic is productive and necessary.

Kristeva and Lacan

Kristeva offers an alternative model to Lacan's mirror stage and his order of the Real, the Imaginary and the Symbolic.

Lacan's orders:

The Real: The state of nature from which we have been forever severed by our entrance into language. There is nothing but need. No separation between self and external world. A state of fullness or completeness that is subsequently lost through the entrance into language. The Real is impossible as we cannot express it in language because the very entrance into language marks our irrevocable separation from the real. Still, the real continues to exert its influence throughout our adult lives since it is the rock against which all our fantasies and linguistic structures ultimately fail.

The Imaginary: The fundamental narcissism by which the human subject creates fantasy images of both himself and his ideal object of desire. Tied to the mirror stage. Continues to exert its influence throughout the life of the adult and is not merely superceded in the child's movement into the symbolic order.

The symbolic: The social world of linguistic communication, intersubjective relations, knowledge of ideological conventions, and the acceptance of the law. Once a child enters into language and accepts the rules and dictates of society, it is able to deal with others. Aligned with the Oedipus complex, the symbolic is made possible because of your acceptance of the Name-of-the-Father, those laws and restrictions that control both your desire and the rules of communication.

Kristeva's alternative:

0-6 months of age.  The Chora: Here we are dominated by a chaotic mix of perceptions, feelings, and needs. We have not yet separated from mother or world, taking into all the pleasures experienced without any acknowledgment of boundaries. We are here closest to the pure materiality of existence, or what Lacan terms "the Real," purely dominated by drives.

4-8 months of age. Abjection: Separation begins and so do boundaries between self and other to enable entry into language. This stage is a violent, clumsy breaking away, with the constant risk of falling back into the pre-linguistic stage of the chora which means giving up all the linguistic structures by which we order our social world of meaning. This is associated with the maternal since our stepping into language begins our movement away from the chora.

6-18 months of age: Lacan's Imaginary order is established to assert its influence on the subject even after the subject enters the next stage of development. Kristeva offers a different spin on Lacan by emphasizing the fact that this stage is preceded and troubled by the subject's relation to the abject.

18 months to 4 years of age: At which appears the acquisition of language. Once you entered into the differential system of language, it forever afterwards determined your perception of the world around you, so that the intrusion of the Real's materiality becomes a traumatic event. Kristeva adds to Lacan her sense that language is ultimately a fetish*, an effort to cover over the lack inherent in our relation to death, materiality, and the abject.

*Fetishism is the displacement of desire and fantasy onto alternative objects or body parts (eg. a foot fetish or a shoe fetish), in order to obviate a subject's confrontation with the castration complex. Kristeva goes so far as to associate all language with fetishism, seeing the fetish as a life preserver, temporary and slippery, but nonetheless indispensable.

569.          Julia Roberts

Julia Roberts

1967 --

Born October 28, 1967, in Smyrna, Georgia, to Betty and Walter Roberts. Her parents divorced when she was four and her father died when she was nine. Right after high school, Roberts joined her sister in New York City and began modeling. Her brother Eric was already established as an actor.

In 1988, Roberts made a guest appearance on Miami Vice and that same year she made her film debut in Mystic Pizza. She followed up with a supporting role in the ensemble drama Steel Magnolias, costarring Sally Field, Dolly Parton, and Shirley MacLaine. Her performance as the doomed young bride earned Roberts a Golden Globe Award and an Academy Award nomination for Best Supporting Actress.

Roberts made the leap to superstardom the following year, with her star turn as a Hollywood Boulevard prostitute who falls in love with her business mogul client in the smash hit Pretty Woman, co-starring Richard Gere. She garnered another Golden Globe and another Oscar nomination, this time for Best Actress. By the time she appeared as herself in The Player, Roberts was one of the most sought after actresses in Hollywood. Fans adored her sweetness and infectious wide smile.

Roberts began a series of high-profile romantic relationships in 1991 when she was engaged to actor Kiefer Sutherland. Shortly before the scheduled wedding, the couple broke up, and Roberts was soon seen with actor Jason Patric. In 1993, Roberts married singer Lyle Lovett after a whirlwind courtship. However, the couple never lived together and were divorced less than two years later, though they have remained good friends.

Roberts, seeking to avoid typecasting, sought roles in more dramatic films, but audiences didn't flock to The Pelican Brief, I Love Trouble, Ready to Wear and Mary Reilly. She also appeared in the Woody Allen musical Everyone Says I Love You, as Allen's object of desire.

Roberts returned to her romantic-comedic form with 1997's My Best Friend's Wedding, for which she received a Golden Globe nomination. Her next two films, Conspiracy Theory, with Mel Gibson, and Stepmom, costarring Susan Sarandon and Ed Harris, both did respectable business.

Roberts' "comeback" was confirmed in 1999 with the success of the sweet romantic comedy Notting Hill, which also marked a return of sorts for costar Hugh Grant. Further cementing her reign as the queen of the box office, Roberts reteamed with Gere and her Pretty Woman director, Garry Marshall, for another hit romantic comedy, Runaway Bride.

For her next big role, in Erin Brockovich, directed by Steven Soderbergh and costarring Albert Finney, Roberts commanded $20 million, making her the highest-paid actress in Hollywood. She earned every penny of her colossal salary, however, leading the film to a $125 million box office gross and winning almost every major critics' award, a Golden Globe, and a Screen Actor's Guild Award for Best Actress. The true story of a single mother who joins the staff of a law office and ends up taking on a corporate giant in a multimillion dollar lawsuit, Erin Brockovich garnered five Academy Award nominations, including a seemingly inevitable Best Actress nod for Roberts.

In early 2000, Forbes magazine ranked Roberts No. 1 on its Celebrity 100 "power" list-denoting the most total media coverage-and No. 12 on its "money" list. Her upcoming projects include the romantic comedy The Mexican, costarring Brad Pitt; the star-studded remake of the Rat Pack classic Ocean's Eleven, also featuring Pitt, George Clooney, and Matt Damon; and America's Sweethearts, costarring John Cusack and Catherine Zeta-Jones.

570.          Jurassic Par1

Jurassic Park - The Lost World

Comparison - Contrast

The Lost World as a novel is very different from its film version. The most contrasts are found in the beginning of the story. For instance, the novel starts off with Ian Malcolm giving a detailed lecture on extinction theories at the Santa Fe Research Center. Where as, the film starts with a wealthy British family vacationing on Isla Sorna, an island of Costa Rica. On this island the tiny dinosaurs called compys attack a young British girl. As you can see the beginning of the novel is completely different from the beginning of the film. As a matter of fact, the novel and the film do not begin to have any similarities until the characters get to Site-B, an island off of Costa Rica where the dinosaurs where bred.

The characters in The Lost World did have a lot of similarities as well as differences. One major character is Ian Malcolm, a forty-year-old man who was one of the early pioneers in the Chaos Theory. Malcolm also featured in the first Jurassic Park. Even though he was in both the novel and the film, his characteristics were different. In the novel his leg was hurt from his previous expedition in the first Jurassic Park, but in the film he seemed to be perfectly healthy and uninjured. Another character that plays a major roll is Richard Levine, an arrogant thirty-year-old man. In the novel Levine plays as a wealthy paleontologist in search of Site-B. As for the film, Richard Levine plays a completely different roll. In the film he is the nephew of John Hammond, the creator of the dinosaurs. He also has no association with being a paleontologist; his interests in the movie are for making money off the dinosaurs by creating an amusement park that features the dinosaurs on the main land. Sarah Harding plays a big part in then novel and as well as the film. In the novel Harding plays a rather young biologist, which has a relationship with Ian Malcolm. The only difference with Harding between the novel and the film is that she plays a biologist in the novel and a paleontologist in the film. Another two characters that play a major roll in the novel are Kelly Curtis and Arby Benton. Kelly is a thirteen-year-old seventh grader, who has an interest in paleontology, not to mention that she idols Sarah Harding. Arby is an eleven-year-old African American seventh grader; he has been skipped up a grade because he is so intelligent. In the novel the two children sneak on to the boat is on the expedition to Site-B. In the film there is only one child, a young African American girl named Kelly that is related to Ian Malcolm by adoption, which also sneaks on to the island.

The most similar of the novel and film is probably the terrain of Costa Rica. This is probably because the terrain is a known fact that cannot be changed. In both the novel and film, the terrain is covered with rocky cliffs and volcanic ridges. Ravines, tall grasses, and very dense overgrown jungles also flourished the island. Considering the dense overgrown jungles it was very hard for the characters to see the buildings and roads from the air, which made it difficult to find a good place to land. One thing that made it difficult to travel, besides the dinosaurs hunting them, was the gusty winds with updrafts.

The dinosaurs were obviously similar in the novel and film. The only thing that contrasted the two is the fact that the novel had more of a variety of dinosaurs than the film. There were three dinosaurs that were mainly featured in the novel and film. Among the three, was the famous Tyrannosaurs Rex, which caused the most damage and casualties. The T-Rex reaches about twenty to twenty-five feet in height and has gigantic bone crushing jaws with flesh tearing teeth. Another one was the Velociraptor, more commonly known as the raptor. The raptors were probably the smartest of the dinosaurs. The raptor reaches about ten to fifteen feet in height, has a long snout, and long deadly claws that would tear an animal or a human apart. The Compys were definitely the creepiest because of how they kill their prey in packs. Although they look very innocent and harmless they can kill their prey in an instant. The Compy was about one to one and a half feet tall. They pretty much looked like a miniature raptor.

The Lost World from the novel to the film definitely had a high number of contrasts. The beginning as we know completely had no similarities at all. The novel and the film did not start to have comparison until the characters arrived on Site-B. The characters did have some similarities, but mostly differences. More or less, the names were what made them similar more than anything. There rolls in the novel and film were what differed the most. Nonetheless, the novel and film did seem to have very similar parts in one area, which was the setting of the islands. The terrain in the novel was practically identical to the one in the film. The dinosaurs as well had many similarities, except for the fact that there was more of a variety in the novel than there was in the film. In the end, both version of the great story were spectacular.

571.          jurassic Park 2

The story Jurassic Park, by Michael Crichton takes place on a small island

near Costa Rica,  it's about a park full of dinosaurs created by Dr. Hammond.  The

dinosaurs are locked in large cages with electric fences.  But as the mathematician

Ian Malcolm predicted, nature cannot be controlled.  They find this out when the

security system goes out.  They soon lost the electric fence and the dinosaurs started

to escape.  They try to restore the power and are successful but it did not matter

since the dinosaurs were already loose.

The dinosaurs start to cause a lot of trouble, even with the power restored.

They determine that there is nothing they can do.  They decide to leave the island by

helicopter.

The book is much different then the movie.  The book goes in more detail

about the genetic engineering of the dinosaurs.  The book also makes Ian Malcolm's

theory that nature can't be controlled nor predicted more valid.  In the end of the

book version the island actually survives for a while after the power goes out.

I liked the movie more because I saw that first and it made the book seem

strange.  I would recommend reading Jurassic Park. It starts right in the beginning

with suspense and action.

572.          Jurassic Park 5

Jurassic Park

The Dinosaurs were not to blame for the destruction of Jurassic Park

'Nature won't be stopped .......or blamed for what happens'(Ian Malcolm ,Jurassic Park by Michael Crichton).  Jurassic Park mystifies its critique even as it makes it; or rather, to be more precise, it offers us contradictory messages about whom to blame for what goes wrong.   Science finally takes the blame. Near the end of the book, while the humans are fighting off the velociraptors, Malcolm (the mathematician) delivers a long and didactic speech about how science is to blame for messing up the world because it has no morality; science tells us how to do things, not what things are worth doing and why. Malcolm talks about how the inventions of science, like Jurassic Park, are fated to exceed our control, just as his chaos theory predicts. According to Malcolm, chaos theory was developed in response to problems like predicting the weather, and the theory says it simply can't be predicted beyond the space of a few days, because the forces involved are too complex and unstable. If everything in a popular narrative like Jurassic Park really means something else, then so too does chaos theory.

The basic plot of Jurassic Park is fairly simple. A Palo Alto corporation called International Genetics Technologies, Inc. (InGen) has become able -- through an entrepreneurial combination of audacity, technology, human ingenuity, and fantastic outlays of capital (mostly funded by Japanese investors, who are the only ones willing to wait years for uncertain results) -- to clone dinosaurs from the bits of their DNA recovered from dinosaur blood inside the bodies of insects that once bit the now-extinct animals and were then trapped and preserved in amber for millions of years. (This is, by the way, theoretically possible.) The project is the dream of John Hammond, a billionaire capitalist with a passionate interest in dinosaurs, who comes across in the novel as a bizarre combination of Ross Perot and Ronald Reagan -- part authoritarian martinet, part dissociated and childish old man. With the resources of his wealth and power, Hammond buys a rugged island a hundred or so miles off the coast of Costa Rica and turns it into Jurassic Park, 'the most advanced amusement park in the world,' with attractions 'so astonishing they would capture the imagination of the entire world': a population of living, breathing actual dinosaurs.

With the park just a year away from opening to the public (those rich enough to pay, that is), the nervous investors insist on sending a team to the island to determine whether or not the park is as safe and under control as Hammond continually insists. It isn't, of course, and most of the novel tells the story of everything getting completely out of control, most especially the incredibly fast, vicious and intelligent dinosaurs known as 'velociraptors,' which are six-foot tall, bipedal and socially-organized pack hunters with teeth that can chew through steel bars, and whose only response to their human creators and captors is to attack and kill them. Velociraptors are the most dangerous dinosaurs because they are pack hunters -- they know how to work together. We also learn that in addition to their collectivism, they are characterized by bad attitudes and a talent for breaking out of their confinement (making them, I suppose, the bad subjects of the dinosaur population).

The team of experts includes Alan Grant, a famous paleontologist known for his theories about dinosaur infant-rearing behavior, and his paleobotanist graduate student assistant, Ellie Sattler; and also John Malcolm, a brilliant and idiosyncratic mathematician whose field of expertise is chaos theory, which deals with turbulence and unpredictability -- complex 'real world' conditions that can only be described through non-linear equations. Malcolm, of course, predicts that the park is inherently unstable and its security precautions must inevitably break down. There are also Hammond's grandchildren, whose parents are getting a divorce: an eleven-year old boy, Tim, and his seven-year old, ceaselessly obnoxious sister Lex (if only the tyrannosaur had killed her halfway through, when it had the chance!). Hammond invites them for a 'fun weekend,' and to demonstrate the safety of his park.  There are other characters, of course, but these are the principals, all of them our heroes except for the perversely blind and stupid Hammond, who, like all of the bad guys, eventually gets what he deserves. Much of the story is detail, and I won't give away any more of it than I need to in case you haven't read it and want to. It's enough to say that the park's control systems fail, the dinosaurs menace the humans, and some velociraptors almost make it to the mainland as stowaways on a supply ship. At the end, the Costa Rican government bombs the island's dinosaurs back into extinction... except for the ones that have somehow already escaped. But for the purposes of our analysis, the movements of the plot matter less than the role played by the dinosaurs themselves.

In Crichton's novel the dinosaurs are literally a class of beings created  in order to serve people. They are genetically-engineered, their DNA sequences altered just enough to make them patentable and thus private property; then they are held in captivity, where they must perform the labor of acting out their dinosaur identities for the benefit of wealthy tourists. Moreover, they are altered so that they are completely dependent upon their owners, the island's literal ruling class: they have been deprived of the ability to manufacture a particular amino acid and must receive it regularly in their food. 'These animals are genetically engineered to be unable to survive in the real world,' the dinosaurs' designer tells the visitors. 'They can only live here in Jurassic Park. They are not free at all. They are essentially our prisoners.'

To the extent that we feel sympathy for the dinosaurs, we wish that they could be set free to pursue their innate dinosaur identities and societies, free from human domination and exploitation. But the problem with this noble sentiment, as Jurassic Park repeatedly reminds us, is that the dinosaurs aren't really dinosaurs any more -- they are artificial reconstructions of dinosaurs, close copies or images of the originals. In order to reconstruct dinosaur DNA, the scientists had to paste in equivalent segments of DNA from other, later (more developed or evolved) species. This is what allows Hammond to 'own' the animals: it was his capital that brought them into being. There's still a lot of 'real dinosaur' to them, but they are the creations of their exploiters: they are definitely not authentic, but still live and breath just like real animals and as primitive vicious animals they can't be blamed for what happened.

573.          Jurassic Park Essay

Jurassic Park: Comparison Between Book and Movie

The story Jurassic Park, by Michael Crichton takes place on a small

island near Costa Rica,  it's about a park full of dinosaurs created by Dr.

Hammond.  The dinosaurs are locked in large cages with electric fences.  But as

the mathematician Ian Malcolm predicted, nature cannot be controlled.  They find

this out when the security system goes out.  They soon lost the electric fence

and the dinosaurs started to escape.  They try to restore the power and are

successful but it did not matter since the dinosaurs were already loose.

The dinosaurs start to cause a lot of trouble, even with the power

restored. They determine that there is nothing they can do.  They decide to

leave the island by helicopter.

The book is much different then the movie.  The book goes in more detail

about the genetic engineering of the dinosaurs.  The book also makes Ian

Malcolm's theory that nature can't be controlled nor predicted more valid.  In

the end of the book version the island actually survives for a while after the

power goes out.

I liked the movie more because I saw that first and it made the book

seem strange.  I would recommend reading Jurassic Park. It starts right in the

beginning with suspense and action.

574.          Jurassic Park

Jarasric Park

The Dinosaurs were not to blame for the destruction of Jurassic Park

'Nature won't be stopped .......or blamed for what happens'(Ian Malcolm ,Jurassic Park by Michael Crichton).  Jurassic Park mystifies its critique even as it makes it; or rather, to be more precise, it offers us contradictory messages about whom to blame for what goes wrong.   Science finally takes the blame. Near the end of the book, while the humans are fighting off the velociraptors, Malcolm (the mathematician) delivers a long and didactic speech about how science is to blame for messing up the world because it has no morality; science tells us how to do things, not what things are worth doing and why. Malcolm talks about how the inventions of science, like Jurassic Park, are fated to exceed our control, just as his chaos theory predicts. According to Malcolm, chaos theory was developed in response to problems like predicting the weather, and the theory says it simply can't be predicted beyond the space of a few days, because the forces involved are too complex and unstable. If everything in a popular narrative like Jurassic Park really means something else, then so too does chaos theory.

The basic plot of Jurassic Park is fairly simple. A Palo Alto corporation called International Genetics Technologies, Inc. (InGen) has become able -- through an entrepreneurial combination of audacity, technology, human ingenuity, and fantastic outlays of capital (mostly funded by Japanese investors, who are the only ones willing to wait years for uncertain results) -- to clone dinosaurs from the bits of their DNA recovered from dinosaur blood inside the bodies of insects that once bit the now-extinct animals and were then trapped and preserved in amber for millions of years. (This is, by the way, theoretically possible.) The project is the dream of John Hammond, a billionaire capitalist with a passionate interest in dinosaurs, who comes across in the novel as a bizarre combination of Ross Perot and Ronald Reagan -- part authoritarian martinet, part dissociated and childish old man. With the resources of his wealth and power, Hammond buys a rugged island a hundred or so miles off the coast of Costa Rica and turns it into Jurassic Park, 'the most advanced amusement park in the world,' with attractions 'so astonishing they would capture the imagination of the entire world': a population of living, breathing actual dinosaurs.

With the park just a year away from opening to the public (those rich enough to pay, that is), the nervous investors insist on sending a team to the island to determine whether or not the park is as safe and under control as Hammond continually insists. It isn't, of course, and most of the novel tells the story of everything getting completely out of control, most especially the incredibly fast, vicious and intelligent dinosaurs known as 'velociraptors,' which are six-foot tall, bipedal and socially-organized pack hunters with teeth that can chew through steel bars, and whose only response to their human creators and captors is to attack and kill them. Velociraptors are the most dangerous dinosaurs because they are pack hunters -- they know how to work together. We also learn that in addition to their collectivism, they are characterized by bad attitudes and a talent for breaking out of their confinement (making them, I suppose, the bad subjects of the dinosaur population).

The team of experts includes Alan Grant, a famous paleontologist known for his theories about dinosaur infant-rearing behavior, and his paleobotanist graduate student assistant, Ellie Sattler; and also John Malcolm, a brilliant and idiosyncratic mathematician whose field of expertise is chaos theory, which deals with turbulence and unpredictability -- complex 'real world' conditions that can only be described through non-linear equations. Malcolm, of course, predicts that the park is inherently unstable and its security precautions must inevitably break down. There are also Hammond's grandchildren, whose parents are getting a divorce: an eleven-year old boy, Tim, and his seven-year old, ceaselessly obnoxious sister Lex (if only the tyrannosaur had killed her halfway through, when it had the chance!). Hammond invites them for a 'fun weekend,' and to demonstrate the safety of his park.  There are other characters, of course, but these are the principals, all of them our heroes except for the perversely blind and stupid Hammond, who, like all of the bad guys, eventually gets what he deserves. Much of the story is detail, and I won't give away any more of it than I need to in case you haven't read it and want to. It's enough to say that the park's control systems fail, the dinosaurs menace the humans, and some velociraptors almost make it to the mainland as stowaways on a supply ship. At the end, the Costa Rican government bombs the island's dinosaurs back into extinction... except for the ones that have somehow already escaped. But for the purposes of our analysis, the movements of the plot matter less than the role played by the dinosaurs themselves.

In Crichton's novel the dinosaurs are literally a class of beings created  in order to serve people. They are genetically-engineered, their DNA sequences altered just enough to make them patentable and thus private property; then they are held in captivity, where they must perform the labor of acting out their dinosaur identities for the benefit of wealthy tourists. Moreover, they are altered so that they are completely dependent upon their owners, the island's literal ruling class: they have been deprived of the ability to manufacture a particular amino acid and must receive it regularly in their food. 'These animals are genetically engineered to be unable to survive in the real world,' the dinosaurs' designer tells the visitors. 'They can only live here in Jurassic Park. They are not free at all. They are essentially our prisoners.'

To the extent that we feel sympathy for the dinosaurs, we wish that they could be set free to pursue their innate dinosaur identities and societies, free from human domination and exploitation. But the problem with this noble sentiment, as Jurassic Park repeatedly reminds us, is that the dinosaurs aren't really dinosaurs any more -- they are artificial reconstructions of dinosaurs, close copies or images of the originals. In order to reconstruct dinosaur DNA, the scientists had to paste in equivalent segments of DNA from other, later (more developed or evolved) species. This is what allows Hammond to 'own' the animals: it was his capital that brought them into being. There's still a lot of 'real dinosaur' to them, but they are the creations of their exploiters: they are definitely not authentic, but still live and breath just like real animals and as primitive vicious animals they can't be blamed for what happened.

575.          Kate Chopin 1201

Kate Chopin was a forgotten American voice until her literary reputation was resuscitated by critics in the 1950s. Today her novel The Awakening (1899) the story of a sensual, determined woman who insists on her independence, is widely read and highly honored, a feminist work which was decidedly ahead of its time. Born Katherine O'FIaherty into an upper-middle-class family in St. Louis, she married Oscar Chopin when she was twenty and moved to her husband's home in Louisiana. In the ten years that she resided in Louisiana she was aware of and receptive to Creole, Cajun, black, and Indian cultures, and when she later came to write fiction, she would incorporate people from these cultures in her work, especially her short stories. When her husband died as a young man, Kate Chopin returned to St. Louis with her six children. Financially secure, she began writing fiction as best she could while rearing her children. She is a good example of an American realist, someone trying to represent life the way it actually is lived, and she acknowledged her debt to the contemporary French naturalists Emile Zola and Guy de Maupassant.

Knowing that Mrs. Mallard was afflicted with a heart trouble, great care was taken to break to her as gently as possible the news of her husband's death.

It was her sister Josephine who told her, in broken sentences; veiled hints that revealed in half concealing. Her husband's friend Richards was there, too, near her. It was he who had been in the newspaper office when intelligence of the railroad disaster was received, with Brently Mallard's name leading the list of "killed." He had only taken the time to assure himself of its truth by a second telegram, and had hastened to forestall any less careful, less tender friend in bearing the sad message.

She did not hear the story as many women have heard the same, with a paralyzed inability to accept its significance. She wept at once, with sudden, wild abandonment, in her sister's arms. When the storm of grief had spent itself she went away to her room alone. She would have no one follow her.

There stood, facing the open window, a comfortable, roomy armchair. Into this she sank, pressed down by a physical exhaustion that haunted her body and seemed to reach into her soul.

She could see in the open square before her house the tops of trees that were all aquiver with the new spring life. The delicious breath of rain was in the air. In the street below a peddler was crying his wares. The notes of a distant song which some one was singing reached her faintly, and countless sparrows were twittering in the eaves.

There were patches of blue sky showing here and there through the clouds that had met and piled one above the other in the west facing her window.

She sat with her head thrown back upon the cushion of the chair, quite motionless, except when a sob came up into her throat and shook her, as a child who has cried itself to sleep continues to sob in its dreams.

She was young, with a fair, calm face, whose lines bespoke repression and even a certain strength. But now there was a dull stare in her eyes, whose gaze was fixed away off yonder on one of those patches of blue sky. It was not a glance of reflection, but rather indicated a suspension of intelligent thought.

There was something coming to her and she was waiting for it, fearfully. What was it? She did not know; it was too subtle and elusive to name. But she felt it, creeping out of the sky, reaching toward her through the sounds, the scents, the color that filled the air.

Now her bosom rose and fell tumultuously. She was beginning to recognize this thing that was approaching to possess her, and she was striving to beat it back with her will--as powerless as her two white slender hands would have been.

When she abandoned herself a little whispered word escaped her slightly parted lips. She said it over and over under her breath: "free, free, free!" The vacant stare and the look of terror that had followed it went from her eyes. They stayed keen and bright. Her pulses beat fast, and the coursing blood warmed and relaxed every inch of her body.

She did not stop to ask if it were or were not a monstrous joy that held her. A clear and exalted perception enabled her to dismiss the suggestion as trivial.

She knew that she would weep again when she saw the kind, tender hands folded in death; the face that had never looked save with love upon her, fixed and gray and dead. But she saw beyond that bitter moment a long procession of years to come that would belong to her absolutely. And she opened and spread her arms out to them in welcome.

There would be no one to live for during those coming years; she would live for herself. There would be no powerful will bending hers in that blind persistence with which men and women believe they have a right to impose a private will upon a fellow-creature. A kind intention or a cruel intention made the act seem no less a crime as she looked upon it in that brief moment of illumination.

And yet she had loved him--sometimes. Often she had not. What did it matter! What could love, the unsolved mystery, count for in face of this possession of self-assertion which she suddenly recognized as the strongest impulse of her being!

"Free! Body and soul free!" she kept whispering.

Josephine was kneeling before the closed door with her lips to the keyhole, imploring for admission. "Louise, open the door! I beg, open the door--you will make yourself ill. What are you doing Louise? For heaven's sake open the door."

"Go away. I am not making myself ill." No; she was drinking in a very elixir of life through that open window.

Her fancy was running riot along those days ahead of her. Spring days, and summer days, and all sorts of days that would be her own. She breathed a quick prayer that life might be long. It was only yesterday she had thought with a shudder that life might be long.

She arose at length and opened the door to her sister's importunities. There was a feverish triumph in her eyes, and she carried herself unwittingly like a goddess of Victory. She clasped her sister's waist, and together they descended the stairs. Richards stood waiting for them at the bottom.

Some one was opening the front door with a latchkey. It was Brently Mallard who entered, a little travel-stained, composedly carrying his grip-sack and umbrella. He had been far from the scene of accident, and did not even know there had been one. He stood amazed at Josephine's piercing cry; at Richards' quick motion to screen him from the view of his wife.

But Richards was too late.

When the doctors came they said she had died of heart disease-- of joy that kills.

576.          Kate Chopins The Awakening

Portrayal of the character Edna

Her foils

Setting- feminist mvment, etc.

Style

Intended to help the reader understand the character of Edna

her actual beliefs

external/internal influences

Tone

Helping the style, the tone also helps the reader understand the rest of the characters

Mr. Pontlierre (Critical Essay quote)

Mademoiselle (Speech about bird with strong wings.

V.        Conclusion

Edna Pontlierre experiences a theme of self-discovery throughout the entire novel of Kate Chopin's "The Awakening.  Within Edna's travel through self discovery,  Chopin successfully uses tone, style, and content to help the reader understand a person challenging the beliefs of  a naïve society at the beginning of the twentieth century.   Chopin's style and tone essentially helps the reader understand the character of Edna and what her surrounding influences are.  The tone and style also helps the audience understand the rest of the characters throughout the novel.  The entire content is relevant to the time frame it was written, expressing ideas of the forthcoming feminist movement and creating an awareness of what was happening to the women of the early nineteenth century.

When "The Awakening" was first published,  its popularity wasn't that of modern day.  In fact, it was widely rejected for years.  Within the context, it is considered a very liberal book from the beginning of the nineteenth century.  The ideas expressed within the content concern the women's movement and an individual woman searching for who she really is.  Ross C. Murfin in his critical essay  "The New Historicism and the Awakening",  shows how Chopin uses  the entity of the hand to relate to both the entire women's issue and Edna Pontlierre's self exploration:

"Chopin uses hands to raise the issues of women, property, self-possession, and value.  Women like Adele Ratignolle, represented by their perfectly pale or gloved hands, are signs mainly of their husbands wealth, and therefor of what Stange calls  'surplus value'.  By insisting on supporting herself with her own hands [through art] and having control of her own property [the place she moved in to and her inheritance], Edna seeks to come into ownership of a self that is more than a mere ornament.  ...She seeks to possess herself" (p 197).

Within in the content,  Adele Ratignolle and Mademoiselle represent foils to Edna.  Mademoiselle  represents a single woman that everyone dislikes who Edna typically confides in.  Adele Ratignolle contrasts Edna because she "dutifully plays the social role of 'mother-woman'".  The reader learns how Edna contrasts and transcends throughout the entire novel.  From her refusal to sacrifice herself for her children in the beginning of the novel to her moving into her own house towards the end of the novel,  the reader is effectively aware of the realities that face the women of the early twentieth century individually  and as a society.

Chopin's style in "The Awakening" is intended to help the audience understand the character of Edna and the dilemmas that she faces as a married woman and individual in the nineteen hundreds.  For instance,  the beginning of the novel reveals to the audience a scene showing what type of person Mr. Pontlierre is while showing what type of society everyone is living in at the time.  At an exclusive resort outside New Orleans,  Edna arrives back from the beach meeting her husband.   "You are burnt beyond all recognition" he added, looking at his wife as one looks at a valuable piece of personal property which has suffered some damage." (p 7 The Awakening).  Within the context,  Edna exists as an asset to her husband.  She is considered a piece of property and it is this particular scene where Edna begins to question her life and continues to throughout the novel.  Chopin's style of showing the audience these realities are expressed through the characters to show the relevance between Edna and the literal reality in which women lived during the early nineteen hundreds.

Tone, like style, helps the reader understand the characters and what they represent.  It helps Chopin to express her concerns of the world through the characters.   As in the example given in the beginning of the book when Edna is arriving back from the beach, the reader gets a first impression of Mr. Pontlierre in his tone, representing that he is a very possessive man of his wife and that this is accepted in their society.  Mademoiselle's first impression to Edna, despite what Edna hears about her,  is that of a wise, compassionate, friendly woman.  Mademoiselle's tone supports these qualities, and it ultimately helps Edna to decide what she wants to do with her life.  Mademoiselle gives advice through an analogy of a bird, showing how one must have strong wings to survive, endure, and make it through its journey.  The tone of all the characters helps to express Chopin's beliefs and what the characters represent.

The tone, style, and content of Chopin's "The Awakening"  not only helps the reader to understand the characters and their literary qualities, but the relevancy of these characters to problems plaguing society such as the feminist movement.  Chopin's technique addresses' the problems of women as a whole while showing individual dilemmas faced by women in the 1900's.  "The Awakening" is effective in conveying these ideas and has successfully used style, tone, and content to prove these ideas.

577.          Katharine Hepburn 2

Kate

Katharine Houghton Hepburn was born on May 12, 1902 in Hartford, Connecticut. She was the second child born to Katharine and Thomas Hepburn.  Kate, as she was called by her family members, had two sisters, Peg and Marion, and three brothers, Tom, Dick, and Bob.  Both her parents always encouraged Katharine to speak her mind, develop it fully, and exercise her body to her full potential.  She was an actress even as a child.  When she was eight years old, she cast and presented a dramatization of Uncle Tom's Cabin with the neighborhood children. She was also very close to her brother, Tom, and was devastated at age fourteen to find him dead, from accidentally hanging himself while practicing a trick their father had taught them. Kate then become very shy around girls her age, and was schooled at home. She attended Bryn Mawr College, however, and it was here that she decided to become an actress.  She appeared in many of the schools productions.  After graduating, she began getting small roles in plays on Broadway and elsewhere.

Katharine Hepburn     3

Stardom

Kate finally broke into stardom when she took the starring role of the Amazon princess Antiope in A Warriors Husband in 1932.  Many film offers followed.  After a few screen tests she was cast in Bill of Divorcement, opposite John Barrymore.  The film was a hit, and after agreeing to her salary demands, RKO signed her to a contract.

She made five films between 1932 and 1934.  For her third film, Morning Glory, she won her first Academy Award.  Her fourth film, Little Women was the most successful picture of its day.  But stories were beginning to leak out of her haughty behavior off-screen and her refusal to play the Hollywood game.  Katharine always wore slacks and no make-up and never posed for pictures or gave interviews.  Audiences were shocked at her unconventional behavior instead of applauding it, and so when she returned to Broadway in 1934 to star in The Lake, the critics panned her.  The audiences, who at first bought up tickets, soon deserted her.  When she returned to Hollywood things did not get much better.   From the period 1935 to 1938, she had only two hits: Alice Adams and Stage Door. The many flops included Break of Hearts in 1935, Sylvia Scarlet in 1936, Mary of Scotland in 1936, Quality Street in 1937, and

Katharine Hepburn     4

Bringing Up Baby in 1938. With so many flops, she came to be labeled "box-office poison." She decided to go back to Broadway to star in The Philadelphia Story, and was rewarded with a smash. She quickly bought the film rights, and so was able to negotiate her way back to Hollywood on her own terms. The film version of Philadelphia Story, was a box-office hit, and Hepburn, was bankable again. For her next film, Woman of the Year, she was paired with Spencer Tracy, and the chemistry between them lasted for eight more films, spanning the course of 25 years, and a romance that lasted that long off-screen. Their films included the very successful Adam's Rib, Pat and Mike, and Desk Set.

Hepburn moved into middle-aged spinster roles, receiving her fifth Oscar nomination for the film. She played more of these types of roles throughout the 50's, and won more Oscar nominations for many of them, including her roles in Summertime, Rainmaker, and Last Summer. Her film roles became fewer and farther between in the sixties, as she devoted her time to her partner Spencer Tracy. After a five-year absence from films, she then made Guess Who's Coming to Dinner, her last film with Tracy and the last

Katharine Hepburn     5

film Tracy ever made; he died just weeks after finishing it. The next year, she did Lion in Winter. In the seventies, she turned to making made for TV films, with Glass Menagerie, Love Among the Ruins and Corn Is Green. She still continued to make an occasional appearance in feature films, such as Rooster Cogburn, with John Wayne, and On Golden Pond, with Henry Fonda. This last brought her a twelfth Oscar nomination and fourth win. She holds the record of being the actress with the most Oscar nominations and most Oscar wins. She made more TV films in the

eighties, and wrote her autobiography, Me, in 1991. Her most recent feature film was Love Affair, with Warren Beatty and Annette Bening, and her last TV film to date was

One Christmas. She is still very much alive, now in her 90's and retired to Connecticut.

Genius

&lt;Tab/&gt;Genius is personal force and energy of an extremely high order, usually leading to outstanding achievement.  Katharine Hepburn became more than a movie star.  Her legend started, first on screen, then grew into the hearts of people everywhere. Her movies where classics and her style phenomenal.  She proved that women didn't have to show their bodies to get rave reviews. Katharine once

Katharine Hepburn     6

said "If you are given a choice between money and sex appeal, take the money," she advised. "As you get older

the money will become your sex appeal".  Katharine who says she is "revered rather like an old building," always

makes the lists of the world's most admired women. Her career spans more than seven decades, and she is the only actor or actress who has been nominated for twelve Academy

Awards and the only woman to win four as Best Actress, three of them after the age of sixty.

Katharine Hepburn stood out amongst the other performers of her time, defining beauty in her own way. She was simple, yet so rare, and her performance was always powerful. Kate kept her ladylike image in her movie character even with leeches all over her in African Queen

and during an extensive family illness in On Golden Pond. One thing that did set her apart was that Katharine was full of contradictions. Though always gorgeous, she is not

usually thought of as a glamour girl.  She made it seem,

glamorous and even sexiness were attainable for women everywhere and that you can truly make beauty from the inside shine through.

Katharine Hepburn     7

My Opinion

&lt;Tab/&gt;Through her accomplishments as an actress I do believe she was a genius.  She was able to change herself through out her life time any acting job.  She was nominated for many awards through out her lifetime.  She was a powerful woman on the screen, yet not very many people knew the real Katharine Houghton Hepburn.

Katharine Hepburn     8

Reference:

Berg, Scott A (2003). Kate Remembered. New York:

G.P. Putnam's Sons.

"Genius." Encyclopedia Americana. Grolier Online, 2001. &lt;http://www.apollolibrary.com:2128&gt; (October 28, 2003)

Halliwell, Leslie, "Hepburn, Katharine." Grolier

Multimedia Encyclopedia. Scholastic Library

Publishing, 2004 http://www.apollolibrary.com:2129

(October 28, 2003).

578.          Kathe Kollwitz 557

Kathe Kollwitz

Kathe Kollwitz was born in 1867 and died in 1945. She was a powerful, intense artist who produced works of great tenderness. Her two artworks 'Woman with dead child' and 'Unemployment' revel the suffering of humanity and social working class.

Kathe Kollwitz was greatly influenced by the hardships of humanity, her main subjects being body language, distortion, death and human vulnerability, as well as fleeting joys. She also focused on social problems with city life, such as prostitution and unemployment and the suffering of the German working class. She was facinated by working class women and depicted them as persons of character, strength and responsibility. The suffering of humanity is well depicted in Kollwitz' artwork, 'Woman with dead child' because the mother's face is hidden, showing deep sorrow. The two are entangled in eachother, almost as if they are one being.

Kollwitz' work has a combined depth of emotion revealing intamicy and drama of individual human relationships with direct social comment. It is neither sentimental nor abstract. She depicts women as more than just objects of beauty. Kollwitz uses body language and expressive linework. A good example of this is in 'Unemployment'. She uses facial expressions and emotional links between the figures. There is heavy linework and shadow used on the father that sets him apart from his family, as if he can't face the responsibilites. Kollwitz has the action close to the viewer to create intimacy and reveals sensitive handling of light and form through skillful handling of printmaking medium. She varies thickness of lines for expressive purposes and has a subtle handling of the soft ground etching technique. Kollwitz uses pure printmaking such as lithography, woodcuts and etching, and has a mixed technique because of her dramatic interplay of light to focus on facial features and emotions.

The suffering of humanity is revealed in Kollwitz' artwork, 'Woman with dead child'. It is a highly emotional piece. The way the mother clutches her child, in a tight embrace, not wanting to release the tie between them. It is very touching and a sympathetic piece. The artwork was comlpeted in 1903 on soft etching with engraving overprinted with a gold tone plate. Tone and expressive linework add to the emotional impact, as well as its visual impact. There are alot of grey areas highlighting the darkness and emptyness felt by the mother. The images are close up and large to excentuate the suffering and sadness.

Kollwitz' artwork 'Unemployment' was completed in 1909 on etching, soft ground using drypoint, aquatint and burnishing. The artwork is symbolic of the social problems of the period. It shows the despair of the poor and the resultant family pressures unemployment causes. Using light very dramatically Kollwitz focuses on facial expressions and emotional links between the figures. Heavy linework and shadow are used well to set the father apart from his family. Tone and line are dramatically used to highlight despair and family pressures. Facial expressions are claer and it is evident that the family is distraught.

In conclusion Kathe Kollwitz is an important artist who's work is was greatly influenced by her surroundings. She was very in touch with her emotions and her work reflects that. The hardships of humanity were her maun focus. The suffering and social problems experienced by the German working class is revealed in her artworks.

579.          Kathrine Hepburn

Kathrine Hep, the winner of more acting awards than any other actress in history,

is a very dynamic woman.  She was born in Hartford Connecticut, on May 12, 1907.  She

wass the second oldest child of six.  Kate,as she was called by her family members, had

two sisters, Peg and Marion, and three brothers, Tom, Dick, and Bob.

She attended Bryn Mawr college in Connecticut.  She majored in acting.  During

her senior year at Bryn Mawr, Katharine met Ludlow Odgen Smith.  That was 1927.  In

1928, she and "Luddy" (her nickname for him) were married.  They moved from

Hartford to New York.

Kate's acting career started in 1928 when she played in a New York Production

of The Big Pond.  The first Broadway production she played in was The Night Hostess

where she had a small role.  Miss Hepburn played a part as a schoolgirl in the play These

Days.  It opened in her hometown, Hartford, Connecticut.  She was praised by critics for

her performance.  She earned a one hundred twenty-five dollar a week salary for These

Days.  In the 1930's, that was a very high salary for begining actresses.

Katharine served as Hope Williams's understudy in Holiday.  She sat through

every performance for six months.  One day at understudy rehearsal, Aurhtur Hopkins,

the director, watched her act.  "Fine," he said, "Just don't ever be sorry for yourself."

One night at midnight, Jimmy Hagen, the writer of the play, asked her if she still

knew her part.  Hope was sick and they needed her to perform.  She spent all day the next

day memorizing her lines.  Katharine did her best.

"I lived through it ... so did the cast."  She did have one disappointment.  Aurthur

Hopkins didn't come to watch her perform.

In the spring of 1930, Kate played roles in the plays The Admirable Crichton and

The Romantic Young Lady.  During the second week of The Romantic Young Lady,

Katharine quite.  She thought that she was wasting her time.  She wanted a decent part.

Kate and Luddy spent the rest jof the summer in Fenwick.

There was a long drought of jobs in the fall of 1930.  Then Clifford Brooke, a

director, sent for her to read a part for him.  He and his staff had seen her in These Days.

She went to the reading in old clothes.  She wore no make-up except for bright, red

lipstick.  Benn Levy, an English producer was not used to this way of auditioning.  Jane

Cowl, the star of the play, took her to the make-up room and made her look beautiful.

Levy still didn't like what he saw and let her go.

Katharine knew that they would regret letting her go.  She was right.  They called

her a week  later and said they would pay her one hundred fifty dollars per week to do a

play called Art and Mrs. Bottle.  She and Jane Cowl became good friends.  Jane helped

her immensely with her acting.  In 1932, she appeared in a play called The Warriors

Husband.  A representative from RKO Studios came to see the play.  He gave her a

contract.  She made three movies in less than year:  Bill of Divorcement, Christopher

Strong, and Morning Glory.  She won her first ever Academy Award in 1933 for her

performannces in these movies.  In late 1933, Kate made Little Women.  This was on of

her favorite movies.  Then, in 1934, she made a picture called Spitfire.

Between 1936 and 1938, she made eight movies.  She thought that four of  them

were very dull.  The other four, she thought, were good movies, two with Cary Grant.

She did Holiday on a loan-out from RKO Studios, who wanted rid of her.  They made a

deal:  She paid RKO $75,000 and they would let her do Holiday for Columbia, who had

offered her 150,000.

The 1940 MGM film version of The Philedelphia Story, which she did with Cary

Grant, brought her a New York Film Critics' Circle Award.  In 1942, she made Woman

of the Year.  This was the first of may popular films that she made with her friend,

Spencer Tracy.  Other movies that she made with him were Keeper of the Flame,

Without Love, Pat and Mike, and Desk Set.  She won a Carnes Film Festival award for

Guess Who's Coming to Dinner, which was Spencers last film.  Kate aslo won an

Acadamy award for it.  She was nominated for six Oscars and won three of them.

Katharine, a dedicated induvidualist, added her dynamic personality to many

early movies.  That is what made her a living legend.

580.          Katshushika Hokusai 2503

The Edo Peroid &amp; Ukio E

Katsushika Hokusai was born in 1760, half-way through the Edo period (1603 - 1868) in Japan. He was born into one of the four classes in Japan (Samurai, then peasants, artisans and merchants); Hokusai was destined to become an artist. Ukiyo-e was at the time the most popular form of art in Japan. It involves woodblock printing in a very simple way; excluding such western principles such as perspective. The word Ukiyo-e is a pun on the Buddhist word for 'suffering world' which is also pronounced ukiyo. Literally translated Ukiyo-e means 'pictures of a floating world'.

Buddhism believes in a world above our own, in which everything is perfect, in the western world it is known as nirvana. This idea was particularly important in the Edo period when Japan was undergoing a cultural revolution. In 1633 the reigning Shogun, Iemitsu isolated Japan from the rest of the world by forbidding all travel and trade abroad. By 1639 the ban was lifted to a small amount of trade with China and the Netherlands from Nagasaki port. Even after the embargo was loosened, any form of overseas culture such as books, poetry or art weren't allowed into Japan. This caused the Japanese to embark on a cultural upheaval within their society.

The working class were finally given some power and wealth and art became commonplace in many peoples homes. Unlike modern society, religion was still extremely important, and the first recorded Ukiyo-e prints came from temples with pictures of deities or sections of sacred 'sutras'. In Edo Japan the Kabuki theatre was the equivalent of movies &amp; TV today. These plays provided an opening for the first mass production of artwork in history. The posters advertising the Kabuki theatre were rolled off by the hundreds using Ukiyo-e as with printing you can make an unlimited number of prints from one woodblock. The artists would sit and watch a Kabuki performance and scramble to produce an artwork while the engraver and printer stood close by. The temples, Kabuki theatre and the fact that the prints were cheap to buy (a print cost approximately the price of a bowl of noodles), accelerated the Ukiyo-e prints into mainstream art and eventually dominating Japanese culture.

As the prints were cheap to buy for the first time in history, peasants began to buy them. This new market demanded illustrations of a better, perfect world. Thus the subject matter of Ukiyo-e prints ranged from erotic pictures of beautiful women ('bi jinga') to landscapes to famous battles and wars. Many of the prints were printed on rice paper; except for those who could afford them, they were printed on silk (silk was considered to be extremely rare and valuable in Japan at the time).

Other from Hokusai, there were many other famous Ukiyo-e artists of the era. Kitagawa Utamaro (1753 - 1806) for instance was best known for his depictions of 'Beautiful Women from the Tea Rooms'. He also produced some of the best book covers in the Edo period. Another example of an artist from the Ukiyo-e period was Sharaku. One of his most famous prints was of Arashi Ryuzo as the servant Ukiyo Matahei and Otani Hiroji III as the servant Tosa no Matahei.

Post Modern Frame

he term that best describes the Japanese influence on the 'outside' world is Japonisme. It was created in 1876 by the French journalist and art-critic Philippe Burty. It describes the west's obsession with anything Japanese.

&lt;Tab/&gt;The first man to bring Japan to the west was Commander Perry. He represented the USA trying to negotiate the end of the Sakoku ('secluded or closed country') policy. What he saw when he arrived in Japan were prints being sold in the street and specialized schools such as the Utagawa School set up to teach printmaking. Perry was amazed with this and brought a lot of prints back home to the USA with him. This was the start of the west's obsession with Japan and especially Ukiyo-e.

&lt;Tab/&gt;The first public display of Japanese culture was at the Paris Exposition Universelle in 1867. People came from all around Europe to see what lied on the other side of the Pacific (or Asia, depending on how you look at it). Shops selling woodblock prints, kimonos, fans and Japanese antiques started to appear all over Paris.

Many artists such as Edgar Degas, Toulouse-Lautrec, Paul Gaugin and Claude Monet were inspired by Ukiyo-e. In 1875 Monet made 'La Japonaise' which depicted his wife wearing a Japanese Kimono and holding a fan. Later he called his painting 'trash' compared to the real Ukiyo-e. One of the most inspired artists was Vincent Van Gogh. He first saw Japanese prints in 1885 in Antwerp where he bought a few. When Van Gogh moved to Montmartre there was a small shop which sold Ukiyo-e prints below his apartment. It was called the Bing Gallery after its owner Samuel Bing. Mr. Bing kept thousands of Japanese prints in stock. Van Gogh spent days in the shop and became an avid collector of Ukiyo-e.

Van Gogh's love of Ukiyo-e lead him to copy two famous designs from Hiroshige. Vincent added frames and added what he considered to be Japanese characters. Also his use of colour wasn't keeping with the original; he used complementary colours such as dark red and green.

"I envy the Japanese artists for the incredible neat clarity which all their works have. It is never boring and you never get the impression that they work in a hurry. It is as simple as breathing: they draw a figure with a couple of strokes with such an unfailing easiness as if it were as easy as buttoning one's waist-coat."

When Van Gogh moved to Arles in 1988 he was astounded by the strong colours and the light of the landscape. In the many paintings he produced in this time the Ukiyo-e influence was obvious: the use of black contours is typical of woodblock prints.

"Theo [his brother] wrote that he offered you Japanese woodblock prints. That is certainly the best way to understand which direction the light and colourful paintings has taken. Here I need no Japanese woodblock prints, because I am here in Japan [he was in Arles]. This is why I only have to open my eyes and paint the impressions that I receive."

&lt;Tab/&gt;He shot him self several days later on October 19th, 1890.

[Include pictures of 'The Wave' and 'South Wind, Clear Dawn']

Biography

atsushika Hokusai was such a great artist it is difficult to describe his life and works in a mere 1/2 page. One of the great artists of the Ukiyo-e period, he is said to have made over 30,000 prints, drawings, and paintings. His subjects include; landscapes; beautiful women; kabuki actor portraits; legendary figures and historical tales; still life; nature, including birds and flowers; porn; surimono; sketch books; illustrated albums, books, poetry, and novels; and instructional painting manuals. He sometimes described himself as the 'mad painter' as he changed houses over 95 times.

Hokusai was born in the autumn of 1760 at Honjo Warigesui, in Katsushika of Shimosa Province, very close to old Edo, now Katsushika ward of the city of Tokyo. In later years, Hokusai called himself "the farmer of Katsushika" and often used Katsushika in place of his family name.

Details surrounding his earliest years are uncertain. He was first given the personal name of Tokitaro, but at the age of ten this was changed to Tetsuzo. Even at that age he was learning woodblock carving. He was soon apprenticed to a book-lending shop, and continued his study of painting and drawing from the picture books he found in the shop.

At the age of nineteen, he was enrolled in the school of Katsukawa Shunsho, one of the leading woodblock artisans of the time, who specialized in portraits of popular actors. At this time, he was given the name Shunro. While using this name he was mainly engaged in doing book covers and actor portraits.

After the death of Katsukawa Shunsho, the Katsukawa school headmaster, in 1792, Hokusai left the establishment because of a disagreement with the master's successor, Shunko.

Though reduced to poverty, he continued his studies, concentrating on the techniques of the schools of Kano Yusen, Tsutsumi Torin, and Sumiyoshi Naiki. He was also greatly interested in the examples of Western art that filtered into Japan through the Dutch trading establishment in Nagasaki. He frequently changed his artistic name, in fact, more than thirty times in his career.

He settled on landscape painting around 1798, apparently much inspired by engravings brought in by the Dutch. It was at this time that he gave the name Sori to his most promising pupil and took for himself the name of Hokusai

From about 1823 to 1831, he was engaged in creating and publishing the epoch-making series of woodblock prints known as The Thirty-six Views of Mount Fuji (even though there were 48 prints). These became masterpieces in the history of Japanese landscape pictures, and were considered to be most typical of this style of pictorial representation.

This series was accomplished when Hokusai was between the age of 64 and. He was at the height of his creative powers during this period, and in addition to The Thirty-six Views of Mount Fuji, he also put out such masterpieces as the series Chie no Umi (One Thousand Seas, 1826), Shokoku Taki Meguri (Journey to the Waterfalls, 1883), and Ryukyu Hakkei (Eight Views of the Ryukyus, 1829).

Even after reaching the age of eighty, he was busy producing many prints. He often expressed his desire to live beyond the age of ninety, and just before he died on April 18, 1849 at the age of 89, he sighed and said his last words: "If heaven gives me ten more years,", paused, then continued, "or an extension of even five years, I shall surely become a true artist."

Imagery &amp; Meaning

atsushika Hokusai's The Wave depicts a giant wave, forming from the left, cowering over 3 boats. In the background of the picture is Mt. Fuji, as this picture appeared in Hokusai's 36 Views of Mt. Fuji. In the air next to the wave is some sea spray as well as some subtle clouds. There is about 8-10 men in each boat but you cannot tell what they are doing. There is a second smaller wave in the foreground of the picture. Judging by the slop to the right it seems that the boats have just rolled off the back of a yet unbroken wave.

&lt;Tab/&gt;There aren't many possible meanings to be interpreted from this picture. The most obvious, that man is dominated by nature, isn't true because the boats fit quite harmoniously into the picture, almost bending with the waves. I think the picture was just to show the stunning waves that Japan gets. Japan is very prone to Tsunamis as it is facing the Pacific Ocean and on the edge of a continental plate. At Hokusai's time there were many natural disasters including an eruption of Mt. Fuji, in the late 1600's.

&lt;Tab/&gt;The feeling that I get is a thrilling rush as the wave is just at the edge of crashing down on the boats, yet Hokusai has captured the moment just before it breaks. It looks like all three boats are going to get dumped upon as the large wave is breaking in two places, both conveniently over each boat, and a crest is just beginning to form on the smaller wave.

&lt;Tab/&gt;The appearance of the large wave is that the crest at the top is almost like talons reaching out trying to grab the boats out of the water. If you could think of the wave as a bird with its claws, the boats are almost like splinters compared to the great wave.

&lt;Tab/&gt;The wave in the foreground looks quite like Mt. Fuji and the boat is trying to climb it. This could have represented Katsushika's aspirations as an artist, or the boatpeople's struggle up the wave.

&lt;Tab/&gt;I think that Hokusai might have been quite scared of Tsunamis or astounded by them. Because it looks like the wave is about to crush Mt. Fuji, which was a pinnacle of religion and achievement to the Japanese, he might be trying to express that nature, or the wave, is even more powerful than humans, religion, and society. But on the other hand, he could have been impressed with the waves because, as this was the '36 Views of Mt. Fuji', he might have thought that a Tsunami would have been a great way to portray Mt. Fuji. Either approach it shows that Hokusai (and the Japanese public as he was directing the picture at them) regarded Mt. Fuji and Tsunamis very highly.

Form

lthough this is a very simple picture, the form that Hokusai uses is technically extremely complicated. The colours that he uses represent his views towards the subject matter. The underbelly is a dark blue, almost like a black hole about to engulf the boats. The crest of the wave is white like a glacier about to 'ice' over the boats. The colour of the boats is almost ironic because in the Western world yellow is a sign of cowardness and fear, i.e. yellow bellied, but in this example the boats are the opposite, they are brave and courageous. Hokusai has used shading on the wave, the sky and the white tops of the wave to give the picture a sense of depth. One use of colour that earns respect from fellow printers is the gradient going from black to yellow in the background of the picture. This must have been difficult to do as woodblocks tend to have single blocks of colour, not smooth flowing colours like in today's paintings. Generally Hokusai has used very few colours, which adds to the complexity of the shapes.

The basic shapes that Hokusai uses are mainly circles. Circular shapes appear in the crest of the wave (the 'talons') the white of the wave (a wispy effect), in the boats and in the clouds. Generally as the grain in woodblocks flow horizontally, it is very difficult to engrave circular shapes.

This picture has a unique use of line that you will only find in Japanese artwork: the black outlining of all the important features (in this case the wave, Mt. Fuji and the boats). This is typical of Japanese art and you'll even find this being used in today's magna comics or anime animation.

The composition of this picture can be broken up into 2 vertical sections and 3 horizontal sections. A simple compositional plan of the picture goes like this:

Wave Crest&lt;Tab/&gt;Sky&lt;Tab/&gt;                Sky

Smaller Wave&lt;Tab/&gt;Mt. Fuji &amp; boats&lt;Tab/&gt;Sea &amp; boats

&lt;Tab/&gt;Having such a simple composition like this contrasts the complexity of engraving.

&lt;Tab/&gt;Many of Hokusai's details all add up towards a fantastic final picture, but without very close inspection, most of it would go unnoticed.

Bibliography

&lt;Tab/&gt;www.japan-guide.com

&lt;Tab/&gt;www.japan-zone.com

&lt;Tab/&gt;www.bahnhof.se

&lt;Tab/&gt;spectacle.berkeley.edu/%7Efiorillo

&lt;Tab/&gt;www.asia-art.net

&lt;Tab/&gt;www.japanprints.com

581.          Ken Unsworth 290

INSTALLATION ART: CASE STUDY

'Installation art is an artwork that encompasses an extended space. It suggests that art lies not in objects alone, but also in the experience of perception...Installation art can also be site-specific, time sensitive, interactive, environmental.'

The work of Ken Unsworth a contemporary Australian artist can relate to this statement due to the fact that his work is not just art in the objects alone but rather art in the experience the audience receives through their perception of his work. The objects, which make up his installations are taken from the everyday world, but juxtaposed in such a way as to generate new meanings.

His work is postmodern in the way it expands our ideas about what art is and how it can be explained. Through the conceptual frame, Ken Unsworth's work is linked to the Artist, World and Audience.

"Unsworth's work becomes genuine collaboration, a genuine communication, because it is two-way, it's meaning not predetermined, but a joint construction between artist and viewer."

His work reflects his own life stories and links the world to his audience through his work.

"We respond to this work because it offers us the opportunity to relive our own life stories through objects."

Ken Unsworth work uses space and objects to portray a meaning that is not immediately apparent.

"Unsworth has lived and suffered as much as most of us so his art is able to reflect our own deepest fears, joys and secrets."

Ken Unsworth's work encompasses an extended space by using sound, nature and everyday materials. Our understanding of Ken Unsworth's work relies on our own individual experiences and imagination, therefore his work suggests that art lies not in objects alone, but also in the experience of perception.

582.          KGJFKJV

Little Johnny was 7 years old, and like other boys his age, rather

curious. He had been hearing quite a bit about courting from other

boys and he wondered what it was and how it was done. One day he took

his questions to his mother, and she became flustered. Instead of

explaining things to Johnny she told him to hide behind the curtains

one night and watch his older sister and her boyfriend. This he did,

and the following morning Johnny described everything to his mother.

Sis and her boyfriend sat and talked for awhile, then he turned off

most of the lights. Then he started to kiss and hug her, I figured sis

must be getting sick because her face started looking funny. He must

have thought so too because he put his hand inside her blouse to feel her

heart, just like the doctor would. Except he's not as good as the

doctor, because he seemed to have trouble finding her heart.

He was getting sick too, because pretty soon both of them started

panting and getting all out of breath. His other hand must have been getting cold because he put it under her skirt. About this time, sis got toward the end of the couch. This was when the fever started. I know it was a fever because sis told him she was really HOT.  Finally, I found out what was making them so sick....a big eel had gotten in side his pants somehow. It just jumped out of his pants and stood there about 9 inches long. HONEST! Anyway, he grabbed it in one hand to keep it from getting away. When sis saw it she got

really scared. Her eyes big and her mouth fell open, and she started calling out to God

and stuff like that. I should tell her about the ones I saw at the lake! "Anyway", sis got brave and tried to kill the eel by biting its head off. All of a sudden, she made a noise and let the eel go. I guess it bit her back. Then she grabbed it with both hands and held it tight

while he took a muzzle out of his pocket and slipped it over the eels head to keep

it from biting again. Sis lay back and spread her legs so she could get a scissor lock on

it. And he helped by laying on the top of the eel. The eel put up a hell of a fight. Sis started groaning and squealing and her boyfriend almost upset the couch. I guess they wanted to kill the eel by squishing it between them. After a while they both quit moving and gave a great sigh. Her boyfriend sat up and sure enough they had killed the eel... I knew it was dead because it just hung there limp and some of its insides were

hanging out. Sis and her boyfriend were a little tired from the battle, but they went on courting anyway. He started hugging and kissing her again. And by golly, the eel wasn't dead after all. It jumped straight up and started to fight again. I guess eels are like cats.... they have nine lives or something. This time sis jumped up and tried to kill the eel by sitting on it. After about 35 minutes of struggle, they finally killed the eel. I know it was dead this time because I saw sis's boyfriend peel off the skin and flush it down the toilet.

Mother fainted.

583.          kid in closet

Wolfgang knew about his father's past. It wasn't talked about much, but when it was, Wolfgang's mouth would perspire saliva and he would swallow it with fear. His past scared him, scared him so much one time while listening a small puddle began to form around his left leg.

His father had never hit him or anything. His friends, they all got the belt, slap across the butt. Wolfgang tried to explain to them the stories, but they all thought he had it easy. The stories consisted of a kid, a non descriptive child. Wolfgang guessed it was supposed to be his dad.  The stories were of the same idea, of a kid being bad and getting punished for it. But they weren't your butt slapping punishments like all the other kids got. They were kids locked away in basements for the rats to eat, getting sold on the street to dirty men, things to the degree only the grotesque mind could imagine such a horror.

But when Wolfgang was really menacing or his dad was drunk he would tell the story of the kid in the closet. The kid in the closet story scared Wolfgang so much he wouldn't dare get near one.

The night had fallen and the dealers came out just after dusk, so Wolfgang moved his toys from the corner and walked up the apartment stairs. As his little twelve year old legs climbed the steps, he had to pass the bums that lay cold on the steps with their bottles of liquor. Once to the top of the staircase he passed a late dealer, and headed toward his home.

As Wolfgang reached to the door it swung open nearly swiping off his arm. "What the hell do you think your doing out this late?" It was his father, again in a drunken state. "Get  your ass in here!" he grabbed Wolfgang by the ear and pulled in him.

"You know what use to happen to me when I was a kid?" he asked.

"Not the closet, please no." Wolfgang pleaded with him. He didn't want to hear it one more time, or not ever again.

" Oh you want to hear about the kid in the closet?" he took time to say it with ease and in such a matter that it scared Wolfgang so much he began to beg.

"No, no, please, please don't, anything, whip me like the other boys, anything." He couldn't hold back the tears.

Wolfgang's crying only worsened the scene and his father picked him up by his ear. " Your going to live it!" he said rather calming, but just loud enough to over power Wolfgang's crying.

Wolfgang wiggled and weaved in and out like a worm in his father's hands, but the grip was to strong and before he could get away he was in the closet darkness.

The atmosphere caved in on him fast. His crying became whimpers and soon the whimpers became silence. Wolfgang sat and listened. At first there was only the sound of his father's movements, but then the front door opened and closed and he knew he was alone.

His little hands patted the rough carpet base of the closet, getting a sense for where things were; he sat back against the wall. With nothing to do and still quite frightened Wolfgang began to play with his hands. Each finger was a different person and they embarked on talking to him.

'Why are we in here?' his finger asked him.

"He locked us in, cause he got mad." Wolfgang answered directly to the finger.

"Our we going to get out?" Asked another. Wolf shrugged his shoulders.

The fingers began to chat among themselves while Wolfgang watched and tried to listen. But soon he fell asleep in the mist of things and he joined the darkness of the closet.

Sometime later Wolfgang began to awake. As he opened his eyes, he could feel the lashes on his eye lids brush up to his brow, but he could not see anything. He closed them and tried again. There was an absence of color. Blackness lye in the closet and Wolfgang bewildered, tried to figure if he was awake or a sleep, dreaming. He brought his once chattering fingers to his face.

"Am I awake?" Wolfgang asked them all directly. Unconfident about receiving an answer. There was a noise from the darkness that still entrapped him. Wolfgang knew it was threatening and didn't answer. He just sat lost in the closet night.

Still thinking about the noise that now seemed to echo in his ears, Wolfgang moved back from the wall of the closet and knocked into a box that he hadn't felt when he first examined the tight room. He reached his little hands out and felt the edges and rubbed the sides with his index finger. It was an elegant box, with patterns of velvet flowers and design. An aroma drifted from the box, perfume his mother wore. Wolfgang remembered it from when he was just a child. Then there was another threatening grumble, but this time from inside the box.

"Mom? Mommy, is that you?" he asked, unfrightend about the second noise. Wolfgang sat there in a moment of silence waiting. Without warning the box opened. Light filled the closet, allowing Wolfgang to see. And though the light was blinding, Wolfgang looked straight into it. All the way down to it's source, a tiny pebble.

Wolfgang reached out into the light and began slowly moving in on the pebble but his hands refused and he could not mange to get them near.

"Why won't you let me touch my mother?" he asked them all. They only tighten into a fist and grumbled with his question.

"Why? Why?" he continued. Then with restraint from the other fingers one, one finger broke free from the grip and spoke.

"Don't Wolfgang, it's not your mother. It's no for you. Stay away. There's danger in that light."

"The light let's me see," Wolfgang said, "it makes me feel free."

"Don't" just as the finger last breath carried the fading word Wolfgang forced his hand open and reached into the box.

That morning Wolfgang's father went to the closet door and stopped to think about the night before. He had must of gotten drunk again.

"Poor boy," he thought, "I'll take him out to ice cream to make up for things. Wolfgang?" he opened the closet door. "Wolfgang, wake up boy, let's go for ice cream." There was no response in the dark closet. " Wolfgang you mad at me?" His father opened the door more, letting in the outside light. There in the closet corner sat Wolfgang . Frozen stiff, red dripping from his childish grin, staring into his fathers lock box he used to put his gun in.

584.          King lear act and scene summary

Assignment 5 Part 1 King Lear summary.  March 05 2002

Lear, the aging king of Britain, decides to step down from the throne and divide his kingdom evenly among his three daughters. First, however, he puts his daughters through a test, asking each to tell him how much she loves him. Goneril and Regan, Lear's older daughters, give their father flattering answers. But Cordelia, Lear's youngest and favorite daughter, issilent, saying that she has no words to describe how much she loves her father. Lear flies into a rage and disowns Cordelia. The king of France, who has courted Cordelia, says that he still wants to marry her even without her land, and she goes with him to France without Lear's blessing.

Lear  learns that he made a bad decision. Goneril and Regan  begin to undermine the authority that Lear still holds. Unable to believe that his beloved daughters are betraying him, Lear slowly goes insane. He flees his daughters' houses to wander on a heath during a great thunderstorm, accompanied by his Fool and by Kent, a loyal nobleman in disguise.

Meanwhile, an elderly nobleman named Gloucester also experiences family problems. His illegitimate son, Edmund, tricks him into believing that his legitimate son, Edgar, is trying to kill him. Fleeing the manhunt that his father has set for him, Edgar disguises himself as a crazy beggar and calls himself "Poor Tom." Like Lear, he heads out onto the heath.

When the loyal Gloucester realizes that Lear's daughters have turned against their father, he decides to help Lear in spite of the danger. Regan and her husband, Cornwall, discover him helping Lear, accuse him of treason, blind him, and turn him out to wander the countryside. He ends up being led by his disguised son, Edgar, toward the city of Dover, where Lear has also been brought.

In Dover, a French army lands as part of an invasion led by Cordelia in an effort to save her father. Edmund apparently becomes romantically entangled with both Goneril and Regan, whose husband, Albany, is increasingly sympathetic to Lear's cause. Goneril and Edmund conspire to kill Albany.

The despairing Gloucester tries to commit suicide, but Edgar saves him by pulling the strange trick of leading him off an imaginary cliff. Meanwhile, the English troops reach Dover, and the English, led by Edmund, defeat the Cordelia-led French. Lear and Cordelia are captured. In the climactic scene, Edgar duels with and kills Edmund; we learn of the death of Gloucester; Goneril poisons Regan out of jealousy over Edmund and then kills herself when her treachery is revealed to Albany; Edmund's betrayal of Cordelia leads to her needless execution in prison; and Lear finally dies out of grief at Cordelia's passing. Albany, Edgar, and the elderly Kent are left to take care of the country under a cloud of sorrow and regret.

585.          King Lear Theme of Blindness

King Lear - Theme of Blindness

In Shakespearean terms, blinds means a whole different thing. Blindness can normally be defined as the inability of the eye

to see, but according to Shakespeare, blindness is not a physical quality, but a mental flaw some people possess.

Shakespeare's most dominant theme in his play King Lear is that of blindness. King Lear, Gloucester, and Albany are

three prime examples Shakespeare incorporates this theme into. Each of these character's blindness was the primary

cause of the bad decisions they made; decisions which all of them would eventually come to regret.

The blindest bat of all was undoubtedly King Lear. Because of Lear's high position in society, he was supposed to be

able to distinguish the good from the bad; unfortunately, his lack of sight prevented him to do so. Lear's first act of

blindness came at the beginning of the play. First, he was easily deceived by his two eldest daughters' lies, then, he was

unable to see the reality of Cordelia's true love for him, and as a result, banished her from his kingdom with the following

words:

"..................................for we

Have no such daughter, nor shall ever see

That face of her again.  Therefore be gone

Without our grace, our love, our benison."

(Act I, Sc I, Ln 265-267)

Lear's blindness also caused him to banish one of his loyal followers, Kent. Kent was able to see Cordelia's true love for

her father, and tried to protect her from her blind father's irrationality. After Kent was banished, he created a disguise for

himself and was eventually hired by Lear as a servant. Lear's inability to determine his servant's true identity proved once

again how blind Lear actually was. As the play progressed, Lear's eyesight reached closer to 20/20 vision. He realized

how wicked his two eldest daughters really were after they locked him out of the castle during a tremendous storm. More

importantly, Lear saw through Cordelia's lack of flatterings and realized that her love for him was so great that she

couldn't express it into words. Unfortunately, Lear's blindness ended up costing Cordelia her life and consequently the

life of himself.

Gloucester was another example of a character who suffered from an awful case of blindness. Gloucester's blindness

denied him of the ability to see the goodness of Edgar and the evil of Edmund. Although Edgar was the good and loving

son, Gloucester all but disowned him. He wanted to kill the son that would later save his life. Gloucester's blindness

began when Edmund convinced him by the means of a forged letter that Edgar was plotting to kill him. Gloucester's lack

of sight caused him to believe Edmund was the good son and prevented him from pondering the idea of Edmund being

after his earldom. Near the end of the play, Gloucester finally regained his sight and realized that Edgar saved his life

disguised as Poor Tom and loved him all along. He realized that Edmund planned to take over the earldom and that he

was the evil son of the two. Gloucester's famous line: "I stumbled when I saw" (Act IV, Sc I, Ln 20-21) was ironic. His

inability to see the realities of his sons occurred when he had his physical sight but was mentally blind; but his ability to see

the true nature of his sons occurred after having his eyes plucked out by the Duke of Cornwall. Fortunately, the

consequences of Gloucester's blindness throughout the play was minimal, after all, he was the only one to die as a result

of his tragic flaw.

Albany was another character suffering from the classic case of blindness, but luckily for him, he survived his battle.

Albany's case of blindness was purely a result of the love he had for Goneril. Although he disapproved of Goneril's

actions, he would only mildly argue his case. When Goneril forced Lear to reduce his army so that he could stay in their

castle, Albany protested:

" I cannot be so partial, Goneril,

To the great love I bear You -"

(Act I, Sc IV, Ln 309-310)

Albany's deep devotion to Goneril blinded him from the evil she possessed. His inability to realize how greedy and mean

Goneril was after she flattered Lear with a bunch of lies and then kicked him out of their home, just goes to show you

how much Albany loved Goneril. Albany was also blind to the fact that Goneril was cheating on him and that she was

plotting to kill him. Fortunately, Edgar came across a cure for Albany's blindness. A note outlining Goneril's evil plans

was all Albany needed to see. Finally, Albany recognized what a devil he was married to and for once let out his

emotions when he said:

"O Goneril,

You are not worth the dust which the rude wind

Blows in your face!"

(Act IV, Sc II, Ln 29-31)

Unlike Lear and Gloucester, Albany didn't suffer much during his bout with blindness. Not only did he survive his battle,

but he lived to remain the ruler of what was once Lear's kingdom.

586.          King Lear

King Lear

King Lear is a play written by William Shakespeare that focuses on the relationships of many characters, some good,

some evil. This is a great tragedy that is full of injustice at the beginning and the restoring of justice towards the end. The

good are misjudged as evil and the evil are accepted as good. It is not until the end of the play that the righteous people

are recognized as such. There is great treachery and deceit involved in the hierarchy of English rule. The great mistake in

this play was made by Lear when he decided to divide up his kingdom to his three daughters. In order to determine which

share each should get, he had each of his daughters give testimonies of love for him. Cordelia, the youngest, refused to go

overboard with her statement. When asked for her testimony, she simply replied, "Unhappy that I am, I cannot heave my

heart into my mouth. I love your Majesty according to my bond, no more no less."(I,i, ln 91-93) Lear becomes enraged

and casts her off saying, "Here I disclaim all my paternal care, propinquity and property of blood, and as a stranger to my

heart and me hold this from thee for ever."(I,i, ln 113-116). Some think that Cordelia was prideful, or even a fool in her

response, but I believe she was simply being honest and true.

Another mistake that was made in the course of the play was by the Earl of Gloucester. After being tricked by his bastard

son, Edmund, into believing that his other son, Edgar, was plotting to kill him, he put all his faith in Edmund, which would

eventually lead to his demise. Besides believing that Cordelia was being true and honest to her father, I think that Lear

and the Earl of Gloucester were fools, regarding the banishments of their righteous children.

After reading this play, I found it hard to believe that Cordelia was being anything but true in her simple proclamation of

love for her father. I can't believe that Shakespeare was trying to portray her as a spoiled, prideful child. I do not believe

she was foolish in her decision to restrain from trying to persuade him into giving her a larger portion of his kingdom. I

think it was apparent early that Cordelia was struggling with what she was going to say to her father. In her asides she

says, "What shall Cordelia speak? Love, and be silent"(I,i, ln 62), and after Regan spoke, "Then poor Cordelia; And yet

not so, since I am sure my love's more ponderous than my tongue."(I,i, ln 76-78). It is obvious that she loves her father,

but she can't express it the way in which Lear wants her to. Because of this, she is disowned and sent away to France.

The King even refers to her as, "Unfriended, new adopted to our hate, dow'red with our curse, and strangered with our

oath."(I,i, ln 203-204). Cordelia's love for her father was shown further when she received the letters concerning Lear's

mental state after being mistreated by his two other daughters. It was said that, "now and then an ample tear trilled down

her delicate cheek."(IV,iii, ln 12-13). Cordelia then orders for some of the French soldiers to bring Lear to her so that she

can look after him before the war between Britain and the French soldiers begins. Her love was further displayed when

she says, "But love, dear love, and our aged father's right. Soon may I hear and see him!"(IV,iv, ln 28-29). Because of all

of this, I firmly believe that Cordelia truly loved her father and was only being honest when she refused to profess her love

for him in order to rule a portion of Britain.

Besides believing that Cordelia was true in her response, I also think that Lear was acting as a fool when he disowned his

only loving daughter. He made a monumental mistake when he handed over British rule to his two evil daughters, Regan

and Goneril. This is what eventually led to his mental breakdown and the deaths of many of the heads of Britain. If he had

only chose to keep control over his kingdom or to give up control to someone trustworthy, no one would have had to

suffer as they did. Some people knew he was committing a terrible folly, especially the Earl of Kent. This is apparent

when he says, "Think'st thou that duty shall have dread to speak when power to flattery bows? To plainness honor's

bound when majesty falls to folly. Reserve thy state, and in thy best consideration check this hideous rashness.(I,i, ln

147-151). Lear ignores this plea and even banishes Kent, who returns later, disguised as a servant. Another person to

recognize his mistake is the fool. In one of his rhymes, he says, "That lord that counselled thee to give away thy land,

come place him here by me - Do thou for him stand. The sweet and bitter fool will presently appear; the one in motley

here, the other found out there.(I,iv, ln 133-140). After giving all his power to Regan and Goneril, they reject him, kicking

him out of their houses. This treatment of Lear drives him mad and he wishes that he had never given away his power or

disowned Cordelia. This can be seen when he states, "No, you unnatural hags! I will have such revenges on you both that

all the world shall-I will do such things-What they are, yet I know not; but they shall be the terrors of the earth.(II,iv, ln

273-277). It would take an entire book to explain all the ramifications of his great folly. However, I can say that the

deaths of Goneril, Regan, Cordelia, and of himself may be attributed to his mistake. He also caused a war between

Britain and France that should not have occurred. I believe it is clear that Lear acted as a fool when giving his land to

Goneril and Regan, but not to Cordelia.

Another character who was very foolish in distinguishing between good and bad children was the Earl of Gloucester.

Edmund, a bastard son of Gloucester, tricked him into believing that his brother, Edgar wanted to kill him and take his

inheritance. He wrote a phony letter which implied all of this. Gloucester became outraged and gave all his trust to

Edmund. He even declares, "O villain, villain! His very opinion in the letter. Abhorred villain, unnatural, detested, brutish

villain."(I,ii, ln 74-76). Edgar then convinces Edgar that he should flee because his life is in danger. He also believes

Edmund, so he leaves his home and ends up hiding in a cave. Gloucester again takes Edmund completely into his

confidence when he informs him that he was going to try and help Lear when he was out in a storm, even though he was

given strict orders by Regan and the Duke of Cornwall. Edgar immediately tells Cornwall of the information he has just

learned. He says to himself, "This courtesy forbid thee shall the Duke instantly know, and of that letter too. This seems a

fair deserving, and must draw me that which my father loses-no less than all. The younger rises when the old doth

fall."(III,iii, ln 19-23). This treachery by Edmund ultimately leads to Gloucester having his eyes gauged out. Despite the

efforts of Edgar to take care of him and restore his desire to live, Gloucester dies of a broken heart. Edgar explains, "His

flawed heart - Alack, too weak the conflict to support - twixt two extremes of passion, joy and grief, burst smilingly.(V,iii,

ln 197-200). Edgar ends up killing Edmund, which means that Gloucester's folly resulted in the deaths of both he and

Edmund. It is very clear that the Earl of Gloucester can be considered a fool for taking Edmund into his confidence.

Overall, this play was full of evil and treachery. However, justice seemed to be served somewhat at the end. I do believe

that Cordelia was very good-natured and was the only "true" daughter of King Lear. In a play full of evil people, she was

one of the only honest and loving. It is amazing that only through great hardships, such as Gloucester having his eyes

plucked out, could he and Lear receive true insight.

587.          King of Hollywood 1080

The time of great prosperity and change began to increase in the USA in the 1920s. "The Red Scare" frightened the minds of Americans and immigrants were coming from all over the world to the USA.  People started the fashions of new music, American Jazz, and the Nineteenth Amendment was established, which gave the right to any woman to vote.   It was also a time of industrial growth and intensive progress. New sources of entertainment were invented: automobiles, improved airplanes, radio and especially movies captured the society of that time. One recognized figure of cinematography was Douglas Fairbanks Sr., who is known for his comedies, heroic swashbucklers and his significant efforts for  American movie production. (Encyclopedia of Popular Culture).

Famous American silent movie actor was Douglas Fairbanks was born in Denver, Colorado on May 23, 1889. His father Charles Ulman escaped his responsibility of fatherhood by separating with his wife and leaving his two sons Douglas and Robert with their mother. However, his sons had some happy memories about their father. Their mother Ella Fairbanks, besides taking care of them, influenced Doug's interest to become an actor.  According to her:  "Doug was physically active from a young age, falling off the roof" (geocities.com, media site).  Growing up in Denver, Doug started acting in theaters around the city. His mother took him to theater performances and shows. As a result young Doug met the retired actress Maude Fealy, who was his first instructor. Soon after, Doug was brought to the attention of the professional actor-manager Frederick Warde.(geocities. com)

After Doug turned 17 he moved to New York City by taking an offering from Mr.Warde. Having not finished his senior year, young Fairbanks worked at many places, besides trying to make his way to the Broadway stage. Finally singing a contract with the theatrical producer William Brady, he joined the company for the Broadway season. Doug hoped to reach the top, and worked very hard to succeed. Although first his movies did not make him famous, success was not far from him.

In 1907 Mr. Fairbanks met and married the beautiful blond Anna Beth Sully, whose father was in a big business.  Doug happily agreed to work with her father and stop theatrical acting for a little while. Soon after their marriage Anna gave birth to Douglas Fairbanks Jr., who was named after his father. In 1915, coming back to acting  Doug entered the  company Triangle of Fine Arts, where he made his debut with the picture "The Lamb".(geocities. com). Over the next several years , after his successful movies  such as  " The Half Breed",  "Manhattan Madness" , " The Americano", and some others, and Doug became  quite popular, not just in the United  States ,but also in Europe .

By that time, becoming a well-known actor and making enough money, Doug was able to create his own production companies and his own movies. He was not only an actor, but also produced many movies and wrote scripts with his pseudonym Elton Thomas. (biography.com). In 1915 Fairbanks met Mary Pickford and they instantly fell in love, although both of them were married at that time. Hollywood's couple kept it in secret for three years in order to prevent a scandal for the whole of America.  (douglasfairbanks.org/bio.htm).  In 1919, Doug was involved with the United Artists Corporation with his best friend Charley Chaplin and his secret girlfriend Mary Pickford. (douglasfairbanks.org/bio.htm) .

They supported the producers and  movie makers, helping them to protect their financial earnings. For the next few years Douglas Fairbanks was not only involved in the film industry, but also produced entertaining pictures. His movies were even more  famous  for their expense , beauty and exciting activity  in  his new style of swashbuckler; these included  "The Mask of Zorro", " The  Three Musketeers", " The Thief of Baghdad",and "Robin Hood". (geocities.com)

Finally in 1920 the couple of Hollywood got married after divorcing with their past lovers. By that time Mary Pickford was increasing her popularity in American movies and with Doug they were called "The King and The Queen of Hollywood" (biography.com).Together they went to Europe for their honeymoon, where they had high regards of European crowds.(geocities.com). They were together everywhere: making movies and showing up at the all parties of Hollywood; working in the United Artist Corporation and traveling around Europe.(Encyclopedia of Popular Culture p.58). This couple stayed in the memories of many Americans for a long time.

By 1927 Douglas was approaching the end of his artistic career, but he still was active in developing the American picture industry. Being 44 years old, Doug could not be a heroic swashbuckler as well as before. Giving speeches on opening movie theaters he concentrated on building the future of movie production in the United States. Fairbanks was one of the founders of the Academy of Motion Picture Arts and Science where he was its first  president, taking part of the first ceremony of Academy Awards .(Encyclopedia of Popular Culture p.58)  Doug helped to financially support the project of Grauman's  Chinese Theater  in Hollywood and raised  other important developments to improve movie production. (douglasfairbanks.org/bio.htm). Being one of the first silent movie stars Douglas definitely influenced American cinematography.

As an artistic person Doug had some other interests in his life. Since childhood he would act and sing.  Douglas also loved to watch fascinating performances and theater shows.  The writing of books, stories, journals and memorizing poems were included in his artistic interests as well.  As a result many of his movies are based on real stories from Doug's life. Staying in Europe for months and traveling numerous times with Mary or alone Douglas had strong international interests. One of his best adventures was the Honeymoon he spent traveling in Europe. He liked sports as well: when he was a child he often used to go out camping or mountain climbing with his father. As Doug grew up he kept practicing athletics consistently, keeping his figure and appearance in good shape all the time. This was one of the reasons for his attractiveness.

Douglas Fairbanks Sr., athletic, optimistic, devoted and persona of endless possibilities, was one of the founders of American silent movies. He had a special impact both on his audience and his coworkers. He was a successful businessman with a vision in the film industry. Being an excellent actor, some of his pictures will never be forgotten and will remain in the minds of many Americans as "The King of Hollywood".

588.          Kings Short Stories

The Reaper's Image

This story is about two men who were transporting an antique mirrow from the

first floor of an old museum to the fifth.  Their names were Spangler and Carlin.  This

mirror had a history of being haunted, and some people would look into the mirror and see

a hooded figure standing behind them.  This figure was presumed to be Death, and

whenever someone would see this figure they were never seen again.  Carlin spends the

whole story trying to convice Spangler that this is really true, but Spangler just calls Carlin

crazy.  Finally, near the end of the story, Spangler looks in the mirror and sees a dark

inperfection in the corner, which he mistakes for friction tape.  When Carlin tells him that

there is no friction tape on the mirror, Spangler becomes sick and leaves for the bathroom.

The story ends with Carlin waiting for Spangler to return.

I thought that this story was very good, because it started off really slow and

worked it's way into a really interesting plot.  I liked the end because it never really

finished, it left the ending up to the reader.  This seems to be a common theme in a lot of

Stephen King's stories.  He likes to leave the reader in suspense, and keep them

wondering.

Here There Be Tygers

This story is about a little boy named Charles who is in elementary school.  He has

to go to the bathrrom really bad, but he is afraid to ask because the teacher does not like

him.  Finally the teacher sees him squirming and asks him if he needs to use the restroom.

He says yes and is very embarassed in front of the class, so he leaves quickly.  When he

steps into the bathroom, he sees a tiger lying in the corner, and it looks hungry.  He goes

back outside and sits there for a while wondering what he should do.  His friend Kenny

finally comes up to him because his teacher noticed that he was gone a long time.  Charles

tells him that there is a tiger in the bathroom, but Kenny does not believe him.  Kenny

goes into the bathroom and does not come back out.  Then even later, his teacher comes

and starts yelling at him.  She goes into the bathroom and she doesn't come back out

either.  The story ends with Charles coming back to class and reading a story about a

rodeo.

This is another story that ends really abruptly.  It was strange because after

knowing that his friend and his teacher were both killed by a tiger, he goes back to class

and begins reading his book.  I thought that this was a decent story, although I didn't

enjoy it as much as some of the others.  The one part that I did find interesting though,

was the fact that it never really explained why a tiger would be lingering in a bathroom

anyway.  I like that about these short stories, they never really make a lot of sense.

Cain Rose Up

This story is about a guy named Garrish who had just finished finals in college and

was preparing to go home.  His friend and him had taken the test just minutes before the

story began, and both of them felt as if they had not done a good job.  Garrish was a 4.0

student, never doing bad in anything.  His room was always organized and it seemed as

though he had his entire life together.  But the night before the final, Garrish went down

and got his gun and hid it in his dorm room.  After the test, he sits up in his room and

begins shooting people with the idea that if you don't eat the world, the world eats you.

The story ends with Garrish shooting people, and a bunch of Garrish's friends standing

outside his door, and they all think he killed himself.

This was a really odd story.  It starts off really normal, with Garrish speaking with

his classmates about a test that they just took.  He goes to his room like everything is

normal, and then all of a sudden he begins quoting Cain and shooting people from his

window.  A very odd story, if not somewhat disturbing, much like most of his other short

stories.

The Wedding Gig

This story is about a man who was in a jazz group of five musicians.  One day

while they are playing in their usual club, a ganster comes in and pulls aside the main

character.  The gangster Mike Scollay asks the main character if he and his band will play

for the wedding of his sister.  He will pay two hundred dollars for this, which was a lot of

money in the 1930's.  When asked what the catch is, Scollay proceeds to tell him that his

sister is extremely fat, and she is marrying an Italian while she is Irish.  Scollay warns him

that he hates it when people laugh, so the main character tells the band this before they go

to the wedding.  At the wedding everything was going fine until about 8pm, when

someone from a rival gang of Greeks came in and delivered a message from the boss.  He

said that this marriage was a joke, and everyone laughed at his sister.  Scollay runs out and

gets killed by the Greeks waiting outside.  Then the story moves into the future, where it

turns out that the over wieght sister became a crime boss and was responsible for the

death of theGreek boss, and overturned two other rival gangs.

This was the one story that was really different from the other ones.  He wrote this

story in a more understandable fashion.  I think that the main theme to this story was

revenge, because after recieving ridicule and having her brother killed, she goes on a

killing rampage and gets back at all the people that crossed her at one point in time or

another.

Morning Deliveries

This story is about a sick twisted milkman who enjoys savotaging the items that he

delivers to peoples houses.  This story is different because it kept describing very minute

details, such as the ant finding food, or the squirell finding some material for a nest.  This

milkman seems perfectly normal, but as the story progressing he starts putting tarantulas

in chocolate milk and poisonous gases inside "empty" milk bottles.  This story was very

strange and confused me.

This story was extremely strange and somewhat disturbing.  It didn't make any sense to

me, and out of the blue some psychotic milkman is dropping tarantulas in peoples

chocolate milk.  This story is a perfect example of Stephen King's sick, yet very

interesting mind.  It was really odd, but I thought it was a decent play short story.

589.          Korn

Korn

In the early '90s, heavy music looked to be going the way of the

dinosaurs: Well-heeled Brit-pop and well-scrubbed pop-punk were

thoroughly dominating the guitar-rock landscape, and the few surviving

old-school metal acts seemed hopelessly unable to adapt.

But somewhere within the vast, murky Southern California wasteland, a

dynamic new species was being born, a forward-thinking beast that

disregarded the mistakes of heavy bands past while meshing dark, urban

rhythms and low-tuned guitar sludge with violent, expressionist blasts

of hip-core noise. That and the wildly emotional vocals of JONATHAN,

which alternated between a bourbon-smooth croon and a viscerally sharp

howl, made for a revolutionary mix that redefined heavy rock better than

anyone had in a decade. The result was a monster 1994 self-titled debut

album that went solid platinum, and by the time 1996's Life Is Peachy

was released, this beast had a fanbase over two million strong--and a

legion of musical imitators so large it threatened to saturate the

planet. It was time for a change of rules.

Hence KORN's latest, greatest slab, aptly titled FOLLOW THE LEADER. From

the broadened musical and emotional scope to the much beefier production

values to the stunning cover art courtesy of Spawn-creator Todd

McFarlane, FOLLOW THE LEADER is indeed an ambitious and deeply

satisfying outing for the band. And while there is considerably more

hype surrounding this rightly anticipated disc, JONATHAN is quick to put

things in perspective.

"Our only goal was to take our time on this album," he says. "Because I

knew we had it in us to do something great. To full integrate both

(previous) albums and put out a record we could be proud of...we wanted

to do some phat shit." "I think working with a new producer and going into a new studio helped

us grow musically as a band," adds guitarist MUNKY. "All of us really

have that fire again about being excited about a record...We all feel

like we grew, like when you grow out of some old shoes; your feet are

all crammed in forever and you know you need to buy a new pair, but you

need to save up the money to do it. We kind of saved up our confidence

and made that leap into our new shoes."

Fans of old-school KORN needn't despair--the new shoes kick just as much

ass as the old pair. "Freak On A Leash" is a molotov cocktail of

scathing, psychedelic guitar runs, hypno-groove bass grind, hip-hop

jungle drumming, all sliced in two with an ingeniously placed scat line

reminiscent of PEACHY opener "Twist." Then there's "Children Of The

KORN," title courtesy of legendary gangsta rapper Ice Cube, who

contributed an arresting series of verses to the tune, as well as a

mallet-blunt mantra that speaks for every fed up kid in America: "Stop

fuckin' with me!" Check the epic closing track, "My Gift to You," one of

the band's heaviest songs to date, rife with the sort of lyrical honesty

that's earned JONATHAN true street cred with the kids--and dismay from

the parents. Which is just fine with him--KORN, after all, speaks

directly to those disenfranchised with a world of spent opportunity and

violence, due in large part to the short-sightedness of generations

past.

"Yeah," says JONATHAN, "I am pissed off that I inherited it. I wish

sometimes that I was born back in the day. But today's society is so

fucked up...we gotta thank the parents for doing that to the kids."

Yes, they still rock. But FOLLOW THE LEADER also illustrates just how

much JONATHAN's vocal and lyrical abilities have broadened from the

"straight fuckin' cathartic rage" of KORN and PEACHY to a level that

communicates a full range of human emotion, from regret ("It's On!") and

empathy ("Justin"), to lighthearted if incredibly vitriolic banter ("All

In The Family"). The band's musical growth is also well evident--from

drummer DAVID's successful integration of D-Drum sampling to FIELDY's

ever-more-percussive bass playing. Meanwhile, twin guitar towers MUNKY

and HEAD have made their joint stylistic fusion nearly seamless. "It's

like we're one person," adds HEAD. "We're one guitar player thinking.

It's weird." The end result is an album that could well be KORN's swan

song--and one that's sure to find the band's ever-growing throng of

musical imitators scurrying back to the chalkboard.

Although FOLLOW THE LEADER will not be officially released until August

18 on Immortal/Epic Records, MUNKY considers it a mission accomplished:

"I think we've already achieved success on this record," he says. "We're

all 100 % happy with all the songs. That was the personal goal for me."

In the making of FOLLOW THE LEADER, KORN's also been busy with their

ground-breaking live weekly Internet program, as well as the formation

of its own record label, Elementree Records. Its first signing,

California "death pop" outfit Orgy, has already drawn critical acclaim

for its debut CANDYASS (Alternative Press enthusiastically endorsed the

record, saying it displayed enough "smart melodies, head-banging crunch

and electro-kicks to impress even the most fickle music fans"). CANDYASS

will hit the shops the on the same day as FOLLOW THE LEADER. As for

Elementree itself, FIELDY offers up the band's business philosophy

accordingly:

"I think we'd all like to sign some bands that everybody's scared to

sign. And of course to make them as big as KORN, if not bigger. I think

where we're at in '98, the whole decade is really hurting for some good

music."

In addition to the new record and the new label, KORN has also put

together its own answer to Lollapalooza: the "Family Values" tour, an

eight-week U.S. tour which will feature Ice Cube, Limp Bizkit, Orgy,

Rammstein and, of course, KORN, in addition to a throng of breakdancers,

fire-eaters and a myriad of other cultural oddities. Why would an

already overworked band want to tackle such a monumental task?

"There are all these festivals that have weak links in them," says

DAVID. "It's not easy to put together a big festival because there are a

lot of people involved--but we thought we could give it a shot and do

something better."

1998 is proving to be an intensely creative year for the band. An

ambitious new record that redefines the school KORN defined in the first

place--that's already garnering massive airplay for its first single

("Got The Life"). An ambitious new label that's already undermining the

alternative world. And an ambitious new tour showcasing some of the

heaviest acts of the day. No surprise. KORN has always been about

ambition--and much more often than not it's paid off.

"We're not out to change the world, just music."

590.          Kurt Cobai1

Kurt Cobain: Biography

Kurt Donald Cobain was born to Wendy and Donald Cobain on February 20,

1967 in the small logging community of Aberdeen Washington and his life ended on

April 5, 1994. Kurt fronted one of the greatest bands of our time called Nirvana.

In this report I hope to inform you about the life and mysterious death of Kurt

Cobain.

Kurt had a good childhood, but a troubled adolescence. Partly because of

his parents splitting up in 1975 when Kurt was eight years old. Kurt chose to

live with his mother.  Kurt's father remarried three years later.

Kurt got his first guitar for his 14th birthday. He took one guitar

lesson and never paid for it. Kurt says "I went and learned the power chords and

never went back and never paid for the lesson I guess I still owe that guy the

$6 or whatever it was. I didn't go back because once you know the power chords

you can start writing your own songs."          Kurt's mother remarried in May

of 1984 to Pat O'Connor and one year later in May of 1985 Kurt would drop out of

high school at the age of 17. During this period of his life Kurt got caught up

with the drug community of Aberdeen and started heroin, an addiction he would

never defeat. Many blame his death on this horrendous drug. Kurt often lived

under a bridge along the muddy banks of the Wishkah river during that period.

Kurt had been just hanging out when he met Chad Channing and Krist

Novaselic and they would go on to find out that they each played music. Chad

played the drums and Krist played the bass. The three started getting together

and jamming. They wrote some of their own songs and sent out some demo tapes.

They released a single in November of 1988. They got signed to a small company

and produced their first album titled Bleach. It featured Chad Channing on Drums,

Kurt Cobain on guitar and vocals, and Krist Novaselic on bass. Bleach only

ending up costing $600 to produce and did not sell big. After recording Bleach

the band made a short west coast tour that started in February of 1989 in

Seattle and moved down the coast.  However the band was just preparing for the

tour for Bleach which started on June 22, 1989 in San Francisco and ended in New

Castle, England, the bands first European show.

Nirvana started another short US tour in February of 1990 and one month

later Chad left the band to be replaced with Dave Grohl. To break in the new

addition they did a seven show west coast tour.

Chad wanted to move on and Dave was totally down with where Nirvana was

headed so the band said bye to Chad Channing and hello to Dave Grohl. Dave was a

drummer who could carry Kurt's uneven beat without a thought. The band with it's

new addition was ready to start recording again, this time it was another single

and few more shows. Then on April 30, 1991 the band got it's big break, they

signed with Geffen Records a huge record company. With a new record deal under

their belt Nirvana started recording it's next full length album in May of 1991.

Geffen sent the band on a massive European tour in August of 1991, to

hopefully boost record sales over seas. That same month they made a music video

for one of their new songs called Smells Like Teen Spirit. After the tour of

Europe the band went back to the US and on September 13, 1991 the release party

for Nevermind was held. One week later the tour began in Toronto for Nevermind.

Four days later Nevermind was released and debuted at 144 in sales on the

billboards. After touring for two months in the US the band was once again going

to Europe. The European tour started on November 2, 1991 in Bristol England.

On January 24, 1992 the band went on a world tour. While in Hawaii Kurt

marries Courtney Love. Courtney was a groupie and Kurt's girlfriend. She was a

also a heroin user. And we would find out later that she was pregnant with

Kurt's baby  as well. While on the tour Kurt wasn't feeling very well and

collapsed a few times due to stomach pains.

The band wound up the world tour and on August 18, 1992 Francis Bean

Cobain was born to Kurt and Courtney who still went by Courtney Love, her maiden

name. Francis was named after a member of the band called the Vaselines and Bean

came from what she looked like in her sonogram.

On December 15, 1992 the band released its third full length album

titled Incesticide. Four months later the band went back to record it's last

album in two weeks titled In Utero. the album was released on September 21, 1993

and the band again went on tour on October 10, 1993. The band took the tour to

Europe in February of 1994, 29 days later the last Nirvana performance is played

in Munich Germany. Five days later Kurt was hospitalized after a "suicide"

attempt, due to an apparent drug overdose. He enters a coma and awakens the next

day asking for a milkshake. Three days later he leaves the hospital under his

own power. Exactly one month later Kurt's body is found in the greenhouse above

his garage by an electrical technician, who ironically calls a local radio

station first instead of the police.

Kurt had been shot in the mouth with a shotgun, This is where the

mysterious part comes in. The rest is full of contradictions and lies. The

coroner reported the gunshot self inflicted, however the Private Investigator

Courtney hired pointed the finger at Courtney and said murder. He did not mean

that Courtney had pulled the trigger but that she had planned it. His reasoning

behind this was 1: the two were apparently getting a divorce and Courtney had

asked for the meanest most vicious divorce lawyer available and Kurt had

requested to take Courtney out of his will. 2: Kurt had just turned down 9.5

million dollars to front the Lollapalooza tour. 3: the police reports said that

Kurt had barricaded himself in the room but the lock on the door could've been

locked by anybody by simply turning the lock and walking out the door shutting

it behind them. 4: Courtney kept telling Dylan Carlson to check the greenhouse.

Dylan was Kurt's best friend and helped Tom Grant look for Kurt, This is where

my survey comes in out of 47 people surveyed including fans, students, and

teachers 20 said they believed that Kurt was murdered and 27 said they believed

that Kurt committed suicide, almost an even split.

Kurt left a big hole in the music industry and this was expressed by

many of his fellow musicians including Eddy Vedder of Pearl Jam and Michael

Stipe of R.E.M. Eddy had to say "I feel bad that Kurt's not still writing songs

because he was brilliant and that guy could emotionally twang my heart-strings.

Every song he wrote spoke to me."

Dave Grohl and Pat Smear, who had been a late edition for In Utero an

back-up guitar formed a band called the Foo Fighters with Dave on lead guitar

and vocals, Pat on back-up guitar again, and two new people. Krist went on to

join a band called Sweet 75. Krist has also become a "spokesperson" for the band

being the only member that was with the band all the way until the end. I hope i

have shown you what Kurt's life and death were like. There is much more

information about this subject out there this is just some of it.

591.          Kurt Cobain 225

Kurt Cobain, a familiar name, yet quite an unfamiliar story.  Even without knowing his story, many people can recognize that Kurt Cobain is a true musician, writer, and in my opinion, he is a true genius.  From his enigmatic lyrics, to the way he carried himself, you could tell on first glance that there was something special about Kurt Cobain.  His anti-celebrity show was more than just a facade, it was his whole outlook on stardom.  Kurt Cobain was thrust into a world of money and fame that he neither wanted, nor would accept.  Soon after he became clearly the most famous rockstar on the planet, he was begging his bandmates to just play one more show in a small town club in Aberdeen, Washington, where he grew up.  His entire outlook on life is something everyone can learn from.  Money and fame did not change the fact that he was a musician.  He was on the stage to play, he wanted himself heard more than anything else.  Kurt Cobain truly changed music as it is today.  He changed it from being a money-making scam to being a way to express yourself, to relieve the stress that comes with every day you spend on this earth.  Kurt Cobain was truly a genius in every aspect, and without his songs, I think music would be lost.

592.          Kurt Cobain again

Kurt Cobain: Collection of Personal Accounts From Family Relatives

I would like to share some of the memories and perceptions I have concerning

this unique, rare and original human being called Kurt Cobain. I knew Kurt

during his teen-age years in the period from about 1979 to 1984. I was in my

mid-30s and living in and near Montesano. My sister married Kurt's dad, Don, and

also lived in Montesano.

My grandfather comprehended the intelligence and individuality in Kurt at a time

when Kurt was being beaten down mentally and physically. "Gramps" often told me

of his respect for Kurt's tenacity and compassion even though he was in

emotional pain. Shortly before Gramps died, he had been talking about Kurt. He

looked at me and said words to the effect that he could see a nobility about

Kurt that he had never seen in anyone in all his 70 years.

One time, Gramps invited Kurt along on one of our steelhead fishing trips. We

were spread out a few hundred feet apart along the Wynooche River. All of a

sudden, we heard this horrendous combination of screaming, warbling and yodeling

from Kurt, who was upstream and out of sight. Gramps told me to run up there and

help Kurt, who must have hooked a big fish. When I reached Kurt, he didn't even

have his line in the water. When I asked him what was going on, he just looked

at me with those piercing eyes and huge grin. He said, "Oh, I'm just trying to

thicken my vocal chords so I can scream better!" When I went back to Gramps to

tell him, he just grinned and said, "It figures, We'll just let him be!" We can

now say, "Thank you, Kurt, for thickening your vocal chords!"

Kurt didn't fit the general mold of society in a logging town, and so he was

beaten upon by people who didn't understand him. One day I heard that he was in

a fight a few blocks away. When I ran to the scene, the fight was over. However,

I heard from a friend that Kurt was assaulted by a burly, 250-pound logger type.

Evidently, Kurt did not even fight; he just presented the bully with the

appropriate hand gesture everytime he was knocked down until the bully gave up.

To top it all off, Kurt just had that usual grin on his face!

A final footnote to this small remembrance of Kurt: A wonderful picture comes to

mind of a rare, sunny day when I peeked out the window into the yard. There was

Kurt with some kind of contraption on his head. It resembled a tinfoil hat. He

was sneaking around the yard, followed by about half a dozen laughing toddlers.

Kurt had the million dollar grin on his face, and I could tell he was definitely

in "nirvana." I guess you could say he was the "pied piper" of compassion.

I hope that these little examples of happiness will help to show that even

though Kurt experienced pain in his teen-age years he still did not let that

pain stop him from loving life as fully as he could. We should never condemn

Kurt for leaving us. We should instead look inward and thank him for loving us

enough to share his feelings. Let us learn that no amount of pain will ever stop

us from loving life. We must all maintain respect for the signifigance of our

own lives, as well as the lives of others.

Larry Smith: Kurt's uncle by marriage

Here is a little glimpse of a happy side of Kurt. A measure of the kind of Man

he was, even when he was about 15 years old: Old Man Reeves was this kind of

eccentric guy who lived on Sylvia Street in Montesano. He was a loner and kids

used to really give him a bad time, and do cruel things to him. He would come

out on his porch and shake his fist at his tormentors and scream profanities. We

(myself included, when I was younger) just loved it. Sometimes kids would throw

rocks and break his windows or pull up his flowers (myself not included, thank

goodness). He was known for a couple of generations of kids as a real weird and

mean guy, even though in actuality he was not. The tormenting went on through

quite a few years, and a new group of kids would take over for the old. Kurt,

however, changed the tradition. When he was running around with Matt Lukin (I

think now of Mudhoney??), Kurt saw the usual group of guys giving Old Man Reeves

a hassle. He literally screamed at these guys to leave Old Man Reeves alone. He

was so emotional about it (as only Kurt could be) that he stopped these kids in

their tracks. They just dropped their jaws as Kurt walked up to Mr. Reeves, put

his arm around him, and led him into the house. From that point on, Kurt had tea

with Old Man Reeves quite often. The fact that someone was becoming a friend

with Old Man Reeves sort of took the "fun" out of tormenting the elderly man,

and there was never quite as much hassle for the guy. A simple story, but it

shows Kurt's sense of humility, compassion, and individuality...(I am describing

this as I remember it. It was related to me by my friend Greg Moore of

Montesano). If this stuff is interesting to you folks, please know that I have a

bunch of memories of Kurt from those years I knew him. I was NOT his greatest

buddy or anything, but we had some fun together. Although I was in my 30's at

the time (1978 to about 1984), I can tell you that he was an unbelievable kid.

Absolute compassion. I miss him. Please let me know if you would like to hear

some more about Kurt from my perspective.

"Gramps" (my grandfather) and I used to take a lot of hikes up the Wynoochee

River headwaters into the Olympic National Park. He was a great naturalist and

it was a joy to be able to accompany him into the mountain meadows.

When Kurt was about 13 or 14, Gramps and I were driving through Montesano on our

way to the Wynoochee Valley uto drive up to the valley head. Well, here it was,

early in the morning, and Kurt was out walking up Third Street. Gramps stopped

the pickup and yelled Hello to Kurt. Kurt was lost in thought, so Gramp had to

say something like "Hey Kurt! Wake Up!" (I think that is exactly what he yelled

at Kurt). I cannot forget that huge grin when Kurt looked at Gramps. He yelled

back words to the effect o.

Kurt told Gramps that he was out taking a hike up to Lake Sylvia State Park.

Gramps told Kurt that he and I were on our way up the Wynoochee for a little

hiking ourselves. Gramps turned to me in the truck and asked if we ought to ask

Kurt, and we agreed that we sure should. But Kurt said no, he was just taking a

short stroll, and "thanks anyway". So, we headed down the street towards the

highway. However, when Gramps looked in his rear view mirror, he just started

howling with laughter... when I looked back, there was Kurt, doing these sort of

jumping jacks and spinning around like a madman. He noticed that we slowed, so

he motioned Gramps to come back. Typical of Kurt, he just hopped in and said:

"Let's go, Gramps!" "Hello Larry!" Gramps went back to his house and got another

pack out of the garage. I drove us up to the Wynoochee with Gramps in the middle

and Kurt on the passenger side of the truck. I didn't really talk much to Kurt,

but he just jabbered all the way up the long, dusty drive up logging roads. I

wish I could remember more of the things he said. I do know he talked about the

cows and how "slow" they were. Also, I remember him asking Gramps why the Hell

he didn't have a radio in the truck!

So, anyway, we drove up the logging roads up into the start of alpine meadows on

the National Park border. We put our packs on, and Kurt immediately started

bitching about his heavy pack. Hell, his pack was the lightest! I don't think he

had more than my extra stocking hat and Gramps extra coat in it. Also, a plastic

water bottle and some candy bars. I think he ate 3 of the candy bars before we

even got going. We started up through the timberu up this very steep creek bed,

with Kurt sliding and stumbling all over the place. He just groaned and

complained the whole way up through the timberline. I do remember that when we

broke out into the alpine meadows, Kurt was just stunned by the beauty. I

distinctly remember his yelling something like: "Holy Shit!" I do remember

Gramps saying "Not bad, huh Kurt?" And, it sure was "not bad", with the alpine

flowers blooming, beautiful meadows, and little waterfalls. I went over to some

trees to go to the bathroom, and when I came back to where Kurt and Gramps were,

Kurt was sort of "grazing" down on the ground, looking at all these little

flowers and eating dwarf blueberries. Gramps just winked at me and had this huge

smile, and did one of those gestures where you take your index finger and spin

it around your ear to say: "He's nuts!" I don't remember too much more about the

hike, at least in the perspective of what Kurt did. We did go on up to Mt.

Hoquiam, and I remember we had to do a lot of waiting for Kurt; sometimes he

would be a few hundred yards behind! You just weren't going to hurry Kurt, and

that was all there was to it!

You know, the most vivid memory of this hike was on the way down through the

steep trees after we dropped off the edge of the meadows: we were sort of

crashing and sliding down the very steep terrain. Kurt was off to my right side

and I could see he was just sort of looking up into the treetops as he was

walking. I just cringed when he really hit hard into a big mountain hemlock. I

mean, he really smashed into it. He sort of staggered over to me with this

stupid grin on his face and said: "Boy, that kind of hurt. Got any more candy

bars?"

I hope this story makes sense. As I said, these little memories are not earth-

shattering, but at least give a glimpse into the essence of Kurt. I wish I would

have kept contact with him for the past ten years, and not just because he

became famous. He was hard to track down, and I tried a few times. I always

wanted to sort of just sit down and talk about Gramps to him. I did write him a

letter when Gramps died, but I don't think he ever got it. I miss the guy. He

was so mellow and so comfortable, and so unpredictable A fun teenager and a

brilliant mind.

This little slice of time in Kurt's life is an elaboration of the memory I had

when my grandfather took Kurt and myself on one of his steelhead fishing trips

to the Wynoochee River. I first related this at the memorial at the Seattle

Center. I would like to be so bold as to add to what I remember here. I had

related at the memorial that Kurt had been howling and screaming and generally

making a lot of noise. Gramps had told me to go upstream to find Kurt because he

must have hooked into a big fish..and, of course, you all know that he didn't

even have his line in the water! He was just kicking back against a good sized

rock in the sunshine, practicing his screaming so, as he put it: "I can

strengthen my vocal cords"... Well, I need to relate that, driving up the

Wynoochee Road to the fishing spot, Kurt was really just "talking up" about how

he was going to really try to catch one of those big lunkers. I mean, he was

nearly bragging about how he just knew he could cast his line probably even

better than Gramps. Of course he knew damn well that Gramps had been fishing for

the difficult-to-catch steelheads for probably 40-plus years. He was just

smiling and "getting Gramps' goat" with his comments. I wish I could remember

the exact comments, but I don't...sorry. Anyway, we went down the Anderson Creek

road, which is gravel, and deadends about 100 yards from the river. From there,

you have to walk through fairly thick brush to the gravel bar. Gramps got out of

the truck on his side, and Kurt and I got out on the passenger side. Gramps told

Kurt to "close the truck door solid, so it would close all the way." Of course,

this was a cue for Kurt to overdo it..he gave me that wild-eyed grin, took both

hands, and just "cranked" on that door! Gramps jumped about a mile! Kurt just

cracked up, and was bent over laughing at this stupid little trick! I mean, I

didn't think it was so funny, but Kurt sure thought HE was funny! Gramps told

Kurt and I to hold our fishing poles backward, with the tip behind us, so we

could get through the brush easier, explaining that if you hold it forward, it

is hard to twist and turn through the heavy stuff. Gramps led the way, I

followed him, and Kurt was behind me. No sooner had we gone about 50 feet, and

Kurt was somewhere behind us, squawking and bitching..Gramps looked at me and

said something like: "Christsakes, what's he got screwed up now?" We went back

there, and Kurt was just tugging like a maniac on his fishing pole, which was

caught in the weeds and the branches. Gramps said something like, "Well, I

thought you were going to be the BEST fisherman here today, Kurt. You know, you

have to make it to the river before you can even think about catching anything!"

Of course, now Kurt is a little pissed. He just looked away while Gramps cut

away the absolute birds-nest of entangled nylon that Kurt had created with his

impatient tugging and pulling... We got to the river, and Gramps pointed out to

us to sort of start at the top end of the "hole" where the rapids hit the deep

water, and work our way down the hole with repeated casts, so as to "sweep" the

whole area where a fish might lie. But, NO, NOT KURT! He said that he was going

to search upstream to the next "hole" and do it on his own. Gramps just grinned,

shook his head, and said for Kurt to just go ahead and do his own thing. So, the

last picture I had in my head was Kurt, stumbling up the gravel bar, fishing

pole jerking around spasmodically every time he falf-slipped on rocks, heading

for that "big fish" Now, I am back to where I was in the eulogy, with Kurt

kicking back and "strengthening his vocal cords". I noticed that his lure was

just sort of displayed on top of a rock, liked he had carefully placed it there

so he could just sort of stare at it! I am not sure, but I think that Kurt never

did get his lure in the water that day. Whenever I saw him, he was just screwing

off, looking at log jams, skipping rocks, and turning boulders over to look at

the various creatures. I do remember thinking, "what a weirdo -- came to do some

fishing, bragged about his fishing ability ahead of time, then goes off to do

something completely different!" The only other thing that I remember with

clarity is Gramps telling Kurt: "No, you can't ride in the back of the truck.

You might fall out." I assume Kurt must have asked to ride back there. I know

Kurt talked on the way back to Montesano, but I just don't remember what he

said... Well, that's it. Kind of mundane, but, when I think back on it, a smile

HAS to come to my face. (Please be aware that I have tried to be as accurate as

possible, and that some of my quotes are only approximations of what I remember

Kurt or Gramps saying - after all, this was 15 or 16 years ago). I hope that my

descriptions will at least give you a "picture" of the the essence of Kurt's

actions, and that they show his very typical human nature...well, SORT of

typical... :-)

For those wondering if this really is Kurt's uncle or not, a HSMB member had

talked to an detective in Aberdeen to see if he really was Kurt's uncle, he was

verified as real and telling the truth.

Kurt Cobain's Sucide Note:

To Boddah

Speaking from the tongue of an experienced simpleton who obviously would rather

be an emasculated, infantile complain-ee. This note should be pretty easy to

understand.

All the warnings from the punk rock 101 courses over the years, since my first

introduction to the, shall we say, ethics involved with independence and the

embracement of your community has proven to be very true. I haven't felt the

excitement of listening to as well as creating music along with reading and

writing for too many years now. I feel guilty beyond words about these things.

For example when we're backstage and the lights go out and the manic roar of the

crowd begins, it doesn't affect me the way in which it did for Freddy Mercury,

who seemed to love, relish in the love and adoration from the crowd, which is

something I totally admire and envy. The fact is, I can't fool you, any one of

you. It simply isn't fair to you or me. The worst crime I can think of would be

to rip people off by faking it and pretending as if I'm having 100% fun.

Sometimes I feel as if I should have a punch-in time clock before I walk out on

stage. I've tried everything within my power to appreciate it (and I do, God,

believe me I do, but it's not enough). I appreciate the fact that I and we have

affected and entertained a lot of people. I must be one of those narcissists who

only appreciate things when they're gone. I'm too sensitive. I need to be

slightly numb in order to regain the enthusiasm I once had as a child.

On our last 3 tours, I've had a much better appreciation for all the people I've

known personally and as fans of our music, but I still can't get over the

frustration, the guilt and empathy I have for everyone. There's good in all of

us and I think I simply love people too much, so much that it makes me feel too

fucking sad. The sad little, sensitive, unappreciative, Pisces, Jesus man! Why

don't you just enjoy it? I don't know!

I have a goddess of a wife who sweats ambition and empathy and a daughter who

reminds me too much of what I used to be, full of love and joy, kissing every

person she meets because everyone is good and will do her no harm. And that

terrifies me to the point to where I can barely function. I can't stand the

thought of Frances becoming the miserable, self-destructive, death rocker that

I've become.

I have it good, very good, and I'm grateful, but since the age of seven, I've

become hateful towards all humans in general. Only because it seems so easy for

people to get along and have empathy. Only because I love and feel sorry for

people too much I guess.

Thank you all from the pit of my burning, nauseous stomach for your letters and

concern during the past years. I'm too much of an erratic, moody, baby! I don't

have the passion anymore, and so remember, it's better to burn out than to fade

away.

Peace, Love, Empathy.

Kurt Cobain

Frances and Courtney, I'll be at your altar.

Please keep going Courtney, for Frances.

For her life, which will be so much happier without me.

I LOVE YOU, I LOVE YOU!

593.          Kurt Cobain Essay

Kurt Cobain

Kurt Donald Cobain was born on February 20,1967 in the town of Aberdeen,

Washington.  Aberdeen is on the west coast and is about 108 miles southwest of

Seattle.  Aberdeen is a dreary place with about seven feet of rain a year.  Kurt

was born to Mrs. Wendy Cobain and to Mr. Donald Cobain.  Wendy was a homemaker.

She had a very tight bond with Kurt.  He was her first born.  She had another

child three years after she had Kurt. Her name was Kim.  Donald was a mechanic.

He was very into sports.  He often tried to push Kurt into sports but Kurt just

didn't like them.  Even though the Cobain's didn't have much they seemed to do

all right.  Wendy dressed her children in the best clothes she could afford.

They always looked like the best dressed kids in Aberdeen.

Kurt was an extremely happy child.  He would wake up everyday so happy.  He was

always filled with joy and always had a smile on his face.  Kurt once said his

upbringing could be decribed as "white trash posing as middle class".  His

mother told him to stay away from the poor kids.  She said they were dirty.  So

Kurt did and he also would beat the up.  Then in 4th grade he realized he liked

them better.  Around that time people started to notice that Kurt was very good

in art.  Most of Kurt's friends didn't really like things like art and music.

He loved these things so much he stopped making friends because he was different.

Kurt was not such a health kid.  His whole life he suffered chronic bronchitis.

At age of seven he was diagnosed hyperactive.  He was put on Ritalin.  This

seemed to make him stay up until four in the morning.  They soon put him on

sedatives.  This did not work either.  They made him fall asleep in school.

Doctors told Wendy to try subtracting sugar and Red Dye #2 from his food.  This

was the right prescription for Kurt.  Sometime during the 8th grade Kurt was

diagnosed with scloiosis.  In his later years the weight of his guitar made it

worse.  Suicide also ran in his family.  In 1979 a great uncle committed suicide

and in 1984 an uncle also committed suicide.

Kurt was in love with music since the age of two.  He was brought up in a

musical family.  One of Wendy's uncle had some records out in the 40's and 50's.

Her brother was in a Rock and Roll Band.  Her sister was in a country band and

played the guitar.  Almost everyone had some sort of musical talent.

Kurt had always wanted to be a drummer in a rock and roll band.  His first drum

set was a Mickey Mouse drum set.  He played with it everyday until it was broken.

At the age of seven he got a bass drum along with some Beatles and Monkees

records.  In 3rd grade Kurt started taking drum lessons.  He also played the

drums in his grade school band.  When Kurt was fourteen he got a guitar for his

birthday and decided not to play the drums anymore.  He wrote his own songs and

wanted to start a punk rock band.

At the age of 8, Kurt's parents got a divorce.  Kurt was destroyed.  He no

longer was happy and smiling.  He became very inward and was always frowning.

About a year after the divorce Kurt went to live with his dad.  He had many new

changes to cope with. Donald had remarried.  His new wife had a son and a

daughter.  Kurt did not get along with any of them.  As a result he was moved

out of their home.  Between 1975 and 1984 Kurt moved two times a year.  He was

shuffled between three sets of aunts and uncles, grandparents and sometimes back

to his dad.  To have somewhere to fit in Kurt started hanging around some older

kids.  This is also when he started to become a little stoner kid.  From 1984

to1985 Kurt lived with his mom.  She soon kicked him out because he dropped out

of high school. He was a senior in high school and just weeks short of

graduation.  For one year he lived in friend's houses, cars and even under a

bridge.

In the winter of 1985 Kurt formed his first band with Krist Novoselic and Aaron

Burkhard.  They went through a series of names before finally deciding on

Nirvana.  Some of them were Fecal Matter, Skid Row, Ted Ed Fred, Pen Cap Chew,

and Windowpane.  Their first live performance took place in Olympia in the

summer of 1985. This same summer Kurt tries heroin for the first time.  He loves

Olympia so much that he decides to move there in the fall of 1987. Also in 1987

Kurt feels a burning pain in his stomach for the first time.  This pain haunts

him for the rest of his life.

In January of 1989 Sub Pop Records hears a 10 song demo of Nirvana.  They offer

to put out a single.  That summer Aaron Burkhard is replaced by Chad Channing.

Nirvana's Sub Pop single is "Love Buzz" and "Big Cheese".  In October of 1988

1000 copies are distributed.  Also that same month Kurt smashes his first guitar

which later becomes his trademark.

Sub Pop asks Nirvana to record an album.  They add a 2nd guitarist around this

time.  His name is Jason Everman.  In June of 1989 Bleach is released.  Nirvana

goes on a month long tour.  At the end of the tour Everman is kicked out of the

band.  In October of 1989 Nirvana goes on another tour.  This one is in Europe

and is six weeks long.  They are accompanied by the group Tad.  They rest a few

months when they get back from this tour.  Their next tour started in May of

1990 and lasted until April.  At the end of this tour Channing is kicked out of

the group.  Soon they meet a man named Dave Grohl.  He replaces Channing.  Once

again Nirvana goes on a tour.  This time with Sonic Youth.

In April of 1991, Nirvana is asked to sign with Greffen DGC Records.  After long

battles between Sub pop and DGC Nirvana finally signs.  That May and June

Nirvana goes into the recording studio with producer Butch Vig.  They record the

album that makes them stars.  It is Nevermind.  This album is released in

September of 1991.  The first day it is out it is #144 on the Billboard Charts.

On October 20,1991 Nevermind goes gold.  Nirvana is sweeping the nation.  MTV

plays the "Smells Like Teen Spirit" video constantly.  By November of 1991

Nevermind goes platinum.  On January 11, 1992 Nevermind hits #1 on the Billboard

Charts.  Then again it hits #1 on February 1, 1992

During this whole time that Nevermind is being listened to Nirvana is touring.

They have three U.S. tours and four European tours.  They also have a tour

taking them to Australia, New Zealand, Japan, and Hawaii.  On one of the U.S

tours they get to play Saturday Night Live.  They also play at the Reading

Festival on one of the European tours.  During the tours they play with

different bands.  Some of them were Dinosaur Jr., Sonic Youth, Pearl Jam, and

Red Hot Chili Peppers.

Along the way of life, Kurt falls in love.  He marries Courtney Love in Hawaii

on February 24,1992.  He first met Courtney in 1989.  They kept meeting up with

each other through the years on tours and other rock shows.  So it seems they

were meant to be together.  In November of 1991 Courtney Love becomes pregnant

with Kurt's child.  Sometime in August of 1992 Courtney does an interview for

Vanity Fair magazine.  It is all about her life, Kurt Cobain, her music, and of

course the pregnancy.  Vanity Fair prints that Courtney did heroin during her

pregnancy.  Their child is born healthy on August 18, .1992.  They name her

Frances Bean Cobain  She becomes everything that Kurt lives for.  She is the

light of Kurt's life.

There were many rumors floating around that Frances Bean was born addicted to

heroin.  None of those rumors were true.  That same day that Frances was born

the Los Angeles County revokes custody of her.  This was all a result of the

Vanity Fair article.  They later give custody back and the Cobains then have to

be supervised while taking care of their daughter.  Almost seven months later

the Cobains can finally take care of Frances Bean by themselves without

supervision.

Life between Kurt and Courtney was hard.  They always had rumors fling about

them.  Things about drugs and arguments and how they were raising their daughter.

One story that was not just a rumor happened in June of 1993.  Courtney called

the police after a huge argument with Kurt.  The police came into their home and

took three guns.  They then took Kurt to jail where he stayed for three hours.

In December of 1992 Nirvana put out a new album.  It was entitled Incesticide.

This album was a collection of b-sides and rarities.  Their next real album was

recorded in February of 1993.  This time Nirvana goes into the recording studio

with Steve Albini in Cannon Falls, Minnesota.  The art work on the covers of

Incesticide and In Utero are done by Kurt.  The In Utero album is released in

September of 1993.  Also in September of 1993 Nirvana wins an MTV Music Video

Award for Best Alternative Video.

One of the songs cut from In Utero was titled "I Hate Myself and I Want to Die".

Kurt says that this was not to be taken literally.  He says he wrote it to make

all the people in the world hear what they wanted to hear.  Everyone was saying

that he was a moody, depressed man and that he always wanted to kill himself.

He was sick of people saying that about him and wanted to make fun of himself.

He decided to cut it from In Utero because everyone would take it the wrong way.

In Utero takes Nirvana on more tours.  The first one is a U.S tour.  They begin

their tour in October of 1993.  This tour is their first U.S. tour in almost two

years.  While on this tour the play MTV Unplugged.  In February on 1994 they

start a European tour.  On March 6, 1994 Nirvana is in Rome for a show.  This

same day Kurt is rushed to the hospital.  He had gone into a coma from

overdosing on Rohypnol and champagne.  He had taken 50 doses of Rohypnol, which

is like the drug valium.  The press goes wild and says it is all a suicide

attempt.  Kurt wakes twenty hours later and denies it was an attempt.  At this

time Nirvana decides to cancel the rest of the tour and take a rest.  Through

all of the tours their are rumors that tensions are high between the group

members.  The press says there is constant fighting.  There is even a rumor that

the group is going to break up.  To add to the cancellation of their tour they

also cancel all their involvement in Lollapalooza.

Then on March 18,1994 a startling thing happens.  Kurt locks himself in a room

of his house.  He will not come out and he has a 38 caliber revolver with him.

He threaten to kill himself.  Courtney Love once again calls the police. The

police come and take control of the situation.  They take the gun away.

Some time around March 30,1994 Courtney calls for an intervention to get Kurt

off of drugs.  She realizes he really does need help.  On March 31,1994 Kurt

checks in to the Exodus Recovery Center.  It seems as though Kurt wants help.

This doesn't last long.  The day after he checks in he jumps a wall and it is

the last anyone sees of him.  He is missing

On April 8th an electrician finds Kurt dead in home, from an apparent self-

-inflicted gun shot wound to the head.

594.          Kurt Cobain Historic Accounts

Kurt Cobain

Collection of personal accounts from family relatives

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I would like to share some of the memories and perceptions I have concerning this unique, rare and original human being called Kurt Cobain. I knew Kurt during his teen-age years in the period from about 1979 to 1984. I was in my mid-30s and living in and near Montesano. My sister married Kurt's dad, Don, and also lived in Montesano.

My grandfather comprehended the intelligence and individuality in Kurt at a time when Kurt was being beaten down mentally and physically. "Gramps" often told me of his respect for Kurt's tenacity and compassion even though he was in emotional pain. Shortly before Gramps died, he had been talking about Kurt. He looked at me and said words to the effect that he could see a nobility about Kurt that he had never seen in anyone in all his 70 years.

One time, Gramps invited Kurt along on one of our steelhead fishing trips. We were spread out a few hundred feet apart along the Wynooche River. All of a sudden, we heard this horrendous combination of screaming, warbling and yodeling from Kurt, who was upstream and out of sight. Gramps told me to run up there and help Kurt, who must have hooked a big fish. When I reached Kurt, he didn't even have his line in the water. When I asked him what was going on, he just looked at me with those piercing eyes and huge grin. He said, "Oh, I'm just trying to thicken my vocal chords so I can scream better!" When I went back to Gramps to tell him, he just grinned and said, "It figures, We'll just let him be!" We can now say, "Thank you, Kurt, for thickening your vocal chords!"

Kurt didn't fit the general mold of society in a logging town, and so he was beaten upon by people who didn't understand him. One day I heard that he was in a fight a few blocks away. When I ran to the scene, the fight was over. However, I heard from a friend that Kurt was assaulted by a burly, 250-pound logger type. Evidently, Kurt did not even fight; he just presented the bully with the appropriate hand gesture everytime he was knocked down until the bully gave up. To top it all off, Kurt just had that usual grin on his face!

A final footnote to this small remembrance of Kurt: A wonderful picture comes to mind of a rare, sunny day when I peeked out the window into the yard. There was Kurt with some kind of contraption on his head. It resembled a tinfoil hat. He was sneaking around the yard, followed by about half a dozen laughing toddlers. Kurt had the million dollar grin on his face, and I could tell he was definitely in "nirvana." I guess you could say he was the "pied piper" of compassion.

I hope that these little examples of happiness will help to show that even though Kurt experienced pain in his teen-age years he still did not let that pain stop him from loving life as fully as he could. We should never condemn Kurt for leaving us. We should instead look inward and thank him for loving us enough to share his feelings. Let us learn that no amount of pain will ever stop us from loving life. We must all maintain respect for the signifigance of our own lives, as well as the lives of others.

Larry Smith

Kurt's uncle by marriage

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Here is a little glimpse of a happy side of Kurt. A measure of the kind of Man he was, even when he was about 15 years old: Old Man Reeves was this kind of eccentric guy who lived on Sylvia Street in Montesano. He was a loner and kids used to really give him a bad time, and do cruel things to him. He would come out on his porch and shake his fist at his tormentors and scream profanities. We (myself included, when I was younger) just loved it. Sometimes kids would throw rocks and break his windows or pull up his flowers (myself not included, thank goodness). He was known for a couple of generations of kids as a real weird and mean guy, even though in actuality he was not. The tormenting went on through quite a few years, and a new group of kids would take over for the old. Kurt, however, changed the tradition. When he was running around with Matt Lukin (I think now of Mudhoney??), Kurt saw the usual group of guys giving Old Man Reeves a hassle. He literally screamed at these guys to leave Old Man Reeves alone. He was so emotional about it (as only Kurt could be) that he stopped these kids in their tracks. They just dropped their jaws as Kurt walked up to Mr. Reeves, put his arm around him, and led him into the house. From that point on, Kurt had tea with Old Man Reeves quite often. The fact that someone was becoming a friend with Old Man Reeves sort of took the "fun" out of tormenting the elderly man, and there was never quite as much hassle for the guy. A simple story, but it shows Kurt's sense of humility, compassion, and individuality...(I am describing this as I remember it. It was related to me by my friend Greg Moore of Montesano). If this stuff is interesting to you folks, please know that I have a bunch of memories of Kurt from those years I knew him. I was NOT his greatest buddy or anything, but we had some fun together. Although I was in my 30's at the time (1978 to about 1984), I can tell you that he was an unbelievable kid. Absolute compassion. I miss him. Please let me know if you would like to hear some more about Kurt from my perspective.

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"Gramps" (my grandfather) and I used to take a lot of hikes up the Wynoochee River headwaters into the Olympic National Park. He was a great naturalist and it was a joy to be able to accompany him into the mountain meadows.

When Kurt was about 13 or 14, Gramps and I were driving through Montesano on our way to the Wynoochee Valley uto drive up to the valley head. Well, here it was, early in the morning, and Kurt was out walking up Third Street. Gramps stopped the pickup and yelled Hello to Kurt. Kurt was lost in thought, so Gramp had to say something like "Hey Kurt! Wake Up!" (I think that is exactly what he yelled at Kurt). I cannot forget that huge grin when Kurt looked at Gramps. He yelled back words to the effect o. Kurt told Gramps that he was out taking a hike up to Lake Sylvia State Park. Gramps told Kurt that he and I were on our way up the Wynoochee for a little hiking ourselves. Gramps turned to me in the truck and asked if we ought to ask Kurt, and we agreed that we sure should. But Kurt said no, he was just taking a short stroll, and "thanks anyway". So, we headed down the street towards the highway. However, when Gramps looked in his rear view mirror, he just started howling with laughter... when I looked back, there was Kurt, doing these sort of jumping jacks and spinning around like a madman. He noticed that we slowed, so he motioned Gramps to come back. Typical of Kurt, he just hopped in and said: "Let's go, Gramps!" "Hello Larry!" Gramps went back to his house and got another pack out of the garage. I drove us up to the Wynoochee with Gramps in the middle and Kurt on the passenger side of the truck. I didn't really talk much to Kurt, but he just jabbered all the way up the long, dusty drive up logging roads. I wish I could remember more of the things he said. I do know he talked about the cows and how "slow" they were. Also, I remember him asking Gramps why the Hell he didn't have a radio in the truck!

So, anyway, we drove up the logging roads up into the start of alpine meadows on the National Park border. We put our packs on, and Kurt immediately started bitching about his heavy pack. Hell, his pack was the lightest! I don't think he had more than my extra stocking hat and Gramps extra coat in it. Also, a plastic water bottle and some candy bars. I think he ate 3 of the candy bars before we even got going. We started up through the timberu up this very steep creek bed, with Kurt sliding and stumbling all over the place. He just groaned and complained the whole way up through the timberline. I do remember that when we broke out into the alpine meadows, Kurt was just stunned by the beauty. I distinctly remember his yelling something like: "Holy Shit!" I do remember Gramps saying "Not bad, huh Kurt?" And, it sure was "not bad", with the alpine flowers blooming, beautiful meadows, and little waterfalls. I went over to some trees to go to the bathroom, and when I came back to where Kurt and Gramps were, Kurt was sort of "grazing" down on the ground, looking at all these little flowers and eating dwarf blueberries. Gramps just winked at me and had this huge smile, and did one of those gestures where you take your index finger and spin it around your ear to say: "He's nuts!" I don't remember too much more about the hike, at least in the perspective of what Kurt did. We did go on up to Mt. Hoquiam, and I remember we had to do a lot of waiting for Kurt; sometimes he would be a few hundred yards behind! You just weren't going to hurry Kurt, and that was all there was to it!

You know, the most vivid memory of this hike was on the way down through the steep trees after we dropped off the edge of the meadows: we were sort of crashing and sliding down the very steep terrain. Kurt was off to my right side and I could see he was just sort of looking up into the treetops as he was walking. I just cringed when he really hit hard into a big mountain hemlock. I mean, he really smashed into it. He sort of staggered over to me with this stupid grin on his face and said: "Boy, that kind of hurt. Got any more candy bars?"

I hope this story makes sense. As I said, these little memories are not earth-shattering, but at least give a glimpse into the essence of Kurt. I wish I would have kept contact with him for the past ten years, and not just because he became famous. He was hard to track down, and I tried a few times. I always wanted to sort of just sit down and talk about Gramps to him. I did write him a letter when Gramps died, but I don't think he ever got it. I miss the guy. He was so mellow and so comfortable, and so unpredictable A fun teenager and a brilliant mind.

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This little slice of time in Kurt's life is an elaboration of the memory I had when my grandfather took Kurt and myself on one of his steelhead fishing trips to the Wynoochee River. I first related this at the memorial at the Seattle Center. I would like to be so bold as to add to what I remember here. I had related at the memorial that Kurt had been howling and screaming and generally making a lot of noise. Gramps had told me to go upstream to find Kurt because he must have hooked into a big fish..and, of course, you all know that he didn't even have his line in the water! He was just kicking back against a good sized rock in the sunshine, practicing his screaming so, as he put it: "I can strengthen my vocal cords"... Well, I need to relate that, driving up the Wynoochee Road to the fishing spot, Kurt was really just "talking up" about how he was going to really try to catch one of those big lunkers. I mean, he was nearly bragging about how he just knew he could cast his line probably even better than Gramps. Of course he knew damn well that Gramps had been fishing for the difficult-to-catch steelheads for probably 40-plus years. He was just smiling and "getting Gramps' goat" with his comments. I wish I could remember the exact comments, but I don't...sorry. Anyway, we went down the Anderson Creek road, which is gravel, and deadends about 100 yards from the river. From there, you have to walk through fairly thick brush to the gravel bar. Gramps got out of the truck on his side, and Kurt and I got out on the passenger side. Gramps told Kurt to "close the truck door solid, so it would close all the way." Of course, this was a cue for Kurt to overdo it..he gave me that wild-eyed grin, took both hands, and just "cranked" on that door! Gramps jumped about a mile! Kurt just cracked up, and was bent over laughing at this stupid little trick! I mean, I didn't think it was so funny, but Kurt sure thought HE was funny! Gramps told Kurt and I to hold our fishing poles backward, with the tip behind us, so we could get through the brush easier, explaining that if you hold it forward, it is hard to twist and turn through the heavy stuff. Gramps led the way, I followed him, and Kurt was behind me. No sooner had we gone about 50 feet, and Kurt was somewhere behind us, squawking and bitching..Gramps looked at me and said something like: "Christsakes, what's he got screwed up now?" We went back there, and Kurt was just tugging like a maniac on his fishing pole, which was caught in the weeds and the branches. Gramps said something like, "Well, I thought you were going to be the BEST fisherman here today, Kurt. You know, you have to make it to the river before you can even think about catching anything!" Of course, now Kurt is a little pissed. He just looked away while Gramps cut away the absolute birds-nest of entangled nylon that Kurt had created with his impatient tugging and pulling... We got to the river, and Gramps pointed out to us to sort of start at the top end of the "hole" where the rapids hit the deep water, and work our way down the hole with repeated casts, so as to "sweep" the whole area where a fish might lie. But, NO, NOT KURT! He said that he was going to search upstream to the next "hole" and do it on his own. Gramps just grinned, shook his head, and said for Kurt to just go ahead and do his own thing. So, the last picture I had in my head was Kurt, stumbling up the gravel bar, fishing pole jerking around spasmodically every time he falf-slipped on rocks, heading for that "big fish" Now, I am back to where I was in the eulogy, with Kurt kicking back and "strengthening his vocal cords". I noticed that his lure was just sort of displayed on top of a rock, liked he had carefully placed it there so he could just sort of stare at it! I am not sure, but I think that Kurt never did get his lure in the water that day. Whenever I saw him, he was just screwing off, looking at log jams, skipping rocks, and turning boulders over to look at the various creatures. I do remember thinking, "what a weirdo -- came to do some fishing, bragged about his fishing ability ahead of time, then goes off to do something completely different!" The only other thing that I remember with clarity is Gramps telling Kurt: "No, you can't ride in the back of the truck. You might fall out." I assume Kurt must have asked to ride back there. I know Kurt talked on the way back to Montesano, but I just don't remember what he said... Well, that's it. Kind of mundane, but, when I think back on it, a smile HAS to come to my face. (Please be aware that I have tried to be as accurate as possible, and that some of my quotes are only approximations of what I remember Kurt or Gramps saying - after all, this was 15 or 16 years ago). I hope that my descriptions will at least give you a "picture" of the the essence of Kurt's actions, and that they show his very typical human nature...well, SORT of typical... :-)

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for those wondering if this really is Kurt's uncle or not, a HSMB member had talked to an detective in Aberdeen to see if he really was Kurt's uncle, he was verified as real and telling the truth.

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Kurt Cobain's Sucide Note:

To Boddah

Speaking from the tongue of an experienced simpleton who obviously would rather be an emasculated, infantile complain-ee. This note should be pretty easy to understand.

All the warnings from the punk rock 101 courses over the years, since my first introduction to the, shall we say, ethics involved with independence and the embracement of your community has proven to be very true. I haven't felt the excitement of listening to as well as creating music along with reading and writing for too many years now. I feel guilty beyond words about these things.

For example when we're backstage and the lights go out and the manic roar of the crowd begins, it doesn't affect me the way in which it did for Freddy Mercury, who seemed to love, relish in the love and adoration from the crowd, which is something I totally admire and envy. The fact is, I can't fool you, any one of you. It simply isn't fair to you or me. The worst crime I can think of would be to rip people off by faking it and pretending as if I'm having 100% fun.

Sometimes I feel as if I should have a punch-in time clock before I walk out on stage. I've tried everything within my power to appreciate it (and I do, God, believe me I do, but it's not enough). I appreciate the fact that I and we have affected and entertained a lot of people. I must be one of those narcissists who only appreciate things when they're gone. I'm too sensitive. I need to be slightly numb in order to regain the enthusiasm I once had as a child.

On our last 3 tours, I've had a much better appreciation for all the people I've known personally and as fans of our music, but I still can't get over the frustration, the guilt and empathy I have for everyone. There's good in all of us and I think I simply love people too much, so much that it makes me feel too fucking sad. The sad little, sensitive, unappreciative, Pisces, Jesus man! Why don't you just enjoy it? I don't know!

I have a goddess of a wife who sweats ambition and empathy and a daughter who reminds me too much of what I used to be, full of love and joy, kissing every person she meets because everyone is good and will do her no harm. And that terrifies me to the point to where I can barely function. I can't stand the thought of Frances becoming the miserable, self-destructive, death rocker that I've become.

I have it good, very good, and I'm grateful, but since the age of seven, I've become hateful towards all humans in general. Only because it seems so easy for people to get along and have empathy. Only because I love and feel sorry for people too much I guess.

Thank you all from the pit of my burning, nauseous stomach for your letters and concern during the past years. I'm too much of an erratic, moody, baby! I don't have the passion anymore, and so remember, it's better to burn out than to fade away.

Peace, Love, Empathy.

Kurt Cobain

Frances and Courtney, I'll be at your altar.

Please keep going Courtney, for Frances.

For her life, which will be so much happier without me.

I LOVE YOU, I LOVE YOU!

595.          Kurt Cobain

Kurt Cobain

Kurt Donald Cobain was born to Wendy and Donald Cobain on February 20, 1967 in the small logging community of Aberdeen Washington and his life ended on April 5, 1994. Kurt fronted one of the greatest bands of our time called Nirvana. In this report I hope to inform you about the life and mysterious death of Kurt Cobain.

Kurt had a good childhood, but a troubled adolescence. Partly because of his parents splitting up in 1975 when Kurt was eight years old. Kurt chose to live with his mother.  Kurt's father remarried three years later.

Kurt got his first guitar for his 14th birthday. He took one guitar lesson and never paid for it. Kurt says "I went and learned the power chords and never went back and never paid for the lesson I guess I still owe that guy the $6 or whatever it was. I didn't go back because once you know the power chords you can start writing your own songs."             Kurt's mother remarried in May of 1984 to Pat O'Connor and one year later in May of 1985 Kurt would drop out of high school at the age of 17. During this period of his life Kurt got caught up with the drug community of Aberdeen and started heroin, an addiction he would never defeat. Many blame his death on this horrendous drug. Kurt often lived under a bridge along the muddy banks of the Wishkah river during that period.

Kurt had been just hanging out when he met Chad Channing and Krist Novaselic and they would go on to find out that they each played music. Chad played the drums and Krist played the bass. The three started getting together and jamming. They wrote some of their own songs and sent out some demo tapes. They released a single in November of 1988. They got signed to a small company and produced their first album titled Bleach. It featured Chad Channing on Drums, Kurt Cobain on guitar and vocals, and Krist Novaselic on bass. Bleach only ending up costing $600 to produce and did not sell big. After recording Bleach the band made a short west coast tour that started in February of 1989 in Seattle and moved down the coast.  However the band was just preparing for the tour for Bleach which started on June 22, 1989 in San Francisco and ended in New Castle, England, the bands first European show.

Nirvana started another short US tour in February of 1990 and one month later Chad left the band to be replaced with Dave Grohl. To break in the new addition they did a seven show west coast tour.

Chad wanted to move on and Dave was totally down with where Nirvana was headed so the band said bye to Chad Channing and hello to Dave Grohl. Dave was a drummer who could carry Kurt's uneven beat without a thought. The band with it's new addition was ready to start recording again, this time it was another single and few more shows. Then on April 30, 1991 the band got it's big break, they signed with Geffen Records a huge record company. With a new record deal under their belt Nirvana started recording it's next full length album in May of 1991.

Geffen sent the band on a massive European tour in August of 1991, to hopefully boost record sales over seas. That same month they made a music video for one of their new songs called Smells Like Teen Spirit. After the tour of Europe the band went back to the US and on September 13, 1991 the release party for Nevermind was held. One week later the tour began in Toronto for Nevermind. Four days later Nevermind was released and debuted at 144 in sales on the billboards. After touring for two months in the US the band was once again going to Europe. The European tour started on November 2, 1991 in Bristol England.

On January 24, 1992 the band went on a world tour. While in Hawaii Kurt marries Courtney Love. Courtney was a groupie and Kurt's girlfriend. She was a also a heroin user. And we would find out later that she was pregnant with Kurt's baby  as well. While on the tour Kurt wasn't feeling very well and collapsed a few times due to stomach pains.

The band wound up the world tour and on August 18, 1992 Francis Bean Cobain was born to Kurt and Courtney who still went by Courtney Love, her maiden name. Francis was named after a member of the band called the Vaselines and Bean came from what she looked like in her sonogram.

On December 15, 1992 the band released its third full length album titled Incesticide. Four months later the band went back to record it's last album in two weeks titled In Utero. the album was released on September 21, 1993 and the band again went on tour on October 10, 1993. The band took the tour to Europe in February of 1994, 29 days later the last Nirvana performance is played in Munich Germany. Five days later Kurt was hospitalized after a "suicide" attempt, due to an apparent drug overdose. He enters a coma and awakens the next day asking for a milkshake. Three days later he leaves the hospital under his own power. Exactly one month later Kurt's body is found in the greenhouse above his garage by an electrical technician, who ironically calls a local radio station first instead of the police.

Kurt had been shot in the mouth with a shotgun, This is where the mysterious part comes in. The rest is full of contradictions and lies. The coroner reported the gunshot self inflicted, however the Private Investigator Courtney hired pointed the finger at Courtney and said murder. He did not mean that Courtney had pulled the trigger but that she had planned it. His reasoning behind this was 1: the two were apparently getting a divorce and Courtney had asked for the meanest most vicious divorce lawyer available and Kurt had requested to take Courtney out of his will. 2: Kurt had just turned down 9.5 million dollars to front the Lollapalooza tour. 3: the police reports said that Kurt had barricaded himself in the room but the lock on the door could've been locked by anybody by simply turning the lock and walking out the door shutting it behind them. 4: Courtney kept telling Dylan Carlson to check the greenhouse. Dylan was Kurt's best friend and helped Tom Grant look for Kurt, This is where my survey comes in out of 47 people surveyed including fans, students, and teachers 20 said they believed that Kurt was murdered and 27 said they believed that Kurt committed suicide, almost an even split.

Kurt left a big hole in the music industry and this was expressed by many of his fellow musicians including Eddy Vedder of Pearl Jam and Michael Stipe of R.E.M. Eddy had to say "I feel bad that Kurt's not still writing songs because he was brilliant and that guy could emotionally twang my heart-strings. Every song he wrote spoke to me."

Dave Grohl and Pat Smear, who had been a late edition for In Utero an back-up guitar formed a band called the Foo Fighters with Dave on lead guitar and vocals, Pat on back-up guitar again, and two new people. Krist went on to join a band called Sweet 75. Krist has also become a "spokesperson" for the band being the only member that was with the band all the way until the end. I hope i have shown you what Kurt's life and death were like. There is much more information about this subject out there this is just some of it.

596.          kurt kobain

Kurt Cobain

Kurt Donald Cobain was born on February 20,1967 in the town of Aberdeen, Washington.  Aberdeen is on the west coast and is about 108 miles southwest of Seattle.  Aberdeen is a dreary place with about seven feet of rain a year.  Kurt was born to Mrs. Wendy Cobain and to Mr. Donald Cobain.  Wendy was a homemaker.  She had a very tight bond with Kurt.  He was her first born.  She had another child three years after she had Kurt. Her name was Kim.  Donald was a mechanic.  He was very into sports.  He often tried to push Kurt into sports but Kurt just didn't like them.  Even though the Cobain's didn't have much they seemed to do all right.  Wendy dressed her children in the best clothes she could afford.  They always looked like the best dressed kids in Aberdeen.

Kurt was an extremely happy child.  He would wake up everyday so happy.  He was always filled with joy and always had a smile on his face.  Kurt once said his upbringing could be decribed as "white trash posing as middle class".  His mother told him to stay away from the poor kids.  She said they were dirty.  So Kurt did and he also would beat the up.  Then in 4th grade he realized he liked them better.  Around that time people started to notice that Kurt was very good in art.  Most of Kurt's friends didn't really like things like art and music.  He loved these things so much he stopped making friends because he was different.

Kurt was not such a health kid.  His whole life he suffered chronic bronchitis.  At age of seven he was diagnosed hyperactive.  He was put on Ritalin.  This seemed to make him stay up until four in the morning.  They soon put him on sedatives.  This did not work either.  They made him fall asleep in school.  Doctors told Wendy to try subtracting sugar and Red Dye #2 from his food.  This was the right prescription for Kurt.  Sometime during the 8th grade Kurt was diagnosed with scloiosis.  In his later years the weight of his guitar made it worse.  Suicide also ran in his family.  In 1979 a great uncle committed suicide and in 1984 an uncle also committed suicide.

Kurt was in love with music since the age of two.  He was brought up in a musical family.  One of Wendy's uncle had some records out in the 40's and 50's.  Her brother was in a Rock and Roll Band.  Her sister was in a country band and played the guitar.  Almost everyone had some sort of musical talent.

Kurt had always wanted to be a drummer in a rock and roll band.  His first drum set was a Mickey Mouse drum set.  He played with it everyday until it was broken.  At the age of seven he got a bass drum along with some Beatles and Monkees records.  In 3rd grade Kurt started taking drum lessons.  He also played the drums in his grade school band.  When Kurt was fourteen he got a guitar for his birthday and decided not to play the drums anymore.  He wrote his own songs and wanted to start a punk rock band.

At the age of 8, Kurt's parents got a divorce.  Kurt was destroyed.  He no longer was happy and smiling.  He became very inward and was always frowning.  About a year after the divorce Kurt went to live with his dad.  He had many new changes to cope with. Donald had remarried.  His new wife had a son and a daughter.  Kurt did not get along with any of them.  As a result he was moved out of their home.  Between 1975 and 1984 Kurt moved two times a year.  He was shuffled between three sets of aunts and uncles, grandparents and sometimes back to his dad.  To have somewhere to fit in Kurt started hanging around some older kids.  This is also when he started to become a little stoner kid.  From 1984 to1985 Kurt lived with his mom.  She soon kicked him out because he dropped out of high school. He was a senior in high school and just weeks short of graduation.  For one year he lived in friend's houses, cars and even under a bridge.

In the winter of 1985 Kurt formed his first band with Krist Novoselic and Aaron Burkhard.  They went through a series of names before finally deciding on Nirvana.  Some of them were Fecal Matter, Skid Row, Ted Ed Fred, Pen Cap Chew, and Windowpane.  Their first live performance took place in Olympia in the summer of 1985. This same summer Kurt tries heroin for the first time.  He loves Olympia so much that he decides to move there in the fall of 1987. Also in 1987 Kurt feels a burning pain in his stomach for the first time.  This pain haunts him for the rest of his life.

In January of 1989 Sub Pop Records hears a 10 song demo of Nirvana.  They offer to put out a single.  That summer Aaron Burkhard is replaced by Chad Channing.  Nirvana's Sub Pop single is "Love Buzz" and "Big Cheese".  In October of 1988 1000 copies are distributed.  Also that same month Kurt smashes his first guitar which later becomes his trademark.

Sub Pop asks Nirvana to record an album.  They add a 2nd guitarist around this time.  His name is Jason Everman.  In June of 1989 Bleach is released.  Nirvana goes on a month long tour.  At the end of the tour Everman is kicked out of the band.  In October of 1989 Nirvana goes on another tour.  This one is in Europe and is six weeks long.  They are accompanied by the group Tad.  They rest a few months when they get back from this tour.  Their next tour started in May of 1990 and lasted until April.  At the end of this tour Channing is kicked out of the group.  Soon they meet a man named Dave Grohl.  He replaces Channing.  Once again Nirvana goes on a tour.  This time with Sonic Youth.

In April of 1991, Nirvana is asked to sign with Greffen DGC Records.  After long battles between Sub pop and DGC Nirvana finally signs.  That May and June Nirvana goes into the recording studio with producer Butch Vig.  They record the album that makes them stars.  It is Nevermind.  This album is released in September of 1991.  The first day it is out it is #144 on the Billboard Charts.  On October 20,1991 Nevermind goes gold.  Nirvana is sweeping the nation.  MTV plays the "Smells Like Teen Spirit" video constantly.  By November of 1991 Nevermind goes platinum.  On January 11, 1992 Nevermind hits #1 on the Billboard Charts.  Then again it hits #1 on February 1, 1992

During this whole time that Nevermind is being listened to Nirvana is touring.  They have three U.S. tours and four European tours.  They also have a tour taking them to Australia, New Zealand, Japan, and Hawaii.  On one of the U.S tours they get to play Saturday Night Live.  They also play at the Reading Festival on one of the European tours.  During the tours they play with different bands.  Some of them were Dinosaur Jr., Sonic Youth, Pearl Jam, and Red Hot Chili Peppers.

Along the way of life, Kurt falls in love.  He marries Courtney Love in Hawaii on February 24,1992.  He first met Courtney in 1989.  They kept meeting up with each other through the years on tours and other rock shows.  So it seems they were meant to be together.  In November of 1991 Courtney Love becomes pregnant with Kurt's child.  Sometime in August of 1992 Courtney does an interview for Vanity Fair magazine.  It is all about her life, Kurt Cobain, her music, and of course the pregnancy.  Vanity Fair prints that Courtney did heroin during her pregnancy.  Their child is born healthy on August 18, .1992.  They name her Frances Bean Cobain  She becomes everything that Kurt lives for.  She is the light of Kurt's life.

There were many rumors floating around that Frances Bean was born addicted to heroin.  None of those rumors were true.  That same day that Frances was born the Los Angeles County revokes custody of her.  This was all a result of the Vanity Fair article.  They later give custody back and the Cobains then have to be supervised while taking care of their daughter.  Almost seven months later the Cobains can finally take care of Frances Bean by themselves without supervision.

Life between Kurt and Courtney was hard.  They always had rumors fling about them.  Things about drugs and arguments and how they were raising their daughter.  One story that was not just a rumor happened in June of 1993.  Courtney called the police after a huge argument with Kurt.  The police came into their home and took three guns.  They then took Kurt to jail where he stayed for three hours.

In December of 1992 Nirvana put out a new album.  It was entitled Incesticide.  This album was a collection of b-sides and rarities.  Their next real album was recorded in February of 1993.  This time Nirvana goes into the recording studio with Steve Albini in Cannon Falls, Minnesota.  The art work on the covers of Incesticide and In Utero are done by Kurt.  The In Utero album is released in September of 1993.  Also in September of 1993 Nirvana wins an MTV Music Video Award for Best Alternative Video.

One of the songs cut from In Utero was titled "I Hate Myself and I Want to Die".  Kurt says that this was not to be taken literally.  He says he wrote it to make all the people in the world hear what they wanted to hear.  Everyone was saying that he was a moody, depressed man and that he always wanted to kill himself.  He was sick of people saying that about him and wanted to make fun of himself.  He decided to cut it from In Utero because everyone would take it the wrong way.

In Utero takes Nirvana on more tours.  The first one is a U.S tour.  They begin their tour in October of 1993.  This tour is their first U.S. tour in almost two years.  While on this tour the play MTV Unplugged.  In February on 1994 they start a European tour.  On March 6, 1994 Nirvana is in Rome for a show.  This same day Kurt is rushed to the hospital.  He had gone into a coma from overdosing on Rohypnol and champagne.  He had taken 50 doses of Rohypnol, which is like the drug valium.  The press goes wild and says it is all a suicide attempt.  Kurt wakes twenty hours later and denies it was an attempt.  At this time Nirvana decides to cancel the rest of the tour and take a rest.  Through all of the tours their are rumors that tensions are high between the group members.  The press says there is constant fighting.  There is even a rumor that the group is going to break up.  To add to the cancellation of their tour they also cancel all their involvement in Lollapalooza.

Then on March 18,1994 a startling thing happens.  Kurt locks himself in a room of his house.  He will not come out and he has a 38 caliber revolver with him.  He threaten to kill himself.  Courtney Love once again calls the police. The police come and take control of the situation.  They take the gun away.

Some time around March 30,1994 Courtney calls for an intervention to get Kurt off of drugs.  She realizes he really does need help.  On March 31,1994 Kurt checks in to the Exodus Recovery Center.  It seems as though Kurt wants help.  This doesn't last long.  The day after he checks in he jumps a wall and it is the last anyone sees of him.  He is missing

On April 8th an electrician finds K

597.          Laura mulveys article visual pleasure and narrative cinema

Laura Mulvey's article "Visual Pleasure and Narrative Cinema" argues that in classical hollywood cinema there exists a different viewing expierience for male and female spectators. explain the basis of the theory. Do you agree?

Since 1970's Laura Mulvey has been regarded as one of the most famous and well known feminist in film critic. through out histry, women's body has been used as a vision of pleasure by men. women's bodies have been used to make profit for the males sexual desire. the women's body itself becomes an object of desire for a man, and the amount it signifies, is mostly sex. in my essay today, i will be talking about Laura Mulveys article "Visual Pleasure and Narrative Cinema". Mulvey builds her critic on mainstream cinema on Freud's and Lucan's psychoanalytic theory, in which the key component of her arguement is that there is a difference between viewing of male and female spectatorship in hollywood cinema, where the male is always in the position of dominant viewer and the female viewer is always viewed as an object on the screen by the males. the unconcious of the patriachal society that we live in constructs film forms. women can only exist in relation to castration and her body and her image that she posseses are tied to her place as a bearer. i will first talk about Laura Mulvey's theory and than will move on and take a stand on my opinion on her theory. the way i look at Mulveys theory, its divided into two parts. first is pleasure in looking/ facination with the human form and second is women as image, man as bearer of the look.

When Mulvey talks about Patriachy and film forms in her article, we can view that her form is seductively direct. she states that the males visual pleassure, the way they look at women and the way women are shot, is the controling pleasure in cinema. i totally agree with Laura Mulveys view of male's visual pleasure being the controling pleasure in cinema and a brilliant example of this cca be seen in the movie called "Dance Girl Dance". In this movie there are many scenes from where one can feel that the scenes are generally for the pleasure of the male audience but the best example is when Bubbles does her Hula dance. Bubbles hula dance is governed typically for the male audience not only outside the film who will be watching it in the cinema and at homes but also for the males in the film. the way the camera poses on to Bubbles body parts and her movements is a good example to proof this point. thus we do see that the gaze in the cinema is very obvious, which is male. Mulvey says how " the cinema offers a number of possible pleasures" (page, 59). There are two main components when one engages in viewing hollywood cinema. The major source of pleasure for the viewers in cinema is called Scopophilia. it means the pleasure in looking and in being looked at. According to mulvey, women are always looked at and so are seen as an object which provides pleasure for the male viewer, which we can again see in many scenes from the movie "Dance Girls Dance". The scopopholia component is also described by Freud, in Mulveys article as "taking other people as object and subjecting them to a controling and curious gaze" (page, 59). The pleasure here is a sexual pleasure and so Laura Mulvey emphasizes that it is an independent of Freud's erotogenic zones. it seems that this component is also inhereted in children. this can cause a lot of descruption becaue consant image of a person being an object can cause complications and difficulty. scopophilia at an extreme can

become a perversion such as obsessive voyeurs and peeping toms. while scopophilic pleasure involves seeing others as an object of sexual stimulation, the second kind of pleasure comes from identifying with the image, a narcisstic pleasure, which has to do with the constitution or mantainance of the ego. in this compoent of pleasure, Mulvey uses Lucan's concept of ego formation and the mirror stage. it can be well explained in the terms of an example of a children. when children are growing up they they derive narcissistic pleasre from identifying which is to them the perfect image, the perfect picture of the human figure on the screen. when we think about this situation, we realize that in both the cases, however, duringthe mirror stage and in the dark cinema, identification are not in the form of self knowledge or even awareness. they are rather based on what Lucan calls meconnaissance, which means that the image has effected them so much that they become totally blind at this point by the narcissistic forces that make them the way they are at the first place. ego formation is further structured and formed by characteristics of imaginary functions. both the pleasuring look, scopophilia and narcissistic look requires idealization and therefore encourages the viewer which in this case are maes to avoid the true preception of what is been showed. the hollywood cinema combines the two contradictory functions very well by building up the fantasy world, while discouraging the view of the real world.

Mulvey further on in her article talks about: women as image, man as bearer of the look. due to sxual imbalance , pleasure in looking is split between active/ male and passive/ female, which means the male gaze. mulvey argues that "the ditermining male gaze projects its fatasy on to the female figure. (page, ). The women displays herself on the screen. again we can see a clear

example from the movie "Dance Girls Dance" where at the end Bubbles has her own show where she gets paid a lot and where she performs for mostly the male audience dressing seductively and singing songs to provide thm pleasure and songs that their wives would never sing for them. Bubble is an objct for the male viewers her and she displays her self on the screen for them. a females body is put up on the screen for viewing pleasure by the male audience and the male performers who are in the movie. the function of the female performer is "as erotic object for the character within the screen story, and as erotic object for the spectator within the auditorium, with shifting tention between the looks on either side of the screen" (page, ).when this hapens Mulvey says that the story line of the movie then does not work. "it tends to work against the development of a story line, to freeze the flow of action in moment of erotic contemplation. its true that the appearance of women as an object slows the procedure of the film, because the women is put there for the pleasure of the male's desire and delay in the progression of the film. a good example can be seen again in the movie "Dance Girls Dance", when Bubbles performs the Hula dance for the man who is the boss of a club and is there at the girls dorm to hire some one to dance at his club. Bubble performs a long dance filled with sexy moves and sexy looks. the man is sitting on the chair infront of her and is occupying the utmost pleassure out of her dance. Bubble with her flirtiseous dance manages the man to hire her for his club. the way the camera shots in this scene is purely for the male audience because it slowly focuses on Bubbles body along with the music. when the man is watching Bubble we can see him sitting on a chair. he does not say any thing but as he watches we can see that his eyes keep growing out of excitement. as soon as the dance is over, the boss of the club gets up and is excited to hire Bubble

for his club so she can entertain men in his club. we can see here how mulveys point is true. the movie did delay the dtory line when Bubbles was dancing and did provide pleasure for the men in the process.

The above are some of the main points that Laura Mulvey argues in her article 'Visual Pleasure and Narrative Cinema". She makes very valid points and proves her idea that the males and females have a different way of viewing the movies in hollywood cinema. the gaze is a male gaze and so the movies are for the desire and pleasure of the male audience. the women is seen as a sexual object in the movies and plays a role of being passive. i do agree with most of the points with Laura Mulveys arguement that there exists a different viewing expirience for both male and female spectator. i feel that in her arguemnet she forgot to mention or did not think about the lesbians. the lesbians too get the same pleasre out as the men do in viewing the movie. lesbians are in between the position of male as a viewer and female position as a female who is shown on the screen. tey are neither on the active position nor n the passive position. even the gaze for them is undecided since t is the male gaze even though they are getting pleassure out of the same thing that men are. they are stuck in between with the males as the viewers and themselfs being a women. the lesbians here are placed in a very weak position. the rest of the points that Mulvey argues makes sense and i do agree withthem but viewing of lesbians is the only thing that i think Mulvey does not include in her arguement. most people might feel that Mulvey's article might be outdated since things have been moving really fast in hollywood cinema, but even today i say that things are mostly the same we can see all the components of Mulveys article in most of our movies in hollywod cinema.

598.          Le Cafard et Bob

Il etait une fois, il y a une femme qui s'apple Mme Metaux. Elle est une bonne femme, et tout le temps elle est jolie, est grand. Mais,

une jour, elle morir! C'est terible pour tout le monde, mais pas pour sa fils! Pourquoi, vous ditez? Parsque,

elle etatait TRES RICHE, et il (Qui s'apple le Bob) recu l'inherentance de son mere! Et il est heureux, jusque

une jour, il rencontrait un cafard. A l'instant ou il va presse le cafard, le cafard commence parler! Il dit "Ne

me presse pas! Je vais donne le trois souhaits a vous!!"

Le Bob dit "Vraimrnt reellement? Wow! C'est incrioxable!"

Le Bob et le cafard s'accoutument bein. Jusque une jour, le cafard demande quelque choose. Il dit "Donne a

moi le nouriture d'un roi!"

Mais, le Bob dit que il n'avais pas le nouriture d'un roi! Le cafard dit encore. "Donne a moi le nouriture d'un

roi, ou je tueait vous!"

Le Bob dit "Donne a moi le trois souhaits premier!"

"D'accord, mais une moment...", dit le cafard, nerveuxsement. Il oblie les trois souhaits! Mais, un

cafard est un creature de son mode, et il debarque dans une mission trouver trois souhaits! Il pense que il y a

des souhaits dans les astres, danc il commence constuire une soucoupe volante. (Naturellement!) Il prendait

dix ans de construction de finir, mais il etait complete! Apres, il (le cafard) rentre dans le soucoup volante, et

preparer pour decollage! Il lances les moteurs, et il etait bas!

Dans l'espace, il chercerait pour trois souhaits, mais il y n'a pas de souhaits dans notre system de

solar! Il veux peu checher dans une autre system de solar! Il checatiat pour 120 ans, mais il ne trouvait pas

un seul souhait. Le couer de lui etait cassait. Il se suicidait, et les deu de les cafards dit a le Bob "Parsque

cette cafard montait le dedication de garder le promise de lui, je vais donne le trois souhaits a vous."

Et le Bob dit "Merci, le deu de les cafards!" Et le deu quiterait.

Le Bob dit, "Gosh, je me souhaits que le cafard n'est pas mort!",et POOF! Ici c'est le cafard! Ils

embrassissent. Et ils continuissient a vivre heurxesemant pour tout les temps.

599.          Le Fusil

L'histoire "Le fusil" est ecrit d'un point de vue exterieur. Il decrit la vie

d'un couple qui ont un "grand amour use par les annees".

La femme dans l'histoire est tres belle, elle est decrit comme une

"femme-fleur". Elle est tres devouee a son mari et n'a presque jamais des

pensees egoiste. C'est montre quand elle depasse ses desirs personel du

bracelet pour acheter les tranches de jambon, pour satisfaire les desirs

physique de son mari. Elle devient obsedde par un bracelet d'or qui est un

des evenements qui commence la desaffection de la femme vers son mari,

a cause qu'elle ne pense qu'a ca.. Son mari est dans la cinquantaine, decrit

comme " l'homme qui n'a pas reussi". Il est tres egoiste et faire ce qu'il veut,

souvent en oubliant sa femme. Il est un reveur et commence souvent les projets

extraordinaires ,meme fou, qui ne sont pas realise.la femme deient tres lasse

d'ectouter les plans pas reussi de son mari, une autre situation qui

s'acvcumulent a la desaffection.  M. Dubois est l'employeur de l'homme,

qui est etonne quand l'homme utilise sa prime pour acheter un fusil.

Il est pris par la beaute physique et morale de la femme.

Quand ils vont en vacances, elle devient plus frustre par l'ignorance

de son mari vers ses pensees et besoins. Elle le decrit simplement comme

"un bon mangeur et bon dormeur". L'evenement pronominal, c'est quand

il achete le fusil, completement aveugle aux desirs  de sa femme.

Tout ces evenements s'accumulent et cres une sorte de double personalite

pour la femme. Elle change de son attitude altruistique et fait quelque chose

pour elle-meme, notamment le meurtre de son mari.

Le fusil et le bracelet representent le theme symbolique de l'histoire.

Le fusil represente le masculiniteet le cruelte pendant que le bracelet represente

la femininiteet la beaute.Ils sont similaires en fait que les deux representent

l'egoisme. La representation la plus importante c'est que le fusil est l'objet utilise

dans le meurtre et le bracelet est partie de l'accumulation des motife pour le

meurtre.

Comme jure, je pense que je l'aurais juge coupable. La premiere raison

c'est qu'elle a pris la vie d'un autre humain, et il n'y a pas beaucuop

d'excuses pour ca. Deuxieme, il y avait d'autres facons qu'elle pourrait echapper

la vie frustrante avec son mari, comme le divorce. Dans l'histoire elle est juge

non coupable a cause que c'etait un accident , mais elle savait comment utilise le

fusil parce que M. dubois l'a explique. Le defense ne peut pas faire l'argument

qu' elle  etait "une autre personne", parce que meme s'elle avait deux personalites,

ses pensees morale seront encore intacte. C'est comme arguer que l'ivresse

est une bonne excuse pour le viol.

En tout, l'histoire est plein de problemes personels et emotionels. C'est

difficile a decider qui est plus en faut, l'un qui cause la peine emotionelle, ou

celle qui cause la peine physique.

600.          leo tolstoy reberth by deathDeath of Ivan Ilyich

Leo Tolstoy was a great humanist.  Evolution of human character was a subject of his close attention.

The main personage of the story "The Death of Ivan Ilyich" is ordinary official who conduct his life according to a strict social code, never deviating from what was rule d by society, by his pleasure, by materialistic motives, but never by conscience. His contact with his wife and children was limited and shallow because he didn't find pleasure in this.  His life satisfied him when he was healthy, but when he faced with death his loneliness overwhelmed him.  After the accident which starts his long dying Ivan Ilyich realized that his life, though he has been successful and has always done the proper things, is all false.  He understood that his life was meaningless.  As his illness progressed, Ivan Ilyich felt increasingly the need to be loved.  Only in front of death he knew what real feeling is. Ivan Ilyich felt real empathy and pity from peasant Gerasim and son Vasya.

His moral misery was worse than physical.  The result of this was that Ivan Ilyich in dying became the individual that he never was in his typical life. He understood that his notion about his decent and helpfulness was just illusion.   He felt as if he were being squeezed down into a black hole and there at the bottom was light.  This metaphor serves as image of physical death and spiritual rebirth.  His death gave birth to  new consciousness.  He suddenly perceived that man's essential life belongs to the spirit and well-being is achieved through loving of people. He asked forgiveness of his family for his sins and welcomed death... This moral transformation makes real end of his unreal life.

As a moralist Tolstoy would like to play attention of Russian intelligentsia how badly they live, how they waste their talents,  strengths, and capabilities. He called on moral self-improvement.

601.          Leonard Bernstein Essay

Leonard Bernstein

Leonard Bernstein was born in Lawrenceville, Massachusettes on

August 25, 1918.  He was the first born child of Samuel and Jennie Bernstein,

who lived in Boston, but had gone to Lawrenceville to visit some relatives.

Bernstein's parents had little knowledge of, or interest in

classical music.  The only records Leonard remembers hearing on his family

phonograph when he was a child were the popular hit songs of the day, such as "

Barney Google" and "Oh by Jingo."

For the most part, Leonard Bernstein was an unhappy child.  He said, "

I was a miserable, terrified little child"  (Musicians p.64).  His family moved

from town to town, during Bernstein's school days, not giving him a chance to

make close friends or feel at home.  Sadly, Bernstein's peers would make fun of

and tease Bernstein.  He was a very sickly child as he suffered from chronic

asthma, rose fever, and hay fever.  This pathetic child grew to be a very shy

person.

Leonard always had a heart for music, even as a young boy.  As

an eight year old, one morning, when he was sitting in the synagogue, the

religious music of the choir and organ overwhelmed him by it's beauty and caused

him to burst into tears.  When Leonard and his family would visit their friends,

Leonard would sneak over to the piano and experiment.  When he was eleven, his

aunt sent her piano to his house for his family to keep for storage.  "I made

love to it right away"  he recalled (Musicians p. 65).  He could escape from all

his frustrations and sadness by playing the piano.  His parents didn't like the

fact that he was always at the piano,  they wanted him to concentrate on his

school work.  They thought of piano playing as a waste of time because it stood

in the way of Leonard's learning his father's business, which they planned for

him to eventually take over.

At the age of ten, Leonard found a piano teacher who would give

him lessons for a dollar a lesson.  But that teacher soon moved away and Leonard

found himself paying another piano teacher three dollars a lesson out of his

allowance.  After more than a year of piano lessons that just weren't teaching

him much, Leonard found a new, and this time excellent piano teacher named Helen

Coates.  She was sensitive to Leonard's shyness and knew what it took to teach

him.  She had him study symphonies and operas from the printed page and

encouraged him to compose.  She also encouraged him to go to concerts.  After

watching Stravinsky's The Rite of Spring and Prokofiev's Classical Symphony,  he

became aware not only of symphonic music, but specifically of twentieth century

music.  Until then, he never realized that music had a future.  He had always

thought of it as something that had already been written.  Bernsteins desire for

music became greater and greater.  He began attending the public concerts of the

Boston Symphony.

'He was frighteningly gifted,' Miss Coates recalled in later years.  'He could

read, sing and memorize anything.  He absorbed in one lesson an arrangement that

took most of my pupils five or six lessons to learn.'1

As an eleven year old, he entered The Boston Latin School and

graduated with honors in 1935.  He was an outstanding student- in the top ten

percent of his class, but didn't seem to exist without music.  It was, by now, a

part of him.

Soon, after he turned thirteen, he and his dad went on a cruise

through the Panama Canal.  He entertained everyone on the cruise with his piano

playing.  Everyone loved him so much that the ship's director offered him a

permanent job with the ships staff.

Music really changed Leonard's shy personality for the better,

along with his poor health.

From Boston Latin School Bernstein went on to Harvard College.

He wrote for and performed in college productions, played the piano for the glee

club and provided the background music for silent motion pictures.

In 1939 Bernstein graduated from Harvard with the degree of

Bachelor of Arts and a cum laude  in music.  By this time Dimitri Mitropoulos,

the director, had become interested in him.  He encouraged Bernstein to join him

at the Boston Symphony's rehearsals.  He also encouraged him to consider

becoming a conductor.  Bernstein felt he must get away from his fathers

persistent nagging to join his business, so he left home and  found a place for

himself in music in New York City.

Bernstein attended the Curtis Institute for two years, where his

main interest was in conducting.  For the summers of 1940 and 1941 he studied at

Tanglewood with Koussevitzky.  It only took those two summers for Koussevitzky

to become impressed enough to want to have Bernstein as his assistant.  In 1942

he was invited by Rodzinski to act as assistant conductor of the New York PO.

November 13, 1944 was the day that Bernsteins career skyrocketed.  The Sunday

afternoon concert  of the New York Philharmonic, which was broadcast on a

national hookup of the Columbia Broadcasting System, was to be conducted by

Bruno Walter, guest conductor.  The evening before that concert Walter became

too ill to perform, and Bernstein was chosen for a last minute substitute.  He

had no opportunity to rehearse the orchestra and only a few hours to prepare

himself for a long and complicated program that included the world premiere of

Miklo`s Ro`zsa's Variations on a Hungarian Peasant Song.  Bernstein appeared

wearing a gray business suit, which was the first time a conductor had worn

everyday clothes at a Philharmonic concert.

Soon after, he appeared with the Pittsburg and Boston orchestras

and became conductor of the New York City Orchestra (1945-1948).  The first

concert he conducted with his new orchestra was the Israel PO in 1947.  "He

served as its music advisor in 1948-1949, and was co-conductor with Koussevitzky

for the orchestra's American tour in 1951" (Grove p. 631).

On September 9, 1951, he married Felicia Montealegre in Boston.

She was a young actress, born in Costa Rica, who had come to the United States

trying to make appearances on the stage and on Television.  They lived in a nine

room duplex on Fifty-seventh Street, diagonally across to Carnegie Hall.  There

they raised their first two children.  Their household included Helen Coates,

who had been Bernstein's piano teacher from long ago.

In 1957 Dimitri Mitropoulos, music director of the New York

Philharmonic, appointed Bernstein co-director for the 1957-1958 season.  When

that season ended, Mitropoulos withdrew to leave Bernstein as full music

director.  He was both the youngest man and the only American-born musician to

be in that position.  He held it for eleven years, longer than any director in

the history of the organization.

Leonard Bernstein became a teacher and a commentator on music

with classes at the Berkshire Music Center, Brandeis University, Harvard

University and Massachusetts Institute of Technology.

In October 1976 , the Bernsteins  announced that they had

decided upon a legal separation.  Although their marriage lasted twenty-five

years, Bernstein said that his marriage was holding him back from being the best

artist he could be.  When Mrs. Bernstein became seriously ill,  though,  they

were reconciled.

Bernstein has received such awards as the Albert Einstein

Commemorative Award in the Arts from the Albert Einstein College of Medicine;

the John H. Finley Medal for service to New York City;  the Golden European

trophy, an annual award given to an outstanding figure in popular music; the

Datsun Award for "outstanding service to American music"; the Institute of

International Education Award presented by President Nixon; and the George

Foster Peabody Awards for his television programs.

Bernstein provided the music for four famous Broadway musicals

with a superior amount of sophistication and technique.  Often times, he would

produce music with great humour and sentiment.  Bernstein's great talents led

him to author a few books in the 1960's.  One of his most recent,  famous

collections of his music is used in the ever popular film West Side Story.

Leonard Bernstein was the "Renaissance man of twentieth century

music."  Over the decades, Bernstein has been called one of the most charismatic

and gifted personalities in the music of our times.

602.          Leonard Bernstein

LEONARD BERNSTEIN

Leonard Bernstein was born in Lawrenceville, Massachusettes on August 25, 1918.  He was the first born child of Samuel and Jennie Bernstein, who lived in Boston, but had gone to Lawrenceville to visit some relatives.

Bernstein's parents had little knowledge of, or interest in classical music.  The only records Leonard remembers hearing on his family phonograph when he was a child were the popular hit songs of the day, such as "Barney Google" and "Oh by Jingo."

For the most part, Leonard Bernstein was an unhappy child.  He said, "I was a miserable, terrified little child"  (Musicians p.64).  His family moved from town to town, during Bernstein's school days, not giving him a chance to make close friends or feel at home.  Sadly, Bernstein's peers would make fun of and tease Bernstein.  He was a very sickly child as he suffered from chronic asthma, rose fever, and hay fever.  This pathetic child grew to be a very shy person.

Leonard always had a heart for music, even as a young boy.  As an eight year old, one morning, when he was sitting in the synagogue, the religious music of the choir and organ overwhelmed him by it's beauty and caused him to burst into tears.  When Leonard and his family would visit their friends, Leonard would sneak over to the piano and experiment.  When he was eleven, his aunt sent her piano to his house for his family to keep for storage.  "I made love to it right away"  he recalled (Musicians p. 65).  He could escape from all his frustrations and sadness by playing the piano.  His parents didn't like the fact that he was always at the piano,  they wanted him to concentrate on his school work.  They thought of piano playing as a waste of time because it stood in the way of Leonard's learning his father's business, which they planned for him to eventually take over.

At the age of ten, Leonard found a piano teacher who would give him lessons for a dollar a lesson.  But that teacher soon moved away and Leonard found himself paying another piano teacher three dollars a lesson out of his allowance.  After more than a year of piano lessons that just weren't teaching him much, Leonard found a new, and this time excellent piano teacher named Helen Coates.  She was sensitive to Leonard's shyness and knew what it took to teach him.  She had him study symphonies and operas from the printed page and encouraged him to compose.  She also encouraged him to go to concerts.  After watching Stravinsky's The Rite of Spring and Prokofiev's Classical Symphony,  he became aware not only of symphonic music, but specifically of twentieth century music.  Until then, he never realized that music had a future.  He had always thought of it as something that had already been written.  Bernsteins desire for music became greater and greater.  He began attending the public concerts of the Boston Symphony.

"'He was frighteningly gifted,' Miss Coates recalled in later years.  'He could read, sing and memorize anything.  He absorbed in one lesson an arrangement that took most of my pupils five or six lessons to learn.'"1

As an eleven year old, he entered The Boston Latin School and graduated with honors in 1935.  He was an

outstanding student- in the top ten percent of his class, but

didn't seem to exist without music.  It was, by now, a part of him.

Soon, after he turned thirteen, he and his dad went on a cruise through the Panama Canal.  He entertained everyone on the cruise with his piano playing.  Everyone loved him so much that the ship's director offered him a permanent job with the ships staff.

Music really changed Leonard's shy personality for the better, along with his poor health.

From Boston Latin School Bernstein went on to Harvard College.  He wrote for and performed in college productions, played the piano for the glee club and provided the background music for silent motion pictures.

In 1939 Bernstein graduated from Harvard with the degree of Bachelor of Arts and a cum laude  in music.  By this time Dimitri Mitropoulos, the director, had become interested in him.  He encouraged Bernstein to join him at the Boston Symphony's rehearsals.  He also encouraged him to consider becoming a conductor.  Bernstein felt he must get away from his fathers persistent nagging to join his business, so he left home and  found a place for himself in music in New York City.

Bernstein attended the Curtis Institute for two years, where his main interest was in conducting.  For the summers of 1940 and 1941 he studied at Tanglewood with Koussevitzky.  It only took those two summers for Koussevitzky to become impressed enough to want to have Bernstein as his assistant.  In 1942 he was invited by Rodzinski to act as assistant conductor of the New York PO.  November 13, 1944 was the day that Bernsteins career skyrocketed.  The Sunday afternoon concert  of the New York Philharmonic, which was broadcast on a national hookup of the Columbia Broadcasting System, was to be conducted by Bruno Walter, guest conductor.  The evening before that concert Walter became too ill to perform, and Bernstein was chosen for a last minute substitute.  He had no opportunity to rehearse the orchestra and only a few hours to prepare himself for a long and complicated program that included the world premiere of Miklo`s Ro`zsa's Variations on a Hungarian Peasant Song.  Bernstein appeared wearing a gray business suit, which was the first time a conductor had worn everyday clothes at a Philharmonic concert.

Soon after, he appeared with the Pittsburg and Boston orchestras and became conductor of the New York City Orchestra (1945-1948).  The first concert he conducted with his new orchestra was the Israel PO in 1947.  "He served as its music advisor in 1948-1949, and was co-conductor with Koussevitzky for the orchestra's American tour in 1951" (Grove p. 631).

On September 9, 1951, he married Felicia Montealegre in Boston.  She was a young actress, born in Costa Rica, who had come to the United States trying to make appearances on the stage and on Television.  They lived in a nine room duplex on Fifty-seventh Street, diagonally across to Carnegie Hall.  There they raised their first two children.  Their household included Helen Coates, who had been Bernstein's piano teacher from long ago.

In 1957 Dimitri Mitropoulos, music director of the New York Philharmonic, appointed Bernstein co-director for the 1957-1958 season.  When that season ended, Mitropoulos withdrew to leave Bernstein as full music director.  He was both the youngest man and the only American-born musician to be in that position.  He held it for eleven years, longer than any director in the history of the organization.

Leonard Bernstein became a teacher and a commentator on music with classes at the Berkshire Music Center, Brandeis University, Harvard University and Massachusetts Institute of Technology.

In October 1976 , the Bernsteins  announced that they had decided upon a legal separation.  Although their marriage lasted twenty-five years, Bernstein said that his marriage was holding him back from being the best artist he could be.  When Mrs. Bernstein became seriously ill,  though,  they were reconciled.

Bernstein has received such awards as the Albert Einstein Commemorative Award in the Arts from the Albert Einstein College of Medicine; the John H. Finley Medal for service to New York City;  the Golden European trophy, an annual award given to an outstanding figure in popular music; the Datsun Award for "outstanding service to American music"; the Institute of International Education Award presented by President Nixon; and the George Foster Peabody Awards for his television programs.

Bernstein provided the music for four famous Broadway musicals with a superior amount of sophistication and technique.  Often times, he would produce music with great humour and sentiment.  Bernstein's great talents led him to author a few books in the 1960's.  One of his most recent,  famous collections of his music is used in the ever popular film West Side Story.

Leonard Bernstein was the "Renaissance man of twentieth century music."  Over the decades, Bernstein has been called one of the most charismatic and gifted personalities in the music of our times.

603.          Leonardo da Vinci 3754

Leonardo da Vinci was born in 1452 in Vinci, the illegitemate son of Master Piero, a public notary, and his companion Caterina.  Leonardo was the supreme example of Renaissance genius, who possessed one of the greatest minds of all time. As a painter, the Florentine produced such masterpieces as the 'Virgin of the Rocks' (1483), the 'Last Supper' (1495-97), and 'Mona Lisa' (1503-06). As an architect, Leonardo worked on the cathedral of Milan and the restoration of the cathedral at Piacenza. As an engineer and scientist he investigated problems in geology, botany, hydraulics, mechanics, aerodynamics, and anatomy.   At age 17, Leonardo moved with his father to Florence, where Leonardo apprenticed to Verrocchio, where his brilliance soon eclipsed that of his master.  In 1472 Leonardo became a member of the painter's guild of Florence. In 1476 he was denounced by the Night Watch, but was acquited of the charge of immoral conduct.

One of his most popular early works, 'The Adoration of the Magi,' was painted in 1481 for the Monastery of San Donato a Scopeto as an altar piece. It was never finished due to his departure for Milan, where he offered his services to Duke Ludovico il Moro. He worked on the Duomo in Milan and the Duomo and Castle in pavia; and painted the Madonna of the Rocks and the Last Supper at this time. He also set up festivals for the Duke and claimed to be an expert in military engineering and arms.

In 1499 Ludovico il Moro fled Milan ahead of invading French troops. The Gascon bowmen of Louis XII used Leonardo's model for the equestrian statue of Francesco Sforza for target practice. Soon afterwards, Leonardo left Milan inspite of the evident good-will of the French authorities.

During the next few years, Leonardo wandered from Mantua, in the court of Isabella d'Este; Venice, where he was consultant for architectural matters from 1495 to 1499; to Florence; before becoming military engineer for Cesare Borgia between 1502 and 1503.

He was imprisoned twice for same-sexual misconduct. In April, 1476 he was accused of sodomy with a 17-year-old named Jacopo Saltarelli. Leonardo's father refused to help, but his uncle enlisted the aid of Bernardo di Simone Cortigiani, an influential Florentine, to have the charges dismissed, after Leonardo spent two months in jail. At one point later in life, Leonardo adopted a ten-year old boy

named Salai; their twenty-five year relationship was anything but typical of fathers and sons. Among Leonardo's notes is a long-running list of items stolen from him by the mischievous Salai. When Leonardo died, he left a bequest for Salai, but he left his drawings, papers, and notes to his final companion: a young nobleman named Francesco Melzi.

The death of Pope Alexander VI changed the fortunes of Duke Valentino, and Leonardo returned to Florence in 1503, remaining there until 1506. The Florentine Republic commissioned him to execute a large fresco of the battle of Anghiari for one of the walls of the Sala del Gran Consiglio in the Palazzo della Signioria facing a fresco by Michelangelo, one of his rivals. Leonardo experimented with a new technique of fresco, which deteriorated quickly and eventually was lost.

It was in Florence that Leonardo had his greatest following, and it was during his years there that he painted such classics as the Mona Lisa.

In 1506 Leonardo obtained temporary leave from the Florentine Republic in order to return to Milan, where he was to finish certain projects which he had left incomplete due to his earlier hasty departure. In Milan he once again came into

contact with the French, who repeatedly asked the Florentine Republic to extend Leonardo's leave.

Between 1507 and 1508 Leonardo visited Florence to settle his father's estate. He then spent many years in Milan with the title of 'peintre et ingenieur ordinarie'. He devoted much of his time to scientific studies and to the engineering projects such as the channeling of the course of the Adda river.

The return of the Sforza family in 1512 forced Leonardo to leave Milan once again. From 1513 to 1516 he was in Rome at the Palazzo Belvedere under the protection of Giuliano dei Medici, the brother of Pope Leo X. Here Leonardo

came into contact with Michelangelo and Raphael; both younger, and both rivals.

After the death of Giuliano dei Medici, Leonardo accepted an invitation from his French friends and moved to the castle of Cloux near Amboise, where he stayed with his faithful pupil Melzi.

Leonardo died on May 2, 1519, and was buried in the cloister of San Fiorentino in Amboise.  Leonardo Da Vinci, an artist, scientist, inventor, mathematician, engineer, and architect, was among the first great thinkers to apply the scientific method to his philosophies. He performed detailed experiments, in particular on the nature of frictional forces, from which he made observations and followed up by making theories which lead to new experiments. His work at the end of the 1400's preceded that of Newton by nearly 200 years.

Sculpter, Engineer, Architect, Painter, Philosopher, Scientist

His father, Ser Piero da Vinci was a public notary for the city of Florence, Italy, and his mother, Catherina was a peasant girl. In Leonardo's early years, he lived with his mother in Vinci. At the age of four, he was taken away from his mother to live with his father and his father's wife in Florence.

As a boy, Leonardo was described as being handsome, strong, and agile. He had a keen observation, an imagination, and the ability to detach himself from the world around him. As you can see, this already makes him well qualified for

what he does later in life.

At an early age, Leonardo became interested in subjects such as botany, geology, animals (particually birds), the motion of water, and shadows. He seemed to have kept those interests throughout life, as one can see in his work as a scientist.

At the age of 17, Leonardo was apprenticed to a man named Andrea del Verrocchio, a local sculpter and painter of Florence. While there, Leonardo often painted small portions of Verrocchio's paintings for him, such as the background in the Baptism of Christ. This undoubtedly was a huge stepping-stone in Leonardo's career.

In 1472, Leonardo became a member of the painter's guild of Florence. From there he went to paint what is believed to be his first complete painting, Annunciation that same year.

He went on to the aid of Duke Lodovico Sforza of Milan in 1481. There he worked on Ludovico's castle, set up festivals, and claimed to be an expert in military engineering and arms. During the 18 years he was there, he also painted Modonna of the Rocks(1483), and the Last Supper(1497). In 1499 the French attacked Milan, and soon after Leonardo left and returned to Florence. It was at this time that he painted the Battle of Anghiari, and the Mona Lisa.

In 1506, Leonardo returned to Milan to finish up some of his projects that he left behind during his hasty departure. He

stayed there until in 1516 he moved to Cloux, where he stayed with his pupil Melzi.

Leonardo died on May 2, 1519, at the age of 67.

It would be impossible to record all the work Leonardo did in life. He had done so much, in so many subjects, that anyone in their right mind would call him a universal genius. He was the ultimate Renasance man!

Leonardo da Vinci (1452-1519), was the elder of the two Florentine masters. He was taught by Andrea del Verrocchio (1435-88), an engaging painter whose great achievement was his sculpture. Verrochio also had considerable influence on the early work of Michelangelo. Verrocchio's best-known painting is the famous Baptism of Christ, famous because the youthful Leonardo is said to have painted the dreamy and romantic angel on the far left, who compares more than favorably with the stubby lack of distinction in the master's owm angel immediately beside him.

Leonardo: Renaissance polymath  The Last Supper  1498 (180 Kb); Fresco, 460 x 880 cm (15 x 29 ft); Convent of Santa Maria delle Grazie (Refectory), Milan

There has never been an artist who was more fittingly, and without qualification, described as a genius. Like Shakespeare, Leonardo came from an insignificant background and rose to universal acclaim. Leonardo was the

illegitimate son of a local lawyer in the small town of Vinci in the Tuscan region. His father acknowledged him and paid for his training, but we may wonder whether the strangely self-sufficient tone of Leonardo's mind was not perhaps affected by his early ambiguity of status. The definitive polymath, he had almost too many gifts, including superlative male beauty, a splendid singing voice, magnificent physique, mathematical excellence, scientific daring... the list is endless. This overabundance of talents caused him to treat his artistry lightly, seldom finishing a picture, and sometimes making rash technical experiments. The Last Supper, in the church of Santa Maria delle Grazie in Milan, for example, has almost vanished, so inadequate were his innovations in fresco preparation.

A copy made by an apprentice of a da Vinci painting which never dried Da vinci made numerous experiments using different colours and when painting this

particular church he failed.

Yet the works what we have salvaged remain the most dazzingly poetic pictures ever created. The Mona Lisa has the innocent disavantage of being too famous. It can only be seen behind thick glass in a heaving crowd of awe-stuck sightseers. It has been reproduced in every conceivable medium: it remains intact in its magic, for ever defying the human insistence on comprehending. It is a work that we can only gaze at in silence.

Portrait de Mona Lisa

Leonardo's three great portraits of women all have a secret wistfulness. This quality is at its most appealing in Cecilia Gallarani, at its most enigmatic in the Mona Lisa, and at is most confrontational in Ginevra de' Benci. It is hard to

gaze at the Mona Lisa, because we have so many expectations of it. Perhaps we can look more truly at a less famous portrait, Ginevra de' Benci. It has that haunting, almost unearthly beauty peculiar to Leonardo.

A withheld identity Ginevra de' Benci  c. 1474 (150 Kb); Oil on wood, 38.2 x 36.7 cm (15 1/8 x 14 1/2 in); National Gallery of Art, Washington, DC

The subject of Ginevra de' Benci has nothing of the Mona Lisa's inward amusement, and also nothing of Cecilia's gentle submissiveness. The young woman looks past us with a wonderful luminous sulkiness. Her mouth is set in an unforgiving line of sensitive disgruntlement, her proud and perfect head is taut above the unyielding column of her neck, and her eyes seem to narrow as she endures the painter and his art. Her ringlets, infinitely subtle, cascade down from the breadth of her gleaming forehead (the forehead, incidentally, of one of the most gifted intellectuals of her time). These delicate ripples are repeated in the spikes of the juniper bush.

The desolate waters, the mists, the dark treess, the reflected gleams of still waves, all these surround and illuminate the sitter. She is totally fleshly and totally impermeable to the artist. He observes, rapt by her perfection of form, and

shows us the thin veil of her upper bodice and the delicate flushing of her throat. What she is truly like she conceals; what Leonardo reveals to us is precisely this concealment, a self-absorption that spares no outward glance.

Interior depth

The Virgin of the Rock  1503-06 (140 Kb); Oil on wood, 189.5 x 120 cm (6 x 4 ft); National Gallery, London

We can always tell a Leonardo work by his treatment of hair, angelic in its fineness, and by the lack of any rigidity of contour. One form glides imperceptibly into another (the Italian term is sfumato), a wonder of glazes creating the most

subtle of transitions between tones and shapes. The angel's face in the painting known as the Virgin of the Rocks in the National Gallery, London, or the Virgin's face in the Paris version of the same picture, have an interior wisdom, an artistic wisdom that has no pictorial rival.

This unrivalled quality meant that few artists actually show Leonardo's influence: it is as if he seemed to be in a world apart from them. Indeed he did move apart, accepting the French King François I's summons to live in France. Those who did imitate him, like Bernardini Luini of Milan (c.1485-1532) caught only the outer manner, the half-smile, the mistiness.

The shadow of a great genius is a peculiar thing. Under Rembrandt's shadow, painters flourished to the extent that we can no longer distinguish their work from his own. But Leonardo's was a chilling shadow, too deep, too dark, too overpowering.

Portrait of Mona Lisa (1479-1528), also known as La Gioconda, the wife of Francesco del Giocondo; 1503-06 (150Kb); Oil on wood, 77 x 53 cm (30 x 20 7/8 in); Musee du Louvre, Paris.  This figure of a woman, dressed in the Florentine fashion of her day and seated in a visionary, mountainous landscape,

is a remarkable instance of Leonardo's sfumato technique of soft, heavily shaded modeling. The Mona Lisa's enigmatic expression, which seems both alluring and aloof, has given the portrait universal fame.

Reams have been written about this small masterpiece by Leonardo, and the gentle woman who is its subject has been

adapted in turn as an aesthetic, philosophical and advertising symbol, entering eventually into the irreverent parodies of the Dada and Surrealist artists. The history of the panel has been much discussed, although it remains in part uncertain.  According to Vasari, the subject is a young Florentine woman, Monna (or Mona) Lisa, who in 1495 married the

well-known figure, Francesco del Giocondo, and thus came to be known as ``La Gioconda''. The work should

probably be dated during Leonardo's second Florentine period, that is between 1503 and 1505. Leonardo himself loved the portrait, so much so that he always carried it with him until eventually in France it was sold to François I, either by Leonardo or by Melzi.

From the beginning it was greatly admired and much copied, and it came to be considered the prototype of the Renaissance portrait. It became even more famous in 1911, when it was stolen from the Salon Carré in the Louvre, being rediscovered in a hotel in Florence two years later. It is difficult to discuss such a work briefly because of the complex stylistic motifs which are part of it. In the essay ``On the perfect beauty of a woman'', by the 16th-century writer Firenzuola, we learn that the slight opening of the lips at the corners of the mouth was considered in that period a sign of elegance. Thus Mona Lisa has that slight smile which enters into the gentle, delicate atmosphere pervading the whole painting. To achieve this effect, Leonardo uses the sfumato technique, a gradual dissolving of the forms themselves, continuous interaction between light and shade and an uncertain sense of the time of day.

There is another work of Leonardo's which is perhaps even more famous than The Last Supper. It is the portrait of a Florentine lady whose name was Lisa, Mona Lisa. A fame as great as that of Leonardo's Mona Lisa is not an unmixed

blessing for a work of art. We become so used to seeing it on picture postcards, and even advertisements, that we find it difficult to see it with fresh eyes as the painting by a real man portraying a real woman of flesh and blood. But it is

worth while to forget what we know, or believe we know, about the picture, and to look at it as if we were the first people ever to set eyes on it. What strikes us first is the amazing degree to which Lisa looks alive. She really seems to look at us and to have a mind of her own. Like a living being, she seems to change before our eyes and to look a little different every time we come back to her. Even in photographs of the picture we experience this strange effect, but in front of the original in the Louvre it is almost uncanny. Sometimes she seems to mock at us, and then again we seem to

catch something like sadness in her smile. All this sounds rather mysterious, and so it is; that is so often the effect of a great work of art. Nevertheless, Leonardo certainly knew how he achieved this effect, and by what means. That great

observer of nature knew more about the way we use our eyes than anybody who had ever lived before him. He had clearly seen a problem which the conquest of nature had posed to artists - a problem no less intricate than the one of combining correct drawing with a harmonious composition. The great works of the Italian Quattrocento masters who followed the lead given by Masaccio have one thing in common: their figures look somewhat hard and harsh, almost wooden. The strange thing is that it clearly is not lack of patience or lack of knowledge that is responsible for this effect. No one could be more patient in his imitation of nature than Van Eyck; no one could know more about correct drawing and perspective than Mantegna. And yet, for all the grandeur and impressiveness of their representations of nature, their figures look more like statues than living beings. The reason may be that the more conscientiously we

copy a figure line by line and detail by detail, the less we can imagine that it ever really moved and breathed. It looks as if the painter had suddenly cast a spell over it, and forced it to stand stock-still for evermore, like the people in The Sleeping Beauty. Artists had tried various ways out of this difficulty. Botticelli, for instance, had tried to emphasize in his pictures the waving hair and the fluttering garments of his figures, to make them look less rigid in outline. But only Leonardo found the true solution to the problem. The painter must leave the beholder something to guess. If the outlines are not quite so firmly drawn, if the form is left a little vague, as though disappearing into a shadow, this impression of dryness and stiffness will be avoided. This is Leonardo's famous invention which the Italians call sfumato- the blurred outline and mellowed colors that allow one form to merge with another and always leave something to our imagination.

If we now return to the Mona Lisa, we may understand something of its mysterious effect. We see that Leonardo has used the means of his 'sfumato' with the utmost deliberation. Everyone who has ever tried to draw or scribble a face

knows that what we call its expression rests mainly in two features: the corners of the mouth, and the corners of the eyes. Now it is precisely these parts which Leonardo has left deliberately indistinct, by letting them merge into a soft shadow. That is why we are never quite certain in what mood Mona Lisa is really looking at us. Her expression always seems just to elude us. It is not only vagueness, of course, which produces this effect. There is much more behind it. Leonardo has done a very daring thing, which perhaps only a painter of his consummate mastery could risk. If we look carefully at the picture, we see that the two sides do not quite match. This is most obvious in the fantastic dream landscape in the background. The horizon on the left side seems to lie much lower than the one on the right. Consequently, when we focus on the left side of the picture, the woman looks somehow taller or more erect than if we focus on the right side. And her face, too, seems to change with this change of position, because, even here, the two sides do not quite match. But with all these sophisticated tricks, Leonardo might have produced a clever piece of jugglery rather than a great work of art, had he not known exactly how far he could go, and had he not counterbalanced his daring deviation from nature by an almost miraculous rendering of the living flesh. Look at the way in which he modelled the hand, or the sleeves with their minute folds. Leonardo could be as painstaking as any of his forerunners in the patient observation of nature. Only he was no longer merely the faithful servant of nature. Long ago, in the distant past, people had looked at portraits with awe, because they had thought that in preserving the likeness the artist could somehow preserve the soul of the person he portrayed. Now the great scientist, Leonardo, had made some of the dreams and fears of these first image-makers come true. He knew the spell which would infuse life into the colors spread by his magic brush.

Recent computer analysis, documented in Scientific American (April, 1995), demonstrates that 'Mona Lisa' is in fact a self-portrait of Leonardo as a mysterious woman.

We are all familiar with the genius of Leonardo Da Vinci. He is renown as a painter, sculptor and inventor. Few people, however, are aware that he also described an instrument to teach drawing in his treatise on painting.

After three years of studying Leonardo's notebooks, Alfred Merolla, the inventor of the Spectra Sketch art training instrument is offering a portable model of Leonardo's perspective frame to aspiring artists. According to Mr. Merolla, the instrument that Leonardo described in his treatise was used to train the novice when he entered his apprenticeship in the artist guild. It is Mr. Merolla's theory that this instrument was kept as a trade secret. Leonardo, who foresaw the wars of the reformation, tried to preserve the knowledge of this instrument in his notebooks.

The guild system grew throughout Europe during the middle ages. A young man who wished to learn an art would serve a master, who in turn would teach him. The guild system also included many of the arts such as painting, music, glass making, silk manufacturing, architecture, etc.

Many people believe Leonardo wrote backwards because he feared the censure of the church. But, Mr. Merolla believes that the guild system protected its secrets under the penalty of death, and in his own way, Leonardo was divulging many guild secrets, which he felt would be lost in the coming cataclysm.

604.          Leonardo Da Vinci a man before his time 1194

LEONARDO DA VINCI

A Man Before His Time

"Leonardo Da Vinci was a man who awoke too early in the darkness, while other were all still asleep"

-Sigmund Freud

I chose to write about Leonardo Da Vinci because I read about him and I got very interested in his personality, thoughts, ideas, inventions, and work of art. Also I wanted people to get to know him because Da Vinci is a very unique person. In addition, he gathered a lot of knowledge to invent, study, draw, and love. Moreover Da Vinci's artwork is very detailed that you can feel the picture is alive when you look at it. Besides, Leonardo Da Vinci had a lot of impact on mankind through his cognizance.

Leonardo Da Vinci was born on April 15th 1452 in Vinci, Florence, Italy. He was an illegitimate son of Ser Piero Da Vinci, a legal specialist and a peasant woman named Caterina. Leonardo Da Vinci was trained to be a painter but his interests and achievements spread into a variety of fields such as anatomy, astronomy, botany, geology, geometry, and optics. Moreover, Da Vinci drew plans for over 100 inventions. Also, he made a few scientific laws.

For Leonardo to become a painter he was trained on the hands of the best master in Italy, Andrea Del Verrochio.  Since Leonardo was so talented. His master was so amazed by Leonardo's work that he gave up painting for the rest of his life! Furthermore, Leonardo was the first person to learn the truth and laws of nature because spent a lot of time cutting up animals, designing models, or just walking in the nature, and by experimenting he made observations. Yet Leonardo was not only a great painter, but also he was also an engineer, scientist, philosopher, sculptor, and a genius. Furthermore, Da Vinci wrote textbook about human anatomy. Surprisingly, many of his notebooks survived and they are full of detail and correct drawing of humans, and sketches of his inventions. On the other hand most of these notes show that he was eccentric because they were written back wards so they can only be read by holding them in front of a mirror.

Leonardo had drawn many beautiful paintings and his greatest masterpieces The Baptism of Christ, Adoration of The Three Kings, The Last Supper, and probably the most famous The Mona Lisa and her mysterious, vague, beautiful smile. Furthermore, Leonardo was into science very much and because he had such a restless mind, he often started a project without finishing the one before. As a result, that is how he left many projects unfinished or planned and not put into real world. However some of them had failed because there were some methods and theories that were not yet invented. Here are some of his projects and inventions: the parachute, large crossbow, fling machine, helicopter (gust planned and drawn), ladders, canal dredger, cutting machines, treadle-operator lathes, underwater rebreathing devices, self-floatation/ocean devices, street lighting systems, compasses, contact lenses, soldering tools, mortar bombs, catapults, navel weapons, multi-barreled gum, mechanical saws, water turbines, steam calorimeters. Consequently, he invented a lot of war weapons but really Leonardo strongly hated weapons and war. Yet through a period of time he needed money so he worked for the Duke of Milan and that's how he ended up a war engineer.

Leonardo Da Vinci had one goal and that was to be a scholar. But then his goals grew as he did. Afterwards, Da Vinci wanted to be a professional artist. Also, he wanted to learn about humans inside out. As a rich child he had an access to scholary books and texts. Moreover, he seemed to be very interested in learning even though he struggled with the language a little bit. Yet, he was a practical thinker. Da Vinci was also a gifted painter. He started painting since he was a teenager. After a while his father noticed his talent so he sent him to the best art master in Italy and that's how Leonardo's goal started. Da Vinci always believed that life should be based on experiments; and that's how he learned about humans. Da Vinci studied anatomy and everything related to the human body. Moreover he was able to draw pictures of parts of human body and they were so clear that if you just glance at the sketch, you would understand what's it about. He was not only interested in human functions but also their thoughts and feelings. Thus Leonardo believed that people could achieve their goals if they think, plan, and do. Therefore that's how he started achieving his goals.

While pursuing his goal he faced a few obstacles both technically and emotionally. Consequently Leonardo was well known and had good friends but also enemies. Technically Da Vinci faced a few problems while working on his mechanical car because there were some mathematical theories that weren't yet invented, which proved that his inventions would not perform in real world. However, Da Vinci tried and tried and came up with a few formulas. As a result that's how he overcame his technical problems. Whereas, some people believed that Leonardo would never gave up. Moreover he didn't listen to the hurtful words, he just kept ongoing and succeeding. Therefore Da Vinci's flying machine worked but it seemed to carry only a certain weigh. After all Leonardo's inventions was a success.

Leonardo Da Vinci was a man who exemplified the best qualities of a 15th century man. In addition, he had a practical understanding of mysteries of the universe. Furthermore he was a genius. Da Vinci was very outstanding and gifted man and we can prove that by the legacy he left behind. Besides, Leonardo's artwork is marvelous. Furthermore, he puts forth his best efforts. Moreover Da Vinci is a practical thinker. Consequently, he had an approach to every thought, opinion, and question. In addition, he had never accepted an answer without a proof. As a genius, his ideas and statements were extraordinary. Furthermore, he always believed that there would be a better vision of the world in the future. As a result Da Vinci had a lot of good qualities that served the world well.

Leonardo Da Vinci had a huge impact on mankind. Therefore, if it was not for Da Vinci's sketches, incredible brainstorms and marvelous efforts; today we would not be at this level of modern and civilized life. Leonardo had clarified a lot of things to us. Moreover, by inventing scientific laws and proving his observations he helped humanity understand more about nature and its way of life. Moreover, Leonardo's studies are perfectly drawn. Hence, Da Vinci is a great inspiration for other scientists and inventors.

Leonardo died at the age of 67 on May 2,1514 in Cloux, France. But Leonardo's projects, ideas, inventions, remain today. Furthermore Leonardo's achievements had no limits. Similarly he had a huge impact on mankind. Furthermore, he was a man with good qualities. As a result, Leonardo Da Vinci was and still is the prime example of the ideal artist and the scientist who dared to discover the unknown. Hence, he was a man before his time.

605.          Leonardo Da Vinci Life Of 642

Leonardo Da Vinci

Leonardo da Vinci was born in 1452 in the little town of Vinci. He was the son of Master Piero, a public painter and highly sciled, and his companion Caterina. Not much is known aboud Leonardos child hood but we do know that he was not permited to live with his family untill the age of 12. He then moved in and lived with his grand parents and father. There his father married the first of his four wifes. When he was 17, Leonardo moved with his father to Florence, where Leonardo apprenticed to Verrocchio, there Leonardos awsome art ability soon shone over that of his father.

In 1472 Leonardo became a member of the painter's guild of Florence. Where he spent most of his time studying and paing. Then in 1476 he was denounced by the Night Watch, but was acquited of the charge of immoral conduct.

One of his most popular early works, "The Adoration of the Magi," was painted in 1481 for the Monastery of San Donato a Scopeto as an altar piece. It was never finished because of his departure for Milan, where he offered his services to Duke Ludovico il Moro. He worked on the Duomo in Milan and the Duomo and Castle in pavia; and painted the Madonna of the Rocks and the Last Supper in 1497. He also set up festivals for the Duke and claimed to be an expert in military engineering.

In 1499 Ludovico il Moro fled Milan ahead of invading French troops. The Gascon bowmen of Louis XII used Leonardo's model for the equestrian statue of Francesco Sforza for target practice. Soon afterwards, Leonardo left Milan inspite of the evident good-will of the French authorities.

During the next few years, Leonardo wandered from Mantua, in the court of Isabella d'Este; Venice, where he was consultant for architectural matters from 1495 to 1499 before becoming military engineer for Cesare Borgia between 1502 and 1503.

The death of Pope Alexander VI changed the fortunes of Duke Valentino, and Leonardo came back to Florence in 1503, remaining there until 1506. The Florentine Republic commissioned him to execute a large fresco of the battle of Anghiari for one of the walls of the Sala del Gran Consiglio in the Palazzo della Signioria facing a fresco by Michelangelo, one of his rivals.

Leonardo experimented with a new technique of fresco, which deteriorated quickly and eventually was lost.

It was in Florence that Leonardo had his greatest following, and it was during his years there that he painted such classics as the Mona Lisa.

Then in 1506 Leonardo obtained temporary leave from the Florentine Republic in order to return to Milan, where he was to finish

certain projects which he had left incomplete due to his earlier hasty departure. In Milan he once again came into contact with the French, who repeatedly asked the Florentine Republic to extend Leonardo's leave.

Between 1507 and 1508 Leonardo visited Florence to settle his father's estate. He then spent many years in Milan with the title of "peintre et ingenieur ordinarie". He devoted much of his time to scientific studies and to the engineering projects such as the channeling of the course of the Adda river.

The return of the Sforza family in 1512 forced Leonardo to leave Milan once again. From 1513 to 1516 he was in Rome at the Palazzo Belvedere under the protection of Giuliano dei Medici, the brother of Pope Leo X. Here Leonardo came into contact with Michelangelo and Raphael; both younger, and both rivals.

After the death of Giuliano dei Medici, Leonardo accepted an invitation from his French friends and moved to the castle of Cloux near Amboise, where he stayed with his faithful pupil Melzi.

Leonardo died on May 2, 1519, and was buried in the cloister of San Fiorentino in Amboise.

606.          Leonardo Da Vinci one of the greatest artists pertold in history 815

Leonardo Da Vinci was born in 1452 on his father's estate in Vinci, Italy. He received his education on the estate until the age of fifteen. Which is when his father had noticed Leonardo's potential and had decided to send him to be an apprentice to the artist Andrea del Verrocchio in Florence. There he studied sculpture and the mechanical arts. This was also when he first developed an interest in anatomy. In 1472 Leonardo was accepted into the painters' guild at Florence, where he remained for the next ten years. In 1482, Leonardo was hired by the duke of Milan, Ludovico Sforza, to be artist and engineer in residence. During his stay in Milan, he started to compose a unified theory of the world and to illustrate it in a series of voluminous notebooks. Unfortunately due to his pursuit of scientific knowledge he had to leave many of his artistic creations unfinished. He stayed in Milan for seventeen years. There he completed six paintings: two portraits of the 'Last Supper', two versions of 'The Virgin of the Rocks', and a decorative ceiling painting in the Castello Sforzesco. Other paintings were either unfinished or have disappeared. In the early 1500's, Leonardo returned to his home city. In Florence, he was commissioned to do a number of paintings, but other interests and tasks kept him from finishing them. The most well known piece to survive from this time period was the famous "Mona Lisa", which is now in the Louvre in Paris. For ten months during 1502, Leonardo served as military adviser and engineer. During the years 1513 to 1516, Leonardo was in Rome at the invitation of Cardinal Giuliano de' Medici, brother of Pope Leo X. Some of the greatest artists of the time were at work in Rome for the church. In May 1506 Charles d'Amboise, governor of Milan for the king of France, invited Leonardo to return to that city. His work in painting and sculpture over the next seven years remained mostly in the planning stage--in sketches that he drew but that never became paintings or statues--but his scientific work flourished. He continued his notebooks with observations and drawings of human anatomy, optics, mechanics, and botanical studies. He also did some sketches for a Medici residence in Florence that was never built. Otherwise he was lonely and unoccupied. Thus in 1516, at the age of 65, he accepted an invitation from Francis I, king of France, to leave Italy and work for him. Leonardo spent the last three years of his life in the palace of Cloux, near the king's residence at Amboise, near Tours. He was given the title of "first painter, architect, and mechanic of the King" and given freedom of action in what he wanted to do. Although there are many great works of Leonardo Da Vinci that I could have chosen, I am going to choose the most obvious, the "Mona Lisa". I chose this piece because the impact it had on the world. No matter where you go in the world, everyone knows of the "Mona Lisa". The picture is on stamps; shirts; posters; cup; and just about anything else you can think of. It one of the most well renowned paintings in the world. Another reason I chose this piece is because of the mystery of the painting. To this day no one knows whether the woman in the painting was a real person, or whether is was Leonardo's vision of himself as a women. Another fact which makes it even more peculiar is that Leonardo always kept a log of the models which he had used, yet there is no record of who modeled for the "Mona Lisa". Leonardo Da Vinci had a very strong influence over the world, artistically as well as scientifically. Leonardo devised plans for prototypes of an airplane and a helicopter. His extensive studies of human anatomy were portrayed in anatomical drawings, were among the most significant achievements of Renaissance Science. His remarkable illustrations of the human body elevated drawing into a means of scientific investigation and exposition and provided the basic principles for modern scientific illustration. He continued his notebooks with observations and drawings of human anatomy, optics, mechanics, and botanical studies. Due to Leonardo's remarkable illustrations, European artists began to study the model of nature more closely and to paint with the goal of great realism. They learned to create lifelike people and animals, and they became skilled at creating the illusion of depth and distance on flat walls and canvases by using the techniques of linear perspective. Leonardo also was the first to make careful measurements and suggest rules for applying them realistically in painting. He called the subject aerial perspective. He is deservedly considered one of the greatest painters of all time. He excelled in inventiveness, technique, drawing ability, use of light, shadow, and color.

607.          Leonardo Da Vinci The Genius 1086

In the latter stages of the fifteenth century, Leonardo da Vinci, as a part of the Italian Renaissance, used his innovative ideas to further science and art.  This insight revolutionized the thinking of his society.  "The Renaissance was poised between the humanists' links to antiquity and the challenges of new social, political, economic, scientific, and ecclesiastical developments" (Reti, 22).  Leonardo da Vinci was one of "the most diverse and enigmatic talent (s) of the Renaissance" (Bishop, 209).  He displayed "genius" in almost all of the arts, sciences, engineering, and mathematics.  Da Vinci is reported as "being jus about the smartest person ever", "he was indeed a man of both worlds".

(http://www.mos.org/leonardo/bio.html)

(http://www.library.thinkquest.org/3044.int_over.html)

&lt;Tab/&gt;Leonard was born April fifteenth, fourteen fifty-two to, twenty-five year old, Piero da Vinci who was a village lawyer and notary.  His mother was a peasant girl named Caterina.  He was given the surname da Vinci denoting that he came from the small country town Vinci, where he spent most of his childhood.  After da Vinci's birth, his father took custody of him, while his mother married an artisan and moved away.  Leonardo grew on his grandparent's farm.  He was treated as a legitimate son by his grandparents and received the usual elementary education: reading, writing, and arithmetic.  During his early education, a special gift for drawing was revealed. As a result of Leonardo's artistic ability at the age of fifteen, his father took him to Florence to study with Andrea del Verrocchio, a leading painter and sculptor.  He "was at least the equal of Verrocchio - if not his superior"  (Buchholz, 11).  Leonardo was accepted into the artist's guild of Florence.  While studying with Verrocchio, da Vinci worked next-door in the workshop of Antonio Pollaiuolo, where he was introduced and first drawn to the study of anatomy.  Leonardo then went to work in Milan where he spent seventeen years of his life.  He worked as an artist and technical adviser on architecture and engineering projects.  It was during those years that he painted the "Last Supper" as well as some of his other well-known works.

&lt;Tab/&gt;Da Vinci's revolutionary thoughts and ideas helped to satisfy his curiosity as well as advanced his people's culture.  "He was one of the greatest scientific minds ever to have lived".

(http://library.thinkquest.org/3044/int_over.html)

"Leonardo filled pages of his notebooks with thousands of sketches and designs that attest to his keen insight" (Bishop, 209).  Some of his sketches consisted o

Leonardo was fascinated with the human body.  His interest in anatomy came from studying for his painting.  He jotted down thoughts in preparation of writing a textbook on human anatomy.  Although his paintings only consisted of the outer physical appearance, "he wished to understand the inner structure of the body as well, and how bones, muscles, and sinews functioned together" (Buchholz, 70).  Leonard set out on a mission to research the human body.  He worked with an anatomy professor, Marcantonis della Torre, to obtain his knowledge.  After this consultation, da Vinci was able to form a clear drawing of the human inner body.  His drawings were more precise than any others of his time.  Leonardo's understanding of the human body not only gave him a better overall perspective, but benefited his society as well.  He took his newly gained knowledge and presented it in his art.  Leonardo discovered that human and animal anatomies were similar.  He studied the principle laws of mass, force, and movement to get a better understanding of flight.  Da Vinci used the bird as his prime example.  He had models of parachutes, sketches of a helicopter/air screw, and large crossbow.  He was only able to build small models to test his ideas.  He did not have the supplies to construct real life-size models.    Leonardo's sketches and thoughts had a great influence on our helicopters, and parachutes of today. Da Vinci's understanding of aerodynamics, machines, process, and flight were not put to use until years after his death.  Eventually they were refined and are used in our society today.  "Today it would be hard to imagine what type of modern life we would have if it wasn't for Da Vinci's initial sketches and incredible brainstorms".

(http://library.thinkquest.org/3044.int_sci.html)

&lt;Tab/&gt;"Leonardo's mastery of drawing and pictorial mood ranks his as one of the greatest painters ever to live" (Bishop, 210).  Only seventeen of his painting shave survived, though some are unfinished.  Da Vinci used his knowledge of anatomy to make his paintings and sculptures more precise and realistic.  He was fascinated by natural form.  Da Vinci believed that men should try to learn and develop as much knowledge as possible.  The "Mona Lisa", and the "Last Supper" are among the most famous paintings in the world.  Chiesa say of the "Last Supper", "in it's monumental simplicity, the composition of the scene is masterful; the power of it's effect comes from the most striking contrast in the attitudes of the twelve disciples as counterpoised to Christ" (Chiesa, 943) The colors used in the Last Supper have faded badly, but it still shows Leonardo's knowledge of anatomy and perspective.  The "Mona Lisa" "has mysterious and ambiguous psychological depths" (Reti, 24) Through his drawings Leonardo wanted to relay to his people that,"the entire body is animated by the sound, every limb takes part in expressing feelings, passions- indeed, even thoughts" (Buchholz, 46).  Da Vinci placed much importance on teaching.  He developed the School of Leonardo, to theca designs of painting.  He tutored his students on how to portray their emotions and thoughts through paintings.  "Italian Renaissance art enjoyed a prestige that cannot be matched by any other artistic epoch" (Reti, 22).  Leonardo da Vinci was one of the great artists of the Italian Renaissance.  "The most important thing that happened during the Italian Renaissance was the emergence of ideas which led to the rationalization of sight" (Reti, 22).  During the Renaissance "art became valued - not merely as a vehicle for religious and social didacticism, but even more as a mode of personal, aesthetic expression".

(http://www.ibiblio.org/wm/paint/glo/renaissance/it.html)

&lt;Tab/&gt;Leonardo da Vinci's sketches of both science and art truly revolutionized our world.  "Each aspect of these sketches has been incorporated to better our society". (http://library.thinkquest.org/3044/intskch.html)  "Leonardo's scientific drawings of human life have captivated scientist and doctors alike for years".  (http://library.thinkquest.org/3044/int skch.html) Leonardo was most definitely a man before his time.  "Western Civilization has probably never known a greater or more restless intelligence"  (Bishop, 209).

608.          Leonardo Da Vincis Life 688

The Renaissance was one of the most important movements in the history of the world. Numerous breakthroughs were made during this time. The renaissance took place during the 14th, 15th, and 16th centuries. Leonardo da Vinci (1452 - 1519) was known for his art during that time. Along with being a painter da Vinci was a sculptor, an engineer, an architect, and a scientist. Da Vinci was born during the Renaissance and after his death he influenced many other sculptors, and painters like Michelangelo.

Leonard was born in Vinci, Tuscany. Leonardo was a part of a very wealthy family. In the mid-1460s, his family settled in Florence, where Leonardo was given the best education that Florence could offer. He quickly advanced socially and intellectually. In about 1466, he was apprenticed to Andrea del Verrocchio as a garzone, or studio boy, where he was introduced to many activities from the painting of altarpieces to the creation of bronze and marble sculptures. In 1472, he entered the Painters Guild of Florence, and in 1476, he was still considered the assistant of Verrocchio. In 1478, he became his own master and many chapels were giving him offers to draw altarpieces. Leonardo's world-famous work (Mona Lisa) is very well know because of its unique techniques and the mysterious smile on the face of the subject. This work is an example of two techniques, sfumato, and chiaroscuro. Leonardo was one of the first great masters of these techniques. Sfumato is the blurring of sharp outlines that usually blends into another color, in this work sfumato is used on the robe that the subject is wearing as well as on her smile. Chiaroscuro is the use of light and shade in a pictorial representation. This is believed to be the cause of the puzzling smile on the face of his model.

Another one of his famous pieces is "The Last Supper". This is the drawing of the famous scene where Jesus Christ announced to his students that one of them is going to betray him. It is called "The Last Supper" because that was the last supper of Jesus Christ before his crucifixion. This work is more known to the followers of the Christian beliefs.

None of Leonardo's known sculptures have been completed so the only way to see his approach to three-dimensional art is from his drawings. The same things apply to his architecture. There is no known fact why his sculptures were never built but judging from his drawings, he shows an excellent use of massive forms, visibility of expression, and the great knowledge of ancient Roman Architecture.

Leonardo was also known for his scientific and theoretical projects. He understood better then anyone in the next century how important observation is in science. Sadly, just like he never finished his sculptures, his scientific projects were not completed. His theories are written down in numerous notebooks, but because they were not easily readable, these works were not developed during the 16th century. Those notes were written in mirror script. If those works were printed in his time, they would have revolutionized the science of the 16th century by a lot, and an airplane might have been invented a whole lot earlier than 1903. Leonardo actually anticipated many discoveries of modern times. In anatomy, he studied the circulation of the blood and the action of the eye. He made discoveries in meteorology and geology, learned the effect of the moon on the tides, thought of the modern theory of the continent formation, and guessed on the nature of fossil shells. He was one of the creators of hydraulics and probably invented the hydrometer. He invented many machines, many of which are useful today; among them is an underwater diving suit. His flying machine drawings, although they would not be able to fly, were the base for the sound principles of aerodynamics.

Leonardo da Vinci was very important to the Renaissance because he influenced many sculptors and painters of the future time period. He also made many advances in science, so without Leonardo many things such as an airplane would not be invented even now.

609.          Leonardo DaVinchi A Summary Of 209

For my favorite artist I chose Leonardo DaVinchi. He is the best artist in my eyes but other people think that there is better now, but I saw better. My favorite Mona Lisa, why because it looks like a work of art no dout about it. But the one he drew on the wall is beautiful The 12 Apoclesos the thing I hate it is all crack. They should restore it if they have not yet. One of my other favorite is The Second Giaconda. I just want to see all his works of arts but that would never happen. But if it did I would spend so much time just looking at them trying to see what he is trying to say and mean. There is nobody better than Leonardo DaVinchi and that is a main fact in deed. But if he were alive right now he would be very rich if he sells his paintings I would love to be him any time of the day. That is why I chose Leonardo DaVinchi and those pieces of art that mostly takes forever I know I wouldn`t last. So thats every thing i must rap it up I that is a every thing I know about this guy.

610.          Leontyne Price her accomplishments

Leontyne Price

The African-American I have chosen is Leontyne Price. She was raised in the colored section of Laurel, Mississippi. She has been described as a "lirico-spinto" soprano. Her rock-solid vocal technique and purity and her dramatic flair have been combined to create a mix suitable both for the opera and concert stage. She first started singing at area social events. After attending Central State University, she went to Julliard. While attending Julliard, she appeared in revivals of Gershwin's Porgy and Bess and Four Saints in Three Acts, by Virgil Thomson. The Porgy and Bess cast toured the United States and Europe with baritone William Warfield and Price singing the title roles. Price was engaged to sing the lead for the National Broadcasting Company's production of Puccini's Tosca in 1955. Even though there were strenuous objections, and some cancellations, from local affiliates, her dramatic portrayal and vocal performance in this historic broadcast were a critical success.  Other televised operatic roles soon followed. Price sang Verdi's Aida for the first time in 1957. She identified strongly with the character. Her success led her to Vienna to sing for conductor Herbert von Karajan, and in 1960, to the stage of La Scala. In January 1961, she debuted at the Metropolitan Opera as Leonora in Verdi's Il Trovatore. Her performance was a success to the audience who witnessed it, and to the New York critics as well. There, she was signed for additional roles and at other houses around the world. By the mid 1960's, her reputation had grown to the point that she was offered the lead in the Samuel Barber opera commissioned especially for the opening of the Met's new facilities at Lincoln Center. Though spoiled by the extremes taken in costuming and staging, the opening performance of Antony and Cleopatra solidified Price's place as one of the world's great divas.

Price's notoriety allowed her the freedom to select roles she wanted; often taking rests between runs, in the years that followed. In the 1970's she increased the number of recitals and made several operatic and concert recordings. Also, she earned 18 Grammy awards over the years. Price retired from the opera stage at the Met in 1985 with her signature role, Aida. Millions viewed the live telecast.

611.          Les Mis‚rables

Les Misérables

1. Resumé:      Cet histoire représente un problème sociale de France durant les années de 1800. La pauvreté entre les roturiers étaient énorme. Le système de justice étaient en défaut et pénalisaient les pauvres. Mais, dans ce mauvais climat social, il y avait aussi des personnes qui étaient différents. Valjean était une personne avec une haute moralité. L'histoire revolves autour de lui et ses efforts à supporter la moralité et la justice , durant s' échappant la loi, qui voulait lui poursuivre. Il a promis à Fantine qu'il va s'occuper de sa fille, Cossette. Jusqu'aux ses derniers jours de sa vie, il a jamais cassé sa promesse. Il y avait un policier, Javert, qui croyait en justice, mais à la fin, il s'est suicidé parce qu'il s'est allé contre ses principes. Il y avait des révolutionnaires, qui sont morts pour la cause des pauvres. La fille, Éponine a sacrifié sa vie pour Marius, l'homme qu'elle aimait, mais qui aimait Cossette et pas Éponine. Marius at Cossette sont les romantiques de cet histoire, qui nous donnent un climat amoureux entre la confusion, la pauvreté et la haine.

2. Les Thémes:            Cet histoire revolve autour de deux thémes, le rêve et le suicide. Premièrement, l'histoire revolve autour des vies et rêves de toutes les types de personnes. Valjean avait un rêve d'avoir une vie normale.  Il avait un rêve de satisfaire la promesse qu'il a fait à Fantine de s'occuper de sa fille, Cossette. Les roturiers avaient un rêve de vivre une plus mieux vie, qui veut dire, pas si pauvre qu'ils étaient. Les révolutionnaires avaient un rêve d'améliorer le destin des pauvres. Javert avait un rêve de finalement attraper Valjean et de lui faire punir. Éponine avait un rêve d'épouser Marius. Son rêve est detruit quand elle découvert que Marius aime Cossettes et pas elle.

De tous les rêves, Valjean se semblait comme le plus noble et le plus mieux.  Il devait s'échapper de la loi et Javert toute sa vie, mais, il a jamais arrêté de chercher pour son rêve, qui était d'avoir une vie normale et de faire le plus mieux de la vie de Cossette. Son rêve pour le mieux de Cossette, lui prend derrière les lignes des révolutionnaires, où il sauve la vie de Marius. Il risque sa vie pour prendre Marius loin du danger. Il est attrapé par Javert, mais plaide pour la vie de Marius, pas pour soi-même. Il promet de retourner. Le coeur noble de Valjean émouvoit Javert. Il lui laisse partir. Javert se suicide à cause que ses rêves d'être un policier loyal sont detruits par ses actions.

Cet histoire nous représente que même durant les épreuves et le désespoir, c'est le rêve pour le bon et le mieux vie, qui nous fait bouger. Nous rêvons pour un mieux futur et rêve que nos problèmes vont prendre fin. Pas beaucoup de nous réusissons. Mais, c'est le rêve, qui nous fait essayer et continuer. Nos rêves, aussi nous aident à être les plus mieux personnes et aident à construire une plus meilleure societé.

Le deuxième thême est le suicide et la souffrance. Javert était un policier. Il était loyal, sincère et aimait la loi. Il a toujours pensé que les gens qui transgressé la loi était des criminels. Ces criminels doivent être prosecutés par la loi et puni.  Son simple esprit, n'était pas capable de trouver la justification pour les situations différentes, quand la loi n'est pas appliqué. Il ne pourrait pas comprendre qu'une personne peut être bonne et aussi  transgresser la loi. Il a poursuivi Valjean toute sa vie, parce qu'il considerait Valjean comme un criminel. Il a vu la bonne personne qui était Valjean, mais il ne le pourrait pas comprendre et l'accepter. Finalement, quand Javert devait laisser partir Valjean, il a transgressé ses principes. Il n'était pas possible pour Javert d'accepter qu'il a transgressé la loi. Il, Javert, peut seulement soutenir la loi, pas la transgresser. Alors, son seul recours  était de prendre sa vie. Il s'est suicidé, parce qu'il ne peut pas accepté qu'il est maintenant un criminel, à cause qu'il a, soi-même trangressé la loi.

Ça c'est une problème complexe pour Javert. Il est le protecteur da la loi. Alors, il ne peut pas la transgresser. Il ne comprenait pas que la loi elle-même peut être fausse. Il doit utiliser sa tête et pas son coeur pour interprêté la loi. Javert ne pourrait plus prendre à se faire face à sa décision, qu'il a fait par suivre son coeur. À Javert, ça c'est une grosse faiblesse et une déloyalté à la loi. Ces principes était plus forts que sa vie.

Ce carartère nous représente le conflit que tout de nous autres souffrent entre les décisions qu'on fasse de notre tête et coeur. Les décisions logiques qui sont fait avec la tête n'est pas toujours correctes et humaines. La vie demande des décisions fait par le coeur quelques fois, qui ne supportent pas l'esprit logical, mais qui sont nécessaire parce que tout le monde et humain et on vivent ensemble dans une société.

3. Genre de livre:        Ce livre est un livre d'aventure fictif. Quoique, l'histoire est basé sur les gros  événements d'après l'époque Napoleonatique. C'est un roman d'aventure parce qu'il est tellement mouvementé. Comme j'avais déjà expliqué, tout l'histoire est basé sur les choses que les révolutionnaires ont fait pour avoir de l'égalité. Si ils faisaient rien, Victor Hugo n'aurait pas avoir la chance d'écrire une classique comme celle-ci. Aussi, c'est fictif parce que, rien de ce livre est actuellement arrivé. Tout ça est venu de la tête de Victor Hugo.

4. Impression Personnelle:      Cet histoire semble d'avoir une thème eternelle. Les souffrances, confusions, injustice et la vie des pauvres, semblent d'avoir jamais changé. Le contexte et l'ère ont changé entre le cadre de l'histoire et aujourd'hui, mais avec les modéfications, le même histoire peur être repété comme la vérité en beaucoup de pays de notre monde maintenant.

Valjean a été persécuté toute sa vie pour voler un miche de pain. Il a essayé et a réussit de créer l'espoir et l'amour tout autour de lui. Il a donné sa vie pour les autres et pour la promesse qu'il a jamais brisé. Il était original en pensant, un révolutionnaire des idées et actes. D'autre part, Javert était un bureaucrate, avec la loyauté à la loi et le roi, qui avait rien d'originalité, et qui s'est suicidé quand il devait briser la loi. Les autres caractères représentaient une large classe de personne, qui travaillaient fort et espéraient, et les autres qui étaient corrompues et volaient.

Je suis imprisionnée par l'auteur et ses perspicacités remarquables dans la société, qu'il a représenté si admirablement. Il nous a représenté que la bonne toujours gagne. Les souffrances de Valjean n'ont pas diminué son but pour faire le mieux des autres. La société a toujours des gens qui ne sont pas bons, mais ils vont périr devant les idéals forts et les bons actes.

612.          Les Miserables

Les Miserables

Les Miserables known in English as "The Terrible" is a musical portrayal of the French Revolution. It is a musical tragedy, which served as a major powerhouse competitor for Andrew Lloyd Weber musicals in the early eighties and nineties. When first debuting on Broadway in 1987 it traveled a long hard road to compete with musicals of the decade. However, in time many well-known performers were proud to associate themselves with this wonderful work of art.

The musical play begins with its lead character named Jean Valjean. Jean Valjean was released on parole after 19 years on the chain gang. In this initial scene the audience can almost immediately feel the tonality of the play with the constant reference to the number 24601. 24601 were the prison number that became Jean Valjean's identity for 19 years. The dark and dreary ambiance set the tone for the first song of the libretto, "Look Down. The lyrics to look down coincide with the chain gang, overseen by brutal wanders, working in the hot sun. It is this series of songs in Act one that take the audience through many turns of feelings and emotions. These emotional songs are used to portray poor men and women working in low class factories, women selling their bodies and more importantly a class of people struggling to scrape by. The most vivid songs used to identify the various themes of poverty and prostitution are Lovely Ladies, A Heart Full of Love, and Master of The House. Moreover, it is a song titled Do You Hear the People Sing? That prepares the audience for the ending of Act one. Most if not all of Act one uses song, tonality, character, pitch and tone to depict the various themes of the play while the story is beginning to unravel.

Throughout the second and final act the musical content within the play acts as a story of it's own through theme and variation. Each separate song represents a feeling and or mood and is enhanced as it is varied throughout the act. Like the first act, the songs are used to portray poverty, suffering, hardships, and even death. However, unlike the first act, there is also a theme of love and happiness. Closure is brought about with a sense of warmth and this is often heard through the display of the tempo. When the times were tough the tempo decreased and was often slow and morbid like. When happy times were brought about, the tempo increased to a song and dance farewell. The final song of the musical really brings the whole story together. The loose ends are tied and the audience's hearts are left captivated and moved.

This musical would not be complete without the dramatization of the performers. It is each individual performer that brings song into the story. Each of the eight main characters represents, in a sense, their own theme and motivation towards the story. Without these characters the notes and chords wouldn't bring about any music. It would merely be song without feelings or words. Each of them sings to sing to us in their own different way and exemplify their role within the story. Together these two important ideas make this play an excellent musical.

My personal reaction to this musical was surprisingly a good one. When my girlfriend first told me that we were going to see a Broadway play I wasn't initially excited. However, after just about 30 minutes into the opening act I was beginning to recognize and comprehend musical terms that we had discussed in class. I then decided to be open minded and take notice of not only musical but also theatrical happenings of the story. It was amazing to be able to hear the tempo change, the timbre (tone color), and also identify the theme and variation. It was often difficult to understand the opera like approach to the play but all you needed was a good ear and total concentration. I found that I actually enjoyed Les Miserables and I wouldn't be too quick to say no to another one.

613.          Libertine or Liberal the real truth regarding Bill Clinton

Media AudiencesShane Gladstone

Based on your work in part one, suggest a research project that might follow on from the questions established by your chosen text. Using discussion material as a theoretical and methodological base, locate a main hypothesis/research question, and suggest how you might apply it to an actual research project?

Original Question: Libertine or Liberal? The real scandal of what people know about Bill Clinton.

The media's ability to influence public opinion and thus political action via processes such as agenda setting is a phenomenon that has been studied by both qualitative and quantitative researchers. Recently it has been argued that these methodologies can be used in combination to address different aspects of consensus information. Some researchers such as Lewis et al have used surveys to make critical comments about the quality of information received by the public. Others such as the Glasgow media group have pursued a similar interest via focus groups. What does this research tell us about the relations between media and public opinion?

As a group of five we were given the above question as the subject of our research project for the module of Media Audiences. The main ideal running through its content was that of the relationship between public knowledge of contemporary issues and the mass media as we see it today. The research projects main aim was to discover whether the general public were well informed with regard to political subject matter. This in turn would provide a metaphorical platform on which one could place their opinions of the performance given by current (at time of project) president Bill Clinton.

Said research took place in 1998 at the height of Clintons much publicised sexual and financial scandals. The press sensationalism was focused on his alleged "affair" with one Monica Lewinsky, then a junior member of staff operating within the White House. The general public become so obsessed with the alleged "affair" that eventually a combination of their enthusiasm and media hyperbole led Clintons name to become synonymous with sleaze rather than politics.  However, despite these scandals, President Clinton, in his second term of office at the time, was enjoying an unprecedented popularity streak across the United States. Was that due to his rapid overexposure with regard to Lewinsky or his political agenda?

The study consisted of telephone interviews involving 600 people across the United States. Questions aimed to discover knowledge within two separate areas of their intended target audience: initially that of the scandal related issues surrounding Clinton at the time and secondly of his rapidly fading political agenda. The questions were set out as closed multiple choice with some offering up to three different answers. On a whole the study could be looked upon as a way of measuring the medias power to relay information spoon-feed style to the general public and see what of that is taken on board and whether there is any apparent variation.

The texts main goal is to provide us with an explanation of our own cultural practices and how we understand the world around us. To do this coherently it makes sense that said researchers must find a way of relating the results of their assumptions to society in general. Here this is done through sampling "a common practice in which researchers gain an average knowledge of public opinion through surveys done in many different forms" (Ruddock: 50) Within this particular text sampling is relied upon greatly to inform us of our own cultural shortcomings "to explore the nature of the public knowledge base and discover whether it is informed, un-informed or mis-informed".  (This being one of the initial questions the text sets out to ask)

The main method of sampling used within their research was the more sophisticated stratified method. This method refers to a technique which sections the

Problems with the universal list with reference to criteria such as sex, race and age. Evidence of this is given in the paragraph starting "The study is based on a sample of 600 respondents across the United States. The sample was broadly representative in terms of age, gender, political persuasion and media habits" However as it does not actually mention any sampling method within the text it is only my assumption that these methods have been used. From the findings of the above mentioned sample they go onto discuss how society in general are extremely well informed about Clintons scandal related questions and poorly informed about his political positions. This shows an immediate hierarchy issue set up where the researchers are taking a culturally superior stance through generalized sample findings. Looking at their results in a positivist style they make claims suggesting modern day society is a sleaze hungry, television junk food homogonous mass with no understanding of politics or popular culture. If the researchers had considered that even "light" viewers who watch two hours of television each day, were, at the time, living in a world where Clinton/Lewinsky headed prime-time ratings across all mediums then they would surely understand the reason a higher percentage of their sample had a more intuitive understanding of said issues rather than that of Clintons political practices and stance. Ask yourself this, when, in your lifetime, excluding only war and famine, has politics been subject to such hyper-real exposure?

Problems with Lewis, Morgan and Jhally's use of sampling arise constantly throughout the text. It is close to impossible to attain a fair medium when regarding age, race and gender of a nation as immense as the United States. "As with many of the social sciences, sampling theory does not perfectly relate to sampling practice. As Babbie states, it is virtually impossible to find a list of potential participants that does not include some form of systematic error. The problem is exacerbated by the fact that it is often impossible to find a universal list of potential participants. Researchers are always limited by factors of time, money and geography" (Ruddock: 51) If Lewis, Morgan and Jhally had carried out their sampling in a more ethnographic way: putting themselves on the same natural level as the sampled public then they questioned themselves and consequently discovered that they also knew more regarding scandal than they did regarding politics. They go onto discuss education. Initially claiming, "The more years of education, the more you are likely to know" before immediately changing opinion. Informing us that "more education was not generally related to a better understanding of more political positions" indeed "The more educated respondents were sometimes a little more likely to make incorrect assumptions about Clintons liberalism" This section concludes on the note "The better educated group actually did worse than the less educated group on the questions regarding welfare, healthcare and democrat party funding" thus completing a complete circle change within their findings.

On a whole their research presented us with nothing more than generalisations and sways of opinion. This, however, is typical of the quantitative style of the sample surveys used. "Too rigid to be of much use within the cultural studies arena" (Ruddock:14) Quantitative research limits possible responses to the confines of multiple-choice questions.  If our researchers had followed a looser, more  qualitative style of audience research then they would have discovered important issues regarding their audience such as individual opinion, character traits and financial backgrounds. These are all subjects that should be taken into account within the arena of political audience research. If, as a pose to the emotionless telephone blanket interviews, they had promoted open-ended one to one interviews and open public focus groups it would have been a far simpler task for them to achieve their targets with honest and realistic answers.

For example, looking at a project carried out by The Glasgow Media Group regarding the 1980's minors strike, one finds their use of qualitative research and sampling gives the reader a much more coherent understanding of the writers preferred opinions. The main advantage on show is their understanding of how individuals can read the same text but have a different understanding of it based on their own pre-existing beliefs, experiences and values. For example, football supporters are alleged to 'see' only the fouls committed by the other side. This can be related to the Clinton study in a very simplistic manner. Women who have experienced similar situations involving sex in the workplace will be more supportive of Lewinsky and therefore take a higher interest in scandal than that of politics.

It is from this group and their method and style that I would take inspiration in devising a more advanced follow on or alternative to Morgan, Lewis and Jhally's work.  My first and main change would be that of research methods from quantitative to qualitative.  This would be done in the main by my use of focus groups.  Focus groups are an open-ended style of group interview, usually held in comfortable, neutral surroundings, such as community centres or village halls. These groups tend to start from the audiences point of view, this is a major advantage, which can lead to more accurate results and findings. The neutral setting is also a major plus as it puts people at ease and adds familiarity. This way although you are conducting research, the people involved may feel more that they are just conducting a conversation and repeating their views, consequently, this familiarity allows people to unwittingly drop their guards which leads to more honest and intuitive answers and opinions being put forward. In a focus group the public feel less 'under the microscope' than when being subjected to a cold multiple-choice interview over the phone at 5pm while the families evening meal is burning in the oven. There are slight disadvantages in the use of focus groups, for example: people in the research could still feel that they are in an experiment. This could see their brains conducting answers to please the researchers or give off a structured fake opinion. These disadvantages are, however, in the minority and are far outweighed by the advantages displayed above.

In my work of applying the use of focus groups to their study I would first find a suitable location: one which echoed warmth and familiarity, in which I could hold the groups. I would then devise questions or points, which could be raised. My main aim would be for the supposed 'questions' to be more like open discussion points. So, for example, one could be presented with a sentence or paragraph discussing "whether or not they feel that, as a society, they are aware of the medias power and use of propaganda and sensationalism when passing on information to them. In simpler terms, are they aware of the medias power to blow things out of proportion and change the main components of stories to give a completely different meaning or impression?" The questions initially proposed by Lewis, Morgan and Jhally were closed multiple choice undertaken among the confines of a telephone conversation. By having focus groups and raising issues rather than asking direct questions one will find a lot more flow and natural progression. This in turn will lead to clearer and more concise outcomes. Other question topics could include that of : 1. "As a public, you allegedly have a better understanding of Clintons scandal related issues rather than political agenda: discuss and explain?" 2. "Claims that you as a public are mis-informed with regard to Clintons political agenda have arisen? Discuss" 3. " New Democrat? Discuss your opinions on this in comparison with the liberal wing of the party" 4. "As a nation, you are willing to accept his full package in sake of the things you support? The lesser of two evils? Discuss"  Once devised these questions would be displayed in several ways, these would include: 1, a pamphlet to be given to each member of the public in attendance. Pamphlets would pose the questions in an un-intimidating form and would also include prose with regards to our group's history and work. Hopefully this would again aid in the familiarisation of our audience to us and provide them with some mental and visual stimulation should they feel bored or distracted at any point. 2,  they would also be wrote in large, bright letters upon a white board which would provide us with an initial springboard for the discussions and also act as a loose agenda for the meeting. Again, working along the comfort and warmth vein, the group would be provided with refreshments, such as coffee and biscuits, throughout the meetings duration. The meeting would be held in community centres throughout the states, this would either be done through volunteer workers helping in each state or us as a group taking the focus group 'on the road' travelling from city to city and conducting the groups in our transport/meeting room. Once all the details had been finalised we would then begin to invite and advertise. Taking a stratified sample of a higher number of the population, sorting into age, rage and gender before posting invites with incentives to attend such as free gifts or tokens, perhaps we could attain some sponsorship from a major company?

To conclude, this type of research would provide the next step to the questions initially posed in the report conducted by Lewis, Morgan and Jhally. The open style of the questions/topics would provide the researchers with a more advanced, intuitative understanding of their audience. Consequently, this would allow said researchers to make more rigid valid judgements on the American public rather than just sweeping generalisations without root. As an afterthought, the division between qualitative and quantitative methods has evolved for a number of reasons but we, as a society should not follow these religiously. Perhaps if more researchers allowed the two styles to intertwine then we as a public and they as academics would develop a more intuitive understanding of media power?

614.          Life as a Fashion Designer

Introduction

The career in which I am most interested in the textile industry is that of the fashion designer. A fashion designer is the person who comes up with the ideas and designs today, for the clothes that we, the consumers, will be wearing tomorrow. This alone, the power to inspire the world of fashion , would be enough to make me want to become a designer, but designing clothes is also a way of expressing yourself. Each designer is unique and thus the clothes that each create are just as unique. Although the job of a fashion designer may seem easy, there are many abilities involved in the job. Some of these abilities, which I posses, include a love for fashion, understanding of color and combinations of color, and the ability to convey design ideas through pictures. Along with the possessed above qualities, taking clothing classes in school has made me realize the many ideas that I have for clothing and becoming a fashion designer would allow me to convey these ideas to those around me.

Life As A Fashion Designer

In essence a fashion designer is a person who develops new styles for clothing or clothing accessories. These new styles can be achieved by creating original designs or by adding personal ideas to old styles to suit popular trends or environmental requirements. "For The job of a fashion designer involves many different duties. Typically a fashion designer must first develop an idea for a garment and then convey this idea graphically through drawing or computer visuals. Once this is done a pattern must be created and thus the designer must meet with pattern makers. Along with creating the pattern, the designer must choose the fabric type and color for the garment. After these choices have been made, samples of the garment must be created and shown to the management, sales and manufacturing staff. Once prices for the garment are calculated, finishing samples are created and must be approved before they go into production. Finally, once the garments are in production, the designer meets with the production staff to ensure quality control. Along with this immense amount of work, a designer is still expected to stay in tune with current fashion trends not only where they presently live, but all over the world. It is almost as if learning and putting that information into action never ends for a fashion designer.

To become a fashion designer, one must have a lot of creativity, imagination, fearlessness and passion. " I am really passionate with making clothes." (said by Francesca Marotta in interview) People in the fashion design world must also have a strong sense of the esthetics. This is an eye for color and detail, a sense of balance and proportion, and an appreciation for beauty. Although computers have aided in fashion design, the ability to sketch design images is an important skill that all prospective fashion designers should possess. It is also necessary to keep a good portfolio, a collection of examples of a designer's best work, so that prospective employers can have a sense of the quality of your work.

Fashion design may seem like a career that involves no school training, but this is not true. Along with a portfolio, as mentioned above, designers are usually require to have a 2 or 4-year college degree in design. One example of a designer who attended college is Francesca Marotta, who attended the London College of Fashion. Education in fashion will be important, especially for prospective fashion designers, because statistics are now showing that the employment rate in the design industry is growing faster than the average. People looking for jobs in the fashion design industry should expect to face fierce competition for designing positions. People with little to no education in design, along with those who lack creativity and imagination, will find it extremely hard to start and maintain a career in fashion design.

In terms of money the median annual earnings for fashion designers were $48,530 in 2000. The middle 50 percent earned between $34,800 and $73,780. The lowest 10 percent earned less than $24,710, and the highest 10 percent earned more than $103,970. Benefits vary with employers. Designers often negotiate their salaries and benefits individually with employers. Some firms provide vacation and group health insurance plans. Self employed designers must supply themselves with their own insurance, but it also means that their schedule is  very flexible and allows them to take time off to travel for business or pleasure at any time which is convenient to them.

Interview

Basement Couture

by Marian Buckley

In a Ladbroke Grove basement studio flat, I sit down with designer Francesca Marotta. This is couture heaven, W11 style.

Francesca says she always knew she wanted to be a fashion designer. "When I was 4 I said to my Mum, 'I am going to work in fashion'." By the age of 10 Francesca was whipping out the family Singer to run-up dolls' clothes. "I remember when my Mum used to go shopping, I would open up the sewing machine and make clothes for my sister's dolls, and then when I heard the car come back I would quickly put the sewing machine away again."

After studying at university in Belgium (her family relocated to Belgium, leaving Sicily when she was 5) Francesca moved to London to study for a BTEC National Diploma at The London College of Fashion. She never completed the course. "They never liked my style," she explains. "The London College of Fashion is very good for technique, but at the time they weren't broadminded, they weren't like St Martin's - the crazier you are the more they like you! But there it was very different. It was good, but there were about 20 people who just didn't fit in."

Despite having a rough time at LCF, Francesca fell in love with London and has made the city her home ever since. "There is a London style," she says. "whenever I go away and I am coming back I can feel the buzz on the plane... there's a London smell."

Since LCF, Francesca has designed for Souled Out, worked for a retail company, taken a business course and is now looking at expanding her business. In March 2002 she came 2nd at the Neuvieme Concours Jeunes Creaturs, an award for new design talent in Lille.

Her latest collection is in a suitcase. "I start by finding the fabric first," she tells me as she unsheathes reams of gorgeous textures - a crystallized piece of mesh that's she discovered in a fabric shop, it looks like woven gold wire with glittering beads, but feels like a piece of jewelry. Francesca describes how this will form a top with just a fastening at the back. Her inspiration for the collection was, "What do I want to wear next winter?". She adds "It's very feminine." Don't expect any easy, straight to the high street trends going on here. Forget jackets and other cold weather items. Francesca loves ball gowns. For this collection she's created a bonkers straight-at-the-front-curved-at-the-back skirt with an under wired petticoat, leather tops, feather arms bands. She's using taffeta, silk, curtain fabrics and has a magpie's stash of feathers (chicken and turkey bought from a basement shop just off Oxford Street), chicken wire, camping tent rings, pendant earrings and leather. From this amassed material 8 outfits are to emerge to be shown at The Cobden Club in a few weeks time.

"I am really passionate with making clothes," she confesses, and you know this woman is telling the truth. Marotta has developed her own unique couture - it could never officially be labeled couture because it doesn't comply with the rigid rules that govern the practice - but it is her own version. "I love couture," she admits. "If I could, I would make a million pound dress... Most people think of couture as something for mature women. I like edgy couture. It's not French, it's more avant garde."

The collection will be handmade and most elements are designed on the fly. She doesn't work with a toile and although she can sketch, she prefers to dive in and design without one. Her mother is fantastic knitter and she contributes to the collections: "All the knitting you see in my collections my Mum makes for me. She could have been a designer because she does some really funky pieces." Her parents are also her main backers, but Francesca is hoping to find some investors, people who like her vision. "I am trying to find investors to be able to do the London Fashion Week. I would really like to do that," she says with a beaming smile.

"I've always liked the idea of becoming a band stylist, where each song has a new theme so you design a mini collection for the band. With bands you can always go over the edge and use your imagination." Which bands would she ideally like to work with? "Ms Dynamite, I think she's funky or So Solid Crew."

In the meantime, she's building up her personal client list by making one-off pieces. "If a friend says to me I want a top I know exactly what to do... a friend said they wanted a velour tracksuit I say we don't do velour we do suede with crystals. I have people say they want a fake Versace and a fake whatever and I can do that - you know you have to make ends meet." She's approached a few shops but local retailers feel she would be better in the West End. "I went to a few shops in Portobello and they said my designs were too futuristic. I am hoping that Pineal Eye, Tokian To Zai somewhere like that will take some pieces."

Conclusion

Being a fashion designer had many advantages, but it has many disadvantages as well. Below is a chart of most of each.

Being a fashion designer is not a job that I would like to pursue professionally. I love to create clothes for myself, but only for my pleasure, almost like a hobby. If I were interested in pursuing the career, there are a few things that I could do. These include taking clothing courses and designing courses. As a junior it is also important to look for good colleges that specialize in fashion design. Through college there are some co-op programs that make the transition to the work place easier.

Bibliography

Buckley, Marian; Basement Couture [interview on-line] (London, England: WideMedia Ltd., 1995, accessed May 20, 2003); available from

http://www.widemedia.com/fashionuk/fashion/marotta/index.html ; Internet.

Battock, Tina ; In Style [magazine online] (Boulder, Colorado: About  Inc., 2003 accessed May 20, 2003); available from http://sewing.about.com ; Internet.

Ungless, Simon. "Careers in the Fashion Industry."

The Career Center  [magazine article] May 31,2002.

615.          Life Of Aaron Copland

Life Of Aaron Copland

Book Reports: Copland: 1900 through 1942 and Copland: Since 1943

In their books: Copland: 1900 through 1942 and Copland: Since 1943, Aaron Copland and Vivian Perlis give a detailed account of the life of one of America's most influential composers. The books are arranged similarly to the Shostakovich biography that our class reviewed earlier this semester. That is, through personal accounts by Copland himself along with accounts of Copland's friends and acquaintances, the authors manage to paint an accurate and interesting picture detailing the life of the great composer. When combined, the two books recount Copland's entire life, dividing it into two periods for the purpose of easier organization and reading. Copland was born in New York City in 1900. Copland had a large and loving family in New York. His childhood was comfortable, as his father owned a department store where Copland worked for much of his young life. Copland's mother is described by the composer as "affectionate and a very nice mother to have" (pp. 18) Copland showed an early interest in music, and by the age of eleven, he had surpassed the knowledge of his older sister in the ways of the piano. As a child, he had taken lessons from his sister, but by eleven, he felt that he needed to consult an outside source in order to learn more.

At the age of eighteen, Copland graduated from high school. He pursued his interest in music and began to search for a teacher who could teach him musical harmony. Copland's piano teacher suggested that he study under Rubin Goldmark who had a studio in Manhattan. Copland found Goldmark to be a very effective teacher. However, Copland and his piano teacher decided to part ways so that Copland could expand his horizons. Under Goldmark, Copland learned very effective methods of composition, but sometimes felt bogged down. Goldmark did not approve of some of Copland's interest in the more modern musical works, and Copland found this frustrating. After composing a number of "Sonata-form" musical pieces with Goldmark, Copland decided he needed a change of scenery. In 1921, Copland decided to study in France. Even as Copland left his old teacher, Goldmark stressed his traditional ideals. Before Copland's departure, Goldmark wrote: "I hope you will make more progress in the Sonata form...Even if you should fall into the hands of some radicals."(pp. 35)

In France, Copland found a new teacher in Nadia Boulanger. Boulanger quickly proved to be on of the "radicals" that Goldmark feared so much. Under his new teacher, Copland was encouraged to delve into new rhythms and musical techniques. He was encouraged to express his American background by incorporating jazz and other influences into his music. As a result, his music remained distinctly American and did not merely imitate the more traditional European artists.

Copland returned to America, New York in particular, in 1924. He quickly began work on a piece that was to be performed by the New York Symphony Orchestra. This work was called The Symphony for Organ and Orchestra. The piece did a good job of affirming Copland as one of America's brightest new stars. Some critics panned the piece, but most enjoyed its originality. In fact, the work was even called "the voice of America" (pp. 104). This can no doubt be attributed to the large influence of jazz on Copland's music. This influence gave Copland's music an American sound that differed from the more traditional works of classical composers. Copland followed this work with more "American" compositions that the composer played throughout the country, and even in South America. As many composers do, Copland found himself constantly searching for a steady income. At this time in his life, Copland thought it would be best to slow down a little bit and gather himself. He was offered a position teaching at the New School for Social Research. Although the money was not extraordinary, the steady income proved to be just what the composer was looking for. Not only was Copland able to rest and make money, but this period of his life allowed him to focus on the future of his music. He studied and taught other types of more modern musical pieces and learned as much as he taught. Copland also did a lot of musical promoting at this time. The book devotes an entire section to an number of concerts Copland organized with Roger Sessions. Along with these concerts in New York, Copland sponsored a number of other concerts that greatly solidified the worldwide respect for American music. Although American music was being praised at this time, Copland expressed his distress at the influence of musical critics. After the Yaddo Music Festival in 1932, Copland said: "Frankly, I am consider daily newspaper criticism a menace, and we would be better off without it." (pp. 206) During these years, Copland also felt great influence from Russian neoclassical composers. Specifically mentioned is Igor Stravinsky. Between the years of Copland's 30th and 35th birthdays, Copland composed a number of pieces that showed this influence. One such work is Short Symphony, of which Copland says he is very fond. In fact, Copland calls the piece one of his "neglected children". (pp. 212) He says that, to him, it means more that pieces such as this receive less attention than some of his more popular works. This is interesting to me given his known dislike of critics. It seems to me that he views his work with a loving heart, and prefers that it remain only to be enjoyed by himself and those willing to listen with an open mind.

In the 1930's Copland spent a good deal of time in Mexico. He wrote a number of pieces that expressed the influences he had there. Although Copland was distinctly American, he still managed to capture the spirit of another country with his music. Although many Latin fans were supportive of Copland's departure from his normal musical composition, many of the composers with whom Copland associated did not like the change in Copland's style. Copland's refusal to succumb to such criticism is not surprising. He had always done his own thing and made the music he wanted to. Although his true calling was composing more classical pieces, he also enjoyed the opportunity to reach a larger audience by changing his style every now and again. His delve into more popular music was criticized, but Copland found it to be extremely insightful. He says that it gave him the chance to remember how to incorporate such influences of grass roots music (such as jazz) into his works. By the end of the 1930's, Copland was returning to his American roots. At this time, he composed what he calls his most well received work. This work was Billy the Kid. This ballet incorporates many elements of America while at the same time producing wonderful music that advances American composition. Critics and audiences both loved the piece, and Copland's popularity grew. He was hired to score many movies, including such classical works as Of Mice and Men and Our Town. By the end of the first book, Copland: 1900 through 1942, Copland had fortified himself as one of the leading voices in American music, and as a result, he became a voice for American culture. Along with other American composers, Copland gave America the opportunity to show that Europe alone did not control the evolution of music, whether classical or otherwise. By the beginning of the second book, Copland's place in history was already secure. At the beginning of Copland and Perlis' second book, the opportunity for Copland to score another movie is discussed. As earlier stated, Copland had already been able to examine grass roots musical influences of America and Mexico. The movie, The North Star, gave Copland the chance to discover another country's culture. This time, it was Russia. Copland researched Russian folk songs and cultural influences when working on his score. The score from this movie received much critical acclaim and even won Copland an Academy Award. Again, Copland had proven that he was a master at expressing the culture of a country through works of musical accomplishment. In 1944, Copland's ballet, Appalachian Spring, debuted. This ballet was one of Copland's most celebrated works. The New York Times called Copland a "natural" (pp. 46). Appalachian Spring even won Copland a Pulitzer Prize. The ballet was written for a specific ballet dancer of the time period. Appalachian Spring was about pioneers in Pennsylvania celebrating the building of a new farmhouse. The work was another testimony to Copland's ability to project every day American life into art. Around this same time period, Copland began lecturing at Harvard. In 1951, he became the Norton Professor of Poetics at Harvard University. His lectures were published as a work of poems. Around this time, Copland's mother passed away. In the book, Copland discusses how he took his mother's death and the way that her passing influenced his music. As earlier discussed, Copland came from a very close family, and news about a member's death was bound to be taken hard. Between 1946 and 1954, Copland produced a number of his greatest works. The Twelve Poems of Emily Dickinson and Copland's Third Symphony were both called Copland's greatest individual work by a number of Copland's contemporaries. At this time in Copland's life, he traveled the world very much. After reading of all of the places he had been, I began to wonder whether he viewed himself as an anthropologist as well as a composer. In addition to composing Mexican and Russian pieces during his life, Copland also traveled to Italy, Paris, and Israel, learning about cultures and teaching people about music. Copland performed and gave speeches while in foreign lands. He spoke both of American culture and of music while he traveled the world.

Towards the end of Copland's life, he again changed the way he viewed music. In his fifties, Copland began conducting. He also began to become more interested in a different style of composition. Namely, he began composing in a 12-tone technique. I am not a skilled musician, and I do not completely understand what this means, however, Copland's contemporaries found it to be a confusing and difficult style. He composed a number of works in this format. In 1962 he composed Connotations, and in 1967, he composed Inscape. These two pieces are representative of his more mature style. Copland states in the second book that he did not like being called a twelve tone composer, and felt that he was a little bit misunderstood. He seems to have always felt that just because he chose to explore a certain type of music, he should not be criticized for his curiosity or his change of pace. This theme is concurrent through both of the texts, and reaffirms Copland's frustration with critics. Although our assignment was only to write reports on the two books by Copland and Perlis, I decided to do a little bit of research about Copland's accomplishments. I found it very interesting that throughout both books, the topic of Copland's frustration and disagreement with music critics kept coming up. After reading the books, it became apparent to me that Copland was a very decorated musician with many awards to his credit. Although not all of these awards are detailed in the book, I still was curious to find out just how critically acclaimed Copland was. I found that he was one of the most honored cultural figures in American history. Throughout his career, Copland won, among other awards, the Presidential Medal of Freedom, and Academy Award, a Pulitzer Prize, and the Commander's Cross from the Republic of Germany. Copland was also a director or board member of a number of influential musical organizations, such as the American Music Center and the Koussevitzky Foundation. Copland also received an honorary doctoral degree from over 40 universities. Also, a school of music was established in his name at Queens College in New York City. So, although Copland was uncomplimentary of music critics, I found it very interesting that critics were so very fond of him. Finally, I will say something of my own insight. I find that reading quotations from a contemporary of the composer is a much more insightful way to learn about the composer's influence than reading the composer's own thoughts. Copland's modesty in his thinking is obvious when compared to the way other artists of the time period viewed him and how music critics and music organizations revered him. In both of the books by Copland and Perlis, some contemporaries disliked Copland's works, and some loved them, but it seemed that all respected him. To me, is quite telling that Copland's works were truly as influential and culturally insightful as it is claimed in his biography.

616.          life of alfred hitchcock and all his works

Alfred Hitchcock (1899-1980) b. London, England.

Alfred Joseph Hitchcock was born in London on August 13, 1899, to William Hitchcock, a poultry dealer and fruit-importer, and Emma Whelan Hitchcock. As a young boy he was possessed by wanderlust, and by the time he was eight he had ridden every bus line in London and explored all its docks and shipping terminals. His parents were devout Catholics and made sure their son had a proper Jesuit upbringing. Once, as a child, when he had done something of which his father disapproved, he was given a note to take to the police chief. The officer read it and put Alfred in a jail cell for ten minutes. "That's what we do to boys who are naughty," he reprimanded. Ever since then Hitchcock has had a phobia for police and police stations, and this fear has manifested itself in many of his films. He attended St. Ignatius College, a Jesuit preparatory school in London, where he started on a course that would prepare him to become an electrical engineer. He eventually was forced to give up his courses at the University of London to help support his family by working as a technical clerk in a cable-manufacturing concern. Not to be deterred, he rose from the lowly job to the advertising department.

Upon learning one day that the Famous Players-Lasky Company was planning to open London studios, Hitchcock went to work on a pet idea, he felt that film title cards were atrocious and decided to design some to present to the new producers. After battling past the army of secretaries and assistants he somehow managed to wrangle his way to the top man who saw and liked the batch of title cards for The Great Day (1921). By 1923, he was a scenario writer for Gainsborough Pictures in Islington, England, and that same year he saw his first credit as art director for Woman to Woman (1923). This came after he had tried his hand at directing a comedy about London low-life called Number Thirteen (1922). The star of the picture, Clare Greet, put up some of the money for the. project, but apparently it was not enough to sustain it and the film was never completed. He later became co-director on the film Always Tell Your Wife after the first director became ill and could not complete shooting. He then acted as designer, script collaborator, and assistant director on The White Shadow (1923) for Gainsborough and continued there with The Passionate Adventure (1924) in the same three jobs. The Prude's Fall (1924) and The Blackguard (1925) both followed. Then Hitchcock got his first break. He was asked to direct The Pleasure Garden (1925), which would be his first complete film as director. It was to be made in Munich, and Hitchcock brought the cast and crew to Germany on a $50,000 budget. The picture was a slight melodrama, but it obtained good reviews and brought attention to Hitchcock as a capable director. Following The Pleasure Garden, Hitchcock returned to the German studio Emelka for his second film, The Mountain Eagle (1926), which was also shot on location in the Austrian Tyrol.

In 1926 he made his first suspense yarn, The Lodger (1926), a story about a man mistaken for Jack the Ripper. The film was praised by critics and audiences alike. Hitchcock married Alma Reville on December 2, 1926, at Brompton Oratory. He knew Alma from Famous Players-Lasky, where she had been a writer. After completing The Lodger, Hitchcock was offered American directorial stints, but he chose to stay at Islington. Somehow his next film didn't measure up to his previous success. It was appropriately, and ironically, called Downhill (1927). A modest soap opera, it was out of Hitchcock's league and did not do well. He went to work on another film, Easy Virtue (1927), based on a play by Noel Coward. The playwright, who is known for his verbal wit, was obviously better on the stage, and the silent film proved boring without sound. It was 1927, and upon completion of Easy Virtue he quit Gainsborough and went to the Elstree studio of British International Pictures (BIP). The story of his first film for British International Pictures, his own, was about the boxing world. The Ring (1927), released in 1927, was a creative effort which brought both him and his studio praise.

The The Farmer's Wife (1928), which concerned a man's selection of a wife from the community, this was followed by a film that was not as bubbly as it sounded. Champagne (1928) originally had a Hitchcock story but was rejected by studio executives. British International Pictures then assigned Hitchcock a Hall Caine novel, The Manxman (1929), which was definitely not material that interested him. Accordingly, it was less than successful, but the studio had savvy enough to hold it from release until after his next film had received a gratifying box-office. Blackmail (1929) was to be his last silent film; it was 1929 and the talkies had arrived. For Alma and Alfred Hitchcock, 1929 also meant the arrival of their first and only child, Patricia Hitchcock had almost completed shooting Blackmail when the studio told him that they wanted to remake it as a sound picture. He has always enjoyed, even invited, challenge to his work, and sound gave him the opportunity to invent new methods to overcome its problems. Even though Blackmail was his first dealing with sound, his innovations proved successful. He had exploited a new invention of a mechanical art which had proven deadly to others. Not yet known as the master of suspense, Hitchcock next directed a sequence in a musical revue called Elstree Calling (1929), Hitchcock directed only a small sequence in which Gordon Harker did a couple of sketches.

Hitchcock then returned to the format of the more serious stage-play adaptation. Juno and the Paycock (1930) was a film based on the Sean O'Casey play. This was nothing more than a photographed stage play. it was followed by Murder (1930) which, because of its technical innovations in sound, was a melodrama that went above its class. In 1931 he directed only one film, The Skin Game (1931), based on the John Galsworthy play about the English class system. Rich and Strange (1932), his first 1932 production, was part comedy, part drama, which Hitchcock enjoyed doing but which apparently audiences didn't appreciate. Number Seventeen (1932), his final film for British International Pictures, was based on a stage play and was a comedy-thriller, a genre in which he felt at home. It seems Hitchcock had performed every function on a movie production except to act as producer. He got that chance with Lord Camber's Ladies (1932), which he produced but did not direct. It was quickly made and starred the marvellous Gertrude Lawrence. The idea of getting caught up in independent productions made him decide to return to Michael Balcon, head of Gaumont-British, where his first film was a Viennese pastry called Waltzes from Vienna (1933), a film he considers to be his worst. His six finest British thrillers were the result of this union. The first, released in 1934, was the highly praised The Man Who Knew Too Much (1934), followed in 1935 by The 39 Steps (1935) which outdid it. The Secret Agent (1936) was based remotely on a novel by Somerset Maugham. Sabotage (1936), also produced in 1936, was based, ironically, on The Secret Agent by Joseph Conrad but had absolutely no connection to the previous film. Young and Innocent (1937), a delightful production, starred the now-grown Nova Pilbeam, child actress of The Man Who Knew Too Much. It was followed by the remarkable The Lady Vanishes (1938). This completed his contract with Gaumont-British conveniently so.

After many entreaties from the United States, he finally accepted David O. Selznick's offer to make five films for $800,000. It meant selling his beloved Shamley Green, but the pastures did indeed look greener in America. When he began his television series in the 1950s, he named the production company after Shamley. Selznick did not need Hitchcock until late in 1939, so the director decided to make one more picture in England to keep busy. He returned to Elstree, where he was coaxed into working on Jamaica Inn (1939). His first film for Selznick was supposed to be Titanic. This was scrapped, and instead he directed a British Gothic based on Daphne du Maurier's novel of the same name, Rebecca, starring Joan Fontaine. Although he did

His 1943 film, Shadow of a Doubt (1943) remains one of Hitchcock's favourites. He says it's one of the only films where the characters are allowed to develop and because of this is more successful and plausible than his other thrillers. That same year he went to work with Tallulah Bankhead on his last war-oriented drama, Lifeboat (1944). Always the craftsman and technician, Hitchcock was excited by the challenge of shooting a film within the confines of a single set. Throughout his career he would continually strive to create situations in which he would manipulate his medium in a new way to maintain interest and plausibility. A patriot, Alfred Hitchcock was released from his Selznick contract so that he could return to England to direct two documentary shorts (Bon Voyage and Aventure Malgache, both 1944)for the Ministry of Information. The cast for these film consisted of French actors who worked as the Moliere Players. Made in French, the films were shown throughout France after the Liberation, but no prints were released in English-speaking countries.

It was 1945 and he decided the next three pictures would be for Selznick so that he could complete his contract. Spellbound (1945), starring Ingrid Bergman and Gregory Peck, was the first; Notorious (1946), in 1946, with Bergman and Grant, was second; and 1947's The Paradine Case (1947), with Peck, was the third. Originally he was supposed to do five films in his seven-year contract, but this was reduced to four. The Paradine Case was the poorest of the package and Selznick lost money on it. Spellbound and Notorious well made up for the loss, however bringing millions of dollars into the Selznick coffers. But now Hitchcock was free-free to do what he pleased. His choice was a partnership with producer Sidney Bernstein in a company they call Transatlantic Pictures. The idea was to produce films in Hollywood and London. As it worked out the company made only two films, one in Hollywood and the other in England. The first was made at Warner Bros. in Burbank. it was Hitchock's first colour film, Rope (1948), the story about two youths who kill another, just for the thrill of it. Since the ten-minute takes were not completely successful, Hitchcock tried slightly shorter ones - seven minutes in his next effort, a costume drama filmed in TechniColour called Under Capricorn (1949), it too was a slow, plodding film, due not so much to the long takes as to a verbose scenario. It was filmed in England, where Hitchcock remained to make Stage Fright (1950), with Marlene Dietrich and Jane Wyman, which was a dull affair with little suspense. It seemed that England no longer held the magic it once did for Hitchcock, for Stage Fright was his fourth straight loser. He was to regain his mastery of suspense with his next superb 1951 production, Strangers on a Train (1951), like Stage Fright it was made under contract to Warners, but unlike the latter, it was critically and financially his most successful film in five years. Like Shadow of a Doubt, Strangers on a Train employed real locations.

Hitchcock's strict Jesuit upbringing is reflected somewhat in his next Warners film, I Confess (1953). Montgomery Clift appears in this film as a priest who cannot exonerate himself of a murder charge because the actual murderer has revealed himself to Clift in the sanctity of the confessional. The problems of Church and State play a major part in this detailed film. and on the whole, proved more frustrating than suspenseful to the audience. Frederick Knott's well-oiled stage play, Dial M for Murder (1954), was next on the Hitchcock agenda at Warners and was filmed in the technical marvel of the day, 3-D. Hitchcock had lots of experience with filming stage plays, and his philosophy was, "why open up any drama originally intended for a confined space?" The result is a talky film, but suspenseful nonetheless. After Dial M for Murder, Hitchcock returned to Paramount, this time he was producer and could be the obligatory "tampering executive!' For the first Paramount film he created what some critics consider to he his best work, Rear Window (1954). Once again he met the challenge of a confined set, a one-room flat overlooking the rear court of an apartment complex. Besides James Stewart, Grace Kelly, and Thelma Ritter, the real star in this thriller is the camera, which becomes the eyes of the audience. Hitchcock was always the voyeur in his films, and for Rear Window he created a voyeur's paradise, complete with binoculars and telephoto lens. But if any film shows us how Hitchcock manipulates his characters and his audiences for the particular effect he wants, this one does. Grace Kelly returned to Hitchcock the following year, 1955, in the enchanting To Catch a Thief (1955), a light-hearted chase across the azure coast of the Riviera, as good a place as any for location photography. Hitch's 1955 film, The Trouble with Harry (1955), a black comedy about a dead man whom everybody seemed to feel responsible for slaying. Filmed in Vermont, The Trouble with Harry was one of Hitchcock's pet projects but unfortunately didn't prove successful with audiences. Perhaps its humour was a bit too personal or contrived for moviegoers.

The Man Who Knew Too Much (1956), was a remake of his 1934 classic but was far from a deja vu experience. The plot remained substantially the same but was lengthened from a little over one hour to two hours. In addition, the widescreen VistaVision and TechniColour added a new brilliant gloss and spectacle to the production filmed in England and on location in the Mideast. Doris Day, whom Hitchcock had seen and liked, was cast in the role of a retired singer turned worried mother. The plot was hinged in part on her singing of the song "Que Sera Sera," an Academy Award winner, which was dramatically used at the climax of the film. Back at Warner Bros. in 1957, now as an independent producer, Hitchcock dabbled with a new idea, a suspense story based on fact. The Wrong Man (1956), a black-and-white semi-documentary, starred Henry Fonda and Vera Miles, an actress who appeared often on Hitch's TV show. The title of the film echoed one of the director's favourite themes, the wrong man accused of a crime he didn't commit. But as much as the theme of compassion was built up, the real-life quality of the story actually hurt the box office. After The Wrong Man, Hitchcock returned to Paramount to make one of his more complex and absorbing mysteries, Vertigo (1958). James Stewart was cast in his third Hitchcock film opposite Kim Novak, who was given the opportunity to prove her acting ability. The 1958 production received mixed reactions but did well at the box office and exemplified Hitchcock's meticulous planning before actual shooting.

The war had begun in Europe, and Hitchcock yearned to return to Britain. But he was urged to remain in America and use his talents for the Allied cause in his films. The result was a flag-waving but sensational film called Foreign Correspondent (1940). Made for Walter Wanger and United Artists, it was his first film on loan from Selznick. It was also the first of an unrelated trilogy of war propaganda films he would direct. Hitchcock relished the Hollywood high-life and became good friends with many of the leading stars and craftsmen. One enduring relationship was with the beguiling Carole Lombard, who insisted that Hitch direct her in a film. The result was the fast-paced 1941 screwball comedy called Mr. and Mrs. Smith (1941). Later followed another RKO production, a British locale thriller called Suspicion (1941). Once again he used Joan Fontaine, who picked up an Oscar for her performance. In 1942, Hitchcock made his second war-effort film, a cross-country chase thriller, Saboteur (1942).

North by Northwest (1959) was filled with Hitchcock's subtle, but always black humour; still, it could not compare with the sadistic trickery he employed on the audience in what most people agree is his tour de force in horror, Psycho (1960). Hitchcock used all his knowledge and experience to manipulate audience emotion. Psycho was a return to black-and-white and was filmed quickly by the same crew that shot his TV series. While many films are gimmicky, Psycho is simple and unassuming. Its advertising, however, employed a brilliant ruse. Because the heroine was killed a third of the way into the film people who arrived late wondered where Janet Leigh was. Thus Hitchcock appeared in the advertising and demanded that audiences show up on time before the film began as no one would be admitted thereafter. Psycho proved to be his most successful film with both critics and the box office and in its first run grossed $16 million on an $800,000 budget. Psycho was the last he would make for Paramount. He then signed a long-term contract for five films with Universal, one of the only studios left in Hollywood with a busy back lot. It wasn't until 1963 that The Birds was released. Two years of diligent planning were spent on the horror film. Probably the most unintentional horror of the film, though, is the acting of the lead actress, a Hitchcock discovery, Tippi Hedren, a former model who couldn't understand that she was no longer a mannequin. The Birds (1963), based on a Daphne du Maurier story, surpassed the technical artistry that seemed to peak with North by Northwest and Psycho. The film is full of ambiguities, but that was as Hitchcock designed it.

The following year, 1964, saw the release of Marnie (1964), again with Miss Hedren. This was a pure and simple soapy melodrama, so there wasn't all that much to ruin. In the tradition of Spellbound, it was a Freudian, analytical study of a kleptomaniac and a man in love with her because of her illness. The production was disappointing, if only because it appeared to be slapped together hastily without the loving care Hitchcock had devoted to his last few efforts. Another two-year wait for the next Universal fiasco, in the shape of Torn Curtain (1966), did not add much to the master's reputation. With the exception of a detailed murder sequence, the fiftieth Hitchcock film lacked the spark and urbane wit that added so much class and suspense to earlier spy and chase films. When three years had gone by with no Hitchcock release, people began to think that Hitchcock had retired. He, too, was getting restive without a project that could be filmed. For convenience only, he purchased the rights to Leon Uris's best-seller, 'Topaz'. Apparently Hitch hadn't learned his lesson very well with Torn Curtain. Topaz (1969) was just another, ever-more-complicated Cold War spy story. Once again, with the exception of a few sequences and details, the film was a failure. Returning to England, where he hadn't produced a film in almost twenty years, Hitchcock concocted what critics called "a gem of a picture." The project was one that had been in mind for many years but was an on-again-off-again affair. Frenzy (1972) was the title, and it was clear that the master of suspense was once again in full control. He was now seventy-three but his age did not manifest itself in this briskly paced suspense story about a man accused of a crime his best friend committed. Frenzy was released by a very pleased Universal and made $6.5 million in net rentals on its first run in the United States and Canada alone.

An Englishman with an admittedly English humour, of his fifty-three feature films, twenty-eight were British (counting four that were American-produced, but made in England). While each is unique, they share a common bond of vitality. Hitchcock was a director who did not like to actually make or shoot films. He liked to create them on paper, figuring out every shot, every technical problem, and every movement of camera and actor. Once it was down on paper he felt his work was done and the actual shooting was only going through the motions, a mere formality.

Hitchcock said he never read the critics. He made films to satisfy himself and his audiences. Even off the job, he was always trying to keep the people around him amused or in a dither. One of his favorite practical jokes, and he was known to have pulled many in his day, was describing a particularly bloody killing while he was riding a crowded elevator. Perhaps he was more amused than anyone. Nevertheless, his films have grossed well over $200 million, and he had been the impresario of some 350 popular TV shows. Part of his mystique, his public sobriety, had to do with his shyness and unerring modesty. In fact, he rarely sat in a theater with an audience watching one of his films. The first time he had done this in a long while was at Lincoln Center at his Gala Tribute in 1974. He had the opportunity to hear them scream and squeal and watch them squirm in their seats.

You would think that he would have missed this after so many glorious thrillers, but no, Hitchcock said slyly, "I can hear them screaming when I'm making the picture." His theory of mystery and suspense as been applied to almost every one of his pictures. In an interview in Life magazine he was able to explain it simply: "Let us suppose that three men are sitting in a room in which a ticking bomb has been planted. It is going to go off in ten minutes. The audience does not know it is there either, so they go on talking inanely about the weather or yesterday's baseball game. After ten minutes of desultory conversation the bomb goes off. What's the result? The unsuspecting audience gets a surprise .... That's all. But suppose the story were told differently. This time, while the men still do not know the bomb is there, the audience does know. The men still talk inanities, but now the most banal thing they say is charged with excitement. When one finally says, 'Let's leave,' the entire audience is praying for them to do so. But another man says, 'No. Wait a minute. I want to finish my coffee.' The audience groans inwardly and yearns for them to leave. That is suspense."

Hitchcock frightened millions of people around the world. Did he himself scare easily? Very easily," he admitted. "Here's a list in order of adrenalin production: 1. Little children; 2. Policemen; 3. High places; 4. That my next picture won't be as good as the last one." He liked to keep everyone in the audience interested. He did all right.

617.          Life of Leorando Da Vinci 1209

April 15, 1452 Ser Piero and Catarina (her first name is all that we know today) gave birth to arguably the most important man in history, Leonardo da Vinci. Leonardo was born in a farmhouse in Anchiano, which is 3 km away from Vinci. Leonardo's family had lived in this area since the 13th century.

Ser Piero, Leonardo's father, was a 25-year-old lawyer when Leonardo was born. As the story goes, Ser Piero did not marry Leonardo's mother (Catarina) because she was the daughter of a farmer. This caused many lifelong legal and emotional problems for Leonardo. Ser Piero did marry a woman shortly after Leonardo was born, her name in unknown. Leonardo had a total of four stepmothers in all, but it's thought that Leonardo's near by uncle is the one who nurtured Leonardo's powerful drive to learn.

Leonardo was christened at the Baptismal Church in Vinci. The parson Piero da Bartotomeo christened Leonardo to the name Lionardo, and not Leonardo. Leonardo lived in Anchiano for about 5 more years, until he moved to Vinci.

In 1457 Leonardo moved with his grandfather from Anchiano to Vinci. From this time forth Leonardo was a member of his father's family. Ser Piero and his first wife did not have any children; this may have been the reason for Leonardo's integration into his father's family.

Leonardo attended school in Vinci. Leonardo's teachers often became annoyed with his constant questioning of what they had just taught, and his many doubts. While in school, Leonardo learned to write, read, and calculate. He was also taught Latin and geometry. Leonardo believed that he had not learned enough Latin in school, so he taught himself more of it. In 1466, after Leonardo turned 16, he moved to Florence to begin his apprenticeship in the workshop of Verrocchio.

Leonardo began his apprenticeship under Andrea del Verrocchio in 1466. Verrocchio was at this time the most gifted and magnificent artist in Florence. Verrocchio had much influence on the young Leonardo, but Leonardo also had influence in Verrocchio. Verrocchio was so fascinated by Leonardo's drawings, that he gave Leonardo a place in his workshop. While working with Verrocchio, Leonardo got a chance to work with some of the other great artists of the time, such as Botticelli, Perugino, and Lorenzo di Credi.

During the years 1466-1472, there were no known works of art from Leonardo. At this time Leonardo taught himself how to paint in oils. One day when he painted an angel-Leonardo was known to draw better angel faces than anyone-Verrocchio reportedly threw down his paint brushes in jealous admiration and swore he would never paint again. In June 1472 Leonardo had begun being listed in the red books of painters from Florence. With the membership in the painter's guild of Florence, Leonardo's apprenticeship to Verrocchio ended. Still Leonardo always felt at home with Verrocchio and in times of stress he would return to visit with him.

Leonardo's first dated work is a pen and ink drawing of the Arnovalley. He drew it on August 5, 1473. This picture shows the ingenious mind of Leonardo, because he drew the landscape in a way that could have been real. No other artist had done this before.

On April 8, 1476 an anonymous person denounced Leonardo for having had a homosexual affair with one of his models. This was a great heresy against the church, punishable by death. He was acquitted of the charge but after this he was even more secretive than before.

In 1476 Leonardo and Verrocchio were commissioned to paint the Baptism of Christ. This is a great picture to compare and contrast Leonardo's methods with Verrocchio's.

Leonardo was not just skilled as a painter. He was also a very good sculptor--even though none of his pieces of sculpture survived the vandalism through the years. More than a great artist, he was a great thinker, the best of his time and possibly the best of all time. With the skills that Leonardo possessed he could easily have become a city planner, architect, inventor, engineer, physician, musician, anthropologist, botanist, or astronomer.

Leonardo was a very curious person. His most frequently used words in his notebooks were "I question. His questions ranged from what it would be like to walk on water to would a fly make a different sound if you put honey on its wings?

Leonardo learned about human anatomy the same way most artists learned about it at the time.

They did autopsies on cadavers. Leonardo had to keep his autopsies secret because they were banned by the

Church. To make matters worse he was left handed, which in those days was perceived as a sign of the devil. He was a vegetarian because he felt sorry for the animals that people ate. All of these personal habits and characteristics and his secrecy made people begin to think that he was a dark wizard, and his experiments were rumored to be a type of black magic. Leonardo's desire for privacy was so much so that he wrote all of his notes backwards so that no one else could read them.

He was a different type of man. He was strong, healthy and handsome with a carefully curled and brushed beard. His rose colored robes were short, unlike the robes of most men. He was always extremely clean in an age when most people weren't. He couldn't even stand to have paint on his fingers. Most of the time he was calm, though he was known to blush when someone insulted him like his arch-rival Michelangelo. Leonardo was a welcome addition to any party because of how he was able to devise clever riddles that made people roll with laughter. He even like to play pranks on people that would make them scream. Once he even unleashed what appeared to be a dragon, but it was only his lizard. He was an excellent horseman, sang well, played the lyre well and was capable of inventing his own instruments when needed. His favorite food was minestrone soup. There were two things that would put Leonardo in high spirits. They were flying and his design for a submarine.

Leonardo had no family of his own, but he adopted a peasant boy who lived with him for 26 years.

The boy was known as Salai, which means Devil, because he constantly stole from people. He even stole from Leonardo. In 1515 Leonardo drew a self-portrait of himself.

King Francis I invited Leonardo to spend the last span of his life in Ambosie. In the autumn of 1516 Leonardo arrived in Ambosie carrying the Mona Lisa. Leonardo's final 3 years were the most serene of his life. He came down with paralysis on the right side of his body in 1517 and his health continually declined after this time. On April 23, 1519 Leonardo wrote his last will, and on May 2, 1519 Leonardo

Di Vinci died. Vasari (a friend of Leonardo's) told the legend that King Francis I immediately came to Ambosie when he heard that Leonardo was near death. The painting from Cesare Mussini shows this last meeting, but it is only a legend, because King Francis was in St. Germain en Laye on May 1, 1519.

618.          Life s Too Short

Life's Too Short

Often times when the normal parent or upstanding citizen turns on the TV

and sees a young black man rapping about the hood they are usually turned off.

Stereotypes come in to play and the channel is switched without even considering

what message that human being is trying to convey.

When listening to rapper Too Short and his song "Gettin it", you here a

lot of stereotypes being defied. The song is about getting out of the hood and

making a good life for yourself. Most of society just assumes that these young

black rappers have no brain's and no sense of purpose for life.  Too Short's

song  "Gettin it" tells a different story.  Too Short's successes portray

the dream that kids have growing up in the hood.  Those kids dream of getting

rich at a young age and living  like a true "player" for the rest of their

day's.  They want to drive around in a benz' and have girls fill the whole

thing.  What these kids don't understand is that Too Short didn't get to where

he is by pimping or selling drugs, he got to where he is by some simple rules

discussed in his song "Gettin it".

First of all, an important ingredient to the song is how it appeals to

kids. With it's ghetto beat and monster bass the song is something that kids

feel cool listening to.  This  is his first success ingredient, getting the

attention of his audience so that they will listen to his message.  His message

is of course the best thing about the song.  It explains to kids to "stop just

hangin out, set your self some goals, think positive, and keep hustling".

Too Short has got to the financial level he's at, by following the keys

that he describes in his song, not by following the stereotypes that  parent's

turn off of the TV.  Acting ghetto, for appeal, and rapping with a sweet rythym

tongue was only the bare minimum of what he needed to rise to the top of the

rapping  industry.  Studies show that the majority of successful people are not

lucky, nor are they geniuses.  Successful people usually follow three simple

keys that are outlined in Too Short's song.

The first key to success is the ability to take action and go out and get

what you want out of this life.  Too Short talk's about this when he says, "you

got to get a good job and set your self some goals think positive, and never

stop hustling".  The world owes you nothing, you have to do the right things, or

you will slide down to average or below.  Successful people are models that

leave clues to follow.  Too Short watched guys rise out of the hood and go on to

live very prosperous lives.  He noticed how they did it and he learned from them.

One of  these people probably once told him that you either climb or you fall,

there is no cruise control.

The second key is to determine your goals of life.  Determine the outcome

you want to reach at the peak of your carreer.  Too Short says throughout the

song that he set himself some goals and had a passion and obsession to reach

them.  Early on when he was around 17, he thought of what resources he had to

change his present situation of living in the hood with no job.  He knew he was

good at rapping and that he could portray the life of a pimp in order to appeal

to certain kids.  He took these resources and ran with them.

The third and final key he used was the ability to alter his approach.  Too

Short didn't succeed on his first album or his second, but he kept hustling and

started making big bucks by his next couple album's.

He was always looking for ways to improve his rapping and come up with new

beats and titles.

So do you still think all young black rapper's have no purpose in their

babbling of word's amidst tons of  bass and beats.  I think that if you listen

to some, they might just surprise you, and teach you some lessons.  Do you think

that Too Short's success had to do with intelligence?  By no means have Too

Short's millions of dollars came from intelligence, he didn't even graduate from

high school.  What he has is the ability to take action, then set himself some

goals, "think positive and the rest is old".  Lastly, Too Short "never stopped

hustling" he altered his approach until he got to where he wanted to be.

Through mastering the art of communication he grasped an audience and got

the chance to convey his message.

The song, "Gettin it", with its many teaching keys, and the life of Too

Short are a great example of the fact that successful people don't get struck

from heaven with a golden wand, successful people aren't always intelligent,

successful people usually earn their way to the top by setting goals, taking

action on those goals, and changing in anyway needed to acquire those goals.

We all love to be at the top, but the question is, what are you willing to do to

get there?

619.          Lifes Too Short

English 110

11-18-96

Life's Too Short

Often times when the normal parent or upstanding citizen turns on the TV and sees a young black man rapping about the hood they are usually turned off.  Stereotypes come in to play and the channel is switched without even considering what message that human being is trying to convey.                                                                                 When listening to rapper Too Short and his song "Gettin it", you here a lot of stereotypes being defied.  The song is about getting out of the hood and making a good life for yourself.  Most of society just assumes that these young black rappers have no brain's and no sense of purpose for life.  Too Short's song  "Gettin it" tells a different story.  Too Short's successes portray the dream that kids have growing up in the hood.  Those kids dream of getting  rich at a young age and living  like a true "player" for the rest of their day's.  They want to drive around in a benz' and have girls fill the whole thing.  What these kids don't understand is that Too Short didn't get to where he is by pimping or selling drugs, he got to where he is by some simple rules discussed in his song "Gettin it".

First of all, an important ingredient to the song is how it appeals to kids. With it's ghetto beat and monster bass the song is something that kids feel cool listening to.  This  is his first success ingredient, getting the attention of his audience so that they will listen to

his message.  His message is of course the best thing about the song.  It explains to kids to "stop just hangin out, set your self some goals, think positive, and keep hustling".

Too Short has got to the financial level he's at, by following the keys that he describes in his song, not by following the stereotypes that  parent's turn off of the TV.  Acting ghetto, for appeal, and rapping with a sweet rythym tongue was only the bare minimum of what he needed to rise to the top of the rapping  industry.  Studies show that the majority of successful people are not lucky, nor are they geniuses.  Successful people usually follow three simple keys that are outlined in Too Short's song.

The first key to success is the ability to take action and go out and get what you want out of this life.  Too Short talk's about this when he says, "you got to get a good job and set your self some goals think positive, and never stop hustling".  The world owes you nothing, you have to do the right things, or you will slide down to average or below.  Successful people are models that leave clues to follow.  Too Short watched guys rise out of the hood and go on to live very prosperous lives.  He noticed how they did it and he learned from them.  One of  these people probably once told him that you either climb or you fall, there is no cruise control.

The second key is to determine your goals of life.  Determine the outcome you want to reach at the peak of your carreer.  Too Short says throughout the song that he set himself some goals and had a passion and obsession to reach them.  Early on when he was around 17, he thought of what resources he had to change his present situation of living in the hood

with no job.  He knew he was good at rapping and that he could portray the life of a pimp in order to appeal to certain kids.  He took these resources and ran with them.

The third and final key he used was the ability to alter his approach.  Too Short didn't succeed on his first album or his second, but he kept hustling and started making big bucks by his next couple album's.

He was always looking for ways to improve his rapping and come up with new beats and titles.

So do you still think all young black rapper's have no purpose in their babbling of word's amidst tons of  bass and beats.  I think that if you listen to some, they might just surprise you, and teach you some lessons.  Do you think that Too Short's success had to do with intelligence?  By no means have Too Short's millions of dollars came from intelligence, he didn't even graduate from high school.  What he has is the ability to take action, then set himself some goals, "think positive and the rest is old".  Lastly, Too Short "never stopped hustling" he altered his approach until he got to where he wanted to be.

Through mastering the art of communication he grasped an audience and got the chance to convey his message.

The song, "Gettin it", with its many teaching keys, and the life of Too Short are a great example of the fact that successful people don't get struck from heaven with a golden wand, successful people aren't always intelligent,  successful people usually earn their way to the top by setting goals, taking action on those goals, and changing in anyway

needed to acquire those goals.  We all love to be at the top, but the question is, what are you willing to do to get there?

620.          Lion In Winter

Lion In Winter

"Manipulation in Winter"

Lion in Winter is the chess game as portrayed in Becket. There are kings and queens, but the most important ones are the pawns. The pawns are what makes this story grow. Everyone in this story is playing their own chess game for their own reasons. The most dangerous ones are the one that have nothing to lose.

Everyone is hungry for power: Henry, Eleanor, Richard, John, Geoffrey, and Phillip. This thirst for power all started when Henry III, the rightful heir, died. In a normal setting, the next in line should receive the kingdom, but this is not a normal family. So, everyone vying for the throne will use manipulation to get what they want. In Lion in Winter, there are many ultimatums, ulterior motives, and broken promises which equal out to manipulation.

Alice is King Phillips of Frances' sister. She was betrothed to Henry III, so whomever marries her gets the kingdom. Phillip wants her to get married or he wants his dowry back. Alice is used as a pawn to see whom inherits the thrown. Eleanor wants her son, Richard to be king, but she mostly wants to hurt Henry. The way to hurt Henry is to see that John does not get the thrown and to see to it that she has the Aquitaine province. Those who know Richard know that the way to get at him is to tell them how much they love him. Eleanor calls for Richard in her bedroom and he is curious about her true intentions. She says that she merely wants a reunion. He listens, but knows how deceitful she is and he says, "We could tangle spiders in the webs you weave."

Nobody ever knows when Henry is being sincere. "When your opponent uses sincerity, that's when it gets awfully confusing." John, Henry's favorite son, does not even know when he is merely acting. So, when Henry announces that Richard is going to be the new heir, he is playing with John's emotions.

Geoffrey is always looking for a chance to come in. He does not care if he is the last resort, he just wants to be king. Geoffrey drops as John's chancellor because he wants to be on the winning side (at least that's what he says). He is always thinking about himself and ways to get his foot in the door. He even told his mother that he would walk John into the trap that his mother sets. But that would only be true if he could have something to gain. However, people can see right through Geoffrey and they know exactly what he wants and what he will do to get it. Eleanor even says that he will sell everyone out and he admits to it. Eleanor pleases him for the time being because she knows that he is mostly harmless and has no chance of becoming king.

Once again Eleanor uses love on Richard. She talks about how she taught him this and that and she even went as far as mutilating herself to supposedly prove how much she loved him. However, it is revealed in later scenes that she merely wanted the Aquitaine just so she could raise the stakes with Henry.

Phillip wants Geoffrey to be king in the chess scene. Later on, it is revealed that he merely wants to hurt Henry for what he did to Louie. Geoffrey manipulates John into thinking that John is in control, when he is setting up John just to incriminate him. Geoffrey just wants to get John's hands dirty so he can show it to his father and make Henry love Geoffrey more.

Henry only promised Richard the throne to get the Aquitaine for John. Eleanor uses her promiscuity to get Henry riled. Eleanor and Henry do some bidding and make some wagers. She promises the Aquitaine province to Henry in return for her freedom. Henry agrees to this, but he has an ulterior motive in mind. Eleanor also uses Alice to get at Henry, but he knows he can never lose Alice, so he just plays along. Henry uses the soon-to-be wedding as a place of manipulation. He uses it to expose Eleanor's deceitful ways with Richard in order of moving himself closer to Richard to get from him Aquitaine.

Now that John is "king again", he realizes that he needs to stop the revolt against his father. Knowing full well that once their father finds out about John's scheming that he'll disinherit him, Geoffrey and Richard make their moves into the heart of their father. However, their plans fail when all their faults are revealed to Henry in Phillip's bedroom. Phillip uses love to get at Richard and he also uses Richard's advances to get at Henry. Phillip realized "how much fathers live in sons" and he knew that Henry's sons would weaken him. Geoffrey tries to use Henry's disappointments to move ahead, but Henry despises all of his traitorous sons.

Henry now wants a new heir. In order to get a new heir, he needs a new wife. Eleanor does not want to get an annulment, so she tells Henry that she will get all her sons, and Phillip, to rise against him while he is on his way to Rome. In order to combat this, Henry locks them up in a dungeon. Eleanor tries to get her sons to rise up against their father, and then she tries to get her husband to rise against his sons. They all call each other's bluffs and wait till next Christmas to start all over again.

The most important thing in a chess game is to capture the king. The queen has many directions to move and is quite powerful. The pawns seem useless, but when they have nothing to lose, then people do not pay attention to them and they end up getting to the other side and becoming more powerful. Lion in Winter is a chess game with much strategy and many people putting on their "game faces". In chess, every player is important.

621.          Listening Report Nat King Cole

Listening Report: Nat King Cole

I kind of liked this CD. It had some smooth tunes to groove to. It was kind of good hearing vocals after doing so many listening reports on CD's with just instrumentalism. This guy has got a beautiful voice, and its no wonder he had millions of fans. I especially liked some of the lyrics that this guy had in his tunes. He really was a loverboy. Songs: 1.Unforgettable 2.(Get Your Kicks On) Route 66 3.Orange Colored Sky 4.Mona Lisa 5.Walkin My Baby Back Home 6.Straighten Up And Fly Right 7.Send For Me 8.Looking Back 9.You Call It Madness (But I Call It Love) 10.(I Love You) For Sentimental Reasons 11.Nature Boy 12.Ramblin Rose 13.Pretend 14.Too Young 15.Somewhere Along The Way 16.Those Lazy-Hazy-Crazy Days 17.Smile 18.Darling, Je Vous Aime Beaucoup 19.Answer Me, My Love 20.A Blossom Fell 21.If I May 22.Unforgettable This is a greatest hits album, so the band members changes on almost every song.

622.          Listening to Women Being a Man Lessons in Freedom and Love

In Toni Morrison's Song of Solomon, Milkman Dead becomes a man by learning to respect and to listen to women. In the first part of the novel, he emulates his father, by being deaf to women's wisdom and women's needs, and casually disrespecting the women he should most respect. He chooses to stray from his father's example and leaves town to obtain his inheritance and to become a self-defined man. From Circe, a witch figure, he is inspired to be reciprocal, and through his struggle for equality with men and then with women, he begins to find his inheritance, which is knowing what it is to fly, not gold. At the end, he acts with kindness and reciprocity with Pilate, learning from her wisdom and accepting his responsibilities to women at last. By accepting his true inheritance from women, he becomes a man, who loves and respects women, who knows he can fly but also knows his responsibilties.

In the first part of the novel, Milkman is his father's son, a child taught to ignore the wisdom of women. Even when he is 31, he still needs "both his father and his aunt to get him off" the scrapes he gets into. Milkman considers himself Macon, Jr., calling himself by that name, and believing that he cannot act independently (120). The first lesson his father teaches him is that ownership is everything, and that women's knowledge (specifically, Pilate's knowledge) is not useful "in this world" (55). He is blind to the Pilate's wisdom. When Pilate tell Reba's lover that women's love is to be respected, he learns nothing (94).

In the same episode, he begins his incestuous affair with Hagar, leaving her 14 years later when his desire for her wanes. Milkman's experience with Hagar is analogous to his experience with his mother, and serves to "[stretch] his carefree boyhood out for thrifty-one years" (98). Hagar calls him into a room, unbuttons her blouse and smiles (92), just as his mother did (13). Milkman's desire for his mother's milk disappears before she stops milking him, and when Freddie discovers the situation and notes the inappropriateness, she is left without this comfort. Similarly, Milkman ends the affair with Hagar when he loses the desire for her and recognizes that this affair with his cousin is not socially approved, leaving Hagar coldly and consciously, with money and a letter of gratitude. He is as deaf to the needs of women and as imperiously self-righteous as his father, who abandons his wife when he believes she loves her father too much.

Macon teaches his son well the art of "pissing" on women. As Pilate attempts to awaken Macon to the inappropriateness of taking a dead man's gold and to their father's ghostly message, he urinates, enjoying the idea of "life, safety, and luxury" resulting from the gold (170). In his unnatural act, taking a man's life, he has become deaf to his past and to Pilate. Though Milkman urinates on his sister by accident, his act has the same implications as his father's. By inertia, he assumes his father's attitude toward women, placing them in the periphery of his mind, though they are the center and the source of his life. Pilate and Ruth saved him from his father's attempts at abortion, and his female relatives have done all of the work of raising him. He spies on his mother, he feels the same "lazy righteousness" as that which leads him to disrespect Hagar's claim to her rights in their relationship (120). He attempts to steal from Pilate, his aunt, in order to follow his father's instructions and to obtain the inheritance he feels will make him a man. At the end of part 1, his sister Magalene attempts to awaken his sensibilities to this through her diatribe on the effects of his blindness to his sisters' autonomy and their contributions to his well-being (215). He follows her advice, and leaves, not only her room, but the town and the identity he has been molded into by his father.

Milkman leaves to get the gold which he believes is his inheritance, feeling that this will allow him freedom from his family, which he equates with the freedom to at last become a man. He tells Guitar, "I don't want to be my old man's office boy no more" (221-2). His fruitless attempt to gain his inheritance as his father advises him, by stealing from Pilate, inspires him to try his own way of finding his inheritance, and therefore, his manhood. He quickly learns that to obtain this inheritance, he must listen to women as he never has before.

Circe is the first woman who he listens to and treats with reciprocity. At first glance, he is overcome by the idea that she is a witch (241). Women who kept alive the knowledge of their ancestors were considered witches in the patriarchal, Christian culture. Circe has been the midwife in most of the townspeople's births, and is so ancient that she is believed to be dead. She is knowledgeable, and he learns that must take her seriously to find his inheritance. Circe tells Milkman, "You don't listen to people" (247), and he begins to truly listen to her and treat her as an equal. She informs him of the last known location of his grandfather's bones, of his grandmother's name, and of where in Virginia the family originated (243-5). Milkman has his first urge for reciprocity with her, and she tells him that he has unwittingly already returned the favor with his company and his news of Macon and Pilate (248).

Milkman must learn to treat other men as equals before he can treat women as equals. For a boy brought up in an atmosphere of blind bourgeois elitism, the road to equal relationships is difficult. He attempts to repay a man for a ride and a coke, only to realize that this is offensive to the man's dignity (255). He learns real kindness when he helps an old man with a crate who gives him information (256). However, in Shalimar, the home of his ancestors, he must relearn the significance of others' dignity. He receives a cold reception because of his careless showiness, and must then pass initiation rituals to be allowed equal status in the town. Through his gradual lessons in reciprocal relationships with men, he is prepared for equality with women. With Sweet, he gives as well as receives loving gestures, learning at last that others, no matter sex or status, deserve his sacrifices  (285).

The initiations include a hunt that leaves Milkman alone to ponder his life. Challenged to join the men in a hunt in which he has nothing but himself on which he can rely, he begins taking his identity and his relationships seriously. He realizes that humans are responsible for each other, that his family's dependence on him is natural  At last he discovers that Hagar's homicidal urge is justifiable: "if a stranger could try to kill him, surely Hagar, who knew him and whom he'd thrown away like a wad of chewing gum after the flavor was gone ‹ she had a right to kill him too" (276-7). Milkman learns what it means to be human when he is left with only that: "out here ... all a man had was what he was born with, or has learned to use" (277). Finding his own identity, he realizes the right others have to demand responsibility from him.

At last, he can receive the knowledge of his ancestors through discussions with a woman who at first seems shallow and lacking in knowledge, and through the songs of children. Susan Byrd appears to be full of empty gossip (292), but by listening to her and then to the children's game, he learns that she does have a story to share (302). He returns to her and learns the real story (320-4).  He learns men can fly, and begins to understand the responsibilties that come with this knoweledge. This is the inheritance that makes him a man.

How do this makes him a man? At last, he can return to Pilate some of the history she has bequeathed him. He can give her peace by adding to her history of herself. Her beloved granddaughter has been sacrificed to him, and this is the only way he can make amends. Pilate does not only release him because she is overcome by this new understanding of her past, but because he has learned to be a man. He accepts the box of Hagar's hair, a reminder that "you can't fly off and leave a body" as he abandoned Hagar (334).  With this act, he ritualistically accepts his inheritiance of responsibilty for others, specifically the women in his life. As Pilate dies, he sings for her, an act of kindness, signifying a new paradigm in his relationships with women.  She tells him,"I wish I'd a knowed more people. I would of loved 'em all" (336), reinforcing the significance of kindness and responsibility. He realizes that she can fly, but that she also embraces responsibility for others: "Without ever leaving the ground, she could fly" (336). He learns from her the meaning of true freedom, which includes responsiblity.

Macon Dead, a partriach, leaves his son an inheritance of imperious indifference to women's knowledge and needs. Milkman realizes that he is not yet a man, and tries, first through his father's and then through his own way, to find the missing inheritance that will set him free. To get the inheritance, he must listen to women, which necessitates relationships of reciprocity with men and with women. His inheritance, knowledge of his ancestors, helps him to create a relationship of reciporical kindness with the matriach of his family, who gives him another inheritance, the burden of responsibility to others. In Toni Morrison's novel, Song of Solomon, Milkman becomes a man by choosing to respect and learn from women.

623.          LO System

ME Lube Oil System

Cleanliness of the lube oil is very vital in the Main Diesel Engine Lube Oil System.  A strainer is a device that is usually made up of a single layer of course gauze, and a very course wire mesh.  This setup is used to filter out large objects that could cause blockage or damage to the lube oil system.  A filter is used to filter out much smaller particals.  The filtering elements in a lube oil filter has a more complex make-up.  Aboard our ship, we have self cleaning lube oil filters along with the standard lube oil filters.

The size of the cartridges in these filters usually range from 3-12 mm.  Our ship has two full flow filters per engine.  The plates inside of a strainer corrode and erode very easily.  Special attention must be given to these plates when cleaning them.  Make sure that a gap has not formed at the end of the plate.  If there is a gap, rags and other particles may pass right by.  If in doubt of the condition of the plate, it should be renewed.  The cost of a single plate is much cheaper than the cost of cleaning out an entire clogged system.

All gasket surfaces must be checked closely to ensure a proper seal.  Our ship has a high pressure lube oil system.  Because of this, basket type strainers are used.  Lube oil systems are equipped with a wide variety of strainers.  It is important to operate these strainers at all times to prevent clogging.  Aboard our ship, we have Hayward Plug-type Duplex Basket Strainers.  All of these types of strainers are one way.  The liquid to be strained enters to the top and filters through the bottom.

Both strainers and filters clean lube oil using a similar process.  The components of the strainer element, also known as a basket, consists of a spring, a pleated perforated screen, and a handle.  There is a metal to metal seal between the basket and the inlet port.  The cover of the strainer applies a downward pressure on the basket which allows for a tight seal on the top of the basket.  The strainer element must be cleaned periodically to avoid high pressures accross the strainer.

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624.          Lobito

Lobito

Not once is there a boring moment in my house! That's because of my dog Lobito.

Unlike other families that have a human sometimes being the clown of their family, in

my family my dog Lobito is the clown. He has got to be the funniest dog alive. From his

jealousy fits, and his way of picking fights with the rest of the dogs to his no stop playing

with his stuffed animals.

Well the best place to start would be by describing his way of fighting with other

dogs. He's straight out of one of those movies where there saying  " hold me back". No

matter how big the dog is he will challenge him. This would be great if he actually

followed  through with his threat but he doesn't. He has this funny habit that when were

holding him back from another dog, his bark starts getting louder. While holding him

back he tends to pull and yank hard, and almost say "let me at him". The funny part is

when we actually do let him go, he's surprised we let him go , and gives us this look like

hey hold me back! Another thing that goes along with his fighting techniques, are his day

dream desires of being a security dog. We have this one dog named Pinto that Lobito

hates with all his heart. Being that Pinto is alot older and bigger than Lobbito , Lobito

never dares raise a bark at Pinto. But don't ever tell Pinto to go outside the house,

because as soon as Lobito hears the words "Pinto outside", hell breaks loose. Lobito will

come tearing around the corner like if he heard Puppy Chow was going to be on sale. He

starts  barking and yelping right behind Pinto with an occasional nip at his tail. At the

same time while this is all going on he tends to give us a look that says how am I doing?

Well that's not the worst part, the worst part is when it comes to his jealousy.  It could

be said that Lobito has this idea that he's number one, and he's got this idea for

everything that happens to him. Due to this idea of his we make it a point not to pet any

other dog besides him while he's around, and if we accidentally do pet another dog he

makes it clear to us he's upset with us by growling. We never let him catch us petting

another dog! He'll come right up to us, and cut in-between the dog  were petting . He'll

then start barking at the other dog to leave. This is an everyday thing , and if by any

chance we don't pet him, he'll let us know he's upset with us. He'll  put us on ignore

mode for the rest of the day. If this happens we don't even bother calling out his name

because he'll never come.

Another big part of his jealousy act is when someone brings a baby into the house.  He

starts the biggest and loudest barking his lungs will permit. We actually have to lock him

in a room due to the fact that were scared he'll bite the baby out of jealousy. He'll be

barking and snarling at the door for as long as he's locked in there. He's got his paw

marks all over the inside of the door from scratching so much to get out. This isn't the

worst of it. It's when we actually do let him out that is. He goes around the house sniffing

everything in site, and after that he puts everyone on ignore mode. He'll eventually gives

us permission to pet him, and kiss up to him, but not before he shows us his feelings were

hurt.

And last but not least, Lobitos world famous stuffed toy collection. This is his pride

and joy. He has about ten stuffed toys scattered around the house. In the front and back

yard, under beds and even in the bathroom. Each one slobbered to perfection! This is

where our trick to make him happy comes in. If we really want Lobito to like us, we just

add a piece to his collection. He tends to play with his new animals for days, and carries

them around in his mouth everywhere he goes. He shows off his his new toy by taking it

to us so we can play with him. He has this thing of playing fetch with his stuffed animals,

except it's not a good idea of playing in the house. He tends not to see objects in his way

while fetching his stuffed animals at lighting speed. People are not considered an

obstacle for Lobito if he's after his toys, he'll just run over us! He even cares less about

tables or lamps.

So with the examples I've stated Lobito in more than one way could be considered the

clown of the family. From his Comedy style of fighting with other dogs by acting out the

one liner hold me back, to his fits of jealousy when a baby comes around, or his world

famous stuffed toy collection. But to me and my family he is considered much more than

just a clown ,he is considered part of the family.

Lobito

Not once is there a boring moment in my house! That's because of my dog Lobito.

Unlike other families that have a human sometimes being the clown of their family, in

my family my dog Lobito is the clown. He has got to be the funniest dog alive. From his

jealousy fits, and his way of picking fights with the rest of the dogs to his no stop playing

with his stuffed animals.

Well the best place to start would be by describing his way of fighting with other

dogs. He's straight out of one of those movies where there saying  " hold me back". No

matter how big the dog is he will challenge him. This would be great if he actually

followed  through with his threat but he doesn't. He has this funny habit that when were

holding him back from another dog, his bark starts getting louder. While holding him

back he tends to pull and yank hard, and almost say "let me at him". The funny part is

when we actually do let him go, he's surprised we let him go , and gives us this look like

hey hold me back! Another thing that goes along with his fighting techniques, are his day

dream desires of being a security dog. We have this one dog named Pinto that Lobito

hates with all his heart. Being that Pinto is alot older and bigger than Lobbito , Lobito

never dares raise a bark at Pinto. But don't ever tell Pinto to go outside the house,

because as soon as Lobito hears the words "Pinto outside", hell breaks loose. Lobito will

come tearing around the corner like if he heard Puppy Chow was going to be on sale. He

starts  barking and yelping right behind Pinto with an occasional nip at his tail. At the

same time while this is all going on he tends to give us a look that says how am I doing?

Well that's not the worst part, the worst part is when it comes to his jealousy.  It could

be said that Lobito has this idea that he's number one, and he's got this idea for

everything that happens to him. Due to this idea of his we make it a point not to pet any

other dog besides him while he's around, and if we accidentally do pet another dog he

makes it clear to us he's upset with us by growling. We never let him catch us petting

another dog! He'll come right up to us, and cut in-between the dog  were petting . He'll

then start barking at the other dog to leave. This is an everyday thing , and if by any

chance we don't pet him, he'll let us know he's upset with us. He'll  put us on ignore

mode for the rest of the day. If this happens we don't even bother calling out his name

because he'll never come.

Another big part of his jealousy act is when someone brings a baby into the house.  He

starts the biggest and loudest barking his lungs will permit. We actually have to lock him

in a room due to the fact that were scared he'll bite the baby out of jealousy. He'll be

barking and snarling at the door for as long as he's locked in there. He's got his paw

marks all over the inside of the door from scratching so much to get out. This isn't the

worst of it. It's when we actually do let him out that is. He goes around the house sniffing

everything in site, and after that he puts everyone on ignore mode. He'll eventually gives

us permission to pet him, and kiss up to him, but not before he shows us his feelings were

hurt.

And last but not least, Lobitos world famous stuffed toy collection. This is his pride

and joy. He has about ten stuffed toys scattered around the house. In the front and back

yard, under beds and even in the bathroom. Each one slobbered to perfection! This is

where our trick to make him happy comes in. If we really want Lobito to like us, we just

add a piece to his collection. He tends to play with his new animals for days, and carries

them around in his mouth everywhere he goes. He shows off his his new toy by taking it

to us so we can play with him. He has this thing of playing fetch with his stuffed animals,

except it's not a good idea of playing in the house. He tends not to see objects in his way

while fetching his stuffed animals at lighting speed. People are not considered an

obstacle for Lobito if he's after his toys, he'll just run over us! He even cares less about

tables or lamps.

So with the examples I've stated Lobito in more than one way could be considered the

clown of the family. From his Comedy style of fighting with other dogs by acting out the

one liner hold me back, to his fits of jealousy when a baby comes around, or his world

famous stuffed toy collection. But to me and my family he is considered much more than

just a clown ,he is considered part of the family.

625.          Lonely

It was a quiet night.  No cars driving by, honking their horns.  No sounds of little kids

yelling.  No dogs barking.  Just peaceful and quiet.  A gentle breeze blew with an occasional

smell of spring in it.  The air was just right, cool and fresh.  Keith sat on his favorite porch

rocking chair.  He was just relaxing and gathering his thoughts.  He liked to think.  He liked to

think.  He thought about his dreams, he thought about his life and how it  was going.  He thought

about his dog and how it used to be a playful puppy full of energy.  It sure grew up fast.  Keith

thought about a girl he once fell in love with.  He should probably get married before he turned

thirty.  Who knows maybe he'll never get married.

As Keith sat there, now thinking about his new, red truck, he noticed his shoe was

untied.  He stretched down to retie it and saw a small card beside his foot.  Funny, he hadn't

noticed it there before.  Maybe it blew up in the breeze.  Yes that's what happened, the wind

had blown it there when he was off in dreamland.  Oh well, he thought and then he picked it up.

The card had printing on it.  It simply read, "go look in your mail box".  Keith gave out  a small

chuckle and thought about his mailbox.  Was someone joking around with him?  It was

probably that pesky neighbor boy, James.  He was always coming up with something new and

unusual to try out on his neighbors.  "What the hell", Keith said aloud.  He then stood  up and

walked over to his mailbox and opened it up.  "Yep, another card", he said.  The same small,

black print on it too.  Except this card said something just a little different.

As Keith ran to his back yard where his dog house was, all he could think of was what

the card had said in his mailbox.  "YOUR dog is DEAD".  Keith suddenly stopped dead in his

tracks.  He could see blood.  The dog house, which he had just painted a nice fresh coat of

white, was now covered with red, blotchy stains.  Blood everywhere.  Who could have done

such a deed?  The golden retriever that Keith had loved so much and raised for four years now

lay dead.  There was hardly anything left of it.  Its legs had been ripped completely off and were

thrown around the yard.  Its head was nailed to the front of the dog house. The body of his

favorite and only pet was cut wide open and staked to the ground like some kind of science

dissection.  Is this really happening, he thought.  He then leaned over and vomited up everything

he had.  He let it all go, then sat and cried for his dog and all the pain it must have went through.

Keith realized that the mouth of the dog had something in it.  Another damned piece of paper.

He snatched it out with anger and read it slowly.  The paper had some blood stains on it and

had been wrinkled by the dogs still sharp teeth.  But it was still readable.  It said, "Fools follow

clues, and you are no fool".

A few days later Keith got a call from the police which informed him that their where no

finger prints found except his own and not to worry about it.  They said it was probably some

sick prank played buy some punk kids.  Keith agreed and hung up the phone.  He was still

shaken up buy the notes and his deceased dog, but he was doing better.  He had cleaned up the

mess, burried his dog, and hauled his dog house to a trash pile.  He decided that a country drive

would do him some good.  He needed to get out anyway.  He also definitely needed a wife

now.  He might lose his sanity if things like this kept happening to him.  He went outside and

smelled  the air.  It smelled good.  Someone was barbecuing nearby.  His mouth watered.  He

loved barbecued anything.  Keith got in his new truck and turned the key.  The truck didn't

start.  Keith frowned and thought that usually new trucks start when they are less than a week

old.  That dealer was going to here about this one.  Yes sir.  He didn't like him much anyway.

The man was very loud and persuasive.  He also smelled like a pine tree air freshener.

Keith popped the hood of his truck and walked around to have a look.  Most trucks

don't start due to a dead battery or fuel flooding in the carburetor.  But this problem was

different than that.  On top of his new engine was another piece of paper and where his battery

had once been was the head of his dog he had buried a few days earlier.  Keith grabbed the

note and ran inside.  He read it aloud and it said, "You better run far away because you only

have a few minutes before your house blows up".   Sure enough Keith smelled gas.  He ran out

of the house and to the neighbor's house. As soon as he got to the door his house blew apart.

Why was this happening to him?  Who was responsible for this madness?  Why in the hell

would someone go to such extreme trouble?  This was not the work of some kids gone rebel,

that was for sure.  He used the phone and called the police.  They arrived and took the dog

head in for inspection and examination. Again there was no fingerprints or no clues to be found.

The next day, Keith went back and replaced the battery in his truck and drove out of

town.  He was still dumbfounded.  He had no house and no dog.  His favorite chair  was

destroyed also.  "What a loss", he thought.  This must all be a bad dream and he was going to

get away for a while.  Keith didn't get very far.  About half a mile just out of town, his truck quit

running.  He looked at his gas gage and it was empty.  It shouldn't have been but now it was.

He started laughing.  He laughed for a long while and then got out of his truck.  He walked back

to town and went up to what was left of his house.

What was this?  His rocking chair wasn't destroyed after all.  It was a little burnt and

crispy but it still looked functional.  He sat down in it just to think.  He thought of  his life and

how he should get married soon.  He was going to be thirty years old next year.  He thought of

his dog.  He loved that thing.  He thought of his note cards and how he a written those neat little

notes to himself.  He thought of the police and how foolish they were for looking for clues.  He

thought of  the loud car dealer and the letter he was going to write to him about the trouble his

truck was giving him.  He didn't need to tell him that he had cut his own gas line shortly after he

blew up his own house and killed his favorite dog.  He thought of the cool, fresh breeze and the

smell of barbecue.  He loved  barbecue.

626.          Looking for Alibrandi by Melina Marchette

The novel, Looking for Alibrandi by Melina Marchetta, focuses on a 17 year old teenager who has an Italian background called Josephine Alibrandi. Josephine is really two different people at the beginning and the end of the book. In the beginning, Josephine is overdramatic, poised to react to her Italian background and her illegitimacy. At the end of the book, Josephine began to achieve emancipation. She has learnt that she has blown her problems out of proportion, that not everyone is about to execute her for being Italian and illegitimate. Josephine's interaction with the other characters has brought this about. She faced quite a number of challenges in her final year. They include the arrival of Michael Andretti and her change of perspective and attitude towards Nonna Katia.

In the beginning of the novel, Josephine's attitude towards Nonna was very atrocious. Despite the fact that she disliked Nonna, she still has to come to her house every afternoon after school. One of the reasons that she disliked coming to Nonna's house was that she despised the idea of being force-fed every afternoon of her life (Quote: "I was force-fed when I arrived. Force-fed like every afternoon of my life" page 34). Josie found Nonna very irritating. Every afternoon Nonna kept mentioning about how untidy Josie is and just to return back the favor Josie would say "It's the fashion" (page 34) just because that annoyed Nonna so much.

However, as time past, Josie found Nonna's secret. That is the relationship that Nonna had with Marcus Sandford went further than Josie had been told. Although Josie was suspicious and asked Nonna whether she was in love in with him, Nonna wouldn't acknowledge it (Quote: "Were you in love with him?" Josie asked. "Don't be silly, Jozzie. I was married." page 199). At last Josie discovered the truth. In close proximity to the end of the novel Josie realizes that there was much more than love between Nonna and Marcus. She realizes that Nonna had slept with him. After finding such a shocking truth, she was unquestionably furious at Nonna for treating her mother the way she did and all the time she had done worse (Quote: "You had the hide seventeen years ago to treat Mama the way you did when all the time you had done worse." page 217).

At the end of the novel, Josephine began to understand Nonna's feelings towards Marcus. Nonna had said that Francesco treated her like one of his farm animals (Quote: "Your grandfather Francesco treated me like one of his farms animals". page 222). She had learnt to be more accepting and tolerant towards Nonna although Nonna had made a wrong decision according to the Italian community's perspective. Nevertheless, Josie had changed and had begun to not care what other people think about her, her family and her illegitimacy. From then on, her perspective and attitude towards Nonna changed dramatically although she understood the challenges that Nonna had to go through living with Francesco. By understanding Nonna now, she hopes that one day her granddaughter can try to understand her (Quote: "And so that one day, my granddaughter can try to understand me, like I'm trying to understand Nonna." page 202).

Furthermore, Michael Andretti's arrival to Sydney surprised Josie immensely. Initially, Josie thought that it was no big deal and that they could handle him (Quote: "But, we can handle it, Ma, there's no big deal." page 16). At their first meeting, Michael asked whether Josie is Christina's daughter. It wasn't a pleasant meeting. Josie was very rude towards Michael. She wanted to make Michael feel bad. She did that by saying "My mother had me young" (page 39). After that statement, Michael's face went pale and he looked at her at absolute shock. Their second meeting wasn't any better, if anything it was worse. Josie's insolence and hatred towards Michael was shown in the conversation that they had at the barbeque. She said that she doesn't want anything to do with him (Quote: "How dare you think that I want to be in your life!" page 69). Therefore, they made an agreement that they should stay out of each other's lives (Quote: "A promise. You keep out of my life, I keep out of yours." page 69).

Nonetheless, they broke the promise or more appropriately, Josie broke the promise. In the middle of the novel, one significant incident happened at school. Josie found herself sitting in the principal's office for hitting Carly Bishop with a textbook. Carly's father is taking this matter to court, therefore Josie was forced to call Michael Andretti to come to school and help her to solve this problem. Miraculously, he came and he sorted out the problem. This proves that Michael has some sort of interest in Josie and her life. She felt proud walking past her classmates with a father (Quote: "I walked past my classmates with Michael Andretti beside me and for a few minutes I knew how it felt walking alongside one's father. It was a great feeling." page 90).

Subsequently, their relationship started building up. For example, when Josie met Michael on the road after her "ten minute" date, he said that he was going to visit her to go out for a pizza (Quote: "I had decided to come and visit you. I thought you'd like to go out for a pizza or something." page 125). At that time, he offered her an afternoon job as a photocopier and helping the secretaries and Josie agreed. From then on, she started to comprehend Michael's characteristics and personality. She knew that he would have come back if only he knew that Christina had gone through with the pregnancy (Quote: "You would have come back. I know you would have." page 129). The same goes with Michael, he wanted to know more about Josie. He wanted to be a part of her life (Quote: "I'm not sure if I can love you ever, but I want to know you. I want to be part of your life." page 128). At the end of the novel, Michael had decided not to go back to Adelaide, instead he bought a house in Balmain (Quote: "I'm not going back. I've bought a house in Balmain." page 244). This showed that he wants to be a part of Josie's life and wanted to know her better.

627.          Lord of the Flies 2

Ben Sherry

Civilization

9/10/96

Lord of the Flies Response

There were a lot of underlying reasons to why the boys' civilization failed in the book The Lord of The Flies.  They had many problems with each other because the group was split up among friends.  One group would go out and do one thing, while the other group would do another.  This led to many more problems, such as deciding and agreeing on a leader, who would do what jobs, and most importantly, which of the boys would become the leader of the crew.  Futhermore, the boys all seem to dislike Jack and Roger.  This will make it extremely hard for either of them to stop singing. Like my father.  So, that eliminates them from the picture. Simon and Rex don't seem to be helping much, and

When all the boys met each other on the island, they all had their own separate friends.  The choir boys stuck together, the littluns stuck together, Sam and Eric stuck together, and Piggy and Ralph stayed close by each other.  Unless everyone can work together as a team, everyone will begin fighting.  This is exactly what happened.  When they decided on a leader (Ralph) Jack hated it.  He wanted to be leader and thought he was the best for the job.  Already he had started to rebel.  He wouldn't do what Ralph said, and tried to get everyone to disobey him.  If the boys do not work together on anything, it's never going to work.  While Jack and others were rebelling, Ralph was trying his best to keep the island together.

One example of how not working together hurt their the civilization severely was,  when they were building the shelters.  Everyone was supposed to help, but only two people (Ralph and Simon) could honestly say they helped build all the houses.  The first house looked great with everyone helping to make it.  The second house looked okay but some people forgot about their jobs and wandered off.  But the third house was no more than a horrible shack considering only two people worked on it.  These were the kind of things that killed the boys' civilization.  Later on in the novel, Jack put his rebellion into full force.  He got everyone except Simon, Ralph, and Piggy to join his group which lived elsewhere on the island.  By the end, Jack's gang had turned savage, and Ralph was the only one left to defend against them.  Luckily he didn't die, but he came pretty close to it.

Working together benefits everyone;  working separately accomplishes little.  If the boys had been able to agree on a leader and establish order, their civilization would have prospered. This however was not the case, and their civilization failed.  Lack od discipline can mean a lot to a bunch of young boys starting a civilization.  Iknow I woul;d have plenty of trooble doing it

628.          Lord of the Flies 3

The venturesome novel, Lord of the Flies, is an enchanting, audacious account

that depicts the defects of society as the incorrigible nature of individuals when they are

immature and without an overlooking authority.  The author of the novel, William

Golding, was born in Britain, which accounts for the English, cultured characters in the

novel.  After studying science at Oxford University for two years, he changed his emphasis

as a major to English literature.  When World War II broke out in 1939, Golding served in

the Royal Navy for five years.  The atrocities he witnessed changed his view about

mankind's essential nature.  He came to believe that there was a very dark and evil side to

man, which accounts for the savage nature of the children in the novel.  He said, "The war

was unlike any other fought in Europe.  It taught us not fighting, politics, or the follies of

nationalism, but about the given nature of man."  After the war he returned to teaching

and wrote his first novel, Lord of the Flies, which was finally accepted for publication in

1954.  In 1983, the novel received the Noble Prize and the statement, "[His] books are

very entertaining and exciting. . . . They have aroused an unusually great interest in

professional literary critics (who find) deep strata of ambiguity and complication in

Golding's work. . . ." (Noble Prize committee) Some conceived the novel as bombastic

and didactic.  Kenneth Rexroth stated in the Atlantic, "Golding's novels are rigged.. . . The

boys never come alive as real boys. . . ." Other critics see him as the greatest English

writer of our time.  In the Critical Quarterly in 1960, C.B. Cox deemed Lord of the Flies

as "probably the most important novel to be published. . .   in the 1950's."

The setting of the novel takes place on an island in the Pacific Ocean. The author

never actually locates the island in the real world or states the exact time period.  The

author does state that the plane carrying the children had been shot down in a nuclear war,

so the time period must be after the making and the use of nuclear weapons.   Even

though the location of the island is not definite, the author vividly describes the setting.

Golding tells us that the island is tropical and shaped like a boat. At the low end are the

jungle and the orchards, which rise up to the treeless and rocky mountain ridge. The

beach, called the scar, is  near the warm water lagoon. On the scar, where the boys hold

their meetings, is  a "natural platform of fallen trees."  Far away is the fruit orchards which

supply the boys with food. Inland from the lagoon is the jungle with pig trails and hanging

vines.  The island has a mountain that Ralph, Simon, and Jack climb, and from which they

are able to see the terrain. Finally, there is the castle at the other end of the island, which

rises a hundred feet above the sea and becomes Jack's headquarters.  Golding gives us a

very strong sense of place, and the setting shapes the story's direction. At the outset the

boys view the island as a paradise because it is lush and abundant with food. As the fear of

the beast grows, however, it becomes a hell in which fire and fear prevail.  Even though

Golding does not clearly state the setting, a mental picture of the island is depicted

throughout the novel.

The plot of the story begins when a group of British students' plane is shot down,

and they crash on a tropical island. Ralph and Piggy are the first characters introduced,

and they find a white conch shell. Ralph blows on the conch, and the other boys appear.

Among them are Jack, Sam, Eric, Simon, and many other boys who are never given

names. The group elects Ralph as their leader.  When the conch calls again, they talk

about a small boy's fear of a snakelike beast in the woods. Is there really such a beast? The

boys can not agree. Ralph convinces everyone that they need a fire for a signal in case a

ship passes the island, but the boys find it hard work keeping the fire going.   Jack decides

he no longer wants to be part of Ralph's group because he would rather hunt than worry

about keeping the fire burning. He leaves with everyone except Ralph, Piggy, Sam, Eric,

and Simon.  In spite of their growing terror of the imagined beast, Jack leads his hunters

into the jungle for the slaying of pigs.  They place a pig's head on a stake, much like a

primitive offering to the unknown beast.  Then Simon wanders into the woods alone, has a

seizure, and talks to the pig's head. In Simon's hallucination the head becomes the "Lord

of the Flies". Then Simon, terrified and sickened, starts back to where the other boys are

to tell them that the beast is a dead man who parachuted onto the island. When Simon

appears, the boys kill him, mistaking him for the beast. The next night Jack and two

hunters attack Ralph and Piggy and steal Piggy's glasses. Piggy and Ralph go to Jack to

get back Piggy's glasses. Then the hunters hurl a giant boulder over a ledge, which

demolishes the conch and kills Piggy. The next day Jack's tribe hunts Ralph. While running

from the hunters, Ralph stumbles onto the beach and falls at the feet of an army officer.

They are finally rescued, but Ralph can only weep "for the end of innocence, the darkness

of man's heart, and the fall through the air of the true, wise friend called Piggy." (p.184)

The protagonist in the story is Ralph, a tall, blond twelve year old.  He is the first

character Golding introduces in the novel.  He blows on the conch shell to call the first

assembly, and the boys elect him the leader. Ralph states, " I'm the chief then." (p.21)

Ralph is respected by all the boys until Jack becomes a separate leader of the hunters.

Ralph is physically strong and brave, and he depicts this when he leads explorations, looks

for the beast, and tries to escape from Jack's tribe.  Ralph becomes friendly with Piggy,

and the two of them refuse to adopt the new, less structured way of life that most the boys

on the island experience.  Both of them are very firm in their belief of organization and

civilization, and they are the only ones not to succumb to Jack's savage ways.  Ralph tries

to play his leadership role the same way an adult would, but he struggles to maintain

order.  He constantly urges the boys to keep the fire burning, and he always hopes to be

rescued. When Jack lets the fire go out, Ralph becomes irate and says to jack, "You let the

fire out." (p.63)  Ralph makes sure that shelters are built and maintained, people deposit

their wastes correctly, and that the coconuts are always full with water. Ralph, the

appointed leader, enforces civilization but struggles to maintain it.

The antagonist in the novel is Jack, a tall, thin, red-headed boy.  He appears in the

novel as the leader of the boys' choir.  During the first blowing of the conch and the first

assembly, Jack loses the election for chief.  He and Ralph, the protagonist, initially are

amiable, and their relationship and attitudes remain almost the same. They both agree on

the need of fire, shelters, and meat. Jack voluntarily takes charge of the hunting.  Initially,

he is not very successful, but with the help of his hunters, they are able to kill pigs. At first

Jack and his hunters do what they are asked, but as time goes on, they start to participate

in different activities and neglect those needed for the sake of the boys' salvation. They

start painting their faces when hunting and become obsessed with killing. At this point the

conflict between Ralph and Jack climaxes, and the structure of life on the island breaks

down.  Jack and his hunters form a tribe of savage boys on the far side of the island.

Most of the boys follow Jack because they relish  the idea of meat and fun but despise the

idea of doing work with Ralph.  Over a period of time, all the boys become a member of

Jack's tribe expect Piggy and Ralph.  Jack becomes chief of his hunters, and they respect

him like a god.  He and his tribe kill Simon because they mistake him for the beast, and

they kill Piggy by hitting him with a boulder.  With no respect for human lives, Jack and

his tribe hunt Ralph.  While running after Ralph, an army officer confronts them, and they

are rescued.  Jack, the leader of the savage hunters, is the antagonist to Ralph and

civilization.

One of the many themes in the novel is that man is savage at heart, and he always

ultimately reverts back to an evil and primitive nature. Contrary to the belief that man is

innocent and society evil, the novels shows that laws, rules, policemen, and schools are

necessary to keep the darker side of human nature in line. Golding depicts the reality of

this theme when the confusion in the novel finally leads to a manhunt for Ralph.  The

reader realizes that despite the strong sense of British character and civility that has been

instilled in the youth throughout their lives, the boys backpedal and show the underlying

savage side existent in all humans.  If a group of well-conditioned school boys can

ultimately wind up committing various extreme travesties, one can imagine what adults,

leaders of society, are capable of doing under the pressures of trying to maintain world

relations. When Golding wrote the novel, he said he was "striving to move behind the

conventional matter of the contemporary novel to a view of what man, or pre-man, is like

when the facade of civilized behavior falls away."  In a questionnaire Golding stated, "The

theme is an attempt to trace the defects of society back to the defects of human nature.

The moral is that the shape of a society must depend on the ethical nature of the individual

and not on any political system however apparently logical of respectable."

The main conflict in the novel is an internal struggle between man and his basic or

inner nature. Realizing there are no adults, laws, rules, or authorities, the boys in the novel

reside to their inner nature. This struggle that occurs within each boy creates a plethora of

distinct conflicts.  One contention derived from this conflict is an internal conflict between

man and his imagination.  The barbarous nature of the hunters put a pig's head on a stake

as an offering to the beast.  In Simon's internal, imaginary conflict, this head talks to him.

This hallucination leads to his death. Man verses man, an external conflict,  is another

conflict derived from the contention between man and his basic nature.  Because Jack and

his tribe convert to their basic nature, it creates a conflict between the savage, Jack and his

hunters, and the ones trying to keep order, Ralph and Piggy.  This conflict becomes very

intense and even results in death.  This struggle brings about the stealing of the Piggy's

glasses, the death of Piggy, and the manhunt for R

629.          Lord of the Flies 4

The venturesome novel, Lord of the Flies, is an enchanting, audacious account

that depicts the defects of society as the incorrigible nature of individuals when they are

immature and without an overlooking authority.  The author of the novel, William

Golding, was born in Britain, which accounts for the English, cultured characters in the

novel.  After studying science at Oxford University for two years, he changed his emphasis

as a major to English literature.  When World War II broke out in 1939, Golding served in

the Royal Navy for five years.  The atrocities he witnessed changed his view about

mankind's essential nature.  He came to believe that there was a very dark and evil side to

man, which accounts for the savage nature of the children in the novel.  He said, "The war

was unlike any other fought in Europe.  It taught us not fighting, politics, or the follies of

nationalism, but about the given nature of man."  After the war he returned to teaching

and wrote his first novel, Lord of the Flies, which was finally accepted for publication in

1954.  In 1983, the novel received the Noble Prize and the statement, "[His] books are

very entertaining and exciting. . . . They have aroused an unusually great interest in

professional literary critics (who find) deep strata of ambiguity and complication in

Golding's work. . . ." (Noble Prize committee) Some conceived the novel as bombastic

and didactic.  Kenneth Rexroth stated in the Atlantic, "Golding's novels are rigged.. . . The

boys never come alive as real boys. . . ." Other critics see him as the greatest English

writer of our time.  In the Critical Quarterly in 1960, C.B. Cox deemed Lord of the Flies

as "probably the most important novel to be published. . .   in the 1950's."

The setting of the novel takes place on an island in the Pacific Ocean. The author

never actually locates the island in the real world or states the exact time period.  The

author does state that the plane carrying the children had been shot down in a nuclear war,

so the time period must be after the making and the use of nuclear weapons.   Even

though the location of the island is not definite, the author vividly describes the setting.

Golding tells us that the island is tropical and shaped like a boat. At the low end are the

jungle and the orchards, which rise up to the treeless and rocky mountain ridge. The

beach, called the scar, is  near the warm water lagoon. On the scar, where the boys hold

their meetings, is  a "natural platform of fallen trees."  Far away is the fruit orchards which

supply the boys with food. Inland from the lagoon is the jungle with pig trails and hanging

vines.  The island has a mountain that Ralph, Simon, and Jack climb, and from which they

are able to see the terrain. Finally, there is the castle at the other end of the island, which

rises a hundred feet above the sea and becomes Jack's headquarters.  Golding gives us a

very strong sense of place, and the setting shapes the story's direction. At the outset the

boys view the island as a paradise because it is lush and abundant with food. As the fear of

the beast grows, however, it becomes a hell in which fire and fear prevail.  Even though

Golding does not clearly state the setting, a mental picture of the island is depicted

throughout the novel.

The plot of the story begins when a group of British students' plane is shot down,

and they crash on a tropical island. Ralph and Piggy are the first characters introduced,

and they find a white conch shell. Ralph blows on the conch, and the other boys appear.

Among them are Jack, Sam, Eric, Simon, and many other boys who are never given

names. The group elects Ralph as their leader.  When the conch calls again, they talk

about a small boy's fear of a snakelike beast in the woods. Is there really such a beast? The

boys can not agree. Ralph convinces everyone that they need a fire for a signal in case a

ship passes the island, but the boys find it hard work keeping the fire going.   Jack decides

he no longer wants to be part of Ralph's group because he would rather hunt than worry

about keeping the fire burning. He leaves with everyone except Ralph, Piggy, Sam, Eric,

and Simon.  In spite of their growing terror of the imagined beast, Jack leads his hunters

into the jungle for the slaying of pigs.  They place a pig's head on a stake, much like a

primitive offering to the unknown beast.  Then Simon wanders into the woods alone, has a

seizure, and talks to the pig's head. In Simon's hallucination the head becomes the "Lord

of the Flies". Then Simon, terrified and sickened, starts back to where the other boys are

to tell them that the beast is a dead man who parachuted onto the island. When Simon

appears, the boys kill him, mistaking him for the beast. The next night Jack and two

hunters attack Ralph and Piggy and steal Piggy's glasses. Piggy and Ralph go to Jack to

get back Piggy's glasses. Then t

630.          Lord of the Flies

The Lord of the Flies

The world had witnessed the atrocities of World War II and began to

examine the defects of their social ethics.  Man's purity and innocence was gone.

Man's ability to remain civilized was faltering.  This change of attitude was

extremely evident in the literature of the age.  Writers, who through the use of

clever symbolism, mocked the tragedy of man's fate.  One such writer was William

Golding.   An author who has seen the destruction of war and despises its

inevitable return.  Through the use of innocent and untainted children, Golding

illustrates how man is doomed by his own instinct.  The novel is called Lord of the

Flies, and is of extreme importance to help reconstruct the current wave of

revolutionary ideas that swept the twentieth-century generation.  Lord of the Flies

portrays the belief of the age that man is in a constant struggle between darkness

and light, the defects of human nature, and a philosophical pessimism that seals the

fate of man.  Golding's work are, due to their rigid structure and style,  are

interpreted in many different ways.  Its unique style is different from the

contemporary thought and therefor open for criticism.

The struggle between darkness and light is a major theme in all the works of

William Golding.  Strong examples of this are found throughout Lord of the Flies.

The most obvious is the struggle between Ralph and Jack.  The characters

themselves have been heavily influenced by the war.  Ralph is the representative of

Democracy.  Elected as the leader he and Piggy his companion keep order and

maintain a civilized government.  The strength of Ralph's character was supported

by the power of World War II.  Jack, on the other hand, represents

authoritarianism.  He rules as a dictator and is the exact opposite of Ralph.  Jack is

exemplifying the Hitler's and Mussolini's of the world.  He is what the world fears

and yet follows.  This struggle is born at the very beginning and escalates till the

very end.  The struggle in the book is a negative outlook on life in the future.

One other example is the debate over the existence of the beast.  The idea of a

beast brings all into a state of chaotic excitement in which Ralph and Piggy lose

control.  Ralph and especially Piggy try to convince everyone that there is no such

thing as a beast to maintain order.  Jack and his choir of hunters do all to win

support of the hunt and in doing so he becomes an advocate for evil.  This struggle

between good and evil is a fairly clear picture of the way this post-war generation

viewed man and his journey through life.  This is done through Golding's masterful

use of allegory.  Therefor making it enjoyable for all readers.

Golding himself stated that the purpose of the novel was to trace the defects

of society back "to the many defects of human society."  The use of children is an

extremely effective way of making the purpose understandable to readers of all

generations.

"The idea of placing boys alone on an island, and letting them

work out archetypal patterns of human society, is a brilliant

technical device, with a simple coherence which is easily

understood by a modern audience." (Cox 163)

This quote by C.B. Cox gives us the reason why this novel has survived so long

and is so well respected.  The children are left to react in ways that will test how

close they will resemble modern civilization.  The group at first tries to assemble a

type of demcratic government in which Ralph is elected leader.  At this instant we

see something that is  most important.  That is the reluctance of Jack to become the

leader. He and his choir singers, which are dressed in black to symbolize evil, are

immediately separated from the group and labeled as hunters.  This gives Jack

some piece of power and like the dictators of the 1930's he insists he receive more.

The hunter party is Golding's triumph in giving the first glimpse of human

savagery through the hunter party.  As the hunter party grows in numbers the

hunters have a great thirst for blood and death.  This is how the beast is first seen.

They become more savage and soon begin to paint their faces to show how fierce

they are.  The whole time Ralph and Piggy the only rational thinkers have become

the greatest enemy of the party.  They begin to make chants and dances and do all

to destroy any order.  When Piggy is killed we see the end of rational thinking and

the complete collapse of mankind's strength to remain civilized at all costs.  Man

has become savage and has shown a terrifying glimpse into the future of

Democracy.  The defect of man is revered to as the beast.  The thing the boys were

all running away from was what they became and it was lead by the representation

of Satan himself, the red haired Jack.  At certain stages in the story Golding

deliberately makes us forget that these are only young children.  Their drama and

conflict typify the inevitable overthrow of all attempts to impose a permanent

civilization on the instincts of man.

Golding along with many of the writers of the time gave pessimistic endings

not only to their books but to life in general.  They showed society in a sort of

downward decent which could not be stopped because it is in our nature.  The

savagery of man is used through the use of the hunters.  The pessimism is viewed

through the ending.  The ending has been interpreted in many ways but most

contain the same ideas.  The idea that there is no hope or mankind.  The story takes

place in the near future during an atomic war.  The children were being

transported away from Britain.  The world had already started to become savage

and as many people in the generation said " If world war three is atomic bombs

than world war four is sticks and clubs."  Obviously the idea of human nature and

savagery were in fact very prominent.  Golding uses an excellent idea for the end

of this story.  The naval officer comes to rescue the children from their war with

Ralph and are suprised to find how savage the "English" boys were acting.  At this

point we see Ralph begin to cry not for being saved but for mankind.

" The naval officer, who comes to rescue them...His trim

cruiser, the sub-machine gun, his white drill, epaulettes,

revolver and row of gilt buttons, are only more sophisticated

substitutes for the war-paint and sticks of Jack and his

followers.  He too is chasing men in order to kill, and

the dirty children mock the absurd civilized attempt to

hide the power of evil.  And so when Ralph weeps for

the end of innocence, the darkness of man's heart, and

the death of his true wise friend, Piggy, he weeps for all

the human race."  (Cox 164)

Such a tragic view of the future of mankind and their nature is a perfect

window for people to understand how the impact of the war made the world

rethink its ethics and how life was thought of as a punishment in the extreme sense

and that there was no hope for the future except fear.  This view has since changed

but not greatly as one would imagine.  The basic ideas are still their and modern

society may still relate to this novel.  The interpretation may not be exact but from

now on mankind will always weep for " the end of innocence, the darkness of

man's heart, and" the most disturbing"  for all the human race."

631.          Louis Armstrong

Louis Armstrong

Tarenah Henriques

Dec. 10, 1998

Period 4

"Louis Armstrong"

Born in August 1901 (not Independence Day 1900, as he was always told and believed), Louis Armstrong sang on the New Orleans streets in a boyhood quartet and in 1913 was admitted to the Colored Waifs' home for firing a gun into the air. In the home he learned the trumpet, and within four years was challenging every trumpet king in his home town, from Freddie Keppard to Joe Oliver, his first father-figure, whom he replaced in Kid Ory's band in 1919. In 1922 Oliver (by now King Oliver) invited Louis to join him in Chicago to play second trumpet. Tempting as it is to echo Nat Gonella's incredulous comment, "I can't imagine Louis playing second trumpet to anyone", Oliver was able to teach Armstrong a little. The regular harmonic experience of playing second (his ear, even then, was faultless) and, above all, the importance of playing straight lead in "whole notes", as Oliver did, were lessons that Armstrong was to remember for life.

Experience was by now, however imperceptibly, toughening the young man up. His second wife Lil Hardin helped to focus his streak of ambition and he was learning that people could be devious - Oliver, it transpired, was creaming his sidemen's wages. Although he loved Oliver until the end, by 1924 Armstrong had made the jump to New York and Fletcher Henderson's orchestra. It was hot city company for a country boy, but he had the humor and talent to counter mockery ("I thought that meant 'pound plenty'!", he quipped, when the stern Henderson ticked him off for a missed "pp" dynamic); somewhere along the way he decided

he was the best, and got ready to defend his title if necessary. "Louis played the Regal Theater in Chicago," remembers Danny Barker, "and they had this fantastic trumpeter Reuben Reeves in the pit. So in the overture they put Reuben Reeves on stage doing some of Louis's tunes.

Louis listened - then when he came on he said, "Tiger Rag". Played about thirty choruses! The next show? No overture!"

In 1925 Armstrong, already a recording star, began OKEH dates with his Hot Five and Seven (featuring Johnny Dodds, Kid Ory and his wife Lil, until Earl Hines replaced her). The music on masterpieces such as "Cornet Chop Suey", "Potato Head Blues", "Sol Blues" and "West End Blues" turned jazz into a soloist's art form and set new standards for trumpeters world-wide. At the peak of his young form, Armstrong peeled off top Cs as easily as breathing (previously they were rare) and pulled out technical tours de force which never degenerated into notes for

their own sake. His singing introduced individuality to popular vocals and, just for good measure, he also invented scat singing, when he dropped the music one day at a recording session. Best of all was his melodic inspiration: his creations were still being analyzed, harmonized and celebrated half a century later. Rather than playing ever higher and harder, Armstrong simplified his music, polishing each phrase to perfection, while keeping his strength for the knockout punch.

By 1930 he was a New York star, with imitators all around him, but his business life was at a temporary impasse. Then he found his Godfather-figure, a powerful, often ruthless Mafia operator called Joe Glaser, who was to steer his client's fortunes for 35 years. In 1935, with Glaser's approval, Louis teamed with Luis Russell's orchestra, an aggregation of old New Orleans friends, and for five years he was to tour and record with them: the records are classics, and helped to get Armstrong into films such as Pennies from Heaven (1936) and Artists and

Models (1937).

In 1940, Glaser's office brusquely sacked the band and Louis put together another containing younger "modernists" such as John Brown (alto), Dexter Gordon (tenor) and Arvell Shaw (bass), a long Louis associate, with Velma Middleton sharing the singing. It lasted until

summer 1947, but big bands were on a downward slide and Armstrong found leading a headache.

In 1947 promoter Ernie Anderson presented him with a small band (directed by Bobby Hackett) at New York's Town Hall. The acclaim that greeted the move signaled the end of his big-band career, and for the last 24 years of his life, Louis led his All Stars, a six-piece band

which featured, to begin with, a heady mixture of real stars ("too many make bad friends", said Armstrong ruefully later), including Jack Teagarden and Earl Hines. It developed into a more controllable and supportive team featuring, at various times, Barney Bigard and Ed Hall

(clarinet) and, a strong right arm, Trummy Young (trombone). With his All Stars, Armstrong presented a tightly arranged show which, right down to repertoire and solos, seldom varied in later years, a policy which was sometimes criticized. But great records made with the All Stars,

such as Plays W. C. Handy, Plays Fats and At the Crescendo, became jazz anthems, and solos such as Louis and the Good Book and its superior follow-up Louis and the Angels revealed Armstrong at a wonderful late peak.

At his own wish the All Stars maintained a crippling touring schedule and in 1959 he had his first heart attack. For his last ten years, amid hit-parade successes, unabated touring and recurring illness, Armstrong gradually slowed down: by 1969, when he visited Britain for the last

time, it was noticeable that though his playing was rationed (though still painfully beautiful) and that he was looking older. He died in bed (smiling) on 6 July 1971; his records have all remained in catalogue ever since and in l994 a late Armstrong single, "We Have All The Time In

The World" rose high in the pop charts.

It's impossible to discuss "Satchmo" without remembering the man: "He was a very joyous host," says Ruby Braff, "even in his dressing room with fifty people standing round." It is time to kill off the legend that Armstrong's big-heartedness was a pose: says Barney Bigard, "There never was any hidden side to him. He came 'as is'." Another legend deserves demolition: that Louis was simply the lucky one of countless talents in and around New Orleans (Jabbo Smith and Punch Miller are two cited contenders): the records prove otherwise. More recently it's been suggested that recurrent lip trouble (which Armstrong certainly suffered) caused a musical decline from the 1930s on: again, his performances demonstrate a continuing achievement.

"He left an undying testimony to the human condition in the America of his time": Wynton Marsalis's way of saying, in 1985, that Louis was simply the greatest jazz trumpeter ever and, with Charlie Parker and Duke Ellington, the most influential jazzman of the classic era.

Bibliography

Bergreen, Laurence. Louis Armstrong: An Extravagant Life. New York : Broadway Books, 1998.

Louis Armstrong *censored*http://www.capecodonline.com/primetime/armstrong.htm*censored*

Satchmo *censored*http://www.satchmo.com*censored*

Woog, Adam. Louis Armstrong. Detroit : Lucent Books, 1995

Word Count: 1151

632.          Love Has Nothing To Do With It

What's Love Got to Do With It

In Pride and Predjuice life is not all fun and games.  There are many pressures in

life:  mothers with high expectations for a good marriage and a girl's own expectation of

what life and hopefully marriage will be like.  Charlotte Lucas is the oldest daughter in a

large family, she is not the most beautiful girl, and she is twenty-seven, well beyond the

marrying age.  Charlotte is Elizabeth Bennett's best friend and Mr. Collins, the man

Charlotte finally marries, is Elizabeth's cousin.  Charlotte Lucas will marry to solidify

her life, not because she loves, for many people are unkind about her ability to marry

well; thus after her marriage to Mr. Collins, she spends all of her time avoiding him.

Charlotte knows  that even though she wants to marry more than anything in the

world, she does not expect love to come about; thus, she decides that it is probably even

better if you don't know a thing at all about the person you are marrying.  While

Charlotte is speaking to Elizabeth about her sister, she expressed her opinion as to Jane

Bennet's relationship towards a gentleman.  She says it is probably better not to study a

person because you would probably know as much after twelve months as if she married

him the next day.  Charlotte even goes as far as to say that "it is better to know as little as

possible of the defects of the person with whom you are to pass your life" (p.21).

Charlotte considered Mr. Collins "neither sensible nor agreeable" but since marriage had

always been her goal in life, "at the age of twenty-seven, with having never been

handsome, she felt all the good luck of it" (p.107).  Charlotte is speaking to Elizabeth on

her marriage to Mr. Collins, "I am not romantic, you know.  I never was.  I ask only a

comfortable home; and considering Mr. Collins' character, connections, and situation in

life, I am convinced that my chance of happiness with him is as fair as most people can

boast on entering the marriage state" (p.110).  Charlotte is optimistic in entering her

marriage even though Elizabeth is not.

The people associated with Charlotte, even her dear friends, have little

expectation for Charlotte's marrying well.  While Mrs. Benett is speaking to Mr. Bingley

the subject of Charlotte Lucas comes up and Mrs. Bennet can not help but to comment

about Charlotte's beauty, "...but you must own she is very plain.  Lady Lucas has often

said so..." (p.39).  Even good-natured Jane, Elizabeth's sister, has something to say about

Charlotte's marriage to Mr. Collins.  Jane argues that Mr. Collins is respectable and that

Charlotte is from a large family and is not exceptionally wealthy.  She also states that

Charlotte, "may feel something like regard and esteem for our cousin" (p.117).  Elizabeth

taking the opposite point of view on the issue says, "Mr. Collins is a conceited, pompous,

narrow-minded, silly man;" then continued to list reasons as to why, "the woman who

marries him [Mr. Collins] cannot have a proper way of thinking" (p. 117).

Charlotte, having gone into her marriage with Mr. Collins with her eyes open,

puts most of her energy into avoiding her husband.  Charlotte finding herself now having

to deal with her husband makes her quarters in the lesser part of their house, leaving the

more attractive part to her husband so he will spend more time there (p. 144).  Also,

Charlotte and Mr. Collins take walks every morning, which Charlotte walked

considerably fast in order to leave Mr. Collins to every view, "with a minuteness which

left beauty entirely behind" (p.134).  Elizabeth, while visiting Charlotte, observed

another way in which Carlotte tolerated her husband, her observation was, "Her home

and her housekeeping, her parish and her poultry, and all their dependent concerns, have

not yet lost their charms" (p.183).

Charlotte neither being pretty nor wealthy has compensated for her husband's

annoying traits in many ways.  In a time when most girl's goals were to get married,

Charlotte achieved her goals.  Even though she may not love, not even like her husband,

she is happy because she will not be a spinster.

633.          Lucas king of film 5

essay on George Lucas none

Davis 1

Lucas:  King of Film

Whether it be through his epic Star Wars saga, or through the exalted special effects crew he pioneered, Industrial Light and Magic, he continues to amaze audiences world wide.  His name in synonymous with famous directors/producers in the world.  His impacts reach out in more fields than just film.  He has created companies that produce award winning video games, toy companies produce action figures designed after characters from his movies, many books by many authors based on his original film stories, and countless other wings of Lucas' reign exist in today's world.  Since his youth, George Lucas has experienced many influences, which in turn push him to make the greatest contributions to the film industry which leave an ever increasing impact on film today and the world.

Throughout history, it is apparent that those who are recognized as 'great ones' were influenced in some way or another to become the leader who they are.  In George Lucas' case, he was greatly influenced in his late teens and early twenties.  Lucas claims to have chased girls and raced cars throughout high school, and barely made it through (Moritz 258).  Soon after high school, Lucas attended Modesto Junior College in California and continued to work on cars as his main interest (Moritz 258).  In Smith, Lucas is quoted saying, 'I was a hell-raiser; lived, ate, breathed cars!   That was everything for me'(84).  Lucas even worked on pit crews for race cars when he met Haskell Wexler, who introduced him to film (Moritz 258).  Eventually Lucas realized his new passion was film.  Mr. Wexler helped Lucas gain admission into the University of

Davis 2

Southern California's film department (Moritz 260).  In college Lucas was the head of his film classes winning many awards and accolades.  His first feature movie in college was titled THX-1138 and won his university's award for best film (Moritz 259).

Lucas is also inspired by his circle of friends and fellow directors, producers, and collaborations with them.  With the success of  THX-1138 at the university, Lucas was awarded the chance to be an observer on the set of  Finian's Rainbow directed by University of Southern California alumnus Francis Ford Coppola (Champlin 7).  Soon the two began to chat, and then became friends, so Coppola let Lucas work for him on the movie.  With his hard work, Lucas earned the respect of Coppola who in turn did Lucas the favor of convincing producers to let Lucas direct a major motion picture (Moritz 7).  Lucas' first major motion picture was American Graffiti, with this film Coppola had given Lucas the chance to make a foothold in the film industry, and he certainly did.  Also, Lucas is supported by friends Steven Spielberg, John Milius, Martin Scorcese, and Ivan Reitman (Moritz 260).  The group often collaborate on projects and get advice from each other on filmmaking (Moritz 258).  Steven Spielberg is quoted in Champlin's book saying:

Lucasfilm touches our lives from many different directions, descending upon our eyes, our ears, and our children.  George has never stopped asking, 'Any Ideas?' and the whole world has been a better place for it.(7)

On the other hand, George Lucas is best identified with the fantastic list of movies he has had a part in, whether it be a big part, or an even bigger one, Lucas has a great deal of influence on movies listing his name in the credits.  It is for sure that at one time or another, everyone has heard of  Star Wars, the first part of a three movie trilogy, for which he is best known for the conception and production of.  Since it's release in 1977, Star Wars has grossed over four billion dollars in sales, making it the most money making movie ever (Lane and Samuelson 126).  Lucas also produced all three of the Indiana Jones movies; Temple of Doom, Raiders of the Lost Ark, and The Last Crusade, which were

Davis 3

directed by Steven Spielberg (Smith 83).  Currently, Lucas has re-released his epic Star Wars saga, and titled it Star Wars: special edition, which has blown away viewers.

Perhaps his most important contribution to film is his beginning of, and ownership of the special effects crew ILM, standing for Industrial Light and Magic.  Over the years, ILM has won ten Academy Awards, two emmys, and six British Academy Awards (Wolkomir 112).  Without the techniques still used today, pioneered by ILM, movie making today might still be stuck in a 'Godzilla' like special defects world.  Randall praises ILM in his article saying, 'Indeed almost every digital effects company has had executives that learned the trade at Lucas' Industrial Light and Magic' (127).  ILM has produced special effects for Star Wars, Indiana Jones, and Independence Day   (Wolkomir 112).  ILM is marked for being ahead of its time and all other special effects companies, especially in Star Wars which amazed audiences across the world (Randall 127).

Furthermore, Lucas has impacted the film industry in countless ways.  His main impacts are those on the film industry.  Lucas set a benchmark for sound with his development of the sound system called THX (Champlin 7).  The highest of quality home receivers and highest quality movie theater sound systems are designed with THX (Champlin 7).  THX's motto is 'the audience is listening' and they have been at Cineplex Odeon theaters across the USA, and other theaters hosting the dynamic sound system (Randall 127).  Although the release of Star Wars in 1977 discouraged other directors by blowing away all special effects and sound barriers,  this in turn set a new mark for directors to reach for in their movie productions.  It's impacts like these that improve the film industry every day, and a lot of it traces back to George Lucas.

Davis 4

The ability to make parents flock to toy stores day in and day out searching for much requested toys isn't hard to create in one's self.  Twenty years after it's release, Star Wars is one of the top selling toy lines today (Leonhardt 79).  Parents were described as 'fleas' swarming the toy shops this past Christmas (Leonhardt 78).  The fact that Lucas expected to make $500,000,000 in overall Star Wars saga related sales after the release of Jedi, but really topped $4,000,000,000 is quite the audience impact also (Moritz 259).  Everyone remembers Steven Spielberg's E.T.:  the extra terrestrial, parents and children couldn't get enough of the lovable foreigner, but Star Wars' profits exceeded that of  E.T.'s for all time sales (Snead 6).

Through his influences, Lucas has managed to impact our lives with his many contributions to the entertainment industry.  With praise from others like Francis Ford Coppola and Steven Spielberg, it is definite Lucas is a film legend of our time.  He has had many contributions and films we all know and love.  He has reached out to all generations; the elder with memories in American Graffiti, and the young and young at heart with Star Wars, and the real science fiction fans with his perfected version of THX-1138.  He has impacted other filmmakers and audiences alike.  Traces of his greatness reach out through our world.

Davis 5

Works Cited

Champlin, Charles.  George Lucas: The Creative Impulse.  New York:  Harry N. Abrams,          1992.

Lane, Randall.  'George's Industry'  Forbes 11 Mar. 1996:  127.

Leonhardt, David.  'The Empire Strikes Again'  Business Week.  1 Jan.  1996:  48.

Moritz, Charles.  'Lucas, George'  Current Biography Yearbook Ed. Evelyn Lohr and Henry Swan.  New York:  The H.W. Wilson Company, 1978.

Samuelson, James, and Lane Randall.  'Money Machine'  Forbes  Mar. 1996:  126.

Smith, Diane G.  American Filmmakers Today.  New York:  Julian Messner, 1983.

Sterritt, David.  'Are Movie Marketers Too Mighty?'  Christian Science Monitor.   31 July 1995:  1+

Wolkomir, Richard.  'High-Tech Hokum is Changing the Way Movies are Made.'

Smithsonian.  Oct. 1990:   112-125.

Lucas:  King of Film

634.          Lucas King of Film Essay

Lucas:  King of Film

Whether it be through his epic Star Wars saga, or through the exalted

special effects crew he pioneered, Industrial Light and Magic, he continues to

amaze audiences world wide.  His name in synonymous with famous

directors/producers in the world.  His impacts reach out in more fields than

just film.  He has created companies that produce award winning video games, toy

companies produce action figures designed after characters from his movies, many

books by many authors based on his original film stories, and countless other

wings of Lucas' reign exist in today's world.  Since his youth, George Lucas has

experienced many influences, which in turn push him to make the greatest

contributions to the film industry which leave an ever increasing impact on film

today and the world.

Throughout history, it is apparent that those who are recognized as

"great ones" were influenced in some way or another to become the leader who

they are.  In George Lucas' case, he was greatly influenced in his late teens

and early twenties.  Lucas claims to have chased girls and raced cars throughout

high school, and barely made it through (Moritz 258).  Soon after high school,

Lucas attended Modesto Junior College in California and continued to work on

cars as his main interest (Moritz 258).  In Smith, Lucas is quoted saying, "I

was a hell-raiser; lived, ate, breathed cars!   That was everything for me"(84).

Lucas even worked on pit crews for race cars when he met Haskell Wexler, who

introduced him to film (Moritz 258).  Eventually Lucas realized his new passion

was film.  Mr. Wexler helped Lucas gain admission into the University of

Southern California's film department (Moritz 260).  In college Lucas was

the head of his film classes winning many awards and accolades.  His first

feature movie in college was titled THX-1138 and won his university's award for

best film (Moritz 259).

Lucas is also inspired by his circle of friends and fellow directors,

producers, and collaborations with them.  With the success of  THX-1138 at the

university, Lucas was awarded the chance to be an observer on the set of

Finian's Rainbow directed by University of Southern California alumnus Francis

Ford Coppola (Champlin 7).  Soon the two began to chat, and then became friends,

so Coppola let Lucas work for him on the movie.  With his hard work, Lucas

earned the respect of Coppola who in turn did Lucas the favor of convincing

producers to let Lucas direct a major motion picture (Moritz 7).  Lucas' first

major motion picture was American Graffiti, with this film Coppola had given

Lucas the chance to make a foothold in the film industry, and he certainly did.

Also, Lucas is supported by friends Steven Spielberg, John Milius, Martin

Scorcese, and Ivan Reitman (Moritz 260).  The group often collaborate on

projects and get advice from each other on filmmaking (Moritz 258).  Steven

Spielberg is quoted in Champlin's book saying:

Lucasfilm touches our lives from many different directions, descending

upon our          eyes, our ears, and our children.  George has never stopped

asking, "Any Ideas?" and the whole world has been a better place for it.(7)

On the other hand, George Lucas is best identified with the fantastic

list of movies he has had a part in, whether it be a big part, or an even bigger

one, Lucas has a great deal of influence on movies listing his name in the

credits.  It is for sure that at one time or another, everyone has heard of

Star Wars, the first part of a three movie trilogy, for which he is best known

for the conception and production of.  Since it's release in 1977, Star Wars has

grossed over four billion dollars in sales, making it the most money making

movie ever (Lane and Samuelson 126).  Lucas also produced all three of the

Indiana Jones movies; Temple of Doom, Raiders of the Lost Ark, and The Last

Crusade, which were directed by Steven Spielberg (Smith 83).  Currently,

Lucas has re-released his epic Star Wars saga, and titled it Star Wars: special

edition, which has blown away viewers.

Perhaps his most important contribution to film is his beginning of, and

ownership of the special effects crew ILM, standing for Industrial Light and

Magic.  Over the years, ILM has won ten Academy Awards, two emmys, and six

British Academy Awards (Wolkomir 112).  Without the techniques still used today,

pioneered by ILM, movie making today might still be stuck in a "Godzilla" like

special defects world.  Randall praises ILM in his article saying, "Indeed

almost every digital effects company has had executives that learned the trade

at Lucas' Industrial Light and Magic" (127).  ILM has produced special effects

for Star Wars, Indiana Jones, and Independence Day   (Wolkomir 112).  ILM is

marked for being ahead of its time and all other special effects companies,

especially in Star Wars which amazed audiences across the world (Randall 127).

Furthermore, Lucas has impacted the film industry in countless ways.

His main impacts are those on the film industry.  Lucas set a benchmark for

sound with his development of the sound system called THX (Champlin 7).  The

highest of quality home receivers and highest quality movie theater sound

systems are designed with THX (Champlin 7).  THX's motto is "the audience is

listening" and they have been at Cineplex Odeon theaters across the USA, and

other theaters hosting the dynamic sound system (Randall 127).  Although the

release of Star Wars in 1977 discouraged other directors by blowing away all

special effects and sound barriers,  this in turn set a new mark for directors

to reach for in their movie productions.  It's impacts like these that improve

the film industry every day, and a lot of it traces back to George Lucas.

The ability to make parents flock to toy stores day in and day out

searching for much requested toys isn't hard to create in one's self.  Twenty

years after it's release, Star Wars is one of the top selling toy lines today

(Leonhardt 79).  Parents were described as "fleas" swarming the toy shops this

past Christmas (Leonhardt 78).  The fact that Lucas expected to make

$500,000,000 in overall Star Wars saga related sales after the release of Jedi,

but really topped $4,000,000,000 is quite the audience impact also (Moritz 259).

Everyone remembers Steven Spielberg's E.T.:  the extra terrestrial, parents and

children couldn't get enough of the lovable foreigner, but Star Wars' profits

exceeded that of  E.T.'s for all time sales (Snead 6).

Through his influences, Lucas has managed to impact our lives with his

many contributions to the entertainment industry.  With praise from others like

Francis Ford Coppola and Steven Spielberg, it is definite Lucas is a film legend

of our time.  He has had many contributions and films we all know and love.  He

has reached out to all generations; the elder with memories in American Graffiti,

and the young and young at heart with Star Wars, and the real science fiction

fans with his perfected version of THX-1138.  He has impacted other filmmakers

and audiences alike.  Traces of his greatness reach out through our world.

Works Cited

Champlin, Charles.  George Lucas: The Creative Impulse.  New York:  Harry N.

Abrams,          1992.

Lane, Randall.  "George's Industry"  Forbes 11 Mar. 1996:  127.

Leonhardt, David.  "The Empire Strikes Again"  Business Week.  1 Jan.  1996:  48.

Moritz, Charles.  "Lucas, George"  Current Biography Yearbook Ed. Evelyn Lohr

and      Henry Swan.  New York:  The H.W. Wilson Company, 1978.

Samuelson, James, and Lane Randall.  "Money Machine"  Forbes  Mar. 1996:  126.

Smith, Diane G.  American Filmmakers Today.  New York:  Julian Messner, 1983.

Sterritt, David.  "Are Movie Marketers Too Mighty?"  Christian Science Monitor.

31 July 1995:  1+

Wolkomir, Richard.  "High-Tech Hokum is Changing the Way Movies are Made."

Smithsonian.  Oct. 1990:   112-125.

635.          Lucas king of film

Davis 1

Lucas:  King of Film

Whether it be through his epic Star Wars saga, or through the exalted special effects crew he pioneered, Industrial Light and Magic, he continues to amaze audiences world wide.  His name in synonymous with famous directors/producers in the world.  His impacts reach out in more fields than just film.  He has created companies that produce award winning video games, toy companies produce action figures designed after characters from his movies, many books by many authors based on his original film stories, and countless other wings of Lucas' reign exist in today's world.  Since his youth, George Lucas has experienced many influences, which in turn push him to make the greatest contributions to the film industry which leave an ever increasing impact on film today and the world.

Throughout history, it is apparent that those who are recognized as "great ones" were influenced in some way or another to become the leader who they are.  In George Lucas' case, he was greatly influenced in his late teens and early twenties.  Lucas claims to have chased girls and raced cars throughout high school, and barely made it through (Moritz 258).  Soon after high school, Lucas attended Modesto Junior College in California and continued to work on cars as his main interest (Moritz 258).  In Smith, Lucas is quoted saying, "I was a hell-raiser; lived, ate, breathed cars!   That was everything for me"(84).  Lucas even worked on pit crews for race cars when he met Haskell Wexler, who introduced him to film (Moritz 258).  Eventually Lucas realized his new passion was film.  Mr. Wexler helped Lucas gain admission into the University of

Davis 2

Southern California's film department (Moritz 260).  In college Lucas was the head of his film classes winning many awards and accolades.  His first feature movie in college was titled THX-1138 and won his university's award for best film (Moritz 259).

Lucas is also inspired by his circle of friends and fellow directors, producers, and collaborations with them.  With the success of  THX-1138 at the university, Lucas was awarded the chance to be an observer on the set of  Finian's Rainbow directed by University of Southern California alumnus Francis Ford Coppola (Champlin 7).  Soon the two began to chat, and then became friends, so Coppola let Lucas work for him on the movie.  With his hard work, Lucas earned the respect of Coppola who in turn did Lucas the favor of convincing producers to let Lucas direct a major motion picture (Moritz 7).  Lucas' first major motion picture was American Graffiti, with this film Coppola had given Lucas the chance to make a foothold in the film industry, and he certainly did.  Also, Lucas is supported by friends Steven Spielberg, John Milius, Martin Scorcese, and Ivan Reitman (Moritz 260).  The group often collaborate on projects and get advice from each other on filmmaking (Moritz 258).  Steven Spielberg is quoted in Champlin's book saying:

Lucasfilm touches our lives from many different directions, descending upon our eyes, our ears, and our children.  George has never stopped asking, "Any Ideas?"    and the whole world has been a better place for it.(7)

On the other hand, George Lucas is best identified with the fantastic list of movies he has had a part in, whether it be a big part, or an even bigger one, Lucas has a great deal of influence on movies listing his name in the credits.  It is for sure that at one time or another, everyone has heard of  Star Wars, the first part of a three movie trilogy, for which he is best known for the conception and production of.  Since it's release in 1977, Star Wars has grossed over four billion dollars in sales, making it the most money making movie ever (Lane and Samuelson 126).  Lucas also produced all three of the Indiana Jones movies; Temple of Doom, Raiders of the Lost Ark, and The Last Crusade, which were

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directed by Steven Spielberg (Smith 83).  Currently, Lucas has re-released his epic Star Wars saga, and titled it Star Wars: special edition, which has blown away viewers.

Perhaps his most important contribution to film is his beginning of, and ownership of the special effects crew ILM, standing for Industrial Light and Magic.  Over the years, ILM has won ten Academy Awards, two emmys, and six British Academy Awards (Wolkomir 112).  Without the techniques still used today, pioneered by ILM, movie making today might still be stuck in a "Godzilla" like special defects world.  Randall praises ILM in his article saying, "Indeed almost every digital effects company has had executives that learned the trade at Lucas' Industrial Light and Magic" (127).  ILM has produced special effects for Star Wars, Indiana Jones, and Independence Day   (Wolkomir 112).  ILM is marked for being ahead of its time and all other special effects companies, especially in Star Wars which amazed audiences across the world (Randall 127).

Furthermore, Lucas has impacted the film industry in countless ways.  His main impacts are those on the film industry.  Lucas set a benchmark for sound with his development of the sound system called THX (Champlin 7).  The highest of quality home receivers and highest quality movie theater sound systems are designed with THX (Champlin 7).  THX's motto is "the audience is listening" and they have been at Cineplex Odeon theaters across the USA, and other theaters hosting the dynamic sound system (Randall 127).  Although the release of Star Wars in 1977 discouraged other directors by blowing away all special effects and sound barriers,  this in turn set a new mark for directors to reach for in their movie productions.  It's impacts like these that improve the film industry every day, and a lot of it traces back to George Lucas.

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The ability to make parents flock to toy stores day in and day out searching for much requested toys isn't hard to create in one's self.  Twenty years after it's release, Star Wars is one of the top selling toy lines today (Leonhardt 79).  Parents were described as "fleas" swarming the toy shops this past Christmas (Leonhardt 78).  The fact that Lucas expected to make $500,000,000 in overall Star Wars saga related sales after the release of Jedi, but really topped $4,000,000,000 is quite the audience impact also (Moritz 259).  Everyone remembers Steven Spielberg's E.T.:  the extra terrestrial, parents and children couldn't get enough of the lovable foreigner, but Star Wars' profits exceeded that of  E.T.'s for all time sales (Snead 6).

Through his influences, Lucas has managed to impact our lives with his many contributions to the entertainment industry.  With praise from others like Francis Ford Coppola and Steven Spielberg, it is definite Lucas is a film legend of our time.  He has had many contributions and films we all know and love.  He has reached out to all generations; the elder with memories in American Graffiti, and the young and young at heart with Star Wars, and the real science fiction fans with his perfected version of THX-1138.  He has impacted other filmmakers and audiences alike.  Traces of his greatness reach out through our world.

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Works Cited

Champlin, Charles.  George Lucas: The Creative Impulse.  New York:  Harry N. Abrams,             1992.

Lane, Randall.  "George's Industry"  Forbes 11 Mar. 1996:  127.

Leonhardt, David.  "The Empire Strikes Again"  Business Week.  1 Jan.  1996:  48.

Moritz, Charles.  "Lucas, George"  Current Biography Yearbook Ed. Evelyn Lohr and       Henry Swan.  New York:  The H.W. Wilson Company, 1978.

Samuelson, James, and Lane Randall.  "Money Machine"  Forbes  Mar. 1996:  126.

Smith, Diane G.  American Filmmakers Today.  New York:  Julian Messner, 1983.

Sterritt, David.  "Are Movie Marketers Too Mighty?"  Christian Science Monitor.              31 July 1995:  1+

Wolkomir, Richard.  "High-Tech Hokum is Changing the Way Movies are Made."

Smithsonian.  Oct. 1990:   112-125.

Lucas:  King of Film

636.          Ludwig Mies 2160

Ask anyone to name a great modern architect and a few names will come up repeatedly.  One of these people is Ludwig Mies van der Rohe.  As one of the brilliant architects of the twentieth century, he made huge strides in the field of architecture and opened many doors for future designers.  Never meaning to draw publicity to his ideas or himself, his ability to produce architectural statements of such overwhelming precision and simplicity created a major revelation in society.  Throughout his life, Mies encountered many circumstances that influenced his style and characteristics as a building designer.  During the eighty-three years of his life, each event slowly culminated to his mastery of the world of modern architecture.

Ludwig Mies was born in Aachen, Germany in 1886.  He lived there for twenty years with his parents.  His father worked as a mason and gave Mies a sufficient knowledge of building materials.  Although he was only given rudimentary schooling as a child, at age nineteen Mies had acquired more valid knowledge than many architects would have after years of training and apprenticeship.  He described his education as follows: "I had no conventional architectural education.  I worked under a few good architects.  I read a few good books.  That's about it."   Mies' early life was average in all aspects; however, the one trait that set him apart from all others and led him to historic prominence was his will of enormous proportions.

In 1905, Mies moved with his family to Berlin.  There he worked for Bruno Paul, an art-nouveau architect and furniture designer.  This earned Mies his first architectural commission at age twenty-one, the Riehl House.  Two years later, he joined Peter Behren's design practice where he met master architects Walter Gropius and Le Corbusier.  During his time with Behren, Mies assisted in designing the German Embassy in St. Petersburg.  Still looking to gain individual recognition as an architect, he was inspired by Behren's Turbine Factory, also in St. Petersburg.  Its huge hall with steel-arched frames and piers of concrete resembled a poetic image of strength and power that Mies would soon bring into his work.   The first suggestion of his independent creativeness was evident when he designed the Kroller House project for The Hague in 1911.  It never went beyond the mock-up stage, but it gave Mies an opportunity to go beyond Behren without using any borrowed styles from the past.

The very next year, Mies left Behren's practice and established his own studio in Berlin.  He also got married.  During this time the architectural designs and elegant neo-classical buildings of Karl Friedrich Schinkel became a well of inspiration for Mies, who borrowed his ideas until the late 1920's.  The majority of his early designs were highly speculative and experimental, showing signs of his search for a new and innovative style of architecture.  Although Mies was still a classicist in terms of form, it was apparent that he was becoming more and more interested in structure, an element that he is known as the master of today.

When he returned to Berlin after a few years of military service in the German army, he came back to a world full of upheavals in art.  There was new light shining on expressionism, cubism, and society's welcoming reactions to all of it.  It was in this atmosphere that Mies made the final break with his classical manner of the past in his architecture.  This became recognizable when he sketched his Glass Skyscraper projects in 1921.  The first of his designs was an all-glass tower reaching twenty stories high.  This daring and imaginative idea was surpassed by another one of his drawings one year later.  An even more radical thirty-story building showed a complex of free forms enclosed by a continuous curtain of glass.   His sketches were exceptionally innovative since nothing before had ever been designed solely out of glass.  These ideas suddenly pushed Mies into the forefront of the modernist movement and laid the foundation for designing glass and metal skyscrapers today.  His models of steel frames and glass walls were just the beginning of what was to come in his architectural style.

At the same time that Mies created the Glass Skyscraper projects, his marriage also came to an end.  It was then that he also decided to change his last name. He had never been fond of "Mies," which was translated in German as "poor" or "wretched."  In search for a more professional name, he changed it to Mies van der Rohe, adding a version of his mother's maiden name.  He felt this was an appropriate alteration if he was going to be known for the strength and power of his buildings.   By 1924 however, he still had yet to independently design a single important modern building.  During the years of World War I, his work consisted mainly of publishing, exhibiting, and discussing projects.  By 1925 his astonishing projects had gained him sufficient recognition resulting in many private and public clients.

In 1926 he was appointed vice president of Deutcher Werkbund.  That same year he designed a monument to the martyred German communists Karl Liebknecht and Rosa Luxemburg.  He displayed his great knowledge of materials with his use of superimposed and cantilevered masonry and brick.  This project was a highlight during the time of Mies' work with brick villas and monuments that became a distinct milestone in his career.  Other brick buildings he successfully designed were the Wolf House in Guber, 1926; the Hermann Lange and Esters Houses in Krefeld, 1930; and the Lemcke House in Berlin, 1933.  His brick houses and monuments from the 1920's and 30's remain the least known and publicized aspects of his career.

1928 marked the take-off point for Mies' architecture when he was chosen to design the German Pavillion, his most famous early work, at the Barcelona International Exhibition.  Since money was not an issue regarding the Pavillion's construction, Mies built it with travertine, marble, glass, onyx, and steel.  By using the most precious materials to any architect, Mies proved that he wanted the exhibit to be the Pavillion itself, not a display inside of it.  He also designed the chrome and leather Barcelona chair to be used by visiting royalty at the Exhibition, which later became a twentieth century icon.  Critics have claimed that Mies did not fulfill any functional problems with the Pavillion, but Mies' response was backed by architectural history: "Buildings have a long life and usually outlive their original function and must adapt themselves to different uses.  The only permanent ingredient a building can be expected to possess is beauty."   Most likely no one will remember whether or not there was a display inside the Pavillion, or what functional purpose the Parthenon served, if any.  All that will be acknowledged is the brilliance of the architects and their exceptional structures.

In 1930 Mies became the director of the Bauhaus School of Design in Dessau, a major center of twentieth-century architectural modernism.  That same year he designed the Tugendhat House in Brno, Czechoslovakia, another distinctive milestone in his career.  It was the first glass house allowing nature's trees and landscapes to form the visual interior boundaries instead of thick, opaque walls.  Just as Le Corbusier had the Villa Savoye and Frank Lloyd Wright had the Robie House as a career-defining structure, Mies had the Tugendhat House to represent the residential side of his career.  Many who criticized the lack of color used in his buildings often failed to see how he used the resources of nature to make his architecture vibrant with life and color through their glass walls.  By this time in the early 1930's Mies was recognized both at home and abroad as Germany's greatest architect, as well as one of the world's leading architectural figures.  Mies' motto of "less is more" not only typified him as a man of few words, but also described the methods of his work, distilling ideas to the point of ultimate purity.  That well-known phrase also became the essence of twentieth-century architecture.  In order to broaden his horizons even further, Mies moved to the United States and established an office in Chicago in 1937.  Soon after arriving in the states, his well-known reputation landed him a job as the director of architecture at the Illinois Institute of Technology for twenty years.  Here Mies had the opportunity to train a new generation of American architects and at the same time develop a master plan for the IIT campus by designing twenty buildings.

Throughout Mies' architectural career, he designed well over 200 buildings and projects, not to mention the ones that never made it past the drawing stages.  A large number of his works were done within the last twenty years of his life.  In 1950 he created the Lake Shore Drive Apartments, which Chicagoans called the "glass houses."  The twin 26-story apartment towers influenced architects everywhere and eventually changed the look of almost every American city.  One year later he designed the Farnsworth House in Plano, Illinois, which is often seen as the culmination of his residential architecture.  "The Farnsworth house is, in all likelihood, the most complete statement of glass-and-steel, skin-and-bones architecture Mies or anyone else will ever be able to make.  It is, also, the ultimate in universality, the ultimate in precision and polish, the ultimate in the crystallization of an idea."   Although the Farnsworth House may be his most well known residential project, the Seagram Building he designed in 1958 may very well be his greatest architectural triumph.  Being the only building in New York City designed by Mies, it epitomizes the ideals of the modernist movement of architecture.  Set back one hundred feet from the street, this masterwork of Mies and fellow architect Phillip Johnson has drawn many skeptical opinions about its "waste of space" with the large plaza.  In Mies' opinion, "a building deserves to be walked up to, not just driven into: for nobody dashing into an entrance lobby from an automobile portico will ever experience the full drama of a skyscraper."   Aside from its controversial plaza, the rest of the building is what makes it so exceptional.  Its thirty-seven stories of glass and bronze are articulated by extruded I-beams on a dark glass curtain wall.  Depending on the angle of view and lighting, its color can range from a deep black to a golden brown.  The owner of the building, Samuel Bronfman, had only one requirement of the building: that it be "the crowning glory of everyone's work."

The Seagram Building may easily be the structure that Mies is most recognized for, but it was not the last of his great works.  In the last ten years of his life he designed almost thirty buildings, including the Bacardi Administration Building in Cuba, the Martin Luther King Library in Washington, D.C., and the IBM Regional Office Building in Chicago.  In 1959 he earned the "Orden Pour le Merite" lifetime achievement award in Germany and later the Presidential Medal of Freedom from the U.S. in 1963.  Mies accomplished everything an architect could accomplish in a lifetime, and more.  Elaine Hochman, author of Architects of Fortune summarizes Mies' career by saying "the refinement of his architectural vision, his sensitivity toward materials, and urge for perfection has been lauded to a great extent."   After his death on August 7, 1969, he was buried in Chicago's Graceland Cemetery, the final resting place of many architectural leaders, including Louis Sullivan.  The street in front of the Chicago Museum of Contemporary Art near his former residence was also named after him.

Mies is universally regarded as one of the creators of modern architecture; in fact, few architects have required so much praise during and after their lifetime as Mies.  As a modernist in style but classicist in principle, Mies' work followed from history, but never imitated historical styles.  He was recognized for his elegant use of material and precision of details.  He often admitted to being more interested in intensifying an individual experience of a space than using architecture as a tool for social transformation.    Throughout his career he sought out to leave a legacy of discipline, order, clarity, and truth in his architecture, and he became quite successful at it.  James Johnson Sweeney remembered Mies at his memorial ceremony one month after his death: "The bequest which Mies left to all of us was his vital, personal, and inspiring patterns of order in a world which has suffered too long in recent years from the disregard of such a spiritual discipline.  Today there is no need to stress the value of Mies' contribution, nor his stature as an artist.  As the latter, he had the good fortune to live to realize the universal recognition that was being paid him.  To the world he was a great architect and a modest, self-effacing man.  To his intimates he will always remain, what he always was to them, a benign monolith: a warm friend and full human being."

637.          Ludwig Mies Van der Rohen 659

Ludwig Mies Van der Rohen was born in Aachen, Germany, in 1886, and lived all the way through to 1969. He was considered a pioneer of glass skyscrapers. He also liked to design tubular-steel furniture, like his famous "Barcelona chair", used in the Barcelona Pavilion, another of his great works. He became a professor of architecture in Chicago, where he designed two glass apartment towers on Lake Shore Drive, around 1956.

His greatest work is considered to be the Barcelona Pavilion, which in its original form was only a temporary building, meant for the Barcelona World fair. When the fair ended, it was supposedly shipped back to Germany, but lost in transit. Although many people praise it as the "greatest work of Modern Architecture", most of them have only seen it in pictures or photographs(although one architecture firm reproduced the pavilion, in cheaper materials, for use as their office !). But a peculiar thing about this building is that when it was introduced in the Barcelona world fair, it did not contain exhibits, it only contained chairs, tables and stools designed by Rohe. It also contained a statue, called the "Kolbe", near a small pool. . He intended the structure to act as the exhibit itself, representing the "new thinking in Germany under the Weimar Republic"(Evans, 57). Most people didn't understand it. J

What made it so unique ? Mies realized that the wall could be independent of the weight of the roof, so he designed 8 colums that would carry the weight of the roof, but the walls did carry some of the weight. This is where the pavilion received some criticism, with people saying that he "get rid of those damned little posts interfering with his lovely design"(Evans, 58).

The other element of the pavilion is the Kolbe, which seems was put there because Mies was anxious to present his work. It was created by Lehmbruck.(Speyer, 54)

The Kolbe, designed by Lehmbruck

Mies was considered a very simple person, whose philosophy was "not to design Buildings, but to develop them". In his own words :"I want things to be simple. Mind you: a simple person is not a simpleton.

I like simplicity, probably because I like clarity, not because of cheapness or something like that. We never think of reducing cost when we work."  Most people consider that his buildings owed more to technology and financial resources than his creativity. But here's an article that(I think) proves this wrong :

From Peter Carter's, "Mies van der Rohe, An Appreciation on the Occasion, This Month, of His 75th Birthday," Architectural Design 31 (March 1961):97(found in the internet at http://www2.architecturaldesign.com)

... "Fuchs asked Mies if he would comment on a design for the monument . Mies did, and after some time he observed that the monument's neo-classical design would be expensive to construct and appeared antithetic to the two communists' beliefs. Fuchs agreed. So Mies designed a thick wall and constructed it of bricks which had been fired too long or at too high a temperature. Because these bricks were rough and irregular, they cost nothing--only the effort of carting them away."

"We must remember," he wrote, "that everything depends upon how we use a material, not on the material itself."

In 1960, Mies was awarded the American institute of Architects' Gold medal for distinguished service to the profession.  A few years before his death, he spoke these words to his students :

(From "Ludwig Mies van der Rohe, [Acceptance Speech upon receiving the Gold Medal of the American Institute of Architects,] Journal of the AmericanArchitects 33" (June 1965): 90-91, found in the internet)

"We are not at the end, but at the beginning of an epoch; an epoch which will be guided by a new spirit, which will be driven by new forces, new technological, sociological and economic forces, and which will have new tools and new materials. For this reason we will have a new architecture."

638.          Ludwig Van Beethoven 2

Ludwig Van Beethoven

Ludwig van Beethoven was, and remains today, an Olympian figure in the history of classical music. His influence on the last 150 years of music is unequalled; while generaly a member of the Classicist fold, he was in fact the first Romantic, and pre-figured virtually all music that followed the Romantic era as well. Perhaps no other composer in history wrote music of such exhilarating power and expressiveness; certainly no other composer did so against greater odds. Beethoven was born in Bonn in 1770. His father, a music enthusiast, dreamed of molding his son into the next Mozart. Beethoven never exhibited the astonishing prodigy characteristics of his predecessor, but he was unusually talented, learning the piano, organ and violin at an early age. At 14, he was already proficient enough on the organ to receive a professional appointment. His family life was chaotic; his father was an alcoholic, and his mother died suddenly when he was only 17. After that tragedy, his domestic situation declined even more, and this condition - combined with support from Haydn - compelled him to leave home in 1790 and travel to Vienna to study composition. In Vienna, Beethoven first studied with Haydn, but eventually became frustrated with that great composer's teaching methods, moving on to study with other composers. He performed frequently in salons of wealthy nobility, but strangely enough, did not perform in public until he was 25. But from this point onward, he was embraced by both the common folk and the aristocracy of Vienna, so much so that he never had to rely on court appointments or private patrons for his livelihood. He did receive stipends from admirers and friends, but he remained independent of the shackles of conditional patronage that frustrated so many of his contemporaries. Beethoven was lucky in one sense; he rose to prominence in the musical world at a time when social strata were becoming more flexible, and the emerging power of the middle class provided him many opportunities for performances of his music for public audiences. This, combined with lucrative publishing arrangements, allowed him to live relatively well. He was not ignorant of the benefits of aristocratic support, however; throughout his career, he cultivated a romantic, moody and mercurial image with the upper class and leveraged this persona to achieve a social status equal to the Viennese nobility. Beethoven was a master symphonist - the master symphonist in the eyes of most musicians and composers. His compositions for orchestra were revolutionary in his day; while he adhered to Classical musical forms, his melodies and orchestration were of such unprecedented power and beauty that they astonished even the most hardened listeners. Only his music achieved the unique combination of primal force and spiritual elevation that remains legendary to this day. In other forms - music for solo piano, violin sonatas, string quartets, and one opera, Fidelio - the same qualities prevailed. Always profound, inspiring and essentially tragic, his music defined the limits of human expressiveness in sound. Early in the 19th century, as his career was reaching its zenith, Beethoven began to realize that he was growing deaf. This woeful affliction advanced quickly, throwing the composer into deep depression and making him increasingly unable to conduct and perform his works. He curtailed his public appearances and communication, eventually resorting to a notebook to communicate with his inner circle of friends and colleagues. His desperately agitated mind began to produce music that alarmed and terrified his contemporaries. By 1820 he was completely deaf, and he had become a recluse. Beethoven was a fascinating composer for so many reasons; among them the method with which he composed. Unlike Mozart, he did not write completed works in his head he slaved over each composition, filling innumerable sketchbooks with his struggles to produce perfection. For this reason - combined with his lifelong policy of taking only the best commissions - he was far less prolific than Mozart. But no matter - the music he did leave us, from solo to chamber to orchestral works, is the most substantial and profoundly moving expression we may ever hear.

639.          Ludwig van Beethoven

Ludwig van Beethoven

Beethoven's importance lies not only in his work, but also in his life

(Tames, 4).  Included in my report is proof that Beethoven was one of the

greatest composers of the Romantic era.  In this proof is a brief description of

his life.  This will help you understand how he felt when he wrote his music.

Also, there will be a description of all his symphonies.

On December 16 or 17, 1770, (date uncertain) at 515 (now 20) Bonngasse Bonn,

Germany Beethoven, like Mozart, was born into a small family (Comptons, 1).  He

took his first lessons on March 26, 1778, (Schmit, 10).  In 1787, he went to

Vienna to study with Mozart, but he went back to Bonn due to the nature of his

mother's sickness (Schmit, 15). This would be the composers last visit to Bonn.

After his mother's death on July 17, 1787, Beethoven went back to Vienna

to study with Hayden in November of 1792, where he lived for 35 years (Tames,

14).  He was unsatisfied with Hayden because he was preoccupied and commonly

missed many mistakes made by Beethoven (Schmit, 17).  Beethoven, then, went to

Neffe who himself started composing at the age of 12.

In the late 1700's, Beethoven began to suffer from early symptoms of

deafness, and by 1802, Beethoven was convinced that the condition was not only

permanent but was getting much worse.  The cause of his deafness is still

uncertain (Comptons, 1).  He was determined to prove that deafness was not a

handicap to him (Thompson, 25).  Beethoven's deafness started to be noticeable,

and by 1818 Beethoven was completely deaf (Schmit, 28).

In the year of 1812, Beethoven fell in love with the "Eternally

Beloved."  Nobody knew her name except Beethoven, who did not mention it in any

letter or to friends.

Under his first patron, Prince Karl Lichnowsky, Beethoven wrote his

first symphony.  The first symphony was wrote in 1795, and was a set of three

Trios.  Beethoven believed that his income came from the successful sale of

these works, but it actually came from Lichnowsky (Tames, 12).  This symphony

was reflective of the classical era.  He did not publish this symphony until he

was 31.

In 1802, Beethoven wrote a second symphony.  Beethoven named this

symphony "Grande Sinfonie" while in Hiligenstadt where he wrote the symphony

(Schmit, 35).  The second symphony is a work noted for sunny and optimistic tone

(Tames, 15).

Beethoven's third symphony, made in 1803, is the one where he started

writing his style which was quite recognizably his own, rather than based on a

previous composer (Tames, 16).  The third symphony, originally called Bonaparte,

was named after Napoleon Bonaparte.  Later, Beethoven changed the name to

"Sinfonia Eroica" (Schmit, 36).  Two times as long as any one of Mozart's or

Hayden's symphonies, the third symphony challenged the idea of what a symphony

is.

The fourth Symphony was written in 1807.  This symphony shows Beethoven

as a good humored person (Schmit, 39).  This symphony was smaller and more

appealing than the third symphony, and had a more lively style (Thompson, 25).

In the year of 1808, he wrote the fifth symphony.  He went with Hayden

to Esterházy Palace at Eisenstadt.  His fifth is one of his most famous

symphonies.  Work on the fifth was started before the fourth and was published

after the fourth.  This is one of the most popular symphonies of all time, and

was performed on the 22 of December 1808. (Schmit, 41)  This symphony was made

popular because he used many instruments that were not normally use in

orchestral works at that time (Thompson, 26).

The sixth symphony, is in a class of its own.  Named "Sinfonia

Pastrella," this symphony is based on scenes from the country, and expressed

Beethoven's love for the nature that surrounded him (Schmit, 41).  This piece

started the bridge between the Classical era and the Romantic era (Thompson, 28).

The seventh symphony was written in the summer of 1811, and the start of

1812, and was performed on December 8, 1813, at the University of Vienna (Schmit,

42).  This is a smaller piece, and presented a very happy mood reflecting dance

like rhythms (Thompson, 33-35).

The eighth symphony, named "Sinfonia-Linz," was composed during 1812,

while at the spas in Bohemia.  This was performed on the 27 of February 1814.

At first, the eighth received little notice, but then it gradually began to get

the fame it deserved (Schmit, 42-44).

The ninth Symphony (completed in 1823) was his best and his last

symphony.  By this time he finally understood his own mind speaking:

"I carry out my thoughts about with me for a long time...before I set

them down...my memory is so faithful to me that I am sure not to forget a theme

which I have passed.  I make many changes, reject and re-attempt until I am

satisfied.  Then the working-out begins in my head...It rises, grows upward, and

I hear and see the picture as a whole take shape and stand before me as though

cast in a single piece, so that all that is left is the work of writing it down"

(Tames, 25).  He performed the ninth at the Kärntenerthor Theater.  When he

directed the performance his back was to the audience (Thompson, 41).  When the

audience went wild, the alto soloist had to tug at his sleeve so that he could

turn and see the ovation he had earned (Mlt. Beethoven)  The famous "Ode to Joy"

(coral) is included in this symphony.

Beethoven's works include nine symphonies, one opera, two coral masses,

48 sonatas, ten overtures, and dozens of trios, quartets, and songs.  Many of

these works were sketched out during long walks (Tames, 12). "His greatest

breakthroughs in composition came in instrumental work, including his

symphonies" (Comptons, 1).

Beethoven had a great influence on music.  Not only did he create a bridge

between the 18th-century classical period and new beginnings of Romanticism, but

he started a new era of music.

Beethoven's last years were marked with illness.  On March 24, 1827,

Beethoven died in Vienna.  A crowd of almost 30,000 people attended his funeral

and burial at Vienna Central Cemetery (Schmit, 31).  The bicentennial of his

death was celebrated with performances and recordings of all the masters' works

(Comptons, 2).  At the funeral, Beethoven's friend wrote a moving address which

stated:

"We, the representatives of an entire nation, come to mourn the passing

of the gracious mouth by which music spoke, the man who inherited and enriched

the immortal fame of Handel and Bach, of Hayden and Mozart.  He was an artist,

and who shall stand beside him?  Because he shut himself off from the world,

they called him hostile and callous... He withdrew from his fellow-men after he

had given them everything, and received nothing in return.  But until his death,

he preserved a father's heart for mankind.  Thus he was, thus he died, thus he

will live to the end of time!" (Thompson, 46).

640.          LylJC

You think you know a person.  You think you know them, right up until the day

they come out and tell you about all their deep, dark secrets and this whole other life

they've been leading that you never even knew about.  At least, that was the case with my

good friend, Lyle Lawrence Kingly.

My name, for the information of the curious, is Niles Jameson.  I knew Lyle Kingly

for a good many years and was actually an associate of his for a short time.  We eventually

went our separate ways, I pursuing my career of choice, he pursuing his.  I still think he

was just a little too young to go into the private investigation business, but we called it

'creative differences' and left it at that.  We stayed friends, however, and tried to remain in

touch.  So I was surprised, rather pleasantly, the day I received an overseas long-distance

call from Africa.

It was Lyle, calling to see how I'd been, what I was doing, that sort of thing.  Then

suddenly his voice took on a more serious tone.

"Niles, you have to come here.  I may need your help."

"What is it, Lyle?  What's wrong?"

"I can't tell you over the phone."  He whispered.  "It's too important.  You have to

be here."

"In Africa?"  I said in disbelief.

"Yes, here.  It's that important."

"But Lyle--"

"I'm an animal over here!"  He hissed into the phone.  "I can't tell you any more.  I

don't dare.  Please, Niles, don't tell anyone what happens when you get here, or anything

about this phone call.  It means my life, Niles, and it could mean my death."

I caught the nearest plane out to Africa.  I was worried about my friend.  If I had to

go to Africa to hear it, I knew it had to be important.  I stopped at his unreasonably small

office in the city, but he wasn't there.  This meant, unfortunately, that I had to drive fifty

miles out of the city to his house.  I was relieved when I saw his face answer the door.  We

sat down and talked for a while, he fixed me a light snack, let me rest off some of the

effects of jetlag.  We talked for a good long time before I finally asked him.

"Lyle, why did you make me come all the way out here?"

"You have family secrets, don't you, Niles?"  I did.

"Secrets that you wouldn't tell anyone but those you trusted?"  Yes.

"Well, I've got one of those secrets, a dangerous one."

"What is it?"  I said to him quietly.  And then he told me.

"Niles, you've heard the stories, the ones they always tell at Halloween -- about

people who change into animals?"

"Yes, but I don't see what that has to do with you, Lyle."

"Niles, I-- I find that the direct approach works best."

"WHAT!  Lyle, what are you talking about?"

"I -- I'm a lycanthrope."

"You're a what?"

"A lycanthrope."

"A -- A--"

"A lycanthrope."

I was beginning to fear for not only my friend's life, but for his sanity.

"A-- A lycanthrope.  You're a lycanthrope."

"Yes."

"Like a werewolf."

"No -- not a werewolf.  But a shape-shifter nonetheless."

I decided to play along, whatever his game was.

"OK then.  Well, what are you?"

"You know, I could tell you, but then you probably wouldn't believe me.  I'm sure

you already think something about me, that I'm crazy or something, right?  Am I right,

Niles?"

I shifted uncomfortably.  "Look, Lyle, the last I knew, people do not change into

animals."

"Niles, please don't make me do this the hard way."

"Uh -- What's the hard way?"

"The hard way is that I prove it to you."

I usually try to be as open-minded as possible to all things, so I said to him, "All

right, then."

"You want me to prove it to you?"  As he made this daring challenge, his eyes

started to take on a wild look in them.

"Prove it to me."  He sighed, with an exasperated expression on his face.  "I hate it

when people won't take me seriously."

And he did prove it to me.  He changed into a beast, right in front of my eyes.

I stood there, in shock, and before I could do anything else, I heard it... A low

growl.  The animal crouched into a springing position and, with a snarl, leapt upon me.

I was on the floor, paralyzed with shock and fright, as he stood over me.  I could

feel the beast's weight pressing on me as two huge forepaws stood on my shoulders, paws

which had the dexterity of human hands.  He brought his face right down to mine, and as I

stared up into round, animal eyes, he spoke.  He said to me, in a ragged, snarling voice,

"Now do you believe me?"

I could not answer him.  I quivered on the floor, and said;  "W-- What are you?"

"The same thing I always was."  He responded in that ragged voice.  "Your friend."

He got up off of me and, just as suddenly as he had transformed, changed back into a

human form.  It was Lyle, standing there as though nothing had happened.

I slowly got up and faced him.  "How did this happen?"

"It didn't just happen, Niles."  He responded sarcastically.  "I've always been this

way.  All my life.  The only person it's new to is you."  He sat back down at the table

where we had been talking just a short while ago.  Nervously, I joined him.

"What kind of creature are you, Lyle?"  He smiled ruefully.

"I was wondering when you'd ask."  He said.  "I'm not even a typical lycanthrope.

I'm a crossbreed, between two species.  For years, I didn't even know what to call myself."

"Call yourself what?"  I asked in slight astonishment.

"Oh, that's simple, Niles.  I'm a Caline."

"A Caline."  I said, and I paused.  "Um, Lyle... What's a Caline?"

"It's the name I finally came up with, to call myself."  He said.  "It stands for half-

canine, half-feline.  You put them both together, you wind up with 'caline'.  Which,

unfortunately, I am."

"A Caline," I said.  "Half-dog, half-cat -- Lyle, what are you talking about?  That's

impossible!"

He shot me a look.  "Well, you're talking to the world's only one, as far as I know

of, Niles."

"Well, what-- When did all this happen?"

"Like I said, I've been this way all my life.  It has to do with my -- well,

questionable parentage."

"Your parents?  What does this have to do with your parents?"

"Everything.  My father was a werewolf from the States, and my mother was a

were-lion from over here."

"A were-li--"

"Yes, Niles, a were-lion.  It would take a while to explain.  Just accept what I'm

telling you for the moment.  Anyway, dad came over here on a vacation some years ago.  I

don't know all the specifics, but sometime during then he met my mother, and somehow

they fell in love with each other.  Dad eventually moved to Africa so they could be

together.  They married on human terms, and after several months together, Mom finally

told him they needed to have 'a little talk'.  To this day, neither one of them knows who

was more surprised."

I just sat quietly, trying to absorb it all.  He continued.

"I grew up knowing about my parents, expecting the change...  But I never knew

how I would turn out, what I would be.  Not even Mom or Dad knew what to expect, since

no one knew what would happen if such two different species bred before.  But when I

finally did start to change, I was still loved and understood.  I also grew up listening to a lot

of arguments.  Not real fights, you know, but one constant argument:  Mom wanted to stay

at home, but Dad couldn't stand the hot climate.  A few times he did actually move back,

but they just couldn't stand to stay apart.  The last I knew, Dad was still living here together

with Mom, but I can't be sure.  I haven't called in a while."

"Is there anything else?"  I asked, astonished.

"Oh, yes.  I'm not a werewolf, not a were-lion, but a werebeast nonetheless.  I'm a

Caline.  So my worst troubles occurred when I tried to find the two species I was a hybrid

from.  You have no idea how hard it was for a crossbreed like me.  The first group of

werewolves I came across wanted nothing to do with me.  That particular pack wasn't a

perfect example of the whole species, though, and I do have a couple of friends on that

side.  Were-lions, however, are a much rarer breed, and I had to ask my mother how I

could find a pride.  The were-lions were much more accepting of me, I suppose because I

take more after my mother.  But anyone I met from that side always seemed unnerved by

me.  I suppose they just couldn't get around those inherent canine characteristics."

"Anywhere I went, whatever species I tried to associate with, I was rejected,"  Lyle

continued.  "I was tolerated, refused, harassed, and ignored, but never accepted.  One time

I almost lost an ear in a fight with a were-tiger who said he 'didn't like my attitude'.  I just

suppose no one could accept the idea of me being a Caline."

"What happened?"  I asked, too absorbed in the discussion.

"Hmmm?"

"With you -- and the were-tiger?"

"Oh, I got away without incident."

"Oh," I said.  "I suppose the idea of such two different species being successfully

bred together didn't come off too well."

"Exactly."  Lyle added.  "You're not going to believe this, Niles, but the most

accepting group of my situation has been you humans."

"Really?"  I was astounded.  Then I thought of something.  "Um, Lyle, how many

people have you told all this to?"

"Only my closest friends, Niles, the people I know I can trust."

"Ah."  Well, I was glad to know I was in that circle of people.

"My looks are no help, either."

"Your looks--"

"You saw me."

"Well, I didn't see very much of you while you were in my face."

"Oh."  And he changed again, so I could get a better look at him.

He was basically lionlike in appearance, but with a distinctly canine accent to his

features.  His fur was a strange, off-white shade, a color that gave way to a stark white

underbelly.  His sable-black, glossy mane framed his face and flowed down his neck,

hiding all but the tips of his two pointed ears.  His hands and feet were now four huge,

padded paws.  He turned and looked at me with round eyes that were neither canine nor

feline, but beyond description.  They were almost aglow,  with a look of wildness in them

that was as frightening as it was fascinating.  But I could see what would have astounded a

human and caused a werebeast to judge him, what was probably the greatest problem with

his appearance;  The same sable shag that comprised his mane also covered his tail.

But I didn't really concentrate on his features as much as I did on him.   For right

then, I just stood there with my mouth open, staring at him in awe.

"Lyle--"

He shot me a glance out of his round, animal eyes.

"Lyle, you're beautiful."

He spoke.

"You just tell that to all the other species."

I could understand the words, but his voice sounded like paper that had gone

through a shredder.  And I couldn't help noticing the four, deadly-sharp fangs that flashed

in his mouth as he talked.

"What's it like... Being a Caline, I mean?"

He answered again, in that ragged voice.  "Believe it or not, Niles, it's actually got a

few good points.  I couldn't list too many of them offhand, though.  Um... Ah, yes!"  His

eyes lit up.  "Well, for example, I seem to have a greater sensory acuity than most other

werebeasts.  I tend to notice things that either of my parent species would ordinarily miss."

"It's the strangest thing, being able both to howl and to roar."

He sighed, glanced at me, and continued talking.

"However, I do have trouble unsheathing and retracting my claws."

From each forepaw came five razorlike claws that could rip a man to shreds in

seconds.  Was Lyle trying to make me nervous?

"Every time I get them into one position, I have such difficulty getting them into the

other," he said, withdrawing the deathly blades.  I had been looking at the structure of his

paws for quite some time, and soon I noticed something.  "What about your thumb --

dewclaw -- whatever?"

"I was just getting to that," Lyle said, delighted that I had asked.  "It's just another

one of nature's ways of dealing with the human-animal connection."  Lyle held out a paw

for me to see.   One of the joints in his hand -- paw -- moved, and a fifth digit equivalent to

a  thumb seemed to me to appear out of nowhere.  It was furry, and padded, and equipped

at the end with a retractable talon, just as all the others, but now it was in a roughly human

position.

Lyle, standing on three legs, reached up and, seizing one of the thin-stemmed

glasses from the dinner table, held it with his five clawed appendages as accurately as if his

padded paw had been a human hand.  He then began to twirl it around more deftly than

most humans could have.  Needless to say, I was very impressed.

He set the delicate glass back on the table and turned the paw toward me again.

The dewclaw moved back into place, conveniently out of the way.  I then realized that it

had not just appeared, but had been there all along.  This joint, I realized, made it very

convenient for werebeasts to get around.

Just then, Lyle let out a chuckle that sounded more like a snarl.  "I just can't believe

what you said, Niles.  Me-- beautiful."  I looked at his smile, and I saw the huge ivory

daggers in his mouth again.  And I remembered the reputation werebeasts have involving

humans.  "Lyle?"

"Yes?"

"Have you ever... Killed anyone?"

He looked me dead straight in the eyes.

"Once."

I stood there, shocked, horrified.  Lyle should have been the one surprised by the

question, astounded that I could even ask such a thing.  I had expected him to say

something like, 'Niles, of course not!', or 'What are you talking about?', or 'You know I

would never do such a thing'.  I expected him to say anything, anything but what he had

said.

He's killed someone before, I thought.  He could kill me...  With white and shaking

hand I reached out to steady myself on the back of a chair.  Lyle pulled the chair out, and

helped me sit down.  I looked up at him and said,

"Lyle -- how could you?  Of all the people, you're not the type..."  Of course, by

then I realized I was talking to someone who had just been telling me about a whole other

side to his life that I knew nothing about.  I had no idea what type he really was.  Lyle put

his hand on my shoulder.

"Niles, I'm sorry.  I forgot you'd have taken it this hard.  I should have explained to

you first.

You see, in my profession, I have a tendency to accumulate quite a few enemies.

The very nature of the business -- sticking your nose where it doesn't belong, as it were --

can get some people really mad at you really quick.  Private investigation has painted a

bull's eye on me, Niles, and there are plenty of people who want to take shots.

This one man, the man I killed, had plenty of reason to hate me.  I was directly

responsible for getting about 20 of his friends sent to prison for illegal-arms trading.  I

nearly got him, too, and if it weren't for a legal technicality, a well-placed loophole, he'd

still be alive today -- and rotting in prison where he belonged.

He took out a hit on me;  he put a $20,000 price tag on my head.  That didn't work

out too well.  After all, how would you know that this strange-looking animal is the same

person you're getting paid a sweet amount of money to put a bullet through?  I just had to

stay a beast until they gave up looking for me.  When that happened, the guy took his $20

grand back and went out looking for me himself.

He found me passing through an old abandoned warehouse in the city.  He had me

cornered in there, I couldn't get out.  He was holding a gun on me, Niles, and he was about

to shoot.  I didn't have any other choice.  He didn't even know what got him.  One quick

bite to the jugular and it was all over.  He didn't suffer.  I'm not that kind of person."

Suddenly, I was beginning to see Lyle in a whole new light.  He had killed in self-

defense;  he was no murderer.

"Nobody ever found his body either.  I was too upset at the time to notice, but

actually, he tasted pretty good."

"WHAT!  You ate the guy?  You ate the guy?"

"Well, Niles, I don't often follow the family history, but eating your enemies is a

time-honored werebeast tradition."

Lyle spoke.

"Really, Niles, I'm not all that sure you understand."

"I understand what you told me.  But I still can't believe you actually ate that guy."

I shuddered at the thought.

"Believe whatever you want, it's still the truth."  He responded.  "At least I'm not

like some other werebeasts which I could all too easily name.  Besides, you act as if you

still don't understand me.  You're sitting there, fidgeting, looking at me like any second I'm

about to jump up and eat you.  You're treating me like I'm some kind of wild animal."

"Aren't you?"

"Oh.  Well -- yes."  Without knowing it, I had caught Lyle off-guard and thrown

him and emotional curve.  But I continued nevertheless.

"You're making it very hard for me not to act that way.  After all, you have the

qualities of some of the world's most vicious -- and successful -- predators, you have better

senses than I could even hope to imagine, you killed a man--"

"Would you kill, to save your own life?"

"Well, I--"

"The question is no different when applied to a human.  It's just because I'm a

werebeast that it has a little different twist."

"You do have a point, but Lyle--"

"I'm one of the good guys, Niles.  Think about it.  'Private Investigator'.  Why

would I devote myself so much to helping humans?"

"Because humans were the only ones who accepted you?"

Lyle beamed.  "Now you're catching on!"  He said.  "You were right.  Humans

were the only ones who accepted me for what I was, as you are learning to do, Niles.  The

human world was the only one where I was treated without bias or disdain.

But still, let me tell you about one of my cases, just to make sure you understand."

"One of your cases..."

"Yes!  You wouldn't believe how much help it is to be what I am, particularly when

it comes to my cases.  I get some pretty weird ones.  In fact, some I wouldn't even be able

to solve if I were just a human.  I could tell you..."

"Well then, by all means, go ahead."

"Really?  Well, okay, let me think of one...

One morning, I was at my desk when this woman walks into my office.  She was

dressed all in red, just like she had come straight out of some old detective movie from the

40s.  Really weird, really spooky stuff, to say the least.

She said she had come to me because she was worried about her husband.  He

worked for an oil company, and she thought that might have something to do with what

was going on with him.  Her husband had been doing strange things, working with

suspicious people she didn't know, barely even coming back home.  Nobody else could

find him.  So she turned to me.

There must be good money in oil.  She looked rich.  I remember she was wearing a

white fox on her shoulders.  She must have forgotten it, because she left it there and didn't

come back for it.

If there's one thing I share with other werebeasts, it's an absolute hatred for cruelty

to and mistreatment of animals.  So, after I'd torn the awful thing to shreds and disposed of

it, I started working on her case."

So saying, he began his story.

641.          Macbeth  Independence and Failure

Macbeth - Independence and Failure

Peasants of the early sixteenth century are often pictured carrying a bundle of limbs tied with vines on their backs. This is

a perfect metaphor for the events in Macbeth. Macbeth is one of many thanes, or limbs, bundled together. The thanes are

united by the king, or the vine. Scotland, or the peasant, carries the bundle by the sweat of his brow. They carry the

bundle for fires on cold nights, or wars, and to build homes, or castles, to protect them from the elements, or invaders. If

the limbs are tied improperly, one limb may slip to the side and cause the peasant, or nation, to stumble or fall. If the limb

slides completely out, the rest of the limbs may follow because the bundle is loose. Marriage is like a triangle. Each

spouse makes up one of the leaning sides, and marriage the lower side. The three together are very strong, but to stand

they all must be united. The longer a marriage is held the longer the bottom stretches, and the more dependent each

person becomes on the other. If one side tries to stand on its own then the second will fall on the first as it tries to stand.

This metaphor also excellently exemplifies the catastrophe that occurs in Macbeth as both Lady Macbeth and Macbeth

try to separate. Macbeth is a eighteenth century play written by William Shakespeare. Using these two metaphors, the

breakdown in the relationship between Lady Macbeth and Macbeth and between the king and the thanes and how they

perfectly parallel each other because each is caused by Macbeth's will to be independent

.

According to Webster's dictionary, the archaic definition of independence is "competence" (1148). To be independent is

not to be "subject to control by others" (Gove 1148). This means that independence is to be in control of ones decisions

and to feel they are good decisions. Macbeth, on the other hand, feels independence is to not be subordinate to others

like the king.

To be independent, one must be strong. Inner strength, not physical strength, is needed. Inner strength is only

accomplished by having a high self-esteem. Macbeth does not and must use others to reach for independence. Macbeth

needs this strength: It [Macbeth] hurls a universe against a man, and if the universe that strikes is more impressive than the

man who is stricken, as great as his size and gaunt as his soul may be he will fall. (Van Doren 217) According to

Macbeth's ideas of independence and of strength, he is neither independent nor strong. He feels the need for both and

thus allows nothing, including murder, to get into his way.

Shakespeare opens Macbeth with the disorder being stabilized by the king and thanes. The thanes fought "rebellious arm

'gainst arm" to curb "his lavish spirit" (I, ii, 56- 7). Macbeth's stature increased to fill the space in the bundle of limbs

opened by the death of the Thane of Cawdor for "what he hath lost, noble Macbeth hath won" (I, ii, 67). "When we first

see him [Macbeth] he is already invaded by those fears which are to render him vicious and which are finally to make him

abominable" (Van Doren 216).At the end of Act I, Lady Macbeth and Macbeth are discussing whether or not to

assassinate the king (I, ii). Macbeth has not committed himself to this sin and to independence, he has not broken the

commitatus bond that exists between the king and thane. Likewise, Macbeth's marriage is unstable as they argue, but

their triangle is still together as they depend on one another.

Lady Macbeth and Macbeth each experiment with external forces to gain independence from their spouse. Macbeth uses

the witches, on which he becomes increasingly dependent. Lady Macbeth uses alcohol and Satan to "unsex" her and

make her strong (II, ii, 1; I, v, 42). Both Macbeth and Lady Macbeth deny their dependence on their aid, and still require

their spouse. Their self denial of their dependence makes them weak, and the more self denial the weaker they get. As a

married couple, they are splitting away from each other: they are trying to turn their triangle of dependence into a open

square of independence.

The split between Macbeth and Lady Macbeth becomes apparent with the assassination of king Duncan. By the end of

their arguing in the beginning of Act II, the two had not come to a final decision as to whether to kill the king or not (I, v,

72). Without the consent of Macbeth, Lady Macbeth tries to kill Duncan but fails, because she lacks strength and covers

her ineptitude with the lame excuse that he "resembled my father as he slept" (II, ii, 12-3). Lady Macbeth lacks strength,

because she only has conscience strength formed by extreme self denial. Unlike Lady Macbeth, Macbeth is almost strong

enough to complete the task without Lady Macbeth. "He is driven to the murder of Duncan partly by the constant

goading of Lady Macbeth and partly by his own will to be in control of Scotland:" he feels power is strength (Watkins

29). His strength comes from multiple places. It comes from his strength as a warrior, from the witches' revelations, and

from self denial of his dependence on the first two (I, iii, 49-50). Macbeth is still not completely independent from his wife

in that he is unable to complete the task and "carry them [the daggers], and smear the sleepy grooms with blood" (II, ii,

48-56). The scene is painful in the way it separates husband and wife. Crime had at first brought them closely and eagerly

together, but now they discover how the execution of the crime separates them...In fact, after the murder they can only

speak in short sentences, not communicating or even answering questions. (Jorgensen 67)

Although he blames his rage on the grooms for killing Duncan, he was actually mad at himself for committing the murder.

Not until he kills the grooms with his regret does Macbeth become totally independent from the thanes and slide from the

bundle of limbs (II, iii, 108-19). The action of killing the chamber servants was the first action which Macbeth does totally

independent of Lady Macbeth: he does not even mention killing the chamber servants to her: A stranger to himself and to

others, he is on his way to isolation...but what he sees cannot really be shared with others for it is the uniquely

appropriate and lonely torment that cannot be felt by others. Even for his wife there will be a torment of a different kind,

one that likewise separates her from others. (Jorgensen 178) This reaction to his regret is the strongest divider between

him and his wife: it ends their relationship of dependence for their temporal existence.

Tree's limbs do not tie very well, because they break. Likewise Macbeth incapable of being king, because he is unfit for

the job. He tries to replace Duncan, because he is so filled with self denial that he can not see the truth: he will never be a

good king. Macbeth wants to be strong and independent at the same time but is very unsuccessful. Macbeth must use

external support to stand and not to lean on Lady Macbeth so he turns to killing. He has Banquo killed, because he poses

a threat. Macbeth can not do it himself, because they were once friends which shows his lack of strength to stand erect

(II, i, 11). A soon as the deed is done, Macbeth falls: his control and independence falls. His plan to use Banquo's death

to restore order and give him strength did not work. Before all the thanes except for Macduff, Macbeth has a brief

moment of insanity, in which he loses all control and reveals his true strength which has been hidden by self denial. For her

own safety, Lady Macbeth tries to calm the situation and to make it excusable:

Sit, worthy friends.  My lord is often thus,

And hath been from his youth.  Pray you, keep seat.

The fit is momentary; upon a thought

he will again be well.  If you much note him,

You shall offend him and extend his passion. Feed, and regard him not. . . (III, iv, 54-9) With little effect, she struggles to

keep order but gives up and has the thanes "stand not upon the order of your going" (III, iv, 120-1).

Macbeth's strength from self denial fails, because he is losing his sanity. To make up for the loss of support, he returns to

the witches. "He may concievably be under the spell of the witches, may even be possessed" (Jorgenson 64). He is very

uncertain of himself and asks many questions of the witches in search of answers on which he can be strengthened: "Then

live Macduf. His answers do not give him sufficient strength for he vows to make "assurance double sure and take a bond

of fate" (IV, i, 83-4). Again his will is greater than his ability, and Macbeth must have someone else kill Macduff and his

family. As if trying to keep all the marbles together, each time one slips Macbeth has them killed. Unfortunately for

Macbeth, he is not too successful for Fleance and Macduff get away.

Quickly Macbeth is overwhelmed with his independence. Lady Macbeth is "troubled with thick-coming fancies that keep

her from rest" (V, iii, 38-9). She is no longer "unsexed" and strong so she can not sleep. She remains sane and strong

longer than Macbeth, because her strength came from one source, Satan, that would never leave, but ultimately fell,

because her sub-conscience fought against evil and kept her without rest. She also began to realize the wickedness of her

sin for she said, "all the perfumes of Arabia will not [could not] sweeten this hand" (V, I, 53-5). The fight in her mind is

too hard so she kills herself.

She leaves Macbeth with the rest of his subjects. Many of Macbeth's soldiers are deserting him, and he gets his wish: to

be independent of others (V, iii, 1). He thinks he is independent, but, in reality, he supports himself on the revelations of

the apparitions for he frequently repeats "until Birnam Wood come to Dunsinane" and "was he not born of woman?" (V,

iv, 60; V, iii, 3). In the end, Macbeth dies because everything he used for strength was gone.

As soon as Macbeth dies and reunites with Lady Macbeth, the thanes are reunited by Malcolm who has the qualities to

make a good leader and to keep the thanes together. The suffering that Scotland had endured ended because "All Hail,

king of Scotland" (V, viii, 59). "The passions are directed in their true end. Lady Macbeth is merely detested; and though

the courage of Macbeth preserves some esteem, yet every reader rejoices at his fall" (Johnson 484). In the end, Macbeth

is independent, because he does not rely on his wife and he does not rely on the witches. Since the nation was restored to

order, his death was for the better. "The universe that struck was more impressive" so he crumbled with lack of strength.

Works Cited

Gove, Philip Babcock. Webster's Third International Dictionary.  Springfield, Mass: G. &

C. Merriam, 1967.

Johnson, Samuel.  The Plays of William Shakespeare.  London: J & R Tonson, 1788

Jorgensen, Paul A.  Our Naked Frailties.  Los Angeles: U of CA, 1971.

Shakespeare, William. Macbeth. New York: Penguin Books, 1987.

Van Doren, Mark.  Shakespeare. NY: Doubleday, 1939.

Watkins, Ronald.  The Theology of Macbeth.  Oxford: Oxford University, 1964.

642.          Macbeth 5

According to Shakespearean scholar, A.C. Bradley, "while the influence of the witches' prophecies on Macbeth is very great, it is quite clearly shown to be an influence and nothing more. There is no sign in the play whatever that Shakespeare meant the actions of Macbeth to be forced on him by external powers." Bradley's argument is valid; the witches provide the spur Macbeth needs to act on his overbearing ambition, but it is ultimately the choice of Macbeth and Macbeth alone to pursue his thirst for the throne - to turn his thoughts into actions. The influence of the witches is indeed no more than an influence, as is demonstrated by Macbeth's initial reaction to their prophecies, his subsequent independent decisions to murder for the kingship, and his own admittance in the end that his actions were of his own doing and not forced on him by external powers.

Macbeth's immediate reaction to the witches' prophecies is the first clear piece of evidence that Shakespeare did not intend for them to be anything more than an influence. Upon first hearing their prophecy that he will be king, Macbeth's response is telling: he starts. This reaction suggests that before Macbeth even stumbles upon the presence of the Weird Sisters, he has thoughts of becoming king. Moreover, the suggestion is not simply that he has considered it - for starting is a sign of guilt, of which he would have little if his thoughts were innocent - but that he has considered acting on it - a crucial distinction. The prophecy itself contains little but the mention that he will be king: "All hail, Macbeth! that shalt be king hereafter!" (I, iii, l. 50)1 Indeed, Bradley observes that the witches "merely announced events: they hailed him as Thane of Glamis, Thane of Cawdor, and King hereafter. No connection of these announcements with any action of his was even hinted by them...In any case, the idea of fulfilling it by murder was entirely his own."2 Macbeth reveals in his first soliloquy that he is tempted by the notion of killing Duncan for the crown, and though the idea is firmly rooted in his mind, he cannot act on it. Clearly, the influence of the witches on Macbeth at this stage is important, as it revives and heightens his consideration of taking action to become king - an idea he and Lady Macbeth have discussed at an earlier time. Nevertheless, one cannot credit the witches with the responsibility of his choices simply because they suggested he would become king - his own inner desires led him to act, and he was free to do otherwise. Additionally, the temptations brought on by the witches were within him in the first place. Author Germaine Greer argues, "Macbeth's vulnerability to the witches is not caused by...superstition on his part, but by corrupt desire which moves him to take a false step."3 The desire that Greer refers to is seen by Macbeth as his ambition. This ambition is vital to Macbeth's existence, and again calls into question the true influence of the witches: if it is so overpowering that the mere mention of the possibility of reigning as king causes him to start, as if guilty of his thoughts, then one must question just how much influence the prophecies have.  One must also consider the presence of Banquo in this initial stage. Bradley points out a contrast in Macbeth and Banquo's reactions; while both were given prophecies, Banquo remains somewhat indifferent to them and Macbeth becomes murderous.4 This contrast suggests even at this point in the play that while the witches' comments certainly influence Macbeth, they are no more than an influence. It is Macbeth alone who chooses to interpret the prophecy as such that he would have to commit murder to fulfill it, for Banquo had no such thoughts. In the end, it is Macbeth's internal ambition that causes him to start and drives him to kill Duncan, and not the external force of the witches.

Macbeth's reaction to his initial encounter with the witches is merely the first of the evidence that their influence is no more than that; his subsequent decisions to act on their prophecies further reveal that although their influence is great, external forces such as themselves are not the driving force behind Macbeth's key actions in the play. After his murder of Duncan, Macbeth is plagued with a guilty conscience; he is unable to sleep, eat or rest. Even still, the influence of the witches is great; though he is tormented by the consequences of his act, the prophecy of Banquo's lineal future troubles him to the point where he chooses to act again. Again, however, he uses the witches' prophecies only as a starting point, and acts on his own desire to remain king. Before, he murdered Duncan to become king - partly an influence of the witches' prophecies. Now, he murders Banquo to keep the throne - an idea entirely his own. Professor John Lawlor attributes Macbeth's decision to continue murdering beyond Duncan not on the influence of the witches, but on fear: "A career of murder is necessary to secure his kingship; every head of potential rebellion is to be lopped."5 Certainly, his actions progressively become less concerned with the prophecies of the witches, and more concerned with the fear of losing the throne. In contrast to his initial reaction upon hearing his prophecy, Macbeth is now decisive and willing to act on his desires without the considerations he once had. He admits that he is "...in blood / Stepped in so far that, should I wade no more, / Returning were as tedious as go o'er." (III, iv, l. 135-137)6 After the murder of Banquo, Macbeth acts of his own free will again; he chooses to meet the witches a second time for further information. Bradley notes this change in Macbeth: "[The witches] no longer need to go and meet him; he seeks them out. He has committed himself to his course of evil."7 The witches are determined to "draw him on to his confusion" (III, v, l. 29)8 and give him false security, but it is again an independent choice on Macbeth's part to both accept their latest prophecy and kill Macduff's family - an act entirely independent of the witches. Thus, Macbeth's subsequent independent decisions to murder in order to maintain his place on the throne demonstrate that the witches' are simply an influence on him; his actions are not the doings of external forces, but of himself.

Finally, the clearest evidence that the witches' prophecies are no more than an influence on Macbeth is in Macbeth's own interpretation of their responsibility for his actions. Throughout the play, Macbeth never pawns the responsibility of his actions off on the witches. He curses them for deceiving him throughout - yet at no point does Macbeth ever blame them for his own choices. He cries out, "be these juggling fiends no more believe'd, / That palter with us in a double sense, / That keep the word of promise to our ear, / And break it to our hope," (V, viii, l. 19-22)9 but in doing so, he is cursing himself for allowing himself to fall under their influence to a greater degree than he is blaming them for his actions. This awareness is key to both an understanding of Macbeth and of the influence the witches exert over him: he understands that the actions he took have consequences, and knows that although the witches did mislead him and did direct his actions, it was his choice to commit murder and it is only he that is to be blame for making that decision. As Bradley further states, "The prophecies of the Witches are presented simply as dangerous circumstances with which Macbeth has to deal..." He adds, "Macbeth himself nowhere betrays a suspicion that his action is, or has been, thrust on him by an external power."10 Macbeth chooses to accept the witches as truthful in the early stages of the play because they bring the promise of his kingship, which he has already considered taking by force at that point. In the end, however, upon facing the truth that Macduff is indeed capable of killing him, he realizes that the witches have misled him. Their influence is undeniable; Macbeth would not have been as self-assured if not for the prophecy that he would only be killed from a man not born of a woman. Nevertheless, their influence is just that - an influence - and he is fully aware of that. Macbeth is free to act independently of their prophecies, and does so often. What is significant is that he never denies that at every step of the way, he has a choice. In short, Macbeth's acceptance of the consequences of his actions as being solely his own responsibility is further indication that his actions were not forced upon by external forces such as the witches, but were of his own design.

Ultimately, Macbeth's actions in the play are - as Bradley argued - not forced on him by external powers, but chosen by him. The influence of the witches is indeed significant, but Macbeth's guilty initial reaction to their prophecies, independent choices to commit further acts of murder not foreseen by the witches, and refusal to blame them for his actions all demonstrate that they were no more than an influence on him. At every point in the play, Shakespeare makes it clear that Macbeth has the ability to make his own choices, and his actions are a consequence of that free will. Perhaps Lawlor encapsulates this issue of free will in Macbeth best with his question, "If a man is to go to his doom, how far does he exercise a choice which is recognizably free?"11 In Macbeth's case, the answer is, "quite far."

643.          MacBeth Analysis of Fear

MacBeth - Analysis of Fear

Fear, this motivates us to do many things no matter if they are right or wrong. In the play Macbeth it was fear that was the

main motivating factor that influenced the outcome of the play. This can be proved by the subsequent murders that

followed after Duncan's, why were these committed? Because Macbeth was scared of being caught and having to pay for

the wrongs he had done. Also look at Lady Macbeth, he constant washing of her hands, sleepwalking and other

behaviour like this. All done out of fear, and like her husband fear of being caught. The final piece of proof I offer is

Macbeth's actions, they were all due to fear, not only of being caught but of the witches' prophecies, he was scared of

them coming true and tried to stop them from happening. This whole play was inspired by fear and what it and do to a

person.

To begin, we'll address Macbeth's subsequent murders, following Duncan's. For Macbeth, he's just killed the King of

Scotland and blamed it on his son. It worked and he became King, however he remembered the witches' prophecies.

They claimed that Macbeth would be King, but it would be Banquo's children that would follow after him. This made

Macbeth very angry, he risked everything to become King and after him none of his family will follow.

Only for them; and mine eternal jewel

Given to the common enemy of man,

To make them kings, the seeds of Banquo kings!

[Act III, S I, L 72-75]

Here Macbeth realizes that if something is not done to Banquo, then his sons will become King. Macbeth can't have this,

he's already worried that his soul will go to hell for what he's already done. His fear become evident in this scene also,

"But to be safely thus: our fears in Banquo Stick deep;" [Act III, S I, L 53-54] Macbeth then has Banquo murdered,

however his son Fleance escapes in the attack. Next Macduff refuses to accept Macbeth as king and flees to England to

join Malcom. And also the witches tell him to beware of Macduff, which angers Macbeth and drives him to kill Macduff's

family. More fear of losing the impending battle with England, makes Macbeth start doing anything that will give him an

edge in the final battle. Macbeth's fear is starting to consume him, he can no longer sleep and is ravaged by guilt over

what he's done.

As well Lady Macbeth is being comsumed by fear and guilt, she is slowing losing her sanity. This is a result of her not

being able to handle what she has done to Duncan. As shown in this quote

Out, damned spot!out,I say!One;Two:why, then 'tis time to do't. Hell is murky. Fie, my lord, fie! a soldier and afeard?

What need we fear who knows it, when none can call our power to account? [Act V, S I, L 32-35]

Here Lady Macbeth is trying to wash out what she sees as being blood on her hands. As well she mentions hell an

obvious fear of going there for what she has done. At the start Lady Macbeth was the one pushing on Macbeth to kill

Duncan but as the play goes on she becomes weaker as Macbeth becomes stronger, Macbeth isn't troubled by what he

has done to the extent Lady Macbeth is. Her role in the play slowly becomes smaller and smaller as she ends up being

driven mad by the guilt and soon can no longer take, and ends up taking her own life hoping that her torment will end now

that she is dead. "The Queen, my Lord is dead" [Act V, S 5, L 18], Lady Macbeth takes her life right before the battle

against the english is about to begin. This taking of her own life demonstrates her fear and in the end what that fear can do

to a person.

Now we come to the witches prophecies, these are a main source of fear for Macbeth, after all where has he learned

everything from. With each new vision, Macbeth falls deeper and deeper into an evil spiral. From the witches first

prediction of Macbeth being king, which made Macbeth kill to become king. As well as Banquo's children becoming

kings, this scared Macbeth as I previously mentioned. Also when he went back to see the witches he gained some more

knowledge, "Macbeth! Macbeth! Macbeth! beware Macduff; Beware the thane of Fife." [Act IV, S I, L 77], well now

that Macbeth has heard this, he believes that he must kill Macduff, however he learns that Macduff has fled to England,

so Macbeth desides to kill his family. Next in the cave Macbeth is told he can't be killed by any man born of woman, well

this gives him confidence that no matter what the English will not defeat him. And he is also told that he will not be

defeated until the trees of Birnam Wood move towards his castle. He has put all his faith in these prophecies, what the

witches say must be true because of the first prediction.

In conclusion you can see what fear can do to a person, it made Macbeth mad for power which he ended up getting. But

after the first of his crimes the rest became easier for him, pretty soon he'd just order it and not think twice. That was not

the case when he first murdered Duncan. All though the play his fear of being caught, and the witches prophecies coming

true make him do all these evil deeds. Fear had become the main movating factor in the play. Hopefully you have a better

understanding of the play from all this.

644.          MacBeth Attitude Changes

MacBeth - Attitude Changes

In the tragic drama Macbeth, written by William Shakespeare in 1606 during the English Renaissance, the hero,

Macbeth, constantly declines in his level of morality until his death at the end of the play. Because of his change of

character from good to evil, Macbeth's attitude towards other characters, specifically Duncan, Banquo, Lady Macbeth,

and the witches, is significantly affected.

The first of the four characters is Duncan. Since Macbeth interacts with Duncan only a minimal amount before Duncan's

death, Macbeth's attitude towards him changes very rapidly. Before Macbeth hears the witches' first prophecy, he is very

close to Duncan, and would never even think of doing something against him. When the thought of murdering Duncan

crosses his mind immediately after he finds that he has just been named Thane of Cawdor, he cannot believe he "yield[s]

to that suggestion / Whose horrid image doth unfix my hair / And make my seated heart knock at my ribs" (I, iii, 133-35).

In scene 5 of act 1, however, his "vaulting ambition" is starting to take over, but partly because of his wife's persuasion.

He agrees that they must "catch the nearest way" (17), and kill Duncan that night. On the other hand, as the time for

murder comes nearer, he begins giving himself reasons not to murder Duncan:

First, as I am his kinsman and his subject,

Strong both against the deed; then, as his host,

Who should against his murderer shut the door,

Not bear the knife myself.

(I, vii, 13-16)

When Lady Macbeth enters, though, she uses her cunning rhetoric and pursuasion techniques to convince Macbeth that

this is, beyond the shadow of a doubt, the right thing to do. He then tells her that "I am settled." (79). He is firmly seated

in his beliefs that killing Duncan is the right thing to do-until he performs the murder. He is so horrified by this act that for a

moment he forgets where he is or whom he is with. We learn from this murder that Macbeth truly had faith in the king and

was very loyal, but under the forces of his wife's persuasion and his own vaulting ambition, he is put in the evil frame of

mind for just long enough to kill Duncan. This murder does permanently alter him from his moral state of mind, however,

and he soon does not feel much remorse for murdering Duncan.

The Second of the four characters towards whom Macbeth's attitude changes is Banquo. Before he murders Duncan,

Macbeth is a very close friend to Banquo, and they are almost always together. After the murder, however, Macbeth

senses suspicion on Banquo's part. He realizes that Banquo's "wisdom that doth guide his valour / To act in safety"

(52-53) will cause Banquo to want to turn Macbeth in for his crime. Macbeth knows he must also get rid of Banquo

since, according to the prophecy, the throne will pass to Banquo's sons otherwise. Macbeth starts showing his extreme

hatred towards Banquo while he is convincing the two murderers that killing him is right:

Macb: Both of you

Know Banquo was your enemy.

Murderers: True, my lord.

Macb: So is he mine; and in such bloody distance

That every minute of his being thrusts

Against my near'st of life;

(III, i, 114b-118)

Finally, Macbeth actually shows signs of relief when the murderer

calls him to the door during his banquet and tells him of

Banquo's death:

Macb: There's blood upon thy face.

Murderer: 'Tis Banquo's then.

Macb: 'Tis better thee without than he within.

(III, iv, 12-14)

Macbeth's last statement, "Tis . . . within", means that Banquo's blood is better on the murderer than in Banquo, showing

that Macbeth is, in truth, happy that Banquo has been killed. the killing of Banquo by Macbeth shows extreme selfishness;

he cannot bear to see even his best friend's sons succeed him on the throne. However, a more important reason that

Macbeth kills Banquo is because of Banquo's suspicion of him, and what Banquo will do to him once he finds out for sure

that Macbeth has commited the murder of Duncan. One can see that Macbeth becomes extremely harsh if he wants his

way. He will go to horrid extremes just so that he does not have to live his kingship in fear, but instead "to be safely thus."

(III, i, 49)

Lady Macbeth, the third character, interacts with Macbeth a considerable amount, and influences him greatly. He and his

wife as a pair are dangerous because his ambition combined with her bloodiness can cause fatal situations. In Macbeth's

letter to his wife, he calls her "my dearest partner of greatness" (I, v, 8), and later, when he is talking to her in person, he

calls her "My dearest love" (I, v, 54b). Shakespeare shows their close relationship until they have started falling into a

state of near-despair after the murder of Banquo and Macduff's wife and son. At this point, they have started to seperate

a great deal. In act five, scene five, Macbeth hears the "cry of women" and not even noticing that it is a woman's cry, let

alone that of his own wife, asks "What is that noise?" (7b). He feels so little towards her that when he is informed that she

has just died, he remarks that "She should have died hereafter" (17), meaning that she would have died anyway. His loss

of feeling towards his wife most likely is caused by his distraction and present state of mind. Had his mind been calm and

relaxed, not distracted by anything, he probably would have reacted to this news with more feeling. However, his whole

personality has changed, and perhaps death does not faze him any more because he has committed five murders since the

beginning of the play

.

The way Macbeth acts toward the three witches changes significantly as the play progresses. In act one, scene five,

Macbeth tells his wife in his letter to her that the witches "have more in them than mortal knowledge." (2), and he puts

great faith in their prophecies; after all, of the witches' three so-called "prophecies", "Two truths are told" (I, iii, 126b). He

depends on the witches for a long time, even after he murders Banquo. In act 3, scene 4, when he remarks that "I am in

blood / Stepp'd in so far that, should I wade no more," (136-37), he knows that he must consult the witches again

because "More shall they speak;" (134), and he is "bent to know" (134) what he should do and what his future holds. He

then sees the three apparitions that the witchs have conjured up especially to torture him. This causes him to become

enraged at the witches and damn himself in the ironic phrase in which he damns "all those that trust them", (IV, i, 139,

"them" meaning the witches. Macbeth's change in attitude towards the witches shows that his nature is to befriend those

who bring him good news, but he separates from them once he finds that even though he trusted them, what they said was

not in his favor. He supposedly befriended the witches simply because he thought they could tell him his future. It was a

false relationship.

Macbeth starts out a heroic man of good doings, but his whole attitude completely changes because of the murders he

commits. His relationships with many characters are broken or become weak. He starts trusting no one and hating - or

killing - everyone. His wife may have started him on his killing streak, but he was the one to finish himself off. Macbeth

got what he deserved.

645.          MacBeth Character Changes

MacBeth - Character Changes

"This dead butcher and his fiend like queen", is the way in which Malcolm describes Macbeth and Lady Macbeth.

Describe the way in which these two characters changed during the course of the play.

At the beginning of the play Macbeth is seen as a courageous soldier who is loyal to the King but is corrupted from the

witches prophecies and by his and Lady Macbeth's ambition. This is because of the weakness of Macbeth's character

and the strong power of Lady Macbeth and how she is easily able to influence him. Her strength motivates him at the start

but after he realises what he has done it is himself that continues in his murderous, bloody path. At the beginning of the

play Lady Macbeth appears as a kind wife of Macbeth's but underneath lies a scheming and treacherous woman.

In the beginning of the play Macbeth is a strong soldier who fights for the King without mercy but his strive for ambition

and his curious nature leads him to the witches who give him a prophecy. Banquo realises that there must be a trick

hidden in the witches prophecies somewhere but Macbeth refuses to accept that, and when Lady Macbeth finds out

about the witches her strong desire for ambition and her cold nature leads Macbeth astray. Macbeth is a little ambitious at

first, but Lady Macbeth's far exceeds his and so she is able to get Macbeth to agree with her to kill King Duncan.

Macbeth still has a conscience at this stage because he is very hesitant about killing the King but his weak nature over

comes him. He has a conscience throughout the entire play as this is seen by the hallucinations of the dagger and the ghost

of Banquo and his vivid imagination and his constant worry also provokes him. This is also evident in his terrible dreams

which gives the solid theme that he has indeed "murdered sleep".

Throughout the play we see the character of Macbeth change not from just the way he thinks and what we hear from the

play, but from the actions he takes in the play, from killing Banquo, then having Lady Macduff and her children murdered,

shows the insecurity that was present in Macbeth. After the murder of Duncan Macbeth becomes paranoid and his first

step of killing the guards is one of many that Macbeth takes to secure himself. Macbeth is also very superstitious and this

is shown when he believes the prophecy the witches told him that Banquo's offspring would become Kings.

Towards the end of the play when Macbeth's wife has died and the battle is drawing closer Macbeth shows some good

which may have been. He wishes for a normal life for which he would have lived to an honourable age but he recognises

that he has denied himself of this. Even when Macbeth hears that the prophecy has become true of Birnam Wood coming

to Dunsinane, he rejects this idea and fights on until he realises that Macduff wasn't born in a natural birth but instead was

"Untimely ripped" from his mother's womb. When Macbeth hears of this he realises what he has done and how he has

been tricked by the witches but instead he realises that it is useless and so he fights on only to be slain.

Macbeth can be summarised into a character although strong physically he is very weak mentally and it is this weakness

which causes the downfall and change of Macbeth. Other factors do however also contribute to this change such as his

wife whose ambition is very strong at first and is much more stronger mentally than Macbeth but it is also Macbeth's

ambition and his trust in the witches which ultimately change him.

Lady Macbeth seems to be almost opposite compared to that of Macbeth in physical and mental power. Lady Macbeth

is the person who is able to persuade Macbeth into killing Duncan, assuring Macbeth that it will succeed, as Lady

Macbeth's ambition is far greater than that of Macbeth. This change in the character of Lady Macbeth is apparent after

she reads the letter from Macbeth as she goes and talks to the evil spirits to make herself evil with lines such as "Fill me

from the crown to the toe-top full of direst cruelty! Make thick my blood". She goes to the extent of planning the murder

of Duncan and assumes full responsibility of this. She exerts a lot of power over Macbeth in this part of the play and even

calls him a "coward" and this shows just how determined she is and how much ambition she has for her husband. It is this

confidence in herself plus the persuasiveness on her words that makes Macbeth act on her words without hesitating.

After performing the necessary acts in preparation for the murder of Duncan she thinks of performing the act herself but

shows a sign of humanity and doesn't because it resembles "My father as he slept". After the muder has been done Lady

Macbeth shows just how strong a person she really is by using kind words and confidence to clam Macbeth down and

prevent him going insane. Lady Macbeth however jokes with Macbeth about forgetting the incident as "These deeds must

not be thought after these ways: so, it will make us mad". Afterwards she gets the daggers that Macbeth had brought with

him and smeared them with blood and then told Macbeth to change into a nightgown. At this point Lady Macbeth is in

complete control and has tried to make Macbeth free of guilt even though he in fact did perform the deed.

Lady Macbeth is then able to exclaim in horror "What! In our House!" to the murder of Duncan but whilst in complete

control, to draw away the suspicion from Macbeth. When however she finds out that Macbeth has killed the guards she

faints "Help me Hence" but is this a another sign of an act to again draw away the suspicion from Macbeth or did she faint

from shocked dismay. I believe she was shocked because I think that Lady Macbeth was surprised that she was able to

get Macbeth to commit the murder of Duncan, but was shocked at how over one night and in fear, Macbeth could kill

two more men in cold blood.

Lady Macbeth is still strongly in control as the play proceeds and is able to handle crises very well which is shown at the

banquet incident where Macbeth sees the ghost of Banquo, but Lady Macbeth is quick to lie for Macbeth to conceal the

real ideas that are happening. As Macbeth progresses with his evil acts, however, Lady Macbeth starts to go mad which

is almost like what her prophecy mentioned. She also hallucinates like her husband but this time about trying to cleanse

her hands of the blood that will not wash off. Even though she may be a strong character greatly supporting her husband

she is reduced and battered by the deeds and her conscience which she was able to rid from Macbeth, eventually drives

her insane. She then kills herself unable to remove the "damned spot". At his wife's suicide Macbeth has already thrown

away his conscience, so much so, that Macbeth commits even more evil acts afterwards without even admitting her to his

conscience.

Over the course of the play Macbeth and Lady Macbeth greatly change with respect to their characters and their

personalities. Although Macbeth was weak at first it was the strong Lady Macbeth who helped him through the first

murder but in sacrifice to controlling Macbeth and his conscience she lost control of hers and in consequence turned

insane and killed herself. Thus in the end it was worthy to call Macbeth and his wife "a dead butcher and his fiend like

queen" but it must not be forgotten that at the beginning of the play Macbeth and his wife were ordinary nobles at the

time.

646.          Macbeth Essay

Macbeth Essay

I am going to prove that in the play Macbeth, a symbol of

blood is portrayed often(and with different meanings), and that

it is a symbol that is developed until it is the dominating theme

of the play towards the end of it.

To begin with, I found the word "blood", or different forms

of it forty-two times (ironically, the word fear is used

forty-two times), with several other passages dealing with the

symbol.  Perhaps the best way to show how the symbol of blood

changes throughout the play, is to follow the character changes

in Macbeth.  First he is a brave honoured soldier, but as the

play progresses, he becomes a treacherous person who has become

identified with death and bloodshed and shows his guilt in

different forms.

The first reference of blood is one of honour, and occurs

when Duncan sees the injured sergeant and says "What bloody man

is that?".  This is symbolic of the brave fighter who been

injured in a valiant battle for his country.  In the next

passage, in which the sergeant says "Which smok'd with bloody

execution", he is referring to Macbeth's braveness in which his

sword is covered in the hot blood of the enemy.

After these few references to honour, the symbol of blood

now changes to show a theme of treachery and treason.  Lady

Macbeth starts this off when she asks the spirits to "make thick

my blood,".  What she is saying by this, is that she wants to

make herself insensitive and remorseless for the deeds which she

is about to commit.  Lady Macbeth knows that the evidence of

blood is a treacherous symbol, and knows it will deflect the

guilt from her and Macbeth to the servants when she says "smear

the sleepy grooms with blood.", and "If he do bleed, I'll gild

the faces of the grooms withal, for it must seem their guilt."

When Banquo states "and question this most bloody piece of work,"

and Ross says "is't known who did this more than bloody deed?",

they are both inquiring as to who performed the treacherous acts

upon Duncan.  When Macbeth is speaking about Malcolm and

Donalbain, he refers to them as "bloody cousins"

A final way, and perhaps the most vivid use of the symbol

blood, is of the theme of guilt.  First Macbeth hints at his

guilt when he says "Will all great Neptune's ocean wash this

blood clean from my hand?", meaning that he wondered if he would

ever be able to forget the dastardly deed that he had committed.

Then the ghost of Banquo, all gory, and bloody comes to haunt

Macbeth at the banquet.  The sight of apparitions represents his

guilt for the murder of Banquo which he planned.  Macbeth shows a

bit of his guilt when he says "It is the bloody business which

informs thus," he could not get the courage to say murder after

he had killed Duncan, so he says this instead.

Lady Macbeth shows the most vivid example of guilt using the

symbol of blood in the scene in which she walks in her sleep.

She says "Out damned spot! Out I say!  One: two: why then 'tis

time to do't: hell is murky.  Fie, my lord, fie, a soldier, and

afeard?  What need we fear who knows it when none can call out

power to account?  Yet who would have thought the old man to have

had so much blood in him?".  This speech represents the fact that

she cannot wipe the blood stains of Duncan off of her hands.  It

is ironic, that she says this, because right after the murder,

when Macbeth was feeling guilty, she said "A little water clears

us of this deed."  When the doctor of the castle finds out about

this sleepwalking, he tells Macbeth "As she is troubled with

thick-coming fantasies,".  What this means, is that Lady Macbeth

is having fantasies or dreams that deal with blood. Macbeth knows

in his mind that she is having troubles with her guilt, but does

not say anything about it.

Just before the ending of the play, Macbeth has Macduff at

his mercy, and lets him go, because of his guilt.  He shows that

he is guilty, when he says "But get thee back, my soul is too

much charg'd with blood of thine already.".  Of which, Macduff

replies, "I have no words, my voice is in my sword, thou bloodier

villain than terms can give thee out."

After the death of Macbeth at the hands of Macduff, the

symbolic theme of blood swings back to what it was at the

beginning of the play.  It is the symbol of honour to Malcolm

this time.  The death of Macbeth is honoured feat that Macduff is

congratulated for.

So as we have seen meaning of the symbol of blood change

from honour to treachery, and then to guilt, after this, it

returns to the symbolic meaning of honour once again after the

villain that changed the meaning from honour to tyranny is

killed.  Due to these many changes, it has been proved that the

symbol of blood has many different meanings which can be

attributed to it throughout the course of this play.

647.          Macbeth Independence and Failure

Macbeth - Independence and Failure

Peasants of the early sixteenth century are often pictured carrying a bundle of limbs

tied with vines on their backs. This is a perfect metaphor for the events in Macbeth.

Macbeth is one of many thanes, or limbs, bundled together. The thanes are united by the

king, or the vine. Scotland, or the peasant, carries the bundle by the sweat of his brow.

They carry the bundle for fires on cold nights, or wars, and to build homes, or castles, to

protect them from the elements, or invaders. If the limbs are tied improperly, one limb

may slip to the side and cause the peasant, or nation, to stumble or fall. If the limb slides

completely out, the rest of the limbs may follow because the bundle is loose. Marriage is

like a triangle. Each spouse makes up one of the leaning sides, and marriage the lower

side. The three together are very strong, but to stand they all must be united. The longer

a marriage is held the longer the bottom stretches, and the more dependent each person

becomes on the other. If one side tries to stand on its own then the second will fall on the

first as it tries to stand. This metaphor also excellently exemplifies the catastrophe that

occurs in Macbeth as both Lady Macbeth and Macbeth try to separate. Macbeth is a

eighteenth century play written by William Shakespeare. Using these two metaphors, the

breakdown in the relationship between Lady Macbeth and Macbeth and between the king

and the thanes and how they perfectly parallel each other because each is caused by

Macbeth's will to be independent.

According to Webster's dictionary, the archaic definition of independence is

"competence" (1148). To be independent is not to be "subject to control by others"

(Gove 1148). This means that independence is to be in control of ones decisions and to

feel they are good decisions. Macbeth, on the other hand, feels independence is to not be

subordinate to others like the king.

To be independent, one must be strong. Inner strength, not physical strength, is

needed. Inner strength is only accomplished by having a high self-esteem. Macbeth does

not and must use others to reach for independence. Macbeth needs this strength:

It [Macbeth] hurls a universe against a man, and if the universe that strikes

is more impressive than the man who is stricken, as great as his size and

gaunt as his soul may be he will fall. (Van Doren 217)

According to Macbeth's ideas of independence and of strength, he is neither independent

nor strong. He feels the need for both and thus allows nothing, including murder, to get

into his way.

Shakespeare opens Macbeth with the disorder being stabilized by the king and

thanes. The thanes fought "rebellious arm 'gainst arm" to curb "his lavish spirit" (I, ii, 56-

7). Macbeth's stature increased to fill the space in the bundle of limbs opened by the

death of the Thane of Cawdor for "what he hath lost, noble Macbeth hath won" (I, ii, 67).

"When we first see him [Macbeth] he is already invaded by those fears which are to

render

him vicious and which are finally to make him abominable" (Van Doren 216).At the end of

Act I, Lady Macbeth and Macbeth are discussing whether or not to assassinate the king

(I,

ii). Macbeth has not committed himself to this sin and to independence, he has not broken

the commitatus bond that exists between the king and thane. Likewise, Macbeth's

marriage is unstable as they argue, but their triangle is still together as they depend on one

another.

Lady Macbeth and Macbeth each experiment with external forces to gain

independence from their spouse. Macbeth uses the witches, on which he becomes

increasingly dependent. Lady Macbeth uses alcohol and Satan to "unsex" her and make

her strong (II, ii, 1; I, v, 42). Both Macbeth and Lady Macbeth deny their dependence on

their aid, and still require their spouse. Their self denial of their dependence makes them

weak, and the more self denial the weaker they get. As a married couple, they are splitting

away from each other: they are trying to turn their triangle of dependence into a open

square of independence.

The split between Macbeth and Lady Macbeth becomes apparent with the

assassination of king Duncan. By the end of their arguing in the beginning of Act II, the

two had not come to a final decision as to whether to kill the king or not (I, v, 72).

Without the consent of Macbeth, Lady Macbeth tries to kill Duncan but fails, because she

lacks strength and covers her ineptitude with the lame excuse that he "resembled my father

as he slept" (II, ii, 12-3). Lady Macbeth lacks strength, because she only has conscience

strength formed by extreme self denial. Unlike Lady Macbeth, Macbeth is almost strong

enough to complete the task without Lady Macbeth. "He is driven to the murder of

Duncan partly by the constant goading of Lady Macbeth and partly by his own will to be

in control of Scotland:" he feels power is strength (Watkins 29). His strength comes from

multiple places. It comes from his strength as a warrior, from the witches' revelations,

and from self denial of his dependence on the first two (I, iii, 49-50). Macbeth is still not

completely independent from his wife in that he is unable to complete the task and "carry

them [the daggers], and smear the sleepy grooms with blood" (II, ii, 48-56).

The scene is painful in the way it separates husband and wife. Crime had at

first brought them closely and eagerly together, but now they discover how

the execution of the crime separates them...In fact, after the murder they

can only speak in short sentences, not communicating or even answering

questions. (Jorgensen 67)

Although he blames his rage on the grooms for killing Duncan, he was actually

mad at himself for committing the murder. Not until he kills the grooms with his regret

does Macbeth become totally independent from the thanes and slide from the bundle of

limbs (II, iii, 108-19). The action of killing the chamber servants was the first action

which Macbeth does totally independent of Lady Macbeth: he does not even mention

killing the chamber servants to her:

A stranger to himself and to others, he is on his way to isolation...but what

he sees cannot really be shared with others for it is the uniquely appropriate

and lonely torment that cannot be felt by others. Even for his wife there

will be a torment of a different kind, one that likewise separates her from

others. (Jorgensen 178)

This reaction to his regret is the strongest divider between him and his wife: it ends their

relationship of dependence for their temporal existence.

Tree's limbs do not tie very well, because they break. Likewise Macbeth incapable

of being king, because he is unfit for the job. He tries to replace Duncan, because he is so

filled with self denial that he can not see the truth: he will never be a good king. Macbeth

wants to be strong and independent at the same time but is very unsuccessful. Macbeth

must use external support to stand and not to lean on Lady Macbeth so he turns to killing.

He has Banquo killed, because he poses a threat. Macbeth can not do it himself, because

they were once friends which shows his lack of strength to stand erect (II, i, 11). A soon

as the deed is done, Macbeth falls: his control and independence falls. His plan to use

Banquo's death to restore order and give him strength did not work. Before all the thanes

except for Macduff, Macbeth has a brief moment of insanity, in which he loses all control

and reveals his true strength which has been hidden by self denial. For her own safety,

Lady Macbeth tries to calm the situation and to make it excusable:

Sit, worthy friends. My lord is often thus,

And hath been from his youth. Pray you, keep seat.

The fit is momentary; upon a thought

he will again be well. If you much note him,

You shall offend him and extend his passion.

Feed, and regard him not. . . (III, iv, 54-9)

With little effect, she struggles to keep order but gives up and has the thanes "stand not

upon the order of your going" (III, iv, 120-1).

Macbeth's strength from self denial fails, because he is losing his sanity. To make

up for the loss of support, he returns to the witches. "He may concievably be under the

spell of the witches, may even be possessed" (Jorgenson 64). He is very uncertain of

himself and asks many questions of the witches in search of answers on which he can be

strengthened: "Then live Macduf. His answers do

not give him sufficient strength for he vows to make "assurance double sure and take a

bond of fate" (IV, i, 83-4).

Again his will is greater than his ability, and Macbeth must have someone else kill

Macduff and his family. As if trying to keep all the marbles together, each time one slips

Macbeth has them killed. Unfortunately for Macbeth, he is not too successful for Fleance

and Macduff get away.

Quickly Macbeth is overwhelmed with his independence. Lady Macbeth is

"troubled with thick-coming fancies that keep her from rest" (V, iii, 38-9). She is no

longer "unsexed" and strong so she can not sleep. She remains sane and strong longer

than Macbeth, because her strength came from one source, Satan, that would never leave,

but ultimately fell, because her sub-conscience fought against evil and kept her without

rest. She also began to realize the wickedness of her sin for she said, "all the perfumes of

Arabia will not [could not] sweeten this hand" (V, I, 53-5). The fight in her mind is too

hard so she kills herself.

She leaves Macbeth with the rest of his subjects. Many of Macbeth's soldiers are

deserting him, and he gets his wish: to be independent of others (V, iii, 1). He thinks he is

independent, but, in reality, he supports himself on the revelations of the apparitions for he

frequently repeats "until Birnam Wood come to Dunsinane" and "was he not born of

woman?" (V, iv, 60; V, iii, 3). In the end, Macbeth dies because everything he used for

strength was gone.

As soon as Macbeth dies and reunites with Lady Macbeth, the thanes are reunited

by Malcolm who has the qualities to make a good leader and to keep the thanes together.

The suffering that Scotland had endured ended because "All Hail, king of Scotland" (V,

viii, 59).

"The passions are directed in their true end. Lady Macbeth is merely detested; and

though the courage of Macbeth preserves some esteem, yet every reader rejoices at his

fall" (Johnson 484). In the end, Macbeth is independent, because he does not rely on his

wife and he does not rely on the witches. Since the nation was restored to order, his death

was for the better. "The universe that struck was more impressive" so he crumbled with

lack of strength.

Works Cited

Gove, Philip Babcock. Webster's Third International Dictionary. Springfield, Mass: G. &

C. Merriam, 1967.

Johnson, Samuel. The Plays of William Shakespeare. London: J & R Tonson, 1788

Jorgensen, Paul A. Our Naked Frailties. Los Angeles: U of CA, 1971.

Shakespeare, William. Macbeth. New York: Penguin Books, 1987.

Van Doren, Mark. Shakespeare. NY: Doubleday, 1939.

Watkins, Ronald. The Theology of Macbeth. Oxford: Oxford University, 1964.trick

Word Count: 1961

648.          Macbeth Tragedy or Satire

Macbeth: Tragedy or Satire?

William Shakespeare wrote four great tragedies, the last of which was written in 1606 and titled Macbeth. This "tragedy",

as it is considered by societal critics of yesterday's literary world, scrutinizes the evil dimension of conflict, offering a dark

and gloomy atmosphere of a world dominated by the powers ofdarkness. Macbeth, more so than any of Shakespeare's

other tragic protagonists, has to face the powers and decide: should he succumb or should he resist? Macbeth

understands the reasons for resisting evil and yet he proceeds with a disastrous plan, instigated by the prophecies of the

three Weird Sisters. Thus we must ask the question: If Macbeth is acting on the impulses stimulated by the prophecies of

his fate, is this Shakespearean work of art really a Tragedy?

Aristotle, one of the greatest men in the history of human thought, interpreted Tragedy as a genre aimed to present a

heightened and harmonious imitation of nature, and, in particular, those aspects of nature that touch most closely upon

human life. This I think Macbeth attains. However, Aristotle adds a few conditions.

According to Aristotle, a tragedy must have six parts: plot, character, diction, thought, spectacle, and song. Most

important is the plot, the structure of the incidents. Tragedy is not an imitation of men, but of action and life. It is by men's

actions that they acquire happiness or sadness. Aristotle stated, in response to Plato, that tragedy produces a healthful

effect on the human character through a katharsis, a "proper purgation" of "pity and terror." A successful tragedy, then,

exploits and appeals at the start to two basic emotions: fear and pity. Tragedy deals with the element of evil, with what we

least want and most fear to face, and with what is destructive to human life and values. It also draws out our ability to

sympathize with the tragic character, feeling some of the impact of the evil ourselves. Does Macbeth succeed at this level?

Can the reader feel pity and terror for Macbeth? Or does the reader feel that Macbeth himself is merely a branch from

the root of all evil and not the poor, forsaken, fate-sunken man, according to Aristotle's idea of tragedy, he is supposed to

portray? Can the reader "purge" his emotions of pity and fear by placing himself in the chains of fate Macbeth has been

imprisoned in? Or does he feel the power and greed upon which Macbeth thrives, prospers, and finally falls? I believe the

latter is the more likely reaction, and that the reader sees Macbeth as a bad guy, feeling little or no pity for him.

Aristotle also insists that the main character of a tragedy must have a "tragic flaw." Most tragedies fail, according to

Aristotle, due to the rendering of character. To allow the character to simply be a victim of unpredictable and undeserved

calamities would violate the complete, self- contained unity of action in the tragedy. If that is so, and if we assume that the

group of three witches is a realistic possibility, then is not Macbeth such a victim? Does he really deserve the misfortune

that is brought him by his fortune? After all, Macbeth is introduced to the reader as an honest and humble leader. His fate,

once having been revealed to him, drives him to greed, elevates his lust for power, and coins a conceited and misguided

trust in his seemingly eternal mortality. Diction, the expression of the meaning in words, is near perfect in Macbeth, simply

because it is written by William Shakespeare, the inventor of perfect diction. Thought--the task of saying what is possible

and pertinent in the circumstances of the play--can not be disputed. Spectacle and Song are the effects that highlight the

play, and are pertinent in providing an emotional attraction. Such elements are easily found in Shakespeare. Macbeth is

written with the style and grace that only Shakespeare could provide. Thus, these elements of tragic drama can not be

challenged in this argument.

While we need to consider that Macbeth strives on power, and in doing so loses his values of humility and humanity, it

should not be forgotten that Macbeth does, at certain times, feel remorse for things he has done. In Act 2, Scene 2,

Macbeth confides in Lady Macbeth after the murder of Duncan: But wherefore could not I pronounce "Amen"? I had

most need of blessing, and "Amen" Stuck in my throat. and:

Methought I heard a voice cry "Sleep no more!

Macbeth does murder sleep," the innocent sleep,

Sleep that knits up the raveled sleave of care,

The death of each day's life, sore labor's bath,

Balm of hurt minds, great nature's second course,

Chief nourisher in life's feast--

Macbeth shall sleep no more. In this scene, he shows great turmoil over the deed he has done. Thus the reader is shown

that Macbeth is acting out deeds that go against his conscience, that he regrets his actions, and that the prophecies are

unfolding. But is this apology enough to stimulate pity within the reader? After all, the man just committed his first of many

murders! His contrition seems to fade as his want of power flourishes. So Macbeth continues--the powers of evil feeding

on every move he makes--to make way for his advancement as prophesied by the witches. He hires his men to eliminate

Banquo, a threat to his cumulative reign. Having Banquo out of the way, Macbeth surges with the sense of power. There

is no doubt that he is acting on the impulses that were stimulated by the first prophecies of his fate. In Act 4 Scene 1, he

returns to the three witches, desiring more information regarding his fortune. They in turn assure him that "none of woman

born shall harm Macbeth." Invincible power! Macbeth forgets the other two prophecies: Macbeth! Macbeth! Macbeth!

Beware Macduff, Beware the Thane of Fife... and:

Be lion-mettled, proud, and take no care

Who chafes, who frets, or where conspirers are.

Macbeth shall never vanquished be until

Great Birnam Wood to high Dunsinane Hill

Shall come against him.

The witches have spoken again, with unforeseeable truth. Macbeth leaves the dreaded sisters, blinded by his own

ambition. Let the players play! He is assured that he is indestructible, for how could Macduff, a man of woman born, hurt

him? How could the Birnam Wood come to Dunsinane Hill? Preposterous! Macbeth leads on, confident, bold, and

unvictimized. He flashes his power, exalts himself, and fears no one, not even himself. He no longer cares that he does not

sleep. Act 5 Scene 3 opens with Macbeth:

Bring me no more reports.  Let them fly all!

Till Birnam Wood remove to Dunsinane,

I cannot taint with fear.  What's the boy Malcolm?

Was he not born of woman?  The spirits that know

All mortal consequences have pronounced me thus:

"Fear not, Macbeth.  No man that's born of woman

Shall e'er have power upon thee."

Then fly, false thanes,

And mingle with the English epicures!

The mind I sway by and the heart I bear

Shall never sag with doubt nor shake with fear.

Having possession of all the confidence in the world, or at least thinking he does, Macbeth proceeds in a boisterous

manner. His fate, once prophesied to him, has now acquired complete control. He has the titles promised him. He has

found protection in the strength of witch's words. How can the reader pity such a fool? The only thing to do is laugh at

him, for it can be sure that these prophecies which Macbeth has ignored will come to pass; Macbeth will no doubt fall.

And he does. Macduff, figuratively but not literally of woman born, holds the rest of the confidence in the world. Macduff,

the Arnold Schwarzenegger of Shakespearean lords, does the impossible and brings the wood to the hill, and brings the

fall of the great and powerful Macbeth. A tragic ending? I'd say not. A tragic ending would have been for Macduff to fall

under Macbeth. A tragic ending would have seen Lady Macbeth take Macbeth's life. But for Macduff to do what he had

to do, the prophecy was fulfilled, and the only winner is Fate. This does not make a Tragedy. Who do we feel sorry for?

Maybe only Macduff, who was untimely ripped from his mother's womb. We praise Macduff for conquering Macbeth.

Maybe some readers feel some pity for Lady Macbeth. But we certainly don't feel pity for Macbeth. Yet Macbeth could

have been a victim. He lost control of himself, and allowed himself to be led by Fate. Perhaps Shakespeare fails to supply

a "tragic flaw" as insisted on by Aristotle. Macbeth does not try to resist Fate, he runs with it. He does not heed warnings

of potential hazards. The Macbeth we were introduced to certainly could not have predicted his fortune. Being a man of

honesty and humility, he couldn't have deserved his dilemma. But he succumbed to his fate, and was no longer an honest

and humble Macbeth.

I think that even the most humble and honest person in the world, except Jesus himself, could be swayed to corruption.

The Macbeth Empire could be compared to Mark Twain's Hadleyburg. In comparing Macbeth to The Man that

Corrupted Hadleyburg, we might be able to see Macbeth as a satirical comedy. Macbeth, honest and humble, was

corrupted by the powers of fortune in much the same way that the people of Hadleyburg, also honest and humble, were

corrupted by the same powers. The reader could not possibly pity the community of Hadleyburg, and would typically

cheer at its fall. Isn't it the same with Macbeth? The townspeople of Hadleyburg felt remorseful when they realized they'd

been had, in much the same way that Macbeth surely felt when he learned of Macduff's method of birth. The people of

Hadleyburg thought that no harm could come to them, because they held proper character; they were in proper form. But

behind closed doors they planned their strategies to acquire the power, provided in the form of a monetary inheritance.

This greed/lust for power was the Hadleyburg downfall. Their own greed was their own enemy.

Likewise with Macbeth. A strong leader, upheld by his loyal comrades, could do no wrong. But once he learned he was

to acquire some great fortune, he was his own enemy. His lust for power drove him to his bitter end. Satire may be

defined as a genre that uses mockery of society to shock that society into an honest look at itself. Do we consider the

Hadleyburg tale a tragedy? No. We see it more as satire. It is a sarcastic view of society's morals and values, and how

hypocritical people, including ourselves, can be. Putting Macbeth on a parallel with this entertaining American short story

allows us to view the play in a different light. We now can see Macbeth as a hypocrite, and we can see him resembling

ourselves. How often can the power of want, the desire for more, lead humanity to destruction and despair? The same

motivational tool that drives a college student into a career can someday break him. So let the critics of yesterday have

their tragedy. Let them read their own literary mortality in Macbeth:

Tomorrow, and tomorrow, and tomorrow

Creeps in this petty pace from day to day

To the last syllable of recorded time,

And all our yesterdays have lighted fools

The way to dusty death.  Out, out brief candle!

Life's but a walking shadow, a poor player

That struts and frets his hour upon the stage

And then is heard no more.  It is a tale

Told by an idiot, full of sound and fury,

Signifying nothing.

I am sure even Aristotle would have allowed Macbeth into the "Tragedy Hall of Fame." But if a man has the gift of

foresight and is aware of the risks but chooses to ignore them and runs after his fate, what tragedy is there? If Fate wins, it

cannot be considered a tragedy if Macbeth succeeds in meeting it. Today we have put out this tragic candle. I'm not of

much importance in this mortal world of ours, but if I've given you something to reconsider and to ponder on, then this

task is finished.

649.          Macbeth

MACBETH

Macbeth is presented as a mature man of definitely established character, successful

in certain fields of activity and enjoying an enviable reputation. We must not conclude,

there, that all his volitions and actions are predictable; Macbeth's character, like any

other man's at a given moment, is what is being made out of potentialities plus

environment, and no one, not even Macbeth himself, can know all his inordinate self-

love whose actions are discovered to be-and no doubt have been for a long time-

determined mainly by an inordinate desire for some temporal or mutable good.

Macbeth is actuated in his conduct mainly by an inordinate desire for worldly honors;

his delight lies primarily in buying golden opinions from all sorts of people.  But we must

not, therefore, deny him an entirely human complexity of motives. For example, his

fighting in Duncan's service is magnificent and courageous, and his evident joy in

it is traceable in art to the natural pleasure which accompanies the explosive expenditure

of prodigious physical energy and the euphoria which follows. He also rejoices no

doubt in the success which crowns his efforts in battle - and so on. He may even

conceived of the proper motive which should energize back of his great deed:

The service and the loyalty I owe,

In doing it, pays itself.

But while he destroys the king's enemies, such motives work but dimly at best and are

obscured in his consciousness by more vigorous urges. In the main, as we have said, his

nature violently demands rewards: he fights valiantly in order that he may be reported in

such terms a "valour's minion" and "Bellona's bridegroom"' he values success because it

brings spectacular fame and new titles and royal favor heaped upon him in public. Now

so long as these mutable goods are at all commensurate with his inordinate desires - and

such is the case, up until he covets the kingship - Macbeth remains an honorable

gentleman. He is not a criminal; he has no criminal tendencies. But once permit his self-

love  to demand a satisfaction which cannot be honorably attained, and he is likely to

grasp any dishonorable means to that end which may be safely employed. In other words,

Macbeth has much of natural good in him unimpaired; environment has conspired with

his nature to make him upright in all his dealings with those about him. But moral

goodness in him is undeveloped and indeed still rudimentary, for his voluntary acts are

scarcely brought into harmony with ultimate end.  As he returns from victorious battle,

puffed up with self-love which demands ever-increasing recognition of his greatness, the

demonic forces of evil-symbolized by the Weird Sisters-suggest to his inordinate

imagination the splendid prospect of attaining now the greatest mutable good he has

ever desired. These demons in the guise of witches cannot read his inmost thoughts, but

from observation of facial expression and other bodily manifestations they surmise with

comparative accuracy what passions drive him and what dark desires await their

fostering. Realizing that he wishes the kingdom, they prophesy that he shall be king.

They cannot thus compel his will to evil; but they do arouse his passions and stir up a

vehement and inordinate apprehension of the imagination, which so perverts the

judgment of reason that it leads his will toward choosing means to the desired temporal

good. Indeed his imagination and passions are so vivid under this evil impulse from

without that "nothing is but what is not"; and his reason is so impeded that he judges,

"These solicitings cannot be evil, cannot be good." Still, he is provided with so much

natural good that he is able to control the apprehensions of his inordinate imagination

and decides to take no step involving crime. His autonomous decision not to commit

murder, however, is not in any sense based upon moral grounds. No doubt he normally

shrinks from the unnaturalness of regicide; but he so far ignores ultimate ends that, if he

could perform the deed and escape its consequences here upon this bank and shoal of

time, he'ld jump the life to come. Without denying him still a complexity of motives - as

kinsman and subject he may possibly experience some slight shade of unmixed loyalty to

the King under his roof-we may even say that the consequences which he fears are not at

all inward and spiritual, It is to be doubted whether he has ever so far considered the

possible effects of crime and evil upon the human soul-his later discovery of horrible

ravages produced by evil in his own spirit constitutes part of the tragedy. Hi is mainly

concerned, as we might expect, with consequences involving the loss of mutable goods

which he already possesses and values highly.

After the murder of Duncan, the natural good in him compels the acknowledgment

that, in committing the unnatural act, he has filed his mind and has given his eternal

jewel, the soul, into the possession of those demonic forces which are the enemy of

mankind. He recognizes that the acts of conscience which torture him are really

expressions of that outraged natural law, which inevitably reduced him as individual to

the essentially human. This is the inescapable bond that keeps him pale, and this is the

law of his own natural from whose exactions of devastating penalties he seeks release:

Come, seeling night...

And with thy bloody and invisible hand

Cancel and tear to pieces that great bond

Which keeps me pale.

He conceives that quick escape from the accusations of conscience may possibly be

effected by utter extirpation of the precepts of natural law deposited in his nature. And he

imagines that the execution of more bloody deeds will serve his purpose. Accordingly,

then, in the interest of personal safety and in order to destroy the essential humanity in

himself, he instigates the murder of Banquo.

But he gains no satisfying peace because his conscience still obliges him to recognize

the negative quality of evil and the barren results of wicked action. The individual who

once prized mutable goods in the form of respect and admiration from those about him,

now discovers that even such evanescent satisfactions are denied him:

And that which should accompany old age,

As honor, love, obedience, troops of friends,

I must not look to have; but, in their stead,

Curses, not loud but deep, mouth-honour, breath,

Which the poor heart would fain deny, and dare not.

But the man is conscious of a profound abstraction of something far more precious that

temporal goods. His being has shrunk to such little measure that he has lost his former

sensitiveness to good and evil; he has supped so full with horrors and the disposition of

evil is so fixed in him that nothing can start him. His conscience is numbed so that he

escapes the domination of fears, and such a consummation may indeed be called a sort of

peace. But it is not entirely what expected or desires. Back of his tragic volitions is the

ineradicable urge toward that supreme contentment which accompanies and rewards

fully actuated being; the peace which he attains is psychologically a callousness to pain

and spiritually a partial insensibility to the evidences of diminished being. His peace is

the doubtful calm of utter negativity, where nothing matters.

This spectacle of spiritual deterioration carried to the point of imminent dissolution

arouses in us, however, a curious feeling of exaltation. For even after the external and

internal forces of evil have done their worst, Macbeth remains essentially human and his

conscience continues to witness the diminution of his being. That is to say, there is still

left necessarily some natural good in him; sin cannot completely deprive him of his

rational nature, which is the root of his inescapable inclination to virtue. We do not need

Hecate to tell us that he is but a wayward son, spiteful and wrathful, who, as other do,

loves for his own ends. This is apparent throughout the drama; he never sins because, like

the Weird Sisters, he loves evil for its own sake; and whatever he does is inevitably in

pursuance of some apparent good, even though that apparent good is only temporal of

nothing more that escape from a present evil. At the end, in spite of shattered nerves and

extreme distraction of mind, the individual passes out still adhering admirably to his

code of personal courage, and the man's conscience still clearly admonishes that he has

done evil.

Moreover, he never quite loses completely the liberty of free choice, which is the

supreme bonum naturae of mankind.But since a wholly free act is one in accordance with

reason, in proportion as his reason is more and more blinded by inordinate apprehension

of the imagination and passions of the sensitive appetite, his volitions become less and

less free. And this accounts for our feeling, toward the end of the drama, that his actions

are almost entirely determined and that some fatality is compelling him to his doom. This

compulsion is in no sense from without-though theologians may at will interpret it so-as

if some god, like Zeus in Greek tragedy, were dealing out punishment for the breaking of

divine law. It is generated rather from within, and it is not merely a psychological

phenomenon. Precepts of the natural law-imprints of the eternal law- deposited in his

nature have been violated, irrational acts have established habits tending to further

irrationality, and one of the penalties exacted is dire impairment of the liberty of free

choice. Thus the Fate which broods over Macbeth may be identified with that disposition

inherent in created things, in this case the fundamental motive principle of human action,

by which providence knits all things in their proper order. Macbeth cannot escape

entirely from his proper order; he must inevitably remain essentially human.

The substance of Macbeth's personality is that out of which tragic heroes are

fashioned; it is endowed by the dramatist with an astonishing abundance and variety of

potentialities. And it is upon the development of these potentialities that the artist

lavishes the full energies of his creative powers. Under the influence of swiftly altering

environment which continually furnishes or elicts new experiences and under the impact

of passions constantly shifting and mounting in intensity, the dramatic individual grows,

expands, developes to the point where, at the end of the drama, he looms upon the mind

as a titanic personality infinitely richer that at the beginning. This dramatic personality in

its manifold stages of actuation in as artistic creation. In essence Macbeth, like all other

men, is inevitably bound to his humanity; the reason of order, as we have seen,

determines his inescapable relationship to the natural and eternal law, compels

inclination toward his proper act and end but provides him with a will capable of

free choice, and obliges his discernment of good and evil.

650.          MacbethAristotelian Trajedy

Kim Blair

Per.5

Interpretive Test

Macbeth-Aristotelian Tragedy?

The  definition of tragedy in an excerpt from Aristotle's "Poetics" is the re-creation, complete within itself, of an important moral action.  The relevance of Aristotle's Poetics to Shakespeare's play Macbeth defines the making of a dramatic tragedy and presents the general principles of the construction of this genre.

Aristotle's attention throughout most of his Poetics is directed towards the requirements and expectations of the plot.  Plot, 'the soul of tragedy', Aristotle says, must, be an imitation of a noble and complete action.    In Macbeth, Shakespear provides a complete action, that is it has what Aristotle identifies as a beginning, a middle, and an end.  These divisible sections must, and do in the case of Macbeth, meet the criterion of their respective placement.  In an excerpt from Aristotle's "Poetics" it states:

"The separate parts into which tragedy is divided are: Prologue, Episode, Exodus, Choric songs, this last being divided into Parodos and Stasimon.  The prologos is that entire part of a tragedy which precedes the Parodos of the Chorus.  The Episode is that entire part of a tragedy which is between complete choric songs.  The Exodos is that entire part of a tragedy which has no choric song after it.  Of the Choric part the Parodos is the first undivided utterance of the Chorus."

Shakespeare follows this precise arrangement of parts to tell his story of Macbeth.  Macbeth is divided into five acts.  It contains a Prologue, Episode, Exodus, Parodos and Stasimon, but is the only one of Shakespeares plays that does not include Choric songs.  This does not dismiss Macbeth as a tragedy in the Aristotelian sense, because it still follows Aristotle's fundamental component of a plot.  That the arrangement of actions and episodes arrange themselves into a 'causally connected', seamless whole.  The ideal arrangement of action into a plot is: Exposition, Inciting Action, Rising Action, Turning Point(Climax), Falling Action, and Denouement.  Macbeth follows each of these steps while introducing a new question every moment that keeps our interest.  That is called dramatic tension, a very important part of a tragedy: to keep the audiences attention at all times.

To make Macbeth's plot a complete action, according to Aristotle, the story must contain an activating circumstance, a disclosure, and a reversal of action.  The activating circumstance in Macbeth is the three witches.  Macbeth and Banqou meet three witches that posses supernatural powers and predict the two men's futures.  It is part of the wicked sisters' role in the play to act as the forces of fate.  These hags lead Macbeth on to destroy himself.  Their predictions are temptations of  Macbeth's.  They never tell Macbeth he has to do anything, and nothing the witches did forced him to commit the murderous acts he did.  But their prophecies stimulated his desire for kingship and intensified his ambition which is the characteristic that led to his downfall.  The disclosure is the point in the play in which the audience finds out something they did not know before, that enables them to put the pieces of the tragedy together.  It's the point of realization.  In Act V scene 1,  Lady Macbeth is found sleep walking muttering the lines of reassurance she gave her husband after they murder of  Duncan and Banqou, "What need we fear who knows it, when none can call our power to accompt?"(lines 40-42) and "I tell you yet again, Banqou's buried" (lines 66-67).  The plot of the tragedy unfolded for the audience in that scene and it becomes apparent that it was Macbeth's and Lady Macbeth's own evil actions that destroyed themselves.  The last guideline of an Aristotelian complete action is the reversal of action.  This occurs when Macduff kills Macbeth. Throughout the play Macbeth, driven by his corrupt ambition, went after what he desired most.  Even subjecting himself to evil sins, but it is at the very end where his own ambition kills him.  Macbeth's life ends in the same way he took the other lives, through murder and deception.  Stated above, Aristotle says, the plot of a Tragedy must be an imitation of a noble and complete action.  Macbeth follows Aristotle's expectations of a complete action. Shakespeare's Macbeth also contains a noble and moral action that creates the foundation of the plot.  Whether Shakespeare provides a nobel action, however, is an issue of the culture of his time.  Macbeth was written during the Elizabethan age where ambition was highly regarded.  Ambition was and is a pious and admirable quality, one of nobility.  So essentially the imitation of action, the plot, of Macbeth is one of a nobel and complete action.

In accordance with Aristotle's expectations of a Tragedy, containing a nobel and complete action, irony is one of the most important elements when imitating an action.  In Shakespeare's Macbeth there are many ironic statements regarding the action of murder due to Macbeth's hamartia (tragic flaw), which is his ambition.  Macbeth's hamartia (ambition) encouraged by Lady Macbeth resulted in her death and when Macbeth hears of her death his words are inspired by grief and despair and full of irony.  He calls life a pathetic, strutting actor briefly on a stage, and then says: "It is a tale/ Told by an idiot, full of sound and fury/ Signifying nothing" Act V,

scene v, lines 26-28.  Macbeth's speech says that life is meaningless, but the play as a whole says just the opposite. Macbeth's utter despair at that moment is a result of his evil deeds.  The very fact that he and Lady Macbeth are punished for their wickedness is proof of a higher good which gives meaning to life.  In Macbeth the action of murder and ambition are often referred to in an ironic manner (shown above) but what draws this play so close to Aristotle's definition of a tragedy is Shakespeare's use of dramatic irony.  Integral to Aristotle's notion of tragedy was its stylistic component: its diction.  Aristotle stated that tragedies are to be written in elevated, non- everyday language to alert the audience to the seriousness of what they are about to see.  Dramatic irony is a very poignant example of this theory.  Dramatic irony is present when the audience knows something the characters, or some of the characters, do not, this involves the audience and draws their attention.  When Duncan and his party arrive at Macbeth's castle, they are unaware of the wicked plans that are being made.  Their lighthearted, joking mood is ironic to us, because we know what they are really walking into.  The scene-by-scene analysis for Act I scene vi, details the use of dramatic irony when Duncan realizes that Lord Macbeth isn't there to greet him, which is very discourteous but still treats Macbeth with great admiration, "Conduct me to mine host: we lone him highly/And shall conduct our graces toward him."  Meanwhile Macbeth is plotting King Duncans murder.  Dramatic irony enriches the last act of the play.  Macbeth has become a monster, but he's also become a pathetic figure.  His desperation is obvious.  Ten thousand troops are on their way to over throw him; his own troops are deserting.  And he places his confidence in the weird sisters- the hags whose suggestion that he would be king got him into this disaster!  We can see that he is doomed, but he cannot.  He fights on, talking about his "charmed life."  His failure (or refusal) to see what is obvious to us makes the end of the play much more powerful than it would be otherwise.

Aristotle further states that the noble and complete action must be an imitation of fearful and pitiable incidents.  It is important to define fearful and pitiable action in Aristotle's own words before continuing to support a later point.

Aristotle states;

"A perfect tragedy should be arranged not on the simple but on the complex plan.  It should imitate actions which excite pity and fear, this being the distinctive mark of tragic imitation.  It follows that the change of fortune presented must not be the spectacle of a virtuous man brought from prosperity to adversity, for this moves neither pity  no fear; it merely shocks us.  Nor that of a bad man passing from adversity to prosperity, for nothing can be more alien to me spirit of tragedy; it possesses no tragic quality, it neither satisfies the moral sense, no calls forth pity or fear.  Nor should the downfall of the utter villain be exhibited.  A plot of this kind would doubtless, satisfy the moral sense, but it would inspire neither pity no fear, for pity is aroused by unmerited misfortune, and fear by the misfortune of a person like ourselves.  Such an event, therefore, will be neither pitiful nor terrible.  There remains, then, the character between these two extremes-that of a man who is not eminently good and just, yet whose misfortune is brought about not by vice or depravity, but by some error or frailty.  He must be one who is highly renowned and prosperous..."

According to Aristotle, the expectation of a tragedy consists of  the arousal of the emotions of pity and terror in the audience.  He also states that "pity and fear are related to action and character."  We have already detailed the correlations between the plot(action) in Macbeth and Aristotle's "Poetics", now, we must determine if the character Macbeth is a tragic hero according to Aristotle's "The Essential Nature of Tragedy".

In Aristotle's "Poetics" he describes the attributes of a tragic hero.  In the excerpt above it mentions "...the character between these two extremes...".  Basically a good man of elevated stature: if he's evil, his fall won't be pitiable or tragic.  If he's a commoner, his fall won't be grand enough.  The figure of Macbeth seems to resemble this position.  In the beginning of the play there is strong evidence that Macbeth is a good man.  In Act I, Scene ii his courage is highly praised.  The bloody soldier obviously admires his captain, and Duncan is moved when he is told of Macbeth's exploits.  Shown in such diction as "brave Macbeth" and "noble Macbeth".  One of the essential natures of a tragic hero according to Aristotle's definition of tragedy is the Reversal of Fortune.  The hero must undergo a change of fortune from prosperity (emotional and/or material) to adversity.  This reversal is also known as a tragic fall.  Aristotle continues, this reversal must come about not by chance or as deserved retribution for evil deeds, but from some hamartia, variously translated as 'error in judgment' or 'tragic flaw': that is, some aspect of the hero's character that in itself is praiseworthy--but in excess, destructive.  Macbeth gains sympathy from the audience due to his demeanor in the beginning of the play.  He relates to the listeners from his reaction to the witc

651.          MACHIAVELLIS VIEW OF HUMAN NATURE

MACHIAVELLI'S VIEW OF HUMAN NATURE

In The Prince Niccolo Machiavelli presents a view of governing a state that is drastically different from that of humanists of his time.  Machiavelli believes the ruling Prince should be the sole authority determining every aspect of the state and put in effect a policy which would serve his best interests.  These interests were gaining, maintaining, and expanding his political power.1  His understanding of human nature was a complete contradiction of what humanists believed and taught.  Machiavelli strongly promoted a secular society and felt morality was not necessary but in fact stood in the way of an effectively governed principality.2  Though in come cases Machiavelli's suggestions seem harsh and immoral one must remember that these views were derived out of concern Italy's unstable political condition.3

Though humanists of Machiavelli's time believed that an individual had much to offer to the well being of the state, Machiavelli was quick to mock human nature.  Humanists believed that "An individual only 'grows to maturity- both intellectually and morally- through participation' in the life of the state."4  Machiavelli generally distrusted citizens, stating that "...in time of adversity, when the state is in need of it's citizens there are few to be found."5  Machiavelli further goes on to question the loyalty of the citizens and advises the Prince that "...because men a wretched creatures who would not keep their word to you, you need keep your word to them."6  However, Machiavelli did not feel that a Prince should mistreat the citizens.  This suggestion once again to serve the Prince's best interests.

If a prince can not be both feared and loved, Machiavelli suggests, it would be better for him to be feared bey the citizens within his own principality.  He makes the generalization that men are, "...ungrateful, fickle, liars, and deceivers, they shun danger and are greedy for profit; while you treat them well they are yours."7  He characterizes men as being self centered and not willing to act in the best interest of the state,"[and when the prince] is in danger they turn against [him]."8  Machiavelli reinforces the prince's need to be feared by stating:

Men worry less about doing an injury to one who makes himself loved than to one who makes himself feared.  The  bond of love is one which men, wretched creatures they are, break when it is to their advantage to do so; but fear is strengthened by a dread of punishment which is always effective.9

In order to win honor, Machaivelli suggests that a prince must be readily willing to deceive the citizens.  One way is to "...show his esteem for talent actively encouraging the able and honouring those who excel in their professions...so that they can go peaceably about their business."10  By encouraging citizens to excel at their professions he would also be encouraging them to "...increase the prosperity of the their state."11  These measures, though carried out in deception, would bring the prince honor and trust amongst the citizens, especially those who were in the best positions to oppose him.

Machiavelli postulates that a prince must also deceive those who attempt to flatter him.

[In] choosing wise men for his government and allowing those the freedom to speak the truth to him, and then only concerning matters on which he asks their opinion, and nothing else.  But he should also question them toughly and listen to what they say; then he should make up his own mind.12

Since each person will only advice the prince in accord to his own interests, the prince must act on his own accord.  Machiavelli discourages action to taken otherwise "...since men will always do badly by [the prince] unless they are forced to be virtuous."13

Machiavelli actively promoted a secular form of politics.  He laid aside the Medieval conception "of the state as a necessary creation for humankinds spiritual, material, and social well-being."14  In such a state,"[a] ruler was justified in his exercise of political power only if it contributed to the common good of the people he served, [and] the ethical side of a princes activity...ought to [be] based on Christian moral principles...."15  Machiavelli believed a secular form of government to be a more realistic type.  His views were to the benefit of the prince, in helping him maintain power rather than to serve to the well being of the citizens.  Machiavelli promoted his belief by stating:

The fact is that a man who wants to act virtuously in every way necessarily comes to grief among those who are not virtuous.  Therefore, if a prince wants to maintain his rule he must learn not to be so virtuous, and to make use of this or not according to need.16

Machiavelli's was that, "God does not want to do everything Himself, and take away from us our free will and our share of glory which belongs us."17

Having studied and experienced Italy's political situation, Machiavelli derived these views.  He felt that his suggestions would provide a frame work for a future prince of Italy to bring about political stability.  Machiavelli writes:

Italy is waiting to see who can be the one to heal her wounds, put and end to the sacking of Lombardy, to extortion  in the Kingdom and in Tuscany, and cleanse those sores which have been festering so long.  See how Italy beseeches God to send someone to save her from those barbarous cruelties and outrages; see how eager and willing the country is to follow a banner, if someone will raise it.18

Although Italy had become the center of intellectual, artistic and cultural development, Machiavelli did not feel these qualities would help in securing Italy's political future.  His opinion was that Italy required a leader who could have complete control over Italy's citizens and institutions.  One way of maintaining control of was to institute a secular form of government.  This would allow the prince to govern without being morally bound.  Machiavelli's view of human nature was not in accord to that of humanists who felt that an individual could greatly contribute to the well being of the society.  Machiavelli, however felt that people generally tended to work for their own best interests and gave little obligation to the well being of the state.  Although Machiavelli doubted that this form of government could ever be established it did appear several years after he wrote The Prince.  Machiavelli has become to be regarded as "the founder of modern day, secular politics."19

652.          Madonna Essay

Madonna

Madonna was born on August 16, 1958, in the city of Bay City, located in

the state of Michigan.  Her real birth name is Madonna Louise Ciccone.  However,

most people know her as simply Madonna.  She is known as a controversial singer,

actress, dancer, songwriter, and has become one of America's biggest and well-

known stars in the late 1980s.

Madonna's assertive behavior, outspoken personality, and aggressive acts

of sexuality, along with her great efforts to push back the borders of the

acceptable, have brought her tremendous commercial success in America and abroad.

She has achieved the reputation as a forefront performer and entertainer.

Before Madonna began her superstar career, she attended school at the

University of Michigan.  Before she even attended college, she was already well

talented in the field of dance.  She was so good that she won a dance college

scholarship in high school.  This was the main reason she continued onto college.

In the beginning of her college education, she enjoyed going to school on a

daily basis.  In addition, she enjoyed learning and meeting new friends.

However, she began to get bored with her college education and her stay in

college was brief.  Within the next two years she dropped out of the University

of Michigan and decided to pursue a career elsewhere.  She knew that she wanted

to either continue in the field of dance or somewhere in the music industry.

She believed that she had greater opportunities in these careers in a large,

diversified metropolitan city like New York City.

Once in New York City, she joined a band and began writing musical notes,

lyrics, and songs.  This was the start of her music career.  However, she still

wanted to pursue her dance career.  She always had two career objectives in mind

and believed she would definitely achieve one or both of them.

She joined Alvin Alley Theater's third company group.  She danced with

them for a short time period, however, she felt she could do better by focusing

her main efforts and ideas in the popular music and film industry.

Her first debut album was called Borderline.  In addition to the album

she also produced a short musical video to accompany the album.  Her music and

video were featured on MTV, a music television channel found on cable television.

After heavy airplay of her music video on the MTV cable channel, her album

became very well known.  Her first music video for MTV reached the top of the

music video list.  The album reached the top tin on the charts in the year of

1984.

Madonna's subsequent videos grew increasingly  more elaborate and

sophisticated.  Most of the videos went to the top of the charts, which resulted

in her drawing more and more attention, which in turn carried over to her later

music.  Musical hits such as the songs "Like a Virgin," "Angel," "Dress You Up,"

"Pretender," "Over and Over," "Stay," "Shoo-bee-doo," and "Material Girl," from

her album titled Madonna, Like A Virgin, in 1984 stayed as the number one album

for about six weeks.

As her superstar status grew and became more and more assured, Madonna

became more willing to express her views on different controversial issues.  Her

music song, "Papa Don't Preach," which was released in the year 1986, dealt with

the controversial issue of teenage pregnancy.  Her song, "Like a Prayer," which

was released in the year 1989, treated the idea of spirituality in a

questionable way.  Additionally, her song, "Justify My Love," made in 1990 was

accompanied by a video deemed too sexually explicit to be shown on the MTV

channel.

Madonna has broken several popular music sales records.  Her song,

"Vogue," released in 1990, became one of the top selling singles ever produced.

The Immaculate Collection, including all previously released songs like

"Holiday," "Lucky Star," "Borderline," "Like A Virgin," "Material Girl," "Crazy

For You," "Into The Groove," "Live To Tell," "Papa Don't Preach," "Open Your

Heart," "La Isla Bonita," "Like A Prayer," "Express Yourself," "Cherish,"

"Vogue," "Justify My Love," and "Rescue Me," was produced in the following year

and was only the second greatest hits album to make the top ten list.

Furthermore, her album Erotica Madonna, including songs like "Erotica,"

"Fever," "Bye Bye Baby," "Deeper and Deeper," "Bad Girl," "Waiting," "Thief of

Hearts," "Words," "Rain," "Why's It So Hard," "In This Life," "Secret Garden,"

and "Where Life Begins," was timed for release with her controversial book

entitled Sex, was brought out late in 1992.  The book immediately was a best

seller and sold over one million copies.  Still, once it was released, it

immediately became and instant hit with her devoted fans.

Madonna also ventured into the area of movie films.  She felt her career

was so successful that she could try another area and be even more successful.

Highlights of Madonna's less successful film and movie career include starring

roles in Desperately Seeking Susan, which was filmed in 1986, Shanghai Surprise,

also filmed in 1986, Who's That Girl, produced in 1987, Dick Tracy, filmed in

1990.  The revealing documentary, Truth or Dare, which was filmed during her

1990 Blond Ambition world concert tour, but released in 1991 showed an explicit

side of Madonna that many had never seen.  Woody Allen's film, Shadows and Fog,

produced in 1992, and the film, A League of Their Own, produced in 1992, were

also part of her movie career.  Her latest movie, Evita, in which she stars, was

given some praise in the box office, and is probably considered her best work

yet.

Madonna is currently trying to gain more control of what is being

produced about her.  She has entered the management areas of film, record, and

publishing by creating her own company.  At present, she is still working on

numerous projects.  One of these projects included that of having a baby, which

she just recently completed.  One thing is for sure, whatever Madonna does, she

still makes front page headlines.  Furthermore, she is still producing videos,

songs, movies, and books that appeal to people world wide.  We will definitely

continue to see a lot of her, and her work, in the near future.

Works Cited

Kamins, Mark.  Madonna, Madonna.  New York, New York:  Sire Company, 1989.

Leonard, Patrick.  I'm Breathless.  New York:  Sire Company, 1993.

Pettibone, Shep.  Madonna, Erotica.  Los Angeles, California:  Maveick Company,

1993.

Rodgers, Nile.  Madonna, Like A Virgin.  New York, New York: Warner Brothers,

1990.

653.          Madonna

Madonna

Madonna was born on August 16, 1958, in the city of Bay City, located in the state of Michigan.  Her real birth name is Madonna Louise Ciccone.  However, most people know her as simply Madonna.  She is known as a controversial singer, actress, dancer, songwriter, and has become one of America's biggest and well-known stars in the late 1980s.

Madonna's assertive behavior, outspoken personality, and aggressive acts of sexuality, along with her great efforts to push back the borders of the acceptable, have brought her tremendous commercial success in America and abroad.  She has achieved the reputation as a forefront performer and entertainer.

Before Madonna began her superstar career, she attended school at the University of Michigan.  Before she even attended college, she was already well talented in the field of dance.  She was so good that she won a dance college scholarship in high school.  This was the main reason she continued onto college.  In the beginning of her college education, she enjoyed going to school on a daily basis.  In addition, she enjoyed learning and meeting new friends.

However, she began to get bored with her college education and her stay in college was brief.  Within the next two years she dropped out of the University of Michigan and decided to pursue a career elsewhere.  She knew that she wanted to either continue in the field of dance or somewhere in the music industry.  She believed that she had greater opportunities in these careers in a large, diversified metropolitan city like New York City.

Once in New York City, she joined a band and began writing musical notes, lyrics, and songs.  This was the start of her music career.  However, she still wanted to pursue her dance career.  She always had two career objectives in mind and believed she would definitely achieve one or both of them.

She joined Alvin Alley Theater's third company group.  She danced with them for a short time period, however, she felt she could do better by focusing her main efforts and ideas in the popular music and film industry.

Her first debut album was called Borderline.  In addition to the album she also produced a short musical video to accompany the album.  Her music and video were featured on MTV, a music television channel found on cable television.  After heavy airplay of her music video on the MTV cable channel, her album became very well known.  Her first music video for MTV reached the top of the music video list.  The album reached the top tin on the charts in the year of 1984.

Madonna's subsequent videos grew increasingly  more elaborate and sophisticated.  Most of the videos went to the top of the charts, which resulted in her drawing more and more attention, which in turn carried over to her later music.  Musical hits such as the songs "Like a Virgin," "Angel," "Dress You Up," "Pretender," "Over and Over," "Stay," "Shoo-bee-doo," and "Material Girl," from her album titled Madonna, Like A Virgin, in 1984 stayed as the number one album for about six weeks.

As her superstar status grew and became more and more assured, Madonna became more willing to express her views on different controversial issues.  Her music song, "Papa Don't Preach," which was released in the year 1986, dealt with the controversial issue of teenage pregnancy.  Her song, "Like a Prayer," which was released in the year 1989, treated the idea of spirituality in a questionable way.  Additionally, her song, "Justify My Love," made in 1990 was accompanied by a video deemed too sexually explicit to be shown on the MTV channel.

Madonna has broken several popular music sales records.  Her song, "Vogue," released in 1990, became one of the top selling singles ever produced.  The Immaculate Collection, including all previously released songs like "Holiday," "Lucky Star," "Borderline," "Like A Virgin," "Material Girl," "Crazy For You," "Into The Groove," "Live To Tell," "Papa Don't Preach," "Open Your Heart," "La Isla Bonita," "Like A Prayer," "Express Yourself," "Cherish," "Vogue," "Justify My Love," and "Rescue Me," was produced in the following year and was only the second greatest hits album to make the top ten list.

Furthermore, her album Erotica Madonna, including songs like "Erotica," "Fever," "Bye Bye Baby," "Deeper and Deeper," "Bad Girl," "Waiting," "Thief of Hearts," "Words," "Rain," "Why's It So Hard," "In This Life," "Secret Garden," and "Where Life Begins," was timed for release with her controversial book entitled Sex, was brought out late in 1992.  The book immediately was a best seller and sold over one million copies.  Still, once it was released, it immediately became and instant hit with her devoted fans.

Madonna also ventured into the area of movie films.  She felt her career was so successful that she could try another area and be even more successful.  Highlights of Madonna's less successful film and movie career include starring roles in Desperately Seeking Susan, which was filmed in 1986, Shanghai Surprise, also filmed in 1986, Who's That Girl, produced in 1987, Dick Tracy, filmed in 1990.  The revealing documentary, Truth or Dare, which was filmed during her 1990 Blond Ambition world concert tour, but released in 1991 showed an explicit side of Madonna that many had never seen.  Woody Allen's film, Shadows and Fog, produced in 1992, and the film, A League of Their Own, produced in 1992, were also part of her movie career.  Her latest movie, Evita, in which she stars, was given some praise in the box office, and is probably considered her best work yet.

Madonna is currently trying to gain more control of what is being produced about her.  She has entered the management areas of film, record, and publishing by creating her own company.  At present, she is still working on numerous projects.  One of these projects included that of having a baby, which she just recently completed.  One thing is for sure, whatever Madonna does, she still makes front page headlines.  Furthermore, she is still producing videos, songs, movies, and books that appeal to people world wide.  We will definitely continue to see a lot of her, and her work, in the near future.

Works Cited

Kamins, Mark.  Madonna, Madonna.  New York, New York:  Sire Company, 1989.

Leonard, Patrick.  I'm Breathless.  New York:  Sire Company, 1993.

Pettibone, Shep.  Madonna, Erotica.  Los Angeles, California:  Maveick Company, 1993.

Rodgers, Nile.  Madonna, Like A Virgin.  New York, New York: Warner Brothers, 1990.

654.          man in a bathtub

Bathtub

andrea vilar

Johnny  woke up, shivered, put on his robe over his sweats, got back got

back under the covers

and went to sleep. Two hours later, the alarm by the TV woke up a still

chilly Johnny Black.

Johnny turned on the shower and used the plug from the kitchen sink to fill

the bathtub up. He got in, turned

the water up till it was a little more than warm, then lay down under the

hot, pounding stream from

the shower head. The water always seemed to cool off by the time it hit the

tub -- maybe because of the

cool air in the room. Well, soon the room would warm up as it filled with

the hot water vapor pouring out

of the glass shower.

Johnny put his hands under his head and lay back all the way so the water

filled his ears. Now he heard

the shower hitting the water in the tub from underwater. Everything seemed a

lot quieter now. Johnny felt

tired and dizzy and glad to be motionless, resting, quiet. Everything felt

perfect. The water landing was still

a little warm, but the water filling the tub was the perfect temperature.

Johnny couldn't think how he could

be happier -- maybe if he didn't have to go to work in an hour, but right

now that seemed a long way off.

Johnny closed his eyes and rested peacefully, slipping in and out of a half

dream of floating through warm

liquid clouds.

Suddenly, Johnny felt very cold. Something was wrong. He was no longer

tired, but he couldn't tell why.

As he opened his eyes, he became aware of the fact that the temperature

around him was much cooler

than it had been a moment ago -- not cold, but not the perfect, dreamy bath

he had gotten used to. As

soon as he started to look around, his mind absorbed exactly what was wrong.

It had been hours since he

had closed his eyes. The bathtub had overflowed a long time ago and the

bathroom floor was flooded! The carpets were soggy, and the room had a

stuffy smell to it.

Somehow, Johnny felt in no hurry to do anything. It was clear that this had

gone on so long that a few

more minutes wouldn't hurt anything. John gazed up at the bathroom window, a

skylight he had built himself years ago.There it stood, miles above his

head. Johnny suspected it was about noon.  He could feel how pruned his

hands  were, with wrinkles all over.  He could hear scratching on the

outside of the glass. He must not have closed

the door to the bathroom all the way because now his cat was sitting on the

toilet, apparently trying to get

into the flooded tub. John had a vague thought about how cats weren't

supposed to like water as he

watched the blurry shape of the cat through the fogged up shower curtain,

then he closed his eyes again.

Now, it was definitely colder. Without even opening his eyes, Johnny could

see that it was now dark. No

light passed through his eyelids at all. He could feel the cool evening air

on his face, but for some reason

the bath water had gotten warmer.

Johnny had been hungry in his sleep, but now that feeling was beginning to

pass. He felt curious, as though

there was something he needed to think about, but he couldn't focus on what.

He felt exhausted, unable to

move or even open his eyes. He could hear the cat actually meowing from

somewhere outside the tub,

probably wanting to be fed, but there was nothing he could do for her.

He wondered how long the hot water would last. He wondered about the damage

to the carpeting in the

apartment. He wished he could see the sunshine through the skylight. He

thought back to his dream

about the clouds, and about how warm he had felt then, and how warm he felt

now, and how unhappy he

had been when he thought he had to go to work, and how relieved he was to

find out that he had been

able to avoid it, and how peaceful he felt right now. Then, slowly, without

opening his eyes, Johnny

suddenly became aware that he was floating through the clouds again.

655.          Man Ray 906

A short biography:

Man Ray was born on August 27, 1890, in Philadelphia, and moved to New York with his family seven years later.  From 1909 to 1912 he studied at the Francisco Social Center Academy of Art, New York while frequently visiting Alfred Stieglitz's gallery "291".  He attended classes at the Ferrer Center in 1912 for drawing and watercolors. Man Ray attempted to form an artist's commune in 1913 with the poet Alfred Kreymborg.  He had his first solo show at the Daniel Gallery in New York in 1915, and around this time, he took up photography, the medium for which he is best known.  By 1916, Ray's photography had come into full swing, and he founded the "society of Independent Artists" together with Marcel Duchamp and Walter Arensberg.  In 1917, Man Ray created his first aerographs and went on to photographic and film experiments with duchamp in 1920.  In 1921, Ray invented the Rayographs and had his first important exibition in the "Librairie Six", Paris.  In 1922, Ray began his work with nude photography, and takes photos for various magazines- fashion photos, and portraits.  In 1923, Ray's first film was shown, "Le retour a la raison".  In 1925, he took part in his first surrealist exhibition in the galerie Pierre, Paris, and was from then on associated with the surrealists.  Man Ray's art did well, and he had many shows in both France and America.  Ray began to get more and more involved with the surrealists and his works accompanied many poems and books.  In 1940, Man Ray fled to the US, shortly before Germany's occupation of France and he had exhibitions in Los Angeles, San Franscisco, Santa Barbara, Pasadena, and New York.  Man Ray returned to Paris in 1951, and in 1960, he had solo exhibitions in Photokina, Cologne.  He was awarded the gold metal for photography at the Biennale, in Venice.  In 1963, he published his autobiography, entitled "Self-Portrait" in London, and in 1966 he had his first large retrospective in the Los Angeles County Museum of Art.  Further retrospectives were shown all over Europe, and Man Ray had several international solo exhibitions.  He died November 18th, 1976 in Paris.

Man Ray, the artist:

Man Ray was a painter and photographer in the Dada, surrealist, and abstract art movements of the 1920s and 1930s.  In the beginning, he was a struggling young artist in New York. Man Ray did not take up photography until he reached Paris in the early 20's; and he did so, initially out of need rather than desire and also because no one, he felt could reproduce his paintings well enough, and he wanted to take the matter in his own hands. Unable to sell his paintings, he turned to fashion photography and portraiture- he became a portrait photographer to the intellectual avant-garde. He was very successful in both areas. By 1921, Man Ray's work was causing something of a sensation due to his use of natural light, sharp clear contrast and informal poses. "His work seemed extreme or avant-guarde at a time when Pictorialism was still the predominant style of photography in Europe." (Guggenheim website)

Man Ray's commercial success as a fashion and portrait photographer allowed him the freedom to pursue experimental ideas related to his interest in the Dada art movement and later Surrealism.  He disregarded standards of art of his time, and his curious nature led to his discovery of the "Rayograph," later to be called the photogram, and solarizations.  He deliberately used "fault" techniques for aesthetic purposes- "solarization (exposing the captured image to a flash of light during development to produce a strikingly dark contour), granulation (emphasizing the silver grains of the light-sensitive medium to give the picture an irregular pointed texture), negative printing (reversing the black and white elements of a picture to alienate and enhance the impact of the image), distortions (angling the enlarger to produce an oblique image of reality), relief processing (placing a transparency over a slightly displaced negative to create a three-dimensional effect on the ultimate print)" (Man Ray, pg. 9).  These techniques became instruments of creative design.

Man Ray not only experimented with technique, but also with the nude female body.  He is quoted to have said, "Speaking of nudes, I have always had a great fondness for this subject, both in my paintings and in my photos, and I must admit, not for purely artistic reasons".  The females feuled Man Ray's imagination and inspired him to works of photographic ingenius.  "The pictures exude not blatant sex but veiled, exciting eroticism" (Man Ray, pg. 9).  Many of Ray's subjects were celebrities, but even when the subject remained anonymous, the observer could sense that the woman in the photograph must have inspired Man Ray as a man, and as an artist.

Man Ray was "an artist of quick wit and a sincere disinterest in too much artistic self-absorbtion" (Guggenheim website).  He was an architect, painter, draughtsman, sculptor, writer, cabinet maker, goldsmith, filmmaker and of course a photographer.  Given the many fields in which he demonstrated his talent, the fact that he is today known primarily for his photography, is due to the great volume of his photographic work, and the number of his photographs published in books and periodicals.  To sum him up, Man Ray was a "master of the captured and created image, a man of sparkling wit and a lover of beautiful women" (Man Ray, pg. 8)

656.          Man with The Movie Camera

Man with The  Movie Camera: Shot Change constructs a New Perspective

Avant Garde Film Midterm

11\3\95

Question #4

Time was used by Vertov as an important factor in editing as well as in

the daily lives of humans.

With editing he utilized the essence of time to his advantage.  Vertov

wanted a certain rhythm of cuts to exist in the movie.  He desired a choppy

effect.  The cameras, themselves, were supposed to produce a rithym in movements,

too.   The point was he wanted to make as many cuts and rigid motions as

possible to make the film appear as hark jerky as possible to the audience.  One

reason was that he did not at all want the continuous motion of normative movies

to be present.  He desired the ebb and flow which daily life really is.  He

perceived that life was not one smooth ride without any bumps or collisions, but

rather it was kind of unpredictable filled with jarring incidents at every

corner.  The other reason for the director's use of cuts and camera movements

was he wanted to make sure people remembered that they were watching a movie and

that they were not in some fantasy land.  At one point in the middle of the film

there was a scene with Vertov's wife clipping and editing the movie in a studio.

Then there was a still-frame before the movie continues.   This was done so

viewers would again realize they were watching a movie, because too often people

take things for granted.

Other uses of time were implemented by Vertov to ensure the viewers

understood they were watching a movie.   There were a multitude of different

sequences involved in this film.

One intriguing occurrence was how Vertov showed the movie goers going in

and out of movie houses.  This was the first time in a movie that people were

actually seen going to and from these theaters.  Vertov made sure he got in all

the features of daily life.  He was not filming actors, what he was doing was

filming real lives  and real alive people playing the roles.

Another interesting sequence was when the camera man was shot by another

camera.  The camera man was on one carriage and he was being filmed from another

carriage.  There was a lot emphasis put on the work place.  Heavy labor was the

common bond between the workers in Russia.  There were scenes of laborers in

factories, outside, and in mines.  Vertov made sure he showed all aspects of

Russian life and he pointed out the balance which should exist.  In doing so

there was a large portion of leisure scenes.  Although the Russians were hard

workers, they did need time to relax.  The movie showed a lot of sporting events

and the fascinating concept in these activities there was a an equal proportion

of women and men.  Vertov showed the film with an equality of the sexes.  Both

the work scenes and leisure ones got longer throughout the movie.  The sequences

keep getting longer and this is the case with another sequence - the life cycle.

The order of the cycle is messed up with birth, marriage, and death

all represented.  As the progress of the day progressed the sequences generally

got longer.

Along with the idea of time being important, space represented a key

element in Man with the Movie Camera.  The director Vertov utilized the camera

to view both vertical and horizontal motion.  He also developed the idea of

close-ups and long shots to give the audience more of a perspective on life.  It

was used as another method for making the experience more realistic.

Space was also related to some visual themes in the film.  Vertov tried

to show all the little minute details of life on film.  Even going back to the

working motif, the camera zeroed in on the busy hands moving and working in the

factory.  The camera gave a view of mechanical objects which open and close and

turn - life moving gears and machinery.  There were some other shots of things

which start to move, are at rest, and come to a stop.   This movement of gears

and inanimate objects were closely related to human conduct.  Human lives in

Russia seemed to have a mechanical nature to them as everything was structured

and rough.  That is why Vertov demonstrated how work should not be the only

important activity in daily life.  Leisure has to be included along with the

work to ensure that balance.

Man with the Movie Camera had three effects which Dziga Vertov created.

Firstly, the film gave an excellent view of daily life in Russia.  It was a

documentary with a the camera man as the constant figure.  Secondly, he showed

the world new techniques on editing and especially camera work.  One huge

development was the creation of trick photography.  The third reason for this

movie surrounded a more global idea.  Vertov designed the movie to try to jump

start film as a means of communication.  He wanted film to become the universal

language binding all nations, ethnicities, and languages.  The camera would

become "a cinema-eye more perfect than the human eye for exploring the chaos of

visual phenomena filling the universe."

657.          Marilyn Monroe THE START

&lt;Tab/&gt;MARILYN MONROE

Marilyn Monroe's status as a sex symbol and popular icon has set a standard for American beauty that no one else can set.

&lt;Tab/&gt;Throughout the years of Monroe's childhood, she encountered many hardships unsuitable for a girl. She was born with the name of Norma Jean Mortensen and into a family not quiet secure, forcing her to have spent little time with her birth mother, Gladys Monroe Baker Mortensen, and most of her early years in foster homes.  There were many different times when she would contemplate whether or not she was a mistake, and doubted her own mothers love for her. This "painful, naked and embarrassing need for love," (#6) mislead her into marriage at age 16, to James Dougherty in 1942, and within four years had a divorce.

&lt;Tab/&gt;Later in the years of her adolescence she found true love, both in her marriage and her career. Monroe followed her new husband when he was sent out to sea duty for his job at the aircraft factory.  Her stunning looks caught the attention of a man who was photographing the army and Monroe soon became his number one priority. This opened the doors for her career and Monroe was soon taking modeling classes. Word got around and then next thing you know Marilyn Monroe's face was on the cover of magazines everywhere. This excited Monroe and she gave up her husband to move to Hollywood to pursue her dream of being famous, "i knew I belonged to the public and to the world" (#3) .

After moving to Hollywood Norma Jean Mortenson soon became Marilyn Monroe. In 1946 Monroe got a contract with 20th century fox and is from then on known as the blonde bombshell. Monroe's, "first films relegated her display of such talents to modeling jobs and acting classes" (#6).  America had never seen such an admired beauty. &lt;Tab/&gt;In the times of the 1950s no one could have ever guessed that simply a set of platinum locks and a glamorous wardrobe could have changed the way the United States portrayed sex. The word "sex" takes on a whole new meaning when intervened with Marilyn Monroe; she caught the eyes of the public and vigorously showed her opinion on the subject.  America still considered, "free sex a taboo, but Monroe's portrayals subsequently helped to change that by making it something beautiful and acceptable." (#4)  Without Monroes help to modernize the way America scrutinized sex, there may not be the fabulous playboy, or even the risqu&amp;eacute; movies that have been produced over the past decades.  With this image that she contained, "the power of Monroe was just as great as a political icon such as the president" (#4).

658.          Marilyn Monroe

Norma Jeane Mortenson was born on the first of June, 1926, in the charity ward of the Los Angeles General Hospital to Gladys Baker. Due to the identity of her father being undetermined, she was later baptized Norma Jeane Baker. Most of the childhood of Norma Jeane was spent in foster homes and orphanages since her mother had psychological problems that eventually led to her becoming committed to a mental institution.

In 1937, Norma Jeane was taken-in by family friend, Grace McKee Goddard. However, in 1942, Grace's husband was transferred to the East Coast and were financially forced to leave Norma Jeane behind. Norma Jeane was now faced with two options: return to the orphanage or get married.

On June 19, 1942, at the age of sixteen, Norma Jeane wed her 21-year-old neighbor and good friend, Jim Dougherty. Unfortunately, Jim joined the Merchant Marines and in 1944, was sent to the South Pacific. Now that Jim was away, Norma Jeane began feeling lonely so she started working on the assembly line at the Radio Plane Munitions factory in Burbank, California.

Norma Jeane had always dreamt of being in the spotlight and it appeared to her that this was about to come true. A photographer, David Conover, took pictures of her for Yank magazine and then began sending modeling jobs her way. Within two years, Norma Jeane was a reputable model and had her face on the covers of numerous popular magazines. She studied the work of legendary actresses and enrolled in drama classes to follow her dreams of stardom.

However, in 1946, Norma Jeane had to choose between her marriage to Jim (he wanted her to settle down and be a housewife) and pursuing her career. Norma Jeane divorced Jim Dougherty in June of 1946 and signed her first contract with Twentieth Century Fox on August 26, 1946. Soon after, Norma Jeane dyed her hair blonde and changed her name to Marilyn Monroe (Monroe being her grandmother's last name). Marilyn played small parts in numerous movies until 1950 when The Asphalt Jungle provided her with a small but influential role. Later the same year, Marilyn's performance as Claudia in All About Eve earned her further praise. It was her performance in 1953's Niagara that delivered her to stardom and led to numerous leads in popular films.

On January 14, 1954, Marilyn married baseball legend Joe DiMaggio at San Francisco's City Hall. However, this marriage was destined to fail as well. Joe was unable to handle the fact that his wife was ogled by men all over as she was becoming a sex symbol of that time. Nine months later, on October 27, 1954, Marilyn and Joe divorced but remained close friends.

Marilyn was now ready to shed her "shallow blonde" image and moved to New York City to study serious acting. It was here that she met and fell in love with playwright Arthur Miller. Meeting in secret for nearly a year until Miller's divorce was finalized, the two were married in private on June 29, 1956.

Two weeks following the marriage, Miller and Monroe flew to England were Marilyn began working on Marilyn Monroe Productions' first independent feature, The Prince and the Showgirl, costarring and directed by Laurence Olivier. Monroe was terrified of working under and with Olivier. She desired challenging acting roles yet felt deeply inadequate.

Unable to cope with her constant inner torment, Marilyn turned more and more to pills and alcohol for relief. Only two months into their marriage, Arthur became Marilyn's nursemaid and babysitter, carefully monitoring her pill intake and pushing her to the movie set. After trying to recover a few times, the marriage between Miller and Monroe settled into that of a troubled one. The two had many tentatively happy times but also seriously tragic ones as well. For example: Marilyn had two miscarriages and made a second suicide attempt.

With her husband reduced to the role of caretaker, their marriage began to unravel. Marilyn began an affair with Yves Montand who was her costar in Let's Make Love, and was married to actress Simone Signoret. Their affair was public knowledge. Between her pills and alcohol, kamikaze career moves, and marriage troubles, Monroe was locked in a downward spiral that inexorably moved her toward disaster.

At the end of her marriage, Marilyn starred in The Misfits, which Arthur wrote as a Valentine for Marilyn. It was the last film Marilyn would ever complete. It was a sensitive, artful film directed by John Huston, about an isolated, lonely woman who befriends three troubled cowboys while waiting in Reno for her divorce. The film starred Clark Gable (whom Norma Jeane had dreamt was her father since she was young), Montgomery Clift, and Eli Wallach. From the start, the production was doomed. Since the character Monroe played was so much like herself, Marilyn found the role to be difficult. When the film was finally wrapped after numerous set backs, Marilyn Monroe and Arthur Miller announced their plans for a divorce.

After The Misfits having opened to harsh reviews, Marilyn entered New York's Paine Whitney Psychiatric Clinic. Ex-husband Joe DiMaggio later transferred her to Columbia Presbyterian Medical Center. The friendship between the two had grown like a weed since the end of her marriage to Miller and would last until her death. She saw her psychiatrist sometimes every day of the week and showed signs of recovery when she purchased a small house. However, in 1961 Marilyn did not work at all, though to keep her contract with Fox, she was asked to play a role in Something's Got to Give. Marilyn, however, only showed up one out of every three days during the shoot which ultimately led to her being fired and sued for half a million dollars as well as the end of her career as a movie star.

In this last phase of her life, Marilyn had numerous affairs with well known men such as Frank Sinatra, the attorney general Robert F. Kennedy, and the president of that time, John F. Kennedy. She also became involved with members of the Mafia through Sinatra such as Sam Giancana.

Sadly, in the early morning of August 5, 1962, 36-year-old Marilyn Monroe died in "her sleep" at her Brentwood, California home. Joe DiMaggio helped to arrange her funeral and on August 8, 1962, Marilyn's body was laid to rest in the Corridor of Memories, #24, at Westwood memorial Park in Los Angeles, California.

659.          Marilyns life and her influence through the years

Influence of a Legend: Marilyn Monroe

Outline for Research Paper

Thesis:  Marilyn Monroe's status as a sex symbol and popular icon has greatly impacted many artists since her time, including Andy Warhol, Madonna, and even Britney Spears.

I. Introduction

a. Background

b. Thesis

II. Growth of Sex Symbol

a. Becoming Marilyn Monroe

b. Love Life

III. Movie Star

a. Achievements

1. Movies

2. Awards

IV. Impact

a. Andy Warhol

b. Madonna

c. Britney Spears

V. Conclusion

a. Her influence was positive and lasting

Over the years, there have been hundreds of celebrities and stars for people to envy, admire, and enjoy.  However, the most lasting image we have of stardom is the image of Marilyn Monroe.  "When you speak of the American way of life, everybody thinks of chewing gum, Coca-Cola and Marilyn Monroe" ("Quotes" n pag.). Marilyn was born Norma Jeane Mortenson on June 1st, 1926.   She rose above her poor background and troubled childhood to become one of the most revered stars in the history of showbiz.  Norma Jeane's beautiful face had always drawn attention to her, and she began to model when she was in her teens. On August 26, 1946, Norma Jeane got her first studio contract with Fox and changed her name to Marilyn Monroe.  With this beginning, a star was born.  Marilyn has appeared in magazines, movies, and even had a career as a singer.  On August 5, 1962, her body was found dead in her home.  It was an apparent overdose from sleeping pills.  Marilyn's beauty, sex appeal, and tragic death have made her a legend who grows over time. Marilyn Monroe's status as a sex symbol and popular icon has greatly impacted many artists since her time, including Andy Warhol, Madonna, and even Britney Spears.

Norma Jeane was a shy girl.  "She was addictive-so beautiful" (Mailer 192).  Norma Jeane had been abused countless times in her years at a foster home, yet she still retained an air of innocence. It was only after she realized her influence on men, that she understood the power it gave her.  One day, at the beach, she discovered that there was a different person inside of her who was struggling to get out.  She said, "I was full of a strange feeling, as if I were two people.  One of them was Norma Jeane from the orphanage who belonged to nobody.  The other was someone whose name I didn't know" (Monroe 25). However, it would be several years, and one marriage later, before Norma Jeane discovered who that other person was. Her first marriage was too her neighbor and ended in divorce in 1946, when he returned from military service.  That same year, she signed a contract with Fox studios and changed her name to Marilyn Monroe, taking the last name from her grandmother.  After changing her name, Norma Jeane truly became a different person.  No longer would she allow anyone, even her closest friends, to call her by her birth name.  She started to walk taller, smile more frequently, and gave off an air of assurance and confidence that people could truly feel. In May of 1949, in desperate need for some cash, Marilyn posed nude for a calendar.  However, she was not ashamed of the incident.  It "was accepted by the public for what it was, a ghost out of poverty rather than sin risen to haunt me" (Monroe 122).  Marilyn felt that as long as the public understood her motives, then there was nothing to worry about.  Even though these pictures were taken before Marilyn was famous, they mark the beginning of her career as a sex symbol.  She would continue her rise to the top, through her raw talent and her striking beauty. "To the dumb blonde stereotype, Marilyn added a sense of innocence, naturalism, and overt sexuality" ("Marilyn Monroe" n pag.).  During this rise to fame, Marilyn dated many men.  She was married to famous baseball player Joe DiMaggio and playwright Arthur Miller.  Both of these marriages ended in divorce.  Marilyn wanted more than love; she wanted to be famous.

Spyros Skouras was one of the many men who developed a crush on Marilyn and, lucky for her, he was also the president of 20th Century Fox.  After seeing her at a studio party, he inquired what movies she was in.  When he discovered that the answer was none, Spyros said, "Marilyn must be worked into any film that is in production and could use a sexy blonde, and there are very few Hollywood films that can't use a sexy blonde" (Monroe/Barris 129). Over the following years, Marilyn was in dozens of movies, including Niagara, Some Like It Hot and Gentlemen Prefer Blondes.  These were only a few of the thirty films she made during her career as an actress.  Her success wouldn't have been so great if she had not put in effort.   In 1953, she flew to Korea to sing to the military troops stationed over there.  This time period was the high point of her career.  Her nude photos were discovered and put on the front of Playboy Magazine.  That same year "Monroe had been voted the top star by American film distributors" ("Marilyn Monroe" n pag.).  This was only one of the many awards she got in her life and even since her death.  She also received "recognition for 1959's Some Like It Hot, winning a Golden Globe for Best Actress in a Comedy" (Haberman n pag.).  This was her first of two Golden Globes.  The next would be in 1961 for World Film Favorite. Moviegoers worldwide adored Marilyn.  She oozed her sexuality, both on and off the screen. These movies reveal a woman who is beautiful and talented, yet it is hard to see past her gorgeous features and find her talent.  This upset Marilyn, who once said, "I want to be an artist, not an erotic freak" (Monroe 135). She wanted to be more than sex appeal. Her glamour was never questioned, despite turbulence in her life involving love, drugs, and sex scandals. Marilyn's abilities helped her shine through and become a star, impacting the lives of others along the way and since then.

In the world of art, Marilyn is forever remembered as the subject of a Pop-Art image created by artist Andy Warhol.  Nobody knows what possessed him to choose her as his subject.  "Perhaps Warhol could identify with Marilyn's desperate attempt to rid herself of the dumb-blonde stereotype and to be taken seriously as an artist" (Decker n pag.).  At the time in his life when he made the brightly colored piece, Pop Art was being ridiculed as consumerism and a form of advertising.  Warhol, like the rest of America, knew of Marilyn's life and death.  He "admired Marilyn's glittering career and became fascinated and impressed with the amount of publicity her death generated" (Decker npag.).  This could be the second main reason he created the image, which was originally from a scene out of the movie Niagara.  Whatever his reason for creating this work of art, it has lasted as the most memorable image the world has of big screen sex goddess, Marilyn Monroe.   In the 1980's, a young woman known as Madonna began her climb to the top.  Marilyn is "the ultimate role model for young women and girls who admire her glamour and image" (Klein n pag.).  She gives them hope for the future.  Like Marilyn, Madonna was from a poor background and started with nothing.  It is obvious that "Madonna's idol is Marilyn Monroe-in her early days Madonna dyed her hair blonde and had clothing similar to that of Marilyn" (Klein n pag.).  She, like many young girls, viewed Marilyn as the height of sexiness.  Madonna wanted to bring something new to the world of music and showbusiness. She "came along and shocked us all.  But Marilyn did that back in the '50s" (Christenson n pag.).  Madonna's "Material Girl" song is reminiscent of "Diamonds are a Girl's Best Friend," because they both focus on girls who desire material things.  Madonna and Marilyn both showed that riches can rise from rags.  Finally, "Britney Spears, a modern day pop star, has in every way tried to copy Marilyn" (Klein n pag.).  She, too, dyes her hair blonde and wears glittery dresses.  In her video for the song "Lucky," Britney is done up like Madonna and appears sad with all her wealth.  It is easy for Britney to copy the famous sex symbol.  "She has the same gorgeous heart-shaped face as Marilyn Monroe" (Lee n pag.).   Over the past several years, Britney has risen against all odds to become the reigning pop queen of the new millennium.  However, she is just one of millions who were impacted by Marilyn Monroe.

In the early morning of August 5 1962, Marilyn died in her sleep at her Brentwood, California home. She was 36 years old.  "Now she is dead and how do we say goodbye?" (Monroe/Barris 335).  The American public did not know how to respond.  She had impacted them so deeply that they were in shock.  Marilyn had brought to our country a youthful beauty that was rarely, if ever found.  Her lifestyle only served to enhance her beauty and sexuality. "For the entire world she became a symbol of the eternal feminine" (Conway 7).  Women universally mourned the death of their idol.  Even today, she is gone but not forgotten.  In a Playboy Magazine poll, taken in 1999, Marilyn was "voted the sexiest woman of the century" ("Monroe Named" n pag.).  This shows the impact that she still has on the world.  How could we forget this wonderful, talented, gorgeous woman?  She has left her imprint for all of us to look back at in wonderment.  "As long as there are movie projectors, future generations will be able to see this brilliant artist who in private life progressed from sad girl to sad woman; a girl who was truly an American Phenomenon" (Conway 21).   And an American Phenomenon she will remain, until the end of time.

Bibliography

Christenson, David. "Marilyn Collector Turns Hobby Into Authorial Avocation".  Old

Times Newspaper. Vol. 12. April 2002. 12 April 2002.

http://www.theoldtimes.com/past/1099_2.html.

Conway, Michael.  The Films of Marilyn Monroe. July 1991.

Decker, Andrew. "Andy Warhol: The Marilyn Collection". 2001. 1 April 2002.

http://www.allmarilyn.com/warhol-mm-pop-art.htm

Douglas, Carole Nelson. Marilyn : Shades of Blonde.  Birch: PA.

August 1997.

Haberman, Barbara. "Biography". 2002.  6 April 2002.

http://www.marilynmonroe.com/bio.html

Klein, Daniella. "Marilyn Monroe and Her Legacy". 3 April 2002.

http://marilynmonroepages.com/essays.html.

Lee, Elyssa. "Steal This Look". InStyle.com. 3 May 2001. 6 April 2002.

http://www.instyle.com/instyle/read/ask/steal_lookprint/0,10291,199079,00.html

Mailer, Norman. Marilyn. New York: NY. March 1975.

Monroe, Marilyn.  "My Story". Briarcliff Manor: NY. 1976.

Monroe, Marilyn and Barris George. Marilyn : Her Life in Her Own Words. New York:  NY.  October 1995

"Monroe Named Century's Steamiest Siren".  BBC on the Web. 24 Nov. 1998. 10 April

2002. http://news.bbc.co.uk/hi/english/entertainment.stm

"Quotes About Marilyn". 5 April 2002. http://marilynmonroepages.com/quotes.html.

660.          Mark Twains Masterpiece The Adventures of Huckleberry Finn

Mark Twain and his masterpiece

The Adventures of Huckleberry Finn

________

A Research Paper

Presented to Mr. Neil

of Chula Vista High School

________

In Partial Fulfillment

of the Requirements for English 10 Honors/Gate

________

By:

Id #: 937228

May 16, 1996

Outline

I.    Samuel Clemens

A. Who he is

B. Where he was born

C. Family

II.   How Samuel came to be Mark Twain

A. His working life

B. First writings

III.  The Adventures of Huck Finn

A. Story Plot

1. The outside of the book

2. The inside of the book

B. Critics of the book.

1.Characterization

IV.  Samuel Clemens Downfall

A. Family Life

1.Deaths

B. Money Problems

1. Bankruptcy

2. Move to Europe

C. His comeback

D. His death

V.   Effects of Twain's stories

A. How he affected his era

B. How the era affected his writings

VI.   Conclusion

A. My feelings

B. End notes

C. Bibliography

Samuel Clemens was an American writer and humorist who's best work is shown

by broad social satire, realism of place and language, and memorable characters.

Clemens was born November 30, 1835, in Florida, Missouri. His family moved to

Hannibal, Mississippi when he was four. There he received a public school education.

Samuel Clemens was a difficult child, given to mischief and mis adventure. He barely

escaped drowning on nine separate occasions. His fathers death was a calamity in which

Samuel was not prepared for. Albert Bigelow Paine, Clemens official biographer, offers

the following glimpse of the young Clemens

"The boy Sam was fairly broken down. Remorse, which always

dealt with him unsparingly, laid a heavy hand on him now. Wildness,

disobedience, indifference to his fathers wishes, all were remembered; a

hundred things, in themselves trifling, became ghastly and heart-wringing

in the knowledge that could never be undone. Seeing his grief, his mother

took him by the hand and led him into where his father lay."

"It's all right, Sammy," she said. "What's done is done, and it

does not matter to him anymore; but here by the side of him now I want

you to promise to me-"

He turned, his eyes streaming with tears, and flung himself into

her arms.

"I will promise anything ," he sobbed, "if you won't make me go

to school! Anything!

His mother held him for a moment, thinking, then she said:

"No, Sammy; you need not go to school anymore. Only promise

to be a better boy. Promise not to break my heart."

After his fathers death, Clemens got a hold of two Hannibal printers, and in 1851

began setting type and contributing articles to his brothers newspaper, The Hannibal

Journal. After leaving  his first job he took his printers and became a journeyman printer

in Keokuk, Iowa, New York City, Philadelphia, and other cities, and then a steamboat

pilot until the break out of the American Civil War which brought end to traveling on the

river. After a failed attempt at silver mining in 1862 he became a reporter on the

Territorial Enterprise in Virginia City, Nevada, and later in 1863 began signing his articles

with the pseudonym "Mark Twain," a Mississippi River phrase meaning two fathoms

deep. After the move to San Francisco in 1864, Twain met the writers Artmeus Ward and

Bret Harte, who encouraged him on his work. In 1865 Twain rewrote a tail he heard in

the California gold fields and within months the author and the story, "The Celebrated

Jumping Frog of Calaveras County," had become a national sensation.

In later years Twain visited Europe and the Holy Lands which he wrote about in

the book, "The Innocents Abroad," which was published in 1869. This book discussed

those aspects of the Old World culture which impress American tourists. 1870 is the year

in which he married his loving wife Olivia Langdon. After a short time in Buffalo the

newlywed couple moved to Hartford, Connecticut. In the years between 1870 and 1880

much of Twains best work was written. The book Roughing It recalls his early

experiences as a minor and a journalist; The Adventures of  Tom Sawyer, a book

celebrating boyhood in a town on the Mississippi River, was published in 1867; A Tramp

Abroad, published in 1880, describes a walking trip through the Black Forest of Germany

and the Swiss Alps. Along with four other books, Twain wrote his adventurous

masterpiece, the sequel to Tom Sawyer, The Adventures of Huckleberry Finn, which was

published in 1884. This was the first of his books to deal with childhood and the

Mississippi River Valley in which himself had grown-up. It took Twain seven years to

write the book and it initially met mixed receptions, rejected in some places as "rough,

coarse and inelegant. . . more suited to the slums then to intelligent, respectable

people."But in his lifetime, Huckleberry Finn became the most remunerative of all his

works, and has since been called an American classic. "This book was praised by T.S.

Eliot, celebrated by Ernest Hemingway, and recommended by thousands of high-school

reading teachers." Twain's best novel now holds the burden of much criticism that the

work itself threatens to become lost amid the almost endless volume devoted to its

explication.

There is no question that Huckleberry Finn has become "one of the central

documents of American culture.""A book that can delight both fourteen-year-olds and

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graduate professors of literature is rare indeed, and we should give it careful attention."

We should not take an exaggerated reverence to this book. Twain himself, who devoted

so much of his time and energy into his book, would find it ironic if we did so.

The setting of this novel is in the Mississippi River Valley, "forty to fifty years

ago" according to the original tittle page of 1885. This story was told by Huck. "Huck has

been living with the widow Douglas and her sister, Miss Watson, an experience that has

left him feeling "all cramped up." Accustomed to being "free and easy," he cannot abide

life within this well-regulated household, where he is expected to sit up straight, do his

homework, and pray to a God he cannot see." Huck is always looking for adventure. "All

I wanted was to go somewheres [SIC]," he tells us, "all I wanted was a change. I warn't

[SIC]  particular."

Huck believes that his abusive father is dead so it is a surprise to him that his father

is waiting for him when he came back to the house. His father wants money which had

come to Huck at the end of Tom Sawyer. He claims his son and brings him to a remote

cabin in the woods. He suffers from delirium tremens and in one of there many physical

fights, Hucks father comes at him with a knife. Realizing that he cannot live with his father

anymore he fakes his death and takes a canoe to Jackson Island." There he meets a

runaway slave named Jim and they begin a series of adventures on the Mississippi River.

The whole story is based around the part where

Jim is captured and then Huck meets Tom Sawyer. They free Jim and then there is no real

ending to the story. It ends with a quote that Huck is saying, "To light out for the

Territory. . . because Aunt Sally is going to adopt me and sivilize me and I can't stand it. I

been there before."

Many readers are disappointed that the novel ended this way. They wanted Jim and

Huck to become some kind of heroes and they live happily ever after but, it didn't,  and

that is why it has raised such bad criticism. Bernard DeVoto complained that "in the whole

reach of the English novel there is no more abrupt or chilling descent." More recent

critics have dismissed the conclusion as a "travesty" and "a failure of nerve." As Walter

Blair has explained,

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"The chief crimes are against characterization: Jim, whom

the reader and Huck have come to love and admire, becomes a

victim of meaningless torture, a cartoon. Huck, who has fought

against codes of civilization, follows one of the silliest of them."

On the other hand many well known critics, most notably T.S. Eliot, have tried to

defend the conclusion saying that it has "a certain aptness" that lets Twain restate his

primary goal in another key and beat his way back from inicipent tragedy to the comic

resolution called for in the original conception of the story. But this approach emphasizes

the structure of the novel, and structure is a big part, but it is also a mechanical part of the

story.

"Robert Miller believes that the conclusion can be defended in the very area where

it seems the most vulnerable, characterization. If the final chapters of the novel seem to

divest both Huck and Jim of their dignity, it is because Twain never intended them to be

perceived as "a community of saints." The widespread dissatisfaction with the novel's

resolution may well spring from the fact that modern readers may take Huck and Jim too

seriously. If we take a look at them throughout the novel we see that they are "attractive

but imperfect." Some people don't recognize the limitations of these characters so they

might seem them as super heroes. But they aren't, they are just regular people.

Huck is a skeptic, as shown by his disregard for Miss Watson's vision of

Providence and his unwillingness to accept Tom Sawyer's lies for instance, Tom over

exaggerates a normal Sunday picnic into being a crowd of Spaniards, Arabs, and

elephants. Huck believes in things he can see and touch which makes him shrewder then

most of the adults in the novel. He is also very superstitious as in the part of the novel

when he gets upset after he accidentally kills a spider. He thinks that it will bring him bad

luck. Or when he sees nothing funny in Jim's beliefs of witches. Huck is also very honest

but, he does lie a lot. These lies can't really be called lies though because of there

transparency.  For example when he dresses up like a girl to try and get some local news.

When he is confronted by Buck he can't even remember his assumed name.

Jim is a very loving caring person, an example of this would be when Jim thought

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that Huck had drowned and became very mournful. Then Huck found his way back to the

raft and found Jim asleep, so the next morning Huck said that he had never left the raft.

After Jim found out about this little practical joke he said,

"When I got all wore out wid work, en wid de callin' for

you, en went to sleep, my heart wuz mos' broke bekase you wuz

los', en I didn' k'yer no mo' what become er me en de raf'. En

when I wake up en fine you back agin', all safe en soun', de tears

come en I could a got down on my knees en kiss' yo' foot I's so

thankful. En all you wuz thinkin 'bout wuz how you could make a

fool uv ole Jim wis a lie. Dat truck dah is trash; en trash is what

people is dat put dirt on de head er dey fren's en makes 'em

ashamed."[SIC]

At this point Huck realizes that Jim is a person with feelings also and he can be hurt just

like anybody else. After this moment Huck never tells a lie or plays a practical joke on Jim

throughout the rest of the story.

Twain's work during the 1890s and the 1900s is marked by growing pessimism

from the result of his business reverses and later the deaths of his wife and his two

daughters. Twain also invested in a automatic printing machine but, this failed and he lost

money. He then had to file for bankruptcy. Do to the fact of the money problems and the

death of his family Twain moved to Europe. There he kept writing but, his writings

weren't funny. He talked about the way the world stinks and how everybody is corrupt.

No novels Twain wrote in this period even came close to Huck Finn but, some of the best

works are Pudd'nhead Wilson. Another of his writings is the Personal Recollections of

Joan Arc, a sentimental biography. Through these novels he was able to make a comeback

and able to live wealthy again until his death in New York City on April 21, 1910.

Twain raised his voice in protest at a time when American life was dominated by

the materialism and corruption of the so called Gilded-Age following the civil war. His

writings were inspired by the unconventional west. One of America's most important

writers, Twain is renowned as a humorist, but his literary reputation also rests on his

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realistic use of dialects and the vernacular, especially of the Mississippi River Valley,

realistic characters and scenes makes his stories that much better.

Through Twain's novel he was able to express what he felt. The reason that he

wrote some of the novels so well is because that he lived his writing. Twain lived in the

deep south so therefore he used settings that contained the deep south. Many of the things

in which Huck did in the story relates to what Twain did or wanted to do as a young child.

Twain must have like his childhood somewhat for him to reflect back on it through his

stories and to also use humor in it. He thought his life as a child was funny.

I believed that Twain was a very good writer. All of his adventurous books are

loved by millions of young children and adults. Twain was a great writer when he was

living and even a better one when he died. I wonder if there is anything really deep about

the books Twain wrote or if they were just written for the pure reason for entertainment? I

believe that this book represents an on going struggle that will never be resolved.

According to Roger Salomon,

"Both Huck and Jim are related to the demigods of the

river, to the barbarous primitivism of the Negro, and beyond that

to the archetypal primitives of the Golden Age, instinctively good,

uncorrupted by reason, living close to nature and more influenced

by its portents then by the conventions of civilization."

I believe that Salomon is looking for something that is just not there. I don't think that

Twain is trying to make some real deep point about Huck and Jim. Salomon perceives

these people as cave men. He is trying to tell us that this story is about the beginning of

life. He is looking too hard. Mark Twain has been a famous writer for a long time and he

will always be looked back on as one of the best American writers not just of his time but,

through out history. If you read one of his books I wouldn't recommend reading it for

some deep meaning because I do bot believe that you will find one. Just read for the fun of

it.

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661.          Marlene Dietrichs significance as a movie star

"Marlene Dietrich"... the name alone makes a statement.  However, every legend has a beginning.  She was born Marie Magdalene Dietrich, but by the end of WW 1 Dietrich´s first name was shortened to "Marlene".   Marlene Dietrich always was much more than simply a "star", more than only an actress or singer - since the beginnings of her amazing career she was an icon, a trendsetter who created style and fashion, and - most important - she lives on as a cultural symbol. A symbol of decadence during the 1930, a symbol of glamour and beauty, a symbol of anti-fascism, a symbol of survival and - a symbol of sexual freedom.

Dietrich was both gay and straight, masculine and feminine. She was nicknamed "the best dressed man in Hollywood", and her extraordinary style appealed to men and women of all sexuality's. She crossed the borders of the genders like no other star before her. In 1928, when she already was the "toast of Berlin", she had her greatest stage success yet with a duet with Margo Lion in the revue Es liegt in der Luft (It´s in the Air). Two years later, in her US debut film Morocco, she introduced herself to American audiences as a completely independent woman from nowhere who dresses like a man, kisses a woman and makes Gary Cooper her "girlfriend". This is the image of Dietrich everybody knows. This androgyny remained one of the most important parts of her everlasting myth.

Coming directly from Berlin, where homosexuality and bisexuality were completely accepted and respected in the 1920s, Marlene brought a charming freshness to Hollywood. Morocco was not her only gender-crossing appearance during her sensational Hollywood career. Her androgyny was accentuated in many of her films: She is seen in a very mannish leather suit in Dishonored, and in Shanghai Express she dons her male co-star´s military cap which makes her seem even more powerful than usual. An other highlight in this series of gender-bending appearances is the so-called "lesbian night-club scene" from Blonde Venus where Marlene - again dressed like a man, wearing white tails and a top hat - flirts with the chorus girl before she performs the song "I Couldn't Be Annoyed". An other remarkable film scene which shows Dietrich in pants is the final scene from The Scarlet Empress, where she rides to her victory in a white cossack uniform, becoming Catherine the Great, Russia's most powerful woman.

Aside from Marlene's legendary movie roles, it is important to mention her as a significant aspect that is captured in the Deitrich aura due to her position in the 1930's fight against Nazi Germany.  Being that she was born in Germany, Marlene witnessed Hitler's uprising and was fortunate enough to leave to begin her legacy in Hollywood and later become an American citizen in 1939. After this event, she was constantly labeled a "traitor" by the German press.  Joseph Goebbels, the Nazi Propaganda Chief, shockingly begged for her to return to her home country, but she continually rejected the offer.  Shortly following, all Dietrich memorabilia and films were banned in Germany under Nazi direction. Due to Marlene's German descent however, she always felt guilty for what Hitler did to the world. Therefore, she decided to help to fight against Hitler. Although such involvement's happened in the latter section of the 1930's, her actions should still be recognized.  For example, her work with the USO brought her to North Africa, Italy and to many other scenes of this cruel war (WW II). Always feeling comfortable in a suit, she hopped on the bandwagon to join the war effort by entertaining the American and Allied troops, stayed with them at the front and risked her life. She also helped in the hospitals and made radio broadcasts. At that time she picked up her famous song "Lili Marleen" that would accompany her for the rest of her life. For her bravery during her work with the USO, the U.S., the French and the Israeli governments awarded her medals.

In closing, Marlene Dietrich truly embodied the title of an icon.  Her era was a time like no other; just ten years prior to her Hollywood debuts women gained the right to vote.  Yet, Dietrich like no other woman in show business demanded the respect that a woman should have, challenged conventional moralities with her gender-bending roles, and still somehow gained affection from all the American public.  More so, very few women could compare to Deitrich for this alone, yet the list goes on.  She spoke denounced the actions of her homeland, Hitler being her main target.  With this in mind, Marlene Deitrich should not only be remembered for the imprint she left on showbiz, but for impact she made in culture as a great American icon.

662.          Martain Scorseses Film Career

Martin Scorsese has been called  a "directing god by movie critic, Roger Ebert. He has been called the "most influential and best director of their time" by fellow director, George Lucas. Director Martin Scorsese has been an influential director for the past twenty years.  Scorsese is in the 60's class of directors that include, Francis Coppola, George Lucas, Brian De Palma, and Steven Spielberg. Scorsese is associated with this class of artists because his movies have changed the film industry of America.

The impact of Scorsese can be shown in a number of ways. His style of directing, the films that he has made, and also the relationships that he has made in the film industry. The first is his directorial skills, which are second to none. Scorsese doesn't just set up the scene, he paints images and feelings into the viewers mind by using camera shots that have become his trademark. Another reason for his great success is the films that he directs and the actors he uses. He also has picked certain actors (notable Robert DeNiro) to portray his characters. In the ruthless business of Hollywood, Scorsese has built loyalties to actor, screen writes and editors who he uses in many of his films.

Martin Scorsese was born on November 17, 1942 in the East Side of Queens, New York, in an area called "Little Italy." Little Italy consisted of about ten blocks, but as Scorsese talks about it, each block had there own "boundaries" where everyone stayed. He grew up on Elizabeth Street, and he spent much of his time in the movie theater. As he was growing up, he had strong Catholic roots in his Italian heritage that would later influence such films as, Mean Streets and Goodfellas. Growing up, Scorsese was not thinking of becoming a director, but rather a priest, and even went to college to become a priest. He ended up dropping out his first semester, and then attending New York University film school. At NYU, he made several student films that received honors from the school. One short film called, Who's That Knocking At My Door starred a young Harvey Keitel. Scorsese financed and made this film entirely by himself. He went on to making documentaries, and then was hired by producer Roger Corman and directed a low budget film, Boxcar Bertha. This opened the door to Hollywood productions. In 1973, he made his first New York set film, Mean Streets which was a powerful portrayal of life in "Little Italy." This film showed the talent he possessed as well as started a relationship with actor Robert DeNiro who would star in eight more Scorsese films. Scorsese's next film was, Alice Doesn't Live Here Anymore in 1975 which was a big popular success. The following year, he made one of his best films, Taxi Driver, a disturbing story of a loner cab driver who goes on a mission to clean up the streets. The film received worldwide recognition, and Scorsese moved into a place as an elite director.

Scorsese moved on and made the musical New York, New York that was a tribute to the 40's and 50's musicals that Scorsese grew up enjoying. Scorsese's next work was a documentary, The Last Waltz in 1978 that is considered to be the best concert movie ever made. After changing pace, Scorsese returned to his roots, and directed one of his greatest works, Raging Bull. This is a story of boxier Jake LaMotta portrayed by Robert DeNiro. Scorsese received a nomination for best director, and DeNiro playing the part of a lifetime, won the Oscar for best actor. DeNiro gained sixty pounds to fit LaMotta in his older days. The film today still holds as one of the best ever, and ranks in the top twenty-five films on the American Film Institution's list of the one hundred best movies of all time. Scorsese then moved on to comedies with The King Of Comedy, and After Hours. These films didn't do as well nationally as his other successful movies.

Scorsese moved back into drama films with, The Color of Money, and returned into the limelight as a Hollywood director. In 1988, Martin Scorsese released his most controversial film in, The Last Temptation of Christ. In the film, it depicted Jesus as an ordinary human with conflicting desires. Churches called the film sacrilegious and protested the film. In fact the film is still controversial. Many Blockbuster Video stores do not carry the film because customers complain about it its contents.

Martin Scorsese went back to making gangster films in 1990 with the film, Goodfellas. This film depicts the violence in the Mafia told by ex mobster, Henry Hill, who turned informant. "Goodfellas is the greatest portrayal of the Mafia ever recorded on film," said FBI agent Tony Goldberg about the film. The film received worldwide attention, and recovered Oscar awards for best actor, Robert DeNiro, and best screenplay. In the 90's, Martin Scorsese would remake Cape Fear and also Casino. Both films once again starred Scorsese's favorite actor, Robert DeNiro, and both had commercial success. Scorsese also directed, Age Of Innocents and Kundun, which was noted, for their beautiful scenery.

Aside from the films that Martin Scorsese has made, what makes Scorsese an elite director is how he shoots the movie. In his works, Scorsese is not just making movies, he is creating a scenario. He is painting a picture. He is bringing the viewer right in the middle of a new world. Certainly, credit must be given to the list of brilliant editors and cinematographers he has collaborated with over the years. But, the direction of his films is astounding. His ability to use the camera to convey certain feelings and emotions with subtlety and intensity is perfect. His use of creative imagery gives his film a realistic and personal feeling, which is unsurpassed. It is as though every scene is shot at just the right angle, from just the right distance, at the perfect speed, and that the audience gets the most realistic feeling for the atmosphere of every particular scene. One specific way that Scorsese builds emotions is though his classical slow shots. In films such as, Mean Street, Goodfellas, and Casino, he uses this shot, and he moves into the scene that gives a sense of calmness. Even though the images are disturbing, the way in which they are shown does not make them as disturbing. The other characteristic of Scorsese's films which stands out is his use of the voice-over narrative. Although many would argue that this often becomes annoying and elementary, one can not overlook the genius necessary to carry such films as, GoodFellas and Casino using this format. Scorsese's use of the voice-over enables him to add an additional and crucial element to his characters. It lets the audience enter the characters mind and discover what he or she is really thinking, rather than just seeing what he sees and hearing what he says. Another way in which Scorsese distinguishes himself is by the reoccurring themes in his films. In most of the films there is some bad that is going on, such as killing or drug deals. In the films Scorsese builds up incredible tension, and often ends his films on a sad note. Such as in, Meanstreets, the character Robert DeNiro plays gets shot and dies. In Casino, everyone gets killed and his wife leaves him. In Goodfellas, Henry Hill has to go into the witness protection program and abandon his old life.

Martin Scorsese has always done something different to distinguish himself from other directors. In the movie, Raging Bull, another boxing film, Rocky was coming out around the same period of time, so to distinguish it from that movie, Scorsese directed the film in black and white. Another way, in which Scorsese sets himself apart, is through his use of music. The music that he uses in the scene depicts the mood as well as the setting of the film. In Goodfellas and Casino they he plays 60's Italian music to make the scenes actually seam more like it is really that time.

Scrosese has become one of the greatest and noted directors in film history. Recently, he received a "Life Time" achievement award by the American Film Institution (AFI) for his influence on film.

663.          Martin Johnson Heade 906

In 1883, the romantic artist, Martin Johnson Heade visited Florida.  Impressed with St. Augustine, Heade settled there and worked in a studio in the Ponce De Leon Hotel made available to the artist by Henry Flagler, railroad magnate and developer of Florida's east coast.   The combination of St. Augustine's Old World atmosphere, tropical vegetation, and serene marshes created the ideal working environment for Heade.  Heade's contribution to American nineteenth-century painting is embodied by his study of light, particularly as reflected in painting of sun-dappled fields and marshes (Casson 213).  He is admired for his originality and for the subtle atmosphere effects, glorious light and sumptuous warmth of his canvases.  The St. Johns River marked with a colorful sky, steady movement, and a quiet mood, is a good example of Heade's mature painting style.

The first visual technique that the artist used in this painting was Heade's brilliant use of light. The dark greens of the trees and the blackness of the bushes contrast strongly against the atmospheric scattering of sparkling light rays dissolve into cool shades of the evening. The bright tint of the sparkling sun seems to fade slowly as late afternoon wends its way to dusk and dusk to nightfall. In chapter three of my textbook, I read the most interesting theory of light that helped me to better understand the visual elements of art used in this particular painting and every other piece of art that I encounter:

"Light is fascinating stuff. It radiates. It illuminates. It dazzles. It glows. It beckons like a beacon. We speak of the 'light or reason.' We speak of genius as 'brilliance.' Visible light undulates wavelike throughout the universe. It bounces off objects and excites cells in our eyes, enabling us to see. Light is at the very core of the visual arts. Without light, there is no art."

(Osbourne 50)

With Heade's magnificent use of light, he is able to express the true beauty and mysterious innocence of nature.  The yellow and orange colors in this painting represent the warmth of the departing sun and the violets and blues represent the coolness of the arriving evening. Martin Johnson Heade's fascination with mastering the use of light is said to have been greatly influenced by the intensely colored, highly realistic canvases of Frederic E. Church. Heade's love of landscapes was accumulated while studying the seascape works of John F. Kensilt (Bevetzin 585).

While viewing this painting, I saw it from several different perspectives.  When looking at this oil on canvas masterpiece, many emotions boiled in my body and it transformed my whole attitude about the world of art.  The still waters of the marsh portray memories of summer days and summer nights when I would go fishing on the river as a child.  The dinginess of the mosses that droop from branches represents the age and tranquility of an age old surrounding that is still apparent in this modern world of industry and technology. The reflective surface of the water and the subtle breezes that flow throughout the swamp grasses and tree-tops represent the peace and balance of nature that can turn into chaos with the slightest movement. The sun setting in the distant sky tells of a busy and bountiful day, in an otherwise restless area of the ever changing ecology of the swamp lands. The hazy atmosphere produced hopelessly romantic visions of lying on the sandy banks of the St. Johns River talking with a loved one.

The artist uses the principals of movement to create the illusion of a steady air current that flows through the marshland greenery, the changing of the hours, and animal life in the wild.  In Bronowski's book The Visible Eye, he states that "Organic shapes, diagonal lines, and curved lines are often used to imply a sense of physical action and directionality" (Bronowski 135).  Using curved lines, Heade manipulates the eye into believing that there are slight winds blowing through the tall trees and the firmly planted shrubbery on the river banks. Long, slender clouds stretch their way across the brightly lit sky and seem to gradually vanish with the setting sun as the violet sky seeps its way into view.  Heade also uses organic shapes and shadows to represent a powerful sense of movement.  By the use of these lines, several birds near the bottom right portion of this painting give the impression that they are in flight.  Dark shadows below the birds implies even more so that they are soaring above the water top, perhaps beginning the journey back to their dry, elevated homes and families that patiently await their arrival.

In conclusion, Martin Johnson Heade was an intensely romantic nineteenth-century American artist. Through his paintings, he is able to capture the beauty and respect that nature so rightly deserves. While he spent his time in Old St. Augustine, Florida, Heade composed a plethora of still-life and landscape works of art, but above all the fascinating work he produced, the St. Johns River had the greatest effect on me.  The mellow environment the beautifully multi-colored sky and the subtle movements of the swamp lands mesmerized my eyes and relaxed my entire being.  The subtle movements of the swamp lands and the tranquility of the environment soothed my soul and refreshed my visual sensations.  Martin Johnson Heade is one of the most original, creative, and passionate painters of the nineteenth-century, and will forever be respected for his work.

664.          Martin Scorsese

Scorsese

Our society that we live in can be classified as non-violent. From a distance, it is argued that our culture is built on war and hate but in reality, the average person has probably never physically hit someone. Children sometime enjoy a good wrestle here and there but the average adult tends to avoid getting into a physical fight with another person. So why is it that so many of us flock to the movies to see someone get their head blown to bits over and over again, usually more men than women.

One reason can be tied to our primordial instincts. We, as humans, still carry with

us that animal side, that joy of the hunt, that rush of the kill. And also we, as humans, understand that killing is bad and that going to work everyday is good. The only way one

can relive the feelings that their ancestors once experienced is to watch it happen on the

silver screen. It's the same reason why people always slow down on the highway when

ever there is an accident. They really don't want to see a dead body but curiosity takes

over and they end up slowing down to satisfy their urge.

Another reason people demand violence in movies is so that they can experience a feeling that they themselves would never act on in real life. Watching movies can become a magical experience that takes the viewer off into a world outside of their own. Movies help people cope with real life by taking them away from their problem. At some point in ones life, they got so mad at someone that they just wanted to destroy them. Of course they came to their senses and held their rage back. But in a movie, they can live out that experience and get even with all those that have hurt them. In it's own way, movies can be therapeutic, a place to relieve all tension. That is why violence continues to grown in movies, to keep the public in order.

Several times though, there have been discussions over too much violence in the media and in games. This argument has only come about in a way of protecting our children; they simply cannot tell the difference between make-believe and reality. This is why there are ratings for movies, so adults can feel safe that their kids aren't watching the same violent material that they seek after.

However, this is a down side to violent movies. Sometimes, a movie will create a copycat; a person who acts out what they see in the theatre. This was the case in the attempted assassination of Ronald Ragen, where the criminal got the idea after from Scorsese's Taxi Driver. In one seen, Travis Bickle straps on a total of three guns and a knife, with the intention to assassinate a Senator. It is here that the famous line, "You talking to me...are you talking to me?" derives from. However, it is argued that movies don't kill people, people kill people.

Violence for entertainment is not something new; it has been around since the Shakespearean time. During a performance, if there was not a good fight scene with real blood, the audience would feel cheated and become rowdy, even more then they already were. One could even go as far back as ancient Greek and the Coliseums. It is not that violence is trying to be avoided; it is how it is portrayed. In some films, is appears as if the director is glorifying violence by showing all the details of what happens to the body when it is injured.

One early example of glorified violence can be found in the movie Bonny and Clyde, 1967, by director Arthur Penn. At the end of the movie, Bonny and Clyde have been set up and lead into an ambush. Before the two criminals even had a chance to surrender, the police open a flood of bullets. During this seen the audience witnesses what happens to the body as both actor shake violently in slow motion and real time. At one point, a piece of Bonny's head flies off, with blood going everywhere. With mixed reviews, Penn states that he was trying to express how real death actually is, and that it is not something you can walk away from. The whole point of the movie was to create a type of sympathy with the two criminals and to get the audience feel sorry for they way they were massacred, even thought the couple had killed a total of fifteen people themselves.

A similar type of expression of death being bad can be found in Sam Peckinpah's The Wild Bunch, 1969. Thought this movie was famous for it's extremely violent, innovative blood squirting techniques, and it's slow motion action sequence, Sam was not in it for the glorification. Thought the hero's of the movie are criminals, Sam is quoted by saying, "Listen, killing is no fun, I was just trying to show what the hell it's like to be shot."(Bouzereau 13). From then on after, Sam set the standard for the violence level in movies. If someone were to get shot, the audience would expect to see blood squirt out of them.

It is not a surprise that such crude acts of violence came about around the sixties, the public was being exposed to violence nearly everyday via TV. America was fighting a war in Viet Nam throughout the sixties and because of all the new technologies; the public could now see what war was really like. Everyday, Americans were brought the number of people who had died that day, and every day they were able to see them being killed on the five o'clock news. Violence already existed in the world, it was not like film makers opened this idea of killing people, all they did was record it.

One director who is known for the violence levels in his films is Martin Scorsese. From an early age, Martin Scorsese was a student of the classic westerns of director John Ford. The outlaw gangs of the old west evolved into the modern-day underworld gangsters and Scorsese has remained in constant study of the dark sides of human nature. Scorsese was born on November 17, 1942, to second-generation Sicilian-American parents in Flushing, Long Island. The family later moved to an almost exclusively Sicilian section of Little Italy in New York. There, two forces dominated Scorsese's; life; that of the street and that of the Church. The tension between the sensualist machismo of the one group and the spirit of the other impressed itself forever on Scorsese and later became a prominent theme in his body of work. Since Scorsese was ill suited to ever join  the world of gangsters, he turned to his other interest, religion, and planned to become a priest. Even at the peak of his religious ambitions, Scorsese could never escape the influences of his other interests. The sensuality that Scorsese had partly inherited from the streets made it's way out with his discovery of exotic women at NYU. One of the many women that he discovered while in school became his wife and marked the end of his priestly aspirations.

Luckily for Scorsese, who had initially studied English at NYU, film quickly filled the void left by the dream of priesthood. The event that convinced Scorsese that his obsession with film was no mere hobby was in the class of Haig Manoogian. An advocate of personal filmmaking, Manoogian helped Scorsese conceive his goals and would remain a major influence throughout Martin's career. From the first class onward, Scorsese was determined to become a director, and the several films he made while still a student proved his ability.

Following these initial films, Scorsese made a Bonnie and Clyde knockoff called Boxcar Bertha (1972). Although it was not a terrible picture, Boxcar Bertha was neither a personal nor an artistic film. In the aftermath of its completion, it was described by a one of Scorsese's friends in the industry as a piece of shit not worthy of Scorsese's talent. In some sense, the comment was both insulting and complimenting. Whatever the case, it was exactly what Scorsese needed to hear to undertake a project, Mean Streets, about which he cared deeply about. The script, initially called Season of the Witch, was Scorsese's first masterpiece.

Despite its favorable critical reception, Mean Streets was not a box office success. As a result, the director had to wait until his next picture, Alice Doesn't Live Here Anymore (1974), won Ellen Burstyn the Best Actress Oscar before acquiring sufficient influence to make his next great movie, Taxi Driver (1975).

From his first reading of Paul Schrader's script, Scorsese passionately desired to make the film. Robert De Niro's initial reaction to the script was equally profound, as he decided to abandon a thematically similar script that he had been working on to become the picture's star. Even with an Academy Award winning actor, the film was only given a small budget of 6.5 million dollars. The main goal of the film was not to make money, but to be a personal expression. This intense personal involvement by director, star, and screenwriter came through in the passion of the finished product. Moreover, the cocaine-fueled shoot took place in the midst of a sweltering summer during a time when New York seemed to be self-destructing. All of these elements combined to create a perfect environment for the film's investigation into loneliness, paranoia, obsession, and violence. The resulting work seared itself into the American consciousness, even going so far as to influence John Hinckley, who attempted to assassinate President Reagan.

Taxi Driver is about lonely ex-marine who somewhere along the lines looses it goes on a killing spree in an attempt to clean the dirty city streets. Again the influence of Viet Nam is brought into the film, were the ex-marine does not know what to do with himself. For five years this man has been trained to kill and now he has to come back to society and live amongst people. Naturally he withdraws from society becoming a taxi driver who works the  night shift. Slowly he drifts further from reality and becomes more sickened by the trashy people he encounters every night. No longer able to stand the filth any longer, he straps himself up with as many guns as he can hold in a vain attempt to rid all the evil of the world. The twist is that this cold-blooded killer is actually trying to save a twelve-year-old prostitute. In the end, Travis is commended for his killing spree as the newspapers describe him as "a hero."

Travis takes on two completely different roles in the movie that deal with his gender. As a male, he is expected to act a certain way, but in this case, Travis ends up playing both sides of the game. In one scene Travis attempt to take a girl he just met out on a romantic date to the movies. What the movie ends up being is not some sappy love story but a hard-core porn flick. The girl, putting two and two together, figure that Travis is giving the implication that he's going to want hard core sex after the movie. The real story is that Travis meant nothing behind the movie, it just so happens that he like to look at pornographic material. In reality, Travis had no clue what he was doing. He is totally isolated and alone in the world and does not understand how people interact with each other In another instance, were Travis is confronted with porn again, this time in the shape of a prostitute, he wants only to see that the girl stops selling her body and to go back to her mother were she belongs. Here one can see were Scorsese came up with this character simply by looking back of his past history. We know the Scorsese was very religious and that at one time he wanted to be a good priest but it was the temptation of women were he got distracted and lost his virginity. On side, Scorsese wants to do the right thing, and on the other side, he just wants to do it.

Back to the violence in the film, one of the most violent scene was at the very end of the film were Travis unleashes his rage. After his first attempt to kill a senator went south, he went on to his next plan to help save Iris, the twelve-year-old hooker. As Travis steps out of his cab to start his resque, it is if he has stepped into a one of the porn movies that he has obsessed over and over again. He knows all the lines and he has rehearsed all the parts, the next thing to due is to follow through with it. Taking no time at all, Travis quickly fire point blank into Sport's (Iris's pimp) stomach after he told him to take a hike. Travis than proceeds up to Iris's apartment were he shoots at the manager and blows off his hand. In this scene, Scorsese was forced to make the blood appear less so that the massacre would turn into a sea of color and not a pool of blood.

665.          Math vs Music

Mathematician and the Musician

The mathematician sees thing only as they should be; he knows the logical explination for everything, and

can manipulate it till the common person is lost in confusion as to what is being explained to him.

The musician is incapable of concrete thinking; he solves the mysteries of life with word and metaphors

and paradoxs that are answers to that world which is his own inner mind.  Both refuse to except the

obvious.  For the manipulator the answer only lies in the most complex incomprehensive formula that

in his mind holds some great power over the world.  The answer for the self-psychologist is buried deep

in his mind amongst the dreams of a better reality.  While he is truly not emancipated from his currert

reality, the musician still insists on continuing to live among his fantasies.  The musician appears to

be insanely opposite to the mathematician, but they both hold the answers to everything anyone would

want to know and in this sense they are complements.

666.          Mathematician and the Musician

Mathematician and the Musician

The mathematician sees thing only as they should be; he knows the logical

explination for everything, and can manipulate it till the common person is lost

in confusion as to what is being explained to him. The musician is incapable

of concrete thinking; he solves the mysteries of life with word and metaphors

and paradoxs that are answers to that world which is his own inner mind.  Both

refuse to except the obvious.  For the manipulator the answer only lies in the

most complex incomprehensive formula that in his mind holds some great power

over the world.  The answer for the self-psychologist is buried deep in his mind

amongst the dreams of a better reality.  While he is truly not emancipated from

his currert reality, the musician still insists on continuing to live among his

fantasies.  The musician appears to be insanely opposite to the mathematician,

but they both hold the answers to everything anyone would want to know and in

this sense they are complements.

667.          Matilda Essay

Matilda

Too smart for her own good, is a legendary saying used for people that

are so smart that at the end of their life it can be dangerous for them. In the

fantastic story Matilda written by Roald Dahl, the author describes a young

girl's life that is affected by lack of love and affection and her being too

intelligent for her age and time.

It was the beginning of  summer in 1993 the climate was starting to get hot

and the Wormwood family didn't pay much attention to Matilda and her incredible

abilities. The local color and verisimilitude of the setting consists in the

typical modern-day English village, lots of houses with gardens full of flowers

infront of each house, people walking their dogs in the street, cars passing by,

kids laughing, happy people all over the place, Matilda's friends running around

following their lost red ball.

Matilda Wormwood, a remarkably bright little girl, had taught herself to

read at the age of three; by the age of four she had pored a dozens of times

over the only book to be found at her parents house, Easy Cooking. While her

mother was playing bridge all day and her used car salesman father was at work,

Matilda walked to the public library  and read books all afternoon. Matilda's

parents were both so warmless and so wrapped up in their own silly little lives

that they failed to notice anything unusual about Matilda. Afterward, Mr.

Wormwood decided to take Matilda to school; in school Matilda found lots of

friends and two special teachers, Miss Honey the gentle teacher and Miss

Trunchbull the head teacher, a harsh and ruthless woman. Miss Trunchbull treated

the kids awfully in her school, so Matilda with her extra powers decided too .

.......................!!!!!!!!!

Those who carry out the most important actions in a story are considered

main  participants. Matilda is the only main personality in this story, she is

young girl that loves reading. Matilda suffered a lot at the beginning of the

story because her family didn't love her the way she wanted to be loved. Matilda

went to Crunchen Hall school.  Full description of this character is provided

during the story, in her physical description we find that she is a little short

for her age (five years and a half), brown hair, brown eyes and skinny. Compared

to Miss Trunchbull, a character that do changes in the story, Matilda doesn't

change at all, she is a static personality.

Another character found in this selection is Miss Trunchbull. She is fully

described physically during the story, she is big, ugly, fat, harsh, ruthless,

and mean. Miss Trunchbull is a dynamic character. She hates kids and is the head

teacher of Miss Honey one of the teachers in Matilda's school. Miss Honey is

another secondary character. She is the typical nice and gentle teacher, that

every kid in school loves. She is also fully physically described personality,

she has brown hair, brown eyes, tall and skinny. She is a static character. Last

but not least we find Mr. and Mrs. Wormwood, Matilda's insensitive, careless and

selfish parents. They are not fully described and they are static characters.

The conflict of the story begins when Matilda discovered her magical powers.

The story's struggle was about to be solved when Matilda starts using her

magical powers  to the people that didn't treat her nice, like Miss Trunchbull

and Matilda's Parents. Foreshadowing is not included in this selection. The

action that determines the conflict's solution is when......?????

The Wormwood family, Miss Trunchbull and Miss Honey make up the conflict

of the story. The story's conflict is external and internal; external because

the Wormwood family don't pay Matilda much attention; and internal because

Matilda needed love and since her family didn't give it to her she suffered a

lot inside. There is also a conflict character against characters as Matilda has

problems with her parents and with Miss Trunchbull.

In this story, Matilda, is an example of a young girl with magical

powers that at the end she uses this incredible abilities against ........!!!! I

would like to believe in magical powers but I think in reality it doesn't exist,

but ..... you never know. Is there another life after this one? Who knows, but

then again I can't prove it doesn't either.

I liked this book. It was enjoyable, fun to read and brought up some

interesting questions in my mind that are not easy to answer. I recommend this

book and other "children's fictions" to students of my age that appreciate these

kind of stories that have a little  fantasy.

668.          Matilda

Too smart for her own good, is a legendary saying used for people that are so smart that at the end of their life it can be dangerous for them. In the fantastic story Matilda written by Roald Dahl, the author describes a young girl's life that is affected by lack of love and affection and her being too intelligent for her age and time.

It was the beginning of  summer in 1993 the climate was starting to get hot and the Wormwood family didn't pay much attention to Matilda and her incredible abilities. The local color and verisimilitude of the setting consists in the typical modern-day English village, lots of houses with gardens full of flowers infront of each house, people walking their dogs in the street, cars passing by, kids laughing, happy people all over the place, Matilda´s friends running around following their lost red ball.

Matilda Wormwood, a remarkably bright little girl, had taught herself to read at the age of three; by the age of four she had pored a dozens of times over the only book to be found at her parents house, Easy Cooking. While her mother was playing bridge all day and her used car salesman father was at work, Matilda walked to the public library  and read books all afternoon. Matilda´s  parents were both so warmless and so wrapped up in their own silly little lives that they failed to notice anything unusual about Matilda. Afterward, Mr. Wormwood decided to take Matilda to school; in school Matilda found lots of friends and two special teachers, Miss Honey the gentle teacher and Miss Trunchbull the head teacher, a harsh and ruthless woman. Miss Trunchbull treated the kids awfully in her school, so Matilda with her extra powers decided too ........................!!!!!!!!!

Those who carry out the most important actions in a story are considered main  participants. Matilda is the only main personality in this story, she is young girl that loves reading. Matilda suffered a lot at the beginning of the story because her family didn't love her the way she wanted to be loved. Matilda went to Crunchen Hall school.  Full description of this character is provided during the story, in her physical description we find that she is a little short for her age (five years and a half), brown hair, brown eyes and skinny. Compared to Miss Trunchbull, a character that do changes in the story, Matilda doesn't change at all, she is a static personality.

Another character found in this selection is Miss Trunchbull. She is fully described physically during the story, she is big, ugly, fat, harsh, ruthless, and mean. Miss Trunchbull is a dynamic character. She hates kids and is the head teacher of Miss Honey one of the teachers in Matilda´s school. Miss Honey is another secondary character. She is the typical nice and gentle teacher, that every kid in school loves. She is also fully physically described personality, she has brown hair, brown eyes, tall and skinny. She is a static character. Last but not least we find Mr. and Mrs. Wormwood, Matilda´s insensitive, careless and selfish parents. They are not fully described and they are static characters.

The conflict of the story begins when Matilda discovered her magical powers. The story's struggle was about to be solved when Matilda starts using her magical powers  to the people that didn't treat her nice, like Miss Trunchbull and Matilda´s Parents. Foreshadowing is not included in this selection. The action that determines the conflict's solution is when......?????

The Wormwood family, Miss Trunchbull and Miss Honey make up the conflict of the story. The story's conflict is external and internal; external because the Wormwood family don't pay Matilda much attention; and internal because Matilda needed love and since her family didn't give it to her she suffered a lot inside. There is also a conflict character against characters as Matilda has problems with her parents and with Miss Trunchbull.

In this story, Matilda, is an example of a young girl with magical powers that at the end she uses this incredible abilities against ........!!!! I would like to believe in magical powers but I think in reality it doesn't exist, but ..... you never know. Is there another life after this one? Who knows, but then again I can't prove it doesn't either.

I liked this book. It was enjoyable, fun to read and brought up some interesting questions in my mind that are not easy to answer. I recommend this book and other "children's fictions" to students of my age that appreciate these kind of stories that have a little  fantasy.

669.          Matrix Revolutions

The Matrix Revolutions the last chapter of the 3 part Sci-Fi thriller of the Matrix Franchise is the greatest movie nobody saw. Matrix Revolutions attempts to retell their version of history by mish mashing different myths together to form a convoluted yet ever confusing combination of stories that when to put together closely resembles the Book of Revelations of the Bible. Matrix's Jesus character is Neo, the 'chosen' one is the 5th incarnate of the anomaly in the Matrix program that saves Zion from extinction and reset. Before delving too deeply into the plot of the movie we must first go back and try to explain the back-story of the movies. The saga starts off with the citizens of Zion in an epic struggle in their already storied struggle to fight the robots from killing off the human race in the Matrix. The Matrix is explained as the unconscious reality while the reality within the Matrix shows the machinery that runs the matrix and that is the machines. The back story with regard how the machines created the Matrix is left to be explained as the prologue to Revolutions Sequel which shows the machines taking over the earth after Artificial Intelligence was perfected the Robots slowly gained power and began to use humans as energy sources for their sustenance. The final battle between robots and humans mirrored the final battle in Revolutions but in this battle the Robots one and gained control and used humans as their slave race to function as batteries keeping them alive through the matrix, a program created by the Architect introduced in Reloaded as the program that created the consciousness of every human creature and the Matrix Anomalies. Because software inevitably has flaws because it's creators are human the architect himself could not predict the software flaws that arose such as the Neo, The Virus, and Oracle. The Oracle is described as the helper of the citizens of Zion in their quest for freedom from the Robots. The Oracle was an outdated program that instead of being deleted from the Matrix stuck around as a utility program that guided Neo in his hero's quest to find salvation for his body. Neo's wife is Trinity whom all his miracles are manifested upon, from the kiss that revived his body from death, to his restarting of her heart after being shot. The helpers inside the Matrix from the keymaker, The Oracle to the Gate Keeper can be seen as the apostles. Agent Smith can be seen as the Devil, the reverse of Neo, who is seen as God, Jesus, Savior, and the creator of all things. Because this story has a lot of Catholic symbolism let us first start with the name of Trinity. Trinity refers to the three gods: Father, Son and the Holy Spirit. The father of the Matrix is the Architect who is a software program written by a human, The Son is Neo a software program who is only mirrored by the Devil Agent Smith, the virus that acts like the Holy Spirit, because like God cannot be seen but his influence is nonetheless unabsent. The name of Trinity is significant, because she is the link between The Architect, Neo and Agent Smith, because his only motivation to find the Architect is to find the Source the master program that runs the Robot contingent is "love", this intangible irrational innately human quality that is responsible as the driving force of every human accomplishment. In other words, love creates in human the force to strive for something better than ourselves that we risk life and limb to save it. Love is like a virus which is double edge sword that leads men to it's greatest accomplishments but also leads it to its greatest downfalls, the fall of the human race. Love for oneself is what caused the human race to fall into the hands of the robots but love for the Human Race is the driving force for it's salvation. Agent Smith the virus also loves an intangible quality and that is hate it infects every unassimilated program to become subservient to it. It's original design was to keep Neo from becoming successful, however was changed when in Neo it found the salvation from it's eternal restrictions when Neo entered the code of Agent Smith and shared with him the code that let him live when he first died at Smith's hands. The first death can be seen as Jesus's first death and his rebirth can be seen as Jesus's resurrection. The Judas can be seen as the person as one of the twelve apostles on the Nebeccanezzar's ship that helped the robots take Neo to be killed. The second film explained the many facets of the Matrix that was left out the in the first movie. For instance, the many layers of heaven and hell are introduced. Within hell, purgatory is made clear in the Revolutions movie as the train station and the gate keeper is Hades whose wife is Persephone. In the third movie the robots are nearing finding Zion and Neo the savior's only hope to stop this is to strike a peace with the source to find Agent Smith and destroy it from the Matrix, before it takes it over. Agent Smith is seen as the threat worse than Neo at this point in the movie, because he has grown in power and his only motivation is evil in contrast to Neo in his motivation which is love. Agent Smith in the final battle scene kills Neo by assimilating him however because Neo is plugged into the Matrix where the Source is in control the Source is able to take the Smith Code and use it against him and attack Smith through Neo thus killing Smith and saving Neo. Neo like Jesus has God's power work through him and can be seen as the mediator, between God and men for the salvation of Zion, God's first church. The finality of the movie is that Zion is saved, because Neo was able to pay for the sins of his body Zion by dying and fighting off the Devil to live in paradise with God, the Robots or the source, as seen as the light of day finally breaking, which according to the Matrix has never been seen by the people of the Matrix.

670.          Matt Groening 566

My Icon - Matt Groening

by Joel Califa

I must admit that searching for a suitable candidate as an icon and role-model was not an easy task to complete in the last few days. There are very few men I look up to, and even fewer who I believe changed the world in one way or another. Finally, a minute or so ago, I picked a man worthy for the part. This man is Matt Groening

Matt Groening is responsible for the multiple award-winning animated television show that is The Simpsons. He is also creator and producer (as he is for The Simpsons) for a Sci-Fi animation show following the same cartoon style as The Simpsons dubbed "Futurama". Both of his shows are tremendously successful and one is the longest running comedy on television.

Since the day he was born on February 5th 1954 until he finally achieved popularity with his comic strip titled "Life in Hell" in 1977, Groening was always doodling away on a random project. Life in Hell was his first successful project and appeared in over 200 newspapers worldwide.

Matt's next big break came in 1985 when film and television producer James L. Brooks asked Matt to assist him with his new comedy series, "The Tracy Ullman Show". Matt was given 15 minutes before the meeting to sketch an idea for the show. With pencil in hand, Matt quickly drew up a funny looking family consisting of one father, one mother, two girls and one boy and named each one of them after a member in his family (with "Bart" being an anagram of "brat" - himself). The idea quickly became a hit act on "The Tracy Ullman Show".

In December 1989, FOX Network decided to air The Simpsons in its prime-time slot at 8pm. The Simpsons in 1989 was the first prime-time animated series in over 20 years and is still going to this day. Throughout history, The Simpsons has won 17 Emmy awards and is still to bore its audience. one of the things that makes The Simpsons what it is, is the large cast of characters (each of which have been more or less detailed in one episode or another), another is the fact that the cast consists of all age groups from babies to senior citizens.

The Simpsons is not only known over the world (where in every place you can hear people reciting Homer Simpson's catch phrase: "D'oh!") but also revolutionized the world of television comedies. Before then, all TV families were depicted as "perfect" are were rarely ever in cartoon form. The Simpsons helped pave such series as "Beavis and Butthead", "South Park" and many more. Groening's advance in technology while working on the show also affected the way many other animated television series were made.

Although Groening is very successful with his television series, he has not lost his passion for comics. In 1993 he created "Bongo Comics", which released Simpsons related comic books and in 1995 he created "Zongo Comics" which released many more non-Simpsons related work.

I feel Matt resembles me with his passion for drawing. All of this and the fact that I cannot possibly watch a Simpsons episode and not roll around laughing is why I chose Matt Groening as my icon, I admire him and believe he brought many hours of entertainment and joy to people all around the world.

671.          Mayor of Casterbridge Chapter 2 5

Chapter 2 1/2

Henchard made his way into the town of Casterbridge, penniless, depressed, and entirely ignorant of what he might do to sustain himself.  He didn't much care for himself now, knowing the deed he had done.  It was out of season for hay-trussing, and he had not been able to find work at that task even when it was at the height of its demand.  He was faced with finding another occupation.

But what can a man who has no skills other than hay trussing do?  He walked down the main street of the town, stopping at every shop and inn to offer his services.  As each establishment turned him away, quoting no need for general labor, especially from a migrant like him, something altogether strange happened in Henchard.  Rather than becoming more depressed, he became more determined.  He resolved that he would find work in this town, simply to spite the people who had turned him away.  He also felt he owed it to himself to try and pick up the pieces of his shattered life in case Susan should ever find him again, despite the slim chance of that ever happening.  Though he had his faults, Henchard was strong-minded when he decided to be.

At the next several doors, Henchard was very stubborn.  When he would at first be refused, he would insist upon a chance to prove his worthiness by performing some task for the shopkeeper.  Most simply refused, but at some places it got him in the door to speak as best he could on his own behalf.  It was near the end of the street that one shopkeeper agreed to take on Henchard's services, but only after he had insisted on delivering a package for the man to a customer across town.  When he returned, the shopkeeper offered to pay him for his general labor, but at a rate that was far below anything necessary to subsist upon.  Henchard, though disappointed, argued the value of his ability to work with a determination he had never known before.  He argued long and hard, with smart and clever thought and speech, managing to gain many concessions from the man.  He failed, however,  to gain much overall in the way of salary from the shopkeeper in this negotiation, for the man simply had nothing more to give.  He managed to negotiate a salary that would allow him to survive, but barely.  It was as Henchard moved to shake on the deal when a patron of the shop spoke up.

"Wait," he said, "I can see you are worth much more than that to me.  I am in need of one who can act as a salesman, and you have just proven your ability to sell yourself.  Come to work for me."  The man was a businessman of the highest repute in Casterbridge, and had no son to succeed him in his business.  As he grew old, he had begun to look for one whom he could take under his wing, and Henchard's determination and negotiating skill that had caught his eye.

So Henchard agreed, and the man taught him the ways of business, sending Henchard on the road to success.

672.          Mel Gibson vs Kenneth Branaugh as Hamlet

Mel Gibson vs. Kenneth Branaugh as Hamlet

First in an installment looking at the modern film versions of Shakespeare's plays

by Lynn Davison Jr., Contributing Writer

The recent "box office rebirth" of England's favorite bard has left Hollywood with much to do about interpreting Shakespeare's classic dramas. The characters of Ophelia, Rosencrantz and Guildenstern, the gravedigger, and of course Hamlet himself take new life, as the greatest actors of our time assume these timeless roles.

Produced in 1990, Mel Gibson's "Hamlet" is a more straightforward, highly edited version of the original text in comparison to Kenneth Brannagh's lavish rendition of the same tale. At only 135 minutes, Gibson's "Hamlet" might be considered "Shakespeare Light," the cinematic equivalent of Cliff's Notes. However, although Brannagh should be commended for sticking to the text, be forewarned about this "Hamlet"-by including every line of the original play, this movie clocks in at exactly 242 minutes.

The setting chosen for Brannagh's and Gibson's "Elsinore Castle" are as different as day and night, quite literally. And these bright and dark castle settings symbolically reinforce the specific "mood" or themes each director emphasizes.

For instance, the lugubrious Gibson feels perfectly at home in his dark and dank mansion, an ideal place for a grieving soul to maintain its ruefull descent. Conversely, the introspective Brannagh is continuously catching glimpses of himself and others (and into their true souls) in the mirror-lined ballrooms of his glistening castle.

Since Hamlet is, in its essence, truly a ghost story (so apropos for Halloween week!), each director has handled these "special effects" quite differently. Gibson gives a more stage-like handling of the ghost of Hamlet's father, using only lighting to cast an eerie glow or flickering shadows on its actors. Brannagh, on the other hand, seeks to use every filmmaker's device possible, including the light blue glowing eyes of Hamlet's father and the "dry ice forest," (both of which stretched the limits of viewers' imagination). One special effect that worked very effectively was the use of "flashbacks" in a character's memory, specifically in scenes which show Hamlet and Ophelia's romantic (yet clandestine) relationship developing.

The greatest aspect of watching the Gibson and Brannagh films together is noticing the subtle differences between each actor's expression of the same character. Both versions address, or evade, some of the most controversial issues in interpreting this play: Hamlet's possible madness, his seemingly Oedipal relationship with his mother, and Ophelia's suicidal demise.

Mel Gibson portrays a brooding, sullen-browed young Hamlet--moody, miserable yet clever and cunning, and always lurking in the dark corners of this ever-somber castle. By contrast, Brannagh commands the screen with a Hamlet more brash and emboldened than Gibson's, a determined young man whose bright and opulent surroundings reflect a very intellectual, socially and politically astute strategist (not to mention pretentious snob!). Both tiptoe the line between sanity and madness, without ever fully crossing over into a psychological abyss.

With Glenn Close playing Gertrude, Hamlet's mother, Gibson intensifies the Oedipal overtones between the queen mother and her son. Beautiful, elegant, and intensely emotional, Gertrude exudes an exuberant yet refined sensuality throughout the early scenes of the film. Does she linger a little too long on the lips of Hamlet, or is this merely a joyous display of affection for her only son? The famous, and perhaps infamous, bedroom scene eventually shows the glamorous duo of Close and Gibson struggling against one another, and the final fencing scene also emphasizes this pair, their constant awareness of the other's situation.

By casting the ethereal Close alongside the handsome Hamlet, Gibson focuses on the mother-son relationship versus the Ophelia-Hamlet romance, as Helena Bonham-Carter presents an overly passive, almost prepubescent and one-dimensional performance of Ophelia. Too young, too much manipulated by her father, Ophelia in her insanity scene merely shows a weak young woman overcome by her own pitiful plight. Because her relationship with Hamlet is never developed in Gibson's "Hamlet," Ophelia's suicide is a merely an action that furthers the plot of Hamlet's fate--it is not given consideration as the fate of Ophelia herself, a complex, passionate, and "three-dimensional" character in the play.

Brannagh's casting of "Shakespeare's women" gives an entirely different interpretation. To begin with, Julie Christie (as Gertrude) is downright homely in comparison to Glenn Close (check out the differences between the early "consoling scene" of each film in which Gertrude tells Hamlet that death is "common"). Thus, Christie is perfect for Brannagh's interpretation--Hamlet seeks to avenge his father's death not because of his Oedipal attraction to his mother (which would be too emotional and adolescent for this prince), but rather for some higher sense of truth and justice (perfect for the philosophical Brannagh). Christie is not the amiable, all-loving (or sensual) mother that we saw Close to be, and thus Gertrude's "motivation" to marry the brother of her dead husband seems more about politics and power than pure passion. Her role in the movie and the sympathy she evokes in the viewers diminishes greatly as we view her (and her second husband) with suspicion and even aversion.

Yet Kate Winslet (also starring in "Sense and Sensibility," "Heavenly Creatures"), cast as Ophelia, is simply breathtaking. Her presence on the screen commands the full attention of viewers, and Brannagh uses her charisma to create perhaps the most fully developed representation of Ophelia to be brought to any film. She is shown as a strong-willed, intelligent and independent young woman who is passionately in love (and lust!) with her eccentric prince. If you have seen and heard her grief expressed in "Heavenly Creatures," then you will know that her "insanity scene" is the most harrowing display of a heart's devastation that you might ever see. Her ethereal voice, her song of sadness, will be hard for viewers to forget.

With a cast of characters including Billy Crystal, Charlton Heston, Robin Williams and Jack Lemmon, Kenneth Brannagh's "Hamlet" is a sure-hit among devoted "Shakespeare-philes." Yet, the dynamic performances of the characters in Gibson's "Hamlet" guarantee that both movies are even better appreciated when viewed, and compared, together.

One of the greatest aspects about Shakespeare's plays is the never-ending interpretations and expressions that can be made--not only by film makers with their elaborate scenery and all-star casts, but also by each of us as viewers and, hopefully, as readers too.

673.          Melville

A Reflection

On Melville's

Accomplishments

Brad Jones

Ms Carman

Period 6

American Literature

Mellville

"As an author Melville both courted failure and scorned success."(pg. 613, A

Companion to Melville Studies). How many famous legends in time have existed to

know no fame.  How many remarkable artist have lived and died never receiving due

credit for there work.  Herman Melville is clearly an artist of words.  Herman Melville is

certainly a prodigy when it comes to writing.  Herman Melville never received hardly any

credit for any of his works.  Melville wrote such novels as Moby-Dick, and Billy Budd.

Melville wrote about things that he knew about.  He wrote about his own experiences.

The one thing that he loved, and knew the most about was whaling.

Herman Melville was born in 1819, the son of Allan and Maria Melville.  He was

one of a Family of eight children - four  boys and four girls - who was raised comfortably

in a nice neighborhood in New York City.  Herman Melville came from a famous blood

line out of Albany, NY. Melville's grandfather, General Peter Gansevoort,  was a hero.

Even though the General died six years before Melville was born, Melville still put him

in his book,  Pierre.

On the outer side of the blood line there was Major Melville.  The Major was a

wealthy Boston merchant who was one of the famous "Mohawks"  who boarded the ship

of the East India Company that night of 1773,  and dumped the cargo in to the Boston

Harbor.  Later Major Melville became the Naval Officer of The Port of Boston, a post

given to him by Gorge Washington.  It is like the two blood lines fitted together perfectly

to create Herman Melville.  Herman had the strength of the General,  and the crazy hart

of the Major.

Herman Melville was "hardly more than a boy" when he ran out to sea after his

fathers death.  A young Melville sighed up as a boy on the St. Lawrence to Liverpool and

back to New York.  Many of the events that show up in Melville's Redburn are actuarial

events that happened of his first voyage.  After returning home and finding his mothers

family fortune gone,  Melville decided to take a journey over land this time to the

Mississippi river to visit his Uncle Thomas.  Through out all of Melville's work the image

of inland landscapes, of farms, prairies, rivers, lakes, and forest recur as a counterpoint to

the barren sea.  Also in Moby-Dick Melville tells how he was a "Vagabond" on the Erie

Canal,  which was the way Melville returned.

Melville wrote that it was not the lakes or forest that sank in as much as the

"oceanic vastness and the swell of the one and in the wide, slow, watery restlessness,"(pg.

Arving), of the prairies. Some even think of the novel, Pierre, as a "A prairie in print,

wanting the flowers and freshness of the savanah, but all most equally puzzling to find a

way through it." (Pg. 1, On Melville.) About a year latter Melville signed up as

foremasthand on the whaler Acushnet, which set sail on the third of January, 1841, that

set sail from New Bedford.    Many events of his voyage directly correspond with those in

his novel, Typee.

Melville set up residence in the Taipi-Vai valley, which he called Typee.  He and

a friend, named Toby Green, struck out on one day's leave to the interior of the island.

Melville got sick and had to live with a tribe  of savages that he found for a month or so.

All this time, Toby had gone to try to get help but was unsuccessful.  After a long month

of waiting for Toby, Melville decided to try to escape, and was successful.  Melville

illustrated all of these events that happened in his novel Typee.  But "Typee is a work of

the imagination, not sober history, and one constantly crosses in it the invisible line

between "fact" and the life of the fancy and memory."(pg. 61, Arvin)

After Melville's escape he sighed up on a ship called Lucy Ann.  Melville still had

a bad leg from his experiences with the natives.  This journey was a short one but none

the lass eventful.  The journey was full of different changes in command and mutiny.

These events on the , Lucy Ann, Melville put in to a book he named Omoo.  This journey

ended in Tahiti.

After a while in Tahiti, Melville decided to join the crew of the Charles and

Henry.  When the Charles and Henry got to the Hawaiian island of Maui the Captain

Coleman discharged him.  The events on the Charles and Henry were also to be put in to

text.  Melville put this leg of his journey in a novel named Mardi, which Hawthorn

described as, "With depths here and there that compel a man to swim for his

life."(Hawthorn)

A month after Melville's arrival in Hawaii, Melville signed on as a crew member

in the US Navy, on board the United States.  He sailed on her for fourteen months.  On

board the United States Melville got to see Lama, "the city of king's," which Melville

called, "the strangest, saddest impression on Melville than anything Melville would ever

see again.  It also probably made a bigger effect in all of his writing than any of the rest

of his whaling cruises.  Melville never wrote about what ever happened in Lima,  the way

that he wrote about the cruises he took around the Southern Pacific Islands,  but it is

apparent in all of his works and letter that Lima made a greater impression.  "Lima was a

city in whose whiteness and beauty was a latent horror."(Pg. 71, Arving)  Melville began

to think "the world's one Lima."

Melville's homeward voyage on the United States, which Melville started to call

the Never-Sink, became the situation where Melville made a new friendship with a

sailing mate named Jack Chase.  This friend for one voyage didn't no it but was to

become the model character, for one of Melville's greatest works, Billy Budd, fifty years

latter.  Also this last voyage home was Melville's last days at sea.

"Young as he was-he was only in his mid-twenties-a long period lay before him

during which his life would be quite peculiarly an inward one."(pg. 121, Arving)

Between the ages of eighteen to twenty-one Melville had gone through enough

experiences to supply him for a lifetime of novels and works. "Melville's tales and

sketches are a remarkable achievement.  That he could do so much in those four years

seems to me astonishing."(Pg. 271, A Companion to Melville Studies). From these

experiences Melville wrote many works, just to name a few famous ones;  are first

Redburn, then Typee, Omoo, Moby-Dick, Mardi, and White-Jacket.  Also from these

experiences Melville began to write travel narrative.  "Into the short space of four or five

years Melville had crammed more "experience," more sheer activity, more roughing of it,

than all but a few modern authors."(pg. 121, Arving)

Melville had written seven books in the seven years following is arrival home.

Also, one of those book was one of the "highest order."  It is truly amazing that after all

that he had been through in his voyages, Melville still had enough in him to write seven

consecutive excellent novels.  Melville's unexpected sudden success as an author

surprised not only the literary society, but also Melville just as much.  This success also

threw him into the literary society.  Melville had longed for some literate companionship

in his time away from home.  In Melville's New York home he built an excellent library

of contemporary writers and old books.

No book before Melville's time compares in form with Moby-Dick.  It is a work of

art that has simply amazes literary scholars sense it first was published.  In Melville's

time most had absolutely no idea of what to think.  One of the keys to Melville's structure

is that from the beginning to the end of the voyage of the Pequod we are reminded over

and over again that the voyage us fated to a catastrophe.  The meaning of Moby-Dick is

so involved and complex that very few critics would agree upon a single interpretation of

any events or symbolism in the novel.  Many critics suggest that the meaning of

Moby-Dick is a way to show the meaning of the universe as opposed to mans desire to

see only one meaning in any one thing.  He shows this by showing that man's eyes are

located so that he is always focusing upon one single object.  Where as the whales eyes

are on opposite sides of his head.  So that the whale can focus on two different objects at

any time.  Another example of this idea is the coffin - Life-buoy motif.  This single object

is first an coffin for Queequeg, then becomes a canoe, storage chest, a work of art and

religion, then a life-buoy which save Ishmael's life.  Thus one should not put one

meaning in to an object, for that person could find much more use if they stay open

minded.

"How long, when Melville settled down to write his "whaling voyage," the

conception of Moby-Dick been present to his mind it is impossible to say."(Pg. 143,

Arving).  In the way that Melville wrote his first stories, one after another for seven years,

just after he had arrived home should make one wonder.  It would probably make one

wonder whether when he arrived home all of what he had gone through had just exploded

on to paper.  Or that in his time at sea he had actually thought up all of these books and

when he got home he was finally able to just put them down on paper.

"The spectacle of Melville composing Moby-Dick is the spectacle of an artist

working at the very height of his creativeness and confidence, like a great athlete who has

reached, and only just reached, his optimum in age, in physical vigor, in trained

agility."(Pg. 217, Arving).  This is a good comparison.  Take for example Joe Montana.

Montana hit his prime age in the Super Bowl and was unquestionably the best

quarterback ever at that time.  But after a few injuries and a few more years added to his

life even the great Montana started to die in football.  Even though he wasn't what he was

before a time he could come out and just for that night prove he really is the best.

The same thing happened to Melville.  Melville was pouring out great books for a

few years, and then he wrote Moby-Dick.  Moby-Dick is also unquestionably one of the

great novels of all time.  Melville put every thing he had into Moby-Dick.  Then after

Moby-Dick Melville started to slowdown a little.  Not that he died completely but he

wasn't putting out books like his first few years as an author.  He still would write

something just spectacular every once in a while.

"Melville's text in particular are like another of his most famous images - the

coffin lifebuoy that empress such opposites as life and death."(Pg. 516, A Companion to

Melville Studies).  Melville had his own way of writing.  Who else but Captain Ahab

would have said of the Great White Whale "he tasks me, he heaps me"?  Who but a true

artiest such as Melville would have invented his own verbs?  "That is what a great writer

is, a person who creates a new language."(Pg. 562, A Companion to Melville Studies).  In

the first four or five years Melville wrote almost out of "dejection."  Melville was not as

readily excepted in America as he was in England, or the rest of Europe.  Melville drew

only a little criticism in America, but most all of it was extremely positive.  Melville was

not one to write of the good in life.  Rather he tended to write of the negatives.  Nowhere

will one find this more obvious than in Pierre.  "Pierre itself, taken as a whole and

considered in strictly literary ground, is one of the most painfully ill-conditioned books

ever to be produced by a first-rate mind."(Pg. 219, Arving).

After Melville had written Pierre, he had lost all of his "confidence in both man

and nature, he had lost his sense of the tragic."(Pg. 251, Arving)  This way of thought he

lost by the time he composed The Confidence Man.  what took it's place was an

"obsession with littleness and falsity."(Pg. 252, Arving)  Melville wrote The Confidence

Man when he was in his mid-thirties, and was to lead the other thirty-five years in much

the same state.  "The image of brightness and darkness, repeated with habitual frequency

in Melville's writings."(pg. 607, A Companion to Melville Studies).

The novel The Confidence Man was really the last good novel Melville was to

write until his dying days.  Melville would continue to write poems, such as Clarel,

Battle-Pieces, John Marr, and Timoleon, but had no real great accomplishments.

Melville was to slowly die out until he finished one last manuscript, which occupied the

final months of life.  This manuscript was that of Billy Budd. That manuscript Melville

got published but never new of it success, because he was to die on September, 28th of

1891, quietly in his bed, and "would be gratified to know that his death went all but

unregarded by the world."(Pg. 292, Arving).

For the last thirty-five years after Melville's, The Confidence Man.  Melville had

led a quiet unremembered life.  After his death all that was written was a small obituary

in the New York Times.  "In 1938 Herman Melville had been dead for forty-seven years.

He had died in obscurity and for 3 decades until the publication of Ramon Weavers

biography in 1921 he was known until to a small but growing group of academics and

bibliophiles."(Pg. 1, James Brarbour)  Melville's work was not even found until 1920, and

Billy Budd wasn't even published until 1924.

Melville's greatest accomplishment was no doubt his walling excursions in the

Southern Pacific.  This is more than apparent enough in all of his writings.  Of most of

his works, most were in junction with his experiences in the Southern Pacific.  The

saddest thing about it all is that he died not even knowing of his own accomplishments.

Melville' death was some what like a coffin floating amongst the waves in the sea,  to be

picked up latter.

Arvin, Newton. Herman Melville. Toronto: William Sloane

Associates,      1950.

Bloom, Harold. Herman Melville's Moby-Dick.

New York, New Haven,        Philadelphia: Chelsea

House Publishers, 1986.

Budd, Louis J.; & Cody, Edwin H. On Melville. Durham,

& London:      Duke University Press., 1988.

Deedy,  John. "Where Melville Wrote."

The New York Times, (April 25,       1976).

Funke, Luis. "The Theater: 'Billy Budd.' "  The New

York Times,    (Feb. 28, 1959).

(Unknown). "Herman Melville." The New York

Times, (Oct. 2, 1891).

Lidman, David. "Herman Melville & Moby Dick."

The New York Times,           (Jan. 18, 1970).

McSweeney, Kerry. Moby-dick. Boston: Twayne

Publishers, 1986.

Miller, James E. Jr. A Readers Guide to Herman Melville.

New York:     Octagon Books,          1980.

Murry, John Middleton. "Herman Melville, Who Could

Not Surpass Him         Self."  The New York Times, (June 13,

1926).

674.          Merchant of Venice 5

Merchant of Venice

The Merchant of Venice is a controversial play among experts of Shakespeare. This play has been argued by some to be a comedy. This is because there is a lot of comic relief and the story has a happy ending. Others consider the play to be a tragedy because of Shylock's character. He is very much like a character of a tragedy as in Phaedra. Still other experts use the term "tragicomedy". Personally I think that the last definition is the best one to describe this play.

There are several factors that contribute to the classification of a play as a tragedy or as a comedy. A tragedy has four main elements according to current definitions. The first element is the tragic hero. In The Merchant of Venice Shylock is the only character that can be argued to be such a person. He is involved in most of the action and is the source of the major conflict. If he was not present the play would have no conflict and would not make a very good story. Shylock can also be considered the tragic hero because he has a tragic flaw. This is his obsession that is very evident throughout the play. His material wealth consumes his thoughts day and night. He may be a Jewish man but I think that the god he worships the most is known as gold. One instance where it is apparent that he only cares about his possessions was when Jessica ran away. He was ranting, "O, my ducats! O, my daughter! Fled with a Christian! O, my Christian ducats" (2.8.15-16). He simply includ!

ed his daughter in the middle as though she were one of his possessions.

Another part of a tragedy is that the tragic hero must be humbled or humiliated. Shylock experienced both of these. He was humiliated when Portia, disguised as a man, used his own comments and contract against him. Any person that was at first praising someone for being smart and virtuous must feel really dumb when that person is not really on their side like they seemed to be at first.

We have not done much in class with what a comedy is but I think that I have a decent general knowledge of what one is. The first element that I know of is the comic relief. In The Merchant of Venice there is an abundance of such comic relief. One example was when Portia and Nerissa got the rings from their husbands to be while they were in Venice. After they obtained them they teased the two with threats and stories involving a lot of sexual humor. A specific example of the sexual humor was when Gratiano said, "Well, do you so. Let me not take him, then! For if I do, I'll mar the young clerk's pen" (5.1.236-237). The comic relief serves the purpose of relieving some of the immense tension that builds up in the play. Act five as a whole is a very good example because it is right after the climax of the play and has what seems to me to be the best comedy of the entire play.

The second element of a comedy that I know of is that it must have a happy ending. This is most certainly what happens in our play. Once Antonio was cleared of his bond everyone got what they wanted. Antonio made Shylock become Christian and Jessica and Lorenzo got a deed to Shylock's possessions when he died. Most importantly Bassanio and Portia and Jessica and Gratiano resolved the ring issues with good spirits and mutual understanding.

From what I have said in the previous paragraphs I have to classify this play as a "tragicomedy". The Merchant of Venice has all of the elements of comedy that I have mentioned. Throughout the play there is a tremendous amount of humor. It consists of both high comedy and a little bit of low comedy too. One example of the low comedy would be at the beginning when Bassanio and Gratiano are in the pub with Antonio acting silly. They are only concerned with drinking beer and having fun. An example of the high comedy was when Portia was criticizing all of her suitors. She mocked each one of them with witty remarks. My favorite of these remarks was when she replied to Nerissa about liking the Duke of Saxony's nephew, "Very vilely in the morning, when he is sober, and most vilely in the afternoon, when he is drunk" (2.1.84-85). This gave us a little hint as to Portia's wit and guile.  This play is also consistent with my statement that a comedy must have a happy ending. There!

was a good-natured air about the characters in the final scene. They all resolved any problems that were present so that we would be left with a complete sense of closure.

I have told you why I think that the play is partly a comedy and now to tell you about the tragic element. A tragedy has a tragic hero which in this case is Shylock. I do not feel that with a character as tragic as him in the play that we can ignore him. He was wronged so much in the play that it is hard to remember all of those offenses. First of all he was always singled out and hated by everyone. Antonio spat on him and kicked him like a dog. Another example of his tragicness was when Jessica ran away from him. This upset him greatly because she ran away with a Christian. However, his main concern was all of the riches that she had stolen from him. He cared more about his possessions than he did about his daughter. A final way that Shylock was wronged was when Antonio was released from the bond. If Shylock was a good Christian man there would not have been a controversy. He probably would have been allowed to take the pound of flesh.

The final reason why this play could be considered a tragedy is because Shylock was humiliated. This is a necessary part of a tragic hero's character. For all of the reasons that I have stated in the above paragraphs this play must be considered a "tragicomedy". It does not fit a single set of criteria. Instead it has many comic elements and a little of the tragic elements. If Shylock's character was not so involved in the story I would classify the play as a comedy. Since he does have such a major role I find it impossible to ignore his tragic qualities.

#6

The Merchant of Venice is a great play and I enjoyed it very much. As we read through the play I started to notice something that was different about it. At first I was unable to "put my finger on it". Then it started to become a little clearer. During our discussions I started to notice that other people's interpretations of the play were different from mine. I listened to what the other people said and it made sense. Therefore I started to think that maybe I was at fault and had misinterpreted it. Then the next day it happened again. I began to wonder if I was doing something wrong. That was when I really started to think that there was something unique about this play. I did not say anything in class about my thoughts because they seemed a little weird, even to me. After all, I had never heard of a play having two different ways of reading it. My suspicions went on for a couple of weeks and that was when I became extremely happy. Dr. Lipkind came into our class and t!

alked to us about the play. He was in his usual character, arms flailing and voice booming, when he told us that this play could be read two completely different ways. I could finally breathe a sigh of relief. It was really frustrating for me to doubt my own thoughts. For during the class discussions I was continually second guessing myself and I did not like this feeling.

After Dr. Lipkind told us this fact he told us that many experts had different opinions about this. Some said that this double-sided story was pathetic and weak. They thought that this was simply a case of a writer's indecision and lack of ability. Other experts thought that this double-sidedness was the plays greatest asset. They disagreed as to how intelligent Shakespeare was and if he intended to do this on purpose or if it was simply an accident. I am inclined to agree with the experts that think Shakespeare was a brilliant writer in his time. He would even be considered one of the very best writers in history.

Shakespeare has written countless poems and plays. Not all of them are a representation of his very best work but that does not matter. To be a great writer, at least in my mind, a person only has to produce two pieces of literature that are of a high caliber. Shakespeare did this. One of those great plays was Julius Caesar. I read this play last year and enjoyed it very much. They way that he put the scenes together was awesome. Throughout the play he developed the plots and sub-plots while continuing to keep the play exciting and entertaining. He never let the audience get bored. There are several other plays that he wrote that were of a very high caliber. He also wrote poems. His Shakespearean sonnets are very interesting because they always used the same rhyme scheme. If this man had all this talent I do not think that any person would dispute his greatness and say that one of his plays was weak. Furthermore, I do not think that anyone could say that such a great wr!

iter simply wrote a double-sided play on accident. Shakespeare did intentionally write this play so that it could be read two ways.

As I mentioned earlier I had interpreted many parts of this play differently than many of my classmates. One example of this was when Bassanio and his friends met Antonio in the first scene of the play. Most of the others in the class did not think very highly of them. They thought that they were clowns and almost mocked them. However, I thought that they were just having a good time. I do not find anything wrong with a few guys getting drunk and having a good time, so long as they do not injure anybody in the process or drink while they are riding a horse or operating heavy machinery.

Another example of how this play can be read two different ways involves Shylock's "merry bond". During a class discussion with Dr. Lipkind I said that I thought Shylock was planning revenge from the very beginning. When presented with this point of view much of the class agreed with me. Dr. Lipkind told us to watch this situation develop and to see if I was right. As it turns out I was right, and wrong. If the play was read one way Shylock would be a vicious person plotting Antonio's demise from the beginning. The other way would be that Shylock did propose the bond in pure innocence and had no notion of revenge at that point. I now believe that I was a little premature in my assumption. I think that Shylock thought of revenge after Jessica had run away with a Christian. This added weight upon his shoulders made him snap.

In act 3 scene 1 Shylock said, "Let him look to his bond" (44). At this point we can interpret the Information two ways. Has Shylock been scheming towards Antonio's death all along? Or is he just realizing that he has a great opportunity for revenge. I prefer to think that he has just realized his opportunity. If he were a modern person his thoughts would have sounded something like this, "Wow, I have been wronged by Antonio so much and my daughter just ran away with a Christian. I just thought of something. I have Antonio trapped with this bond that we mad in jest. But, a bond is a bond and it does not matter if he thought it was made in jest. I think I will take my revenge on him when he is unable to pay. Wow, that is a great idea."  The other interpretation would have sounded something like this, "Finally, I have Antonio where I want him. His ships will not come in and he will default. Surely the Duke will allow me my award. It is a bond and there is nothing that he can do!

. I will finally take my long awaited revenge."

A final example of something that can be read two different ways in this play was when Portia said that she loved Bassanio. She might have been sincere or she may have been very sarcastic and cynical. Everything in this play is open to the interpretation of the reader. Shakespeare has "welded" the lines of this play together so well that it is extremely hard for a person to pick apart the two different stories. This was definitely no accident. He did it on purpose and it amazes me. It can not be a weakness. It is too wonderful, graceful, and intricate not to take heed. One must appreciate this for what it is, an absolutely stunning and mind boggling piece of work.

#8

The Merchant of Venice has many characters. Some were very important while others were less important. None of the characters though were insignificant. Even the tiniest characters were vital. The messengers might have only appeared a couple of times and said very few words but the messages that they delivered were essential to the play. The play would have been awkward without these people doing their individual and sometimes only job.

Two of the minor characters in this play were Solanio and Salerio. We refer to them as S+S. A person that has not read this play may wonder why we can call two people by these two letters that are the same. They would say, "Which S is Solanio and which S is Salerio?" To our class this would almost be funny, because we know better. It would not be that person's fault, they are just ignorant. Those of us that have read and studied this play know that there is no need to distinguish between the two because they are only stock characters that are identical. They are one-dimensional, we never know anything about them, and they mainly tell us about the main characters. One example of their similarity lies in their names. Just look at them, they are very similar. Another thing is that they usually appear together. I can only recall one scene where on of them appeared and the other one did not. This was in act three scene two when Salerio delivered a message to Bassanio from Antonio !

bearing grave news. These two characters also serve the same purpose in the play. They are like the chorus, they tell about the setting and the mood of the characters. This is vital information for the audience to have because it allows them to see what Shakespeare had in mind. If  S+S did not help the audience view the play in a particular way the play may be a little confusing. S+S also develop the main characters and plot through dialog. This could be seen when S+S were talking to Shylock in act three scene one. During their conversation two things become clear. One was that Shylock would indeed take a pound of flesh from Antonio's body. The second was that the general public doubted that Shylock would do it. Remember, S+S represent the opinions and attitudes of the general public. The final purpose that these two minor characters serve is in the exposition. They are essential to this part of the play because they setup the entire act. When Antonio said, "In sooth, I know n!

ot why I am so sad" (1.1.1) S+S told us why they thought that he was sad. This was when we learned about Antonio's risky ventures in which all of his money was invested. This setup the entire money borrowing situation with Shylock which in turn led to the central plot of the play.

Another minor character in this play was the Duke of Venice. He can be classified as a minor character because of his little role. His presence was only felt in the courtroom and even at that he did not affect the play in a major way. As we know minor characters can serve the purpose of portraying the public's feelings and setup a scene for a major character. In the courtroom scene the Duke does both of these things. During the trial Shylock wanted justice, and he wanted it quickly. He pressured the Duke to give him what he rightfully deserved but the Duke did something. He delayed his decision until he could hear from the good doctor Bellario. In this single decision he accomplished both of the tasks that I mentioned earlier in the paragraph. First, since he represents the public's emotions, it is safe to say that the people of Venice did not want Shylock to get his pound of flesh and wanted to delay as long as possible. They were all looking for some way to save Anton!

io. Secondly, he set the scene so that a major character could come in and save the day. This, of course, was Portia. When she got to town the Duke's character went back into obscurity. She took over the scene that had been well prepared for her

The final minor character that I am going to talk about is Lancelot Gobbo. He is perhaps one of the most important minor characters in terms of foreshadowing. He decided that he was going to leave Shylock's home and told Jessica. When she heard this she did not hold it against him. She thought that he was doing the right thing. Lancelot's actions got Jessica to say, "Our house is hell" (2.3.2). This is foreshadowing that Jessica is going to leave the house also. I think that this foreshadowing is the best in this play and it creates a tremendous amount of tension and anticipation. I also think that Lancelot is the most comedic of the minor characters. His comedic scene in which he "played" with his father lightened the tension in the play just before they got back into the suspenseful things.

Minor characters are essential to all plays. Some may argue that they do not serve much of a purpose but that would be an uninformed decision. It is obvious to me that all minor characters are important. If they were not present a writer would have to devise some other way of communicating thoughts to the audience which could be awkward and lengthy.

#13

The Merchant of Venice was written by William Shakespeare a very long time ago. Despite this fact he managed to use many literary devices in an excellent way. Back when he lived not many people were educated. Only the wealthy upper class was privileged enough to educate themselves. Shakespeare obviously had enough money to educate himself. However, I do doubt the quality of his education compared to that of today. Did they teach people back them as good as we do today? If they did not it would only add to his greatness. It would mean that he was that much more brilliant. In the play he used many literary devices and used them better than many writers of today. Some of the devices were foreshadowing, comic relief, and motifs. There were many motifs, including bonds of all kinds, love and hate, alien versus citizen, and place motifs. One place motif in particular was that between Venice and Belmont.

The Venice versus Belmont motif was a key to this play. It put an imaginary division between the two so as to make them have two distinct personas. One way that the imaginary divider was put in place was in the physical separation of the two. They were not exactly close enough to commute to work everyday. The second way in which the two were separated was that Belmont was an island with a beautiful mountain on it. This isolated it so that the only way to get there was by a sea voyage. This required a lot of planning and money. From this separation we also lose one of Aristotle's unities. He argued that a tragedy must take place in one location. If there had been unity of place Portia would have lived just around the corner and been easily accessible. This contributes to one of my previous questions for why I do not think that this play is a tragedy.

One way that the two cities are different is in their reality. Venice is a very realistic place. The people living and working in the town have real problems. Such as debt to Shylock who will take everything that they own if they fail to make their payments. This can be seen in our modern world. Many people borrow money from a bank but miss their payments and have their assets seized. This happened to one of my neighbors. While Venice has this reality to it Belmont is a city that one would see in a fairytale. Everything is happy and nobody has any real problems. Sure Portia did not like the method in which her husband was going to be picked but that may not have mattered. Depending on how you read the play, Portia may have "rigged" the process by telling Bassanio which casket to pick.

Another difference in the Belmont versus Venice motif has to do with money. In Venice money was continually topic of conversation. They were worried about it, borrowing it, lending it, or touching it. Shylock was a character in Venice that dealt directly with money. He did not just have others touch his money for him. He actually touched it and paid for the things that he bought by himself. Whereas in Belmont none of the characters had anything to do with money. It was never a concern to them. It was just magically there. They also never physically touched the money. The had it and were rich but they did not go and reach into their chest to grab a handful of gold. The debts were simply taken care of, by someone else.

Another difference between the two cities was what the people were like. In describing the people of Venice one would discover that they are very much like us. They are not infallible, and have normal problems. Belmont is not so. They are god-like. I say this because there is not one thing that they can not do. Whatever they set out to do is accomplished with ease, no matter how big the task is. An example of this was when Portia and Nerissa disguised themselves as men and masqueraded as a lawyer and his clerk. I pose a question. Could two woman really go undetected as men? I think not. Another thing is that they accomplished what they had wanted to do with so much ease. They just showed up with some law that happened to save Antonio and doom Shylock. Why would the judge not know about this law? This is simply because Portia is like a god. She can seemingly "pull a rabbit out of her hat" whenever it is convenient. More evidence that Belmont is god-like is that in the en!

d of the play the characters are talking about the Greek gods. This is just a little hint as to what Shakespeare intended.

I think that this motif was very interesting. I did not notice it very much until we were asked about it. Then I "saw the light". I saw what Shakespeare had done. This also made me understand why Portia was able to save the day. I had found it a little hard to believe that she was such a great lawyer with no training. I also wondered where that mysterious law had come from.

#14

In The Merchant of Venice one is able to see many different motifs. These motifs are literary devices that Shakespeare used intentionally. They make the play deeper and provide a sort of continuity. This makes the play flow from one scene to another with little difficulty and one does not really notice the breaks between scenes. The motifs also recur throughout the play which gives the reader a sense of knowing what will happen. It could be argued that Shakespeare used the motifs in a way that can be considered as foreshadowing. This is possible because a reader knows what happened in the situation of one motif and therefore if that motif is seen again they will have a sense of the outcome. One motif in this play that is always present is the bond motif. There are many different kinds of bonds in this play. They may be different on the surface, but they are actually very similar.

One Bond in this play is that between Shylock and Antonio. This money bond is the most visible bond in the entire play. Antonio was forced into this bond by his friendship. His friendship to Bassanio could be argued to be his flaw. After all, it is what got him in trouble in the first place and caused him to accept death at Shylock's hand. This bond was weird from the very first moment that Shylock and Antonio began to discuss it. At first Shylock was very angry at Antonio. He gave him a big lecture about how he had been mistreated and then started to think about how much interest he should get. After a little deliberation he decided that he would lend the money, not for interest, but rather for a pound of flesh. Antonio thought that this was a silly thing and signed the bond despite Bassanio's objections. A little side note about this bond is that it appeared to be just a joke but in reality it turned out to be a potentially lethal situation.

Another motif in the play that I alluded to in the previous paragraph is the motif of friendship. The friendship between Bassanio and Antonio was absolute. No one could break it. This absoluteness appeared many times throughout the play. It was the main motivating factor in Antonio's decision to enter into the money bond with Shylock. Another time that it surfaced was when a messenger gave a letter to Bassanio from Antonio. In this letter Antonio said that he forgave Bassanio and erased all of his debts to him. Then it also came to light that Antonio did not care if he died, as long as Bassanio was there to see him pay his debt.

A third bond motif in this play is the one of marriage. This is seen between Bassanio and Portia and Gratiano and Nerissa. Both sets of people are planning to get married but their plans are put on hold when Antonio's letter calls the men away. Before they left though, their future wives gave them each a ring to keep with them forever. The rings were the only real bond between the two couples because they were not yet married when the men left for Antonio's trial. These rings provided the kind of bond that their marriages would have given and gave Shakespeare a great opportunity to add some more comedy later on in the play.

The final bond motif that I would like to discuss is the bond between Portia and her father and Jessica and Shylock. These are both father to daughter bonds, although Portia's father is dead. In both of the bonds the daughters try to abide by what their fathers wanted them to do. Portia tried to abide by her father's casket idea and Jessica tried to obey Shylock's wishes. However, in both of these bonds the daughters ended up betraying their father's wishes. Jessica obviously did this when she ran away with a Christian, Lorenzo. In Portia's case it was a little less obvious and could be interpreted many ways. I think that she did betray her father in the casket choosing business. One reason is because she would have put a bottle of wine on one of the caskets to make one of her suitors pick the wrong casket. The second reason is that I think she helped Bassanio pick the correct casket. When she had music played during his selection process it seemed to have a hidden mess!

age. It told him that the caskets were not what they appeared to be and that he should not judge them by their external appearance. This was clearly an attempt to pick her own husband and I think that she tried to fool herself into thinking that she had fulfilled her father's wishes.

All of these bond motifs appear to be different. However, if you look deeper into the situations it is possible to see a common trend. In each case the bonds are broken in some sense. The rings were given away, the pound of flesh was not taken, and Antonio did not want Bassanio's help in the court room. This fact was not visible to me until I had read the entire play but I am now glad that I have looked deeper into these bonds.

#19

In The Merchant of Venice there are many speeches from which great quotes can be taken. Many of these quotes bear an uncanny resemblance to reality. It is amazing that the lines of a play that was written so long ago could be so profound and applicable to modern day life. The quote for my question is, "All that glisters is not gold; often have you heard that told. . ." In the final packet the word "that" was "it". I found this error when I looked through the play and found the quote. Fortunately this did not take me a long time because I knew the approximate spot that it had been stated. This quote has central importance to the entire play. It most directly applies to the caskets but it also includes other things.

This quote has central importance to the play for many reasons. My first reason is because it is in the midst of one of the major conflicts in the play. The Prince of Morocco read this quote from the scroll inside the gold casket that he had chosen, which was incorrect. The caskets are really the cause of the whole play because they started the chain of events leading to the bond. If Bassanio had not needed the money to court Portia the bond would have never been made. The quote also holds great importance because it alludes to a theme in the play. This is that things are not necessarily what they appear to be. "All that glisters is not gold" tells the reader that gold is not the only thing that matters or that it is the most desirable. It may seem to be the best choice on the outside, but on the inside it contains a person's doom. The second part of the quote is, "often have your heard that told" holds deep meaning also. It can tell the audience that in their culture m!

ost people did choose the thing that was desirable on the surface. This allows one to believe that the Prince would have chosen the wrong one and honestly thought that his reasoning was sound. This also applies to the Prince of Aragon that picked the silver casket thinking that he deserved Portia.

Another part of the play that this quote applies to is in the reality versus appearance motif other than that of the caskets. One example is about the bond between Shylock and Antonio. The quote could be seen as meaning that money is not the only thing that matters, though often it seems that it is the only thing that matters. This could easily describe Shylock and make a reader interpret the story in a certain way. It would make one think that Shylock knows that money is not the only thing that matters and that he is willing to sacrifice it for revenge. Another example of how the quote applies to the reality versus appearance motif is in the case of Jessica and Shylock. In this relationship the quote would mean that respect and obedience is always present, though it may at times

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675.          Merchant of Venice

-The Merchant of Venice-

"Shakespeare's The Merchant of Venice is still relevant today because it deals with issues which still affect us.  Show how two of those issues are discussed in the play."

Throughout the play a distinction is made between how things appear on the outside and how they are in reality, or on the inside.  The issue of appearance versus reality is demonstrated in varied ways, mainly by the use of real-life situations.  The first representation of this is Shylock's generosity with his money and eagerness to make friends with Antonio when he says, "I say, to buy his favour, I extend this friendship," when all he wants is to take a pound of Antonio's flesh and end his life, "If I can catch him once upon the hip, I will feed fat the ancient grudge I bear him."  Shylock pretends to want to be friends with Antonio, but only wants revenge against the Jew-hater.

The choosing of the three caskets is used as the main explanation of appearance versus reality.  The suitor of Portia must choose either a gold, silver or lead casket, where the right choice will allow the suitor to marry her.  The Prince of Morocco, on choosing the beautiful gold casket with the inscription, "Who chooseth me shall gain what many men desire," sees the message, "All that glisters is not gold," and is thus turned away by Portia.  The Prince of Arragon, on choosing the silver casket with, "Who chooseth me shall get as much as he deserves," receives a fool's head, and is told that that is what he deserves.  Bassanio however, on correctly choosing the lead casket with the inscription, "Who chooseth me must give and hazard all he hath," says, "The world is still (constantly) deceived with ornament."  He chooses the lead casket so as not to be fooled by the dull appearance, and receives the beautiful Portia and all her wealth who, in reality, contrasts with the ugly lead.  The two princes, however, were deceived by the ornament of the gold and silver caskets.

Another way that Shakespeare discusses appearance versus reality is with the use of Portia and Nerissa in disguise, plotting to take Bassanio's ring, the former dressed as a Doctor of Law and the latter as a Clerk.  They save Antonio and Bassanio from their problem with Shylock, and Portia (Doctor of Law) asks for Bassanio's ring because she knew he had promised, "When this ring parts from this finger, then parts life from hence."  Bassanio, after some encouragement from Antonio, reluctantly parts with his ring.  When they arrive home, Portia pretends to be angry at Bassanio for losing the ring but then explains what has happened and forgives him.  Bassanio was deceived by appearance of Portia as a Doctor of Law and her apparent good intentions to take the ring as a payment for her services.

The issue of racial discrimination is mainly displayed through Shylock, a Jew who is proud of his religion.  The play was written at a time when there was much fear, distrust and ill-feeling against the Jews, and therefore Shylock experiences much discrimination, chiefly from Antonio.  Jews were banned from most occupations and were there for usurers (lenders of money in exchange for interest on the loan).  This only made Christians hate Jews even more, because usury was a practice looked down upon in those days.

Antonio believes that the only true faith is Christianity, and he constantly tries to convert Shylock to Christianity.  As Shylock conceals his feelings about Antonio, he finally reveals his true feelings to Salerio when talking about the taking of a pound of Antonio's flesh in his bond, "If it will feed nothing else, it will feed my revenge.  He hath disgraced me, and hindered me half a million, laughed at my losses, mocked at my gains, scorned my nation, thwarted my bargains, cooled my friends, heated mine enemies, and what's his reason?  I am a Jew."  Shylock has been abused so much by Antonio that all he wants is revenge against Antonio, "And if you wrong us shall we not revenge?  If we are like you in the rest, we will resemble you in that.  If a Jew wrong a Christian, what is his humility?  Revenge.  If a Christian wrong a Jew, what should his sufferance be by Christian example?  Why revenge.  The villainy you teach me I will execute, and it shall go hard but I will better the instruction."

The discussion of racial discrimination reaches a climax when Shylock says, "Hath not a Jew eyes?  Hath not a Jew hands, organs, dimensions, senses, affections, passions?  Fed with the same food, hurt with the same weapons, subject to the same diseases, healed by the same means, warmed and cooled by the same winter and summer as a Christian is?  If you prick us do we not bleed?  If you tickle us do we not laugh?  If you poison us do we not die?  And if you wrong us shall we not revenge?"  In this, he makes a comparison between Jews, a rejected minority, and Christians, an accepted social class.  He shows that Jews, Christians, and all people are equal.

The issues of appearance versus reality and racial discrimination are surely two issues which are still relevant today.  They are discussed mainly through the characters' interactions with one another throughout the play.  Appearance versus reality is explored when Shylock pretends to be Antonio's friend, with the choosing of the caskets, and when Portia and Nerissa go to court in disguise to help out Antonio and Bassanio.  Racial discrimination is shown in depth with the confrontations of Antonio and Shylock.  Overall 'The Merchant Of Venice' explores both appearance versus reality and racial prejudice, which are two issues that still hold importance in present-day society.

676.          Merlin

We all at one point or another dream.  Imagine you are in another place or a another time, the future maybe, even maybe the past where years, days, centuries, minutes all irrelevant if you have imagination.  I now dream of a time and place were men have such things as bravery and honor.  I now speak of Camolot. The legendary castle wear Merlin the priest, Merlin the magie, and Merlin the wise is supposed to have lived.  I am not the only person to dream this dream, many play writers and actors have shared this wonderful trip through time and space to where we may all  interpret an event as we see fit.  I will now show you who the real Merlin was and whom actors have made him out to be.  I will then draw a parallel between the two times.  I shall also tell you how merlin him self became part of this dream...

Merlin, a man, or just stories to amuse everyone , myths, legends, or tall tails such as Santa Clause or the Easter bunny.  Like the real King Arthur who was (really a 6th century ruler) transported through time to better fit the needs of the populas.  The "transporting"  begins in and around the 15th century.  A man by the name of  Thomas Malory felt the extreme need to give France, his country, a hero(s) in a time of great disappear. He felt it necessary to do this because the feudalist time in which he was living in, was slowly dying.  He thought that if he could show people how many great hero(s) came out of this time period it would revive and flourish once more.  He then turned to history to find such a hero. As needed to remedy the situation he found King Arthur of Britain.  Even though a English man or a Britainian, he was said to be the best ruler to date (1500's.)  Now that King Arthur has been chosen and changed a little to fit in with chivalry, part of feudalism he now needed a teacher.  Researching even further he found a Druid priest by the name of Merlin.

Druidism is and was a religion that delt with nature.  There temple, church, meeting place, what ever you would like to call it, was a grove or thicket.  They made sacrifice of animals and offered wheat, rice, and other grains.  It was believe that Druid people were magical or even demons and monsters of some sort.  Merlin was (as said before) infact a Druid priest. Merlin was a thinker and a very wise man.  It was said that Merlin was the son of a demon, his father was not very popular man so to speak.  He was a count and was not loved by his people for his choise of religion.  It was also said that he was all knowing and all seeing.  For this reason he was choosen  and hand picked to be a part in the Legends of King Arthur.  He was estimated to have lived some time in the 4 or 500's.  So now the whole process of transportation has been explained.

Movies have portrayed Merlin in so many ways that I shall only pick a few to share with you.  The first film that I shall share  and review for you is The Sword in The Stone, a cute and amusing animated story for all ages but never the less it shows a side of Merlin that is not seen any were else.  Yes of course it shows the person who uses magic and all that kind of stuff, but he is a comedian, he helps the young King Arthur learn to be a fair ruler and how also to be a well respected man.  Even though it is a cartoon it is still a little comical about the part.  Merlin uses his magic to turn a bad lady in to a number of silly animals.  The real Merlin did not use magic.  Nor to the best of  any body's knowledge did he turn any body into a number of silly animals.  This shows that as said in the first paragraph some one just made him out to be from there imagination.

Next on the line up is Excaliber.  In this story Merlin is portrayed as a unsung hero.  If it were not for him King Arthur would have lost a war.  He went out on his own battled the evil Morgana sister of the king.  She had put a spell on her son (years ago she tricked Arthur into sleeping with her and bore a son form the event) so that no man could ever hurt him when he was wearing this one suit of armor.  Merlin, since he is all seeing and all knowing found out about this and went to do something about it.  He, well teliporteted  himself to the cave were Morgana and child were living (the day before the battle or war was to take place) and changes the spell and removes another spell Morgana had put on her self to keep herself young.  Also Merlin looks different in this film he is not very old and has very short hair, so he wears a metallic cap that  covers the very top of his head.  Now to show you the differences between the real Merlin and the Merlin in this movie,  first of all Merlin was a humble person and would not go out and fight.  And as said before he did not use magic.

As my last movie comparison I choose to talk about Camolot.  This film is the same film as viewed in class.  In this film Merlin is more what like the real Merlin would have been like.  He trains Arthur to think not fight.  He tells Arthur to "IMAGINE"  he was other things such as animals. For example Merlin says be a hawk, and Arthur becomes a hawk flying through the sky, When Merlin asks "What do you see?"  As an answer Arthur says "I can see everything."  "Can you see camalot?" asked Merlin.  "Yes I can !"  "Can you see the next county?"  Asked Merlin.  "Yes I can! But only the center not the edges." "What dose this mean" asks Merlin?  As a story this comes very very close to being what the real Merlin was like.  Ecept THE REAL MERLIN DID NOT USE MAGIC as said before.

In conclusion I submit to you that there was a Merlin that lived in Camolot and was funny as well as fought a woman named Morgana, as long as movie people can twist the truth.

Actors played a major role of course in the portrayal of the many Merlins.  In The Sword in The Stone  there was alot of people working on Merlin.  He was a cartoon so there was many animators and three different people worked on the voice.  In Excaliber  actor who played the part of Merlin was Nicol Williamson.  I do not know who played the part of Merlin in Camolot that information I did not have access to at this time.

BIBLIOGRAPHY

1. "Merlin"  Encyclopedia America

vol. 18  copy write 1984  pages 726-727

MOVIES(FILMS)

2. Excaleber  (Blockbuster video)

3. The Sword in The Stone (Blockbuster video)

4. Camalot (Blockbuster video)

677.          Metallica Essay

Metallica

Introduction

Metallica was a band that that started out in the garage of one of the

members when they were in high school.  The band went through many changes and

tragedies and found solutions for them and somehow remained playing.  They

started in 1980 as one of the first, if not the first Black/Metal band.  Their

popularity decreased in 1987 and form there they went on to become really

popular later on.

Summary

Metallica started playing in 1980 and are still a band to this day.

They have gone through many changes over the years.  The original members of the

band were James Hetfeild, Lars Ulrich, Dave McGovney, and Dave Mustain.

Hetfeild was the rhythm guitarist and singer.  Lars is a very great drummer.

McGovney was the original bass player.  And Dave Mustain was the original lead

guitarist.  Lars first began playing at the age of 13 when his grandmother

brought him home a cheap set of drums which he pounded in.  He was inspiried and

began to like music after his father took him to a Deep Purple concert.  His

family migrated from Denmark to Newport Beach, California in 1980 to find the

sunny climate to play tennis.  After that he met the band as friends and then

began to play.

Hetfeild went to Downey East Middle School where he started playing in the

auditorium on the stage with friends.  Three years later his mother died of

cancer.  There was a song written in memory of her memory titled "The God that

Failed."  Then he moved to L.A. where he met the band.  Lars knew Kirk but he

already had enough guitars in the band.  Eventually Dave Mustain was kicked out

of the band because he disagreed with everyone.  McGovney followed with him.

Kirk was already playing with a band called Exodus but quit to join Metallica.

And the band acquired bassist Cliff Burton to join.

Cliff was in the group when they made their oldest album called Kill em'

All.  But died in a bus accident on tour.  The band was shook up and didn't play

in concert for years.  Not only did the death of Cliff startle them, but they

also had to acquire a new bass player.  Jason Newstead was chosen of many other

people who tried out for the band.  Those people included Les Claypool of the

band Primus.  Newstead grew up in Niles, Michigan where he and his family raised

horses.  They moved to Kalamazoo then to L.A.  Jason Newstead came from a band

named Flotsam and Jetsam named after a chapter in J.R.R. Tolkien's trilogy Lord

of the Rings.

Metallica has played many concerts, shows, and world tours over the years.

They gained popularity from playing concerts improving their talents.  On tour

they have played with many bands including Van Halen, Danzig, Motorhead, and

Guns and Roses.  They have played all over the world for many purposes.  They

are going on tour headlining Lollapalloza to support their new CD entitled Load

which comes out June 4th.  And they have appeared in Metal Mania a metal many

times.

Opinion

I enjoyed this book because it showed me how Metallica became successful.

They only achieved success through many years of practice and struggling to be

best.  Metallica have overcome many tragedies over the years andcame out on top.

The moral of this book is practice makes perfect because Metallica spent many

years practicing to become as great as they now are.  I like the whole book

because it always seemed so interesting.

678.          Metallica

Introduction

Metallica was a band that that started out in the garage of one of the members when they were in high school.  The band went through many changes and tragedies and found solutions for them and somehow remained playing.  They started in 1980 as one of the first, if not the first Black/Metal band.  Their popularity decreased in 1987 and form there they went on to become really popular later on.

Summary

Metallica started playing in 1980 and are still a band to this day.  They have gone through many changes over the years.  The original members of the band were James Hetfeild, Lars Ulrich, Dave McGovney, and Dave Mustain.  Hetfeild was the rhythm guitarist and singer.  Lars is a very great drummer.  McGovney was the original bass player.  And Dave Mustain was the original lead guitarist.  Lars first began playing at the age of 13 when his grandmother brought him home a cheap set of drums which he pounded in.  He was inspiried and began to like music after his father took him to a Deep Purple concert.  His family migrated from Denmark to Newport Beach, California in 1980 to find the sunny climate to play tennis.  After that he met the band as friends and then began to play.

Hetfeild went to Downey East Middle School where he started playing in the auditorium on the stage with friends.  Three years later his mother died of cancer.  There was a song written in memory of her memory titled "The God that Failed."  Then he moved to L.A. where he met the band.  Lars knew Kirk but he already had enough guitars in the band.  Eventually Dave Mustain was kicked out of the band because he disagreed with everyone.  McGovney followed with him.  Kirk was already playing with a band called Exodus but quit to join Metallica.  And the band acquired bassist Cliff Burton to join.

Cliff  was in the group when they made their oldest album called Kill em' All.  But died in a bus accident on tour.  The band was shook up and didn't play in concert for years.  Not only did the death of Cliff startle them, but they also had to acquire a new bass player.  Jason Newstead was chosen of many other people who tried out for the band.  Those people included Les Claypool of the band Primus.  Newstead grew up in Niles, Michigan where he and his family raised horses.  They moved to Kalamazoo then to L.A.  Jason Newstead came from a band named Flotsam and Jetsam named after a chapter in J.R.R. Tolkien's trilogy Lord of the Rings.

Metallica has played many concerts, shows, and world tours over the years.  They gained popularity from playing concerts improving their talents.  On tour they have played with many bands including Van Halen, Danzig, Motorhead, and Guns and Roses.  They have played all over the world for many purposes.  They are going on tour headlining Lollapalloza to support their new CD entitled Load which comes out June 4th.  And they have appeared in Metal Mania a metal many times.

Opinion

I enjoyed this book because it showed me how Metallica became successful.  They only achieved success through many years of practice and struggling to be best.  Metallica have overcome many tragedies over the years andcame out on top.  The moral of this book is practice makes perfect because Metallica spent many years practicing to become as great as they now are.  I like the whole book because it always seemed so interesting.

679.          Method acting 2

1863-1938, Russian theatrical director, teacher, and actor, whose original name was Constantin Sergeyevich Alekseyev. He was cofounder with Vladimir Nemirovich-Danchenko of the Moscow Art Theater in 1898, which he would remain associated with for remainder of life. He also achieved renown as a director of opera. As a director, he stressed ensemble acting as well as complete coordination of all phases of production. His outstanding productions included many of the plays of Chekhov, in which he tried to strip away rhetorical clich&amp;eacute;s to enter the emotional core and complex psychology of the characters. Stanislavsky stressed the importance of the actor's inner identification with the character and the actor's natural use of body and voice. His training, now termed the Stanislavsky method, or "method" acting, had a vast influence on modern schools of acting. In New York City the Actors' Studio adapted many of his ideas to their use.

Konstantin Stanislavski unequivocally challenged traditional notions of the dramatic process, establishing himself as one of the most pioneering thinkers in modern theatre.

Stanislavski coined phrases such as "stage direction", laid the foundations of modern opera and gave instant renown to the works of such talented writers and playwrights as Maksim Gorki and Anton Chekhov. His process of character development, the "Stanislavski Method", was the catalyst for method acting- arguably the most influential acting system on the modern stage and screen. Such renowned schools of acting and directing as the Group Theatre (1931- 1941) and The Actors Studio (1947-) are a legacy of Stanislavski's pioneering vision.

Like all pioneering thinkers however, Stanislavski stood on the shoulders of giants. Much of the thought and philosophy Stanislavsky applied to the theatre derives from his predecessors. Pushkin, Russia's original literary hero and the father of the native realist tradition, wrote that the goal of the artist is to supply truthful feelings under given circumstances, which Stanislavski adopted as his lifelong artistic motto. - Polyakova, Elena; Stanislavsky .

Stanislavsky was born Konstantin Sergeyevich Alexeyev in Moscow on January 5, 1863, amidst the transition from the feudal serfdom of Czarist Russia under the rule of Peter the Great, to the free enterprise of the Industrial Revolution. More than one hundred years prior, Konstantin's ancestor Alexei Petrov had broken the chains of serfdom that bound the family and gained immediate status and wealth as a merchant. By the time Konstantin was born, the Alexeyev business of gold and silver thread production had made the family name well known throughout the world.

Silver and gold were not the only interests of the Alexeyev family. While Konstantin was still very young, the family organized a theatre group called the Alexeyev Circle. Throughout his ascent to a major role on the stage, Konstantin maintained obligations to his family business, organizing shareholder meetings and keeping the accounts in order. However, his preoccupation with all aspects of theatrical production eventually made him a leading member of his family's theatre group.

Reared by a wealthy and generous father, Konstantin was never short of funding in his early stage performances. Ultimately, in order to escape the stereotype of the prodigal son and to be mindful of the reputation of his family, at the age of 25, Konstantin took the stage name Stanislavski. In the same year he established the Society of Art and Literature as an amateaur company at the Maly Theatre, where he gained experience in ethics, aesthetics and stagecraft. As he progressed independently, Stanislavsky began to further challenge the traditional stage approach. In 1898, in cooperation with Vladimir Nemirovich- Danchenko, Stanislavski founded the Moscow Art Theatre, Russia's first ensemble theatre.

"The program for our undertaking was revolutionary. We protested against the old manner of acting and against theatricality, against artificial pathos and declamation, and against affectation on the stage, and inferior conventional productions and decoration, against the star system which had been a bad affect on the cast, against the whole arrangement of plays and against the poor repertoire of the theatres." - Stanislavski

Using the Moscow Art Theatre as his conduit, Stanislavski developed his own unique system of training wherein actors would research the situation created by the script, break down the text according to their character's motivations and recall their own experiences, thereby causing actions and reactions according to these motivations. The actor would ideally make his motivations for acting identical to those of the character in the script. He could then replay these emotions and experiences in the role of the character in order to achieve a more genuine performance. The 17th Century melodrama Tsar Fyodor was the first production in which these techniques were showcased.

Using this system, Stanislavski succeeded like no producer or director before him in translating the works of such renowned playwrights as Chekov and Gorki, whose writings were aptly suited to his method. With their social consciousness and emphasis on the importance of imagery and theme rather than plot, they were blank canvasses on which Stanislavski could exercise his artful hand.

Stanislavski clearly could not separate the theatre from its social context. He viewed theatre as a medium with great social and educational significance. During the civil unrest leading up to the first Russian revolution in 1905, Stanislavski courageously reflected social issues on the stage. Twelve years later, during the Red October of 1917, Bolshevism had swept through Russia and the Soviet Union was established. In the violence of revolution, Lenin's personal protection saved Stanislavski from being eliminated along with the Czardom. The USSR maintained allegiance to Stanislavski and his socially conscious method of production and his theatre began to produce plays containing Soviet propoganda.

In 1918 Stanislakski established the First Studio as a school for young actors and in his later years wrote two books, My Life in Art and The Actor and His Work. Both have been translated into over 20 languages. Through his earnest professional and educational leadership, Stanislavksi spread his knowledge to numerous understudies, leaving a legacy that cannot be overstated.

The most fundamental principle of Stanislavski's teaching is that the actor must live the life of the character that he is portraying, he must learn to think like the character and behave as the character would, therefore the portrayal is not confined to the performance but will, to some degree, begin to overlap into the actor's own life. This, he asserts, is the only way to achieve total realism and, to reinforce this, the actor must also extend this exercise of imagination to encompass the costumes that he wears, the articles that comprise the set and the props that are used. If there is a mirror on the wall, he must invent a history of where it was bought, by whom and how it has come to be in this particular location, thus completing the elaborate imaginary world which will lend conviction to his performance.

It is therefore necessary for the actor to approach the role from two levels, the external level being the more obvious. The actor should draw on his own experiences, wherever possible, to understand and interpret the emotions and events that the character will experience, and the wider the actor's experience of life then the greater his insight and comprehension will be. Stanislavski's teachings are best defined in the following quotes:

The more an actor has observed and known, the greater his experience the clearer his perception of the inner and outer circumstances of the life in his play and in his part

This work is not done by the intellect alone but by all your creative forces, all the elements of your inner creative state on the stage together with your real life in the sense of the play

Therefore, to follow the teachings of Stanislavski it is necessary for the actor to totally immerse himself, body, soul and mind, in the part that he is playing. A cofounder of the Moscow Art Theater in Russia and the director of Anton Chekhov's most important plays, Stanislavski was also an actor. He was involved in both traditional theater (using stylized, nonrealistic techniques) and the emergence of the modern realistic approach. By closely observing the work of great performers of his day, and by drawing on his on acting experience, Stanislavski identified and described what these gifted performers did naturally and intuitively. From his observations he compiled a series of principles and techniques which today are regarded as fundamental to both the training and the performance of actors and actresses who want to create believable characters on stage.

We might assume that believable acting is simply a matter of being natural; but Stanislavski discovered first of all that acting realistically onstage is extremely artificial and difficult. He wrote:

All of our acts, even the simplest, which are so familiar to us in everyday life,

become strained when we appear behind the footlights before a public of a thousand people. That is why it is necessary to correct ourselves and learn again how to walk, sit, or lie down. It is essential to re-educate ourselves to look and see, on the stage, to listen and to hear.

By observing himself as an actor as well as the other actors with whom he worked, and more especially by studying the great dramatic artists in Russia and abroad, Stanislavski developed an approach to the teaching of acting that became known as the Stanislavski system. The effects of his teaching were felt in America in the 1920 s when Richard Boleslavsky and Maria Ouspenskaya, both alumni of the Moscow Art Theater school, emigrated to America and established The American Laboratory Theater. Stanislavski investigated and charted the acting process that good actors used intuitively. He systematized that process so that it could be studied and developed consciously. He was interested in how to maintain a consistent performance and how to be a conscious human being on stage. The Method is a pragmatic way of working to create both the interior life and the logical behavior of a character, a way that can be taught, practiced, monitored, and corrected.

680.          Method Acting

There are many diverse methods and approaches to acting , each actor uses the

things he has learned and creates his own unique way of playing and interpreting a role.

Using the things he has learned, he can find his own weaknesses and strong points and

therefore creating this method that belongs to him only.  But before the actor can learn his

own method, he must study many other methods to the approach of acting.  There are

many different methods of acting.

One of the many methods is called presentational acting.  When using this

approach, an actor will study his character and 'present' the character by mimicking the

actions this character would make, along with the character's speech, tones, gestures, and

mannerisms.  Sometimes an actor using this method will actually 'feel' the character's

emotions.  An actor must develop this character during the rehearsal's so that he can

reproduce the same effects for the performance and know how to stay focused and remain

in control of the characters actions and knowing what to expect.  This method requires

much attention to voice and movement, the major tools used in this method.

Another method is called representational acting.  In this method, the actor

actually tries to put himself in the character's place, feeling what the character would feel,

and experiencing his thoughts and emotions.   Even though movement is important in this

method, more emphasis is put on the actual feelings and emotions, as though you really

were in this character's place.  Internal portrayal is very important while portraying a

character using this method.

In contrasting the two methods, it comes down to the fact that when using

representational acting, an actor uses the psychological feelings and emotions of the

character; in presentational acting, an actor uses the gestures, words, and mannerisms,

portraying the external characteristics of a role.  Both methods present the truth in each

character, both observations of nature, and both breathe life into a character on stage.

The goals are the same for both methods, that is to make the character become alive on

the stage, to let the audience experience the features of the character and really know who

the character is.  These methods differ only in the way that they make it happen.

Presentational acting mimics what it sees in nature, while representational tries to recreate

what has happened.

While each approach to acting is just as good as the other, many people argue

about which is superior.  Some people say that a person who acts using the presentational

method would be suited better in portraying a period play, while an representational actor

would be better off in a modern play.  Then you find an presentational actor saying that he

can portray a modern character, just as a representational actor says that he can do period

plays.  It seems that there are many opinions surrounding the abilities of the actors of each

method.

An actor will take things that he likes from different methods and discard what he

doesn't like until he can come up with his own system of acting.  While it helps to know

different kinds of techniques, an actor must take much time to study each, for an actor will

become confused by throwing different methods together at once.  An analogy of this

would be it you had a beginning painter and you taught him how to apply paint several

different ways all at one time, there would be an odd mixture of strokes, taking away from

the true idea of the painting.  One must take there time in order to create the perfect

method for themselves.

While the aim of all actors is the same, the approach is different for each actor.

There goal is to put on a performance where the audience will believe the story and

become involved.  This does put on a problem though, unlike other types of artists, actors

cannot just do what they want, they must decide along with the other actors how to put on

the play.  A cast is more like a team, all working for one goal, but each getting there in

they're own way.  If a cast doesn't function as a team, than a performance won't get to the

goal of getting the audience to believe that it is real.

There are many factors that can affect the performance of an actor.  One of these is

the physical aspect of the playhouse.  An actor must adjust to the size of the theater, the

light and how to make his performance as strong in certain conditions.  Another

adjustment is the different styles in the material that an actor uses.  Characters change as

well as the changes in the writing style.  The theater allows a playwright to experiment

with new ways to interpret to the audience the characters that he portrays in his writings.

Drama has changed to and expression of experience, from drama as a story.

Aristotle had a contention that plot is the most important element in drama, however,

most playwrights don't support this as much as they do dialogue and characterization as

the main elements of drama.  The focus of play's have gone from using characters to tell a

story, to trying to reach the inner thoughts, feelings, and fears of each character, to find

out what makes each character tick, what there motivations are, and how to make it clear

to the audience how to understand each one, to see them as people, rather than a pawn in

a pattern of predictable behavior.

Ibsen and Strindberg are considered to have begun the era of modern drama.

They're plays were perceived as 'superb demonstrations of character revelation and

insight.'  There plays were the beginning of a new world.  Many things were going on at

that time, and the characteristics in their play's seemed to have the same feel as the feelings

of the people who were living through that time.  By observing nature, they could find

truth in each character, bringing it to life.

681.          Michael Griefs RENT

The Ironies of True Success

January 21. The time is around 6:45 pm.  Writer, composer Jonathan Larson was sitting in the very last few rows listening as cast he had chosen for his "about to be" Broadway musical, "Rent" went through one of the final dress rehearsals in The New York Theater Workshop. He and the Director of "Rent"Michael Grief began to sing one of the songs form the show when Larson began to feel a pain in his chest. The pain worsened. Larson (being the compulsive worrier and hypochondriac close friends and relatives knew him as) turned to an actor and said,"You better call 911. Think I'm having a heart attack."

Lagon was rushed to the Emergency Room of New York's Cabrini Medical Center. There, doctors gave him an ECG which showed evidence of no heart problems or anything else for that matter. Symptoms included pale and clammy skin shortness of breath.  Larson's best friend, Jonathan Burkhart noted, "You've breath as hard as he was breathing." After a few more test were done, Larson was Diagnosed with food poisoning. the doctor then proceeded to pump his stomach and send him home with a prescription for Toradol, a potent painkiller, in hand.

January 22.  Morning. Jonathan Larson telephones Cabrini Medical to query the results of the tests taken the previous evening for food poisoning. The employee on the other end of the line claimed no results could be found but tried to assure Larson that if any thing serious had been found he would have been notified immediately. The rest of the day, Larson spent being nursed by Eddie Rosenstine.

Evening.  Brian Carmody found his roommate in bed, short of breath and mumbling in a low voice. The only food he could seemingly stomach was Jell-O and some tapioca pudding.

January 23. Afternoon. Jonathan called his father in Albuquerque complaining of chest and lower back pains and a small degree temperature. His father felt it was nothing serious.

Evenening. His condition worsens. The chest pains are again excruciating. He decides to return to the hospital. Carmody again a member of the staff says the hospital could not attain the records form Larson's visit two days earlier. Instead, he is taken by way of cab to St. Vincent's, a closer hospital. When he arrived, Larson rated his pain as being seven out of a possible 10.  A nurse classified his case as "urgent".

After some examination, he was told this was no more than a virus (due to flu-like symptoms) and it would pass.

January 25. It has been a long, hard, nerve-racking day for Larson. He has just returned to his downtown Manhattan apartment on Greenwich Avenue from the final dress rehearsal before the preview of his On-Broadway musical "Rent". Perhaps he was trying to relax with some nice, hot tea, or perhaps it was just to heat up some remedy he had picked up from a stage hand in passing through the cloud of hectic activity which consumed him that day. Larson collapsed there, in front of the stove that day, dead, and was later discovered by Mr. Carmody.  Dead. After six years of obsessive toil and obscurity, dead. One night before his life's dream was to be born into reality. Dead. Before he could witness the utter awe of the sold out audience to the opening night preview! Dead. Before he could see with his eyes what he had watched in his head a million times already.

And what was the final cause of death you might ask? Was it a deadly infection of ecoli? Possibly  a rare virus ?  Or mabey a combination of the two. Like a virus introduced to him through food poisoning. The answer is no. An undeniable no at that. The actual cause of death, aortic aneurysm (a foot long tear in his aorta).

New York State Health Commissioner  stated that it could have been treated with` a surgery which had a survival rate of 80%.

Ironies like these plagued and enchanted Larson's life, almost as if they were part of a great big story the outcome of which, if one could have only read it, could have been easily guessed.

682.          Michael J Fox

Attention getter: He was considered one of The 25 Most intriguing people of the Year in 1998 by People weekly magazine. He was also named Celebrity of the Year 2000 by US weekly magazine on its January 2001 issue. With his boyish good looks he had conquer Hollywood and several women hearts. You might be wondering.... Who in the world is she talking about? Well this person is Michael J Fox, a terrific actor and my favorite one. Purpose Statement: Today I would like to inform you about Michael successive life. Thesis: Michael J Fox, like any other person have had up and downs in his life, he had a very successful acting career since he was 18, so for almost 19 years. But life can be tough sometimes, after top hit TV series and movies, he had to quit acting and producing when he was diagnosed of having Parkinson's disease. Transition to body of speech: So to start out we can go deeply into some aspects of his life. Body: Michael J. Fox was born in June 9, 1961, In Edmonton, Alberta, Canada. As a child he enjoyed writing stories, he taught himself rock & roll guitar, joined a band and drew cartoons, this was stated by Biography magazine on their March 2000 issue. He began acting professionally at age 15, on the Canadian Broadcasting Company, in the television series Leo and me. He enjoyed acting so much that he dropped out of high school and moved to Los Angeles. When he arrived there, he discovered the name Michael Fox was already registered, so he took the middle initial J, and registered himself as actor Michael J Fox. In Los Angeles he found work in the TV series Palmers town USA. He also got a role in the Walt Disney feature film, Midnight Madness. All of this was only the beginning though. What came next for Michael was a role on a new NBC sitcom called Family Ties which was a big success that stayed on air from 1982 to 1989, an impressive 7 years run. He played the role of Alex P. Keaton, the neo-conservative son obsessed with money and politics, amongst a white middle class family, headed by two former hippie parents. The show was a hit around the world and Fox would win three Emmy Awards for his role. It was also during Family Ties that he met and married his wife Tracy Pollen, she played his girlfriend on the show. They have been married for eleven years already and are the parents of a son named Sam and identical twin daughters named Aquinnah and Schuyler. This cute as a button couple was nominated as one of The 25 most romantic couples ever by writer Janet Cawley from Biography magazine on their February 1999 issue. Soon after he began appearing on the show, Michael squeezed time into his schedule to make a new movie Back to the future. The film was a great success and proved to the world that Fox was a viable talent actor. In the words of various admiring critics, he demonstrated an incredible comic sensibility and an infallible charm. He also had enormous success playing comic roles like the one in Teen Wolf and The secret of my success; but Michael wanted to broaden his range and took some dramatic roles like in movies Light of Day, Bright Lights, Big City, Casualties of War. Audience applauded Fox's return to Back to the Future, for sequels II and III in 1989 and 1990. His role in The American President in 1995, earned Michael accolades once again, but it was his ceremonious return to prime time television in the ABC sitcom Spin City, which premiered in 1996, that put Fox back where he belonged. Fox plays the lovably deputy mayor of New York City. This show is a combination of political satire and silly humor. Spin City was a critical success, rating between 17 and 20 million viewers per episode. Everything seemed to be on track with Michael's life, his TV series was a success and he also won several awards thank to it, like: The People's choice award in 1997 The golden globe in 1997,1998 and 1999, he won in the category of best actor in a television series. Also in 1999 he won the GQ Man of the year award. But things were not perfect at all, as they seemed to be. In November 1998 in an interview with People magazine, Michael revealed that he had been secretly battling Parkinson's disease for the past seven years. Parkinson's disease is a slowly progressive deterioration of control over one's voluntary movements. Every movement from swallowing to walking can be involved. Two types of disturbances occur: a tremor or shaking that is characteristic of the disease and a decreased ability to move parts of the body. Because it involves mostly movement, Parkinson's disease is called a motor disorder. It begins so slowly that it may not be identified for months. Then it gradually worsens, involving more and more parts of the body to greater and greater degrees. Despite Spin City's incredible success and a showering of Emmys and Golden Globes awards, Michael announced in early 2000 that he would leave the show, which he also executive produced, to spend time with his family, and to concentrate on raising money and awareness for Parkinson's disease. He founded the MJF Parkinson's Foundation, which was born out of Michael's determination to raise funds for Parkinson's cure. He has also participated in several events to collect funds too.

683.          Michelangel Vinci 927

Michelangelo was great in every aspect of art. "He was celebrated as the greatest artist ever because of his great work in the areas of sculpting, painting, draughtman, architecture, and poetry" (Tazartes 431). He has painted many great paintings and wrote many poems in his life. He is known for being a central figure in the history of art (Tazartes 431). Michelangelo is one of the greatest artist of all time because he was able to change his style to fit the period of time, painting, scupultering, archieturter ability, and his influence in art.

Michelangelo was born on March 6, 1945, in Rome. When Michelangelo was young, his dad, Ludovico Buonarroti, placed him in an art workshop. He was there for about two years. Michelangelo then started to study sculpture at a special school at the Medici Garden. After a short stay in the class, he was invited to stay at the house of Lorenzo De' Medici, a great painter. By the time he turned sixteen years old he had already published two sculptures. As a student in Rome he was called "Universal Genius" (Tazartes 431). His drawing career lasted over seventy years, and he was able to change his style to fit the period of time. Michelangelo was able to do as many as three projects at a time. He was a great sculpturer early in life, and then he learned how to draw and paint. Michelangelo was also a very religious man. He was a Catholic and most of his drawings and paintings resemble his beliefs in his art work.

From 1508 through 1512, Michelangelo's time was occupied by The Sistine Chapel Ceiling. The Pope died in 1513, and then Michelangelo signed a contract with Julius to build a tomb, but it had to be finished within seven years (Tazartes 436). However, Michelangelo's attention was not on the tomb exclusively. After Leo X's election Michelangelo was hired to refurbish the facade  on the Papel Chapel in Castel Sant'Angelo, Rome. Between 1514 and 1521 he signed several contracts to sculpture and paint art. Another contract was signed with Julius to build a smaller Julian Monument, and it was drawn up in 1516 (Tazartes 436). Many people think that Julian's Tomb was not Michelangelo's best work, but this only the media's idea about his work (Hirst 98).

Michelangelo was also a great painter. He produced a few easel paintings. His ambition was truly seen in his paintings (Hartt 19). Michelangelo was painting pictures  early in the 16th century. During that time he was making some cartoons, but very few were published. "One of his cartoons, Battle of Cascina, was highly influential, but the cartoon somehow disappeared" (Tazartes 442). The Sistine Ceiling is one of Michelangelo's greatest paintings. It is probably his most well known piece of art. It is difficult to understand the importance of the Freccoes, paintings on glass, on The Sistine Chapel (Tazartes 443). The Pope asked Michelangelo to redo the ceiling because the Pope thought that the gold background with blue stars where lame (Tazartes 443). Michelangelo had many drawings to pick  from, but he decided to go with the twelve Apostles design. Some of Michelangelo's late work was also really good, like The Last Judgment. Gilio Da Fabiano didn't like Michelangelo, so he tried to destroy his reputation by saying that Michelangelo's painting was no good, but according to most, it was one of Michelangelo's greatest painting (Hartt 29). In 1534 Michelangelo was picked to paint The Altar of The Sistine Chapel (Tazartes 447). "The painting was still given a bad reputation by Gilio Da Fabiano" (Hartt 30).

Michelangelo was also able to draw with the best of them. Most people use their drawing ability to get an education, but Michelangelo used drawing as a way to express his feelings (Tazartes 449). Many of Michelangelo's drawings became collector items during the 1800's hundreds, but most people didn't accept the drawings. Michelangelo gave his drawings as gifts during special holidays (Tazartes 450). During the 20th century many people started to accepted his drawings.

Michelangelo was also an architect. One great piece he did was for the Medici Family. It was a miniature model  for Leo X's Chapel at Castel Sant'Andelo, Rome. It looked like Julius tomb, but it didn't have that much sculpturing work. "The miniature model  for Leo X's Chapel at Castel Sant'Andelo, Rome took him a long time to complete, because there was some many details which need to be perfectly placed" (Tazartes 449).

"Michelangelo is probably the greatest figure in art" (Tazartes 431). Michelangelo was able to do some many things at once which influenced many people, and those peopledidn't realize how great Michelangelo's art was until his death. Many people think Michelangelo was sent by God to paint, draw, and sculpture. Michelangelo  became a very powerful person during his lifetime. He was great friends with most of the kings and queens in most of the countries (Tazartes 455). Michelangelo  didn't leave any teaching notes for any of his followers.

Michelangelo  is one of the most talented artists ever, and he was one of the creators of the Roman High Renaissance with Leonardo da Vinci. Michelangelo affected the lives of many people. Michelangelo drawings, paintings, sculpturing, and architecture work is still very popular in today's society. Michelangelo will still be the most influential artist leading into the 21st century.

Work Cited

Harrt, Frederick. Michelangelo.   New Haven:  Harry Abrams, 1984.

Hirst, Michael.  Michelangelo and His Drawings.  New Haven: Yale, 1992.

Tazartes, Maurizia. The Dictionary of Art. Vol. 29.  New York: Grove, 1996.

684.          Michelangelo 2454

Michelangelo showing his religion

Michelangelo painted frescoes on the ceiling of the Sistine Chapel, and made a sculptor of David.  Both the painting and the sculptor point to the great deal knowledge Michelangelo has of the Bible. On the Sistine Chapel's ceiling he painted scenes from the book of Genesis, and David the person comes from the first Book of Samuel.  Michelangelo has background with the Christian Church and did many sculptures and painting for the church.  The religious influence of the church could not be avoid by Michelangelo.  He had been introduced to it very early in his life.

Sistine Chapel's ceiling was a very religious painting job done by Michelangelo.  The Sistine's ceiling shows Michelangelo's knowledge of Bible events.  It has Prophets and Sibyls painted on it, which are very religious figures.  It shows the beginning of time to the Flood with Noah's Great Ark.

The sculpture of David was done for Saint Peters Cathedral.  It gave new meaning to life for the people of Florence.  David was not only thought of as a Messiah by the Old Testament Prophets, but also by the people of Florence.  He brought hope as a person and a statue.

Michelangelo not only showed that religion was important to him through his works, but also immortalized part of the Bible.

Michelangelo showing his religion

The Sistine Chapel is one of the most visited places in the world, and the Colossal David is one of the most well-known sculptors in the world.  These two great works of art affect whatever people look at them.  Without knowing it people get a brush of religion.  Michelangelo shows his view of religion to  people even after he has died.

Michelangelo lived a life of art.  From the day he was born to the day he died he lived art.  Michelangelo was one of, if not the best sculptor and painter ever to touch foot on this earth. He any painter made a "shining" in religious art it was Michelangelo.

The Sistine Chapel is located in the Vatican City.  This is where Saint Peter's  Basilica was built.  The Sistine Chapel was a private room for the Pope.  Pope Julius II asked Michelangelo to paint on the ceiling.  He almost turned it down because he thought of himself as a sculptor not a painter.  He took the painting job on to prove to people that he could paint even though he did not like to do it.

Through the works of the Sistine Chapel's ceiling and the statue David, Michelangelo immortalized his Christian religion.

Background: Michelangelo

Michelangelo (Figure 1) was born on March 6, 1475 in a town called Caprese, a region of Tuscany, near Florence.  Michelangelo's father was Lodovico Buonarroti Simon, and his mother Francesca Miniato del Sera. Michelangelo's mother decided to send the baby Michelangelo away to be looked after for a while by a stonecutters wife, because his dad didn't have a job and his family  life was difficult.  "Michelangelo said his love for stone came from the milk of stonecutters wife who nursed him as a baby"(Richmond pg. 24).  Michelangelo wanted to be an artist but his father did not agree.  When Michelangelo was seven he was sent to a basic school, he was always sneaking off and drawing something.  After many long arguments with his father, Michelangelo finally convinced him that sculpturing and block carving are different.  Michelangelo was then allowed to study the arts. Michelangelo's father put him in the workshop of the painter Domenico Girlandaio.  After two years Michelangelo studied at a sculpture school in the Medici gardens.  He wanted to join a bottega, which is a workshop where young men could learn art with masters.  At age 13 he was allowed to join, and shortly thereafter was invited into the household of Loreczo de' Medici, the Magnificent.  Because Michelangelo was so good at sculpting, a fellow student, Pietro Torrigiano, got jealous and punched Michelangelo in the nose , giving him a prize fighters nose that makes him so recognizable in his portraits.

When Michelangelo's talent became known, he no longer paid for the lessons, instead he was paid.  "Michelangelo produced at least two relief sculptures by the time he was sixteen years old, the battle of the features and the Madonna of the stairs"(Gilbert  pg.68).  This showed that Michelangelo had achieved a personal style at a very early age.  Most sculptors have not finished learning about style, let alone have their own style by the age of sixteen.  Michelangelo died on February 18, 1564 at almost 90 years old,  he was hard at work on a statue.

Background: Sistine Chapel Ceiling

In 1508 Michelangelo took on the ceiling of the Sistine Chapel (Figure 2) after Julius offered it to him.  Michelangelo was annoyed, since he was a sculptor primarily. One reason it was annoying was "... ceilings in churches and chapels are minor compared to the walls, which in this instance had been frescoed thirty years before by Botticelli, Ghirlandaio, and other distinguished painters"(Gilbert)  Ceiling normally did not show scenes, but only a single feature or ornament. To make his work more eloquent Michelangelo got permission to paint scenes on the ceiling as well as single figures. Of course they are awkward to see, but the power and success of the work was so great that for centuries this unreasonable scheme of painting scenes on the ceiling was followed in other buildings without special thought. He had to unmanageably stand on the scaffolding with his head thrown back on his shoulders.

"Michelangelo divided up the area with a very original framing system in order to organize the large scenes, the large single figures retained from the first proposals, and a host of smaller representations."(Gilbert pg. 90)  He choose nine scenes from the Book of Genesis- three of the creation of the world, three of Adam and Eve, and three of Noah-"... they were inevitable choices, because scenes of Moses had been painted on the walls, and the natural narrative sequence is downward."  The twelve large figures are prophets and sibyls- sibyls being women appearing in various pagan mythologies, such as the Delphis Oracle.  Michelangelo started painting at the end of his narrative, with the Noah stories, and the adjacent prophets and sibyls, then moving with both scenes and figures toward the other end.  It is surprisingly little noticed that the first seven prophets and sibyls were painted in one size and the last five in a larger size.  All fit nicely into their painted frames, and the inconspicuousness of the change in size is a token of the subtlety of the frames.  The change itself has a good artistic reason, which is that the scenes first painted, of Noah and Eve, contain quite a few figures, while those painted later, of god creating the world and man, contain only one or two, they needed to be larger in order to fill the space which was given to him from the framing system.   "The point where the scale of the figures changes is also a point where, it seems, he took a rest for several months"(Levy pg.74).  The break did not affect the splendid painting on the ceiling.

Religion on the Sistine Chapel Ceiling

The religion aspect of the Sistine chapel is overwhelming.  It pours out of every crack, from painted over frescoes to sculptures.  On the ceiling ,as mentioned above, is painted three scenes of the creation of the world, three scenes of Adam and Eve, and three scenes of Noah and the Flood, along with scared sibyls and prophets.  The sibyls and prophets come from the pagan religion which Michelangelo was introduced to by one of his early teachers.  The sibyls were interpreted as having made prophesies similar to those of the Old Testament prophets.

The scenes on the ceiling come from the book of Genesis, which comes from the Bible.  Michelangelo was chosen to paint the Sistine Chapel's ceiling but he got to pick what he painted, with the approval of the Pope of course.  He chose scenes from both the Pagan religion and the Bible,  which makes a religious influence evident.  Michelangelo was knowlegdable of the Bible, without having knowledge of the bible how could he have known about the specific happenings.

Background: David

David (Figure 3) was born in 1040 B.C. and became King of Israel.  He first distinguished himself by slaying Goliath. Goliath was a giant born in Gath who Challenged the army of Israel.  He was Six cobils and a span tall, which is about 11 feet.  David was taken into Saul's household, the king of Israel.  There he became too popular for his own good and had to flee from Saul's jealously.  After the death of Saul's he was elected king of Judah and reigned for seven and one half years in Hebien.  When Ishbosheth, the king after Saul, died, David was chosen by all Israel as king.  He conquered Jerusalem and made it the political and religious center of his kingdom.  To the Old Testament prophets David became a type of Messiah.

The story of David and Goliath comes from the Bible from  Book one of Samuel Chapter 17.  In verse 46 of that Book David said to Goliath:

This day will the Lord deliver thee into mine land; and I will smite thee,  and take thine head from thee; and I will give the carcasses of the host of the Philistines this day unto the fouls of the air, and to the wild beasts of the earth; that all the earth may know thattheir is a God in Israel.

The Cathedral asked Michelangelo to sculpted a Colossal David . Michelangelo accepted the offer and guaranteed to complete a Colossal David for the Cathedral in 2 years.  Around the chunk of marble he obtained for this feat he built a shed, which was locked at all times.  "He did not launch immediately into the stone as legend had it, making chips fly off violently as he struggled to set free the image he saw within"(Tolnay pg. 41).  For many weeks he examined and measured his material to see what pose it could accommodate.  He made sketches of possible positions, and carefully detailed drawings from models for the parts of the figure.  He tested out his image in wax on a small scale.  "Then, and only then did he pick up a point and a mallet to make the first rough spilters fly clattering to the floor"(Tolnay pg. 42). Although it occupied him nearly three years to complete,  it was worth the wait for the people living in Florence.  "Michelangelo phrased his first titan in terms of a civic guardian, symbol of righteousness.  None of his later masterpieces so profoundly affected his fellow citizens"(Gilbert pg.82).  The author Gilbert writes:

In the precision of its anatomy one can recognize the scientific spirit of investigation of the Florentines; in the forms, which are full of strength, and in the noble, proud face, one finds the heroic concept of man as a creature who is free and master of his own destiny(page 85).

Technically this statue marked a change in Michelangelo's development.  In a single work he achieved the difficult transition from normal scale to the colossal without a flaw, setting back the chin slightly so that it would not cut off too much of the other features from the spectator's view, building out the nose and forehead.

Religion in David

David comes straight from the Bible.  In the following lines, from Book one  of Samuel, Chapter 17, verses 49 through 51, it tells how David came to slay the giant Goliath:

49And David put his hand in his bag, and took thence a stone and slang it, and smote the Philistine in his forehead, that the stone sunk into his forehead; and he fell upon his face to the earth

50So David prevailed over the Philistine with a sling and with a stone, and smote the philistine, and slew him; but there was no sword in the hand of David.

51Therefore David ran, and stood upon the Philistine, and took his sword, and drew it out of the sheath therefor, and slew him, and out off his head  therewith .  And when the Philistines saw their champion was dead, they fled.

Religion in David is undeniable.  He is a part of the Bible therefore a part of religion.  A religion which Michelangelo learned about since he was an infant with the stonecutter's family.  David was sculpted having the look of fear, as if the sculptor knew what David was going through at that exact point in the battle with Goliath.  The religion Michelangelo shows through David is immense.

Conclusion

Both the painting of the Sistine Chapel Ceiling and the sculptor of David reflect the knowledge that Michelangelo has of Pagan religion, but mostly of the Bible.

Clifton Harby Levy writes:

Religion was the supreme interest of the leaders in human thought during this century, when the Church played so large a part in the destiny of nations, and very naturally any and every artist who felt the pulse of his time was impelled to prove his power by the skill with which he presented sacred subjects.  Art was religious because the people were religious...(page xi).

In other words, art could make or break a nation.  Michelangelo was trying to make Italy, by giving them the best religious art you could find.  In a way the art helped the people survive, fight, and showed them what they could believe in to get away from the agony of living a life of torment.  These works illustrated points from the Bible in such a magnificent manner, that they have changed life from the day they were put on display to the present.  Religion was, is, and always will be a powerful thing.

Works Cited

Gilbert, Creighton.  Michelangelo On and Off the Sistine Ceiling.  New York:  George Braziller,  1994.

Levy,  Clifton Harby.  The Bible in Art.  New York:  Covici Friede, 1936.

Richmond, Robin.  Introducing Michelangelo.  New York:  Walker, 1984.

Salvini, Roberto.  Michelangelo.  Connecticut:  Masterworks Press, 1976.

Tolnay, Charles de.  Michelangelo Sculptor-Painter-Architect.  London:  Princeton University Press,  1975.

Works Consulted

Bellosi, Luciano.  Michelangelo: Painting.  New York:  Bellview, 1946.

Buonarroti, Michelangelo.   Michelangelo, the painter.  Italy:  Harry N. Abrams, Inc.,  1964

Chase, Alice Elizabeth.  Famous artists of the past.  New York :  Platt & Munk,  1964.

Coughlan, Robert.  The world of Michelangelo, 1475-1564. Italy:  Time, inc.,  1966

Day, Thomas.  Where have you gone, Michelangelo? : the loss of soul in Catholic culture.  New York : Crossroad, 1993.

De Vecchi, Pierluigi.  Michelangelo.  New York : H. Holt, 1992.

Rasponi, Simonetta.  Michelangelo.  Italy:  Avenel Books, 1978.

Ripley, Elizabeth Blake. Michelangelo : a biography.   New York, Oxford University Press, 1953.

685.          Michelangelo Accomplishments 699

The accomplishments of Michelangelo and why he is truly one of the greatest artists of all time good attention to detail and argument

Eng. 102

Mark Hodgkins

Spring 1997

pp. 1

Divine Status

Imagine you are in a museum and you notice a sizable crowd around a corner

across the room. In bewilderment, you walk over and begin to make way amidst the

people.  As you shuffle closer to the center of attention, you become aware they are

admiring a statue, a very large statue, towering above the thickness of the crowd. Still

unsatisfied and unable to recognize the work of art, you impatiently proceed toward the

front. You finally approach a rope enclosing the base of the sculpture. A colossal figure

of fourteen feet stands before you.  It immediately absorbs all of your attention.  Your

hands fall from your hips, your jaw drops open, and your head tilts back as your eyes inch

their way to the top. The background seems to turn black and the crowd fades into the

distance while your full attention is devoted to it, or rather to him. You are overtaken by

curiosity and you want to gently glide your fingers over its fleshy surface to make sure it is

really carved of stone. Indeed it is.  It is the work of Michelangelo Buonarroti, the greatest

artist who ever lived.

He was a sculptor, painter, poet, architect and engineer.  His work defined the

High Renassance Era and superceded any work produced during the sixteenth century.

His awesomely  painted figures in the Sistine Chapel and many architectural designs and

sculptures influenced many creators for three hundred years following his death.

Michelangelo began creating at a very early age.  By the time he was sixteen he

had already produced two relief sculptures.  By age twenty-five he proved not only had he

surpassed all modern artists but also the Greeks and the Romans with his statue of David.

Unlike artists before him, Michelangelo represents The Old Testament hero before the

comfrontation with Goliath, not after.  He makes the viewer aware of  tension in reserve

by the posture of the subject and the stern facial expression.  The ruggedness of the

slightly oversized hands and feet add to the statues sense of power.  The attention to detail

in the smoothly carved veins and muscles add even more to the illusion of action to come.

Just one year later he was commissioned by Pope Julius II to undertake a project

so great that the results yeilded an unsurpassed achievement of a single artist of all time.

Only Michelangelo could have possibly achieved such unprecedented work.  It is the

paintings on the ceiling of the Sistine Chapel.  He overcame many difficulties to complete

the task: the ceiling was seventy feet high; the paintings were large in scale; and he had to

work lying on his back on scaffolding for many years. Although he considered himself not

a painter, he produced some of the finest pictorial images ever devised.  It consists of nine

scenes from the Book of Genesis surrounded by images of prophets on marble thrones.

These awesome, mighty images, demonstrates Michelangelo's masterly understanding of

human anatomy and movement, changed the course of painting in the West.

Later in his life Michelangelo devoted his attention more toward architecture and

completed the plan of  St. Peter's, the Vatican, originally designed by the arhitect

Donato Bramante.  It became Michelangelo's most notable masterpeices as an architect.

With major modifications of the original plan he supervised and created a structure of

monumental proportions.  His innovative design for the enormous ribbed dome of St.

Peter's became the symbol of authority and the model, for domes all over the

Western world.  The majority of state capitol buildings in the U.S. including the capitol in

Washington, D.C., are prime examples of the tremendous influence he exerted.

Throughout his lifetime, Michelangelo was an intimate of princes, popes, cardinals,

painters, and poets.  He was widely awarded the epithet "divine" because of his

extraordinary accomplishments.  He expressed his view of the world through his art

and impressed many generations by his treatment of the human figure and architectural

talents.  He was truly the greatest artist the world has ever known.

686.          Michelangelo Bounarroti 1355

Michelangelo Bounarroti is considered one of the most talented creators in the history of art.  As a sculptor, painter, architect, and poet, he exerted a tremendous influence on his contemporaries and on the subsequent art world. His works are well know and easily recognizable. His life and works are still an inspiration to artist everywhere.

&lt;Tab/&gt;Michelangelo was born March 6, 1475, in the small village of Caprese, in Florence. His father, Ludovico Buonarroti, was a Florentine official with connections to the ruling Medici family. At age 13, Michelangelo was apprenticed to painter Domenico Ghirlandio for two years. Shortly thereafter, while studying at the sculpture school in the Medici gardens and was invited into the household of Lorenzo de' Medici the Magnificent, leader of Florence at the time.

&lt;Tab/&gt;While residing with the Medicis, Michelangelo had an opportunity to interact with the younger Medicis, two of whom later became popes (Leo X and Clement VII). These popes later commissioned him to do work. He produced at least two relief sculptures by the time he was 16 years old, (the Battle of the Centaurs and the Madonna of the Stairs), showing tremendous personal style early on. When Lorenzo died in 1492, the Medici family was expelled from Florence. Michelangelo fled Florence, and went to Bologna, there he continued to sculpt at the commission of local churches.

&lt;Tab/&gt;Four years later, in 1496, Michelangelo moved to Rome, where he was able to study many newly unearthed classical statues and ruins. He soon produced his first large scale sculpture; bigger than life Bacchus, it is one of the few secular works made by the artist, and depicts the Roman god of  wine with a satyr. Shortly after the Bacchus, in 1500, at age 25, Michelangelo completed his of three Pietas. The Pieta` is one of his most famous works and is the only work he ever signed. The Pieta` depicts the Virgin Mary holding the dead body of her son, Jesus Christ, on her lap.  The detail in both figures is tremendous. Because artists of the time were subject to the moral standing of the church they were unable to study living human form. Michelangelo circumvented this by exhuming freshly dead corpses to study. It is speculated that this is one of the reasons he was able to realistically capture the lifeless body of Jesus.&lt;Tab/&gt;&lt;Tab/&gt;Back in Florence, Michelangelo began work on the fourteen and a half foot tall David. Completed in 1504, the Old Testament hero is depicted as an agile young nude, both muscular and alert, looking off into the distance as if sizing up the enemy, Goliath. The intensity of David's facial expression, called "terribilita`," is an often used feature characteristic of many of the artist's sculptures and paintings. David became the symbol of Florence and was placed in the Piazza della Signoria, in front of the town hall.  With David, Michelangelo proved to his contemporaries that he surpassed both ancient and modern artists, because he was able to infuse formal beauty with powerful expressiveness and meaning. While still occupied with David, Michelangelo was given an opportunity to demonstrate his ability as a painter with the commission of a mural, the Battle of Cascina, where only sketches have survived, because many painters have worked over the mural distorting the original image.

&lt;Tab/&gt;Michelangelo was recalled to Rome by Pope Julius II in 1505 for two commissions.  The most important was for the frescoes of the Sistine Chapel ceiling.  Between 1508 and 1512 Michelangelo worked high above the chapel floor, lying on his back on scaffolding, creating some of the finest pictorial images of all time. On the vault of the papal chapel, he devised an intricate system of decoration that included nine scenes from the Book of Genesis. These images are surrounded by alternating images of prophets on marble thrones, Old Testament subjects and ancestors of Christ. In preparation of this commission, Michelangelo drew numerous figure studies and sketches, devising scores of figure types and poses. These awe inspiring images demonstrate Michelangelo's mastery and understanding of human anatomy and movement; the ceiling of the Sistine Chapel changed the course of painting in the West. &lt;Tab/&gt;&lt;Tab/&gt;&lt;Tab/&gt;&lt;Tab/&gt;In 1510 Michelangelo started to sculpt his "slave" series.  This series offers the most insight into Michelangelo's approach to carving; he took the position that the finished sculpture was locked inside the block of stone and by removing the excess stone the form was released. It was frequently the case with his sculptures that Michelangelo left the works unfinished, because he either was satisfied with them as is or he no longer planned to use them; this gave the "slaves" an eerie feel of entrapment.

&lt;Tab/&gt;Michelangelo's first architecture project  came to fruition in 1520, when he designed the Laurentian Library and its entrance hall, although. Michelangelo made it a point to contradict the architectural standards of the day. Instead of being obedient to classical Greek and Roman practices, he used columns, pediments, and brackets for personal and expressive purpose. He injected the same energy into his buildings that he is in his sculptures and paintings. From 1519-1534, Michelangelo lived and worked in Florence. He was also working on a commission to design tombs for the Medici family at this time.

&lt;Tab/&gt;In 1534 Michelangelo left Florence for the last time and returned to Rome. From 1534 to 1541, he worked on The Last Judgment, for the alter wall of the Sistine Chapel.  It is the largest fresco of the Renaissance and depicts an apocalyptic Day of Judgment. Christ, with a bolt of lighting, separates the saved, ascending into heaven, from the damned falling to the ground and being sucked into hell. It has been noted that some of the men that are portrayed as damned to hell can be recognized as high-ranking church officials at the time. Michelangelo even painted his own image into the flayed skin of St Bartholomew. There are over 400 figures in The Last Judgment, all of them nude, a decade later the cultural climate became conservative and another painter was commissioned to conceal their nakedness.

&lt;Tab/&gt;After the completion of The Last Judgment Michelangelo began to focus his efforts toward architecture; in 1538/39 plans were under way for the remodeling of the buildings surrounding the Campidoglio (the Capitol), the civic and political heart of Rome. Although Michelangelo's plan was not started until the 1550's and not completed until the 17th century, he designed the Campidoglio in the shape of an oval, with a bronze equestrian statue of the emperor Marcus Aurelius in its center. Michelangelo's crowing achievement in architecture is the cupola

on the top of St. Peter's Basilica.  In 1546 Michelangelo was made chief architect during the basilica's construction. In addition to the dome above the alter, Michelangelo also designed the slanted, staircase that spirals up along the perimeter of the dome and leads to the top of the cupola.&lt;Tab/&gt; The dome became a symbol of authority, as well as a model, for other domes in the Western world, including the Capitol Building in Washington D.C.  Most of Michelangelo's original designs and structures can still be viewed today, with little or no alteration; they continue to inspire architects because of their combination of originality and functionality.

&lt;Tab/&gt;In addition to being a master painter and architect, Michelangelo was also a poet. Neither easy to get along with nor understand, he expressed his view of himself and the world directly in his poetry, more so than in his other arts.  Most of his poems deal with art and the hardships he underwent, or with philosophy and personal relations. Like his sculpture and paintings his poetry presented a realistic view of Michelangelo's life and surroundings.

&lt;Tab/&gt;During his long lifetime, (89 years) Michelangelo was an intimate of princes and popes, as well as cardinals, painters and poets. His work is still studied and admired world-wide. Because he worked in different mediums and almost all of this work was commissioned, Michelangelo's work has always been on public display, drawing crowds and admirers.  His influence over modern art, architecture, and sculpture can still be observed today.  All of these things make Michelangelo a true Renaissance man.

&lt;Tab/&gt;

&lt;Tab/&gt;

687.          MILES DAVIS

MILES DAVIS

This is my report on Miles Davis that I have written for band class. When I first started I didn't even have a clue who Miles Davis was. But for the past week I have been working on this report I have began to realize the amazing life that this famous musician has lived. So I hope you learn as much as I did on this wonderful trumpeter.

Even in the beginning he was already miles ahead. It's very evident that Miles knew and lived by that old axiom if it's named, then it's outmoded. Miles Dewey Davis was born May 25, 1926 in Alton, Illinois and grew up in East St. Louis. Miles collected records and for his 13th birthday was given his first trumpet. By age 16, Miles was playing professionally and received his first real taste of what playing jazz was like when Billy Eckstine's band was traveling through and needed to replace a sick horn player. At that time, the band employed Diz and Bird and for two weeks Miles soaked it up!

Undoubtedly, the fire had been ignited. After high school, Miles was off to study music and enrolled in Juilliard in September 1944. Practicing his ass off every day and feeding his mind every night Miles' sound was taking shape. As a sideman, Miles recorded his first recording in New York with singer "Rubberleggs" Williams and later recorded "Now,s The Time" & "Ko-Ko" in Parker's quintet. Miles Davis was known to the general public primarily as a trumpet player. However, in the world of music he had a great deal of influence not only as a innovative bandleader but also as a composer. His music and style was important in the development of improvisational techniques incorporating modes rather than standard chord changes. Miles experiments with modal playing reached its apotheosis in 1959 with his recording of Kind Of Blue.

Brought up in the Bebop tradition and taught under the auspice of Bird and others, Miles was now ready to lead. After a few solo records, Miles transformed jazz into it's next phase with his BIRTH OF THE COOL sessions, which were recorded 1949-50. These sessions took Bebop, with it's fast running styled chords, which changed on every beat, to a more modal concept and chords that changed every other measure, like in the tune "Dig". As a experiment, Miles formed a nine piece band, with Mulligan, Evans and Lewis as arrangers and incorporating Gunther Schuller on French Horn. This made the band have a lighter and more relaxing sound. Miles himself would frequently use the flugelhorn and muted trumpet. This sound seemed natural to Miles' tone. Instantly identifiable, Miles' tone had rich middle register and/or cooing, crooning, muted or mewling, fierce as though shredding complacency or tender as a man treading on eggshells. Very contradictory to Miles' temperament, this sound was so gentle and simple it rang of a secret side of Miles. Davis' most radical veer from jazz tradition came in the late '60s and early '70s when, under the intoxicating influence of such artists as Jimi Hendrix and Sly Stone, Davis ushered in the age of fusion with a steamy electric concoction of bubbling funk, explosive rock and abrasive jazz. The music ruffled the feathers of jazz purists who were unwilling to accept Davis' vision for the ever-evolving genre. However, rock fans were blown away. The trumpeter's 1970 fusion masterwork, Bitches Brew, sold over 4000,000 copies in a year, making it the biggest selling jazz album in history.

Even though Davis died Sept. 28, 1991, the trumpeting jazz titan continues to impact the contemporary music world. In 1962, Davis was elected by the Readers into the Down Beat Hall of Fame.

688.          mind body weekness

The Mind, Music, and Behavior

abstract

The main purpose of the paper is to investigate and present the relationship between the mind, music, and human behavior. For this purpose, research is presented on previous works and studies that link music with the mind. Based on this research, music increases neurotransmitter levels. Soft or mellow music has a tendency to promote tranquillity, while music with tempo sometimes distracts. Human memories can be cued by music, and music can promote improved learning.

The brain is a two and a quarter pound piece of living organic tissue that controls the human nervous system. Music is a collection of sound waves that propagate through the air, and has varying frequencies and tones following a discernible order. Yet we all recognize the significance of the brain beyond its physical function. Our minds are the essence of what we are. The brain enigmatically stores memories, and lets people experience such things as emotion, sensations, and thoughts. In the same sense, music is more than just a collection of vibrations. This leads to the question of how does music affect the mind, and in addition, how does music affect human behavior? The reader might ask why such a question should be relevant. If more is known about the psychological and neurophysiological effects of music on the human mind, then the possibilities of this knowledge are unbounded. Music can be used to treat social and behavioral problems in people with disabilities. The use of music in the classroom might enhance or weaken a student's work characteristics. Therefore, whether the influence of music is positive or negative, much needs to be explored about the link between the mind and music.

Physiologically, the brain receives information about sound waves from the ear through the auditory nerve. This information is then processed by the brain and analyzed for the juxtaposition of melody and rhythm. The mixture of melody and rhythm is what we commonly refer to as music. However, our minds interpret this auditory information as more than just sound signals; somehow, we are able to differentiate between certain types of music, and develop preferences for these different types. Yet, what are the ways in which the effects of music manifest themselves?

First, there are particular biochemical responses in the human body to music. Research shows that college students, when listening to music, have more galvanic skin response peaks, as opposed to when they were not listening to music. This research also indicates a significant decrease of norepinephrine levels in students while they listen to "preferred" music. Norepinephrine is a neurotransmitter that arbitrates chemical communication in the sympathetic nervous system of the human body. The release of this neurotransmitter, as a consequence of a function of the brain, results in an increased heart rate and heightened blood pressure. Therefore, the decrease of norepinephrine in these college students results in a more "relaxed" state. This could suggest that favored or pleasant music somehow affects the mind, resulting in the relaxing of the body. Another research project, undertaken at the Tokyo Institute of Psychiatry, focuses on the effects of music on the mind using electroencephalograms (EEG). An electroencephalograph is a medical instrument that is capable of showing the electrical activity of the brain by measuring electrical potentials on the scalp. In this experiment, volunteers were exposed to silence, music, white noise (simulated hiss), and then silence. The result of this experiment coincides with the previous findings. The volunteers all reported feeling a calming sensation. However, the researches did not attribute the lowered tension to reduced neurotransmitter levels. While listening to music, "many of the subjects reported that they felt pleasantly relaxed or comfortable... Music may evoke more organized mental activities which result in subjectively comfortable feelings." The white noise in the experiment produced an even greater effect; the volunteers were so relaxed that many felt drowsy and soporific. This sleepy effect can be explained by the monotonous characteristics of white noise, in contrast to the variations in tone and melody of normal music. Furthermore, the researchers found, based on the EEGs, that while listening to music, the volunteers maintained a higher consciousness than when they were exposed to silence or white noise. What this experiment shows is that there is a change in the mental state of people while listening to music; that is, music has certain psychophysiological effects on humans.

Along with these psychophysiological effects, music has an impact on memory as well. In one experiment, words were presented to test subjects, while either classical music, jazz music, or no music played in the background. When the test subjects were asked to repeat the words a few days later, either the same music or a different background was present. The researcher noticed a "facilitative effect of providing the same [musical] context." Similar research has been done on CDM. CDM stands for context-dependent memory, which is the principle that "changing the context or environment in which material was originally learned causes some of that material to be forgotten." A group of scientists tested college undergraduates by asking the students to rate the pleasantness of a sequence of words, while they listened to a certain type of music. Afterwards, they were asked to recall these words. The results indicate that the students were able to recall the sequence more successfully if the same musical piece was playing. Furthermore, the researchers found that if the music played during the recall had a different tempo than the original music, then there was a lowered ability to recall the words. These results are also supported by a supplementary investigation, where it was shown that a musical piece can facilitate learning and recall. Perhaps a common manifestation of this phenomenon is when you remember the jingles in commercials. A test conducted at the University of Washington demonstrated that brand names were more easily recalled when they were presented in the form of a musical tune, instead of just spoken. Hence, this is a consistent example of one relationship between music and memory.

Now that there is a quasi-established link between the human mind and music, what are some of the ways that music affects human behavior? Fortunately, there is a considerable amount of research available that indicates how humans function while being subjected to music. A group of specialists at the University of Connecticut studied how people communicate with each other while background music was present. A hundred and four students were paired off and put into rooms with either different types of background music playing, or no music playing. In the rooms, these students were asked to perform some problem solving tasks that required conversation between them. After five minutes, the subjects were asked to rate their conversations. Of the students who heard background music, almost all reported "significantly higher satisfaction [with communication] than those in the no-music condition." The different types of music also affected the students. The researchers noted that the students who listened to fast music had differently paced conversations than those who listened to slow music. The volunteers who listened to major mode music performed notably better than those who listened to music of minor mode. Thus, not only does music affect the way humans converse, but different classes of music influence people in different ways. A further way in which music has an impact on our behavior can be witnessed in something as conventional as walking! A recent investigation into the effects of music on walking distance was performed at Ursinus College. Volunteers were asked to walk for ninety seconds. The study showed that, "music significantly influenced distance walked." The conclusion reached by the scientists in this instance contradicts the previous results. Instead of "raising the consciousness" of the mind, the researchers hypothesized that the music interfered with or distracted the minds of the test subjects. A related study concurs with this finding. In this case, college students were asked to complete two hundred and twenty hand-eye coordination problems while listening to different types of music. It was found that the rhythm and loudness of the background music interfered with the attention span of the students. These last two studies seem to refute the findings of the other research; but in a sense, all the studies correlate a modification of behavior caused by the presence of music.

The next reasonable step is to ask how this modification of behavior or affect of music on the mind can be harnessed. One major field that may benefit from music's affect on the mind is education. As a matter of fact, it has been shown that by exposing students in a classroom to music, the musical exposure enhances class achievement. A research performed at Glassboro State College indicated that when music was played in a certain psychology class for twenty minutes each day, the music "stimulated the human alpha and beta brain waves," resulting in the attainment of "significantly higher mean scores on examinations than those who were not exposed to the music." In addition, music can also be used to aid in the education of mentally handicapped students. In a school district in Prescott, Arizona, music was added to the academic environment of special education students. This resulted in an increase in performance, especially in the area of mathematics.

Thus, it has been established that there is a link between music and the mind or human behavior. There still, however, remains a great deal of research that needs to be done in order for us to comprehend the why and how. This is a substantial challenge, considering that not much is know about the mysteries of the brain itself, let alone how it is affected by auditory impulse. It should also be noted that although the studies presented show certain effects of music, in each study there are exceptions. Some people show no signs of altered behavior or any other effects of music. There are even some studies where a majority of the subjects show no known measurable effects of music. Nonetheless there is a great potential for this topic of the music and the mind. If we understand how human beings are effected by music, we can alter how human beings learn and behave, as simply as by turning on the radio.

References

Balch, William R., Kelley Bowman, and Lauri A. Mohler. (1992). "Music-dependent Memory in Immediate and Delayed Word Recall." Memory and Cognition, 20, pp. 21-28.

Becker, Nancy, Catherine Chambliss, Cathy Marsh, and Roberta Monetmayor. (1995). "Effects of Mellow and Frenetic Music and Stimulating and Relaxing Scents on Walking by Seniors." Perceptual Motor Skills, 80, pp. 411-415.

Blood, Deborah J., and Stephen J. Ferriss. (1993). "Effects of Background Music on Anxiety, Satisfaction with Communication, and Productivity." Psychological Reports, 72, pp. 171-177.

McLaughlin, T. F., and J. L. Helm. (1993). "Use of Contingent Music to Increase Academic Performance of Middle-School Students." Psychological Reports, 72, p. 658.

Ogata, Shigeki. (1995). "Human EEG Responses to Classical Music and Simulated White Noise: Effects of a Musical Loudness Component on Consciousness." Perceptual Motor Skills, 80, pp. 779-790.

Perrewe, Pamela L., and Richard W. Mizerski. (1987). "Effect of Music on Perceptions of Task Characteristics." Perceptual Motor Skills, 65, pp. 165-166.

Russel, P. A. (1987). "Memory for Music: A Study of Musical and Listener Factors." The British Journal of Psychology, 78, pp. 335-347.

Schreiber, Elliott H. (1988). "Influence of Music on College Students' Achievement." Perceptual Motor Skills, 66, p. 338.

Smith, S. M. (1985). "Background Music and Context Dependent Memory." American Journal of Psychology, 6, pp. 591-603

Sogin, David W. (1988). "Effects of Three Different Musical Styles of Background Music on Coding by College-Age Students." Perceptual Motor Skills, 67, pp. 275-280.

Vanderark, Sherman D., and Daniel Ely. (1993). "Cortisol, Biochemical, and Galvanic Skin Responses to Music Stimuli of Different Preference Values by College Students in Biology and Music." Perceptual Motor Skills, 77, pp. 227-234.

Wallace, Wanda T. (1994). "Memory for Music: Effect of Melody on Recall of Text." Journal of Experimental Psychology, 20, pp. 1471-1485.

Yalch, Richard F. (1991). "Memory in a Jingle Jungle: Music as a Mnemonic Device in Communicating Advertising Slogans." Journal of Applied Psychology, 76, pp. 268-275.

Microsoft Bookshelf 1995. CD-ROM. United States: Columbia University Press, 1995

Microsoft Encarta 1995. CD-ROM. United States: Columbia University Press, 1995

689.          Mindwalk Essay

Mindwalk: International Relations

From the very beginning, I realized that Mindwalk  was definitely not a

film you could kick back, turn your brain off, and just enjoy.  To be able to

understand and grasp the meaning of the film, you  first had to make sure that

your brain was in full gear.  The concept and idea the author is trying to get

across just doesn't run to you.  It requires concentration and an evaluation of

the world around you.  Even with this in mind, I'm not even sure I came across

with everything the film was trying to point out.

The setting of a medieval island castle in Paris jumps out from the

movie screen in the first few minutes.  Also, the seemingly incredible contrast

of the first two characters sets the mind into work already, wondering how these

two personalities will carry the film.  Still furthermore when  Jack, the failed

politician, and Thomas, a little-known poet, meet up with Sonya, a secluded

scientist, the movie takes a deep inner-look at the world.

As the three characters get to know one another, they begin to discuss

(actually debate) various topics about the world around them.  As they all begin

to tell their side, it becomes clear why the author chose these characters.

Each has a very separate, very unique view on the subject he is trying to get

across: people's perception of the world.

As the day draws to a close, the three different viewpoints seem to

slowly diverge into a common thought:  People need to view the world as a whole,

everything relying on each other, as nature and life, instead of a huge

mechanical machine.  As I mentioned above, I think everyone that watched the

movie will come away from it with a different idea in mind.  I believe that idea

that you are left with has a great deal to do with the one that you started with,

the way you saw the world before watching Mindwalk.

690.          Mindwalk

International Relations

Mindwalk

From the very beginning, I realized that Mindwalk  was definitely not a film you could kick back, turn your brain off, and just enjoy.  To be able to understand and grasp the meaning of the film, you  first had to make sure that your brain was in full gear.  The concept and idea the author is trying to get across just doesn't run to you.  It requires concentration and an evaluation of the world around you.  Even with this in mind, I'm not even sure I came across with everything the film was trying to point out.

The setting of a medieval island castle in Paris jumps out from the movie screen in the first few minutes.  Also, the seemingly incredible contrast of the first two characters sets the mind into work already, wondering how these two personalities will carry the film.  Still furthermore when  Jack, the failed politician, and Thomas, a little-known poet, meet up with Sonya, a secluded scientist, the movie takes a deep inner-look at the world.

As the three characters get to know one another, they begin to discuss (actually debate) various topics about the world around them.  As they all begin to tell their side, it becomes clear why the author chose these characters.  Each has a very separate, very unique view on the subject he is trying to get across: people's perception of the world.

As the day draws to a close, the three different viewpoints seem to slowly diverge into a common thought:  People need to view the world as a whole, everything relying on each other, as nature and life, instead of a huge mechanical machine.  As I mentioned above, I think everyone that watched the movie will come away from it with a different idea in mind.  I believe that idea that you are left with has a great deal to do with the one that you started with, the way you saw the world before watching Mindwalk.

691.          Minstrels

Minstrels

Minstrels, or traveling thespians, thrived throughout Europe in medieval

times.  The term minstrel referred to a professional entertainer of any kind

from the 12th century to the 17th century.  Minstrels were instrumentalist, but

were also often jugglers, acrobats, and storytellers. Although minstrels no

longer exist, they played an important role in medieval history and, at one time,

could be found, in one form or another, throughout the entire continent of

Europe.

Different countries had different names for minstrels.  In Germany, they

were called minnesingers.  In France, they were known as troubadours and

joungleurs.  The Scandinavian minstrels were called skalds.  The Irish called

their minstrels bards, while the English minstrels were referred to as scops.

Minstrels were primarily singers and musicians.  These wandering

performers were also story tellers, jugglers, clowns, and tumblers.  Often

minstrels were an important part of prominent house holds providing

entertainment for the upper class of society.  Those minstrels who were not part

of a noble's homestead, traveled from town to town providing entertainment not

only to noble classes but also to common village folk as well.

There were not many forms of entertainment, nor was there a means for

people to learn about news events.  There was no television or radio in medieval

times.  Even books were very scarce.  Minstrels served to entertain the public.

They made up songs, stories, and repeated ballads and folk tales popular during

this time.  Traveling from town to town minstrels were also a source of news.

This would share information with the townspeople of the village.  The

townspeople would share this news with the minstrels who would then share this

news with the townspeople in the next village in which they performed.

Each country in medieval Europe had their own type of minstrel.  Each,

while similar in their general role of entertainer, they were different in many

ways.  Troubadour's, French minstrels, flourished in from the 11th century

through the 13th century.  Troubadours were found in the southern part of France.

The troubadours were among the first minstrels to use their native tongue

rather than Latin.  The Latin language was considered the literary language of

the middle ages.  There were approximately 400 troubadours who were known to

have lived.  The majority of them were nobles and some were even kings

(Microsoft Encarta  96 Encyclopedia.)

Originally troubadours sang their poems, later they were accompanied by

jongleurs who played musical instruments.  The musical instruments the jongleurs

played were the fiddle and the lute.  The subject of their songs were based on

topics such as love ,politics, religion, war, and death.  Approximately 400

melodies and 4000 poems have been preserved from medieval troubadours (Microsoft

Encarta  96 Encyclopedia.)

The German version of the Troubadour was the meistersinger.  The meaning

of meistersinger is master singer.  The meistersingers were a group of poet

musicians and were given the status of tradesmen.  The first German minstrels

were called minnesingers.  These were primarily wandering poet-musicians.  The

word minnesinger means love singer.

The meistersingers began in the late middle ages, attempting to revive

the older minstrel art of the minnesingers.  From 1200 to 1400 the

meistersingers began to develop rules for the composition of songs and even had

schools to teach the art of being a meistersinger.  Like music schools today,

meistersingers had to study and pass exams before being considered a

meistersinger.

The Celtic lands of Ireland, Scotland , and Wales also had their

minstrels called bards. Bards were professional poets who sang about heroic

accomplishments and national pride.  They accompanied themselves with harps.

Their chief form of expression was poetic alliteration or rhyme.  By the 1700's

the bards were no longer popular.  A famous playwright, William Shakespeare, is

often called the Bard of Avon (World Book Encyclopedia pp. 109.)  Today bards

are often seen and heard at folk festivals.

The decline of minstrels was due to that of modernization.  The printing

press created news papers, books, and other media, so the need for minstrels

simply depleted.  Now folktales could be written down, books and songs published,

etc.  There was just no more need for minstrels.

Minstrels were the beatniks of medieval Europe.  They were a huge part

of European culture, until modernization brought on their demise.  Poetry was,

and continues to be a huge part of every societies culture, so it would not be

100 percent accurate to say they were completely wiped out.  Although minstrels

no longer exist, they played an important role in medieval history and, at one

time, could be found, in one form or another, throughout the entire continent of

Europe.

692.          Modern Music Composition

Modern Music Composition

Student : 0135761

Teacher : # 3

Composition has been an ever-changing entity in our society.  Music composition is also a very alternating subject of study.  You have to keep up to date when you wish to compose a piece of music. This is strictly due to the progression of music in this day in age.  If you fail to study, the music you are writing may, very well, upset the music community with old or potentially outdated material.  The only way to stay up to date with composition is to listen to a lot of classical music, which seems to be, without a doubt, the best music to listen to.  If you have not done your research on such music, you may find yourself running out of ideas for further compositions.  Music composition is the subject of this essay.

Music, through the years, has changed in many ways.  The musical "attitude" is determined through the overall feelings of the composer at the time, at which he or she wrote it.   The "attitude" sets the overall feeling of the piece of music.  If you fail to pass the feelings that you felt while you wrote the piece of music, you fail in the overall goal of the piece of music.  Music composition is a very modern thing these days.  It has grown because of the advanced availability of better technology.  Technology, which is changing every day, has opened up new and more innovative doors.    Included with the advanced technology that has brought music to life, there has also been a steady increase of musicians.  This is in direct proportion with the growing number of music educators.

Music, by means of instruments, has been played for thousands of years.  Music composition involves three major key-points.  These key-points are direction, general-knowledge, and general-insight.  Through the course of this essay, you will learn what each of these three points is and the prevalent pre-requisitions required of persons to have these three abilities.

Direction, being the first of the three points, gives you the sense of the music.  Without direction, you would not have the urge to write the piece of music.  Direction is what composers use to give the general emotion that is supposed to be perceived by the ending audience.  The direction requires only one thing.  That is emotion.  Emotion is what a piece of music is made for.  Without emotion, the piece would probably be so uninteresting that the audience would not want to listen to it.  The emotion is very hard to pass on to the audience, strictly because it is what you feel.  Just as it is hard to make someone feel a certain feeling, it is as equally hard to make them feel a certain emotion.  The direction, as you can see, is a very important part to composing a piece of music.

General-knowledge, being the second of the three key-points, involves just that, knowledge.  You must have at least a broad knowledge of music before you can even begin to think about understanding a piece of music.  This knowledge could come from a number of things including singing in the chorus, playing in the band, or just fiddling around at the piano.  This is probably the area where composers have the most control.  The composer makes the decision to learn or practice the music to the level at which he/she would like to appreciate it.  Humans, most of the time, do not have complete control over their emotions, nor do they have complete control over their wisdom, but you have, almost, complete control over the level at which you would like to learn music.  Understanding music, therefore, does indeed require a general-knowledge in the field of music.  Composing music, however, requires just a little more knowledge than that would be required of a person who, for example, would like to learn how to play a musical instrument.  Composing requires the knowledge of many musical terms and notations.  These terms include: dynamics, harmonics, note-values and rendition.  This means, for example, if you would like to write even a small piece of music, you would almost certainly have to include all the notation and terms you would for a much larger composition.  Music composition can be compared to a pyramid.  If you do not have the building-block support on the bottom of the pyramid, the pyramid will collapse.  The same applies for music.  If you do not have the basics on the bottom, you will not be able to move onto the next level without the whole thing collapsing.  So, you can see that the basics are what make the whole thing work.

The third key-point is general-insight.  The general-insight is the intuition that is put into a piece of music.  The general-insight can be defined as the wisdom that you put into the making of piece of music.  Just as you cannot throw together a three-course meal, you cannot just throw together a composition.  The time you put into a piece of music must be productive and well thought through.  The difference between a well-thought piece and one that has not been thought through is the difference between living rich and living poor, respectively.

A perfect combination of all the proceeding fundamentals will give you a perfect piece of music.  The degree at which you actually make the music is completely up to you.  After coming up with the idea of the music and after you have learned all the required information there are a couple more things you may have to be concerned about.  You have to, for one, select the level, or degree at which you will compose the music.  There are several different degrees at which you can make the music.  You can make it very easy so that anyone could play or you could make it very complex so that only a select few would be able to comprehend it.  It is very important to compose at the level at which you want the player(s) to perform at.  If you misjudge the ability level of a certain group you could have just composed a piece of music that will probably not be played as often as it would be if that particular group had a composition of its own caliber.  So, as you can see, it is also very important to take into consideration the ability, or level at which the group you are composing.

Through the years, many composes have accomplished all of the proceeding abilities.  These composers, for the most part, did not learn music so quickly.  It takes time, just as everything else does.  In the end, they, for the most part, became very famous.  Even the most basic composition, if produced correctly, can bring great satisfaction.  Not to mention, it can bring great wealth.  If a composer chooses the wrong level at which he or she would like to compose the piece of music, he or she could be making a total-career choice.  For, whenever he or she makes a piece music, they are deciding to let the world see his or her composing stature.  So, as you can see, it is very important to compose on the level at which you would like the piece to be performed.

In conclusion, composing music is not for everyone but is not restricted to an elite few.  It is solely up to a person at which level he or she would like to perform and get the necessary information required for composition.  The technique is not of the essence.  It is the want  that matters.  It is not the need that matters as much.  You must have the potential to continue to your goal.  If you do not have the drive to complete the piece of music, it is better that you don't even begin writing a piece of music.  Anybody can compose a piece of music, but only the most strong-willed can complete a full musical composition.

Bibliography:

Swope, Carole M.  Activities in Musical Composition.  Portland : J. Weston Walch, 1983.

Schoenberg, Arnold and Gerald Strange.  Fundamentals of Musical Composition. New

York : St. Martin's Press, 1967.

Bernstein, Martin.  An Introduction to Music.  Prentice Hall, 1951.

Beginning Music I Reading and Playing Melody.  Morristown : Silver Burdett, 1985

Hunter, Tammy.  Personal Interview.  07 February, 1997.

693.          Moholy Nagy made photography manifestly modern 913

How did Moholy-Nagy make photography made manifestly modern?

A typical Laszlo Moholy-Nagy photograph might feature hard diagonals or contrasting geometric shapes, often under harsh lighting that cast dramatic shadows within the photo.  Moholy is known for using many radical techniques within his arts, which venture from constructivism to modernism to surrealism.  In his time, he faced much opposition because of this; however, not only did he continue developing his methods, he is viewed as one of the foremost advocates of modernism in the twentieth century.  His greatest influence in photography may not have been his work or struggles, but his time spent spreading his principles as a teacher later in his life.

Although, Moholy started his artwork with a brief period of militarism, he quickly discovered his own style.  He ignored lines of distinction between photographic and graphic expression.  He ignored the traditional dependence of photography on the forms of painting.  He ignored the role and purpose of photography as seen by the masses.  Moholy understood a camera to be a modern graphic tool that allowed him to capture and convey different aspects of reality to his viewers.  He tried to give his viewers a different perspective of casual subjects by photographing them from different viewpoints, such as bird's-eye and worm's-eye views.  He also framed his photos in a non-traditional style.  He often used diagonal composition to give a photo a different focus or to point out a certain aspect of the photo that may have otherwise been overlooked by his viewers.  He often utilized foreground and background effects, placing objects in places that they were not typically placed.  He found this was another effective method of drawing attention to a certain point in a photo.  Because Moholy sought to show society as it was aesthetically, he utilized these radical compositions to convey the messages that were also considered radical.

Moholy's endeavors are very reflective of his ideals and the aesthetic quality is evident in most all of his photos.  He didn't have the political incentive that many artist of this time did.  He believed that, because art is rooted in society, an artist has an obligation to address social issues; he is a visionary for the society and he provides forms that convey ideas necessary for social advance and reform.  As he aged, he viewed art on increasingly social and revolutionary terms.  This is can be seen by comparing his later work to his first works.  The subject matter in his early work in militarism may be considered traditional and not controversial for the time; however, most of his later work was focused on what was considered modern subjects.  For example, he took a positive view of technology, photographing much "machine aesthetic" and abstract photos of the industrial age.  He liked technology as a subject because it directly represented the social change in society that came with industrialization.  The camera itself was also associated with technology because it was becoming more mechanical and technologically advanced.  Technology was making photography faster and more practical.  What better subject to photograph, than the industry that was rapidly improving the very quality of that photograph.

Moholy is also famous for his combination of photographical techniques.  He spent a lot of time on the subject of lighting, even writing on this subject.  He referred to the forms produced by light as "abstract seeing."  Harsh lighting and shadows, double exposures, under and over exposures, photograms, variation of exposure times (producing rapid or slow seeing) and contrast are all prominent in his experiments with lighting.  He advocated photomontage (which he never referred to as collages) as a way of "simultaneous seeing," which he often used to convey social messages.  He achieved "intensified seeing" by means of filter variation, such as using infrared film.  Depending on the filter and technique, if the photo was substantially changed, he called it "distorted seeing."  Moholy also viewed radiography (x-rays) as a creative form of photography, which he actually utilized.  All of Moholy's definitions of seeing can be looked up in his text, A New Instrument of Vision (1932), under the light varieties of photographic vision.

Moholy was Hungarian but with the upset and war in Europe, he was first forced through a series of moves and eventually landed in Chicago.  His work was well known in the US because his publications in Cahier d'Arts, his displays at exhibitions in New York and his writings.  Many of his photos catered to American ideals because America was an industrializing nation, looking to its future.   He started the New Bauhaus, an experimental school of art and design in Chicago.  After it failed, he took a teaching position at the Chicago Institute of Design, where he pushed the idea of improving the modern world by designing beautiful functional objects. This idea is manifest in many American products today.

As an artist, theorist and teacher, Moholy influenced the world of photography from its bulky, slow beginning to the fast, practical mobility of today's everyday camera.  He kept style and technique up to speed with the technological advancement.  His experimentation with light lead to the development of techniques that are now considered advanced and professional methods in photography.  His modernist ideals spread into the modern day and are obviously manifest in today's American industrial design and commercial advertisement.  Although, it is still questioned as to whether or not photography is a true form of art, Laszlo Moholy-Nagy is in part responsible for it being a modern form of art.

694.          Monets painting of the Japanese bridge 682

During the mid to late 1800s most artists painted with dark and dull colors, such as blacks, grays and browns; so one can imagine the publics shock when Claude Monet began painting with bright elaborate colors.  Monet became one of the pioneers of the impressionist method for painting.  However unlike most artists Monet became fascinated with painting scenery more than just one time.  His favorite piece of inspiration for duplicate paintings came from his own back yard.  The Japanese Bridge, which is located in his garden in Giverny France, was painted at least four different times, and each is unique and special in his own way. The two paintings that obtain the most comparison are the first painting of the bridge and the last. There are a vast amount of differences between these two pictures this includes appearance, year, season, color, technique, and creation during Monet's life.

The first known painting of the Japanese Bridge was constructed the year of 1899 during the beginning of fall.  This masterpiece is the most well known version of the bridge; it is also the most detailed replica.  This image is exceptionally precise and a well thought out mental picture of Monet's subject.

Monet decorated this canvass with more traditional colors than what is normally seen in his work.  This specific impression sustains a large quantity of pastel greens, shades of yellow, browns, and burgundy red.  This particular painting contains so much green that the picture has almost what appears to be a green tint to it.  Monet added a touch of green to everything, the trees, the water, the bridge, and the water lilies.  Monet used the yellows in this painting to highlight the greens in the trees and the water lilies. He added a touch of brown to the trees, water, and of course to the bridge.  The sprinkling of browns gave this picture a more natural look.  The shower of burgundy was added to give the viewer of the painting the suggestion that fall is currently arriving. These works of genius is absolutely stunning and breathe taking when seen up close.

The last reproduction of Monet's Japanese Bridge was constructed the year of 1923 during autumn.  At this time Monet was an elderly man and he could barely see because of such awful cataracts in his eyes.  Due to Monet's barely there eyesight his work became sloppy and he began painting with a great deal of reds.

This exclusive piece of work is so slapdash it almost looks like a young child's finger painting.  The viewer can't even begin to distinguish where the bridge is located.  The positive note on this painting is that the spectator must use his or her imagination to determine what this artwork means to them.

Monet's use includes splashes of reds, oranges, greens, browns, and yellows.  The splatters of red represent the trees that surround the bridge, and the water lilies that are located under the bridge. There is a golden yellow that highlights the ruby colored red that makes up the leaves of the trees.  The bridge is comprised of specs of all shades of yellows, greens, and browns.  This painting may not be as appealing to the eye as the previous painting, but this work of art is still incredibly unique.

Soon after this painting was finished Monet finally under went surgery to correct his cataracts.  Later following the surgery  Monet's vision returned, and he went to work on creating his most famous piece of work; the Lily Pond.

Claude Monet set the standards for a typical impressionist. He is a true pioneer of the art world.  Monet was never afraid to try new techniques, experiment with new colors, paint during different seasons, and continue to create new art till the die he died.

Monet was a great storyteller through his work, and the best part is that the observer of the painting plays a role in creating that story along side with Monet himself.  The Japanese Bridge tells a mystical story in spite of which one of four versions he or she decides to view.

695.          Morality and Gatsby

Morality and Gatsby

Morality is a very controversial issue.  That is one of the reasons what people are

interested in reading about it.  Morality can lead to many questions essentially it can lead

to the question between right and wrong.  In The Great Gatsby Nick Carraway is faced

with a constant struggle between right and wrong.

Truth is an issue of morality.  "It all happened in a minute but it seemed to me that

she wanted to speak to us, thought we were somebody she knew." (Fitzgerald 151)  Daisy

and Gatsby tried to hide the fact that they hit and killed Myrtle Wilson while driving home

from New York.  Nick Carraway, however, knew the truth and had to decide if he was

going to help hide the truth or let Daisy and Gatsby suffer the consequences.  "I don't

think that anybody saw us but of course I can't be sure."  (Fitzgerald 151).  Gatsby felt

that he could hide the car and with it he could hide the truth.  The truth is that Myrtle

Wilson was killed and Daisy and Gatsby are the ones to blame.  They cannot hide that

truth.

The friendship between Jay Gatsby and Nick Carraway is a questionable one and

full of doubt.  "He had seen me several times and had intended to call on me long before

but a peculiar combination of circumstances had prevented it-signed Jay Gatsby."

(Fitzgerald 45-46)  The two had lived next door to each other for awhile however, they

had never associated.  Therefore, along with the invitation to the party there was some

suspicion.  Jay Gatsby is a very wealthy man.  Nick Carraway, although he lives in West

Egg, is not wealthy nor elegant.  The two are certainly opposites.  Gatsby and Carraway

are bound to take advantage of each other.

In The Great Gatsby morality is often put to the test.  In the book, as well as real

life, there are consequences that follow the actions that are taken.  Morality differs from

person to person.  However, there is one thing that is the same.  Morality is a judgment

call determined by each person, there are no set rules.

WORKS CITED

1.  Fitzgerald, Scott F.  The Great Gatsby.  Simon and Schuster, New York.  1925

696.          Mosquito Coast

The Mosquito Coast depicts the story of an unstable, antisocial individual whose

unsubstantiable paranoia causes him to dramatically alter the courses of his and other

peoples lives.  The mans continual fear of a nuclear invasion by an irate, immoral country

eventually this man to move himself and his family to a remote jungle area of Honduras

where he planned to establish a utopian society of his own design.  Some themes that are

conveyed through this story are the ability of split-second decisions to dramatically alter

anybody's life, and the inability of certain individuals to be able to mentally handle the

stressful life of western civilization.

Allie Foxx highly opposed the style of life which had developed in the United

States.  He believed religions to be useless, and our government to be corrupted,

continually drawing the unwanted attention of other countries tactile missiles.  He saw

t.v. and mainstream life as a form of mental poison.  He strictly raised his children to

incorporate the same mental attitude which he held.  He saw himself as the last real man

alive.  The combination of all these delusions eventually prompted him to relocate

himself and his family to a different country altogether, where he whatever lifestyle he so

desired.

Charley is the thirteen year old son of Allie.  He is naive to the practices of

modern society because of his fathers continual and insisted sheltering from the evils of

everyday life.  He is very impressionable and sees his father as the most brilliant man on

earth.

Jerry is the ten year old younger brother of Charley.  He enjoys bettering his

brother, and cutting him down.  He puts on a guise of valiant bravery, yet inside he is

merely a frightened child.  Although he immensely respects his brother he is unable to

relate these emotions for he views them as feminine.

The story begins on a farm in Massachusetts, but quickly shifts to the primitive,

remote jungles of Honduras.  It all takes place during the early nineteen-eighties.  The

setting corresponds well with the time period and the main character.  This period

showed many leaps in technological advancement, which Allie refused to be a part of.

He instead chose to live a simple, sheltered life.  And the remotes of Honduras was

essential in attaining this type of lifestyle.

The dialogue of the natives in the story combined with the effects of the harsh

jungle environment make the author sound as if he knows much of the style of life which

is typical to the poverty stricken natives of South America.  He also seemed fascinated by

the effects that unforgiving nature can have on a group of people.

This story does an effective job of immediately fascinating you with the unusual

attitude of Allie Foxx, and from that point it never lets your attention waver.  It also is

effective at stimulating emotions as you read.  It shows you unusual situations and

encourages you to think of how you would handle such a situation.  The story also helps

you understand why some people think the way they do, although it seems so unrealistic

and idiotic to you or I.

697.          Motifs involved in the play King Lear by Shakespeare

Motifs in the play "King Lear" by Shakespeare

Shakespeare uses many motifs to expand on the themes of the story. His most-used motif revolves around filial responsibility. Each of the two plots contains characters who betray their fathers. Goneril and Regan flatter their father, King Lear, and then betray him. The drastic change that occurred in their attidtude towards their father is clearly evident through Goneril's speech before:

"Sir, I love you more than words can wield the matter;

Dearer than eye-sight, space, and liberty;

Beyond what can be valued, rich or rare;

No less than life, with grace, health, beauty, honour;

As much as child e'er loved, or father found;

A love that makes breath poor, and speech unable;

Beyond all manner of so much I love you."   (Act I, Sc i, Ln 57-63)

and after she had been allotted one half of the kingdom:

"'Tis his own blame; hath put himself from rest,

And must needs taste his folly."               (Act II, Sc ii, Ln 289-290)

They both were interested only in getting Lear's land, and used any means necessary to get it. Edmund, in the other plot of the play, deceives his father in order to gain his favor. Edmund, the Earl of Gloucester's bastard son, tells his father that Edgar, Gloucester's legitimate son, is plotting to ruin Gloucester. This causes the Earl to banish Edgar and give his title and land to Edmund.

The ironic misuse of power used by the Earl of Gloucester shows up in both plots. Gloucester punishes Edgar and later finds that Edmund was the one taking advantage of him. Similarly, Regan and Goneril gain Lear's favor, while Cordelia is left 'dowerless' and banished from the kingdom. In the end, though, Cordelia saves Lear from the betrayal of Goneril and Regan.

Shakespeare develops these major motifs with supporting motifs. He describes how revenge can affect families and create problems for the characters. He also uses the senility associated with old age to justify the irrational actions of both Gloucester and Lear. Gloucester, deceived by Edmund, becomes paranoid of Edgar. Lear is portrayed as senile form the beginning when he splits his kingdom between his daughters. He becomes so engrossed by Goneril's and Regan's flattery that when Cordelia refused to cater to his wishes, he banishes her in a fit of rage.

Using the various motifs, Shakespeare makes many thematic statements about filial responsibility. Without scrutiny, many children will become overtaken by greed and attempt to get their parents' wealth by any means. Some children will remain good at heart, but it is difficult to predict which children will honor their parents. This is shown in both plots of the story, with King Lear and Gloucester trusting, and being deceived by, the "bad seeds." Lear learns of his troubles after both Goneril and Regan throw him out, but Gloucester understands the betrayal of Edmund much later.

The other major theme in King Lear deals with appearances. Shakespeare states, as he does in many of his plays, that appearances can be deceiving. Many people put up false fronts in order to get what they want, including Regan's and Goneril's flattery. Once again, one must be careful not to fall victim to others' false actions. Shakespeare emphasizes the need to think about actions that may have serious consequences, and not to rush into anything. Irrational behavior and gullibility cause many of the problems and conflicts in King Lear.

698.          Movie All Quiet on the Western Front

Movie: All Quiet on the Western Front

In the movie "All Quiet on the Western Front"  we see the boys almost

innocent as they sit in class. The teacher in this scene is pressuring the boys

to go to war. He preaches that it is their "duty" to fight.  The teacher seems

very pushy and strict. He is especially strict with Paul, the main character in

the movie. In this particular scene, Paul is drawing a picture of a bird. In

Paul's family they are glad that he is going to war. His family prays for him

and they pray for the Kaiser, the ruler of Germany. We see here that this is

ironic because Paul's family is praying for someone they  have never met.

When Paul goes to see his friend in the hospital, another friend asks

for the boots he has. This shows that the boys are already changing.

When the boys go to the training camp they are still innocent. They meet

Corporal Himmelstoss. Corporal Himmelstoss is very mean to the boys and is very

strict. After completing  the Training camp the boys go to war. When the boys

get to the battlefield they are told by Kat their leader, that what they

learned in training camp they do not need to know because, you don't need to

know how to march in war. The first day they are there, Paul sees a horse

getting killed. He is very mad about this because the horses are innocent and

they are not involved with the war. Paul is changed emotionally by this and he

is sad about it.

After the boys see the Kaiser they talk and don't even know what they

are fighting for. One night in battle Paul killed a French soldier. Once he

killed the solider he begins to regret that he killed him. He looks at the

pictures of the soldier's  family. Paul says that "they could of been brothers".

Paul trys to save the soldier's life but, cannot. Paul realizes that he has

killed another human. Paul feels remorse

In battle Albert, Paul, and Franz get wounded. Franz dies and Albert

gets his leg amputated. Albert becomes depressed and becomes suicidal. Franz

becomes jealous that Paul is getting better. Albert doesn't want to return home

with one leg so he try's to kill himself.

After a months of killing people Paul returns home and writes a letter

to his mom. In the letter he writes that he has changed. Paul writes "I am no

longer what I once was" he has changed. He no longer feels remorse for killing.

He tells his mother that his home and his family is on the battle field. Paul

feels that he is disconnected from his family and he is now a killing machine.

Paul now feels like a robot. When Paul returns and visits his teacher, the

teacher is not upset at all that most of the boys are dead. Paul tells him that

they wanted to stay boys and not die rather then fight in the war.

Near the end of the movie Paul starts to smoke. Paul has changed in many

ways. War has effected him not only physically but, mentally. Paul is crazed

with killing and violence. At the end of the movie, when Paul dies he sees a

bird and wants to draw it. The bird could resemble because in the classroom

when he first drew a picture of the bird he was innocent but now when he is

drawing a picture of the bird, Paul is cynical and enraged with killing. This

could tell us  that the boys were too young to fight in the war and they were

forced to fight because of pressure of the others.

699.          Movie Dead Poet s Society The Dead Poet That Killed

Movie: Dead Poet's Society - The Dead Poet That Killed Himself

The movie Dead Poet's Society raises an interesting question: When

educating teen-agers, is it better to use the school's policy of Tradition,

Honor, Discipline,  and Excellence or Mr. Keating's philosophy of carpe diam

(seize the day)? Mr. Keating believed that people should "suck the marrow out of

life" and live like a free thinking person even at the young age of seventeen.

Centuries of teaching experience prove Mr. Keating is wrong and that tradition

and discipline are the correct methods of educating.

Our fledgling nation of only 200 years is a mental midget in this world.

Why is it that we are 17th in the world in education. Is it that we are stupid?

No, it is that we have diverged from the old world teaching methods of Europe

and Asia. Japan is third is the world in education. The reason is simple.

Although they manufacture most of the world's calculators, not one is used in

the classroom. One really begins to understand math when taught by route

memorization and physical punishment for incorrect answers. Anyone who has been

"rapped on the knuckles" by a nun with a ruler can attest to this fact.

The one thing that a student needs in life is structure. Without this,

he or she cannot function in a school environment. When a bell rings, you must

go to class. When a teacher assigns homework, you do it. No questions asked. No

individual thought. The only marrow that should be sucked out of a students life

is that of education. That, after all, is why they are in school. To learn and

no other reason.

In the end, it should be noted that although Mr. Keating's teaching

philosophy was debunked, he made one good point. Neil should have spoken to his

parents. Neil's case is a perfect example of a mind not ready for independent

thought. A mind without discipline. His parents tried to give him direction and

a better life than they had. Neil rewarded them by killing himself. The author

of this essay has no sympathy for Mr. Keating, the man whose teaching inspired a

cowardly act of suicide.

700.          Movie Glory

Movie: Glory

The movie Glory (though having seen it 4 times) still amazes me. It is a

very emotional movie.  It is about the fact that blacks were starting to not be

discriminated against.  The racism was actually not gone at all, just muffled

by many people's views.

The 54th regiment was incorporated because people thought it would only

be fitting that blacks be able to fight for their own freedom.  The problem was

that the blacks were still thought of as inferior individuals. This is why it

took so long for a black regiment to come into existence. A good example of

the racism that was still existent in the north is when the 54th met the white

regiment coming back and were called "nigger"s and were taunted.  Another good

example was that Blacks were not allowed to go to military academies, and that

is why the regiment was led by white officers.

Colonel Shaw (in the beginning) was still prejudiced against blacks.  He

did not treat them as humans.  As time went on, he discarded all his previous

views, and learned that blacks are no different than us all.  He realized that

the troops wanted to go out and die in the battle-field.  He also realized how

bad the nation's views of blacks were.  So he volunteered them for a battle that

would surely bring them to Glory and honor.  He was fully aware that the battle

would not be a success, but it was a success morally.  The people finally

learned that blacks were people. This movie was not only about the blacks having

their own regiment, but how they changed the public's views on them, and showed

them that they were humans.

701.          Movie Life Like The Great Gatsby

Movie: Life, Like The Great Gatsby

Brian Olson

OLSON 1

Professor John Hughes

ENC 1102

December  3, 1996

Imagine that you live in the nineteen twenties, and that you are a very

wealthy man that lives by himself in a manchine, on a lake and who throws

parties every weekend.  This is just the beginning of  how to explain the way

Jay Gatsby lived his life.  This novel, by F. Scott, Fitzgerald  is one that is

very deep in thought.  Fitzgerald releases little clues along the way of the

novel  that will be crusual to understand the ending.  For instance, he makes

the blue coupe a very important clue, as well as the Dr. T. J. Eckleburg eyes on

the billboard that Mr. Wilson (the gas station attendant ) refers to as the eyes

of god.  There are also other little things that relate to the reason of

gatsby's death.  The main character's of this novel each have their part to do

with the ending, Nick Caraway is probably the main character of this novel, as

he comes down from New Jersey to new York to visit his cousin Daisy, who is

married to Tom Buchannan.  These are some of the incidents that are included in

the novel as  you will read further I will relate some issues of the novel, as

well as other critics have included their views on The Great Gatsby.

F. Scott, Fitsgerald  was an American short story writer and novelist

famous for his depictions of the Jazz Age(the 1920's), his most brilliant novel

work being The Great Gatsby(1925). He was born in St. Paul, Minnesota on sept.

24, 1896  and died in Hollywood, California on December 21, 1940.  His private

life, with his wife, Zelda, in both America and France, became almost as

celebrated as his novels.  Fitsgerald was the only son of an aristocrat father,

who was the author of the star spangle banner.  Fitzgerald spent most of time

with his wife, latter in their relationship they moved to france where he began

to write his most brilliant novel, The Great Gatsby.  All of his divided nature

is in this novel, the native midwestener afir with the possibilities of  every

Americans dream in it's hero, Jay Gatsby, and the compassionate princeton

gentlemen in it's narrator, Nick Carraway.  The Great Gatsby is the most

profoundly American novel of it's time (Houghton).

Fitzgerald had an intensely romantic imagination, what he once called "a

heightened sensitivity to the promises of life," and he rushed into experience

determined to realize those promises.  Latter on in Fitzgeralds life, he started

to drink very heavily and became very unhappy.  In 1930 his wife had a mental

breakdown and in 1932 another, from which she never recovered.  With  it's

failure and his despair over Zelda, Fitzgerald was close to becoming an

incurable alcoholic.  He surpassed becoming an alcoholic though, and moved out

west to become a Hollywood screenwriter were he met his new wife Sheilah Graham,

but he never forgot about Zelda and his daughter Scotti. (Johnson, 384).

The Great Gatsby is an excellent review on how fitzgerald preceived his

life to be, in the same sense that he also was very wealthy.  Gatsby, in this

novel is the mistiries wealthy man that lives in the big house across the lake

from Tom and Daisy Buchanann. There would always be some type of party going on

at his house, but for some reason he never attended to them, he would always

watch from his window.  Nick Caraway is Daisy's cousin who comes to visit, Nick

needs a place to stay, so he finds an ad for a guest cottage that Mr. Jay

Gatsby owns.  After Nick has moved in Jay and Nick become pretty close friends.

Jordan  has always wondered who The Great Gatsby was, so she uses Nick to find

out more about him.  As the story goes on, there are some odd things that

Fitsgerald relates to the story as important things.  These important things

make you really think about what it  means to the story.  The Automobile in The

Great Gatsby is a very big topic for the conclution of the story.  What we have

in The Great Gatsby is a creative manipulation of the automobile as symbol and

image to accomplish a variety of ends (O'Meara,  74).   O'Meara goes on to say

that when Fitzgerald accentuates mechanism and minimizes aesthetics, he

depersonalizes vehicles and underscores the behavior of their drivers.  The

existing criticism on automobiles in The Great Gatsby usually centers on one or

the other of these two functions.(O'Meara, 75).  The result of the car is that

it ends up killing Myrtle.  Kenneth and Irving Saposnik discuss the automobile

imagery from a technological standpoint.  Knodt asserts that all of the novel

symbol's of technology - automobiles, trains, and telephones are connected with

destruction and evil (Saposnik, 131).  I believe in this theory, that vehicles

are a result evil in almost every movie.  In this case the evil is the Blue

Coupe sedan that ends up killing Myrtle.  The other thing that  sticks out to me

is the billboard that has the two eyes on it with glasses.  This board is

referred to Mr. Wilson as the eyes of god, he believes that they can see

everything and when the car ends up killing his wife Myrtle, he tells people

that god saw what happened. A footnote for the line in Andrew Turnnbull's

edition of The Letters of F. Scott Fitzgerald(1963)describes the dust jacket as

showing "two huge eyes, intended to be those of Daisy Fay, brooding over New

York City, and this had been Fitsgerald 's inspiration for the eyes of Dr. T. J.

Eckleburg"(Turnbull, 166).

The brief exegesis examines the imagery of cats and dogs in Scott

Fitzgerald's jazz age novel, The Great Gatsby.  Toward the end of the novel,

Nick Caraway refers to the hot summer days on Long Island as "dog-days"(Kehul,

118).  John Kehul goes on to mention that many of the characters in the novel

are portrayed in canine terms.  They cynically, in the sense of the Greek root

kynikos, meaning "dog-like."  Their 'bites," particularly in relationship to the

main character, Gatsby, become worse then their "barks."  In contrast to this

canine element, Gatsby has a "heightened sensitivity"(120).  In The Great

Gatsby I did notice a lot of the characters mentioning dogs or phrasing one

another as "you old dog you,".  Myrtle mentions to Tom (the man she is having an

affair with) that she would like a dog.  I believe that Fitzgerald resembles

these dogs as a symbol of affection.  Canine imagery first appears in chapter

one, when Nick casually tells the reader that he once owned a dog.  He lists his

possessions: an old dodge, a finish woman who cooks and cleans for him, and his

dog.  "I had a dog--at least I had him a few days until he ran away(124).

Almost forty years after the book was written, Ernest Hemmingway recalls

Fitzgerald giving him a copy of The Great Gatsby: It had a garish dust jacket

and I remember being embarrassed by the violence, bad taste and slippery look of

it.  It looked like the book jacket for a book of bad science fiction.  Scott

told me not to be put of by it, that  it had to with a billboard along the

highway in Long Island that was important  in the story.  He said that he liked

the jacket, but now how didn't like it.  I took it offto read the book (feast

176).   According to Hemmingway, the cover of the book only "had to do with" the

billboard and had already fallen out of favor with the author(179).  I believe

that the cover of The Great Gatsby is a unique one, in a way that people really

would believe things like that if they never had any type of  religion

background or were just messed up in the head.

As I was explaining earlier in the paper about all the characters, I was

mentioning things about Nick Carraway.  Nick Carraway is also the narrator of

the novel, he is probably they most sufficient character in the novel, meaning

that he is always relaying information to others rather than getting involved in

the mischief.  What I mean is,  that, the affairs between Tom and Myrtle, and

Daisy and Gatsby.  Nick knows just about everything about everyone and he is the

newest person in town.  I think that Fitzgerald put like this because,  Nick had

no other meaning to the story if he didn't get involved with the secrets that

were going on.  Near the end though, Nick is clueless as to what is going on

with Myrtle and Tom  until the night of the accident when Myrtle runs out in

front of the speeding yellow cadilac.  Myrtle had thought that Tom was driving

the car, and so she dashed in front of it  because she wanted to leave with

Tom and get away from her husband that was not to rich or smart like Tom was.

In The Great Gatsby, the fact that the billboard is only mentioned once or twice

in the film, but it so crucial to how the result of the ending is.  Fitzgerald

is trying to point out that this billboard is the point were everything takes

place, like, the eyes looking down on the two cars going to party and that they

are always looking at Mr. Wilson.  When Mr. Wilson's wife (Myrtle) dies he is

shock and is looking for answers to what happened.  As O'Meara  points out

earlier, cars are a means of destruction and evil.  In two cases this is true.

One, being that big yellow cadilac killed Myrtle and two, the fact Tom is using

his car as a medium of exchange for Mr. Wilson's wife  and free gas.  Mr. Wilson

does not relize the fact that his wife is cheating on him with Tom, the man he

wants the car from.

In all conclusion to The Great Gatsby, many little things in the novel

were substantial to how the ending was to be.  Fitzgerald had really related the

billboard of  Dr. T. J. Eckleburg that looked like owl eyes  and referred to a

the eyes of god by Mr. Wilson when he talking to Tom.  The other thing that sets

the tone of this novel is the car.  this was the murder weapon that killed

Myrtle and was recognized by Mr. Wilson as the car that Jay Gatsby was driving

that night, which was result of the death of Mr. Jay Gatsby by no other than the

man that looked at the "owl eyes " all day outside his gas station.  Well the

fact of living in the nineteen twenties and being a millionaire and throwing

parties every weekend doesn't sound that bad, I just wouldn't want to be The

Great Gatsby.

702.          Movie One Flew Over the Cuckoo s Nest

Movie: One Flew Over the Cuckoo's Nest

Thomas Evans

12-6-96

General Psychology

Dr. Sabin

In the movie, One Flew Over the Cuckoo's nest, there was a character

named McMurphy, played by Jack Nickolson, who was admitted into a mental

institution for medical testing after having been convicted of statutory rape.

It was obvious that he was only faking and he thought that he could get off from

having to serve his sentence in a work camp.  He pretty much saw everything and

everyone as a joke but the only person who he didn't fool was nurse Ratchet.  He

thought that he would be able to leave in a couple of months, the time of his

sentence in the work camp, until he found out that he wouldn't be allowed to

leave.

After a few days he began to see the patients as a group that needed

more enjoyment in their lives and he wanted to try to find some way that they

could get out and go to a bar and watch the world series.  The nursing staff

seemed uncaring to their lack of enjoyment to life and basically refused to

allow the patients to even watch the game on the TV during their chores even

after having took a vote where a mute patient nicknamed 'Chief' for the first

time communicated that he wanted to watch the game.  McMurphy had befriended

Chief and later discovered that he was not deaf and dumb but was only faking his

muteness and they planed to escape together.

McMurphy later found out that many of these patients were here only

because they put themselves here and didn't want to leave even though they had

the option to.  He tried his best to bring some life to these patients such as

teaching them to play poker and gambling for cigarettes.  He even went so far as

to escape over a fence only to open the gate and to get the patients onto a

nearby bus and drive them to the docks where he took them on a fishing trip.

Also he arranged for his girlfriend and a prostitute to come to the institution

at night with some alcohol and had a little party for them before he decided he

was going to escape.  The next morning one of the patients who was suicidal was

found by the nurses in bed with the prostitute.  Nurse Ratchet told him that he

would tell his mother what he had done and the patient was found later dead on

the floor from having had slashed his own throat.

McMurphy never did leave and he was given a form of therapy called ECT,

electro-convulsive therapy, and after many sessions this left him in a near-

comatose state.  One night, Chief had killed McMurphy out of pity for him as he

thought it was undignified that they had taken nearly all of his humanity and

the movie ended with Chief escaping after it had been said that it couldn't be

done.

Electro-convulsive therapy is a technique used to treat disorders such

as major depression and schizophrenia.  Patients usually receive one treatment

about three time a week for usually ten sessions.  Electrodes are attached to

the temples and a strong electrical shock is given, enough that convulsions are

produced.  This application of current induces unconsciousness so it becomes

nearly impossible for the patients to recall the treatment.  The patients are

given a sedative beforehand and are also given muscle-relaxants because the

shock produces such strong convulsions that the patients would otherwise flail

about wildly sometimes breaking bones.  With these muscle-relaxants the

convulsions are barely noticeable to any onlookers.  Also this form of therapy

is not given to patients that have heart-problems or high blood pressure.

ECT has been under much controversy for many reasons.  Many

professionals dislike the idea of passing electric current through the head that

produces convulsions, even if they are given sedatives before hand.  There is

also the side effects.  There is disruption in the recall of recent events and

some patients suffer this lapse of memory on a permanent basis.  No one seems to

know how ECT works and for reasons stated above, it was outlawed in California

but later overturned by the courts.

703.          Movie Philadelphia

Movie - Philadelphia

In the movie Philadelphia a lawyer named Joe miller takes a heroic journey. His journey is taking a case dealing with an Aids patience that is working in a distinguished law firm . Andrew Beckon is wrongfully accused of losing an important document regarding an important cort case. To make the call of this hero more interesting, he has a personal problem with homosexual behaver . Also , he has to deal with society 's mindset on gays. Joe turns down the call at first, but then receives it after realizing that, Andrew Beckon has no one else. Next, in the hero's journey Joe goes though the "jumping off point" of his journey. He is interfaced between the know, that Andrew Becker was fired from his job at the law firm. Also, The unknown why was he fired from a well-known law firm after being called " One Of the best", by the head director. Joe Miller is faced with finding the facts, mainly about why was this "promising" lawyer without a job? Was the firing of Andrew Beckon because he was an active homosexual with Aids? This being one of the biggest struggles taken by this hero? Now, In this case Joe faces many challenges. One: being how people really feel about homosexuals. The second: proving to the journey that sex preference does not hold an individual working ability . The Third challenge, being up against highly trained layers being accused of firing aid patience. The forth challenge dealing with, finding out why Andrew was really fired. Though the Joe's whole journey there are two helpers. One Andrew Beckon himself , is aware of what other law firms reactions are to aids patience working for them. The other being Joe's wife making him aware of whom in their family is homosexual. With both of them influencing this hero, Joe is shown that some things are really are an important risk.He is just learnig that not everyone thinks his way( Man and woman). Now at this point in the movie Philadelphia Joe ungues the abyss. He is faced with the greatest challenge of his whole journey. Can he win this case before Andrew passes on? Also, do homosexuals really make people more or less of a person? He cannot take any more challenges until he looks though himself to find the answers to defend Andrew. Joe Miller encounters a drastic change in the way he thinks and views about homosexuals; after going though the case. In the beginnings of his quest Joe is afraid to even touch Andrew. Now he is like a brother to him, part of the family in a sense. He now seems to look at homosexuals in a new light. He sees that your sex preference doesn't define you spirit as a person. Finally, Joe returns to reality, after Andrew's death he sees what an impact Andrew has had on his life, Joe is able to understand the life of a hard working man. All Andrew wanted to do was reprsent people in a court of law as best as he possibly could. Lastly, Joe understands why people stereotype but, also why things that you do in your personal life are different, than the attitude and ability to work as an individual." You're truly a good man" Joe tells Andrew on his deathbed. In return this is a lot for Joe to deal with because of his feelings toward the whole situation. "Thanks for everything " replies Andrew as Joe is sliding his oxygen mask up to avoid slipping, Joe learns 'not to judge a book by it's cover' but what's inside.

704.          Movie review of A time to Kill

I never read A Time To Kill by John Grisham because the book bored me. But I wonder why it did bore me because the movie was engrossing and entertaining. Maybe it is because Akiva Goldsman took out most of the boring parts. I usually love Grisham, but this book was just too slow. However, another thing that made the movie more entertaining is the actors.

The movie begins with the rape scene that you have probably heard about. If you haven't, it's a quick-edited scene so it doesn't show much, but still makes your stomach churn. Jake Brigance (Matthew McConaughey) describes it graphically in his summation. Anyway, what makes the scene so shocking is that it is a 10 year old girl being raped. The two men are captured and while ascending a staircase for their preliminary trial, the girl's father, Carl Lee Hailey (Samuel L. Jackson), runs out of a closet with a gun and shoots the two men and a cop. The two men die and the cop has his leg amputated.

This sets off the main plot of the story. Hailey gets Brigance to defend him for virtually nothing. During a courtroom scene, Eileen Roarke (Sandra Bullock, in a surprisingly small role for having top billing) helps Brigance to get the trial moved to another town. Unfortunately, the judge (Patrick McGoohan) decides against moving the trial. Brigance needs to get a jury of young, married men with children. What does he get? A jury of women and old men. So Brigance has his work cut out for him, especially when he is up against the cruel and cheating Rufus Buckley (Kevin Spacey).

The film moves along quickly, which I wasn't expecting. The movie is 145 minutes long, but it seems shorter than this. The book is over 500 pages, so Goldsman had his work cut out for him. But he did a great job and made the movie more entertaining than the book. As I said, the actors must have had something to do with it as well. Matthew McConaughey is superb as Brigance. This is his first movie and it will probably make him famous. His summation is one of the best parts of the movie. He says it with great emotion that, not only can the jury relate with, but so can the audience.

Samuel L. Jackson is always good and there is one particular scene where he gives a small talk to Brigance. It is powerful, even if it is short. That's how good Jackson is. Sandra Bullock, in a supporting role, is charming as always. Kevin Spacey, in his first role since The Usual Suspects, is okay but not as brilliant as his Oscar winning performance from his last film. Keifer Sutherland is just plain mean as the Ku Klux Klan member. And Donald Sutherland is good as the drunken teacher of Brigance.

A Time To Kill is rated R. There is a fair amount of violence and language, and the rape scene is pretty graphic for what they could show. But the performances (especially by McConaughey) are outstanding and the story is quick-paced. This is the worst of Grisham's movies (The Firm, The Pelican Brief, and The Client) but by far the most powerful and emotional.

705.          Movie Review of Jerry Maguire Essay

Movie Review of Jerry Maguire

If you want to take a break from the frigid air of a Montreal winter, go

to see Jerry Maguire; it will be sure to warm your heart. If you're like me,

you're a little tired of going to see big name stars in overly hyped, big time

busts. Combine that with the fact that sports movies are rarely impressive,

(Necessary Roughness?!? The Program?!?) and I have to say that my hopes were not

too high for this movie. Let me tell you, I was pleasantly surprised.

The title character, played by Tom Cruise, is a sports agent at the top

of his business, and at the bottom of humanity. He works for Sports Management

International as a ruthless devil procuring the largest contracts and

endorsement deals he can muster, at the expense of personal well-being and old-

fashioned love of the game. The movie begins when one night, in a fit of passion,

he has a revelation and writes a mission statement about how the business can be

altered to include humanity. His plan focuses on reducing the number of clients

to produce higher quality relationships with them. He then distributes it to all

his colleagues before realizing what a big mistake he made. His boss fires him

promptly. Only one client out of his previous 72, Arizona Cardinals wide

reciever Rod Tidwell (Cuba Gooding Jr.), remains faithful. Ironically enough,

his only concern is money. Only one former colleague, Dorothy Boyd (Renee

Zellweger), joins Jerry when he forms a new company. His memo inspired her. Her

five-year-old son, Ray (Jonathan Lipnicki), develops a huge crush on Jerry and

is the deciding factor in convincing Jerry to marry Dorothy on impulse after he

breaks up with his fiance, Avery (Kelly Preston). The movie tracks the trials of

his relationship with Dorothy, and Rod's ascent to stardom.

Jerry is not a typical role for Tom Cruise. He's accustomed to playing,

and we're used to seeing him in, macho, heroic type roles, (Mission Impossible,

A Few Good Men, Days of Thunder etc. . .). In this movie he plays a loser, and I

would call it his best performance yet. He really has to do some serious acting,

and he renders his part brilliantly.

Another huge surprise in this movie was newcomer Renee Zellweger. Part

of her succcess in this movie, is rooted in her relative anonymity. Had her

character been played by a big name actress, like a Gweneth Paltrow or Sara

Jessica Parker, the movie wouldn't have been the same. She is perfectly suited

to the struggling, single mother role that she plays. In addition, she carries

off the love scenes that Cruise seems to have a little trouble with.

I can't say enough about Cuba Gooding Jr. I first spotted him in

Outbreak, and his performance in Jerry Maguire has furthered my contention that

this guy is destined for stardom. He brings life, action, humour, and charisma

to the movie. This guy can be anything he wants to be. I'd keep an eye out for

him in the future.

Rounding out the cast: Bonnie Hunt (Jumanji, Beethhoven). She plays

Dorothy's cynical, divorcee older sister. Her down to earth personality and

skepticism perfectly contrast Dorothy's wholesome idealism and optimism. Next is

Johnathon Lipnicki, Dorothy's kid. The sugar factor on this five-year-old is off

the scales; he's a teaspoon too cute, but his scene stealing antics and

expressions are used in perfect moderation. Regina King plays Tidwell's wife,

and pulls off the tender, amourous scenes of young love with perfection.

Some credit must go to director Cameron Crow (Singles) for some some

great camera work. You can't help but notice, as a viewer, the expressions and

moods caught on tape. These instances had to be captured at precise moments.

They make a zealous impact on the movie.

I think I've done enough raving about Jerry Maguire. Listen, this movie

won't win any Oscars, it's not that kind of movie, but it's a heartwarming tale

with great people to bring out its full potential. It's a realistic plot that we

can all relate to; that's a rarity these days.

706.          Movie Review of Jerry Maguire

Movie Review of Jerry Maguire

If you want to take a break from the frigid air of a Montreal winter, go to see Jerry Maguire; it will be sure to warm your heart. If you're like me, you're a little tired of going to see big name stars in overly hyped, big time busts. Combine that with the fact that sports movies are rarely impressive, (Necessary Roughness?!? The Program?!?) and I have to say that my hopes were not too high for this movie. Let me tell you, I was pleasantly surprised.

The title character, played by Tom Cruise, is a sports agent at the top of his business, and at the bottom of humanity. He works for Sports Management International as a ruthless devil procuring the largest contracts and endorsement deals he can muster, at the expense of personal well-being and old-fashioned love of the game. The movie begins when one night, in a fit of passion, he has a revelation and writes a mission statement about how the business can be altered to include humanity. His plan focuses on reducing the number of clients to produce higher quality relationships with them. He then distributes it to all his colleagues before realizing what a big mistake he made. His boss fires him promptly. Only one client out of his previous 72, Arizona Cardinals wide reciever Rod Tidwell (Cuba Gooding Jr.), remains faithful. Ironically enough, his only concern is money. Only one former colleague, Dorothy Boyd (Renee Zellweger), joins Jerry when he forms a new company. His memo inspired her. Her five-year-old son, Ray (Jonathan Lipnicki), develops a huge crush on Jerry and is the deciding factor in convincing Jerry to marry Dorothy on impulse after he breaks up with his fiance, Avery (Kelly Preston). The movie tracks the trials of his relationship with Dorothy, and Rod's ascent to stardom.

Jerry is not a typical role for Tom Cruise. He's accustomed to playing, and we're used to seeing him in, macho, heroic type roles, (Mission Impossible, A Few Good Men, Days of Thunder etc. . .). In this movie he plays a loser, and I would call it his best performance yet. He really has to do some serious acting, and he renders his part brilliantly.

Another huge surprise in this movie was newcomer Renee Zellweger. Part of her succcess in this movie, is rooted in her relative anonymity. Had her character been played by a big name actress, like a Gweneth Paltrow or Sara Jessica Parker, the movie wouldn't have been the same. She is perfectly suited to the struggling, single mother role that she plays. In addition, she carries off the love scenes that Cruise seems to have a little trouble with.

I can't say enough about Cuba Gooding Jr. I first spotted him in Outbreak, and his performance in Jerry Maguire has furthered my contention that this guy is destined for stardom. He brings life, action, humour, and charisma to the movie. This guy can be anything he wants to be. I'd keep an eye out for him in the future.

Rounding out the cast: Bonnie Hunt (Jumanji, Beethhoven). She plays Dorothy's cynical, divorcee older sister. Her down to earth personality and skepticism perfectly contrast Dorothy's wholesome idealism and optimism. Next is Johnathon Lipnicki, Dorothy's kid. The sugar factor on this five-year-old is off the scales; he's a teaspoon too cute, but his scene stealing antics and expressions are used in perfect moderation. Regina King plays Tidwell's wife, and pulls off the tender, amourous scenes of young love with perfection.

Some credit must go to director Cameron Crow (Singles) for some some great camera work. You can't help but notice, as a viewer, the expressions and moods caught on tape. These instances had to be captured at precise moments. They make a zealous impact on the movie.

I think I've done enough raving about Jerry Maguire. Listen, this movie won't win any Oscars, it's not that kind of movie, but it's a heartwarming tale with great people to bring out its full potential. It's a realistic plot that we can all relate to; that's a rarity these days.

707.          Movie review of Yentl

MOVIE REVIEW: YENTL

Everyone at one time or another has felt out of place.  Feeling unsure of one's place in society is an experience that every young adult faces but deals with differently.  Some rebel while others comply with whatever has been set out for them by society or their parents, or both.  The role of the woman in society is forever changing.  Where women were once obligated to stay in the home and dote on their husbands, they are now working in the same types of jobs as their husbands.  What was typically the male role has been blurred and practically obliterated.  Religious roles have followed society's lead in their evolution.  For example, since its creation over five thousand years ago, the Jewish religion has evolved in some movements to involve women and men equally in ceremonies.  The orthodox movement has always remained traditional in its belief that women have their place in the home, cooking and raising children, and serving their husbands.  Education remains the man's duty.  The movie Yentl starring Barbara Streisand, shows this traditional belief through its plot, characterization, music, lights, camera angles, and symbolism.

Set in Eastern Europe in 1904, Yentl captures the essence of the Jewish woman's eternal struggle.  It is the story of a young girl, in love with learning but forbidden to do so by Jewish tradition.  Upon her father's death, Yentl disguises herself as a boy to attend a yeshiva (religious school) and continue her studies.  She befriends Avigdor, a male scholar at the  yeshiva, and falls in love with him.  Driven by her love for him, Yentl will do all that she can to ensure that he is near her and that her secret is not revealed.  Yentl struggles with her secret until the day she can no longer remain silent.  She tells Avigdor what she has done, and of her love for him, but he cannot accept a woman who refuses to act as a traditional woman should.  So Yentl departs for America in hope of a different mentality, but never forgetting her love for Avigdor and all that she has learned.

Based on Isaac Bashevis Singer's acclaimed short story, "Yentl, the Yeshiva Boy," the story is somewhat unrealistic but serves its purpose in proving a point; the point being that women have always been just as capable as men in studying and education, and that a person's role should not be defined for them.   It describes a woman's search for freedom and her discovery not only of love but of herself.  Yentl, or Anshel as she is known throughout most of the film, is played by Barbara Streisand who also directed, produced, and co-wrote this film.  She captures the character beautifully, the expression in her eyes and voice displaying clearly the feelings of a woman struggling for knowledge and love but torn between her desire to learn and the tradition of her religion.  When Avigdor says "What could she possibly be thinking?" the mentality of the Jewish Orthodox man is revealed completely: a woman exists but to serve a man.

Yentl's inner conflicts and thoughts are revealed through the music she sings.  It sets the mood and exposes Yentl's feelings of despair.  If it were not for the lyrics of her songs, the audience would not be aware of Yentl's inner struggle.  She tells us that she doesn't know if she likes the way that she feels - in love with Avigdor but forced to remain silent, she tells us of her desire to please her father even though he is dead, and she tells us of her plans to uncover her secret to Avigdor.  The music that Barbara Streisand sings, as well as the background music, helps to reveal feelings and mood as well as the passage of time.

The mood and the passage of time are also indicated by the lighting.  When Yentl is accepted as a student at the yeshiva (a thing forbidden to women), light streams in the window as if to show hope and happiness for Yentl.  When Yentl first disguises herself as a male, she sings her thoughts of fear, a feeling also displayed by the candle which is lit and the light of which, reflected on her face, shows her sadness.  Often, the camera angle looks downward on Yentl, perhaps to show that her efforts may seem large in her life, but in the large picture of the Jewish religion, she will not be making large changes.  It may also be that this camera angle displays the assumed insignificance of a woman, or her feelings of insignificance.  The lighting, as well as the camera angles contribute to the theme and mood of the film.

Symbolism plays a large role in the portrayal of theme in Yentl.  A bird soaring through the sky is frequently shown throughout the film.  This symbolizes Yentl's struggle and eventual conquering of her feats.  She, like the bird, is able to soar - through the prejudices of her traditions and through the world of knowledge for which she so longs.  She displays this thought in the last line of the movie when she sings "Papa watch me fly."  As well, when Yentl transforms herself into Anshel, the boy, she looks at herself in a cracked mirror and cuts her hair.  This displays her uncertainty of herself and her place in Jewish society, and the cutting of her hair symbolizes her transformation and the beginning of a new life for her.  Symbolism throughout the film, contributes to the film's theme of self-discovery and role reversal.

The plot, characterization, lighting, camera angles, and symbolism reveal thoroughly the plot of this highly thought-evoking film.  The plot mainly contributes to proving that a woman's place is not solely in the home.  That "story books for women, sacred books for men", as the bookseller says at the beginning of the story, is not an accurate assessment of a woman's intellectual capabilities.  Because of Barbara Streisand's fabulous and complete characterization of Yentl, this movie comes to life and touches the hearts of its viewers.

708.          Movie Review on Seven

&lt;Tab/&gt;&lt;Tab/&gt;&lt;Tab/&gt;Seven was directed by David Fincher, creator of Alien. When Seven was first released, it became an enormous box-office hit because it finally did something most audiences had never seen for a long time. Seven dazzled us with spectacular visuals and engrossed us with a frightening story. It also sparked controversy over many of the graphic murders portrayed. Fincher creates interesting characters that we grow to like and then he spins the film around and makes us sick to our stomach.

&lt;Tab/&gt;&lt;Tab/&gt;  &lt;Tab/&gt;The movie begins with a young couple moving to New York to begin a new life. Detective Mills known as Brad Pitt and his wife Tracy Mills known as Gwyneth Paltrow move into a good-sized apartment and Mills goes to work alongside veteran and retiring Detective Somerset known as Morgan Freeman. At first, Somerset doesn't like his new and impatient partner, but he likes Mill's wife. Detective Mills and Somerset are sent to a murder scene to investigate the brutal and torturous killing of an extremely obese man. This murder is just the start of a consequent game of cat and mouse with an undetermined killer as the mouse. As they get closer to solving the case and catching the killer, the "preacher's" message begins to appear directly more towards Mills and Somerset. Freeman discovers that the murderer is leading them through a series of death, and clues, based upon the Seven Deadly Sins of Gluttony, Sloth, Greed, Pride, Envy, Lust, and Wrath.

&lt;Tab/&gt;&lt;Tab/&gt;&lt;Tab/&gt;This movie is worthy of having a five star rating for its creepy visuals and grotesque murders. Seven is an engrossing tale that will have enough chills and thrills for action fans and huge helpings of brain-stretching story for thinkers. Brad Pitt gives a stunning and inspired performance. Freeman, on the other hand, steals the film as the veteran detective. His poetic dialogue is given an added touch by Freeman's almost repetitive tone which fits the style of Seven. Pitt's talkative character gives Freeman the perfect opposite to work with. I would recommend this movie to viewers because it's an interesting and horrific and yet gruesome movie. Seven has been the best film I've seen. Even though Seven is rated R, it is one of the best movies ever made and will be remember for a long time to come. &lt;Tab/&gt;&lt;Tab/&gt;&lt;Tab/&gt;&lt;Tab/&gt;&lt;Tab/&gt;

709.          Movie Review Sense and Sensibility

Movie Review: Sense and Sensibility

Ang Lee, who directed, and Emma Thompson, who adapted the screenplay, have

done an excellent job of bringing Jane Austen's Victorian novel, Sense and

Sensibility, to the movie screen.  The movie's collection of actors are a joy to

watch as they bring out the emotions of an otherwise polite and reserved era in

time.  The production work is top notch with bright, cascading photography that

sets a romantic "I wish I was there" setting.  The purpose of the Sense and

Sensibility is to bring out the romance in all of us and show us that Austen's

philosophy of love exists today as  much as it did two centuries ago.

Sense and Sensibility could rightly be classified as a love story, but

that would just scratch the surface of what this movie has to offer.  It is also

a period piece, giving us a chance to visit English society in the nineteenth

century.  Director Ang Lee brought us to this historic time with beautifully

constructed sets and sites that drop us right into the country cottage of our

heroines. This natural scenery, with its wide sweeping camerawork warps us back

to a time without the loud annoyances of TV and machinery.  By this example Lee

sets the stage for the story to begin..

If there is one thing that keeps this movie constantly going is the work

of the superb actors.  The talent of the actors suited  the roles they played,

and their mastering of the characters bring personality and feeling to the

screen.  The story of the movie bases around two of these such characters who

happen to be undergoing the same feelings of love but in strikingly different

ways.  Kate Winslet plays the wild, fatally romantic Marianne who cannot control

her feelings.  Opposite her is the experienced Emma Thompson  who plays the

reserved, intelligent Eleanor  who is far more sensitive than she ever lets on.

These two sisters embark on a romantic adventure that finds them searching for

the right man.  The two actors compliment each other with their opposite nature

which balances the story perfectly.

Yet, as wonderful as these two characters are, Alan Rickman's Brandon is

the core of Sense and Sensibility. His performance is eloquent and beautifully

controlled but you can tell the torment he fights inside.  His voice may be

confident and steady, but his eyes alert you to his true emotions.  Brandon's

heartache touches you at the core but this heartache makes him more regal

because of his perseverance.

Hugh Grant compliments this array of actors by giving the film some

classical slapstick comedy.  He fits perfectly against the reserved Emma

Thompson who will occasionally bring out that wide smile after one of Grant's

humorous anecdotes.  Grant brings just enough charisma to his character of

Edward to bring a little excitement to the movie.

Although the film did not need use the blockbuster special effects of

more recent movies, they satisfy the needs of the movie and there are no errors

to distract the moviegoer.  By doing this Ang Lee forced the watcher to envelop

themselves into the emotions of the actors and not glitzy special effects.  The

story sweeps you away, and the added quality production work was just bonus to

an already outstanding film.  All the pieces of the film all seemed to fit in

place and this is thanks to the work of the director.  Ang Lee made sure that

everything was perfect, from the historic costumes to the accents of the actors.

This is also a compliment to Emma Thompson who had the trouble of constructing a

screenplay that would honor the book, but would also move at a fast enough pace

to entertain the reader.

Sense and Sensibility shows us exactly what a movie should be.  The

movie's witty romanticism helps illustrate the Victorian era whose love is not

so different from our own. This success is due to the actors who brought the

story to a personal level.  Without them we would not have felt the emotions of

the characters, which made us long to love as they did.

710.          Movie Review The Color Purple

Movie Review: The Color Purple

Byron Hooper

11/18/96

The movie "The Color Purple," directed by Steven Speilberg, was, in general, a

satisfactory film.  It was enjoyable, if you don't consider accuracy towards the

novel it is portraying important.  Speilberg obviously had little, if any,

respect toward the original story, by Alice Walker.  He slaughtered a story most

people had heard of, but never read. I thought the movie itself was rather good.

It had it's own good and bad points.  Up until about when Sofia left Harpo, they

were almost identical.  After that they are almost two different stories with

the same ending.

The movie was written purely for entertainment.  It added a small number of

scenes, but cut more than it added.  Also, it emphasized different parts of the

story than the book. The film is about a young black girl growing up in the

south, abused by, first, her father, then her husband, whom she had no choice in

marrying, as is the book.  But in the novel, after Celie found her sister's

letters, the main focus was Nettie in Africa.  In the movie, the section on

Africa was only ten, fifteen minutes long, and the rest was based more on the

rest of Celie's life.

I'll admit, most movies, that follow the book that they're based on word for

word are pretty monotonous (i.e. Dune), but this particular movie probably would

have been better, at least in my own opinion,

711.          Movie Review The Mirror Has Two Faces

Movie Review: The Mirror Has Two Faces

The movie stares Barbara Streisand as Rose Morgan a lonely, single, low self

esteemed woman who lives with her domineering mother  Hannah Morgan  played by

Lauren Becall in New York.  Jeff Bridges who plays Gregory Larkin a math

instructor at Columbia University is a man in search of the perfect woman who is

not interested in sex but only companship.  Greg places a personal ad in a

singles paper and receives enormous response.  He reviews the responses to his

ad and decides on a response that featured Rose.  Greg calls the number on the

response and a woman answers the phone who is Roses sister Claire.  Claire

explains to Greg  that she responded to the ad without Roses consent and that

Rose is not a women of great beauty. Greg explains that he is not in search of a

woman with great beauty, just a woman for companship. Greg calls Rose on the

telephone and the two decide to have dinner as friends. They adore each others

companship and start to spend more and more time together as best friends.  They

become extremely flexibly enmeshed and are very compatible with each other.

As time passes and they grow closer to each other they decide to get married by

the justice of the peace.  Roses mother who is dependent on her objects to the

idea and thinks the marriage is wrong.  She uses plenty of guilt trying to

persuade Rose not to marry Greg. The marriage takes place and the Rose moves

into Greg's apartment where their are separate twin beds for Rose and Greg.  The

first night of living together Greg indirectly suggests the two should have sex.

Rose does not understand and falls asleep on Greg. As time passes and the two

start to become flexibly connected  and share their most hidden secrets with

each other. Greg accepts a three month job offer over seas.  Rose agrees that he

should jump at the opportunity and supports him in his decision.  Rose decides

that the arrangement of a no sex marriage is not going to work. She decides one

night before Greg leaves for three months to seduce him into having sex with her.

Greg objects to the idea after about five minuets and explains his feelings to

Rose which infuriates her causing her to run back to her mothers chaotically

enmeshed home. Greg leaves for work over seas calling Rose on the telephone

every spare minute he has only to be greeted by her jealous and domineering

mother stating she is not home or available unknown to Rose.  Greg concentrates

on his decision and changes his mind about a no sex marriage.  He returns home

early in an effort to win Rose back from her mother.

Late at night Greg calls Rose to the window by screaming and yelling Roses name

against the wishes of the doorman to Hannah's apartment.  The doorman attempts

to stop Greg however his attempts don't succeed.   Rose comes to the window and

Greg explains that he has changed his beliefs about a no sex marriage.  Rose

accepts his proposal and the two are off to Greg's apartment to consummate the

marriage.

712.          Movie Review Yentl

Movie Review: Yentl

Everyone at one time or another has felt out of place.  Feeling unsure

of one's place in society is an experience that every young adult faces but

deals with differently.  Some rebel while others comply with whatever has been

set out for them by society or their parents, or both.  The role of the woman in

society is forever changing.  Where women were once obligated to stay in the

home and dote on their husbands, they are now working in the same types of jobs

as their husbands.  What was typically the male role has been blurred and

practically obliterated.  Religious roles have followed society's lead in their

evolution.  For example, since its creation over five thousand years ago, the

Jewish religion has evolved in some movements to involve women and men equally

in ceremonies.  The orthodox movement has always remained traditional in its

belief that women have their place in the home, cooking and raising children,

and serving their husbands.  Education remains the man's duty.  The movie Yentl

starring Barbara Streisand, shows this traditional belief through its plot,

characterization, music, lights, camera angles, and symbolism.

Set in Eastern Europe in 1904, Yentl captures the essence of the Jewish

woman's eternal struggle.  It is the story of a young girl, in love with

learning but forbidden to do so by Jewish tradition.  Upon her father's death,

Yentl disguises herself as a boy to attend a yeshiva (religious school) and

continue her studies.  She befriends Avigdor, a male scholar at the  yeshiva,

and falls in love with him.  Driven by her love for him, Yentl will do all that

she can to ensure that he is near her and that her secret is not revealed.

Yentl struggles with her secret until the day she can no longer remain silent.

She tells Avigdor what she has done, and of her love for him, but he cannot

accept a woman who refuses to act as a traditional woman should.  So Yentl

departs for America in hope of a different mentality, but never forgetting her

love for Avigdor and all that she has learned.

Based on Isaac Bashevis Singer's acclaimed short story, "Yentl, the

Yeshiva Boy," the story is somewhat unrealistic but serves its purpose in

proving a point; the point being that women have always been just as capable as

men in studying and education, and that a person's role should not be defined

for them.   It describes a woman's search for freedom and her discovery not only

of love but of herself.  Yentl, or Anshel as she is known throughout most of the

film, is played by Barbara Streisand who also directed, produced, and co-wrote

this film.  She captures the character beautifully, the expression in her eyes

and voice displaying clearly the feelings of a woman struggling for knowledge

and love but torn between her desire to learn and the tradition of her religion.

When Avigdor says "What could she possibly be thinking?" the mentality of the

Jewish Orthodox man is revealed completely: a woman exists but to serve a man.

Yentl's inner conflicts and thoughts are revealed through the music she

sings.  It sets the mood and exposes Yentl's feelings of despair.  If it were

not for the lyrics of her songs, the audience would not be aware of Yentl's

inner struggle.  She tells us that she doesn't know if she likes the way that

she feels - in love with Avigdor but forced to remain silent, she tells us of

her desire to please her father even though he is dead, and she tells us of her

plans to uncover her secret to Avigdor.  The music that Barbara Streisand sings,

as well as the background music, helps to reveal feelings and mood as well as

the passage of time.

The mood and the passage of time are also indicated by the lighting.

When Yentl is accepted as a student at the yeshiva (a thing forbidden to women),

light streams in the window as if to show hope and happiness for Yentl.  When

Yentl first disguises herself as a male, she sings her thoughts of fear, a

feeling also displayed by the candle which is lit and the light of which,

reflected on her face, shows her sadness.  Often, the camera angle looks

downward on Yentl, perhaps to show that her efforts may seem large in her life,

but in the large picture of the Jewish religion, she will not be making large

changes.  It may also be that this camera angle displays the assumed

insignificance of a woman, or her feelings of insignificance.  The lighting, as

well as the camera angles contribute to the theme and mood of the film.

Symbolism plays a large role in the portrayal of theme in Yentl.  A bird

soaring through the sky is frequently shown throughout the film.  This

symbolizes Yentl's struggle and eventual conquering of her feats.  She, like the

bird, is able to soar - through the prejudices of her traditions and through the

world of knowledge for which she so longs.  She displays this thought in the

last line of the movie when she sings "Papa watch me fly."  As well, when Yentl

transforms herself into Anshel, the boy, she looks at herself in a cracked

mirror and cuts her hair.  This displays her uncertainty of herself and her

place in Jewish society, and the cutting of her hair symbolizes her

transformation and the beginning of a new life for her.  Symbolism throughout

the film, contributes to the film's theme of self-discovery and role reversal.

The plot, characterization, lighting, camera angles, and symbolism

reveal thoroughly the plot of this highly thought-evoking film.  The plot mainly

contributes to proving that a woman's place is not solely in the home.  That

"story books for women, sacred books for men", as the bookseller says at the

beginning of the story, is not an accurate assessment of a woman's intellectual

capabilities.  Because of Barbara Streisand's fabulous and complete

characterization of Yentl, this movie comes to life and touches the hearts of

its viewers.

713.          Movie Review

Movie Review: A Time To Kill

I never read A Time To Kill by John Grisham because the book bored me. But I

wonder why it did bore me because the movie was engrossing and entertaining.

Maybe it is because Akiva Goldsman took out most of the boring parts. I usually

love Grisham, but this book was just too slow. However, another thing that made

the movie more entertaining is the actors.

The movie begins with the rape scene that you have probably heard about. If you

haven't, it's a quick-edited scene so it doesn't show much, but still makes your

stomach churn. Jake Brigance (Matthew McConaughey) describes it graphically in

his summation. Anyway, what makes the scene so shocking is that it is a 10 year

old girl being raped. The two men are captured and while ascending a staircase

for their preliminary trial, the girl's father, Carl Lee Hailey (Samuel L.

Jackson), runs out of a closet with a gun and shoots the two men and a cop. The

two men die and the cop has his leg amputated.

This sets off the main plot of the story. Hailey gets Brigance to defend him for

virtually nothing. During a courtroom scene, Eileen Roarke (Sandra Bullock, in a

surprisingly small role for having top billing) helps Brigance to get the trial

moved to another town. Unfortunately, the judge (Patrick McGoohan) decides

against moving the trial. Brigance needs to get a jury of young, married men

with children. What does he get? A jury of women and old men. So Brigance has

his work cut out for him, especially when he is up against the cruel and

cheating Rufus Buckley (Kevin Spacey).

The film moves along quickly, which I wasn't expecting. The movie is 145 minutes

long, but it seems shorter than this. The book is over 500 pages, so Goldsman

had his work cut out for him. But he did a great job and made the movie more

entertaining than the book. As I said, the actors must have had something to do

with it as well. Matthew McConaughey is superb as Brigance. This is his first

movie and it will probably make him famous. His summation is one of the best

parts of the movie. He says it with great emotion that, not only can the jury

relate with, but so can the audience.

Samuel L. Jackson is always good and there is one particular scene where he

gives a small talk to Brigance. It is powerful, even if it is short. That's how

good Jackson is. Sandra Bullock, in a supporting role, is charming as always.

Kevin Spacey, in his first role since The Usual Suspects, is okay but not as

brilliant as his Oscar winning performance from his last film. Keifer Sutherland

is just plain mean as the Ku Klux Klan member. And Donald Sutherland is good as

the drunken teacher of Brigance.

A Time To Kill is rated R. There is a fair amount of violence and language, and

the rape scene is pretty graphic for what they could show. But the performances

(especially by McConaughey) are outstanding and the story is quick-paced. This

is the worst of Grisham's movies (The Firm, The Pelican Brief, and The Client)

but by far the most powerful and emotional.

714.          Movie The Fan

Movie: The Fan

An extraordinary film that every movie 'guru' should see is The Fan.

Putting this picture on a pedestal would be the right thing to do. My counter-

part, Hector, also gives the movie exemplary reviews.

Robert DiNero plays a psychotic baseball fan who was an appalling father

and a die-hard for the game. This crazy man just wants credit for giving a Barry

Bonds-like player ( Wesley Snipes ) his number back. Unfortunately, the 'fan'

gives Wesley his number back by killing the player who occupied the number

before him. When the baseball player's son is kidnapped by the disillusioned man,

the police held the man at gun point in the stadium. When the deranged man made

a move to open fire, the police gunned him down right on the ball field.

My attitude toward this hostile man was that he was very baneful and my

heart was lifted of many worries when he was killed. Hector gave this film two

thumbs up because of its screen play and cinematography. The reason that my

rating of this film was two thumbs up was because the story quickly fell

together at the end and the action was remarkable.

715.          Movie The Firm

Movie: The Firm

Sydney Pollack's film The Firm is a drama based on an desire to escape

from the law firm (Berndini, Lambert, and Lock) from which he was hired.  The

relatively small but wealthy firm wines and dines the ambitious Harvard Law

Graduate's (played by Tom Cruise) with money and gifts in order to make him part

of their team.  Overwhelmed by the gracious treatment and substantial offer

Mitch McDeere takes the offer to be part of the Firm.  The firm gets them caught

up in a affluent lifestyle that they never thought they could live.  Once

involved n the day to day workings of the firm McDeere began to get subtle hints

of a corruption with a Mafia mob client.  McDeere gets a hold of some

information that he shouldn't have had access to that supports his suspicions.

When an FBI agent confronts him with evidence of corruption and murder within

the firm, Mitch forms a plan to indite the partners of the firm by gathering

information on overbilling of the firms clients.  The firms clients files

contained information that could destroy both the firm and most of their mob

clients. Berndini, Lambert, and Lock had a past history of spending large sums

of money on their new lawyers then once they got used to the good life the firm

would let them in on the corruption that when on.  The firm had a tight control

over their partners.  They knew everything about their personal life as well as

their work life.  All their homes were wired and their phones tapped.  They also

had access to information on their partners family and friends.  With such tight

controls over their lives they had a power to control their every move.

Temptations of escape were smothered by threats of harm.  In two cases the

threats of harm led to murder.

A reoccurring theme of politics and power emerged throughout the film.

For this reason it seems most logical to analyze The Firm based on chapter

twelve of Stephen Robbins' book Organizational Behavior.  Power is defined as A

capacity that A has to influence the behavior of B so that B does things he or

she would not otherwise do.  The focus of this paper is going to based on the

power that the firm had over its employees.  In order to better understand the

concept of power and where it comes from two published researchers named J.R.P.

French Jr. and B. Raven came up with a five-category classification.  The five

categories are as follows; coercive power, reward power, legitimate power,

expert power, and referent power.  The firm practiced all five of  these

categories to gain control over their employees actions.  The top partners of

the firm possessed a great coercive power over their subordinates.  Coercive

power is defined as a power based on fear.  The lead character Mitch McDeere was

in fear of his life and his family's life if he failed to comply to the firms

demands.  The foundation of coercive behavior "...rests on the application, or

the threat of application, of physical sanctions such as the infliction of pain,

the generation of frustration through restriction of movement, or the

controlling by force of basic physiological or safety needs." Throughout the

film there were many implications a negative outcome to certain actions that the

head partners felt were contrary to the success of the firm.

Another classification of power, reward power, is based on compliance

achieved based on the ability to distribute rewards that others view as valuable.

As stated in the chapter coercive and reward behavior are counterparts of each

other.  In the movie they were used together.  The book describes coercive power

as the power to take away something of positive value or to give something of

negative value.  It goes further to explain reward power as the power to give

something of positive value or to take something away of negative value.  Under

this view one could assume that the firm took away Mitch McDeeres' value of

freedom.  During the last few scenes of the movie the FBI agent asked Mitch why

he went to all the trouble to do what he did.  His reply was "...now I have a

life.  A life of my own, not someone else's."  At the same time the firm gave

Mitch many things of great value such as a houses, car, and six figure salary.

Another form of power that emerges in The Firm is Legitimate power.

Legitimate power is the power that a person receives as a result of his or her

position in the formal hierarchy of an organization.  Tom Cruise did an

excellent job of depiction his characters role in the organization.  Mitch was a

newcomer to the firm, but he was a very smart individual and a talented lawyer.

Because Mitch was such an intelligent person with a strong educational

background he exhibited an subtle hint arrogance.  Even with this arrogant

attitude when confronted by the senior partner Tom Cruise's character showed his

subordinate position with his body language and his use of power tactics such as

reason, friendliness assertiveness, and higher authority.  These power tactics

are fully explained on page 472 of Organizational Behavior.  The senior

partner's authority over Mitch is a good example of Legitimate power.

Mitch McDeere also exhibited a power referred to as expert power.  This

type of power is a form of influence based on special skills or knowledge.

Mitch and the rest of the lawyers in the firm had a expert power over the rest

of the people in the movie.  Their clients respected their opinion.  Expert

power exists because certain people have educational backgrounds that enable

them to give advise to others that the average person would not know.  Expert

knowledge only exists on a narrow spectrum.  A lawyer has a expert advantage

over a doctor when the topic of law is discussed.  When the topic of medicine is

discussed the table is turned to the doctor's advantage.

The final category of power listed is referent power.  Referent power is

defined as an influence based on possession by an individual of desirable

resources or personal traits.  Referent power emerges as a result of admiration

of another individual.  Since McDeere started of as a character with little

money he got caught up in the affluent lifestyle very quickly.  This was because

he saw something in the other partners that he wished that he had.  He admired

his colleges' the nice cars, big houses and expensive suits.  The fact that he

fit in so quickly was due to the fact that he was influenced by the other

partners referent power over him.

Berndini, Lambert, and Lock made it a point to maintain a certain image

amongst their clients.  This image that they tried to maintain could best be

explained by a process called impression management.  Impression management is

defined as the process by which individuals attempt to control the impression

others form of them.  The firm used impression management to influence their

clients and their new recruits.  The firm encouraged strong family values and

close involvement with the company.  There are seven techniques that the book

lists to help an individual gain a positive image or impression others view of

an individual.  Although the book focused on individual impression management

techniques I believe that companies are often very concerned with their image

management.  As a small firm Berndini, Lambert, and Lock had a relatively easy

job of maintaining a image of a organization that hires only professional,

family oriented individuals with strong values.  As a law firm Berndini, Lambert,

and Lock felt it was important to make a strong effort to eliminate the negative

connotations that many people think of when they hire a lawyer.  They

accomplished this by maintaining the practice of impression management.

Power and politics is something that will always be around us.  As long

as there are a variety of people in this world with a limited level of resources

it will exist as a form of distribution of these limited resources.  Power

exists in many forms.  Some are done intentionally and some are done without

even knowing it.  If used correctly power can help some to advance faster in

their jobs and enhance their social status.  If used incorrectly power can hurt

the people it has its influence on.  A person that is under the influence of

another persons power is at the mercy of the one in authority.  This raises the

subject of ethics and power.  How far should you go to gain power over another

individual in order to enhance your position in a company, social setting, or

even a relationship?  The answer to this and many more ethical questions lie

within every individuals mind and hart.  So the next time you come in contact

with someone who you feel has a powerful influence on your actions ask yourself;

Do they have my intentions in mind or their own?

716.          Movie The Grapes Of Wrath The people and the Depression

Movie: The Grapes Of Wrath - The people and the Depression

In the movie The grapes of Wrath, the Joads undergo the hit of the

depression, they have to leave their farm.  They go to California for jobs, but

find there are few jobs, and it pays little, or at least less then what they

were told.  The government tried to start programs to house and employ people

like the Joads.  Since the people who already lived in the cities in which these

developments were put didn't want them there anyway, they tried to start a riot

and have the police Arrest them.  Although in the movie the plan was foiled, it

could have worked in many other places, or the towns folk could have just

created a lynch mob, and eventually the people living in the development would

leave.

I believe that the economic situation of the country has a great effect

on the fall, or succession of people like the Joads, but I don't believe

government programs will effect them at all.  For example, the great depression

was a major economical event, and it greatly effected more then just people like

the Joads, but programs like the public works administration which employed

people for government construction projects.  Another program,  the Works

Progress Administration, later called the Works Projects Administration was

created to develop relief programs, and to keep a person's skills.  From 1935-

1943, it employed 8 million people, and spent 11 billion dollars.  But in 1939,

there were still 9.5 million still unemployed.  Another program was the Civilian

Conservation Corps.  Unemployed, unmarried young men were enlisted to work on

conservation and resource-development projects such as soil conservation, flood

control, and protection of forests and wildlife. These men were provided with

food, lodging, and other necessities, and were given a small monthly salary.

Another program was the CWA, the civil works administration.  It employed more

then 4 million workers to build and repair roads, and teach in schools, were

just a couple of the jobs.

Some of these programs would work temporarily, but eventually there

would be no more work to do, or the government would run out of funds.  All

these programs were hated by some, and loved by others, and some just didn't

care.  The business men that were lucky enough not to lose everything, and the

other employees working in the cities who still had jobs during the depression

didn't like these new programs.  In the movie, The Grapes Of Wrath, The towns

people didn't like the government funded version of a "Hooverville".  The

townspeople, along with the police tired to start a fight during a dance, so the

police could come in, arrest some of the people living there, and say that this

new development wasn't safe for the town, and it would have to be rid of.

Fortunately for them they were able to discover there little plan, and spoiled

the plan.  But this showed how much the people in the towns hated these new

developments like the Hoovervilles.  Also, I can't recall what town it was in,

but when the Joades approached one town border, the men there said there was no

work, and that they would have to turn around, I believe they even had the

police there.  This showed how much the people already living in these towns and

cities fear the coming farmers and others that had lost their jobs, for the

townspeople wanted to keep their jobs.  I think it would have been smarter for

the government to buy the farms that people like the Joads were being kicked off,

that way they could still work there, and because they only got paid in food and

shelter, the extra food that they made that used to go to their employer would

go to the government which could either be sold for less, or given out in

rations to the poor, and homeless.

I believe that Roosevelt had too much power, he was making too many

programs that didn't work.   He was throwing money here, and money there to

programs designed to employ people, yet there were still millions of people

still employed.  I believe if he had less power, his plans would have been

looked over more carefully, and the programs could have been substantially

better.

I believe that the programs created by the government had little affect,

and that the money could have been spent more wisely, and better programs could

have been created, but I do think that the economy has a major impact on the

fall, or survival of a family, like the Joads.

717.          Movie The Last Emperor

Movie: The Last Emperor

On 1908 in Peking The emperor I-Sin-Ger-Oh-Who-Eee, son of prince Dredd, at the

age of two, was crowned because emperorist Dowager was dieing. He was chosen

because Dowager was his grandmother. The only thing that was bad was that they

took him from his mother and gave him this lady that they called his "Wet nurse",

which mainly breast fed him and took care of him. Also he was not allowed to

leave the empire.

In the beginning after he was crowned emperor everybody  waited on him hand and

foot. At the age of about twelve he started to dislike not being able to have

any freedom such as not being able to leave the forbidden city when his

biological mother had died and when there was a war going on in his country and

he couldn't even see beyond the walls of the forbidden city. Also at the age of

twelve it was accustom for him to get married, so he married two seventeen year

old girls, one as a wife and one as a secondary console.

One time he was so mad that he wasn't aloud to leave the forbidden city to go

see his mother that had just die of swallowing a opium ball, he took his mouse

and through it against a wall.

Towards the end he gets arrested and brought to jail for crimes he didn't commit

such as trying to reform the empire.  In jail the guards found that he was

getting special treatment like getting his shoes tied so they moved him into

confinement.  He disliked jail so much that he tried to commit suicide, He did

it by slighting his wrists and sticking them in hot water but a guard that use

to be in the forbidden city found him and woke him up.

At the end he became emperor again because the people of the Manchuria would not

listen to the government so they used him as a dummy so the people would obey

them.

I liked this movie but I also disliked this movie, it was OK because of the

background and it seamed very real, but I didn't like this movie because it was

hard to understand.

718.          Movie The Mission

Movie: The Mission

Meena Throngkumpola

The movie, "The Mission," is about how the Spanish in cooperation with

Pourtugal try to get the Jesuits off land negotiated by the two countries.  The

Spanish Church sends people into Asuncion, Paraguay  to persuade the Jesuits to

get off the land.   The film includes spiritual and political activities the are

reflected through the church, natives, and the Jesuits.

What the movie mainly tried to show was that the Church wanted to

maintain control over the Jesuits.  To show that control, they went to Paraguay

and tried to persuade the Jesuits to leave.  The Spanish allowed them to take

care of the matter to prove that.  Spain and Portugal had negotiated the treaty

of Tordesillias.  In this treaty the two countries split the western world into

two parts where Spain can have one half and Portugal the other.  In the newer

version of the treaty, the line that split the land was moved in favor of

Portugal.  On that land, missionaries had already set up missions.  To better

the economy for Portugal, the Spanish Church was sent in to get the Jesuits out.

The would be effected by the continuation of the Jesuits because of the slave

trade.  If the Jesuits stayed, the Indians would have a spiritual leader .  To

brake their faith the Jesuits would have to be removed.

Near the end of the movie, the Spanish do try to break the faith of the

Indians. Father John is seen carrying a cross with many natives following behind

him. He is killed purposely, and even though he is down, the native faith is

still there. A young native boy picks up the cross and assumes the role of

father proving that killing the head leader does not kill the faith.

One aspect of the movie was the technology. The Indians were attacked by

a powerful weapon, and that was the weapon of being inferior to a race that had

a different way of life.  The Indians were introduced to guns, complex musical

instruments, and simplicities such as clothing. These new things changed their

life.  In the battle scene, the Indians steal gun powder from the Spanish. The

gun powder is then used by the Indians to their advantage.  By using home made

cannons, they are not totally helpless to the cannons and bullets of the

opposing side. One of the most memorable scenes of the movie shows the small

native girl picking up a destroyed violin and taking it with her with many more

children on a canoe. The only reason I can see for that scene is to represent

that even though the children are leaving the area to get away from the bad

people,  they will never fully forget what happened to them as they encountered

the white men.  The sequences where the same girl sees her own people dying

shows that even though these people were bad, they had made an impact that would

not be forgotten.

This movie, "The Mission," shows many of the negative effects of

European expansion. It reflects the many political and spiritual struggles that

the people faces, and shows that expansion of the west was not a pretty or

glorious chapter of history.

719.          Movie The Paper Chase

Movie: The Paper Chase

The most famous quote in the movie, "The Paper Chase", would have to be

when Kingsfield says, "You'll come in here with a scull full of mush and leave

thinking like a lawyer."

This movie should teach a high school student that going to college

demands a lot more than the "easy street" they've been riding in high school.

The movie teaches that you need to be able to put up with the arrogance

of the rich and uppity people that attend an Ivy League school.  They are very

expensive and most students come from wealthy families.

"The Paper Chase" teaches the viewer that law school is very stressful;

it is a way of life not just going to school; and you must have what it takes

just to survive law school.

The things I liked most about Mr. Kingsfield was well organized, and

that he was a difficult teacher.  Difficult teachers usually make you learn for

yourself.

The only things I didn't like about Mr. Kingsfield were that he was rude

to his students and that he didn't remember anyone's face without the seating

chart.

The name, "The Paper Chase", most likely came from the pursuit of

receiving a diploma in law.  All of the students strived for their diplomas

throughout the movie.

Hart possessed many characteristics that helped him be successful at

Harvard.  Among these were:  endurance, will power, and respect for his

professors.

I liked Ford best out of all the students.  He had most of the

characteristics needed  to survive Harvard, but also kept his sense of humor.

720.          Movie Tucker Preston Tucker

Movie: Tucker - Preston Tucker

Preston Tucker was a car-crazy kid who hung around auto speedways and

grew up to create an automobile Tucker that was years ahead of its time. He was

a man of pioneering spirit, ingenuity, and daring, who revolutionized Detroit

in the 1940s with his stunning car of tomorrow. It was streamlined, futuristic,

and fast the car every American dreamed of owning, at a price most people could

afford. When he wanted to start to produce the car he faces a lot of barriers,

an oligopoly.

In the movie Tucker, there are only a small number of firms. Like

Kaiser-Frazier Automotive Company and Ford Motor Company. Each of the companies

holds a large share and the action from each one may have a great affect on the

others. The product in this movie is car. Car is similar, differentiated

product and this is the characteristics of an oligopoly. There are many

problems when Tucker tries to produce his dream car. Since his car is a new one,

he needs to use a lot of advertising to promote it in order to attract people

to buy it. Like magazine, car shower, and TV.

When Tucker tried to produce his car, he faced many problems. First he

had the financial problem he needed $15 million to produce the bomber engine.

However, he did not have enough money, so he issued 4 million shares to raise

his money. Besides, retooling for a model change could cost $20 million and

since his car was a new brand, Tucker was lack of support of the big firms, so

he needed a lot of money to advertise his car. Second, Tucker's company had to

produce 100 cars as the outputs every day so that he could make a balance. He

also needed money to employ dealers and he needed 800 dealers in his company.

Third, he did not have enough resources to make his cars. He only had 200 tons

of steel and this was barely enough for 200 cars. He needed more steel. He also

had to spend $16 million to buy a mill. Forth, since "Tucker Torpedo" was a new

brand, many people were not familiar with it. Some of them even did not know it.

Thus, it might affect the sales of "Tucker Torpedo" much. People also did not

have confidence on this car because they did not know that it us safety or not.

Fifth, Tucker did not have the technology to produce his car in a mass

production. Therefore, it could not achieve the economies of scale and the

costs of producing his car were very high. Lastly, there was a bad publicity

which depressed the stock from $5 to $2 a share. Tucker forced to close the

plant after finishing only 47 cars.

Everyone has their own dream, but not everyone can make their dream

come true. Because when you want to make the come true, you need to have a lot

of things to support you. Like money, technique, time, place, and people.

Tucker is a very good sample. Since he got money, place, and people. But he

does not have much technology on build a new car, the other thing is wrong time.

Since the market is oligopoly, so when you have a new thing, you need to deal

with the big company. When they know you can do a thing better than them, then

they will use any way to stop you or control you, they never let you do it.

721.          Movie Twelve Angry Men

Movie: Twelve Angry Men

The movie Twelve Angry Men  begins with an eighteen year old boy from the

ghetto who is on trial for the murder of his abusive father.   A jury of twelve

men are locked in the deliberation room to decide the fate of the young boy.

All evidence is against the boy and a guilty verdict would  send him to die in

the electric chair.  The judge informs the jurors that they are faced with a

grave decision and that the court would not entertain any acts of mercy for the

boy if found guilty.

Even before the deliberation talks begin it is apparent most of the men are

certain the boy is guilty. However, when the initial poll is taken Juror #8

(Henry Fonda) registers a shocking not guilty vote.  Immediately the room is in

uproar.  The rest of the jury resents the inconvenient of his decision.  After

questioning his sanity they hastily decide to humor the juror #8 (Henry Fonda)

by agreeing to discuss the trial for one hour.  Eventually, as the talks proceed

juror #8 slowly undermines their confidence by saying that the murder weapon is

widely available to anyone, and that the testimony of the key witness is suspect.

Gradually they are won over by his arguments and even the most narrow minded of

his fellow jurors hesitantly agrees with him.  Their verdict is now a solid not

guilty.

Arriving at a unanimous not guilty verdict does not come easily. The jury

encounters many difficulties in learning to communicate and deal with each other.

What seems to be a decisive guilty verdict as deliberations begin slowly

becomes a questionable not sure.  Although the movie deals with issues relating

to the process of effective communication this paper will focus of two reasons

why they encounter difficulties and how they overcome them. First, we will apply

the Johari grid theory and see how it applies to their situation.  Then, we will

see how each individual's frame of reference and prejudices effect their

perception which cause difficulties in the communication process.

If we analyze the Johari grid of each juror we see a large hidden area in

the case of all of the men.  Take into consideration, referred to by juror

numbers only they do not even have the benefit of knowing their names. These men

have never talked before.  Each of them come from different situations with

individual and unique experiences.  The public area consists solely of the

shared information provided during the trial. Their hidden area is immense

resulting in an equally large blind area. The public, hidden and blind areas are

relatively the same for each juror before beginning the deliberation. It is the

size of the unconscious area that will differ more among the men. We will see

how the contents of the unconscious area will largely effect the decision making

process of some of the jurors. Because the information contained in the

unconscious area is unrecognized it is often the most difficult to overcome.

Henry Fonda's (Juror #8) interpersonal style would be classified as open-

receptive.  He levels with the others by openly admitting that he does not know

if the boy killed his father and solicits feedback in order to make an accurate

decision.  He says "I just don't think we should send a boy off to die without

at least talking about it first."  The example he set encourages the others to

level and be open to receive feedback. The movie illustrates the process of

leveling and soliciting feedback which can make all the difference.

The character with the largest hidden window is the boy on trial. Realizing

this, Henry Fonda (Juror #8) tries to put himself in the boys shoes to gain a

better understanding of his situation. "The poor boy has been beaten on the head

once a day every day since he was five years old!" and "I think if I were the

boy I'd get myself a better lawyer... He didn't stand a chance in there."  In

this case one can only speculate as to the contents of the boys hidden area.

The important factor is his desire to comprehend the boys feelings.

One man in particular, Juror #3 (Lee J. Cobb) has a sizable unconscious

area. He has a troubled relationship with his own son that preoccupies his

thoughts.  This is eluded to in a conversation between  juror #7 (Jack

Warden)and himself. Looking at a picture of him and his son he says "haven't'

seen him in two years, kids, you work your heart out..." then he abruptly stops.

The broken relationship with his son preoccupies his thoughts as several times

throughout the movie he is found staring at the picture. His interpersonal style

would be classified as a blabbermouth. He is neither open or receptive. He has

his opinion and loves to share it.  The net result is a large blind area. He is

unwilling or unable to level with the others and is also unreceptive to any

feedback.  Most likely the extent of these feelings and the effect it has on his

perceptions is unconscious to him. Eventually, he finds himself the only one

maintaining a vote of guilty. He feels his sense of reality is in question and

it threatens him. This puts him on the defensive. He bursts accusing the others

of being crazy. This emotional eruption changes from bitter anger to sad

understanding. His defenses start to crumble as his unconscious emotions become

visible to him. By recognizing his unconscious emotions essentially what he has

done is level with himself.  Once he did this he realized the anger and

frustration with regards to his son has been misdirected toward the accused.

With a new understanding of himself he is able to change his vote to not guilty.

Another issue dealt with in the movie is prejudice.  Prejudice is defined

as premature judgment or bias.  In a trial situation Jurors are asked to only

consider the evidence presented to them. Individual biases are not expected to

effect the decision making process.  Unfortunately, leaving our prejudices

outside the court room door is near impossible.  As the movie demonstrates

prejudice can distort our views and greatly effects our ability to make accurate

assessment's.

Strong prejudice is displayed by Juror #10 (Ed Begley) as he bursts into a

rage while referring to people from the ghetto,  "Look you know these people lie,

it's born in them...they don't need any real reason to kill someone...they get

drunk all the time, all of them, and bang! someone's lying in the

gutter...nobody's blaming them, for that's their nature, violent"  he even goes

on by saying "their no good, not a one of thems anygood."  It is doubtful Ed

Begley could see past his prejudice in order to hear the evidence in the trial.

His guilty vote is cast as soon as he learns about the boys disadvantaged life

in the slums. While most of the men are aware of the stigma attached to people

from the ghetto they are willing to try to put the stereotype aside. His

outburst has caused quite a disturbance in the room. This disturbance serves two

purposes. First, it provides the "not guilty" defenders with an understanding

that his prejudice is the reason for his opposition. It is always easier to

overcome an objection if you know what it is.  Having this knowledge allows for

a more productive communication there by convincing him that he should change

his vote.  Secondly, it allows him to vent his frustrations. In doing so, he

realizes the power of his emotions which forces him to step back and take a look

at what he really feels.  The look on his face shows he has a realization. For

the first time he understands his prejudices have effected his perceptions.

This new understanding of himself enables him to think more clearly and

objectively.

It is interesting that the most damning evidence is the testimony provided

by an eyewitness to the murder who is also a member of the boys slum community.

Yet the boy, a product of the same community is an assumed liar. Henry Fonda

(Juror #8) points out the double standard to the others when he says "she's on

of them too?"  Juror #3 (Jack Klugman) responds to the negative comments by

informing them that he too is from the ghetto. "Listen" he says "I've lived in a

slum all my life, I've played in back yards that were filled with garbage, maybe

you can still smell it on me."  Another gentlemen tells him "lets not be so

sensitive, he didn't mean you."  Pointing out these double standards undermine

the confidence of the jurors who's votes stemmed from pre judging.

Every man has the right to a fair trial, most would love the right to this

jury.  As the movie closes the not guilty verdict is handed down. It is not

known if the boy is guilty or innocent, that will forever remain in his hidden

area.  Henry Fonda (Juror #8) entered the trial with an open mind, he managed to

convince the others to do the same.  The movie illustrates that everything is

not what it appears to be. Being aware of this is the first step to better

understanding.

722.          Movie Villains

Movie Villains

What really is a villain?

Villains have been alive forever, there is no way to easily detected

them or stopping them.  They come in all shapes and sizes from animals to little

children to even space aliens.  Each villain has his or her own particular style,

usually greed.  Another big reason for there evil acts is because of revenge,

revenge can turn innocent people in to cold blooded killers.  The term used to

represent villains is antagonist, or someone who opposes the protagonist or hero

of the story.  Movie villains are not just plainly the main enemy in a movie as

in Nightmare on Elm Street series or on the Friday the 13th series, but

sometimes it is just a little enemy, sometimes killed off, that is the villain.

Sometimes the protagonist turns out to be the biggest antagonist in the story,

like in the movie La Strata.  Villains usually meet their end by death, but

sometimes their fate can be worse than that, like in the movie Time After Time a

character call Dr. Stevenson, who is also know as Jack the Ripper, meets his

death by traveling to the farthest time ever in the face of the earth, probably

when the earth is completely destroyed.  Other villains meet their doom with

being put in jail.  There are a few movies in which the villains actually comes

out victorious, as in the movie Chinatown.  Villains or antagonist are the

spotlights of most movies.

What is the origin of villains?

Villains have been around since evil has walked the earth.  Movies have

made evil from all the different ages to come out, for instance Messala in Ben

Hur is from the early AD years and Toecutter from the movie Mad Max lives in the

late 1990's.  Probably the earliest known villains would be the serpent in the

garden of eve.  It was the first villains by coaxing Adam and Eve into eating

the apple.  From there more villains came, from Egypt's Pharaohs to Chinese

emperors.  One movie era of villains was villains from the medieval times or a

little earlier, like Vikings and evil knights.  More modern movie villains were

Nazi's, mad scientists, psychopaths, gangsters, people with super human powers,

and spies.  Villains have evolved devilishly throughout the ages.

What are some famous villains?

There are millions of villains throughout movie history, some stand out

more than others.  One villains I think anyone can recognize is the wicked witch

of the west from The Wizard of Oz, she is so sinister it makes her stand out and

also everyone likes her flying monkeys.  One villains from biblical times is

Dathan from The Ten Commandments, who is the sinister helper of the Pharaoh

Ramses that tries to kill Moses.  Dathan meets his despise by being engulfed in

a trench than makes him fall into a place worse than any other place in the

world.  A fairly old villain is Long John Silver from Treasure Island.  Long

John doesn't die in the end, he escapes because he tricks Jim into letting him

go from his prison, he escapes and probably is still trying to find gold to this

day.  One more modern villains is Jaws, not the fish, from the James Bond series.

Jaws is a really tall man who has hands as big as a person head, and metal

teeth that can crush thorough anything.  Jaws never dies but usually comes back

in another movie, he actually turns good in one movie.  Villains are in every

form and in every age.

Why do villains appeal to me?

I love to watch villains do there dirty work and to use trickery to ruin

the hero's life.  It is not that I am a villain in real life, but it just

intrigues me to watch them.  Usually the villains get their just desserts but I

always think in the back of my head that they would come out on top.  One

villains that totally was intriguing was Noah Cross from Chinatown.  He was pure

evil committing such crimes as rape, incest, child abuse, murder, conspiracy,

kidnapping, and bribery and he actually comes out on top at the end of the movie.

The wrong person got shoot and his daughter, which he raped and abused, gets

returned to him at the end of the movie, probably to get raped again.  That type

of movie villains is rare, and when it does happen it is amazing.  Another thing

I like is when villains are still alive and waiting to come back in a sequel as

in the Omen series.  I just love that little antichrist Damien and all of his

little killings.  Movie villains are my favorite thing in the world, they are so

evil it is funny.

Works Cited

Stacy, Jan The Great Book of Movie Villains Chicago: Contemporary Books Inc.

1984

Pathfinder Information

1.  Villains

2.  Movies

3.  Movie Heroes

Additional Sources

1.  Villains in motion pictures.

2.  Moving-pictures--Plots, themes, etc.

3. 1996 Movie & Video Guide

Topic: Movie Villains

Thesis Statement:  Movie villains are numerous what are some of their reason for

their cruelty.

I.  Explaining villains

A.  Villains have been around since the garden of eve.

B.  What makes villains who they are, what drives them to evil?

C.  The speech is setup into listing villains and explain their

backgrounds.

II.  Villains

A.  Wicked Witch of the West.

B.  Leatherface.

C.  Long John Silver.

D.  Noah Cross.

III.  Villains and their untimely death.

A.  Every villains has his own reason for his acts, each is

different.

B.  Mostly the common reasons are, greed, revenge, or just plain

psychopathy.

C.  I love villains, and even though some of the movies are just

plainly disgusting, they are fun to watch.

723.          Movie What s Eating Gilbert Grape

Movie: What's Eating Gilbert Grape

"What's Eating Gilbert Grape", as directed by Lasse Hallstrom, is a

comedy, drama, romance, all wrapped up into one grand movie.  Leonardo DiCaprio

plays a mentally impaired boy with a caring brother, who always took care of his

brother until the love of his life came to town,  proposing the essential

question: What is a boy willing to sacrifice in order to be with the one he

loves?

Johnny Deep plays Gilbert Grape whose father left when he was little,

causing his mother to become depressed and never leave the house again. Gilbert

referees to her as a "beached whale" because she has gained so much weight. One

afternoon a silver camper had engine trouble, forcing them to stay in town for a

few weeks until it is fixed.  During that time Gilbert has fallen in love with

the girl in the trailer, played by Juliette Lewis.  Gilbert becomes very

irresponsible when it comes to his slow brother. He once left Arnie(Johnny Depp)

in the bath tub all night because he wanted to go visit the girl. Arnie was then

terrified of the water and refused to go back on ever again. Another time was

when Gilbert was in a deep conversation with the girl (Ellen), and did not

notice Arnie disappear. He ended -up climbing to the top of the water tower and

not coming down until the firefighters carried him down.  Their mother was very

upset with Gilbert and asked, "Where has your head been?" Gilbert head has been

up in the clouds, with his love.

This movie, "What's eating Gilbert Grape" is similar to the movie "Rain

Man". In both movies they have mentally impaired bothers who need certain

treatment. These brothers didn't always give it to them. In "Rain Man",  Charlie

abducted his brother, Raymond, from the only home he has ever know. This wasn't

the proper kind of treatment that Raymond needed, he was treated this way out of

Charlies' selfish reasons. Gilbert also had selfish reasons for treating Arnie

the way he did. This reason was his love for a girl, named Ellen.

Near the end of the movie, Gilbert had a chance to help them fix the

trailer, but I find it ironic that he couldn't get it fixed.  I feel that he

just want Ellen to stay longer with him, but the trailer was repaired later and

Ellen had to leave town, not wanting to though. I feel that this was only for

the best because Arnie needed more attention then he was getting. He could of

gotten hurt when he disappeared, and Arnie may not be around much longer, he was

only suppose to live to be ten, he is eighteen now. Gilbert needs to concentrate

on his brother, and if he does want love, he will need to be more responsible.

724.          Movie Wolfgang Amadeus Mozart

Movie: Wolfgang Amadeus Mozart

The movie takes place in Vienna, Austria in the 1700's. The film begins

with the attempted suicide of Antonio Salieri, a court composer of the Austrian

Emperor. He is placed in a mental asylum where a priest visits and asks for his

confession. Salieri claims to have caused the death of Mozart. The rest of the

movie is a narration by the court composer, mostly in flashbacks, of how he

caused this death.

Salieri recounts that while he was playing games as a boy Mozart was

playing music for the King. At the age of four, Mozart composed his first

concerto, at seven, his first symphony, and at twelve, his first opera. He was

considered a child prodigy.

Salieri wished to become a famous composer, like his idol. However, his

father would not allow this. He didn't want his son to be a 'trained monkey, on

tour around Europe performing tricks like a circus'. Salieri prayed to God and

what he considered a miracle happened: his father dies and he was able to pursue

his musical studies. He eventually became a popular musician and teacher in the

Emperor's court. When he heard Mozart was coming to Vienna from Salzburg,  he

eagerly sought him out. He finally found him at a party, way from the other

guests, acting like a silly animal, chasing a young woman. However, as soon as

he heard his music starting without him, he changed into a serious musician,

rushing to take his place as conductor. Salieri noticed that Mozart conducted

without notes. Although he recognized that Mozart was a 'giggling, dirty-minded

creature', he was also able to see the genius in him. He couldn't understand why

God had chosen a 'obscene child to be his instrument'. At another time, Mozart's

wife presents to Salieri some of his work in an attempt to get him a job as a

teacher. Salieri sees that the music sheets have no corrections and no notes.

Mozart simply composed from his head onto paper. It is then that Salieri is

overwhelmed by his brilliance. He realized that God has given to Mozart the

skills and genius that he has always prayed for, and all he gave to Salieri is

the ability to recognize it. It is at this point that he turned away from God

and set out to ruin Mozart.

Salieri then describes what Mozart was like. Mozart drank too much, he

partied all day and composed all night. He disobeyed his father by marrying

without permission. He was stressed out. He had bad manners, he was

inconsiderate of his wife and child, rude to others, selfish and conceited. He

had a horrible financial situation. He spent money he didn't have and had many

debts. In other words, the only positive part of his personality was his

composing.

Mozart's father came for a stay. There was much friction between his

father and his wife. His father, who had devoted so much time to teaching his

son music, was devastated by his lifestyle. They argued and the result was the

departure of Herr Mozart. His father died a short time later.

One day, a housemaid offers her services to the poor Mozart family. She

explains that she will be paid for by a anonymous admirer, but in fact Salieri

has hired her to spy. He discovers that Mozart is putting forbidden parts into

his opera. Salieri tries to ruin him but the Emperor bends the rules to allow

Mozart to play his brilliant music. The opera is a masterpiece and made Salieri

more jealous and angrier at both Mozart and God. He uses his position as court

composer to cancel the show after only a few performances, and does this with

other operas also. As a result, Mozart becomes poorer, more discouraged and acts

crazier and even mocks his dead father.

Near the end of the movie, Salieri disguises himself in a costume worn

before by Herr Mozart. He offers young Mozart a lot of money to compose a

funeral (requiem) mass. His plan is to have Mozart write this piece, then kill

Mozart and pretend that he (Salieri) has written this wonderful music for the

dead composer. However, Mozart cannot complete the opera. Instead, he gets

sicker and sicker. He seems to be going insane. He becomes physically ill as

well. He drinks and parties all hours. His wife finally leaves him.

One evening, while conducting a popular opera, he collapses. Although

Salieri hates him, he also secretly cannot stay away from his brilliant

performances, so he is there when Mozart collapses. He brings him home and tries

to get him to finish his requiem mass. In his last few hours, they seem to be

almost friends. In the morning, Mrs. Mozart returns just in time to see her

husband die. Because of their poverty, Mozart is buried with other men in a

communal, unmarked grave.

Now Salieri once again blames God, this time for killing Mozart and

keeping Salieri alive to suffer. As the movie ends, Salieri is being wheeled

through a room of mentally ill patients and this is where he will spend his

remaining days.

I think that Hollywood may have over-exaggerated Mozart's behaviour. In

my reading there is no evidence that he was like this. I wonder if Salieri

really hated or was jealous of Mozart. Did Salieri really plan to kill the

composer? The World Book Encyclopedia states that Mozart did try to earn money

by teaching pupils. There is no mention of any abnormal behavior.

Whether the movie is true or false, I think the movie tries to show that

genius is next to madness. A person may excel in one subject, yet the growth of

the other parts of his behavior may be stunted. The movie also points out that

jealousy brings misery. Salieri was well paid and popular, had a high position,

and had respect from other people. Yet he remained unhappy and even ruined his

life, all over the fact that another musician was better than he.  Finally, it's

a great tragedy that Mozart died so young and penniless.

The movie was well acted, and the music was beautiful to hear.

725.          Movies A Thematic Analysis of Alfred Hitchcock s

Movies: A Thematic Analysis of Alfred Hitchcock's Psycho

Alfred Hitchcock's Psycho has been commended for forming the

archetypical basis of all horror films that followed its 1960 release. The mass

appeal that Psycho has maintained for over three decades can undoubtedly be

attributed to its universality. In Psycho, Hitchcock allows the audience to

become a subjective character within the plot to enhance the film's

psychological effects for an audience that is forced to recognise its  own

neurosis and psychological inadequacies as it is compelled to identify, for

varying lengths of time, with the contrasting personalities of the film's main

characters. Hitchcock conveys an intensifying theme in Psycho, that bases itself

on the unending subconscious battle between good and evil that exists in

everyone through the audience's subjective participation and implicit character

parallels.

Psycho begins with a view of a city that is arbitrarily identified along

with an exact date and time. The camera, seemingly at random, chooses first one

of the many buildings and then one of the many windows to explore before the

audience is introduced to Marion and Sam. Hitchcock's use of random selection

creates a sense of normalcy for the audience. The fact that the city and room

were arbitrarily identified impresses upon the audience that their own lives

could randomly be applied to the events that are about to follow.

In the opening sequence of Psycho, Hitchcock succeeds in capturing the

audience's initial senses of awareness and suspicion while allowing it to

identify with Marion's helpless situation. The audience's sympathy toward Marion

is heightened with the introduction of Cassidy whose crude boasting encourages

the audience's dislike of his character. Cassidy's blatant statement that all

unhappiness can be bought away with money, provokes the audience to form a

justification for Marion's theft of his forty thousand dollars. As Marion begins

her journey, the audience is drawn farther into the depths of what is

disturbingly abnormal behaviour although it is compelled to identify and

sympathize with her actions.

It is with Marion's character that Hitchcock first introduces the notion

of a split personality to the audience. Throughout the first part of the film,

Marion's reflection is often noted in several mirrors and windows. Hitchcock is

therefore able to create a voyeuristic sensation within the audience as it can

visualise the effects of any situation through Marion's conscious mind. In the

car dealership, for example, Marion enters the secluded bathroom in order to

have privacy while counting her money. Hitchcock, however, with upper camera

angles and the convenient placing of a mirror is able to convey the sense of an

ever lingering conscious mind that makes privacy impossible. Hitchcock brings

the audience into the bathroom with Marion and allows it to struggle with its

own values and beliefs while Marion makes her own decision and continues with

her journey.

The split personality motif reaches the height of its foreshadowing

power as Marion battles both sides of her conscience while driving on an ominous

and seemingly endless road toward the Bates Motel. Marion wrestles with the

voices of those that her crime and disappearance has affected while the audience

is compelled to recognise as to why it can so easily identify with Marion

despite her wrongful actions.

As Marion's journey comes to an end at the Bates Motel, Hitchcock has

successfully made the audience a direct participant within the plot. The

suspicion and animosity that Marion feels while at the motel is felt by the

audience. As Marion shudders while hearing Norman's mother yell at him, the

audience's suspicions are heightened as Hitchcock has, at this point, made

Marion the vital link between the audience and the plot.

The initial confrontation between Marion and Norman Bates is used by

Hitchcock to subtly and slowly sway the audience's sympathy from Marion to

Norman. Hitchcock compels the audience to identify with the quiet and shy

character whose devotion to his invalid mother has cost him his own identity.

After Marion and Norman finish dining, Hitchcock has secured the audience's

empathy for Norman and the audience is made to question its previous

relationship with Marion whose criminal behaviour does not compare to Norman's

seemingly honest and respectable lifestyle. The audience is reassured, however,

when Marion, upon returning to her room, decides to return the money and face

the consequences of her actions.

Upon the introduction of Norman, Hitchcock introduces the first of

several character parallels within Psycho. The clash between Marion and Norman,

although not apparent to the audience until the end of the film, is one of

neurosis versus psychosis. The compulsive and obsessive actions that drove

Marion to steal the money is recognisable, albeit unusual behaviour, that the

audience embraces as its sympathy is primarily directed towards her character.

The terror that Hitchcock conveys to the audience manifests itself once the

audience learns that it empathised with a psychotic person to a greater extent

than with rational one when its sympathy is shifted to Norman. The shift from

the normal to the abnormal is not apparent to the audience in the parlour scene

but the audience is later forced to disturbingly reexamine its own conscience

and character judgment abilities to discover why Norman's predicament seemed

more worthy of its sympathy than Marion's.

During the infamous shower scene, Hitchcock conveys a sense of cleansing

for the audience. Hitchcock has reassured the audience of Marion's credibility

and introduced Norman as a wholesome character. The audience's newly discovered

security is destroyed when Marion is murdered. Even more disturbing for the

audience, however, is that the scene is shot not through Marion's eyes, but

those of the killer. The audience, now in a vulnerable state looks to Norman to

replace Marion as its main focus in its subjective role.

After Marion's murder, the audience's role in the film takes a different

approach. Hitchcock provokes the audience to utilise the film's other characters

in order to solve the mystery of Marion's death yet he still successfully

maintains the sympathetic bond between Norman and the audience. Interestingly,

Hitchcock plays on the audience's obsession with the stolen money as the

audience knows that it had been sunk yet clings to the fact that Marion's death

may have been a result of her crime with the introduction of Sam, Lila, and

Arbogast.

Hitchcock uses Arbogast's character to arouse suspicion within the

audience. Arbogast's murder is not as intense as Marion's because the audience

had not developed any type of subjective bond with his character. Arbogast's

primary motivation, however, was to recover the stolen money which similarly

compels the audience to take an interest in his quest. Despite the fact that

Arbogast interrupts Norman's seemingly innocent existence the audience does not

perceive him as an annoyance as they had the interrogative policeman who had

hindered Marion's journey.

When Sam and Lila venture to the Bates Motel to investigate both

Marion's and Arbogast's disappearances, Hitchcock presents the audience with

more character parallels. As Lila begins to explore Norman's home, Hitchcock

conveniently places Sam and Norman in the parlour where Marion had dined with

Norman before she had been murdered. As the two men face each other, the

audience is able to see their contrasting personalities in relation to Marion.

Sam, who had legitimately gained Marion's affection is poised and respectable in

comparison to Norman, whose timid nature and sexual repression is reflected in

the scenes of Lila's exploration of his bedroom. The conflict that arises

between Sam and Norman reflects the fact that Sam had what Norman wanted but was

unable to attain due to his psychotic nature.

Psycho concludes by providing a blatant explanation for Norman's

psychotic tendencies. The audience, although it had received a valid explanation

for Norman's actions, is left terrified and confused by the last scene of Norman

and the manifestation of his split personality. Faced with this spectacle,

Hitchcock forces the audience to examine its conscious self in relation to the

events that it had just subjectively played a role in.

The fear that Psycho creates for the audience does not arise from the

brutality of the murders but from the subconscious identification with the

film's characters who all reflect one side of a collective character. Hitchcock

enforces the idea that all the basic emotions and sentiments derived from the

film can be felt by anyone as the unending battle between good and evil exists

in all aspects of life. The effective use of character parallels and the

creation of the audience's subjective role in the plot allows Hitchcock to

entice terror and a convey a lingering sense of anxiety within the audience

through a progressively intensifying theme. Hitchcock's brilliance as a director

has consolidated Psycho's place among the most reputable and profound horror

films ever made.

726.          Movies Heros

Movies Heros

I have seen many films, episodes, and all time favorites throughout my life. Attitudes, styles, and feelings are carried out in each film. You learn to enjoy watching these characters assume their role and act in such a notorious way. Every character has his or her way of acting. For example, to be considered a hero in a film, you must be the underdog and be victorious. You can be in romance if you are confident, good-looking, and soft spoken. , you must be the underdog and be victorious. You can be in romance if you are confident, good-looking, and soft spoken. You can be the bully or the nerd. All of these internal and external appearances are all based on performance.

Sylvester Stallone will forever be linked to the king of the ring. His little frame accompanied by his tremendous heart just inspired anyone who watched him. Every time you watch a Rocky movie, you feel like you can conquer the world. He used the same technique in some movies, such as, Rambo and Cobra.

In Rambo, Stallone was a one-man wrecking crew that he also portrayed in Rocky. He would be sent on one-man missions to destroy the whole country. Throughout all of Stallones movies he has portrayed that love to be the hero. His upbringing, to his sweat filled workouts in the boxing rings of South Philadelphia, has turned him into our hero. He never talked trash he was just a pure fighter overcoming the odds.

Harrison Ford is another actor who uses his special talents to be a hero. His Indiana Jones and Star Wars series have been some of the best selling movies of all time. In Indiana Jones, Ford uses intelligence and strength to always save a female or a whole community by himself. He would be called upon, or already be investigating a problem. Next thing you know he is fighting against the whole German Nazi army and coming out victorious. Star Wars was another great battle. This encounter was with a different set of people. He battles with Aliens from outer space. He receives help from another hero in this movie. It was his long time friend, Luke Skywalker, who helped him in this battle. After a long and hard battle they come out on top again. Most people consider Harrison Ford a hero.

Believe it or not, there are some female heroes too! They portray heroes in a different way though. Gena Davis, in "A League of their Own" is a hero. She is a baseball player for the woman's' league during World War II. All the men were at war so a woman's leagues started. She stepped up and took the spotlight. Her effort for the Rockford Peaches will be remembered for a long time. She bashed home runs, and led her team to the first ever women championship in baseball. Even though she was a female, I still get chills watching her be a leader and a hero, even after she left and came back to lead her team to within a game of winning the championship. I agree with Pitts in this situation. Women have become tough and more confident in themselves. He is right when woman are still portrayed as the ones being rescued because we just haven't gotten used to women beating up men. In wrestling now, women are starting to become popular. Wrestling has taking off in the last couple of years, becoming very popular and women are part of that success. Maybe this is the breakthrough point for women in movies as screen heroes. We will just have to wait and see if they can take on this role.

727.          Mozart 2

Mozart, Wolfgang Amadeus

Mozart was born in January 27, 1756 in Salzburg, Austria.  His Christian name was

Johannes Chrysostomus Wolfgangus Theophilus Mozart.  His father Leopold Mozart

educated him and was a violinist, author, and composer. He began composing minuets at

the age of five.  When Mozart was six, he was successful at the clavier, violin, and organ.

Mozart started composing symphonies at nine years of age. In 1762 his father brought him

to many concerts through Europe.  Europeans ignored Mozart when he was 21 in his

search for more spirited and pleasing career.  He traveled to Mannheim, then he went to

the musical center of Europe, because of its famous orchestra and fell in love with Aloysia

Weber.  His father promptly told his son and wife to come to Paris.  His mother died in

Paris, on July 1778. he was rejected by Weber and the neglect from his girlfriends made

Mozart's trip in Paris the most miserable moments in his life. The success of Mozart's

opera, "Idomeneo re di Creta,"  influenced the archbishop of Salzburg to invite Mozart to

his palace at Vienna. His exploitation to the people of the court forced Mozart to leave!

In 1782 Mozart married Constanze Weber, Aloysia's sister.  Poverty and illness

endangered the family until Mozart's death. While Mozart was working on the "Magic

Flute" in 1791 an emissary requested a requiem mass written by Mozart but he never got

to finish this because he died.  He supposedly died of typhoid fever, in Vienna on

December 5, 1791.  His funeral was attended by a few friends.  Mozart died young and

had an unsuccessful career, but he ranks as one of the greatest composer of all time.  With

more than six hundred works it shows that even as a child he had a feel of the resources of

musical composition as well as an original imagination.  His instrumental works include

symphonies, divertimentos, sonatas, chamber music for a number of instrumental

combination, and concertos; his vocal works consist mainly of church music and operas.

He almost thought a complete work before writing it on paper. Today he is known for his

most famous pieces Eine kleine Nachtmusik, Magic Flute,  and Don Giovanni.

He Is the most important composer of the classical era, and one of the most inspirational

composer in western musical tradition.

728.          Mozart Essay

Mozart

Wolfgang Amadeus Mozart was born in Salzburg, Austria on January 27th,

1756. He was born to Leopold and Anna Maria Pertl. Leopol was a very

successful composer, violinist, and the assistant concertmaster at the Salzburg

court. Mozart showed musical talent at a very young age. By age five he was

composing minuets. And at age six he played before the Bavarian Elector and

the Austrian Empress. His father taught him, but said teahcing Wolfgang was

hard because he knew so much already. His father was also his largest

influence. In 1763 Wolfgang's father, Leopold, took him and his sister, Maria

Anna, on a concert tour of Europe. The children performed in many courts

and large cities including Paris, London, and Germany. They astonished their

audiences wherever they performed. In London Wolfgang wrote his first

symphonies and met Johann Christian Brahm, who had a very large influence

on him. In Paris Wolfgang published his first works, four sonatas for clavier

with accompanying voilin. In 1768 he composed his first opera, La Finta

Semplice, which was presented for the first time a year later in his home town

of Salzburg. In 1769 Wolfgang and his father set out on another tour of Italy.

Here Wolfgang wrote a new opera, Mitridate ri de Ponto. He also wrote two

more operas for Milan, Ascanio in Alba and Lucio Silla. Three years later in

1772 Wolfgang was appointed concertmaster to the archbishop of Salzburg,

his home town. He composed many works while he was concertmaster. But

this job was not good for him and he did not get anolg with most of the

people around him. So, he soon quit this job to travel to Paris with his mother

and look for a new job. In 1777 Wolfgana and his mother, Maria Anna, went

to Paris, France. While here Wolfgang composed many works including The

Paris Symphony (1778). But, he could not find a permanent job there. His

mother died in Paris this year and this upset Wolfgang very much. He

returned to Salzburg in 1779 and was made the court organist. He wrote

many church works then, including the famous Coronation Mass. He was

supposed to write a new opera for Munich, Idomeneo. In 1781 he was

called to Vienna by von Colloredo. His career in Vienna started out

wonderfully. He was soon assigned to write The Abduction from the Seralio

(1782). The emporer loved his music, and later got him the job of court

composer. Mozart was now very popular in Vienna. That year he married

Constenze Weber, from Germany. His father was not happy with this

decision. In 1783 the newly married couple visited Salzburg. During this

period many of Mozart's pieces that were composed in Vienna were played.

(Such as Mass in C Minor and his greatest success, The Marriage of Figaro,

which was composed for the Vienna opera.) After The Marriage of Figaro

Mozarts career began doing very poorly, and he was in great debt. The most

successful piece after Figaro was Don Giovonni (1787), which was

composed for Prauge. After this he composed Cosi Fotte (1790) and The

Magic Flute (1791). He also composed his last three symphonies, E Flat, G

Minor, and the Jupiter in C. In 1791 Mozart was assigned to write a

requiem. His health was in bad shape at the time, but he still worked hard on

the requiem. Wolfgang Amadeus Mozart died on December 5th, 1791 in

Vienna, leaving the requiem unfinished. Some people think he dies of

poisoning, but the most likely reasoning of his death is kidney failure. After his

funeral he was buried in a pauper's grave at Saint Marx Cemetary. Mozart

was a very large influence on the Classical Music Era, and will never be

forgotten.

729.          Mozart Wolfgang Amadeus

Mozart, Wolfgang Amadeus

Mozart was born in January 27, 1756 in Salzburg, Austria.  His Christian name

was Johannes Chrysostomus Wolfgangus Theophilus Mozart.  His father Leopold

Mozart educated him and was a violinist, author, and composer. He began

composing minuets at the age of five.  When Mozart was six, he was successful at

the clavier, violin, and organ. Mozart started composing symphonies at nine

years of age. In 1762 his father brought him to many concerts through Europe.

Europeans ignored Mozart when he was 21 in his search for more spirited and

pleasing career.  He traveled to Mannheim, then he went to the musical center of

Europe, because of its famous orchestra and fell in love with Aloysia Weber.

His father promptly told his son and wife to come to Paris.  His mother died in

Paris, on July 1778. he was rejected by Weber and the neglect from his

girlfriends made Mozart's trip in Paris the most miserable moments in his life.

The success of Mozart's opera, "Idomeneo re di Creta,"  influenced the

archbishop of Salzburg to invite Mozart to his palace at Vienna. His

exploitation to the people of the court forced Mozart to leave! In 1782 Mozart

married Constanze Weber, Aloysia's sister.  Poverty and illness endangered the

family until Mozart's death. While Mozart was working on the "Magic Flute" in

1791 an emissary requested a requiem mass written by Mozart but he never got to

finish this because he died.  He supposedly died of typhoid fever, in Vienna on

December 5, 1791.  His funeral was attended by a few friends.  Mozart died young

and had an unsuccessful career, but he ranks as one of the greatest composer of

all time.  With more than six hundred works it shows that even as a child he had

a feel of the resources of musical composition as well as an original

imagination.  His instrumental works include symphonies, divertimentos, sonatas,

chamber music for a number of instrumental combination, and concertos; his vocal

works consist mainly of church music and operas. He almost thought a complete

work before writing it on paper. Today he is known for his most famous pieces

Eine kleine Nachtmusik, Magic Flute,  and Don Giovanni. He Is the most important

composer of the classical era, and one of the most inspirational composer in

western musical tradition.

730.          Mozart

Wolfgang Amadeus Mozart

The movie takes place in Vienna, Austria in the 1700's. The film begins with the attempted suicide of Antonio Salieri, a court composer of the Austrian Emperor. He is placed in a mental asylum where a priest visits and asks for his confession. Salieri claims to have caused the death of Mozart. The rest of the movie is a narration by the court composer, mostly in flashbacks, of how he caused this death.

Salieri recounts that while he was playing games as a boy Mozart was playing music for the King. At the age of four, Mozart composed his first concerto, at seven, his first symphony, and at twelve, his first opera. He was considered a child prodigy.

Salieri wished to become a famous composer, like his idol. However, his father would not allow this. He didn't want his son to be a 'trained monkey, on tour around Europe performing tricks like a circus'. Salieri prayed to God and what he considered a miracle happened: his father dies and he was able to pursue his musical studies. He eventually became a popular musician and teacher in the Emperor's court. When he heard Mozart was coming to Vienna from Salzburg,  he eagerly sought him out. He finally found him at a party, way from the other guests, acting like a silly animal, chasing a young woman. However, as soon as he heard his music starting without him, he changed into a serious musician, rushing to take his place as conductor. Salieri noticed that Mozart conducted without notes. Although he recognized that Mozart was a 'giggling, dirty-minded creature', he was also able to see the genius in him. He couldn't understand why God had chosen a 'obscene child to be his instrument'. At another time, Mozart's wife presents to Salieri some of his work in an attempt to get him a job as a teacher. Salieri sees that the music sheets have no corrections and no notes. Mozart simply composed from his head onto paper. It is then that Salieri is overwhelmed by his brilliance. He realized that God has given to Mozart the skills and genius that he has always prayed for, and all he gave to Salieri is the ability to recognize it. It is at this point that he turned away from God and set out to ruin Mozart.

Salieri then describes what Mozart was like. Mozart drank too much, he partied all day and composed all night. He disobeyed his father by marrying without permission. He was stressed out. He had bad manners, he was inconsiderate of his wife and child, rude to others, selfish and conceited. He had a horrible financial situation. He spent money he didn't have and had many debts. In other words, the only positive part of his personality was his composing.

Mozart's father came for a stay. There was much friction between his father and his wife. His father, who had devoted so much time to teaching his son music, was devastated by his lifestyle. They argued and the result was the departure of Herr Mozart. His father died a short time later.

One day, a housemaid offers her services to the poor Mozart family. She explains that she will be paid for by a anonymous admirer, but in fact Salieri has hired her to spy. He discovers that Mozart is putting forbidden parts into his opera. Salieri tries to ruin him but the Emperor bends the rules to allow Mozart to play his brilliant music. The opera is a masterpiece and made Salieri more jealous and angrier at both Mozart and God. He uses his position as court composer to cancel the show after only a few performances, and does this with other operas also. As a result, Mozart becomes poorer, more discouraged and acts crazier and even mocks his dead father.

Near the end of the movie, Salieri disguises himself in a costume worn before by Herr Mozart. He offers young Mozart a lot of money to compose a funeral (requiem) mass. His plan is to have Mozart write this piece, then kill Mozart and pretend that he (Salieri) has written this wonderful music for the dead composer. However, Mozart cannot complete the opera. Instead, he gets sicker and sicker. He seems to be going insane. He becomes physically ill as well. He drinks and parties all hours. His wife finally leaves him.

One evening, while conducting a popular opera, he collapses. Although Salieri hates him, he also secretly cannot stay away from his brilliant performances, so he is there when Mozart collapses. He brings him home and tries to get him to finish his requiem mass. In his last few hours, they seem to be almost friends. In the morning, Mrs. Mozart returns just in time to see her husband die. Because of their poverty, Mozart is buried with other men in a communal, unmarked grave.

Now Salieri once again blames God, this time for killing Mozart and keeping Salieri alive to suffer. As the movie ends, Salieri is being wheeled through a room of mentally ill patients and this is where he will spend his remaining days.

I think that Hollywood may have over-exaggerated Mozart's behaviour. In my reading there is no evidence that he was like this. I wonder if Salieri really hated or was jealous of Mozart. Did Salieri really plan to kill the composer? The World Book Encyclopedia states that Mozart did try to earn money by teaching pupils. There is no mention of any abnormal behavior.

Whether the movie is true or false, I think the movie tries to show that genius is next to madness. A person may excel in one subject, yet the growth of the other parts of his behavior may be stunted. The movie also points out that jealousy brings misery. Salieri was well paid and popular, had a high position, and had respect from other people. Yet he remained unhappy and even ruined his life, all over the fact that another musician was better than he.  Finally, it's a great tragedy that Mozart died so young and penniless.

The movie was well acted, and the music was beautiful to hear.

731.          MP3

MP3

One of the most exciting and innovative ways to get music these days is not in the mall and not at a huge mega electronic store, it's not even by a mail order CD club, it sits right on a desk and can allow you access to almost any kind of music available right in our home. Technology is changing the way we listen to music now downloading an MP3 from the Internet is as easy if not a lot easier than going to the store and buying the CD. An MP3 is a near CD quality digital recording of a musical piece that is compressed so it can be distributed through the internet. It seems the high prices, new technology, and a big one is availability are causing most music lovers to turn to the internet to lister to their music. It's convenient to search a database for a song you've been wanting to hear by your favorite artist, download it, and copy it on to a CD. More and more people are doing this because with the help of search engines it's possible to find any song imaginable and download it for free. What most people don't realize is that the reproduction of a musical work, distribution of copies of a musical piece, and the public performance of the work without the copyright owner's consent are all violations of copyright laws. However, they do know that getting caught for the is very unlikely. Catching people who violate copyright laws is very hard to find out just who is a fault. Is it the web site promoting pirated music or is it the user who downloads it? Do to digital audio compression technologies and using special software that is readily available and free on the internet, one can download a MPEG 1 layer 3 or MP3 for short, play the music on there computer and with read/write CD's, even make a CD of there own. That would mean people can from there own home create illegal copies of the copyrighted material at or near industrial compact disc quality. Now they even have portable MP3 players so you don't even have to burn a CD, you can just download it to the player were it stores it digitally. Being so convenient and easy to do with such minimal risk of being punished the MP3 is destined to get bigger and bigger. The reason I bring this up is because this could be the biggest thing to happen to music seance the record. With MP3's comes probably thousands of artists that no longer have to wait for an agent, scout or label to pick them up. Through the internet they will be able to become there own label no longer need the support of a big record company to get there music to an audience. This is already being done by all kinds of artists on the net, some even have there clubs online where you pay a fee to get in much like a cover at a bar and you get to hear the music of all the bands that are playing at that club that night. This does understandably have record company's scared of going out of business. What would that be like? No record company's. A time where every artist is there own label and distributor. This would be good and bad on the economy in a variety of ways. The first would probability be the retail end of the industry, they would no longer need the long aisle filled with tapes and CD's instead they would be forced to make up the profits in selling blank CD's for much less and selling MP3 software. The second would be the record company's, by not being able to sell the highly marked up CD's they would have to become resourceful to survive. Finding way's to make money off CD's or the software would be essential for the label's to compete. The third would be the consumer, having the convent MP3's ready to download to your computer at any time with any song would be a major advantage of getting into it. People would no longer have to be deprived of music because of availability or cost. It would create so many more options for the people to expand there minds and intellect. It would also create a better relationship between artist and fan, the fan could visit there web page learn about the artists and send e-mail. The artists would also make more money by cutting out almost all of the middlemen and keeping the profits for themselves. Technology and music will have peaceful and profitable relationship with out the pressures of a label in the very near future. It is my opinion that the MP3 technology will have a much more significant impact when the online services become faster and download times shorter. It will become a major source for getting music and listening to new artists in the future. I also partook in the movie rebel Without A Cause that I found to be a surprise. The movie I believe is very much today as it was then. The all to familiar tale of the young trying to fit in and find there place in the world. Rebelling against everything and anything whether or not there is any point to it. This story was one of the best looks at the adolescents of a man and his struggle with parents, friends and the law. However, I did find the plot predicable and the story unoriginal. I think it is very difficult to appreciate classic films of the past when you've grown up on 90's movies. Nonetheless it was still a good movie that I would recommend.

732.          Music Analogy

Music Analogy

"The final years of the 1970's saw the emergence of a new style of pop music that would continue in popularity into the early 1980's. This music was known, by its fans at that time, as New Wave" (http://www.erols.com/alloyd/adam2.htm). "New Wave" had a particular style that utilized the synthesizer as a main instrument. The synthesizer was a machine that electronically produced music. It gave a certain artificial and metallic feel to the music. The Cure and Erasure, bands formed during that period of time, were some of the bands that implemented the synthesizer into their music. Though both bands fit into the category of "New Wave" the feel of their music is somewhat different. To explain the difference I would have to analyze their songs. Two examples of their music that I will analyze are "Friday I'm in Love" by The Cure and "Always" by Erasure. The song "Friday I'm in Love" by The Cure had a 4/4 meter. The song began with a pickup by the guitar and led into a backbeat by the drums. The synthesizer played a continuous riff providing the "tinging" artificial sound and there's also bass in the background. There were also sounds towards the end of the song that sounded a lot like the "theramin." The beat subdivisions seemed to be triplets because the song seemed to swing and the other subdivisions didn't match. The correct sequence and lengths of the sections in this particular song can be best labeled as I8+8 A8 B8 C6 B8 Solo8 B8 C6 D8+8 A8 B8 Solo8 Solo8. The labels A and B are to distinguish the two different verses, the label C stands for the chorus and the label D symbolized the new section (the bridge). The vocals within this song have a deeper and a more wailing kind of voice than that of the band Erasure. The song "Always" from Erasure also had a 4/4 meter, but unlike The Cure the song did not start out with a pickup and instead of the guitar the song began with the synthesizer. There didn't seem to be any other distinguishable instruments besides the synthesizer and the drum, though I did seem to hear the use of the theramin for the eerie effect. There were also these clicking sounds, but I'm assuming the synthesizer made it. The groove of this song was more harmonized and brings to mind the music of the early Beatles. The subdivisions of this song were 8th notes. The sequence and lengths of the sections for this song can be labeled as I8 V8+8 C8+4 V8+8 C8+4 CFADE. The label V symbolizes the verse of the song and the label C symbolizes the chorus of the song. Although both these bands are categorized under "New Wave", the feel of their songs is very different. While Erasure's song had a more "spaced-out" feel to it, The Cure's song seemed to have a faster beat and seemed to be less eerie. I think the difference was from the bands' distinct way of using both the synthesizer and the theramin. While Erasure used the synthesizer throughout the song, as the main instrument, The Cure used the synthesizer along with other instruments. Therefore, The Cure's piece was less "artificial" and the beat fit in more with the category of rock and roll. But the category of "New Wave" music is not always associated with the artificiality of the songs, thus The Cure's interesting way of manipulating the vocal pitch of the vocals (a kind of a deep wailing sound), the "eerieness" of the music stands out.

733.          Music And Censorship Essay

Music And Censorship

Music and Censorship In our society today, some musicians and their music drain and plague the moral and spiritual well-being of the people; therefore, censorship offers a necessary action that we must take to keep the world from becoming a land of decadence. The musicians lives are not examples for the children or the adults. The lyrics of many songs are not suitable for anyone. All types of music need some kind of censorship. Censorship makes a person realize that music is good for the heart. Censorship totally makes people act better, and when thinking better, this sustains a better society. The lives of some musicians contain types of anarchy and self-gratification. Once the musicians realize that people want not just their music but them as well, they act as gods, which no one can touch.

For example, think of it like a secret dictatorship, and we breathe as a fascist society, which puts fun and feelings above the Lord, above all. Many of the musicians consist of non-religious people who live only for fun and only for themselves. Why then would we, especially as Christians, put our total devotion in them? It exists like wanting to ride with a blind driver rather than one with perfect vision. In addition many of the musicians use drugs and stimulants to satisfy their hunger for themselves and for pure fun.

The musicians tend to use drugs massively, to get out of the very real world that they consist so much a part of. Popularity seems pleasing but when one has the affections and total devotion of a mass of people, that person can not handle it because that person does not have Jesus' personality and only He could truly control that much fidelity. One person who truly could not handle the excitement was Jimi Hendrix. Instead of performing as himself and using his talent for good, he used rebellion and used many drugs. On stage, Jimi Hendrix would put hits of acid in his headband. When he perspired, the sweat, containing acid would run down into his eyes and make him "higher than a kite."

Most people never actually saw Jimi Hendrix the person, but a blurred vision of him. When Jimi performed on stage at Woodstock, a man from the crowd asked him, "Jimi are you high?" He simply replied back to the man, "Thanks man I got mine," causing the crowd to act wild almost as if he had saved someone's life, but ironically he unintentionally destroyed their lives. In addition Bob Dylan also talked about getting stoned in some of his music. The song "Rainy Day Woman #12 and #13," blatantly says that "everybody must get stoned." That tells people to disobey the law and tells people to mangle the temple of God, our bodies by perverting it with drugs and stimulants. Many musicians make a mockery of their fans. The lead singers subsist to do this the most because of the vocal opportunities they have to express their discontent with life and thrust their ideas upon those who hypnotize with the musician's power position, thus, makes the listeners obey their thoughts without fully knowing. The lead singer Billie Jo, for Green Day, says to his fans, " I'm not going to say anything f****** intelligent, I'm just going too swear a whole d*** lot." The Bible tells us that we should let everything that comes out of our mouth praise Him, and swearing for any reason doesn't really praise Him at all and is degrading for us as well. Almost like if he did not swear than we wouldn't like him or understand him. In addition the lead singer for Kiss would spit on his fans. He would get the crowd to spit in a spittoon-type container, and by the end of the concert, he would drink the saliva and then he would use what dwelled left in the spittoon to spit on the crowd. This creates a bad influence on anybody and makes a person believe that it justifies him to do these actions because he dwells on stage, which totally in fact creates wrong, and not right. The band would also wear face paint and look like demons of some sort. This displays a mockery of what God has given us, and it hides their true identities and make them something they are not. They are only human, trying to be a type of some sort of god, not the God. The lyrics of some songs openly and/or subliminally put rebelliousmessages in the heads of people.

Repetition makes someone think about things constantly and then act upon that thought which usually creates an illegal action. Outward messages make people do bad things knowingly, but they aren't in the correct state of mind and therefore have no idea what they do at all. Adrenaline comes forth from within the soul and people tend to go wild and have no care about anything. Rage Against The Machine says that no one can tell each other what to do in their song, "Killing in the Name." This song promotes anarchy and rebellion of all rules and makes peoples discontent with society come forth. Metallica tells people to "Exit light, Enter night" in their song "Enter Sandman." This song does not talk about sleeping but taking the dark side of life into life. Subliminal messages bring evils from within a person, which the person previously did not have.

Subliminal messages brings our deepest thoughts out, without even thinking. When we hear something but, not aware of it, it makes our minds think about it and that is dangerous. Madonna's "Justify My Love" song played backwards, blatantly says, "I love Satan." Thousands of people heard this on 98.1 WKQQ in Lexington, KY.; but still continue to listen to it anyway. This pumps into our heads and we like it because, "men will choose darkness instead of light." Heavy Metal and Hard Rock do not only break the moral character, but there exist others as well. Those who are softly padded with the broken hearts of people who have power over others and who, in fact, make the rules. Country music also has many songs which are not acceptable, but they have shields because of their soft tone and wholesome looking artist. People still have in their heads things that look good and sound pleasant live approvable, but Satan, a very smart guy will strike at the most unexpected places. Garth Brooks, who takes one of the leading country singers right now, talks about an affair and how it was approbated in his song " The Thunder Rolls." And people hear this and see a star doing that and believe it's acceptable for them as well. For example, watching parents as a child, and everything they do, you do. In addition Sammy Cershaw talks about an affair in " Third Rate Rendezvous." He doesn't care that he's cheating on his wife and is actually excited when he knows what he's doing to his marriage and life. New Age music offers innner-self as a substitute to God. This means that the meditation of the biblical times cannot be achieved today and we tend to lose our respect for God by trying it, because we meditate on ourselves and not on Him. Meditation of the new age music also allows Satan to plant seeds in our heads that lead us further and further away from the truth.

The new age music of harps and tiny nature like sounds of whales and dolphins and rain leads one to believe that they are alone in this world. It makes people think that they control their environment, when in fact only God does, not them. Indian and Monk chants actually make a person seemingly high through deep meditation. Meditation was originally intended for the pure thought of God, but with new age thoughts, we are perverting it. Censorship puts a cap on ungodly music and makes music a good experience that is productive and positive, rather than a negative one. Music can be a tool in which we may learn examples of life, just look at the book of Psalms. In chapter 23 the whole chapter is called the Shepherds Song and it is a song that we can learn from. Stopping the

flow of profanity will make a person less inclined to think about an action and furthermore, less likely to act upon one. If a person doesn't think about something, then usually that person won't do it. When masses of people are saying that it is all right to do things that are wrong over a period of time, people become prone to the wrong doing and it suddenly becomes part of the norm to them. Even though it is still wrong, we don't even realize it.

Repetition makes a mind think. To study for a test a person must read things over and over again to learn it. When we hear music we like, we listen to it over and over again to memorize and subconsciously think about the words of the song that we're listening to. When people hear ungodly lyrics over and over, they tend to think like their surroundings and music is a part of that. After hearing and memorizing words people form their own ideals and make new religions and leave God forever. Also, people hear music far more than they read the Bible, and if the music is damaging to us then negative thoughts will cloud out the Biblical ones. Just like one negative number will make a positive number come down. Censorship offers a better society in general, in which we can all live in harmony and learn to respect music power. People would respect the laws more because there would be a definite decline of ungodly things, acts and thoughts with censorship we won't think on ungodly things as much, therefore have a better society. Fewer crimes would be committed because there would be no musicians telling the public to break them or kill cops. People make musicians their idols and want to do what their idols say. With censorship we would learn to meditate on the right things. We would see the essence of music and learn to see the total spectrum of life rather than just our life. Good thoughts with productive meaning would flow through our heads. We would hear positive things and make us think about positive things in general. Christian music is a great example of what we should listen. People would learn to answer things with their minds and not their fists. People would think about positive ideas and positive outcomes to quarrels, that usually involved fighting or "back-stabbings."

734.          Music and Censorship

Music and Censorship

In our society today, some musicians and their music drain and plague the moral and spiritual well-being of the people; therefore, censorship offers

a necessary action that we must take to keep the world from becoming a land of decadence. The musicians lives are not examples for the children

or the adults. The lyrics of many songs are not suitable for anyone. All types of music need some kind of censorship. Censorship makes a person

realize that music is good for the heart. Censorship totally makes people act better, and when thinking better, this sustains a better society. The

lives of some musicians contain types of anarchy and self-gratification. Once the musicians realize that people want not just their music but them as

well, they act as gods, which no one can touch. For example, think of it like a secret dictatorship, and we breathe as a fascist society, which puts

fun and feelings above the Lord, above all. Many of the musicians consist of non-religious people who live only for fun and only for themselves.

Why then would we, especially as Christians, put our total devotion in them? It exists like wanting to ride with a blind driver rather than one with

perfect vision. In addition many of the musicians use drugs and stimulants to satisfy their hunger for themselves and for pure fun. The musicians tend

to use drugs massively, to get out of the very real world that they consist so much a part of. Popularity seems pleasing but when one has the

affections and total devotion of a mass of people, that person can not handle it because that person does not have Jesus' personality and only He

could truly control that much fidelity. One person who truly could not handle the excitement was Jimi Hendrix(Appendix A). Instead of performing

as himself and using his talent for good, he used rebellion and used many drugs. On stage, Jimi Hendrix would put hits of acid in his headband.

When he perspired, the sweat, containing acid would run down into his eyes and make him "higher than a kite." Most people never actually saw

Jimi Hendrix the person, but a blurred vision of him. When Jimi performed on stage at Woodstock(Appendix B and C), a man from the crowd

asked him, "Jimi are you high?" He simply replied back to the man, "Thanks man I got mine," causing the crowd to act wild almost as if he had

saved someone's life, but ironically he unintentionally destroyed their lives. In addition Bob Dylan(Appendix D and E) also talked about getting

stoned in some of his music. The song "Rainy Day Woman #12 and #13," blatantly says that "everybody must get stoned." That tells people to

disobey the law and tells people to mangle the temple of God, our bodies by perverting it with drugs and stimulants. Many musicians make a

mockery of their fans. The lead singers subsist to do this the most because of the vocal opportunities they have to express their discontent with life

and thrust their ideas upon those who hypnotize with the musician's power position, thus, makes the listeners obey their thoughts without fully

knowing. The lead singer Billie Jo, for Green Day, says to his fans, " I'm not going to say anything f****** intelligent, I'm just going too swear a

whole d*** lot." The Bible tells us that we should let everything that comes out of our mouth praise Him, and swearing for any reason doesn't

really praise Him at all and is degrading for us as well. Almost like if he did not swear than we wouldn't like him or understand him. In addition the

lead singer for Kiss would spit on his fans. He would get the crowd to spit in a spittoon-type container, and by the end of the concert, he would

drink the saliva and then he would use what dwelled left in the spittoon to spit on the crowd. This creates a bad influence on anybody and makes a

person believe that it justifies him to do these actions because he dwells on stage, which totally in fact creates wrong, and not right. The band

would also wear face paint and look like demons of some sort. This displays a mockery of what God has given us, and it hides their true identities

and make them something they are not. They are only human, trying to be a type of some sort of god, not the God. The lyrics of some songs

openly and/or subliminally put rebellious messages in the heads of people. Repetition makes someone think about things constantly and then act

upon that thought which usually creates an illegal action. Outward messages make people do bad things knowingly, but they aren't in the correct

state of mind and therefore have no idea what they do at all. Adrenaline comes forth from within the soul and people tend to go wild and have no

care about anything. Rage Against The Machine says that no one can tell each other what to do in their song, "Killing in the Name." This song

promotes anarchy and rebellion of all rules and makes peoples discontent with society come forth. Metallica tells people to "Exit light, Enter night"

in their song "Enter Sandman." This song does not talk about sleeping but taking the dark side of life into life. Subliminal messages bring evils from

within a person, which the person previously did not have. Subliminal messages brings our deepest thoughts out, without even thinking. When we

hear something but, not aware of it, it makes our minds think about it and that is dangerous. Madonna's "Justify My Love" song played backwards,

blatantly says, "I love Satan." Thousands of people heard this on 98.1 WKQQ in Lexington, KY.; but still continue to listen to it anyway. This

pumps into our heads and we like it because, "men will choose darkness instead of light." Heavy Metal and Hard Rock do not only break the

moral character, but there exist others as well. Those who are softly padded with the broken hearts of people who have power over others and

who, in fact, make the rules. Country music also has many songs which are not acceptable, but they have shields because of their soft tone and

wholesome looking artist. People still have in their heads things that look good and sound pleasant live approvable, but Satan, a very smart guy will

strike at the most unexpected places. Garth Brooks, who takes one of the leading country singers right now, talks about an affair and how it was

approbated in his song " The Thunder Rolls." And people hear this and see a star doing that and believe it's acceptable for them as well. For

example, watching parents as a child, and everything they do, you do. In addition Sammy Cershaw talks about an affair in " Third Rate

Rendezvous." He doesn't care that he's cheating on his wife and is actually excited when he knows what he's doing to his marriage and life. New

Age music offers innner-self as a substitute to God. This means that the meditation of the biblical times cannot be achieved today and we tend to

lose our respect for God by trying it, because we meditate on ourselves and not on Him. Meditation of the new age music also allows Satan to

plant seeds in our heads that lead us further and further away from the truth. The new age music of harps and tiny nature like sounds of whales and

dolphins and rain leads one to believe that they are alone in this world. It makes people think that they control their environment, when in fact only

God does, not them. Indian and Monk chants actually make a person seemingly high through deep meditation. Meditation was originally intended

for the pure thought of God, but with new age thoughts, we are perverting it. Censorship puts a cap on ungodly music and makes music a good

experience that is productive and positive, rather than a negative one. Music can be a tool in which we may learn examples of life, just look at the

book of Psalms. In chapter 23 the whole chapter is called the Shepherds Song and it is a song that we can learn from. Stopping the flow of

profanity will make a person less inclined to think about an action and furthermore, less likely to act upon one. If a person doesn't think about

something, then usually that person won't do it. When masses of people are saying that it is all right to do things that are wrong over a period of

time, people become prone to the wrong doing and it suddenly becomes part of the norm to them. Even though it is still wrong, we don't even

realize it. Repetition makes a mind think. To study for a test a person must read things over and over again to learn it. When we hear music we

like, we listen to it over and over again to memorize and subconsciencously think about the words of the song that we're listening to. When people

hear ungodly lyrics over and over, they tend to think like their surroundings and music is a part of that. After hearing and memorizing words people

form their own ideals and make new religions and leave God forever. Also, people hear music far more than they read the Bible, and if the music is

damaging to us then negative thoughts will cloud out the Biblical ones. Just like one negative number will make a positive number come down.

Censorship offers a better society in general, in which we can all live in harmony and learn to respect music power. People would respect the laws

more because there would be a definite decline of ungodly things, acts and thoughts with censorship we won't think on ungodly things as much,

therefore have a better society. Fewer crimes would be committed because there would be no musicians telling the public to break them or kill

cops. People make musicians their idols and want to do what their idols say. With censorship we would learn to meditate on the right things. We

would see the essence of music and learn to see the total spectrum of life rather than just our life. Good thoughts with productive meaning would

flow through our heads. We would hear positive things and make us think about positive things in general. Christian music is a great example of

what we should listen. People would learn to answer things with their minds and not their fists. People would think about positive ideas and

positive outcomes to quarrels, that usually involved fighting or "backstabbings." Work Cited Cole, Richard and Richard Trubo. Stairway to

Heaven, Led Zeppelin Uncensored. 1st ed. NY: Littletown, 1992. "James Hetfield." Rolling Stone 15th April 1993: 56H. Landy, Elliot.

Woodstock Vision: The Spirit of a Generation. NY: Seabury, 1991. Milward, John. "Field of Dreams." Rolling Stone 11 August 1994: 36.

"Music"- America Online 1995. Comptons Encyclopedia. Savage, Jon. England's Dreaming: anarchy, Sex Pistols, punk rocks, and beyond. New

York: Copper books, 1991. Young, Neil, The Rolling Stone Files: The Ultimate Compendium of Interviews, Articles, Facts and Opinions From

the Files of Rolling Stone. NY. 1994. Censorship: The Music That Plagues Us

Word Count: 1893

735.          Music Censorshi1

Music Censorship

Music and Censorship In our society today, some musicians and their music drain and plague the moral and

spiritual well-being of the people; therefore, censorship offers a necessary action that

we must take to keep the world from becoming a land of decadence. The musicians

lives are not examples for the children or the adults. The lyrics of many songs are not

suitable for anyone. All types of music need some kind of censorship. Censorship

makes a person realize that music is good for the heart. Censorship totally makes

people act better, and when thinking better, this sustains a better society. The lives

of some musicians contain types of anarchy and self-gratification. Once the musicians

realize that people want not just their music but them as well, they act as gods, which

no one can touch. For example, think of it like a secret dictatorship, and we breathe as

a fascist society, which puts fun and feelings above the Lord, above all. Many of the

musicians consist of non-religious people who live only for fun and only for

themselves. Why then would we, especially as Christians, put our total devotion in

them? It exists like wanting to ride with a blind driver rather than one with perfect

vision. In addition many of the musicians use drugs and stimulants to satisfy their

hunger for themselves and for pure fun. The musicians tend to use drugs massively,

to get out of the very real world that they consist so much a part of. Popularity seems

pleasing but when one has the affections and total devotion of a mass of people, that

person can not handle it because that person does not have Jesus' personality and only

He could truly control that much fidelity. One person who truly could not handle the

excitement was Jimi Hendrix(Appendix A). Instead of performing as himself and

using his talent for good, he used rebellion and used many drugs. On stage, Jimi

Hendrix would put hits of acid in his headband. When he perspired, the sweat,

containing acid would run down into his eyes and make him "higher than a kite."

Most people never actually saw Jimi Hendrix the person, but a blurred vision of him.

When Jimi performed on stage at Woodstock(Appendix B and C), a man from the

crowd asked him, "Jimi are you high?" He simply replied back to the man, "Thanks

man I got mine," causing the crowd to act wild almost as if he had saved someone's

life, but ironically he unintentionally destroyed their lives. In addition Bob

Dylan(Appendix D and E) also talked about getting stoned in some of his music. The

song "Rainy Day Woman #12 and #13," blatantly says that "everybody must get

stoned." That tells people to disobey the law and tells people to mangle the temple of

God, our bodies by perverting it with drugs and stimulants. Many musicians make a

mockery of their fans. The lead singers subsist to do this the most because of the

vocal opportunities they have to express their discontent with life and thrust their

ideas upon those who hypnotize with the musician's power position, thus, makes the

listeners obey their thoughts without fully knowing. The lead singer Billie Jo, for

Green Day, says to his fans, " I'm not going to say anything f****** intelligent, I'm

just going too swear a whole d*** lot." The Bible tells us that we should let

everything that comes out of our mouth praise Him, and swearing for any reason

doesn't really praise Him at all and is degrading for us as well. Almost like if he did

not swear than we wouldn't like him or understand him. In addition the lead singer

for Kiss would spit on his fans. He would get the crowd to spit in a spittoon-type

container, and by the end of the concert, he would drink the saliva and then he would

use what dwelled left in the spittoon to spit on the crowd. This creates a bad

influence on anybody and makes a person believe that it justifies him to do these

actions because he dwells on stage, which totally in fact creates wrong, and not right.

The band would also wear face paint and look like demons of some sort. This displays

a mockery of what God has given us, and it hides their true identities and make them

something they are not. They are only human, trying to be a type of some sort of god,

not the God. The lyrics of some songs openly and/or subliminally put rebellious

messages in the heads of people. Repetition makes someone think about things

constantly and then act upon that thought which usually creates an illegal action.

Outward messages make people do bad things knowingly, but they aren't in the

correct state of mind and therefore have no idea what they do at all. Adrenaline comes

forth from within the soul and people tend to go wild and have no care about

anything. Rage Against The Machine says that no one can tell each other what to do

in their song, "Killing in the Name." This song promotes anarchy and rebellion of all

rules and makes peoples discontent with society come forth. Metallica tells people to

"Exit light, Enter night" in their song "Enter Sandman." This song does not talk

about sleeping but taking the dark side of life into life. Subliminal messages bring

evils from within a person, which the person previously did not have. Subliminal

messages brings our deepest thoughts out, without even thinking. When we hear

something but, not aware of it, it makes our minds think about it and that is

dangerous. Madonna's "Justify My Love" song played backwards, blatantly says, "I

love Satan." Thousands of people heard this on 98.1 WKQQ in Lexington, KY.; but

still continue to listen to it anyway. This pumps into our heads and we like it because,

"men will choose darkness instead of light." Heavy Metal and Hard Rock do not only

break the moral character, but there exist others as well. Those who are softly

padded with the broken hearts of people who have power over others and who, in

fact, make the rules. Country music also has many songs which are not acceptable,

but they have shields because of their soft tone and wholesome looking artist. People

still have in their heads things that look good and sound pleasant live approvable, but

Satan, a very smart guy will strike at the most unexpected places. Garth Brooks, who

takes one of the leading country singers right now, talks about an affair and how it

was approbated in his song " The Thunder Rolls." And people hear this and see a star

doing that and believe it's acceptable for them as well. For example, watching parents

as a child, and everything they do, you do. In addition Sammy Cershaw talks about an

affair in " Third Rate Rendezvous." He doesn't care that he's cheating on his wife and

is actually excited when he knows what he's doing to his marriage and life. New Age

music offers innner-self as a substitute to God. This means that the meditation of the

biblical times cannot be achieved today and we tend to lose our respect for God by

trying it, because we meditate on ourselves and not on Him. Meditation of the new

age music also allows Satan to plant seeds in our heads that lead us further and

further away from the truth. The new age music of harps and tiny nature like sounds

of whales and dolphins and rain leads one to believe that they are alone in this world.

It makes people think that they control their environment, when in fact only God

does, not them. Indian and Monk chants actually make a person seemingly high

through deep meditation. Meditation was originally intended for the pure thought of

God, but with new age thoughts, we are perverting it. Censorship puts a cap on

ungodly music and makes music a good experience that is productive and positive,

rather than a negative one. Music can be a tool in which we may learn examples of life,

just look at the book of Psalms. In chapter 23 the whole chapter is called the

Shepherds Song and it is a song that we can learn from. Stopping the flow of profanity

will make a person less inclined to think about an action and furthermore, less likely

to act upon one. If a person doesn't think about something, then usually that person

won't do it. When masses of people are saying that it is all right to do things that are

wrong over a period of time, people become prone to the wrong doing and it suddenly

becomes part of the norm to them. Even though it is still wrong, we don't even realize

it. Repetition makes a mind think. To study for a test a person must read things over

and over again to learn it. When we hear music we like, we listen to it over and over

again to memorize and subconsciencously think about the words of the song that

we're listening to. When people hear ungodly lyrics over and over, they tend to think

like their surroundings and music is a part of that. After hearing and memorizing

words people form their own ideals and make new religions and leave God forever.

Also, people hear music far more than they read the Bible, and if the music is

damaging to us then negative thoughts will cloud out the Biblical ones. Just like one

negative number will make a positive number come down. Censorship offers a better

society in general, in which we can all live in harmony and learn to respect music

power. People would respect the laws more because there would be a definite decline

of ungodly things, acts and thoughts with censorship we won't think on ungodly

things as much, therefore have a better society. Fewer crimes would be committed

because there would be no musicians telling the public to break them or kill cops.

People make musicians their idols and want to do what their idols say. With

censorship we would learn to meditate on the right things. We would see the essence

of music and learn to see the total spectrum of life rather than just our life. Good

thoughts with productive meaning would flow through our heads. We would hear

positive things and make us think about positive things in general. Christian music is

a great example of what we should listen. People would learn to answer things with

their minds and not their fists. People would think about positive ideas and positive

outcomes to quarrels, that usually involved fighting or "backstabbings."

Work Cited

Cole, Richard and Richard Trubo. Stairway to Heaven, Led Zeppelin Uncensored. 1st

ed. NY: Littletown, 1992. "James Hetfield." Rolling Stone 15th April 1993: 56H.

Landy, Elliot. Woodstock Vision: The Spirit of a Generation. NY: Seabury, 1991.

Milward, John. "Field of Dreams." Rolling Stone 11 August 1994: 36. "Music"-

America Online 1995. Comptons Encyclopedia. Savage, Jon. England's Dreaming:

anarchy, Sex Pistols, punk rocks, and beyond. New York: Copper books, 1991.

Young, Neil, The Rolling Stone Files: The Ultimate Compendium of Interviews,

Articles, Facts and Opinions From the Files of Rolling Stone. NY. 1994. Censorship:

The Music That Plagues Us

736.          Music Censorship Essay

Music Censorship

During the Doors concert in Miami, in 1969, lead singer Jim Morrison,

"did lewdly and lasciviously expose his penis and shake it. . ." (Rosen et al.

90). Today, Billy Joe Armstrong, lead singer of Green Day, bares all at his

concert in Philadelphia (Bernstein  95).  The eccentric Courtney Love will rip

off her bra for the audience to marvel and glorify at her action (Bernstein 95).

She acts in such a fashion because she is insane and wants to prove it to the

world, where as Billy Joe just performs naked for the shock value and the love

of hearing tabloids and gossip.  Both performers of past and present conducted

strange acts on stage for the shock value and attention, but with performers of

old, it reflected their life and what they were really like. Today's performers,

however, do not act like that in real life, for the most part.  Today,

performers take on challenges, like the dare of a child. . . "Betcha won't do

it!"  These rock performers cannot turn down a dare or back away from even the

slightest bit of public notoriety.  By  listening to one of their

"questionable" albums, it is easily noticeable how they thrive off of it.  All

of these performers do have one thing in common, at one time or another,

censorship made them victims because of their social unacceptable actions or

the content of their music and lyrics. While censorship is slightly more

realistic and open-minded (no more censoring performers from the waist down,

like Elvis Presley on the Ed Sullivan show), it still affects listeners and

their choice of music quite significantly.  Although the government, music

associations, and other various groups try censorship, the music a person

chooses is still, and always should be, his choice.

Some children are too young for the exposure to certain types of music. Albums

containing sexually explicit lyrics depicting sexualacts in great detail are

not good for young children to hear. Also, sexual content within the albums, as

in their artwork, is unacceptable.  For example, the Frankenchrist album by the

Dead Kennedys, which portrays an extremely sexual painting by H.G. Giger,

entitled Landscape #20: Where Are We Coming From (Wishna 444).  Not to mention

all the shows and concerts in which some kind of pornography is used or

displayed that is inappropriate for younger kids, such as Billy Joe Armstrong,

of Green Day, baring all for a concert of his in Philadelphia (Bernstein 95).

Also, in Cleveland, a frustrated Courtney Love tore off her bra and screamed,

"Now you know how I get all the guys," (Bernstein 95).  Most parents would not

allow their children to attend a concert with actions such as Courtney Love's.

These actions and paintings, however, are choices of the musicians, part of

their expression.

Who are we to say what is wrong and what is right? Parents are not always aware

of the references to sex in their children's music choices.  Most parents would

not allow their children to listen to the music if they knew it consisted of

lyrical references to masturbation, orgasms, sodomy, and anal vapors (Zucchino

9).  An example is the hit song, "Sugar Walls," by Sheena Easton which makes

references to orgasms: "The blood races to your private spots. . . come spend

the night inside my sugar walls," (Zucchino 9). "Feel the hot cum dripping on

your thigh," from "Tie You Up" by the Rolling Stones, is also a reference to

orgasms (Zucchino 9).  Not to mention an excerpt from the 1983 song "Fits Like

A Glove" by Kiss, "when I go through her, it's just like a hot knife through

butter," (Zucchino 9).  When the majority of people (children) listen to these

types of music, they do not sit and analyze the lyrics and say,  "Gee, this

sure is quite sexual music."  No, people listen to the music because they enjoy

the style, and most realize the sexual content of this music is not to be taken

so seriously.  Lastly, an piece from Mentors' "Golden Showers" on their You

Axed For It LP:

Listen little slut /Do as you are told. . . /Come with Daddy for me

to put the gold. . . /All through my excrements you shall roam. . . /Bend up and

smell my anal vapor. . . /Your face is my toilet paper. . . /On your face I

leave a shit tower. . .  (Zucchino 9).  Most songs and lyrics are not quite this

extreme.

In addition, there are the songs which contain references to sex crimes mainly

against women.  The PMRC produced lyrical references to the Senate on September

19, 1985 (Zucchino 9).  The songs usually consist of either rape, incest, or

bondage. Two examples of these styles are: "incest is everything it's meant to

be," from the song "Sister" by the artist formerly known as Prince (Zucchino

9); and the Judas Priest song "Eat Me Alive" : "I'm gonna force you at gun

point to eat me alive," (Zucchino 9).  Most men who hear this misogamist music

do not go out and commit crimes against women.  Men realize that committing

such a crime against women could have serious consequences. Certain people

believe that censorship is violating the First Amendment, but it is highly

doubtable that the framers of the First Amendment  thought that the amendment

would be used to protect such filth, so that it may be broadcasted into our

homes.  What the framers wrote, however, is already "in stone."  The amendment

means exactly what it says, people have the right to speak their minds and

express how they feel, and others cannot stop them.

Rap, as all music, has its positives and negatives, but it is not as awful as

people seem to think. The problem of urban violence is much bigger than rap,

and rap should not be named as its main cause (Leland 64).  The real problems

are outside the music, not within it.  Hard-core rappers are only telling what

life is really like in the ghettos and hoods. Rappers would not have the gangs

and gang violence to sing about, if police started abolishing gangs and gang

warfare (Leland 64). Rappers speak the truth about where they are from and if

people do not like it, they blame it on the rappers (Leland 64).  People could

at least put blame where blame is due, the law enforcement agencies.

The arrests of Tu Pac Shakur, Snoop Doggy Dog, and Flavor Flav show what little

effect rap actually has in the real world (Leland 64). These  people should be

the classic American success story:  young unknown men, who through a lot of

hard work and talent, rose to be the millionaire with the mansion on the hill.

Ironically, most rappers do not own a mansion; they choose to stay where their

roots are, which is usually the slums, ghettos, or inner part of whatever city

they are from (Leland 64).  The fact that they stay with their roots proves

that they do not all forget where they came from and who helped bring them

along through the rough times.  Obviously, some of them actually do care about

their roots and the people that helped them get where they are today; and they

are not all corrupt.

Snoop Doggy Dogg really is not the sinister, awful person his critics make him

out to be.  (He received this rap by being an ex-gang member. Also, because of

the content of his lyrics, the critics labeled him "bad.")  About four years ago,

Snoop (real name Calvin Broadus) called up Richard Harris, minister of Golgotha

Trinity Baptist Church (coincidentally where he learned to sing in the

children's choir), just to recite a Biblical rap about grace, Jesus, and coming

down from the cross (Leland 64). Snoop's music is not intended to cause people

to go out and kill  people and steal and do drugs.  Instead,  it is intended to

make people STOP committing violent crimes. Taneika Archer, 17, an African-

American girl, believes this about Snoop Doggy Dogg:

He tells it like it's supposed to be told.  People will always try to bring you

down no matter what you do.  It's the same with Dolly Parton and her big breasts.

He's not trying to be something he ain't.  If he said he wasn't a gangster,

he'd be lying. They [gangster rappers] talk like that to look hard.  They don't

actually treat  people that way.  Most girls won't let them." (Leland 63-64).

Snoop described his idea of the perfect happy day:

I want peace on the street like it was 4/29/92-" the day Los Angeles gangs

called a truce- "That shit felt good.  Bloods, crips, everybody just chill'n.  I

ain't never felt that before, being able to go to the neighbor-hoods where they

restrict you because you wear this color and they wear that color. Everybody was

together. That's what my music's going for- to stop you banging for a second.

Listen to my music and get on another vibe." (Leland 64). While rap is not the

devil, it is also not perfect either.  Dr. Dre's reputation could use a little

doctoring itself.  His top hits, "Deep Cover," main chorus read, " It's 1-8-7

on an undercover cop": 187 is Los Angeles cop talk and rap slang for homicide.

The song's main topic (yet again) consisted of killing a cop (Leland 63).  The

line, "if your bitches talk shit, I have to put the smack down," seemed quite

arresting and ironic coming from Dr. Dre because he just settled  a law suit

for allegedly beating up Dee Barnes, a rap television host (Leland 63).  Public

Enemy's Chuck D and Ice Cube defend their lyrics by stating that the lyrics

depict real inner city life and ghetto realities and black consciousness in

ways that have never been documented before (Lewis n. pag.).  Ice Cube said

that the song "Black Korea" describes life with Koreans in a black community.

He believes that Blacks do not like the Koreans and vice-versa.  There is much

hatred shared between both groups (Lewis n. pag.).  So, in the song he raps

about killing the Koreans because they cannot live in the black community. He

also raps how they take away money and jobs from the black people because of

their stores, mainly grocery stores (Lewis n. pag.).  For this, the Korean

grocers boycotted the malt liquor of the McKenzie River corporation that Ice

Cube endorsed.  The company then turned around to bounce Ice Cube from the ads

and donated $90,000 to the Korean grocers (Lewis n. pag.).

Some people are "waking up" and finally taking a stance against it.  The KACE-

FM radio station out of Los Angeles has banned all songs degrading women or

promoting drugs or violence (Leland 64).The Reverend Calvin Butts, a high

profile minister of the Abyssinian Baptist Church in Harlem, has mounted a

crusade against "offending" (rap) music (Leland 64). Last summer he held a rally

where he ran over tapes and compact discs of " offending" material with a

steamroller (Leland 64).  The Reverend Jesse Jackson added policing rap part of

his campaign against black-on-black crime.  Even Rap Sheet, a hip-hop fanzine,

has taken a stand by banning all album and artist ads featuring guns (Leland 64).

These people care enough to speak up for what they believe and some of them

actually know what they are talking about.

Nathan McCall, a reporter for the Washington Post, knows all too well the

influence of violence in the entertainment (Leland 64).  He served nearly three

years in jail for armed robbery in the mid seventies (Leland 64).   He recalled

the exhilaration of shooting someone as a teenager, and being intoxicated with

the rush of living out and fulfilling the life he watched on the screen in The

Godfather (Leland 64). The influence of violent entertainment on teenagers is

something he takes quite seriously.   One reason, according to him, that the

black community ignores some of the harsh language is because it reflected the

backlash and anger of young, disenchanted black folk, but then evolved into

something else (Leland 64).  Also, he feels that we should acknowledge the

"obvious" correlations between the constant, negative, violent messages that

are being put out by rap and violence in the world (Leland 64).  He realizes

that some people take the rap they listen to very seriously and just wants to

warn people of why and how these boys can sing about such violence and

destruction.

Some options for the awareness of music and its content have been and could

possibly be made public, making censorship unnecessary.  In 1985, the Parents'

Music Resource Center, better known as the PMRC, managed to pressure eight

percent of the music industry (twenty-four companies) into placing a PG rating

onto music of uncertain content  (Zucchino 9).  More pressuring enabled them to

persuade companies to print the lyrics in some albums of uncertain content

(Zucchino 9).  Also, the television plays a very strong role in society, so it

could be used as a very strong medium.  People complain about the filth that

fills the air-time of television, but if some of the time consisted of alerting

parents of certain parental issues, such as music and the different types and

styles of music, then people could not complain as much.  Not all choices for

awareness are possible though.

Certain styles of censorship cannot be enforced for many reasons.  Unlike the

movie industry, records and albums cannot be rated the way movies are because

approximately 25, 000 songs are released every year in comparison to only about

325 movies per year (Zucchino 9).  Although the idea of printing lyrics in the

albums and cassettes has the endorsement of the great Frank Zappa and John

Denver, this is not possible (Zucchino 9) . The record companies, who print the

albums, do not own the rights to the lyrics, the music companies do (Zucchino

9).  Providing printed lyrics to radio stations cannot be done for the same

reason (Zucchino 9).  Because of FCC regulations, the music a station chooses

to air cannot be controlled, let alone how often the music is played (Zucchino

9).  Lewd or otherwise, actions of rock performers at their concerts, cannot be

controlled because only the performers can control their actions (Zucchino 3).

A rock concert cannot be rated for content because the content of the

happenings is not known until after the concert has occurred (Zucchino 3).

Placing "questionable" albums behind the counter or wrapping them in a plain

brown package would jeopardize a retailer's business, therefore they refuse to

do that (Zucchino 3). Parents place too much responsibility on society for

establishing what is  morally and socially acceptable and not acceptable  in

music.  If they are wary of the actions at a concert or of the lyrics their

children are listening to, then obviously the best censorship is parental

awareness (Zucchino 3).  Getting more involved with their children and learning

what their tastes consist of, is much better than society doing it (Editors 10).

If society becomes too involved, it will take away parental responsibility.

Then gradually (perhaps) parents could become virtually meaningless.

Most definitely the music industry cannot "refrain from the use of hidden

messages or backward masking" for a few reasons (Zucchino 3).  First of all, the

industry does not have and cannot take the time to play each song of every

album released backwards and analyze the lyrics and music, scrutinizing for

these so called "hidden messages" and "lewd meanings" (Zucchino 3).  Secondly,

the writers of music would also have to do this and they are more concerned with

placing their album onto the market than with acknowledging the content of the

lyrics within their albums. (Zucchino 3).  Finally, most executives have never

even experienced such things.  Even Stanley Gortikov, president of the

Recording Industry Association of America  (RIAA), claims he has never heard of

or heard an example of these "hidden backwards messages" in all of his twenty-

five years in the business (Zucchino 3).  Most of the general public has not

ever heard of these either.

Fuji Tape conducted a survey of young Americans between the ages of eighteen

and twenty-four asking whether or not anyone has the right to control what

prerecorded music is bought or sold.  Seventy percent of those surveyed believe

that no one has the right to control what prerecorded music is bought or sold.

Of those who did reply yes, twenty-six percent would give it to local or state

governments, twenty-five percent to record companies, and eighteen percent

would give it to the federal government  ("Youth Will Be Heard " 4).  This study

shows that most people realize how unnecessary censorship actually is. There are

numerous reasons why censorship is unnecessary and unwanted .  Only nine

percent of buyers of censoring-type music are between the ages of ten and

fourteen (Zucchino 9).  Parents seemingly enjoy complaining about the trashy

music their children listen to, but if parents feel that strongly about it,

they should check the music their children purchase either before or after

their children purchase the album (preferably before) (Editors 10).  People and

musicians alike, agree that it violates the first amendment, " freedom of

speech" (Rosen et al. 10).  Since most of the lyrics to that type of music are

inaudible anyway, what is the point? (Editors 10). These supposedly, awful,

"backward messages" would be very hard to detect because approximately ninety-

five percent of music players cannot play things backwards (Editors 10).  By

stating such a thing, advocates of censorship suggest that when played

backwards, secret messages are unearthed that normally would not be heard when

music is played like it should be played.  The censorship action of taking the

music off the shelves takes away the privilege of buying that music for people

who have different values and who want to listen to that music.  If the music

bothers someone, turn it off; if the album offends someone, complain to the

band or ignore them; if  a video disgusts someone, change the channel. The

options for censorship are there, use them.  Not every person in the world is a

moral freak. The government takes censorship too far because most of the

senator's wives are members or "associates" of PMRC.  In most music stores,

listening booths have been erected in order for customers to listen to the

music before purchasing it, so that they did not buy "objectionable" music or

music that they personally found offensive.  Also, radio stations cannot please

everyone all the time. Meaning that some of the music played might be

objectionable to some, but everyone's thoughts and ideas on "objectionable"

music differ.  Therefore making it virtually impossible to please the entire

public at the same time. Not all alternatives to censorship are inept and

unreasonable.  "Toning down" lyrics is an option to musicians, especially big-

time sellers.  Maybe if more parental involvement became incorporated in their

children's lives, which includes music, the need for censorship would decrease.

Labels placed on albums acknowledging the use of explicit or vulgar language

alert people who prefer not to hear those sort of words.  Printing the lyrics

inside the albums was also a suggestion made to musicians.  Musicians might

also start to consider the majority age group in which they are popular, and if

the group is of younger ages, nine to fourteen, for them to consider the "moral

health of children in America" when writing lyrics.  Lastly, if what the

listener is listening to does not appease them, the off and stop buttons are

there for a purpose.  If the radio is a problem, turning the station will do

just fine.

Most ratings and labels are unnecessary evils we have to live with. Musicians

feel these will eventually lead to more and more censorship, such as taking

away the first amendment rights and telling them they may not sing certain

lyrics because it is "offensive" or rated R.  As quoted way back in 1985, Frank

Zappa feels it:

Opens the door to and endless parade of moral quality-control programs based on

Things Certain Christians Don't Like.  What if the next bunch of  Washington's

Wives demands a large yellow J based on the material written and performed by

Jews. . .? (Zucchino 9).

During the summer of 1985, the women of PMRC, managed to get eight percent of

the music industry to place PG labels on albums with lyrics or pictures thought

to be sexually explicit and/or promoting violence, suicide, rape, the occult,

or drug abuse. (Eight percent is about twenty-four companies) (Zucchino 9).

The label reads :"Parental Advisory - Explicit Lyrics," (Zucchino 1).  As if the

PG rating was not enough, the PMRC felt it had been watered down too much. So

they asked that it be raised to R (Zucchino 9). Also, because they already had

the PG label they wanted, they felt they could get more, so they tried for four

additional labels: D/A for drugs and alcohol, V for violence, O for occult, and

X for vulgar and explicit language (Zucchino 9).  Plus, they wanted a  panel of

all industry types [such as artists, songwriters, executives, producers,

distributors, broadcasters, retailers, et cetra] and consumers to draw the

guidelines of what qualifies for this rating, instead of the people who

actually write these "dirty records" (Zucchino 8).

Stanley Gortikov, president of the Recording Industry Association of America

(RIAA), suggested that the PMRC develop its own rating system for songs, lyrics,

and albums, as the Catholic Church had done for movies (Zucchino 3).  He felt

insulted that the PG rating was shoved back into his face as not being good

enough.  Even the PG rating was "approached with trepidation," and yet they had

the audacity to push and push for more.  A "review panel" in itself is a first-

stage form of "ad hoc censorship," to him.  After two meetings with the PMRC

women, Gortikov had been pressured into trying to get ALL recording companies

to place the PG rating label on certain albums (Zucchino 8).  For that, Frank

Zappa, Dee Strider (lead singer of Twisted Sister), and Danny Goldberg ( a rock

manager and lyric libertarian), accused Gortikov of "caving in" to PMRC

(Zucchino 8).  The PMRC realizing that it was strongly influencing Gortikov,

took advantage of that and pushed for further extensive ratings (Zucchino 8).

Ratings ultimately provide no benefit to the children they are meant to protect.

In fact, they seriously threaten the artists' freedom of expression and

everyone's freedom of choice (Editors 13). Currently, songs identified  as

"objectionable" contain sexual, violent, or occult imagery or lyrics.  But once

the restriction of language, for any reason, becomes possible, that could be

extended to include politically unorthodox lyrics (Editors 13).

Radicals and people who believe they can change the country constantly try to

convince the American public that censorship is a very good thing and it is

"healthy."  People were born with minds for a reason, to use them and make

choices for themselves.  Censoring music takes away that whole purpose.  If we

had been born without brains and not able to make choices for ourselves, then

maybe censorship might be necessary.  Ratings, labels, and censoring in any

form are all unnecessary evils that society needs to relinquish, besides that, a

brain's purpose for creation involved choice and decision making, let people

take advantage of their privilege.

737.          Music Censorship

During the Doors concert in Miami, in 1969, lead singer Jim Morrison, "did

lewdly and lasciviously expose his penis and shake it. . ." (Rosen et al. 90).

Today, Billy Joe Armstrong, lead singer of Green Day, bares all at his concert in

Philadelphia (Bernstein  95).  The eccentric Courtney Love will rip off her bra for

the audience to marvel and glorify at her action (Bernstein 95).  She acts in such

a fashion because she is insane and wants to prove it to the world, where as Billy

Joe just performs naked for the shock value and the love of hearing tabloids and

gossip.  Both performers of past and present conducted strange acts on stage for

the shock value and attention, but with performers of old, it reflected their life and

what they were really like. Today's performers, however, do not act like that in

real life, for the most part.  Today, performers take on challenges, like the dare of

a child. . . "Betcha won't do it!"  These rock performers cannot turn down a dare

or back away from even the slightest bit of public notoriety.  By  listening to one of

their "questionable" albums, it is easily noticeable how they thrive off of it.  All of

these performers do have one thing in common, at one time or another,

censorship made them victims because of their social unacceptable actions or

the content of their music and lyrics. While censorship is slightly more realistic

and open-minded (no more censoring performers from the waist down, like Elvis

Presley on the Ed Sullivan show), it still affects listeners and their choice of music

quite significantly.  Although the government, music associations, and other

various groups try censorship, the music a person chooses is still, and always

should be, his choice.

Some children are too young for the exposure to certain types of music.

Albums containing sexually explicit lyrics depicting sexualacts in great detail are

not good for young children to hear. Also, sexual content within the albums, as in

their artwork, is unacceptable.  For example, the Frankenchrist album by the

Dead Kennedys, which portrays an extremely sexual painting by H.G. Giger,

entitled Landscape #20: Where Are We Coming From (Wishna 444).  Not to

mention all the shows and concerts in which some kind of pornography is used

or displayed that is inappropriate for younger kids, such as Billy Joe Armstrong, of

Green Day, baring all for a concert of his in Philadelphia (Bernstein 95).  Also, in

Cleveland, a frustrated Courtney Love tore off her bra and screamed, "Now you

know how I get all the guys," (Bernstein 95).  Most parents would not allow their

children to attend a concert with actions such as Courtney Love's.  These actions

and paintings, however, are choices of the musicians, part of their expression.

Who are we to say what is wrong and what is right?

Parents are not always aware of the references to sex in their children's

music choices.  Most parents would not allow their children to listen to the music

if they knew it consisted of lyrical references to masturbation, orgasms, sodomy,

and anal vapors (Zucchino 9).  An example is the hit song, "Sugar Walls," by

Sheena Easton which makes references to orgasms: "The blood races to your

private spots. . . come spend the night inside my sugar walls," (Zucchino 9).

"Feel the hot cum dripping on your thigh," from "Tie You Up" by the Rolling

Stones, is also a reference to orgasms (Zucchino 9).  Not to mention an excerpt

from the 1983 song "Fits Like A Glove" by Kiss, "when I go through her, it's just

like a hot knife through butter," (Zucchino 9).  When the majority of people

(children) listen to these types of music, they do not sit and analyze the lyrics and

say,  "Gee, this sure is quite sexual music."  No, people listen to the music

because they enjoy the style, and most realize the sexual content of this music is

not to be taken so seriously.  Lastly, an piece from Mentors' "Golden Showers" on

their You Axed For It LP:

Listen little slut /Do as you are told. . . /Come with Daddy for me to put the gold. . . /All through my excrements you shall roam. . . /Bend up and smell my anal vapor. . . /Your face is my toilet paper. . . /On your face I leave a shit tower. . .  (Zucchino 9).  Most songs and lyrics are not quite this extreme.

In addition, there are the songs which contain references to sex crimes

mainly against women.  The PMRC produced lyrical references to the Senate on

September 19, 1985 (Zucchino 9).  The songs usually consist of either rape,

incest, or bondage. Two examples of these styles are: "incest is everything it's

meant to be," from the song "Sister" by the artist formerly known as Prince

(Zucchino 9); and the Judas Priest song "Eat Me Alive" : "I'm gonna force you at

gun point to eat me alive," (Zucchino 9).  Most men who hear this misogamist

music do not go out and commit crimes against women.  Men realize that

committing such a crime against women could have serious consequences.

Certain people believe that censorship is violating the First Amendment,

but it is highly doubtable that the framers of the First Amendment  thought that

the amendment would be used to protect such filth, so that it may be broadcasted

into our homes.  What the framers wrote, however, is already "in stone."  The

amendment means exactly what it says, people have the right to speak their

minds and express how they feel, and others cannot stop them.

Rap, as all music, has its positives and negatives, but it is not as awful as

people seem to think. The problem of urban violence is much bigger than rap,

and rap should not be named as its main cause (Leland 64).  The real problems

are outside the music, not within it.  Hard-core rappers are only telling what life is

really like in the ghettos and hoods. Rappers would not have the gangs and gang

violence to sing about, if police started abolishing gangs and gang warfare

(Leland 64). Rappers speak the truth about where they are from and if people do

not like it, they blame it on the rappers (Leland 64).  People could at least put

blame where blame is due, the law enforcement agencies.

The arrests of Tu Pac Shakur, Snoop Doggy Dog, and Flavor Flav show

what little effect rap actually has in the real world (Leland 64). These  people

should be the classic American success story:  young unknown men, who

through a lot of hard work and talent, rose to be the millionaire with the mansion

on the hill.  Ironically, most rappers do not own a mansion; they choose to stay

where their roots are, which is usually the slums, ghettos, or inner part of

whatever city they are from (Leland 64).  The fact that they stay with their roots

proves that they do not all forget where they came from and who helped bring

them along through the rough times.  Obviously, some of them actually do care

about their roots and the people that helped them get where they are today; and

they are not all corrupt.

Snoop Doggy Dogg really is not the sinister, awful person his critics make

him out to be.  (He received this rap by being an ex-gang member. Also, because

of the content of his lyrics, the critics labeled him "bad.")  About four years ago,

Snoop (real name Calvin Broadus) called up Richard Harris, minister of Golgotha

Trinity Baptist Church (coincidentally where he learned to sing in the children's

choir), just to recite a Biblical rap about grace, Jesus, and coming down from the

cross (Leland 64). Snoop's music is not intended to cause people to go out and

kill  people and steal and do drugs.  Instead,  it is intended to make people STOP

committing violent crimes. Taneika Archer, 17, an African-American girl, believes

this about Snoop Doggy Dogg:

He tells it like it's supposed to be told.  People will always try to bring you down no matter what you do.  It's the same with Dolly Parton and her big breasts.  He's not trying to be something he ain't.  If he said he wasn't a gangster, he'd be lying. They [gangster rappers] talk like that to look hard.  They don't actually treat  people that way.  Most girls won't let them." (Leland 63-64).

Snoop described his idea of the perfect happy day:

I want peace on the street like it was 4/29/92-" the day Los Angeles gangs called a truce- "That shit felt good.  Bloods, crips, everybody just chill'n.  I ain't never felt that before, being able to go to the neighbor-hoods where they restrict you because you wear this color and they wear that color. Everybody was together. That's what my music's going for- to stop you banging for a second. Listen to my music and get on another vibe." (Leland 64).

While rap is not the devil, it is also not perfect either.  Dr. Dre's reputation

could use a little doctoring itself.  His top hits, "Deep Cover," main chorus read, "

It's 1-8-7 on an undercover cop": 187 is Los Angeles cop talk and rap slang for

homicide.  The song's main topic (yet again) consisted of killing a cop (Leland

63).  The line, "if your bitches talk shit, I have to put the smack down," seemed

quite arresting and ironic coming from Dr. Dre because he just settled  a law suit

for allegedly beating up Dee Barnes, a rap television host (Leland 63).  Public

Enemy's Chuck D and Ice Cube defend their lyrics by stating that the lyrics depict

real inner city life and ghetto realities and black consciousness in ways that have

never been documented before (Lewis n. pag.).  Ice Cube said that the song

"Black Korea" describes life with Koreans in a black community.  He believes that

Blacks do not like the Koreans and vice-versa.  There is much hatred shared

between both groups (Lewis n. pag.).  So, in the song he raps about killing the

Koreans because they cannot live in the black community. He also raps how they

take away money and jobs from the black people because of their stores, mainly

grocery stores (Lewis n. pag.).  For this, the Korean grocers boycotted the malt

liquor of the McKenzie River corporation that Ice Cube endorsed.  The company

then turned around to bounce Ice Cube from the ads and donated $90,000 to the

Korean grocers (Lewis n. pag.).

Some people are "waking up" and finally taking a stance against it.  The

KACE-FM radio station out of Los Angeles has banned all songs degrading

women or promoting drugs or violence (Leland 64).The Reverend Calvin Butts, a

high profile minister of the Abyssinian Baptist Church in Harlem, has mounted a

crusade against "offending" (rap) music (Leland 64). Last summer he held a rally

where he ran over tapes and compact discs of " offending" material with a

steamroller (Leland 64).  The Reverend Jesse Jackson added policing rap part of

his campaign against black-on-black crime.  Even Rap Sheet, a hip-hop fanzine,

has taken a stand by banning all album and artist ads featuring guns (Leland 64).

These people care enough to speak up for what they believe and some of

them actually know what they are talking about.

Nathan McCall, a reporter for the Washington Post, knows all too well the

influence of violence in the entertainment (Leland 64).  He served nearly three

years in jail for armed robbery in the mid seventies (Leland 64).   He recalled the

exhilaration of shooting someone as a teenager, and being intoxicated with the

rush of living out and fulfilling the life he watched on the screen in The Godfather

(Leland 64). The influence of violent entertainment on teenagers is something he

takes quite seriously.   One reason, according to him, that the black community

ignores some of the harsh language is because it reflected the backlash and

anger of young, disenchanted black folk, but then evolved into something else

(Leland 64).  Also, he feels that we should acknowledge the "obvious"

correlations between the constant, negative, violent messages that are being put

out by rap and violence in the world (Leland 64).  He realizes that some people

take the rap they listen to very seriously and just wants to warn people of why

and how these boys can sing about such violence and destruction.

Some options for the awareness of music and its content have been and

could possibly be made public, making censorship unnecessary.  In 1985, the

Parents' Music Resource Center, better known as the PMRC, managed to

pressure eight percent of the music industry (twenty-four companies) into placing

a PG rating onto music of uncertain content  (Zucchino 9).  More pressuring

enabled them to persuade companies to print the lyrics in some albums of

uncertain content (Zucchino 9).  Also, the television plays a very strong role in

society, so it could be used as a very strong medium.  People complain about the

filth that fills the air-time of television, but if some of the time consisted of alerting

parents of certain parental issues, such as music and the different types and

styles of music, then people could not complain as much.  Not all choices for

awareness are possible though.

Certain styles of censorship cannot be enforced for many reasons.  Unlike

the movie industry, records and albums cannot be rated the way movies are

because approximately 25, 000 songs are released every year in comparison to

only about 325 movies per year (Zucchino 9).  Although the idea of printing lyrics

in the albums and cassettes has the endorsement of the great Frank Zappa and

John Denver, this is not possible (Zucchino 9) . The record companies, who print

the albums, do not own the rights to the lyrics, the music companies do (Zucchino

9).  Providing printed lyrics to radio stations cannot be done for the same reason

(Zucchino 9).  Because of FCC regulations, the music a station chooses to air

cannot be controlled, let alone how often the music is played (Zucchino 9).  Lewd

or otherwise, actions of rock performers at their concerts, cannot be controlled

because only the performers can control their actions (Zucchino 3).  A rock

concert cannot be rated for content because the content of the happenings is not

known until after the concert has occurred (Zucchino 3). Placing "questionable"

albums behind the counter or wrapping them in a plain brown package would

jeopardize a retailer's business, therefore they refuse to do that (Zucchino 3).

Parents place too much responsibility on society for establishing what is  morally

and socially acceptable and not acceptable  in music.  If they are wary of the

actions at a concert or of the lyrics their children are listening to, then obviously

the best censorship is parental awareness (Zucchino 3).  Getting more involved

with their children and learning what their tastes consist of, is much better than

society doing it (Editors 10).  If society becomes too involved, it will take away

parental responsibility. Then gradually (perhaps) parents could become virtually

meaningless.

Most definitely the music industry cannot "refrain from the use of hidden

messages or backward masking" for a few reasons (Zucchino 3).  First of all, the

industry does not have and cannot take the time to play each song of every

album released backwards and analyze the lyrics and music, scrutinizing for

these so called "hidden messages" and "lewd meanings" (Zucchino 3).  Secondly,

the writers of music would also have to do this and they are more concerned with

placing their album onto the market than with acknowledging the content of the

lyrics within their albums. (Zucchino 3).  Finally, most executives have never even

experienced such things.  Even Stanley Gortikov, president of the Recording

Industry Association of America  (RIAA), claims he has never heard of or heard

an example of these "hidden backwards messages" in all of his twenty-five years

in the business (Zucchino 3).  Most of the general public has not ever heard of

these either.

Fuji Tape conducted a survey of young Americans between the ages of

eighteen and twenty-four asking whether or not anyone has the right to control

what prerecorded music is bought or sold.  Seventy percent of those surveyed

believe that no one has the right to control what prerecorded music is bought or

sold.  Of those who did reply yes, twenty-six percent would give it to local or state

governments, twenty-five percent to record companies, and eighteen percent

would give it to the federal government  ("Youth Will Be Heard " 4).  This study

shows that most people realize how unnecessary censorship actually is.

There are numerous reasons why censorship is unnecessary and

unwanted .  Only nine percent of buyers of censoring-type music are between the

ages of ten and fourteen (Zucchino 9).  Parents seemingly enjoy complaining

about the trashy music their children listen to, but if parents feel that strongly

about it, they should check the music their children purchase either before or after

their children purchase the album (preferably before) (Editors 10).  People and

musicians alike, agree that it violates the first amendment, " freedom of speech"

(Rosen et al. 10).  Since most of the lyrics to that type of music are inaudible

anyway, what is the point? (Editors 10). These supposedly, awful, "backward

messages" would be very hard to detect because approximately ninety-five

percent of music players cannot play things backwards (Editors 10).  By stating

such a thing, advocates of censorship suggest that when played backwards,

secret messages are unearthed that normally would not be heard when music is

played like it should be played.  The censorship action of taking the music off the

shelves takes away the privilege of buying that music for people who have

different values and who want to listen to that music.  If the music bothers

someone, turn it off; if the album offends someone, complain to the band or

ignore them; if  a video disgusts someone, change the channel. The options for

censorship are there, use them.  Not every person in the world is a moral freak.

The government takes censorship too far because most of the senator's wives

are members or "associates" of PMRC.  In most music stores, listening booths

have been erected in order for customers to listen to the music before purchasing

it, so that they did not buy "objectionable" music or music that they personally

found offensive.  Also, radio stations cannot please everyone all the time.

Meaning that some of the music played might be objectionable to some, but

everyone's thoughts and ideas on "objectionable" music differ.  Therefore making

it virtually impossible to please the entire public at the same time.

Not all alternatives to censorship are inept and unreasonable.  "Toning

down" lyrics is an option to musicians, especially big-time sellers.  Maybe if more

parental involvement became incorporated in their children's lives, which includes

music, the need for censorship would decrease.  Labels placed on albums

acknowledging the use of explicit or vulgar language alert people who prefer not

to hear those sort of words.  Printing the lyrics inside the albums was also a

suggestion made to musicians.  Musicians might also start to consider the

majority age group in which they are popular, and if the group is of younger ages,

nine to fourteen, for them to consider the "moral health of children in America"

when writing lyrics.  Lastly, if what the listener is listening to does not appease

them, the off and stop buttons are  there for a purpose.  If the radio is a problem,

turning the station will do just fine.

Most ratings and labels are unnecessary evils we have to live with.

Musicians feel these will eventually lead to more and more censorship, such as

taking away the first amendment rights and telling them they may not sing certain

lyrics because it is "offensive" or rated R.  As quoted way back in 1985, Frank

Zappa feels it:

Opens the door to and endless parade of moral quality-control programs based on Things Certain Christians Don't Like.  What if the next bunch of  Washington's Wives demands a large yellow J based on the material written and performed by Jews. . .? (Zucchino 9).

During the summer of 1985, the women of PMRC, managed to get eight

percent of the music industry to place PG labels on albums with lyrics or pictures

thought to be sexually explicit and/or promoting violence, suicide, rape, the

occult, or drug abuse. (Eight percent is about twenty-four companies) (Zucchino

9).  The label reads :"Parental Advisory - Explicit Lyrics," (Zucchino 1).  As if the

PG rating was not enough, the PMRC felt it had been watered down too much.

So they asked that it be raised to R (Zucchino 9). Also, because they already had

the PG label they wanted, they felt they could get more, so they tried for four

additional labels: D/A for drugs and alcohol, V for violence, O for occult, and X for

vulgar and explicit language (Zucchino 9).  Plus, they wanted a  panel of all

industry types [such as artists, songwriters, executives, producers, distributors,

broadcasters, retailers, et cetra] and consumers to draw the guidelines of what

qualifies for this rating, instead of the people who actually write these "dirty

records" (Zucchino 8).

Stanley Gortikov, president of the Recording Industry Association of

America (RIAA), suggested that the PMRC develop its own rating system for

songs, lyrics, and albums, as the Catholic Church had done for movies (Zucchino

3).  He felt insulted that the PG rating was shoved back into his face as not being

good enough.  Even the PG rating was "approached with trepidation," and yet

they had the audacity to push and push for more.  A "review panel" in itself is a

first-stage form of "ad hoc censorship," to him.  After two meetings with the

PMRC women, Gortikov had been pressured into trying to get ALL recording

companies to place the PG rating label on certain albums (Zucchino 8).  For that,

Frank Zappa, Dee Strider (lead singer of Twisted Sister), and Danny Goldberg ( a

rock manager and lyric libertarian), accused Gortikov of "caving in" to PMRC

(Zucchino 8).  The PMRC realizing that it was strongly influencing Gortikov, took

advantage of that and pushed for further extensive ratings (Zucchino 8).

Ratings ultimately provide no benefit to the children they are meant to

protect.  In fact, they seriously threaten the artists' freedom of expression and

everyone's freedom of choice (Editors 13). Currently, songs identified  as

"objectionable" contain sexual, violent, or occult imagery or lyrics.  But once the

restriction of language, for any reason, becomes possible, that could be extended

to include politically unorthodox lyrics (Editors 13).

Radicals and people who believe they can change the country constantly

try to convince the American public that censorship is a very good thing and it is

"healthy."  People were born with minds for a reason, to use them and make

choices for themselves.  Censoring music takes away that whole purpose.  If we

had been born without brains and not able to make choices for ourselves, then

maybe censorship might be necessary.  Ratings, labels, and censoring in any

form are all unnecessary evils that society needs to relinquish, besides that, a

brain's purpose for creation involved choice and decision making, let people take

advantage of their privilege.

738.          Music In The United States

Music In The United States

With the start of the 20th century music began to play a huge part in the rapidly maturing United States. The music of the 20th century was not only there to entertain the people but it was more. It was used now to influence and manipulate the listeners, the artists had a goal to entertain and to enlighten the listener so that they could get their messages heard. Music is one of the best ways to advertise and to expand ideas, and many artists knew this. Music rapidly influenced every Americans life. It was in their homes, cars, bars, theaters, movies, elevators and countless other places. Music was everywhere it defined what every American loved and worked for, it gave people hope and joy, as well as bringing out every other emotion there is in people. Music was around during the bad times as well as the good, when people were down, there were songs they could relate to, and when they were happy there were songs they could sing and dance to. Many people don't think of how much music brightens and amplifies many things, such as movies; have you ever noticed how the directors always have a song or tune for every part of the movie bringing out just the right emotion in you. Radio, what good would radio be today if music weren't here. There were a few major turning points in music history during the century. A couple of decades after the turn of the century music started to work its way into the homes of people and the invention of the record player was a big advance and people no longer needed an entire orchestra to listen to the music they loved. People still used pianos and various instruments to conduct their own music though. It was often a popular form entertainment people could gather around the musician playing the piano or any other instruments and sing along and dance. Music was becoming more and more popular.

In the 1920's the big bands had already hit the music scene and were a popular choice for many listeners, but new forms of it were branching, swing and jazz were becoming very popular. Although, it was new to the people in the United States it had mostly emerged long before then with the African-Americans, who since the days of slavery had been making there own forms of folk music. Such forms as ragtime, fife and drum bands, string bands and spirituals. Because racism was so high in the 1920's, Jazz was a radical idea many white people, who did not think that African-American music was any good. Despite the racism, though very high at the time, Jazz still exploded though out the United States. Jazz was mainly consisted of several trumpets, saxophones, and even string instruments supported by a deeper brass bass, piano and percussion. Jazz had a huge impact on the people of the early 1900's; it lessened the racism slightly opening people up to dance, which was considered an indecent act among many societies. African-American people also began to gain popularity with their smooth ability to improve the already great sound of Jazz. Such artists as Joe "King" Oliver and Louis Armstrong were huge and made a big impact on not only jazz, but also many people living in the U.S. at the time. Jazz paved the way for many more new innovative ideas for styles of American music.

After World War I was winding down and Jazz was hitting a peak, anther new kind of music was once again emerging. Rock 'n' Roll was another form of African-American music merged with white-American music. In 1955 rock took of with Bill Haley's song "Rock Around the Clock". The American people loved it for it's exciting, heavy beat and it's hypnotic power over people causing them to dance. Rock was very popular among the younger crowds, especially with the teens. It related to the topics many young people were interested in; it had songs about school, cars and young love. Many teens in the United States at this time loved it because they could relate to what the songs were saying, although this sounds like an improvement on society, some people believed it brought out the worst in people. Parents of the children often thought it gave ideas of rebellion and sin. Later in the century rock really started to have a rebellious theme, it gave American teens incentive to disobey their parents, schools and any authority in general. It was often debated that the Rock 'n' Roll contributed to juvenile delinquency, protest, and wide spread drug use. With the idea that rock was bad, it was in the begging struggling for popularity, but new artists were the answer to the problem. One person named Elvis Presley was a huge influence on rock. His radical danced shocked and amazed everyone; instantaneously people were in love with his music, attitude and view on life. At the arrival of rock and musicians like Elvis Presley the American people were changed forever.

With Rock 'n' Roll now the most popular form of music in the United States, the 1960's were very turbulent and the music was there the whole time supporting the protesting, outrages and violence. War in Vietnam, women's rights, and Black rights were all big issues in the 60's. The people had a new spirit at this time they were very liberal and did not stay quiet, when they felt they had to speak their mind they did. Rock music was the key element that gave the protesting Americans a way to speak out against the government and authority. Without a mass media in the U.S. at the time music was a way for people to learn and keep in touch with their culture. Almost every song in the 60's had a message of protest, especially about Vietnam; peace was on all people's minds. Bands like "Jefferson Airplane", "The Beatles" and "The Who" all had songs crying out about peace and stopping the war. One of the most popular protests was the music festival called "Woodstock" it had great importance in spreading the word of peace and rebellion. The music was very successful in bringing enlightenment on the feelings of the young people during this time. Because of much of music's' message of rebellion and protest it often encouraged the use of drugs and free love. If Rock was not around during this time a lot people would not have spoken their mind, many more people may have been killed in Vietnam, and issues very important today may have never been brought to the attention of the people living in the United States.

During all this time a quieter and less popular form of music had already exploded in many community around the country, Gospel. It was a form of spreading religion though exciting and fun preaching in the form of music. It was a change from the restrained singing popular in the 18th century, having loud upbeat rithimes. It was originated by the blacks and was for many years considered disrespectful and rude. Although, it eventually worked it's way into every church in America. It offered a new open way of worship.

History has shown us that the music we have loved and hated through out the life of this country has had such an important role in almost every big event in the history of this country that with out it our country may have been very different and maybe even a little dull. If history has tought us anything it is that music is at the top of the list for its importance in American culture, economy and life style.

739.          Music In Video Games Essay

Music In Video Games

Throughout the history of the video game industry, there has been many

changes concerning music in video games.  Music in video games progressed

greatly within the life of the industry from 1972 to the present.  These

progressions can be seen as improvements in quality which includes an increase

in the number of output channels, an increase in song length, a great

improvement in the quality of timbres, and also a general shift from non-

programmatic music to programmatic music which fits a game.  If one takes a

close look, one can see that all of these improvements are either directly or

indirectly resulting from improvements in the technology which is used to

produce video game music.  These improvements in technology include the increase

of the number of bits of a Sound Central Processing, the increase of Audio

Random-Access-Memory, the switch from the use of frequency modulation to digital

sampling, and the use of compact discs for playing music during a game.  By

closely examining the contribution of the preceding technological advancements,

one can see that technology has indeed caused great improvements for music in

the video game industry.

The first technological enhancement which greatly enhanced the quality of

music in video games is the number of bits which a sound Central Processing Unit

(CPU) has.  The sound CPU is a component in a video game system which controls

every single sound which a system produces.  This, then, obviously includes

music.  Specifically, the CPU controls what sounds are to be played at what time,

their volume and dynamics, and each sound's length and rhythm.  In a sense, the

sound CPU acts as a conductor who has absolute control over every single

instrument in his orchestra.  The increase  of the number of bits serves to

improve music quality by increasing the number of channels of sound which can be

played at the same time.  This will just be like increasing the number of

instruments in an orchestra.  As in the romantic period, an increase in the

number of instruments can lead to a richer and more varied blend of sounds which

can be used to cause effects of drama and human emotions during game play.  This

increase in emotional portrayal can also be seen as the first step towards the

rise of programmatic music in video games.

Another technological improvement in the industry which improved the

quality of music in video games was the increase in the amount of Audio Random-

Access-Memory (ARAM).  The ARAM is a memory storage area which performs two main

functions.  The first of its functions is to store data concerning the layout of

a song.  This data contains information such as which voices will be played at

what time, specifications concerning a song's rhythm, dynamics and structure,

and any other information which is used by the sound CPU when it produces sounds.

When compared to music in the mainstream musical industry, the ARAM can be seen

as the musical score which musicians read in order to gain the information to

play a song.  Since the ARAM stores a song's structure, increasing the size of

the ARAM will obviously have a profound effect on the overall length and the

variations in structure of a particular song.  The result is that an increase in

ARAM will yield songs which are longer and contain more variations within its

structure.  These changes are particularly important in video games since "a

monotonous melody which repeats every few seconds can lead to boredom and even

frustration in a player."1  Therefore, video game programmers are now becoming

more and more aware that programming long varying songs can keep a player from

becoming bored and switch to another game.  Thus, this partially increases a

player's liking of a particular game.

The other function of the ARAM is to store information which defines the

timbres in a song.  Sound, like many other things which occur in nature,

actually consists of waves which travel through a medium and then hit our

eardrums, causing them to vibrate and sending messages to our brain which is

interpreted as sounds.  Like all the other waves in nature, sound waves can be

mathematically defined as a set of equations.  Mathematical equations are

exactly the way in which a video game system stores its sounds.  The sound wave

equations are used to define the timbres in a song.  Through a process called

frequency modulation synthesis (FM synthesis), programmers define timbre by

creating and working with wave equations from scratch.  Similarly to the

increase in the length of a song, an increased ARAM can also be used to store

longer wave equations which more precisely define a timbre in a song.  Better

defined waves mean an improvement in timbre which can bring a further sense of

programmaticism to a song.  This is true because of the fact that different

instruments can be used to effectively portray certain emotions and situations.

For example, a bassoon is often used to set a comical mood while an airy and

thin sound such as a flute can be used to set a mood of fear and horror.  Again

this increase in the sense of the programmatic nature of songs helps to draw a

player deeper into the video gaming experience.

To produce sound waves, the process of FM synthesis was already

mentioned in the previous paragraph.  During the life of the video game industry,

however, digital signal processing was introduced at around 1990.  The emergence

of digital signal processing marked another step in the process of timbre

production because it enables programmers to use a process called digital

sampling to define their timbres.  Digital sampling is a process which involves

digitally sampling (or recording acoustic instruments and then using the data

obtained to produce wave equations of timbres.  The result is a realism in

defined sounds which surpasses even FM synthesis.  The rise of digital sampling

has even increased to a higher degree the programmatic nature of songs in video

games because of extremely life-like sounds.  As D. Wise, head music programmer

and composer of the game Donkey Kong Country once said: Music is supposed to

draw the player into the game...For us, the use of digitally sampled sound gave

us the ability to better depict a setting's mood, something which beeps and

clicks could never have done.2

The final technological advancement which greatly affected the music in

the video game industry is the use of  compact discs for playing music during

the playing of a video game.  In the newer 32-bit systems and CD-ROM based

systems, the production of video games has become as simple as recording a song

onto a CD and then playing the song when it is needed in the game.  Not only has

this process greatly simplified the steps which programmers take to program

music into video games, it also has brought about true CD-quality sound to the

video game industry.  Playing music from a CD is also so flexible that the

possibilities for improvements are almost endless and unimaginable.

So, as one can now see, technological advancements were indeed the cause

of most improvements in the field of music in the video game industry.  These

technological improvements, which are the increase of the number of bits of a

Sound Central Processing, the increase of Audio Random-Access-Memory, the switch

from the use of frequency modulation to digital sampling, and the use of compact

discs for playing music during a game, have now expanded the horizon of music in

the industry and opened up many new possibilities.  Even though the industry

itself might not last as long as the mainstream musical or computer industries,

one can see that it has clearly left a mark in the history of humankind's

development and usage of music.  To conclude, the words of Tommy Tallarico,

another video game music composer and programmer, perfectly summarize what is

happening in the video game industry:

When people think of video game music, they have always thought of little bleeps

and blips.  But now, the industry has changed so radically over the last couple

of years as far as music is concerned that it has evolved beyond anyone's

expectations.3

740.          Music in Video Games

Throughout the history of the video game industry, there has been many changes concerning music in video games.  Music in video games progressed greatly within the life of the industry from 1972 to the present.  These progressions can be seen as improvements in quality which includes an increase in the number of output channels, an increase in song length, a great improvement in the quality of timbres, and also a general shift from non-programmatic music to programmatic music which fits a game.  If one takes a close look, one can see that all of these improvements are either directly or indirectly resulting from improvements in the technology which is used to produce video game music.  These improvements in technology include the increase of the number of bits of a Sound Central Processing, the increase of Audio Random-Access-Memory, the switch from the use of frequency modulation to digital sampling, and the use of compact discs for playing music during a game.  By closely examining the contribution of the preceding technological advancements, one can see that technology has indeed caused great improvements for music in the video game industry.

The first technological enhancement which greatly enhanced the quality of music in video games is the number of bits which a sound Central Processing Unit (CPU) has.  The sound CPU is a component in a video game system which controls every single sound which a system produces.  This, then, obviously includes music.  Specifically, the CPU controls what sounds are to be played at what time, their volume and dynamics, and each sound's length and rhythm.  In a sense, the sound CPU acts as a conductor who has absolute control over every single instrument in his orchestra.  The increase  of the number of bits serves to improve music quality by increasing the number of channels of sound which can be played at the same time.  This will just be like increasing the number of instruments in an orchestra.  As in the romantic period, an increase in the number of instruments can lead to a richer and more varied blend of sounds which can be used to cause effects of drama and human emotions during game play.  This increase in emotional portrayal can also be seen as the first step towards the rise of programmatic music in video games.

Another technological improvement in the industry which improved the quality of music in video games was the increase in the amount of Audio Random-Access-Memory (ARAM).  The ARAM is a memory storage area which performs two main functions.  The first of its functions is to store data concerning the layout of a song.  This data contains information such as which voices will be played at what time, specifications concerning a song's rhythm, dynamics and structure, and any other information which is used by the sound CPU when it produces sounds.  When compared to music in the mainstream musical industry, the ARAM can be seen as the musical score which musicians read in order to gain the information to play a song.  Since the ARAM stores a song's structure, increasing the size of the ARAM will obviously have a profound effect on the overall length and the variations in structure of a particular song.  The result is that an increase in ARAM will yield songs which are longer and contain more variations within its structure.  These changes are particularly important in video games since "a monotonous melody which repeats every few seconds can lead to boredom and even frustration in a player."1  Therefore, video game programmers are now becoming more and more aware that programming long varying songs can keep a player from becoming bored and switch to another game.  Thus, this partially increases a player's liking of a particular game.

The other function of the ARAM is to store information which defines the timbres in a song.  Sound, like many other things which occur in nature, actually consists of waves which travel through a medium and then hit our eardrums, causing them to vibrate and sending messages to our brain which is interpreted as sounds.  Like all the other waves in nature, sound waves can be mathematically defined as a set of equations.  Mathematical equations are exactly the way in which a video game system stores its sounds.  The sound wave equations are used to define the timbres in a song.  Through a process called frequency modulation synthesis (FM synthesis), programmers define timbre by creating and working with wave equations from scratch.  Similarly to the increase in the length of a song, an increased ARAM can also be used to store longer wave equations which more precisely define a timbre in a song.  Better defined waves mean an improvement in timbre which can bring a further sense of programmaticism to a song.  This is true because of the fact that different instruments can be used to effectively portray certain emotions and situations.  For example, a bassoon is often used to set a comical mood while an airy and thin sound such as a flute can be used to set a mood of fear and horror.  Again this increase in the sense of the programmatic nature of songs helps to draw a player deeper into the video gaming experience.

To produce sound waves, the process of FM synthesis was already mentioned in the previous paragraph.  During the life of the video game industry, however, digital signal processing was introduced at around 1990.  The emergence of digital signal processing marked another step in the process of timbre production because it enables programmers to use a process called digital sampling to define their timbres.  Digital sampling is a process which involves digitally sampling (or recording acoustic instruments and then using the data obtained to produce wave equations of timbres.  The result is a realism in defined sounds which surpasses even FM synthesis.  The rise of digital sampling has even increased to a higher degree the programmatic nature of songs in video games because of extremely life-like sounds.  As D. Wise, head music programmer and composer of the game Donkey Kong Country once said:

Music is supposed to draw the player into the game...For us, the use of digitally sampled sound gave us the ability to better depict a setting's mood, something which beeps and clicks could never have done.2

The final technological advancement which greatly affected the music in the video game industry is the use of  compact discs for playing music during the playing of a video game.  In the newer 32-bit systems and CD-ROM based systems, the production of video games has become as simple as recording a song onto a CD and then playing the song when it is needed in the game.  Not only has this process greatly simplified the steps which programmers take to program music into video games, it also has brought about true CD-quality sound to the video game industry.  Playing music from a CD is also so flexible that the possibilities for improvements are almost endless and unimaginable.

So, as one can now see, technological advancements were indeed the cause of most improvements in the field of music in the video game industry.  These technological improvements, which are the increase of the number of bits of a Sound Central Processing, the increase of Audio Random-Access-Memory, the switch from the use of frequency modulation to digital sampling, and the use of compact discs for playing music during a game, have now expanded the horizon of music in the industry and opened up many new possibilities.  Even though the industry itself might not last as long as the mainstream musical or computer industries, one can see that it has clearly left a mark in the history of humankind's development and usage of music.  To conclude, the words of Tommy Tallarico, another video game music composer and programmer, perfectly summarize what is happening in the video game industry:

When people think of video game music, they have always thought of little bleeps and blips.  But now, the industry has changed so radically over the last couple of years as far as music is concerned that it has evolved beyond anyone's expectations.3

741.          Music of the middle ages

Music of the middle ages

Music has been a great influence in the lives of many people for many years and is constantly changing. Music has been divided into six periods: Medieval, Renaissance, Baroque, Classical, and Twentieth Century.

The Medieval period was the longest and most distant period of musical history and consists of almost a millennium's worth of music. To examine the music of this period we must first look at the influences or dominating factors of medieval life.

In a political sense, as well as a spiritual sense, the Roman Catholic Church was very much the focal point of a Medieval man's life. Between the collapse of control of the Roman Empire around 500 A.D. and the Renaissance in the middle 1400s, the Church remained the most continuously powerful organization in Europe.

The great gothic cathedrals of the Middle Ages help demonstrate how religion had become the focus of the times. The thousands and thousands of hours of labour, the tremendous cost involved, the extraordinary and detailed craftsmanship without the use of cranes or power tools must give us an idea of the effects of religion and the power of the Church. To worship God through one's craft was the highest artistic ideal of the times. While some of the great secular classic literature of the past was well known to many, it was considered to be only a teaching tool to assist in the understanding of the Bible.

Music has always been an integral part of religious celebrations throughout history, and for the Catholic Church of antiquity, it was a vital element.

The music of the Catholic Church absorbed Greek, Jewish, and Syrian influences among others, through the teachings of :

Pythagoras 6th - 5th BCE, a Greek mathematician and a musical theorist who believed that there were perfect intervals in music and introduced the 8ve, 5th, 4th, whole tone. Pythagoras' ideas gave music scientific credibility through numbers and allowed it to be introduced as one of the sciences.

Plato 427 - 347 BCE / Aristotle 384-322 BCE, Greek philosopher's whose teachings introduced the idea that music is ethical. Plato believed that music could generate ethical space and could have an effect on the moral fibre of a person. The power to cleanse, to create an 'ethos'. He believed that the idea is created by the thinkers (Speclatores) and that it's interpretation is a mirror of the idea (Speclum), and that the representation was carried out by the doers, the musicians, artists etc (Cantores). Plato believed that thinkers were more important than doers. Music was seen as one of the sciences and therefore was controlled by the theorists (Speculatores) who decreed that music should be good to transmit good things lest it should introduce impure thoughts. Music in it's most superior form could not be heard. Only by mirroring (Speculum) could it be heard.

Aristoxenus 375 BCE, student of Xenophilus and Aristotle researched pitch, intervals, scales, keys, modulation and constructed melodies. He introduced the Tetrachord (4-note). Aristoxenus wrote books on both listening to and making music and playing instruments. He examined the nature of rhythm (strong vs weak) and supported division into 3 as perfect, and into 2 as imperfect using Pythagoras' ideas on number perfection.

Emperor Constantine 306 - 337 AD, became the emperor of Rome in 306, and was the most powerful person in his part of the world. His conversion to Christianity had far reaching effects on the common practice of the religion and on all the factions of Christianity that are present today. His conversion happened during a war with his brother-in-law and co-emperor, Maxentius. According to the historian Eusebius , Bishop of Caesarea in Palestine, before the crucial battle of Milvian Bridge, Constantine was convinced that he needed divine assistance. While he was praying for such assistance, God sent him a vision of a cross of light at midday, bearing the inscription "in hoc signo vinces " ("in this sign you will be victorious"). That night he had a dream that reaffirmed his earlier vision. God told him to use the sign he had been given as a safeguard in all of his battles. Thus, Constantine converted to Christianity and ordered the symbol of his Savior's name (the intersection of the Greek letter chi and rho) to represent his army. Constantine was victorious in the battle of the Milvian Bridge, and he continued to wear the symbol for Christ against every hostile power he faced.

At around 350 AD, the Schola Cantorum (singing school) was founded. This was an idea picked up from the Jewish synagogues where the Levittes had special training and took on the role of temple musicians.

St Augustine of Hippo 354-430 AD, was a very influential and great philosopher/theologian. Saint Augustine is one of the most important of the Latin Church Fathers. His works, especially his De Musica, Confessions and City of God, helped distinguish the Church in Western Europe from the Church as it developed elsewhere. He decreed that music should not be too tuneful and that there should be no metre/rhythm, which led to church leaders being beset by fears of musical pleasures and thus continuing the ideas of the Greek Philosophers. "I wept at the beauty of your hymns and the canticles...the sounds poured into my ears and the truth distilled in my heart"-from Confessions. This encapsulates the feeling and mood of the church at this time - that the 'bad' feelings produced by the music had to be distilled.

A preference for sacred vocal music was developed and pagan secular music and instruments were rejected. Instruments were not appropriate because of the links with pagan rituals and Roman arenas. Ambrose, Bishop of Milan introduced hymn singing. The hymn, St. Ambrosia, is a tuneful/ornate link with secular music.

Justinian I was crowned in 527. Up until this time pagan rituals, statues and temples still existed. Justinian decreed that the studying of all pagan beliefs should be outlawed. Latin was firmly established as the language of the church.

Also around this time St. Benedict founded the Benedictine Rule at Monte Casino. Monasteries were established all over Europe and the Benedictines become very powerful and influential people.

The leaders of the Church decided to organise and codify the thousands of pieces of music used in worship. Gregory I, Pope from 590 to 604, is usually given the credit for getting the effort started.

Codified all the church chants (Antiphonar) and set course to make the Roman Rite pre-eminent across western Europe using Gregorian Chant, the Mass and the Daily (monastic) Office as it's base. Legend has it that a Dove from God sat on Gregory's shoulder and whispered the chants to him. He founded the Schola Cantorum in Rome.

He produced sacramentary rubrics (red rules), that brought together all the ideas and formalised the 'order of services', Gregory used the first Canon of Euchology, standardised the chants and started to make use of the Schola Cantorums. He sent emissaries all over Europe to teach the Roman style and was responsible (mainly by his promotion by the Franks 300 yrs later through the reign of Charlemagne 768 - 814) for standardisation of Masses all over Europe. 768 - 814

While some sources suggest that he composed many of the melodies, there is little to authenticate this. Nevertheless, this music grew to be called "Gregorian Chant" in his honour.

Prior to around the year 1000 AD, virtually all music, Western music included, consisted of one dominant, unaccompanied melody line. This texture, called monophonic still dominates much non-western music today, including Far Eastern, Indian, and Arabic cultures--at least those that haven't become corrupted by Western practices yet!

Gregorian chant, sometimes known as "plainchant" consists solely of a melody, sung unaccompanied in Latin, with very free rhythms. It is one of the few types of music in Western civilisation without a feeling of meter. Gregorian chant conveys a disembodied, ethereal, spiritual sound, certainly not focusing on anything that might inspire physical pleasure. These chants made use of scales other than the major and minor ones familiar to us. Instead they used the different "modes" such as Dorian, Phrygian, Lydian, etc.

Starting around the year 1000, the practice of using polyphony began to enter into Western music. Polyphony is the use of independent lines within a piece of music. This multi-layered texture gave music a new expressive intensity, almost literally giving it another dimension. Perhaps not a coincidence, the use of perspective in painting was evolving at about the same time, expressing a parallel expansion in the visual medium. The first polyphony (called 'organum') consisted of two voices moving in parallel motion. Later as harmony became a little more sophisticated, the voices began taking on a little more independence from each other.

Considering all these factors it is not really surprising that the vast majority of music that survives from the Middle Ages is sacred music. There are a couple of reasons for this.

Firstly, the key word in the above statement is survives. In European civilisation following the collapse of the Roman empire, literacy fell to an all time low during the Middle Ages. Even though modern scholars are revising their opinions of culture in the Medieval times upward, the average peasant simply couldn't read or write. That special talent was passed along by the church through its religious orders.

This included the special talents of reading and writing music. And of course, the monks whose duty it was to notate and copy music would have a tremendous bias toward the sacred music.

A second reason is that there really was a great deal of sacred music composed. Again, it was considered the highest form of art to be able to use one's talent to praise God. Life had become more and more dangerous and uncertain for the inhabitant of the Middle Ages. Without science to illuminate physical laws, without bacteriology to allow the understanding of diseases and plagues, fear and superstition became the method of explaining the unknown. Our earthly existence was ultimately looked upon as a dangerous, misery filled prelude to a blissful afterlife. The Church represented the hopes of the better world to come.

Sacred music of the Middle Ages centred around two primary areas, the Office and the Mass. Virtually all sacred music at that time was sung in Latin.

Monks were expected to sing, pray, and read the scripture eight times during the day from Matins (just after midnight) to Vespers (just before the evening meal) and Compline (at dusk). These times were known as the Hours of the Divine Office.

The most important musical event in the Roman Catholic Liturgy was the Mass. Wrapped around the sacrament of Holy Communion, the Mass consisted of two parts called the Ordinary, and the Proper.

The Proper of the Mass was the part that changed from day to day, as the readings were geared for specific feast days and occasions. The Ordinary of the Mass was the text that remained consistent throughout the church year. The five parts of the Ordinary were the ones most commonly set to music in Medieval and later times.

Below is a list of the parts of the Mass. The parts of the Ordinary are in bold typeface.

Introit

Kyrie

Gloria

Collects

Epistle

Gradual

Alleluia (or Tract in certain seasons)

Gospel

Credo

Offertory

Preface

Sanctus/Benedictus

Canon

Lord's Prayer

Agnus Dei

Communion

Post--Communion prayers

Ite Missa Est

In addition to the regular Mass, a Requiem Mass was a common liturgy. Meaning "rest", the Requiem Mass was the "Mass for the Dead", used at funerals.

The earliest settings of this music were strictly monophonic. Through the Middle Ages, polyphony became an important stylistic element in music. Not surprisingly, the greatest composers of the time put their best energies into the mass. "Missa Notre Dame" by Guillaume de Machaut represented the first polyphonic ordinary done by a single composer. Leonin, Perotin, Dufay, and Machaut were the leading composers of the earliest sacred polyphonic music. Many other leading composers of the Middle Ages remain anonymous--this was not yet an age of musical personalities.

Guido D'Arezzo, a monk who lived in the early 11th century devised a version of the staff that is the precursor of today's staff. Some of his practices also contributed to "sight-singing"--the reading of music at sight. He also started the practice of using the Latin syllables of Do, Re, Mi, Fa, etc. to symbolise pitches.

Travelling minstrel singers, often known as troubadours, trouveres, and minnesingers, were the secular musicians. Generally their music was a monophonic line which they accompanied on the lute or harp, probably using one of the Church modes. These poet/musicians sang of nature, of love, of knightly legends, and of the sense of the mystical that pervaded their lives. Mysticism and superstition were the only tools available to explain the stars, the seasons, the randomness of weather patterns, diseases, etc.--and these tools played a great part in the lives of Medieval citizens as they struggled to understand the world around them.

Common types of secular music were the Rondeau, Virelai, the Frottola (many of which today we would simply lump under the heading "ballad"), and the motet. Coming from the French "mot" meaning 'word', the motet often had several lines of music and text, sung in different languages. Often the different melodies were on completely different subjects, occasionally pairing a sacred text with a very bawdy one!

742.          Music that is Romantic

ROMANTIC MUSIC (The Arts)

The ideals of instrumental music

At one point in the study of the Romantic period of music, we come upon

the first of several apparently opposing conditions that plague all attempts

to grasp

the meaning of Romantic as applied to the music of the 19th century.  This

opposition involved the relation between music and words.  If instrumental

music

is the perfect Romantic art, why is it acknowledged that the great masters of

the

symphony, the highest form of instrumental music, were not Romantic

composers,

but were the Classical composers, Haydn, Mozart, and Beethoven?  Moreover,

one

of the most characteristic 19th century genres was the Lied, a vocal piece in

which

Shubert, Schumann, Brahams, and Wolf attained a new union between music and

poetry.  Furthermore, a large number of leading composers in the 19th century

were extremely interested and articulate in literary expression, and leading

Romantic novelists and poets wrote about music with deep love and insight.

The conflict between the ideal of pure instrumental music (absolute music)

as the ultimate Romantic mode of expression, and the strong literary

orientation of

the 19th century, was resolved in the conception of program music.  Program

music, as Liszt and others in the 19th century used the term, is music

associated

with poetic, descriptive, and even narrative subject matter.  This is done

not by

means of musical figures imitating natural sounds and movements, but by

imaginative suggestion.  Program music aimed to absorb and transmit the

imagined

subject matter in such a way that the resulting work, although "programmed",

does

not sound forced, and transcends the subject matter it seeks to represent.

Instrumental music thus became a vehicle for the utterance of thoughts which,

although first hinted in words, may ultimately be beyond the power of words

to

fully express.

Practically every composer of the era was, to some degree, writing program

music, weather or not this was publicly acknowledged.  One reason it was so

easy

for listeners to connect a scene or a story or a poem with a piece of

Romantic

music is that often the composer himself, perhaps unconsciously, was working

from some such ideas.  Writers on music projected their own conceptions of

the

expressive functions of music into the past, and read Romantic programs into

the

instrumental works not only of Beethoven, but also the likes of Mozart,

Haydn,

and Bach!

The diffused scenic effects in the music of such composers as Mendelssohn

and Schumann seem pale when compared to the feverish, and detailed drama that

constitutes the story of Berlioz's Symphonie fantastique (1830).  Because his

imagination always seemed to run in parallel literary and musical channels,

Berlioz once subtitled his work "Episode in the life of an artist", and

provided a

program for it which was in effect a piece of Romantic autobiography.  In

later

years, he conceded that if necessary, when the symphony was performed by

itself

in concert, the program would need not be given out for the music would "of

itself,

and irrespective of any dramatic aim, offer an interest in the musical sense

alone."

The principle formal departure in the symphony is the recurrence of the

opening

theme of the first Allegro, the idee fixe. This, according to the program, is

the

obsessive image of the hero's beloved, that recurs in the other movements.

To

mention another example: in the coda of the Adagio there is a passage for

solo

English horn and four Tympani intended to suggest "distant thunder".

The foremost composer of program music after Beriloz was Franz Liszt,

twelve of whose symphonic poems were written between 1848 and 1858.  The

name symphonic poem  is significant: these pieces are symphonic, but Liszt

did not

call them symphonies, presumably because or their short length, and the fact

that

they are not divided up into movements.  Instead, each is a continuos form

with

various sections, more or less varied in tempo and character, and a few

themes that

are varied, developed, or repeated within the design of the work.  Les

Preludes, the

only one that is still played much today, is well designed, melodious, and

efficiently scored.  However, its idiom causes it to be rhetorical in a

sense.  It

forces today's listeners to here lavishly excessive emotion on ideas that do

not

seem sufficiently important for such a display of feeling.

Liszt's two symphonies were as programmatic as his symphonic poems.

His masterpiece, the Faust Symphony, was dedicated to Berlioz.  It consists

of

three movements entitled respectively Faust, Gretchen, and Mephistopheles,

with a

finale (added later) which is a setting for tenor soloist and male chorus.

The first

three movements correspond to the classic plan of an introduction in Allegro,

Andante, and Scherzo.  Liszt attempted to sum up the ideas of Romantic music

in

these words:

"Music embodies feeling without forcing it - as it is forced in its

other              manifestations, in most arts and especially in the art of

words - to contend and

combine with thought....it is the embodied and intelligent essence of

feeling;

capable of being apprehended by our senses, it permeates them like a dart,

like a

ray, like a dew, like a spirit, and fills our soul."

743.          My Golden Age

Many people have their own Golden Ages.  It is like a dream that a person would like to live out.  Many of these dreams tend to be similar to a utopia, or a perfect world.  Due to the fact that their Golden Age is a perfect world, most of these dreams are a little bit on the unrealistic side.  Most of them never come true.  However, I am not so picky.  I would make the best attempt to make my life the best it could be, and also knowing that it could come true, and still be on the realistic side.

You have to understand that when people come up with their own Golden Age, he/she usually takes their life and alters it to a stage where there is no similarity between reality, and their utopia.  I would do something a little bit different.  You see, I would take my pre-existing life, and just make changes to that.  If I were to come up with my own Golden Age, this is what I would do.

I would start with my present standing in life.  That would be a tenth grade student in high school.  Then to make it dream like, I would analyze to see what I could do to make my life better.  I would find out what things were important to me at that time and what things I could change to make my future life better.  For example, I would probably start out with school, since that is very important to most people at my age.  There are pretty much two things that are important to kids around my age, the social aspect and the academic aspect.  I would not change my personality, but I would rather like to be friends and get to know other people I don't know now.  Maybe it would be neat to be the King my senior year.  Also, because I am turning sixteen real soon, I would have this really neat car that not many other people had.  Than the next thing I would do would be to adjust my grades, so that I would graduate a valedictorian.  Then would probably wish to be an athletic star so I could play on any team I wanted.  All of this would lead up to me graduating very successfully.   Since I was so successful,  I would be able to attend any university I wanted.  I would not worry about paying for anything because I would have  a full ride scholarship.  Than I would pass college with flying colors, playing for the team, and having a lot of fun in my free time.  Now, I would be ready to take the next step in my life.  Getting a job.  I would probably open up my own business so I could work for myself, and have my company be a very internationally known and successful.  I would just pretty much live the rest of my life doing the things I like to do best.  Also, because I am making so much money, more than I would know what to do with, I would give as much as I could to charity.  Then I would like to die a wealthy and prosperous man knowing that I gave to the needy as well.  It would be comforting to watch my kids grow up similarly to the way I did.

744.          Mythic Heros

When I think about mythic heroes, for many years the first name that came to mind was Sinbad: Sinbad the sailor.  In his days as an adventurer, he went on seven fantastic voyages which earned him fame for the rest of his life.  Yet, now in retrospect, I no longer consider him to be the great adventurer that I saw him as in my childhood.

On his seven voyages, Sinbad encountered every obstacle one could possibly think of.  He and his crew met up with: a fish so large, many mistook it for an island, an island where rocs (enormous birds (their eggs were often mistaken for buildings)) still lived, cannibals, giants, and even herds of angry elephants.  On each and everyone one of his famed voyages, he was shipwrecked, alone, and faced with some hideous danger.  On each and everyone, he overcame the odds, destroyed his foes, and returned home with riches beyond the imagination.

As a child, the stories of Sinbad's voyages were wildly entertaining.  In each one, there was adventure, danger, money, and the hero always came home in one piece.  Now that I look back at the stories, there are some parts of Sinbad's fantastic tales that bother me.

First of all, Sinbad never set out in search of adventure.  These amazing things just seemed to always happen to him.  He normally set out as a merchant, carrying goods from one exotic land to another.  Yet, on each of these trips, something incredible happened to him and his crew, resulting in a dead crew and a fantastic story for Sinbad the sailor.

Secondly, all of Sinbad's great adventures occurred sequentially.  In other words, he went immediately from one adventure to another without so much as a nap in between.  This man never had a quiet boat ride in the entire span of time in which his adventures took place.

Another interesting point is the manner in which Sinbad always left and returned to his home port in Baghdad.  All seven times, he left with a full crew and carrying the goods of a local merchant.  Yet all seven times he returned, he was alone, the crew having died in the early part of the respective adventure.  All seven times, he returned without the goods that he was to take to market, but he often returned with new riches from the island where he was stranded (and of course, kept them for himself).  This leads me to believe that maybe his crew didn't die in the shipwrecks or some other accident after all.

Sinbad was a mythic hero; a hero for everyone with a love for adventure.  But now, I tend to think that Sinbad the sailor may not have been the great adventure that he has been made out to be.  Maybe there is more to the tale of Sinbad than we know.  Maybe something was lost in the translation from Arabic.  Maybe parts of the story vanished over the years.  Who knows?  Either way, I don't think we are getting the whole story of Sinbad the sailor.

745.          Mythological Heroes

Mythological Heroes

The subject of mythology deals mainly with the notion of battle, or

good

versus evil.  In this struggle many individuals are singled out for either the

evil

they cause, or from the good they bring to people.  When you mention heroes

in mythology, there are two distinct names that a majority of people bring up,

those names are Achilles and Hercules.

Achilles was born to King Peleus and the sea-nymph Thetis.  Soon

after

Achilles was born his mother dipped him in the River Styx, she was told, by

doing this,  that the water would make every part of his body that it touched

invincible.  Little did she know  that the one part of his heel which he was

held

by would not touch the water.

When Achilles mother found out about the war in Troy between the

Greeks and the Trojans she did not want her son to fight because she knew

that he would eventually be killed there.  The way that she tried to prevent

him

from going into the army was to hide him among the women of the court so

that

he could not be persuaded by his close friend Odysseus to join the Greek

forces.  While trying to find Achilles, Odysseus easily spotted him among the

women, and persuaded him to join the Greek army.

After many years of battle with the Trojan forces, Achilles ended up in

a

famed duel with Trojan hero Hector, over the slaying of Achilles close friend

Patroclus.  After killing Hector, Achilles tied his dead body behind a chariot

and

dragged around the walls of Troy seven times to show his hatred and anger

towards the Trojans and their hero.  Shortly after the famed battle, Achilles

was

killed when he was struck, with a poisonous arrow, in the one small spot on

his

heel which was vulnerable.  The arrow was fired by the Trojan prince Paris

and

was guided by the sun god Apollo.

Hercules was the strongest and swiftest man ever to walk the earth.

As

the son of Zeus and mortal woman Alcmene, Hercules was destined to be a

hero.  This destiny was shown before he was one year old.  Enraged at his

affair with a mortal woman, Zeus' wife Hera set out on a plot to kill Hercules.

One night after Alcmene put her children to bed, Hercules' twin brother

Iphicles was awoken by two huge serpents that were sent by Hera to kill the

son of Zeus.  When Hercules awoke he grasped the two snakes in order to

play with them, and squeezed the life right out of them.  When Alcmene

awoke

to see what all the commotion was about, she was amazed at the sight of her

infant son holding two snakes that he had killed with his bare hands.

When Hercules grew to manhood, he married and had six sons, and

again fell victim to Hera's hatred towards him.  What Hera did was send a fit

of

madness upon Hercules who mistook his wife and children for enemies and

killed them.  When his sanity returned he realised what he had done he shut

himself up from the world for a long time. After a long time in seclusion

Hercules finally emerged and went to the Oracle of Delphi to beg for

punishment for his crime.  Hercules was sent to King Eurystheus and told

that

the king would assign a punishment to Hercules.  The punishment was to

perform twelve nearly impossible tasks which are known as the twelve

labours

of Hercules.

The first of these tasks was to kill and skin the Nemean Lion, whose

skin could not be punctured by any weapon.  His second labour was to kill

the

Hydra of Lerna which had numerous heads, one of which was immortal.

Every

time one of the mortal heads was cut off two or three new heads would grow

in

its place.  The third of his tasks was go to the Ceryneian Hill and capture a

beautiful bronze-hoofed hind without spilling one drop of its blood.  For his

fourth task Hercules was to capture alive a huge wild boar which often killed

humans and lived on Mount Erymanthus.  The fifth task assigned to Hercules

was to clean the filth of many years out of the stables of King Augeias of Elis.

The sixth labour of the great Greek hero was to get rid of a flock of birds

which

resided in the Stymphalian Marsh.  The birds had long straight bronze

beaks, sharp bronze claws, and a taste for human flesh.  For his next labour,

Hercules was to capture the wild bull of Crete.  For the eighth task Hercules

was to bring King Eurystheus the mares of the King Diometes. These mares

were fed human flesh for food.  The ninth labour Hercules was to perform

was

to go to the tribe of the feared Amazon women and steal the golden girdle of

Hippolyta, the Amazon queen.  Hercules tenth task was to bring King

Eurystheus the cattle of Geryon.  Geryon was the owner of the cattle and he

split above the waist into three bodies which were difficult to defeat.

Hercules'

eleventh task was to try and find the Garden of Hesperides and fetch the fruit

from the golden apple tree, this was difficult for him because he had no idea

where the Garden of Hesperides was.  For his twelfth and final labour

Hercules

was venture the most feared place on earth, the realm of Hades, and bring

up

the three-headed watchdog Cerberus.

After spending nearly his entire life completing the twelve labours,

Hercules decided to settle down and he married the fair maiden Deianeira.

When Deianeira was captured by a centaur named Nessus, Hercules shot

the

centaur with a poisoned arrow.  With the centaur's dying breath he gave

Deianeira a vial of his poisoned blood telling her she could use it to rekindle

Hercules' love for her if it ever faded.  One day when she felt that his lovewas

fading, she made him a robe that was dipped in the blood.  When Hercules

received the gift from his wife he was overjoyed and put it on, almost

immediately his skin started to burn and he caught on fire.  Knowing his

death

was near he called his servants to bring him a funeral pyre which he placed

himself on. As the pyre burned it was carried up to Mount Olympus where he

became the god of strength.

Each of these heroes have at least one thing that separate them from

regular men, something that is special about them.  For Achilles it is his

invulnerability and his incredible courage that make him a great Greek hero.

For Hercules it is his god-like strength, and his luck of being the son of the

king of the gods.  Each of these Greek heroes was destined to be great at a

very early age.  Just after Achilles was born he was dipped in the River Styx

by

his mother which made him invincible.  In the case of Hercules, his heroic

effort was shown when he was less than one year old when he saved himself

and his brother from two deadly serpents.

Both of these warriors fought great battles and suffered tremendous

hardships, neither of them were perfect, they both had their faults.  In the

case of Achilles, during the Trojan War, in the middle of battle his favourite

slavegirl

was taken away from him and instead of continuing to battle, he stayed in his

tent and sulked until his close friend ,Patroclus, was killed.  For Hercules, his

temper was his weak spot,  it could be easily become deadly if he was told to

do something that he did not want to do.

One thing that both men possess a great deal of is courage. Neither of

these great heroes would back down to any challenge or battle that would

come before them, no matter how hard the battle may be both of these great

men would die trying.

Out of all the many stories told about mythology, the stories of thesetwo

great men will never be forgotten.  Both of these men conquered hardships,

and turmoil.  They overcame all of these ailments to conquer their task and

fulfil their goal, qualities which could regard them as two of the greatest

heroes of all time.

746.          Nat King Cole

KEITH KUNZE

NAT KING COLE

--------------------------------

NAT KING COLE

BORN    MARCH 17, 1919

DIED  FEBRUARY 15,  1965

BORN NATHANIEL ADAMS COLES HE WAS THE FIRST AFRICAN-

AMERICAN WHO BECAME A SUCCESS WITH THE WHITE AUDIENCE.

NAT GREW UP IN CHICAGO,  WHERE PIANIST EARL HINES WAS A BIG

INFLUENCE.  COLE FORMED HIS FIRST TRIO WITH GUITAR PLAYER OSCAR

MOORE AND BASS PLAYER WESLEY PRINCE IN LOS ANGELES IN 1937.

THE TRIO( WITH JOHNNY MILLER REPLACING PRINCE ON BASS)

ACHIEVED ITS FIRST SUCCESS IN 1944 WITH  "  STRAIGHTEN UP AND FLY

RIGHT".  IN 1948 NATURE BOY BECAME ON OF NAT'S BEST HITS EVER. IT

SOLD OVER A MILLION COPIES !  HIS OTHER HITS INCLUDE "ROUTE 66" ,

"MONA LISA", AND "UNFORGETTABLE".

ALTHOUGH HE RECEIVED GREAT POPULARITY AS A SINGER,  COLE

RECEIVED LITTLE RECOGNITION FOR HIS PIANO PLAYING.  AS EARLY AS

1940  HE REGULARY EMPLOYED ADVANCED  VOICING AND HARMONIC

SUBSTITUTIONS THAT "BEBOP" INNOVATORS SUCH AS  SAXOPHONIST

CHARLIE PARKER WERE JUST  BEGING TO DISCOVER.

.

747.          National Geographic Mysteries Underground

National Geographic: Mysteries Underground

The video I reviewed was a National Geographic film called Mysteries

Underground. This video was about extraordinary sites there are to see in

underground caves.  You traveled along with cave explorers and got to see all

the beautiful untouched natural formations such as gypsum chandeliers, gnarled

calcite columns, and jewel-like lakes.  It showed and talked about all the

careful proceders the cave explorers go through.  It also talked about how the

formations were made over such a long time.

I learned many interesting things that would never seem possible.  In

the world's new most exotic ,Lechuguilla, cave there lied water so clean and

clear that the cave explorers were forced to take all there clothes off  before

they swam acrossed it because the littlest dirt from any clothing would

contaminate the pureness of the water.  All the cave explorers are very cautious

as to what they touch or where they step because some of the crystal formations

are so fragile that the slightest vibration from a voice or a footstep could

ruin millions of years of forming.  In some parts of caves there are giant and

very smooth ice formations that must be slid down very carefully because if they

are not taken cautiously you will pick up to much speed while sliding and

finally hit some kind of stone wall or something.  One lady was not careful

enough and boy did she pay.  She was only a mile and a half or so in the cave

and she broke her leg.  It took almost five days to get who to the surface of

the cave where she could be attended to.  Also I found out that caves were much

larger then I had originally thought.  The largest cave now, Mammoth Cave, is

over 200 miles long.  And if you are exploring a cave being miles and miles from

the entrance it is very important that you be careful because if you break your

leg that far from the entrance it would probably take  months to get you out

safely.  One safety precaution I learned was that when the explorers are

traveling through cold water they must make sure they don't get their upperbody

wet because that will cause them to freeze and get many sicknesses that are

caused by the cold.  One thing that I found interesting was that with the

technology today you would think that we would have all the caves discovered and

explored.  We aren't close at all.  In fact some caves have been being explored

for years and there is still no end in sight.  That just goes to show that there

is still much more to learn and discover.

I would recommend this video to anyone who is fascinated by the amazing

things mother nature can create.  This one hour video will give you a lifetime

of information.  It reminds you that anything is possible and to keep an open

mind.  You would enjoy this video because it is most of the very rare film

footage ever made on some of the amazing formations.  Since no other films or

shows are out there like this one, everything they say and show you is new, so

you learn a great amount.

Friedberg, L (Producer), & Friedberg, L (Director). (1992). National

Geographic Video: Mysteries Underground [Videotape]. (Available from National

Geographic Society).

748.          National TV Turn Off Week A Dumb Idea

National TV Turn-Off Week: A Dumb Idea

In a time when millions of people are starving each year and thousands

are killed in war zones, worrying about how much television we watch sounds like

a stupid idea.  Right?  Well, that's what people all across North America are

doing every day.  In fact, there is a full week dedicated to the cause:

National T.V-Turnoff Week.

National T.V-Turnoff week is nothing more then a cry for attention by

the middle class.  The lower classes have their problems:  starvation, health,

shelter.  You know, no big deal.  But what of the middle class?  They have no

problems.  They have a house, a job, usually a loving family.  What don't they

have?  What they don't have is something to worry about.  So, along comes Linda

Weltner and National T.V-Turnoff Week.  Problem solved.  The middle class now

has something to worry about.

For years people have been watching television and no complaints have

been made.  No complaints about the endless information that comes from

television.  No complaints about the hours of entertainment that television has

brought to people for years.  But now people complain that we, as a people, are

watching too much T.V.  They would have you believe that we could be doing

better things with our lives.  They would have you believe that we can make more

out of ourselves.  But what do they know?  Have they ever done any research to

prove their theories? No, they haven't.  But the people behind such propaganda

as National T.V-Turnoff Week really do believe that not watching television can

enhance your life, so let us examine their reasoning.

Linda Weltner suggests that instead of watching television one can take

up a craft such a knitting.  Sure knitting is a good hobby.  Entertaining,

enjoyable, it might  even relieve stress.  But when it comes down to it what do

you really get out of knitting that you wouldn't get out of watching television?

A sweater, maybe? Sure, you might just knit a sweater that you could wear on the

odd occasion, but is that worth the price of not being in touch with the world?

Not to the average person in this world and time.  In this age of beepers, cell-

phones, and the Internet, being out of touch for just a minute could change your

life drastically.  And, besides, why can't you watch television while you knit?

As for the people that say television warps a young mind, I have a

personal beef against that reasoning.  Coming over to Canada as a little

immigrant child, not speaking a word of English, I was outcast by society.  I

had troubles at school, I could not speak to my friends.  What's a boy to do?

Teachers tried to help me, my parents tried to help me but nothing helped.  So I

did the only thing I could, I began to watch television.  Slowly, over the next

few months I began to learn the language.  Within a year, my vocabulary skills

were up there with the rest of my class and now, due to my devotion to the

television and my refusal to give it up like so many of my peers, I am well

skilled in the English language and most people would never guess that English

was not my first language.

So, there you have it.  Television can educate, entertain, and broaden

your horizons.  What's more, it can be done in combination with many other

hobbies and is relatively inexpensive.  From educating our children to baby-

sitting them when we are just too tired to cope, the television has done so much

for us.  So why,  I repeat, why should we betray our dear friend by turning it

off for a full week?

749.          National TV Turnoff Week What a Dumb Idea

In a time when millions of people are starving each year and thousands are killed in war zones, worrying about how much television we watch sounds like a stupid idea.  Right?  Well, that's what people all across North America are doing every day.  In fact, there is a full week dedicated to the cause:  National T.V-Turnoff Week.

National T.V-Turnoff week is nothing more then a cry for attention by the middle class.  The lower classes have their problems:  starvation, health, shelter.  You know, no big deal.  But what of the middle class?  They have no problems.  They have a house, a job, usually a loving family.  What don't they have?  What they don't have is something to worry about.  So, along comes Linda Weltner and National T.V-Turnoff Week.  Problem solved.  The middle class now has something to worry about.

For years people have been watching television and no complaints have been made.  No complaints about the endless information that comes from television.  No complaints about the hours of entertainment that television has brought to people for years.  But now people complain that we, as a people, are watching too much T.V.  They would have you believe that we could be doing better things with our lives.  They would have you believe that we can make more out of ourselves.  But what do they know?  Have they ever done any research to prove their theories? No, they haven't.  But the people behind such propaganda as National T.V-Turnoff Week really do believe that not watching television can enhance your life, so let us examine their reasoning.

Linda Weltner suggests that instead of watching television one can take up a craft such a knitting.  Sure knitting is a good hobby.  Entertaining, enjoyable, it might  even relieve stress.  But when it comes down to it what do you really get out of knitting that you wouldn't get out of watching television?  A sweater, maybe? Sure, you might just knit a sweater that you could wear on the odd occasion, but is that worth the price of not being in touch with the world?  Not to the average person in this world and time.  In this age of beepers, cell-phones, and the Internet, being out of touch for just a minute could change your life drastically.  And, besides, why can't you watch television while you knit?

As for the people that say television warps a young mind, I have a personal beef against that reasoning.  Coming over to Canada as a little immigrant child, not speaking a word of English, I was outcast by society.  I had troubles at school, I could not speak to my friends.  What's a boy to do?  Teachers tried to help me, my parents tried to help me but nothing helped.  So I did the only thing I could, I began to watch television.  Slowly, over the next few months I began to learn the language.  Within a year, my vocabulary skills were up there with the rest of my class and now, due to my devotion to the television and my refusal to give it up like so many of my peers, I am well skilled in the English language and most people would never guess that English was not my first language.

So, there you have it.  Television can educate, entertain, and broaden your horizons.  What's more, it can be done in combination with many other hobbies and is relatively inexpensive.  From educating our children to baby-sitting them when we are just too tired to cope, the television has done so much for us.  So why,  I repeat, why should we betray our dear friend by turning it off for a full week?

750.          Native American folk lore art specifically dreamcatchers

Have you ever a nightmare? Are you a victim of night terrors? The American Indian people believe that the dream catchers can cure all of your nightmares, bad dreams, or night terrors.

A dream catcher is a tool that the American Indians use to get rid of the bad dreams and to keep the good ones around. It is said to move freely in the night air and catch the dreams that float by it. The good dreams are the ones that slip through the hole in the center. It is believed that they then slide down to the feathers and are released into the night air to be dreamed another night. The bad dreams become tangled up in the webbing and are killed by the first light of the sun.

Many people use them to rid bad dreams. They are also used for decorative purposes.  Dream catchers are beautiful things. Some common materials that are used in a dream catcher are yarn, hemp, beads, polished stones, leather, animal fur, arrowheads, sharks teeth, wood, and other natural materials (or materials that are made naturally I.E. without unnatural dies or chemicals).

This is the story of the dream catcher. One day a single spider was spinning a web in a corner. The spider was doing so beside the space of Nokomis the grandmother. Each day she came in to watch the spider at work. One day the grandson of Nokomis came in to hit the spider with a shoe. She told him to leave it alone. The grandson named No-keewga could not understand why his grandmother protected the spider. The old woman just smiled at her grandson but did not answer him. Her grandson left as she continued to watch the spider at work. When the boy left, the spider went to the old woman and thanked her for saving his life. The spider told her that he knew for many days that she was watching him work. He told her he was going to give her a gift in return for having her grandson spare his life. The spider then continued spinning his web. Soon the moon was high in the sky and its rays began to glisten on a magical web moving in the wind. He said to the woman "see the web that I spin?" he told the woman that all of the webs that he weaved would catch the bad dreams and that only the good ones would be released into the night air through the hole in the center of the web. This is my gift to you the spider told the old woman. Use it so that only good dreams will be remembered. The bad dreams will become hopelessly entangled in the web. This is how the dream catcher was formed.

I have used a dream catcher all of my life. I can say that I have never had a bad dream when a dream catcher was in my room. However when I was not in a room with one I had many nightmares. I believe in the folklore of the Native American Indians. I have Native American in my bloodline. Things like this have come naturally to me. That story was handed down to me from a woman many generations before me. Dreams have been important to the Native American Indians for as long as the beginning of time and they always will.

751.          Native American Mascots should not be used

Native American Mascots should not be used.

&lt;Tab/&gt;Native American mascots should not be used.  Today we can see that Mascots are used at many places such as sport teams, school, library, etc.  However it is the time to withdraw the Redskins nickname.  Thus it should not be used because of following reason.

"Mascots reduce the entire race to caricature at a time when health and poverty problems in Indian country need to be addressed with utmost significance." (Perkins, Joseph. Sports team mascots, New York Times, 2003). The vast majority of Native Americans do not like the "Indian" Sports. They references and wish for the entire student to put an end to their tradition which is of recreation and racism.  Even if we think our school shows the greatest respect for our team. (2) "Mascots create discrimination."(Taylor, Kelley R. Sports Law &amp; Legislation, Education Digest, Prakken publication, 2002)  Generally the mass of disputes about using American Indian names in school sports have assumed violation of the Equal protection clause of the US constitution, which protect a person from discrimination on the matter base of race, color, national origin, religion, and sex. (3) "Mascots sometimes create Hostile environment." (Taylor, Kelley R. Sports Law &amp; Legislation, Education Digest, Prakken publication, 2002)  Hostile environment created by many different ways of using mascots.  For certain students, a racially hostile environment created by the American Indian in school mascot's attire and behavior, logos, and team, which would violate federal laws.  In facts a racially environment may be created by oral, written graphic, or physical conduct redacted to an individual's race, color or national origin that is adequately severe , constant, or pervasive, so as to obstruct with or limit the ability of an individual to participate in or benefit from the recipient's program or activities.  (4) '"Stereotypical American Indian images that "mock and trivialize Native American religion and culture."' (Taylor, Kelley R. Sports Law &amp; Legislation, Education Digest, Prakken publication, 2002)  By using Native American images and cartoon it will directly affect the religion and culture.  I sometimes make a fun of individual's culture which is results in discrimination or inequality.  Images and cartoons underestimate the religion thought and beliefs, and sometimes make a fun of it.  (5) "Mascots rarely affect individual civil rights." (Leo, John. War against Warriors.  US News &amp; World report, 1999)  One of the schools used the names "Squaws" and "Warriors" for its sport teams, so one of the child's parent reported that her child's civil right were violated.  Investigation also been done by the US department of education for this issue.  (6) "Potentially harmful ethnic imagery is inappropriate in a learning environment." (Taylor, Kelley R. Sports Law &amp; Legislation, Education Digest, Prakken publication, 2002)  Many of the schools used to post the images of Native American and many of them are strongly ethnical.  These images create a negative impact on young students mind.  They should not be comfortable, supported and respectful to others in ethnical environment.

&lt;Tab/&gt;Due to the above mentioned reasons and really happened exampled, we can now say that Mascots should not be used in school, universities or any other locations because it may cause discrimination, violence, racisms, or many other anti social or anit-religious activities.

752.          Natural Law Essay

Natural Law

The School of Natural Law Philosophy was an intellectual group of

philosophers.  They developed new ways of thinking about religion and government.

Natural law was based on moral principles, but the overall outlook changed with

the times.

John Locke was a great philosopher from the middle of the 17th century.

He was a primary contributor to the new ideas concerning natural law of that

time.  He argued that humans in the state of nature are free and equal, yet

insecure in their freedom.  When they enter society, they surrender only such

rights as are necessary for their security and for the common good.  He also

believed that each individual retains fundamental prerogatives drawn from

natural law relating to the integrity of the person and property.  This natural

rights theory was the basis of not only the American, but also the French

revolution. 1  During his lifetime, he wrote many essays and letters to his

colleagues on a variety of topics:2

• Letter on Toleration (1689)

• Second Letter on Toleration (1690)

• Two Treatises of Government (1690)

• Essay Concerning Human Understanding (1690)

• Some Considerations of the Consequences of Lowering of Interest,

and Raising the Value of Money (1691)

• Third Letter on Toleration (1692)

• Some Thoughts Concerning Education (1693)

• Further Considerations Concerning Raising the Value of Money (1693)

• The Reasonableness of Christianity (1695)

• A Vindication of the Reasonableness of Christianity (1695)

• A Second Vindication of the Reasonableness of Christianity (1695)

• A Letter to the Bishop of Worcester (1697)

• Discourse on Miracles

• Fourth Letter for Toleration

• An Examination of Father Malebranche's Opinion of Seeing All Things

in God

• Remarks on Some of Mr Norris's Books

• Conduct of the Understanding

Locke's greatest philosophical contribution is his Essay Concerning

Human Understanding.  In the winter of 1670, five or six friends were talking in

his room, probably in London. The topic was the "principles of morality and

revealed religion," but arguments arose and no real progress or serious

discussion took place.  Then, he goes on to say, "it came into my thoughts that

we took a wrong course, and that before we set ourselves upon inquiries of that

nature, it was necessary to examine our own abilities, and see what objects our

understandings were, or were not, fitted to deal with."  At the request of his

friends, Locke agreed to write down his thoughts on this question at their next

meeting, and he expected that a single sheet of paper would suffice for the

purpose. Little did he realize the importance of the issue which he raised, and

that it would take up his free time for nearly twenty years.  The Essay is

divided into four books; the first is a debate against the doctrine of innate

principles and ideas of that time. The second deals with ideas, the third with

words, and the fourth with knowledge.

Locke's ideas center on traditional philosophical topics: the nature of

the self, the world, God, and the grounds of our knowledge of them. He addresses

these questions at the end of his Essay. The first three sections are an

introduction, and Locke saw that they had an importance of their own. His

opening statements make this plain:

Since it is the understanding that sets man above the rest of sensible

beings, and gives him all the advantage and dominion which he has over them; it

is certainly a subject, even for its nobleness, worth our labour to inquire into.

The understanding, like the eye, while it makes us see and perceive all other

things, takes no notice of itself; and it requires art and pains to set it at a

distance and make it its own object. But whatever be the difficulties that lie

in the way of this inquiry; whatever it be that keeps us so much in the dark to

ourselves; sure I am that all the light we can let in upon our minds, all the

acquaintance we can make with our own understandings, will not only be very

pleasant, but bring us great advantage, in directing our thoughts in the search

of other things.

753.          Natural Law

Natural Law

The School of Natural Law Philosophy was an intellectual group of

philosophers.  They developed new ways of thinking about religion and

government.  Natural law was based on moral principles, but the overall outlook

changed with the times.

John Locke was a great philosopher from the middle of the 17th century.

He was a primary contributor to the new ideas concerning natural law of that

time.  He argued that humans in the state of nature are free and equal, yet

insecure in their freedom.  When they enter society, they surrender only such

rights as are necessary for their security and for the common good.  He also

believed that each individual retains fundamental prerogatives drawn from

natural law relating to the integrity of the person and property.  This natural

rights theory was the basis of not only the American, but also the French

revolution. 1  During his lifetime, he wrote many essays and letters to his

colleagues on a variety of topics:2

• Letter on Toleration (1689)

• Second Letter on Toleration (1690)

• Two Treatises of Government (1690)

• Essay Concerning Human Understanding (1690)

• Some Considerations of the Consequences of Lowering of Interest, and Raising

the Value of Money (1691)

• Third Letter on Toleration (1692)

• Some Thoughts Concerning Education (1693)

• Further Considerations Concerning Raising the Value of Money (1693)

• The Reasonableness of Christianity (1695)

• A Vindication of the Reasonableness of Christianity (1695)

• A Second Vindication of the Reasonableness of Christianity (1695)

• A Letter to the Bishop of Worcester (1697)

• Discourse on Miracles

• Fourth Letter for Toleration

• An Examination of Father Malebranche's Opinion of Seeing All Things in God

• Remarks on Some of Mr Norris's Books

• Conduct of the Understanding

Locke's greatest philosophical contribution is his Essay Concerning Human

Understanding.  In the winter of 1670, five or six friends were talking in his room,

probably in London. The topic was the "principles of morality and revealed

religion," but arguments arose and no real progress or serious discussion took

place.  Then, he goes on to say, "it came into my thoughts that we took a wrong

course, and that before we set ourselves upon inquiries of that nature, it was

necessary to examine our own abilities, and see what objects our understandings

were, or were not, fitted to deal with."  At the request of his friends, Locke

agreed to write down his thoughts on this question at their next meeting, and he

expected that a single sheet of paper would suffice for the purpose. Little did he

realize the importance of the issue which he raised, and that it would take up his

free time for nearly twenty years.  The Essay is divided into four books; the first

is a debate against the doctrine of innate principles and ideas of that time. The

second deals with ideas, the third with words, and the fourth with knowledge.

Locke's ideas center on traditional philosophical topics: the nature of the

self, the world, God, and the grounds of our knowledge of them. He addresses

these questions at the end of his Essay. The first three sections are an

introduction, and Locke saw that they had an importance of their own. His

opening statements make this plain:

Since it is the understanding that sets man above the rest of sensible beings,

and gives him all the advantage and dominion which he has over them; it is

certainly a subject, even for its nobleness, worth our labour to inquire into. The

understanding, like the eye, while it makes us see and perceive all other things,

takes no notice of itself; and it requires art and pains to set it at a distance and

make it its own object. But whatever be the difficulties that lie in the way of this

inquiry; whatever it be that keeps us so much in the dark to ourselves; sure I am

that all the light we can let in upon our minds, all the acquaintance we can make

with our own understandings, will not only be very pleasant, but bring us great

advantage, in directing our thoughts in the search of other things.

754.          Negative Aspects of Rap Music 936

The African American Community:

How rap music has made a negative contribution.

It is easy to write or comment about the negative aspects of rap music because

controversy and its reputation has proven to be a hot seller in this society. Rap music has

to constantly endure a damaging reputation because the negatives in the music are

focused on the most in the media, and the negatives sells.  But, rap artists whose lyrics are

positive or about political, social or economic empowerment receive very little attention

(Akil, 2003).  The negative aspects of rap music is revealed through artists not setting

good examples, the disrespectful, explicit and violent lyrics and the battles that

sometimes leads to violence.

One of the most acknowledgeable negative aspects of rap music is that most rap

artists are not setting good examples for the African American community.  Black

musicians and artists have a responsibility to be conscious of their world and to let their

consciousness be heard in their songs" (Regan, 147).  "Keeping it real" or "hardcore" has

become the quickest and most likely way to become a star. Whether we are aware of it or

not, being a rapper perhaps plays the most essential role in shaping the minds and

attitudes of black youths. Rappers are one of the most influential figures in the

community.  Their influence is greater than most of our prominent religious leaders,

athletes, teachers, and  even parents.  But, artists sometimes fail to realize that people,

especially young kids, try to imitate everything from the different lifestyles to the clothes

rappers wear.  Some rappers lyrics along with their lifestyles are directed toward violence.

Today people think that if a person is rich and famous then he or she can get away with

anything. Not all artists have run-ins with the law, but the ones that do are very well

known.  A good example is Tupac Shakur.  Tupac was known worldwide for his music

and sold millions of albums.  On the other hand, he glamorized the life of a gangster and

lived by the gun.  Tupac became a victim of his own lyrics and was murdered.

Secondly, the majority of today's popular rap music contains disrespectful,

explicit and violent lyrics.  In the late 70s and early 80s lyrics dealt mainly with the

removal of drugs, violence, poverty or just having a good time. It quickly evolved to

lyrics promoting gang violence, glorifying drugs, bragging about how you can ruin a party

through nonsense (Akil, 2003). Today materialism, the degrading of women, sex, and

drugs are consistent themes. When many rappers are asked why they refer to women as

"bitches" or "hoes," they usually say the message is not directed towards all women just

the ones that fit in those categories.  If rappers feel this way about women, then many

times their children will follow in their footsteps. The word "nigger" was practically

resurrected to a new status.  African Americans become so upset when a person of

another race uses the word "nigger", but yet there is nothing wrong when the word is used

among the African American community.  The explicit language has become so common,

that it is impossible to hear street conversations without hearing those words every five to

ten seconds. Even though artists say that they are reflecting what really happens on the

streets, the rappers that came before them may have been in worse situations and did not

have explicit lyrics in their messages.  Rappers such as Grandmaster Flash and the

Furious Five, Kurtis Blow, and Afrika Bambaata "described and analyzed the social,

economic, and political factors that led to its emergence and development: drug addiction,

police brutality, teen pregnancy, and various forms of material deprivation." (Dyson, 152)

A third negative aspect of rap music is the pointless competition among rap

artists.  "Battling" and "dissing" is nothing new in rap music.  The early rappers used this

as a way of determining which artist had the best freestyles.  The battles back then were

done in the public and face to face.  However, most of the battles today are only used to

promote album sales.  Rap artists discuss who has the most females, the most "bling

bling" (diamonds in their jewelry) or who owns the most cars and homes.  Many times,

the battling leads to violence.  The battle of the two most talented rap artist led to both of

their deaths. The death of rappers Tupac Shakur and Christopher Wallace were mainly

over which coast was better, the east or the west.  After these incidents, the rap industry

began to realize how drastic or deadly a person's lyric could be.  Yet, we still have artists

battling over materialistic things after these two tragedies.  The African American society

also encounter tragedies due to the fact that people are killing each other over jewelry,

money, clothes and even over negative words being stated about each other.  Therefore,

the actions that artists take and say in their lyrics affect the African American society also.

In today's American society, rap music has become more of a form of

entertainment instead of a way of getting positive messages across to others.  The

negative aspects of rap music gains more attention than the positive aspects.  The African

American community has become comfortable with seeing the negative lifestyles of

rappers, hearing the albums with explicit language, accepting actions of degrading

women, and also the battling of artists over materialistic things. Living in luxury homes,

buying multiple luxury cars, jewelry, and clothes have allowed the rap business get to a

comfort zone which makes it hard for artists to switch to making albums that are

meaningful.

755.          Neil Jordan

Neil Jordan - Appearances and Understanding

"A Strand of Jordan's work is concerned with challenging sight as the primary sense of understanding and knowledge. Indeed, throughout he is interested in appearances and visual surfaces."

A picture paints a thousand words is a proverb that has been used by many to describe the works of many famous artists. A work of art can depict a message that does not have to be said or written, a painting can spark a lot of speculation and indeed this in itself is part of the art form. It could be said that a director is to a film as a painter is to a painting, that a director is the painter and the various other members of staff and cast are the paints in which the director uses to colour the film. This would suggest that the direction of a film is an art form. This is central to the concept of auteurism; that may be defined as "the belief that cinema was an art of personal expression, and that its great directors were as much to be esteemed as the authors of their work as any writer, composer or painter." Re. Immediately from the opening scene in the fairground there is deception with Jude leading Jody into a trap for the IRA. Immediately Jude is depicted as a femme fatale, this introduces the theme of a woman not being at first what she appeared to be, which is a premonition of what is to come. Our first introduction of Francie Brady in The Butcher Boy is that of a bully that has a confident self-assured personality. Francie is deceived by visions in his own mind. As he gradually loses his grip on reality due to constant loss in his life, his mind becomes obscured by deceptions that Mrs. Nugent is out to ruin and destroy his life.

Jordan uses a rich texture in his work. He uses this texture with landscapes, especially with the Irish countryside as depicted in The Butcher Boy. In setting scenes he goes to great lengths to capture the beauty of the Irish Countryside. He then uses this imagery to heavily contrast other elements of the film and maybe to make appearances, themes and characters stand out more. There is a use of bold contrast in appearances in The Butcher Boy, notably the appearances of realism and fantasy. Rural beautiful Irish countryside scenes and the depiction of sweet romanticised Ireland in the 1950's and 1960's give the depiction of reality; a feel of purity and a 'nothing added but nature' vibe from the untouched natural greenery. On the other hand this reality is contrasted heavily to Francie's inner world of fantasy, which is symbolised by images such as aliens (Mrs Nugent and humans), nuclear disaster images from atomic bombs and pigs. Mrs. Nugent refers to the Brady family as pigs, which seems to be the beginning of the downward spiral for Francie.

Francie Brady starts out as a witty, loveable rogue whose happiness is built around his friendship with Joe Purcell. Both boys live in a fantasy world that is fuelled by TV. TV is central to the theme of fantasy in this film, as depicting that Ireland was not behind the times in the 1960's. Explosions on the TV screen emphasise and symbolise Francie's inner conflict. The beating he gets from his Auntie is not shown; instead the camera pans to the screen showing an atomic bomb. This fantasy world develops more vividly and dangerously as Francie loses his grip on reality as a result of being the victim of a dysfunctional family and an uncaring and abusive environment. This leads to Francie having a disconnection between his mental state and reality. The use of magic realism in Francie's world is fantasy to the viewer. The images such as Sinead O Connor as the Virgin Mary, invading space aliens and an exploding A-Bomb are designed to draw the audience into Francie's world. In reality they accomplish the opposite by erecting a barrier between the audience and the character.

Re.

The explosion is in this scene is completely unexpected and takes the viewer by total surprise; this is typical of Jordan's work. Again he is lulling the viewer into a way of Irish life and then completely destroys it with an atomic bomb.

Re (Ray: Bitter Victory, Thieves Like Us, They Live By Night). Jordan uses out of sync and rebellious characters in his films also. Notably in The Crying Game Jody as well as Fergus are rebellious towards the IRA, however in subtle fashion in Fergus's instance; he just turns his back on them. Francie Brady is understandably rebellious in The Butcher Boy and rebellion is the central theme to Michael Collins.

756.          Web ReNeil Young in Halifax Essay

Neil Young in Halifax

I was getting ready for school one morning when my father said that my

cousin Jennifer was on the phone and she wanted to know if I wanted a ticket to

the Neil Young concert coming up in Halifax.  I said I did and I kind of forgot

about it.

It was Halloween night and I was listening to an old Crosby, Stills,

Nash and Young album when I looked at the release date when I realized that in a

mere five days I was going to witness a legend in his finest form.

Some say the Neil Young is playing the finest guitar of his life these days.

Some people say that he's just an old man who can't sing, never could sing and

should have retired a long time ago.  I on the other hand see him differently.

He is man who doesn't care about his appearance, doesn't care about what

other people think about him.  He is an entertainer.  He is a healer.  He is a

Canadian.  He is a man.  When I picture myself at fifty I picture myself like

him.

We left for the concert on Tuesday morning and we arrived in the city at

about  noon.  My uncle drove me and my cousin Edward up.  We bummed around the

city for a while and then we went to Jen's place where we were staying.  There

were a few other people from Inverness staying there as well.

My uncle, Edward and I left for the concert at around quarter to seven.  We

kind of got lost.  We got to the show at around seven thirty.  While we were in

line waiting to get in I could here the band that was performing.  It was then

that I realized what I was about to experience.  I stumbled to my seat, half

looking a my feet, half looking at the band on stage.  I can't remember their

name but they were good.  As soon as we sat down the band ended their set and

the lights came on.  Then we just sat their for a while and I saw a lot of

people that I knew from Mabou.

The lights went out and the place started to rumble with excitement.

Moist came out on stage and started playing their set.  When the band started to

play Push I ran down to the front along with just about everyone else.  But we

were pushed back by the security.  So we just sat in our seats for the rest of

their set.

The lights came back on and their were a bunch of guys on stage who were

messing with stuff.  One guy had on a big white jump suit and everyone thought

he was Neil Young so when he would appear on the stage everyone would start to

scream.  Neil Young did come out on the stage once to tune his guitar.  He just

stood there and looked out at us all.  He played a few things and he handed his

guitar to the man in the white jump suit.   He left the stage and didn't return

for about a half hour.

I was talking to Brandon McNeil when the lights went out again.  Neil

started his set with a real hard rocker which just sent everyone into a frenzy.

Everyone was standing on their seats which meant that if you wanted to see

anything you had to as well.  They jammed for what seemed like hours.

Neil would be leaning forward just beating the tar out of that old guitar.

It's same guitar he's used for over 28 years.  It's the same guitar he played at

Woodstock.  It's all black except for the back of the neck where his hand has

rubbed off all the paint so it's just the color of the wood.

His stage presence is like nothing I've ever seen before.  He's not the

most gracious person I've ever seen but he's got a real quality to him.  A true

quality.  He would just rock back and forth and crunch up his face and let his

guitar sing.  At one point, Neil Young, the bass player and the other guitar

player were huddled around in a circle and they were all rocking back and forth.

It looked as though they were going to butt heads.  It reminded me of a tribal

dance of some sort.

The concert mesmerized me.  I paid no attention to the idiots in front

of me smoking pot or the guy who kept falling off his chair a few seat down.

For the entire time I was in a world of my own.  Just me and Neil.

He didn't talk much.  At one point he said into the mic "How ya doin'?"

But that was pretty much it.

He played a lot of songs of his latest album which I didn't know.  But he

played a lot of old songs too like "needle and the damage done" and "heart of

gold" which were crowd pleasers.  But when he played "rocking in the free world"

I ran down to the front of the stage.  I was about four feet away from Neil

Young and this giant hand grabbed me from behind.  That giant hand was attached

to a giant security guard which asked me for my ticket so he could escort me

back to my seat.  And since I gave my ticket to someone so they could get on to

the floor I didn't have any ticket to show him.  I said that my mom was holding

on to my ticket and I ran from him before he decided whether he believed my

story or not.

When Neil was done with "rocking in the free world" they just went bananas

for about two minutes.  They would build up all this musical tension and then

release it and build up this tension again that was just asking to be resolved.

I just kept getting louder and louder and louder and Neil Young sang the chorus

to "rocking in the free world" one more time by himself and he addressed the

crowd saying "Thank you and good luck".  Which seemed to sum it up pretty well.

He left the stage but everyone knew he would be back again so we all just

stood there and screamed at the empty stage.  He came on again and played for

another twenty minutes or so.  The encore wasn't anything I knew but it was

still good.

By this time I realized I was very tired and my feet hurt.  But what I left

the concert with wasn't pain or tiredness...it was inspiration.  I went to see a

man who was doing what I hope to do myself some day.  He showed me that I can.

That night while I laid in bed I kept thinking of what he had said, "Thank

you and good luck".  It made so much sense then.  He was thanking us because if

we weren't there he wouldn't be where he is right now.  He was wishing us luck

on our own journeys whether they be in music or business or engineering.

This concert was one which I will remember for the rest of my life.  I'm

going to look back at this as a millstone in my own musical career.  The day I

realized what truth really is and how I can achieve it.

757.          Neil Young in Halifax

I was getting ready for school one morning when my father said that my cousin Jennifer was on the phone and she wanted to know if I wanted a ticket to the Neil Young concert coming up in Halifax.  I said I did and I kind of forgot about it.

It was Halloween night and I was listening to an old Crosby, Stills, Nash and Young album when I looked at the release date when I realized that in a mere five days I was going to witness a legend in his finest form.

Some say the Neil Young is playing the finest guitar of his life these days.  Some people say that he¹s just an old man who can¹t sing, never could sing and should have retired a long time ago.  I on the other hand see him differently.

He is man who doesn¹t care about his appearance, doesn¹t care about what other people think about him.  He is an entertainer.  He is a healer.  He is a Canadian.  He is a man.  When I picture myself at fifty I picture myself like him.

We left for the concert on Tuesday morning and we arrived in the city at about  noon.  My uncle drove me and my cousin Edward up.  We bummed around the city for a while and then we went to Jen¹s place where we were staying.  There were a few other people from Inverness staying there as well.

My uncle, Edward and I left for the concert at around quarter to seven.  We kind of got lost.  We got to the show at around seven thirty.  While we were in line waiting to get in I could here the band that was performing.  It was then that I realized what I was about to experience.  I stumbled to my seat, half looking a my feet, half looking at the band on stage.  I can¹t remember their name but they were good.  As soon as we sat down the band ended their set and the lights came on.  Then we just sat their for a while and I saw a lot of people that I knew from Mabou.

The lights went out and the place started to rumble with excitement.  Moist came out on stage and started playing their set.  When the band started to play Push I ran down to the front along with just about everyone else.  But we were pushed back by

1

2

the security.  So we just sat in our seats for the rest of their set.

The lights came back on and their were a bunch of guys on stage who were messing with stuff.  One guy had on a big white jump suit and everyone thought he was Neil Young so when he would appear on the stage everyone would start to scream.  Neil Young did come out on the stage once to tune his guitar.  He just stood there and looked out at us all.  He played a few things and he handed his guitar to the man in the white jump suit.   He left the stage and didn¹t return for about a half hour.

I was talking to Brandon McNeil when the lights went out again.  Neil started his set with a real hard rocker which just sent everyone into a frenzy.  Everyone was standing on their seats which meant that if you wanted to see anything you had to as well.  They jammed for what seemed like hours.

Neil would be leaning forward just beating the tar out of that old guitar.  It¹s same guitar he¹s used for over 28 years.  It¹s the same guitar he played at Woodstock.  It¹s all black except for the back of the neck where his hand has rubbed off all the paint so it¹s just the color of the wood.

His stage presence is like nothing I¹ve ever seen before.  He¹s not the most gracious person I¹ve ever seen but he¹s got a real quality to him.  A true quality.  He would just rock back and forth and crunch up his face and let his guitar sing.  At one point, Neil Young, the bass player and the other guitar player were huddled around in a circle and they were all rocking back and forth.  It looked as though they were going to butt heads.  It reminded me of a tribal dance of some sort.

The concert mesmerized me.  I paid no attention to the idiots in front of me smoking pot or the guy who kept falling off his chair a few seat down.  For the entire time I was in a world of my own.  Just me and Neil.

He didn¹t talk much.  At one point he said into the mic ³How ya doin¹?²  But that was pretty much it.

3

He played a lot of songs of his latest album which I didn¹t know.  But he played a lot of old songs too like ³needle and the damage done² and ³heart of gold² which were crowd pleasers.  But when he played ³rocking in the free world² I ran down to the front of the stage.  I was about four feet away from Neil Young and this giant hand grabbed me from behind.  That giant hand was attached to a giant security guard which asked me for my ticket so he could escort me back to my seat.  And since I gave my ticket to someone so they could get on to the floor I didn¹t have any ticket to show him.  I said that my mom was holding on to my ticket and I ran from him before he decided whether he believed my story or not.

When Neil was done with ³rocking in the free world² they just went bananas for about two minutes.  They would build up all this musical tension and then release it and build up this tension again that was just asking to be resolved.  I just kept getting louder and louder and louder and Neil Young sang the chorus to ³rocking in the free world² one more time by himself and he addressed the crowd saying ³Thank you and good luck².  Which seemed to sum it up pretty well.

He left the stage but everyone knew he would be back again so we all just stood there and screamed at the empty stage.  He came on again and played for another twenty minutes or so.  The encore wasn¹t anything I knew but it was still good.

By this time I realized I was very tired and my feet hurt.  But what I left the concert with wasn¹t pain or tiredness...it was inspiration.  I went to see a man who was doing what I hope to do myself some day.  He showed me that I can.

That night while I laid in bed I kept thinking of what he had said, ³Thank you and good luck².  It made so much sense then.  He was thanking us because if we weren¹t there he wouldn¹t be where he is right now.  He was wishing us luck on our own journeys whether they be in music or business or engineering.

This concert was one which I will remember for the rest of my life.  I¹m going to

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look back at this as a millstone in my own musical career.  The day I realized what truth really is and how I can achieve it.

758.          Nell Essay

Nell

1)  The loss of Nell's twin sister had a dramatic effect on her.  Nell and May

were raised in a secluded environment with no outside contact.  As a result, May

and Nell became very close emotionally and were an integral part in each others

lives.  When May died, Nell lost part of her life as well which resulted in

vivid memory replay.  A good example of this is when Nell was turning around in

circles by herself but, in her mind, she was turning around in circles with her

missing half.  At the end of the movie, the evidence of the importance of May in

Nell's life was still evident as Nell played will Jerry's daughter on the rocks

that May and her once played on.  The movie did portray what is generally

believed  about twins.  The loss of one had a dramatic effect on the other.

They had their own twin speech and their own games.  At the end of 20 plus years,

Nell still felt the loss of her twin sister.

2)  The expert psychologist in the movie believed that Nell was mentally

retarded and had made a small amount of intellectual development as a result of

being raised in seclusion.  Fortunately, they were wrong.  The speech that Nell

gave in the courtroom proved that she had developed intellectually.  While the

language that she used was different, Nell still gave a good list of very

abstract ideas that someone who is mentally retarded could not possibly

comprehend.  Nell understood why she was different saying that she was raised in

a small world and knew small things unlike the large things found in the city of

Charlotte, N.C.  This proved that Nell was very capable of living by herself and

taking care of herself.

3)  The experts, in the beginning of the movie, said that  Nell was not

capable of making the correct judgments to make in the world by herself.  They

did not believe that Nell had the wisdom to make the correct choices in life

situations.  It seemed evident to me that Nell already possessed more than

enough wisdom to make it on her own.  After all, she basically took care of her

crippled mother all by herself.

4)  Nell is not mentally retarded.  Nell was raised in seclusion with

her twin sister and a crippled mother.  The things that Nell learned were

obtained socially from a woman that had loss the use of part of her body.  The

body language that Nell had learned were obviously learned from observing her

mother.  For an outside viewer Nell must have looked like she was mentally

retarded to some degree when, in fact, Nell was simply portraying the behavior

that she learned from her mother.  Nell learned almost all of her actions

through observation.  A good example of this is Nell acting like a tree blowing

in the wind.

5)  In the beginning of the movie I did not think that Nell should be

taken out of her home.  Nell was surrounded basically with nothing but her own

thoughts for almost twenty years.  Putting her in an environment where thousands

of outside things affect her thoughts would have been overwhelming.  Nell was

much like a young child in that she was unaware of what was socially acceptable.

In this respect, taking Nell out of her home would have been extremely dangerous

and traumatic as was seen in the bar scene with the young men.  Nell had no idea

that nudity was socially unacceptable and made a mistake. My position on this

was never swayed.  I believed that Nell needed to find someone that she trusted

and that could teach her about the strange world that she had never been a part

of.  This needed to be accomplished in the comfort of a familiar surrounding.

So, I agree 100% with the decision to leave Nell in her home in the woods.

759.          Nell

1)  The loss of Nell's twin sister had a dramatic effect on her.  Nell and May were

raised in a secluded environment with no outside contact.  As a result, May and Nell

became very close emotionally and were an integral part in each others lives.  When May

died, Nell lost part of her life as well which resulted in vivid memory replay.  A good

example of this is when Nell was turning around in circles by herself but, in her mind, she

was turning around in circles with her missing half.  At the end of the movie, the evidence

of the importance of May in Nell's life was still evident as Nell played will Jerry's daughter

on the rocks that May and her once played on.  The movie did portray what is generally

believed  about twins.  The loss of one had a dramatic effect on the other.  They had their

own twin speech and their own games.  At the end of 20 plus years, Nell still felt the loss

of her twin sister.

2)  The expert psychologist in the movie believed that Nell was mentally retarded

and had made a small amount of intellectual development as a result of being raised in

seclusion.  Fortunately, they were wrong.  The speech that Nell gave in the courtroom

proved that she had developed intellectually.  While the language that she used was

different, Nell still gave a good list of very abstract ideas that someone who is mentally

retarded could not possibly comprehend.  Nell understood why she was different saying

that she was raised in a small world and knew small things unlike the large things found in

the city of Charlotte, N.C.  This proved that Nell was very capable of living by herself and

taking care of herself.

3)  The experts, in the beginning of the movie, said that  Nell was not capable of

making the correct judgments to make in the world by herself.  They did not believe that

Nell had the wisdom to make the correct choices in life situations.  It seemed evident to

me that Nell already possessed more than enough wisdom to make it on her own.  After

all, she basically took care of her crippled mother all by herself.

4)  Nell is not mentally retarded.  Nell was raised in seclusion with her twin sister

and a crippled mother.  The things that Nell learned were obtained socially from a woman

that had loss the use of part of her body.  The body language that Nell had learned were

obviously learned from observing her mother.  For an outside viewer Nell must have

looked like she was mentally retarded to some degree when, in fact, Nell was simply

portraying the behavior that she learned from her mother.  Nell learned almost all of her

actions through observation.  A good example of this is Nell acting like a tree blowing in

the wind.

5)  In the beginning of the movie I did not think that Nell should be taken out of

her home.  Nell was surrounded basically with nothing but her own thoughts for almost

twenty years.  Putting her in an environment where thousands of outside things affect her

thoughts would have been overwhelming.  Nell was much like a young child in that she

was unaware of what was socially acceptable.  In this respect, taking Nell out of her home

would have been extremely dangerous and traumatic as was seen in the bar scene with the

young men.  Nell had no idea that nudity was socially unacceptable and made a mistake.

My position on this was never swayed.  I believed that Nell needed to find someone that

she trusted and that could teach her about the strange world that she had never been a part

of.  This needed to be accomplished in the comfort of a familiar surrounding.  So, I agree

100% with the decision to leave Nell in her home in the woods.

760.          Neolithic Park

Neolithic Park

A Short Story composed by:

Reagan B

Honors English II

Mrs. Coultas - 3

August 16, 1993

"Thanks for that update, Bob," said the aged anchor person.  His voice was rough and deep, as though he had been to sea recently and had taken home a throat lined with thick salt water.  He sounded too serious, but friendly enough to be a local newscaster for a maximum audience of perhaps 20,000 bored stiff eyes.  "And now we have a related story about the new sporting goods store here in Sidney.  Nan Johnstone is there live.  Nan?"

"Yes, Phil.  Thanks."  Nan was an aged person as well, who doubled as the station's investigative reporter and local happening's person.  Her voice was about as clear as Phil's.  It sounded nasal and rusty, as though she had been talking her whole life and was about ready to give it up for good. "I'm here at what is now officially the largest hunting and fishing goods store in the world.  Cabela's will be opening tomorrow afternoon at three o'clock, and the management is expecting nearly half the population of Sidney to show up for the grand opening event.  In the past few nights, we have been bringing you related stories because of the incredible economic impact that Cabela's will have and already has had in our area.  As you know, 2,000 people out of the Sidney area's 10,000 are already employed by Cabela's. That number is, of course, expected to rise in the months and years to come.  The story we bring you tonight concerns the last step in completion of the 400 acre store and surrounding grounds.  Today, over 700 stuffed animals arrived from an eminent taxidermist in northern California, and crews were immediately sent to work arranging 300 of the stuffed beasts in a brilliant display against the dividing wall in the center of the store.  They let me take a sneak preview of the arrangement earlier, and it is incredible.  Even if you're not planning to purchase anything tomorrow, the animals make it worth your trip. One may find the other 400 creatures on display throughout the store.  They will be shown either one at a time with tape-recorded sounds of them and their habitat or they will be shown in groups.  The main exhibit is arranged between the tents on display and the clothing section, and although pictures are not yet allowed from within the store, postcards will be available from any of the cash registers or from other points around Cabela's.  We hope to see you all there tomorrow.  Goodnight."

"Thank you, Nan.  We'll be there.  It looks like it is going to be a very nice grand opening tomorrow at Cabela's.  And speaking of very nice, here is Scott with the weather update."

"Thanks, Phil.  It was a beautiful day today, and tomorrow, at least until about six o'clock, we can expect the same.  Tomorrow evening, there will be a severe thunderstorm warning, as well as a tornado warning for the Sidney area.  The conditions look to me like we could have a tornado come right through town, but let's keep our fingers crossed until then . . . "

The TV screen abruptly went blank via the remote control on the other side of the room.  A young man, about sixteen, sat in a large, brown chair on the far side of the room, mechanically flipping the remote control over and over in his hands.  He stood to about six feet tall and was about average weight.  "I think we're going to go over there about four o'clock tomorrow."  He spoke in a clear, intelligible, resonant voice.  The tone suggested maturity of character and  a quiet, serious disposition.

"That's fine, Brian.  Just let me know if you need a ride out there," said his mother, a woman of about forty.  "I don't think I'll be able to go tomorrow myself, but maybe I'll stop by the next day or the day after that.  Just let me know what your plans are."

"OK, mom.  I'll let you know.  Goodnight, now."

"Goodnight."

Brian stood up from his chair and walked into his bedroom, where he immediately picked up the phone and dialed Chris's number.  "Chris?  Hey, what's up?"

"Hey, Bri.  Not much."  Chris's voice was higher than Brian's, and did not sound as mature or as intelligent.  At first impression, one would see Chris as very outgoing, yet possibly even too gregarious.  "You hear anything about tomorrow?"

"That's what I was calling you about."

"Huh-Huh... That's cool."  Chris attempted an impression of Beavis and Butthead, but he did not sound even remotely like either of the two annoying cartoon characters.  "Well, I guess we'll go over to that Cabela's place tomorrow, pick up some girls, man . . .  Huh-Huh . . .  That would be cool."

"Dude, give it up.  What girls could we possibly find at Cabela's tomorrow that we haven't known our whole lives?  Your options are pretty limited when you're living in a city of 8,000, Chris."

"Why, you're quite the pessimist today.  But anyway, there's no use in arguing with you.  I guess we aughta head up there about five o'clock or so.  Eh?"

"Sure.  Sounds good.  I'll pick you up around then."

"Oo!  Gonna get picked up in Brian's parentmobile . . .  yes!  Huh-huh; anyway, though, see you then.  Later."

"See you tomorrow."

After the evening's lengthy activities, Brian discernibly resolved to turn in for the night, and, after informing his mother of his plans for the next day, did so.

The following morning was a pleasant one.  The air had the sweet scent of creation, and the only audible tones were those of Mother Nature.  Contrary to the meteorologist's dismal forecast for the evening, the day looked as if it would turn out to be enjoyable after all.  The morning passed by quickly for Brian, and, as suddenly as he had woken up, the Time that Flies had taken him to the late afternoon.

Brian approached his parents sitting in the dining room, visiting.  "Well, I suppose I'll be seeing you all about eleven or so.  By the way, you mind if I take the car?"  He directed the first comment to his mother, who appeared to be the type who worried about details until she made herself sick with distress.  The question, though, was directed at his father, who was sitting opposite his mother.  With one fleeting glance, anyone could tell that Brian's father was most definitely the figure with the authority.  He possessed a casual, confident demeanor, and when he looked up from his newspaper to say "sure" to Brian, his statement was indubitably irrevocable.

"Just be careful, honey."  His mother, though, still received an opportunity to do her arduous duty of worrying.

"Will do.  I'll see you all later."

As Brian walked out of the front door, he was met by the vulgar sight of a '77 Oldsmobile station wagon, otherwise known as the 'parentmobile'.  "Huh . . .  I sure do wish I had a job so that I could have money for a car."  He spoke out loud, to no one in particular.  "Oh, well, I suppose I'll have to live with this thing until then."  Brian sat in the driver's seat while he began to figure how many weeks he thought it would take him until he could save enough money for a decent car.  Still figuring, he put the car in drive and headed for Chris's house.  When he arrived, Chris was waiting by the door, and as he approached the station wagon, Brian could see him jokingly mouthing the word 'parentmobile'.

"At least I'm sixteen."

Silence filled the car for a moment, until Chris broke in with "Huh-Huh . . .  that's cool."  Once again, his impression had failed miserably.

"You're getting better at that, you know."

"Thanks for the encouragement.  Oh, by the way, you need to pick up Nancy and Sarah from Sarah's house."

"Nancy and Sarah?  Oh, you mean the Nancy and Sarah a year older than us.  Where do they live?"

"Oak street."

"Thanks for telling me so soon so that I have to turn around to go back and get them.  No, really, I appreciate it."

"No prob.  Anything I can do to make you late."

"Nancy and Sarah, huh?  I don't think I know them too well.  You?"

"No, but I've talked to them in school a few times before.  We're all in the same Latin class.

Brian still seemed to be confused about the two, and after deciding that he was most likely thinking of someone else, Chris attempted to correct the situation.  "You know, Nancy. She's pretty smart and has the long, light brown hair?"

"Oh, yeah.  She's, well, the less attractive one."

"She's still not bad."

"But Sarah, on the other hand, is incredible."  Brian shook his head slowly and looked off in to the distance.  It was obvious that he liked at least what he had seen of her.  To Brian, Sarah was one of the people he had had a crush on ever since he had first seen her in the halls of school.  Considering the fact that Brian would never have had the nerve to approach her on his own, he had thought that nothing would ever develop between them.  Suddenly, though, his hopes had become remarkably more reasonable.

"Incredibly stupid, you mean."

"Do you mean she's not book smart, or are you saying that she just doesn't know what's going on?"

"Well, she makes pretty good grades, but she's the most gullible person I've ever talked to.  Oh, and, by the way, if she asks, my '69 Corvette is still in the shop."

Brian once again shook his head, only this time he had a knowing smile on his face instead of a faraway look.  "Don't you mean your '15 Vette, Chris?" he said through his quiet laughter.

"I get it.  Turn at the next street.  Nancy's house is the third one on the right."

"All right," he said, as he pulled the old, beat-up station wagon to the front of the Victorian-style white picket fence, "You can run up there and get them."

As Brian watched Chris approach the front door, it seemed as if he were trying to process a hundred thoughts at once.  "What should I say?"  "What if I embarrass myself?"  He then remembered his mother, who he always told worried too much, and he forced himself to stop his mental self-torture.  He thought to himself, "OK, I just have to take it cool.  If I just act myself, they won't even think about the car."  Brian had always tried to make sure that no one knew he was an excessive worrier with a self-esteem problem, but he still tended to worry to himself quite a bit.  Brian watched as the girl whom he had secretly liked ever since he could remember approached the door.  With a pained look on his face, Brian then managed to endure the seemingly endless two minutes it took from the time they answered the door until the time they stepped into the car.

Nancy was the first to speak as they entered the car.  "Hi.  I'm Nancy."

"Hello, Nancy.  I'm Brian."  An awkward silence followed his introduction, and Brian could think of nothing else to say, but, "Sorry about the car.  I know it's a piece."  And then, after another pause, "It's my parents'."

"Hey, you have nothing to be sorry about.  At least it has wheels and runs.  That's better than I have."  Somehow, the words seemed to make Brian feel more at ease.  At first, he thought it might be because they had some kind of connection between their personalities. On second thought, though, he decided that Nancy was probably just one of those people who has a natural gift for relating to others.  "So . . . "  Nancy attempted to make polite conversation as the others had once again ceased communication.  "I know that we both know Chris from Latin, but I don't think either of us have ever really met you before, Brian.  This is Sarah."

"Hi, Sarah.  Chris has told me so much about you."

"Was it good or bad?"  Sarah had an incredibly pleasant voice.  Brian thought to himself that it was as pure, clear, and sweet as a mountain stream.  He knew the words should have been sarcastic from anyone else, but she somehow made them sound so genuine.

Brian decided he would investigate not only her reply, but also Chris' accusation of her gullibility.  "Definitely bad, Sarah.  You should have heard what he was saying."

"Chris!"  Her articulation had changed from polite to angry, but to Brian, the sound of her voice was still wonderful.  "I thought I could trust you!"

Brian quickly decided it would be best for him to break in to prevent any further damage.  "Sarah, it's OK.  I was just kidding.  I thought that you were as well when you asked. Believe me, I haven't heard anything out of him about you except for compliments."

"Really?"

"Of course."  Brian realized that Sarah genuinely was extremely naive.  He decided that it was in his best interests to change subjects.  "So, I hear Cabela's is still hiring some in-store employees.  They hire at sixteen, too."

Nancy was the first to voice her opinion at this.  "I've been thinking about applying, but I'm not sure if it will fit in to my schedule with all the tough classes I'm taking this year.  Speaking of Cabela's; according to that sign, we just entered Cabela's land."

"Cabela's land?"  asked Brian, "This place really must be as big as I hear.  I can just barely see the parking lot from here."

"Why do you think they would put the largest hunting and fishing goods store in the world in Sidney, Nebraska, of all places?  I mean, come on, all 8,000 of us would have to buy something from here every day just for them to stay in business."  Chris, for the most part, wasn't a cynic, but occasionally he enjoyed arguing.  "Your mom works there, doesn't she, Nancy?  Has she ever said anything about why they built it here?"

"Well, from what I can tell, they do most of their business from the mail-order magazine.  They probably decided to put the main distributor's headquarters here because Nebraska's kind of in the middle of the United States.  They'll get more interstate business than business from Kearney and us."

"Gee, thanks for that in-depth analysis of my shallow question, Nancy."

"Anytime," she returned.  It seemed strange to Brian how quickly Nancy had changed tones from very friendly, outgoing, and seemingly at a constant temporary loss for words to overly analytical and rattling words off like an accomplished debater.  He could not seem to tell whether she was trying to be funny by her answer to Chris' question or if she were simply the type who not only makes quick changes of style, but also overanalyzes everything.

"Look at the horses!"  Brian had become so captivated with Sarah that he barely noticed the childish way in which she had pronounced 'horses' with a long 'e' at the end.

"Uh . . .  Huh-Huh.  Horses are cool," Chris broke in.

"Okay.  You all ready?  Good, let's go," Brian said.

As they stepped out of the car and approached the front row of glass doors, a man in a white tuxedo reached for the door handle and swung it wide open, allowing the group to pass into an outdoorsman's paradise.  The scene in the center of the store was incredible.  A seventy foot high mountain sat atop a huge square, each side measuring about 120 feet.  Around the outside of the square were various plaques, each describing one or more animals on display.  Three snow white mountain goats stood on the top of the mountain, just above ice sickels hanging threateningly from the rocks.  A howling coyote sat about halfway between the top and bottom of the mountain.  Below it were two elk, a huge brown bear standing on two feet, two small deer, two huge moose, a panther, and a rabbit being chased by a fox.  Above the entire scene hung a flock of large birds, each spanning about five and a half feet from wing to wing.

Along the left side of the store stood three immense tanks of fish that were surrounded by tons of hooks, lures, poles, reels, and small bass boats.  Behind the fishing accessories were dozens of isles of various outdoor clothing items.  In the middle of the clothes stood two imminent grizzly bears, each about seven feet high.  Behind the clothes was a door with a sign over it.  The sign read, "Coming Soon: The Discount Cave."  Next to 'The Discount Cave' stood the 'Something for Everyone' gift shop.  Most of its occupants were women and smaller children.  As far as the group could tell, with the exception of the small deli, the 'Something for Everyone' shop was the only place in the entire store that had nothing to do with hunting, fishing, or camping.

Along the right side of the store stood more isles of hunting and camping clothes, as well as an assortment of heavy dress shirts with Cabela's logos on them.  Rows of bows and arrows sat behind the shirts, and behind archer's heaven was the hunting section.  The selection of hunting equipment was perhaps the most impressive Brian had ever seen.  Nearly fifty yards of large guns sat behind the employees' counter, just waiting to be bought.  The handguns sat idlely in the glass counters.  People strolled along the counter, stopping periodically to peer at a hunting weapon that took hold of their interest.  Unorganized boxes of ammunition and bird calls had been dispersed among the vacant remaining shelves.  To the far left, another animal exhibit was visible.  This one comprised a single, heinous looking tiger.  A large, arched sign with the word 'Africa' on it in red letters towered above the tiger.  The placement, backdrop, atmosphere, and overall look of the scene created an exceedingly ominous effect.

The group had somehow been separated into pairs, and Brian found himself walking along rows of duck calls near the tiger display with Nancy.  "That tiger looks a little bit too real."  Brian looked at the tiger's lifelike posture and knowing eyes in amazement as he thought to himself.

"No kidding, Brian.  That's spooky."  Nancy, too, stared at the tiger's viscous eyes.  "I wonder how they make all of these dead animals look so alive."

"Yeah, I know what you mean."  As the two passed the tiger, they felt as if it was still staring at them, thinking of what a nice meal they would make.  "That's strange.  I wonder if that thing makes everyone feel that way."

"No, it's probably just us."  Nancy's soft giggle seemed to magically release much of Brian's silent anxiety.  "We're just paranoid."

"I guess so . . .  Hey, look at that room."  Brian pointed at a large room in which guns and knives sat against the wall and hung from the wall in separate glass containers.  The sign above the large pillars that represented the doorway read 'Antique Weapons of the Early 1900's and of the Civil War'.  Although no one was permitted entrance, Brian spotted American Indian hatchets, assorted muskets, and even a chair attached to a large machine that looked to be from World War I as he stood in the doorway.  "Interesting stuff, but why don't we go catch up with Chris and Sarah?"

On the other side of the antique weapons room stood Chris and Sarah, both staring in amazement at a stream of crystal clear water falling elegantly from strategically placed rocks in the middle of a large pool of water.  In the water, large goldfish swam casually, not seeming to mind the concrete siding.  Chipmunks scurried along the outside rocks, stopping once in a while to beg for food from onlookers.  Chris removed a quarter from his pocket and placed it into a vending machine entitled 'Squirrel food'.  He received a handful of peanuts that Sarah and he managed to feed to the large rodents as they passed by.  "This is beautiful," said Sarah.

"Uh . . .  Huh-Huh.  Squirrels are cool.  Feeding squirrels is kick a- . . . "  Brian managed to thump Chris on the head as he and Nancy approached the waterfall and Chris and Sarah.

"We went into a tent over there that we wanted you two to see."  Sarah spoke with enthusiasm and a wide smile on her face to the rest of group, and then skipped off in the direction of the tents.

"Well, what are we waiting for?"  Brian quickly followed Sarah, who had already settled herself in a large, six-man tent.

As Chris stepped in, he darted his eyes from side to side, examining the every aspect of the tent.  "Whew . . .  this must be three times as big as my dad's tent."

"Probably because this is a six-man tent, and his is a two-man," added Brian.

"Good point.  Hey, somebody shut the door."  As the rest of the foursome talked blase, Nancy reached behind her to zip up the flap of lycra material that was the front door.

"So, I hear there's a tornado warning for tonight," said Brian.  "The weatherman claimed that it could possibly hit Sidney, or maybe even hit Cabela's."

"As did I, mon frére," added Nancy.  "You know, I can't hear a thing out of this tent.  It must be completely noiseproof."

Chris, the most knowledgeable about camping equipment in the group,  interjected, "The purpose of the design is to keep all of the rain out, but, as it turns out, keeping the water out happens to also keep the noise out.  I like it better this way, but my dad bought the one that doesn't keep all of the rain out.  He says that it's dangerous to not be able to hear animals or other invaders in the night."

"I suppose that if there was a fire in the building ten minutes ago, we wouldn't have known about it until too late."  At Brian's comment, each looked at the other, and Nancy opened a corner of the door to hear the reassuring sound of the outside world.

Nancy leaned over toward Brian and whispered in his ear, "Make up some crazy story, and tell it to Sarah to see if she'll believe you."  As Nancy leaned back, Brian began his tale.

"Nancy and I were just talking about something that happened while we weren't with you two.  We had gone over to look at the main exhibit when Nancy noticed something strange.  One of the larger birds' wings was twitching.  I don't mean it had been caught in a gust of air, either.  After a while, it seemed as if the entire bird had started to move.  We decided not to stick around, but we did overhear some people talking about it later.  They said that one of the people who works here took the bird down and took it back into an employees only room.  Of course we don't know the exact scenario, but my best guess would be that whoever stuffed the birds didn't do a very good job.  He probably just froze them and shipped them.  So be careful, Sarah, when you walk over by the birds."

The amazed look on Sarah's face was enough to make anyone laugh.  Chris nearly accepted the invitation, but he managed to cover his mouth and turn the oncoming laugh into a cough.  Sarah, with a frightened, confused look on her face, blankly uttered the single word, "Really?"

The entire situation was more than the rest of the group could take, though.  The three of them burst out laughing all at once, at Sarah's expense.  After laughing for a few seconds, Brian said, "No . . .  we're just kidding, Sarah.  That wouldn't really happen."

After the laughter had subsided, Nancy noticed that they had been sitting in the tent for nearly an hour, and it was now after eight o'clock.  "Hey, you all.  We probably should be getting out now.  Somebody must be waiting for us."  Nancy once again reached behind her to unzip the door, but this time no piercing noise of jostling customers was heard.  Instead, the noise had been replaced by complete and utter silence.  The four looked at each other without saying a word, ultimately making the silence even more magnified.

Brian was the first to break the silence.  "I think we should leave now, guys."

"That's probably a good idea," said Nancy.  With worried glances, the entire group made their way out of the tent.  They were greeted on the outside by nothing but unequivocal darkness and silence.  Without a word they made their way toward the front door.  Nancy reached the row of tall, glass doors before the others and attempted to push one open.  Her efforts, though, were useless.  Every one of the doors had been locked from the inside as well as from the outside.  "They're all locked."

"So let's break them down!"  Chris, in his panic, grabbed a lamp from the desk and hurled it at the huge pane of glass.  The small, ceramic lamp smashed as it hit the door, leaving nothing but shards of pottery on the floor.

Nancy broke in to the situation, trying to calm everyone down.  "Come on, you guys.  There's no point in panicking!  There obviously has to be either someone else in the store who would have a key or a much easier escape route.  I mean, look what you would have done by breaking the glass.  Not only would you most likely end up having to pay for it, but also it wouldn't help us get out.  There's an iron fence no more than thirty yards from here, and it goes straight up to the overhang in the front of the building, in case you didn't notice.  All you would have done is let the rain in here."

Brian quickly broke in with, "The rain!  Everyone must have been evacuated because of a tornado.  They said it would come right through here.  It was probably on a path for the Cabela's building, and they told everybody to leave and to take shelter in their basements.  Oh, no; it seems as if we were just talking about how it could be dangerous not to be able to hear outside the tent."

"We were."

"Thanks, Chris.  I know that."

Nancy attempted to take control of the situation at this point.  "Come on!  We have to find a way out before the storm gets worse!  Okay, Brian, you and Sarah go over by the deli and into the employees only room.  Look for windows, doors, or anything else that would give us a chance of getting out.  Chris and I are going to look around the main area for stuff that we could use to build a ladder to get to those windows near the ceiling."

"Okay, we'll be back.  Come on, Brian."  As they began walking toward the back of the building, Brian realized that they were headed for the evil looking tiger that had frightened Nancy and him earlier.

"Come on, Sarah, let's go this way.  We'll look over in the deli, first."  Brian climbed onto the deli counter and jumped over it as Sarah found the swinging door and casually walked through it.  "There's the door to the back.  We'll go in there and look around for a door or a window or something, and then we'll look somewhere else if we can't find anything."  Brian slowly opened the door that led to the back of the deli, and then peered inside.  "Okay, let's go.  I'll look for a light."  The room was large, and, for the most part, empty.

"I can't see anything but the outline of . . . maybe . . . a table or something."

"Okay.  I found a switch box here."  Brian flipped quite a few switches before he finally found one that illuminated the room.  The new light was greeted by a scream from Sarah who immediately ran for the door.  "Wait, what is it?"  Then Brian saw what must have scared her so badly.  On the table laid a large bird that looked almost exactly like one of the birds hanging from the ceiling over the main exhibit.  Brian's story must have made her considerably apprehensive.  "Well, I don't see anything of use in here.  You?"

"No.  Let's get out of here."  The nervousness in Sarah's voice made Brian anxious as well.  "I should stop believing people so easily.  But I always worry about what people will think about me if I don't believe what they say."

"I don't know what to tell you.  If what they're talking about couldn't possibly happen, just don't believe it."  During the conversation, Brian failed to realize that he was leading them into the hallway with the Africa exhibit and the sinister tiger.  As they approached it, Brian could see nothing but two small red dots through the darkness.  He sensed danger as he grew nearer and nearer the ferocious animal.  As they passed, though, the impending peril withdrew.  In the employees only room, they discovered nothing but a large, neon 'EXIT' sign with no door underneath.  The other two had about the same amount of luck.

"I think we should just give it up and stay here for the night.  What do you think, Chris?"  Nancy spoke as if she were weary after losing a hard fought battle.

"Unless Brian and Sarah found something, which I somehow doubt, I think we're just wasting our energy trying to get to those windows.  Oh, there they are, now.  Did you two have any luck?"  Chris yelled to the other two, and the echoing sent chills up the spines of each of them.

As Brian and Sarah approached, Brian began to speak.  "Okay, here's the deal.  You two are going to go back to one of the tents and sit tight while Chris and I try to bust open the switch box to get some light in here.  I think the darkness is just making everything worse for everyone."  At this, Nancy and Sarah headed for the tents while Chris and Brian walked toward the hunting gear.  "Grab that scope and break the glass, Chris."  Chris broke the glass to the handguns, and, to their surprise, no alarm sounded.  He then reached in through the broken glass and picked up two weapons.

"I'll go look for some ammunition," said Chris.

"Yeah, good idea.  I'll get one of those big knives from the other end of the counter."  After getting two boxes of ammo for the two guns, Chris walked to where Brian stood, near the large, locked metal box that held all of the light switches.  "Try shooting the lock from the side, Chris.  Just make sure you don't mess up the circuitry."  Chris loaded the weapon with six bullets and fired two directly at the lock on the right side of the box.  The bullets had absolutely no effect on the lock.  Each of the two bullets bounced back as Brian realized there was no way to even make a dent in the steel with such a low-powered weapon.  He knew that it was no use to try to break in.  The only way they could possibly turn the lights on was to find a key to open the box.

Suddenly, a small, scratching sound was heard from the other side of the counter.  "Did you hear something?"

"Yeah," said Chris, "I'll go check it out."  Chris looked over the edge of the counter to see a small, white rabbit sitting against the wood of the counter.  It moved its head from side to side and then took a small hop forward, causing the same scratching sound.  Brian no

761.          New Orleans Jazz Band

New Orleans Jazz Band: Dag

"They have a word down South to describe the way you feel when your packed into

a crowded dive at 1:00 AM, where the cigarette smoke is so thick it makes its

own weather; and the waitress is slinging bourbon and Fritos while some bad-ass

Jazz Funk band rocks the house as hard as Blue Ridge granite, and the sweat

flows down from the stage like the cloudy waters of Pamlico Sound.  There's a

word for how you feel when you hear live Jazzy-funk music so sweet and hot, you

just gotta shout something.  The word is:  DAG!" - Columbia Records

There is only one place on earth where I though I could go to experience

the true meaning of Jazz and to try to place myself in the shoes of all of the

artists I have studied over the past semester.  New Orleans, Louisiana is just

that place.  On April 10, 1996, I boarded a United Airlines plane bound, non-

stop, for the "Home of Jazz."

My goal in New Orleans was to try and have a comparable experience to

that of one of the popular Jazz artists would have had upon his/her first visit

to New Orleans in the early 1900s.  Bourbon Street, the French Quarter, Jimmy

Buffet's Maragaritaville, The Flamingo, the Garden District, and Moolate's all

helped me to get into the proper frame of mind of experiencing true Jazz.  The

focus of this report will be on my life changing experience at a little place

known as The House of Blues.  This amazing combination of bar and stage created

one of the most conducive atmospheres to music listening that I have ever been

involved with.  The stage, similar to the Fox, in Boulder and the bar/restaurant,

similar to nothing both had a character and charm unique to itself.  The

ceilings in the bar area were covered by sculpted silhouettes of every major

Jazz/Blues artist that ever played there.  Images such as Louis Armstrong,

Lester Young, Dizzie Gillespie, Buddy Bolden, Horace Silvers, and Jelly Roll

Morton adorned the walls and ceilings of the HOB (House of Blues).  Every beer

on tap was a Louisiana original and the only kind of cooking done there was

absolutely Cajun.

On Thursday, April 11, 1996, I and 5 friends ventured into the legendary

house of Blues.  Headlining was a band entitled "Dag."  This up and coming

Blues/Jazz/Rock band has been touted as New Orleans newest small success story.

With a label on Columbia Records and an album entitled Righteous, Dag is

certainly a force in the Jazz industry.  The tickets cost only 8 bucks and you

could have come in mid-way through the show for free.  A far cry from Boulder

expense.  The band was comprised of four members:  vocal bassist Bobby Patterson,

guitarist Brian Dennis, keyboardist Doug Jervey and drummer Kenny Soule.  The

band, originally from Raleigh North Carolina plays a particularly "groovy kind

Jazz" using primarily the Bass for a majority of rifts.  The band played to a

packed house, consisting primarily of middle 20s ages people, with an

occasionally more "wise" audience member.  The theater, again, much like that of

the Fox in Boulder had a dancing "pit" right below it, which was full of college

aged students who were dancing with a movement comparable to mixing a 90s dance

action with a 70s groovy rhythm.

The music was fast paced and full of energy.  Many 32 measure sets were

played and I could definitely hear the influence of Bob, Cool Jazz and Hard Bob.

A lower tempo was definitely recognized, as well as a mix of jazz and classical

elements.  The lack of a piano was obvious and seemed to follow the trend of 90s

Jazz-Blues rhythms. Additionally, the first set had a heavy emphasis on

percussion while the second set focused primarily on the drums.  It seems that a

lot of their songs are written around a drum rhythm.

Dag played a set that included the songs:  Sweet Little Lass, Lovely

Jane, Plow, Do Me Good, and Even So.  They then took a 15 minute break and came

back playing:  Righteous, Your Mama's Eyes, You Can Lick It, Candy, and Saturday

Morning.  After their second set, they played an encore of a song entitled: Home.

One thing worth mentioning about the song titles is their recognizable

simplicity.  It is my belief that this was done intentionally to further

illustrate the complex messages being delivered through a very simplistic

musical institution.

Reactions to the band were tremendous.  I personally, could not contain

myself and was leading the second encore after Home.  Upon the completion of the

show, I immediately bolted to the bar and got the name and number of the booking

agent for the House of Blues so that I could contact her later regarding a

possible show at the Fox.  ( I am an intern for the Fox theater.)  My friends

were instrumental in my accurate recollection of the events that night as I was

way too excited after the show the think logically.  Reviewers agree that Dag is

an incredible band:

Raygun Magazine says, "DAG could stand for 'Dem Are Grooves'... they manage to

take it to the bridge and beyond."

Interview Magazine:  "the stunningly spongy debut by four of the funkiest

unknown kids ever to come out of North Carolina.  Righteous Grooves."

Pearl Jam's Dave Abbruzzese:  "Laying it down funky... It's about time someone

did."

Dag recorded their first album, "Righteous" in 1994 at the famous Muscle

Shoals studios in Alabama.  Artists such as Wilson Pickett, Arethra Franklin,

and Rolling Stones made the mark there.  "We were making an R&B record, so going

down there to record it was like getting the Pope's blessing."  The band claims

inspiration from both Jazz and R&B artists.  Patterson unveils most of his

inspiration to the song, "What's Goin' On," by Marvin of course, while guitarist

Dennis claims allegiance to John Coltrane's Ballads, and Jimi Hendrix and Aretha

Franklin.  James Brown and Frank Zappa also had influences on the band.

One of the most amazing things that I noticed about the band was the

tremendous depth and quality of the vocals.  Patterson's energy on stage was

unsurpassed and definitely came through in the overall performance.  Jervey says

of Patterson's intensity, "he's got a lot of raw energy, but he really is a

sweet guy.  When he opens his mouth, a lion comes out."   Overall, my experience

at the House of Blues was amazing and it is an experience that I will never

forget.  I am currently in the process of trying to book Dag to play at the Fox

or Boulder Theater.  It is music like theirs that keeps Jazz alive and current

to the trends and markets in our modern society.  It is my personal belief, that,

because of bands such as Dag, Jazz will never die, only change form to adapt to

its environment.  The mold of Jazz, however, will never change.

762.          Nick in the Great Gatsby

Nick versus Gatsby

Mainframe computers analyze information and present it so that the observer is able to make accurate observations.   In The Great Gatsby, written by F. Scott Fitzgerald, the narrator, Nick Carraway, tells a story in which Jay Gatsby tries to attain happiness through wealth.  Even though the novel is titled after Gatsby, Nick, just as a mainframe computer, analyzes the actions of others and presents the story so that the reader can comprehend the theme.  Throughout the novel, Nick is the vehicle used to gather all of the pieces together to learn about Gatsby.  Nick is a one of a kind in the novel.   He also is the only character that changes in the novel from the beginning to the end.

Nick is the literary device that is employed to learn about Gatsby, which ultimately tells the theme of the story.  Throughout the novel, flashbacks are inserted, courtesy of Nick, to reveal piece by piece about the mysterious Gatsby.  Nick patches the pieces of the puzzle together regarding Gatsby's past and lack of a future.   Nick is like the box of a puzzle; the puzzle is impossible to put together without it.  Without Nick, the reader's opinion of Gatsby would be drastically different.  The reader's opinion would be swayed by the idea that Gatsby becomes rich via bootlegging alcohol and counterfeiting bonds.  Nick persuades the observer that Gatsby is "...worth the whole damn bunch (rich class) put together"(162).  Even though Gatsby aspires to be part of the upper echelon, he, fortunately, is different from them.  Nick also analyzes Gatsby's behavior in order to provide the reader with details and a summary of the great man.  At the end of the novel, Nick comments on Gatsby's life by stating that "(Gatsby) had come a long way to this blue lawn and his dream must have seemed so close that he could hardly fail to grasp it.  He did not know that it was already behind him"(189).   Without Nick, Gatsby's true colors would not be shown and his behavior would be left not pondered.  His presence from the beginning to the end of the novel is imperative.  Nick's uniqueness parallels his importance in the novel.

Nick is very unique and different from all of the other characters in The Great Gatsby.   Most of the characters symbolize reckless people during the "rip roaring twenties" that only want to be in the "fast lane" and do not give a damn about others.  Nick sticks out of this crowd like a "sore thumb".  Geographically, Nick was raised in the "friendly" middle-east, while the book takes place in the "snobby" east.  Tom, which is a representative of the rich, casually has an affair with Mrytle while with Daisy.  On the other hand, Nick does not get involved with Jordan extensively because he has not broken relations with his old girlfriend in Chicago.  He promises himself that "there (is) a vague understanding that (has) to be tactfully broken off before I (am) free"(p64).   As a result of Nick's and the other character's differing values, he is considered an outsider.  Only several times is Nick invited to rich gatherings.  When he is "partying" with the rich, he resents the fact that they merely drink and gossip.  Nick's uniqueness is probably best illustrated by Gatsby's funeral.  Even though Nick knew Gatsby the least amount of time of all of his friends, he is one of the only participants at the funeral.  Klipspringer, one of Gatsby's friends, symbolizes the morals of the rich by stating that he cares more about his own tennis shoes, than attending Gatsby's funeral.  Another one of Gatsby's "friends" cannot attend the funeral because he is "tied up in some very important business and cannot get mixed up in this thing now"(174).  Nick is totally different than everyone else, which ultimately puts him in the spotlight.  Since he is exposed, it becomes obvious that his character changes.

Unlike any other character in the novel, Nick undergoes a change from the beginning to the end.  Even the "Great Gatsby" stays the same still believing he will obtain Daisy and happiness with the acquisition of money. The society accepts that Jordan, Nick's new girlfriend, cheats in golf and society even accepts affairs-the ultimate dishonesty in relationships.   At the beginning of the story, Nick tries to become part of the rich society by accepting Jordan's dishonesty. He rationalizes that "it made no difference to me.  Dishonesty in a women is a thing you never blame deeply-I was casually sorry, and then I forgot"(p63).  He also "chums" around with Tom and Mrytle to tries to fit in at their parties.  Nick also believes that Gatsby is a fake, unlike the Buchanans.  As the novel progresses, Nick learns and changes.  When Mrytle and Gatsby die, Tom and Daisy symbolically take a trip to Europe.  This portrays the idea that the rich buy out of trouble and their carelessness.  Nick comments that "(The rich) (are) careless people, Tom and Daisy-they (smash) up things and creatures and then (retreat) back into their money or their vast carelessness... and let other people clean up the mess they had made"(187-188).  He finally realizes how selfish and irresponsible the rich are.  As an example, Nick is disgusted at the fact that Jordan feels no remorse for the Mrtyle's death and is only worried about dinner. Nick's opinion of Gatsby changes as well.  He realizes that Gatsby is too worthy a man to have an empty funeral.  Therefore Nick promises to the late Gatsby "Just trust me and I'll get somebody for you-" (172).

Throughout the novel, Nick is instrumental as voice that tells the reader about Gatsby.  He is "both within and without", never really assimilating like the rich.  Most importantly, Nick is the only character in the novel that changes.  Nick Carraway is the main character of the novel.  Without Nick, the important allegorical message would not be illustrated:  Money cannot buy love, friends, and family.  It is a fake form of security!

763.          Niki de St Phalle 1576

The Hanover Nana art figures (created by Niki de Saint Phalle) have attracted more controversy than they deserve. Discuss.

Nana - the main offender??

Face lifting

Every city has its image. If you ask people from all over the country, some might say that Hanover has no particular one, but of course everyone knows that the city is somewhat "grey". Since the the early sixties and seventies the city had to suffer under the prejudice of beeing an unattractive stain in the landscape. Nothing happened in and around Hanover and boredom has been a favourite attribute to describe the city beside the Leine. Knowing this, the city department tried to work against this image with a street-art programm. In 1974 they bought three "Nanas"(huge, colorfull and big breasted statues) from french artist Nicki de St. Phalle and started other projects to polish the city´s face in the public. Everything looked good from that moment, apart from the reaction on the "Nanas". A big hassle began, but was it worth the trouble? This essay is a try to search for reasons and answers, why the "Nanas" caused so much controversy and if they deserved it after all.

Martin Bennat 2

Disliked Exposition

To understand the reaction of the poeple at these times, we must have a further look at the set and the scenery of these times. Indeed, Hannover was "grey" and was quite unattractive for tourists. In this case, the intention behind the placement of the Nanas was absolutely right. The cost: 150.000 "Deutsche Mark" - a lot of money at this time. The question about the funding released the controversy, because the alternate option for spending the money would have been a new ambulance, strongly recommended by a local hospital. After the "Nanas" had been installed, people started to think. Some of them thought that the money was poured down the drain and raised their voices. Another few got angry about the unesthetic outlook and third parties were still searching for disadvantages, as other people were already out on the street to demonstrate . The unacceptable attitude of the public made it much more difficult for Hannover´s fathers, than they thought in the beginning. It seemed like nobody wanted to understand the meaning of the "Nanas". Which were representatives for the female body itself and the lust for life. Looking at the sexual repressed society of the mid seventies, it is quite obvious that these figures were found to be somehow offending. From women, to rational conservatives and art-haters, they all wanted their slice. Even other artists claimed that the "Nanas" should not be there any longer, because they wanted the street-art project to be something completely different.

Again we have to consider that most of the people, who were not into art at all, were somehow forced to form protest. They had been the first, who got confronted with such a massive art exposure in Hanover. It was new; it was (in this case) big and extraordinary. At

Martin Bennat 3

these days, people were not used to it. It took a while until their minds became more sensible for art in this special dimension. Today the city owns so much places of art outside, that their lack would probably create protest now.

Back in time, a signature collection with 20.000 participants was the first answer the citizens gave to the department, stating their opinion, that these "provoking" statues were feministic and too aggressive. The press and the media also did their part with interventional articels and pros and contras. The situation was about to escalate, as many Hanover inhabitants tried to demage or even to destroy the art-objects beside the river bed of the Leine. Police protection was neccesary to keep the crowd away.

Looking through the eyes of a conservative and bourgeoise mind it all made sense. They didn´t wanted to spend public money for art they couln´t take any pleasure in. Despite most of their children really liked the "Nanas". In a short note about the situation at that time Holger Grab, from the "Kunstverein Langenhagen" writes:

"To us - beeing a group of five boys - all the trouble seemed senseless. We just looked at them, they were gaudy, interresting, had beautifull bodys, it was just unreal, why people made such a big noise about them, why they should be obscene." ¹   Thus, the controversy around the "Nanas", was also rooted in generational conflicts.

"Look mommy, she´s got bigger breasts than you"

The youth liked them, the elderly did not. It somehow looks like a manifest, like a law or like a rule, that everything new and revolutionary splits up opinions and generations in such way as the "Nanas" did. If we consider the rest of the work from Nicki de Saint Phalle it

Martin Bennat 4

appears quite normal, because her creation always found more believers in younger generations than in narrow minded geezers. Art, as we know, would not be alive if everybody likes it. The aim of painters, sculptureists and other artists is mostly not to satisfy everyone and the whole public opinion, but to make some of them think. And thinking is what the opposing force against the "Nanas" did at least.

Art in the "Time-Tunnel"?

764.          Since years the dust has settled. The "Nanas" became a symbol for the work of Nicki de St. Phalle and Hannover is proud to have these symbols integrated and respected. Lately there has been an exhibition in Hanover about the whole history oNinties Love Story

A Nineties Love Story

Once there were two people named Marsha and Leroy.  They were madly in love

with each other and there personalities were exactly alike.  Marsha and Leroy were

absolutely perfect for each other except for two characteristics about each of them.

Marsha had a rather wealthy family and there neighborhood was on the East Side of

Atlanta.  Leroy had no money at all and he lived in the projects on the West Side of

Atlanta.  The problem wasn't that Marsha didn't want to go out with someone who wasn't

as financially stable as she was, or that Leroy was ashamed of where he lived.  It was that

a few years before they knew each other they both got in gangs, Leroy got in a gang from

the west side and Marsha got in gang on the east side.  These gangs where rival and if

anyone of there gang friends found out about there friendship both of them would be shot.

Neither Marsha or Leroy  would ever sleep at night because they would spend

their nights deriving up plans so that they could either get out of there gang without being

killed or a way that they could see each other without being caught by either one of their

gangs.  They never got to see each other because Leroy didn't have a phone and neither

one of them had cars.

Finally Leroy had to see and be with Marsha so he snuck out of his apartment stole

a car and drove it to the neighborhood where Marsha lived.  He stood up by her room and

threw rocks up at her bedroom window until she looked out and said "boy how  you

trippin down there trying to through  rocks up at this window know in I is fast sleep" then

she wiped the sleep from her eyes and saw that the person throwing rocks at her window

was Leroy.  When she noticed that the person she was yelling at was Leroy she yelled with

excitement "hey, what are you doing here, I'll be down in a second."  She ran down the

stairs and right as she came through the front door she got shot right in the head with a

9mm by one of the Leroy's fellow gangsters.  He didn't know that they had followed him

to Marsha's house.

Leroy was filled with both anger and sadness at the same time because the only

reason he had for living was gone because Marsha was dead.  So the next morning he got

up took one of his guns from under his bed and went around where all of the other gang

members where, and as each of them would wank up he would shoot them in the head just

like they did to Marsha.  Soon after he was done with his killing spree he used the last

bullet on himself.  He kneeled down on the ground put the gun in his mouth and killed

himself "Curt Cobain Style".

765.          Nirvana Essay

Nirvana

Nirvana was a band until one of the band members died. He killed himself

because he was on to much drugs. His name was Kurt Cobain. He was born on

February 20, 1967. He met two other people and they became a band. Their names

are Krist Novoselic and Dave Grohl. They were very successful in music. They

played alternative music.

Their first album was Bleach. It was releases on June 1989. It was a

big hit.  From the success of the album the went on tour in England. Then the

released another album called Nevermind. It was released in 1991. The album

just went platinum. For the album they went on tour to Europe.

Nevermind album hits the number 1 charts for the second time. Then one

day Kurt Cobain meets a girl in another band called Hole. Her name is Courtney

Love. The ended up getting married in Hawaii in February 24, 1992. Then in

August 18, 1992 they have a kid and name it Frances Bean Cobain.

There next album Incesticide is released in December 15, 1992. The

album goes platinum just like the other ones. So they started to record their

next album In Utero. Then it was released in Sept. 21, 1993.

One day Kurt Cobain went to the store with his friend. He ended up

buying a gun. The leave the store and his friend went home. Kurt Cobain went

back to his place. He then shot himself and died April 5, 1994. He wasnÿt found

until April 8, 1994. When they found him he left a suicide note. It said stuff

in it like the band started to suck. And that their was already a rumor going

around that the band was going to break up. He was always bummed out about

everything and he didnÿt think anything was fun.

766.          NIRVANA

Nirvana

Nirvana was a band until one of the band members

died. He killed himself because he was on to much drugs.

His name was Kurt Cobain. He was born on February 20,

1967. He met two other people and they became a band.

Their names are Krist Novoselic and Dave Grohl. They

were very successful in music. They played alternative

music.

Their first album was Bleach. It was releases on June

1989. It was a big hit.  From the success of the album the

went on tour in England. Then the released another album

called Nevermind. It was released in 1991. The album just

went platinum. For the album they went on tour to Europe.

Nevermind album hits the number 1 charts for the

second time. Then one day Kurt Cobain meets a girl in

another band called Hole. Her name is Courtney Love. The

ended up getting married in Hawaii in February 24, 1992.

Then in August 18, 1992 they have a kid and name it

Frances Bean Cobain.

There next album Incesticide is released in December

15, 1992. The album goes platinum just like the other ones.

So they started to record their next album In Utero. Then it

was released in Sept. 21, 1993.

One day Kurt Cobain went to the store with his friend.

He ended up buying a gun. The leave the store and his

friend went home. Kurt Cobain went back to his place. He

then shot himself and died April 5, 1994. He wasnt found

until April 8, 1994. When they found him he left a suicide

note. It said stuff in it like the band started to suck. And

that their was already a rumor going around that the band

was going to break up. He was always bummed out about

everything and he didn t think anything was fun.

767.          Nirvana1

Nirvana

Nirvana was a band until one of the band members died. He killed himself because he was on to much drugs. His name was Kurt Cobain. He was born on February 20, 1967. He met two other people and they became a band. Their names are Krist Novoselic and Dave Grohl. They were very successful in music. They played alternative music. Their first album was Bleach. It was releases on June 1989. It was a big hit. From the success of the album the went on tour in England. Then the released another album called Nevermind. It was released in 1991. The album just went platinum. For the album they went on tour to Europe. Nevermind album hits the number 1 charts for the second time. Then one day Kurt Cobain meets a girl in another band called Hole. Her name is Courtney Love. The ended up getting married in Hawaii in February 24, 1992. Then in August 18, 1992 they have a kid and name it Frances Bean Cobain. There next album Incesticide is released in December 15, 1992. The album goes platinum just like the other ones. So they started to record their next album In Utero. Then it was released in Sept. 21, 1993. One day Kurt Cobain went to the store with his friend. He ended up buying a gun. The leave the store and his friend went home. Kurt Cobain went back to his place. He then shot himself and died April 5, 1994. He wasn't found until April 8, 1994. When they found him he left a suicide note. It said stuff in it like the band started to suck. And that their was already a rumor going around that the band was going to break up. He was always bummed out about everything and he didn't think anything was fun.

768.          No Future

No Future?

When looking into the future people see many different things.  Whether it be flying cars, buildings floating in the air, or people walking around in space suits, everyone has their own idea.  Most of the time when people look into the future they look far into it, not in the next several years.  The future is usually defined as twenty or more years beyond the present.  Many movies and stories written about the future world seem to have the common theme that technology will play a big part in the development of the future.  The development of technology will lead to the advances that will take the world into the next century and beyond.  George Lucas' film THX 1138 and Robert Zemeckis' Back to the Future are both examples of movies that portray technology and the advances of the future.  THX 1138 and Back to the Future both portray technology as a danger to society that could ultimately lead to its downfall.

George Lucas made THX 1138 long before he became famous in his later movies.  He based the film on his movie that he used as his graduate project and thesis.  It was his first attempt at directing and producing a Hollywood film.  His goal was to create a film that would show the future state of the world if it was to continue on its path of the search for perfection of everything.  He shows the

future as a place that many people would probably not want to live or to be associated with.

Lucas shows that everyone will be the same.  People will wear the same clothes and have the same haircut.  Names are no longer a part of society.  In the movie each person is given a prefix of letters followed by a number.  They are basically drones who follow orders.  Technology has advanced so far that every motion or action of the person is monitored.  Anytime that one of them does something wrong it immediately appears on the computer screen as to what they are doing and what their number is.

It is possible for the computer to monitor all of their vital signs and mental activity.  Each person is carefully monitored and watched.  The people are told what to do and act based on how they were trained.  They work in shifts of labor and are almost extensions of the computer that tells them what to do.  There is no more guessing about disease or how a person is feeling.  Everything is fed to a computer which processes the information and figures out what to do.  Computers have begun to control the lives of the people and it is almost to the point that they are running society as a whole.  Computers are no longer devices that simplify life for humans; humans are now devices that help computers.

Science has developed a drug that keeps the people submissive and almost with no thought of their own.  The drugs take away the humans ability to think and to be creative.  Ironically it was those attributes that led to the development of all of that technology in the first place.  Humans are no longer

allowed to think for themselves.  Instead of people controlling the development of technology; technology is now controlling the development of the people.

One of the best scenes that tells about the technology of this movie takes place in the prison.  The people who have broken the laws are sent to an area that is totally white.  No other color can be scene.  They are put into machines and forced to take the drugs and the computer monitors them.  Just through several test the entire body of the person can be checked for what is wrong.  The person is checked up on like a machine.  The computer then decides what to do with the person.  When people are treated like machines and not allowed any freedom of thought it is very dangerous to society as we know it.  This could easily end society through the emission of people's rights.

There are very few positive sides to this society.  There is no problem of human error in society.   Computers make most of the decisions.  There is almost no problem with crime or violence because all of the people are so controlled and watched.  While those two positive aspects may seem good to some people, the society that was created is not.   All of the things inside of people that made it possible for technology to be developed have been taken away.  There is no more creativity or individuality.  Everyone is the same and they have no way to be an individual.  There is no heart and no fun involved in life any more.  The society is no longer a society of people.  It is a society of machines.  The people have become the technology.  The technology that the people worked so hard to create and control, now controls them.

Robert Zemeckis shows a much nicer and happier future in Back to the Future.  Technology is still very present, but the people are still in control.  Society is almost the same place as it is today.  The people still work and still have their own personality and still make decisions for themselves.  Nothing seems to have changed from the present except for several advances in technology.  Zemeckis chooses to concentrate on one aspect of technology that has been developed in this future time.  That one main aspect is the development of the technology necessary for time travel to happen.

Doc Brown (Christopher Lloyd) has developed a time machine.  It looks just like a DeLorean, but it has been modified to allow it to go into the future or back into the past.  Marty (Michael J. Fox) gets in  the car to escape danger and ends up in a time period before he was born to the time when his parents were his age.  He goes back and forgets about the advances that have been made in technology between then and the time in which he was living.  He keeps remembering things from the future that are not in the time period in which he is stranded.  Even his clothes represent changes that have occurred in technology in the few years that separated these two time periods.  Technology is truly evident in the way that things look and the way that things are run.

Time travel is not a new concept of technology, but it is a new concept which is believed to have been invented this short distance into the future.  The technology that was used to develop this machine was based on an idea that had occurred to the scientist long in the past.  Technology in this society has

allowed for the machine to be developed.  The society as a whole has not changed from the present very much.  The time machine seems to be the only difference.  It is scary to think that people could use this technology to travel throughout time.  The only problem with it is that it can be used to change history.  When Marty returns from his trip, he realizes that he has created an alternate future.  Technology can now be used to change the past as well as the future.  It has made it possible for people to control all the events that have ever happened in the history of the world.

Back to the Future presents a much nicer picture of the future than does Lucas in THX 1138.  It shows that it has not changed very much.  The one thing that is scary is that the future could be constantly changing, if the technology of the time machine was made available to everyone.  This would mean that there would be no set future for the world.  Each person would try to change the future so that everything would benefit themselves.  This would lead to the eventually destruction of society and maybe no future at all.

George Lucas and Robert Zemeckis both portray the future in their films.  The future however is very different between the two movies.  In THX 1138 everyone is controlled by the technology that has created computers that can control things.  In Back to the Future each individual person has the option to control the future of the world.  Both movies give too much power to one thing.  Either Technology or the individual have too much power to have society run smoothly.  Both of these things would most likely lead to the destruction of

society as it is.  A point must be reached somewhere in the middle or there may not even be a future for people to dream about.

Works Cited

Back to the Future.  Dir. Robert Zemeckis.  Perf. Michael J. Fox, Christopher

Lloyd, Lea Thompson.  1985.  Videocassette.  Universal Pictures, 1986.

THX 1138.  Dir. George Lucas.  Perf. Robert Duvall, Donald Pleasence.  1970.

Videocassette.  Warner Brothers, 1971

769.          No More Laughing for Paddy

Yer Name Here

Poetry/Fiction

Paddy Clarke

No More Laughing for Paddy

Roddy Doyle's Paddy Clarke HA HA HA was a beautifully written book. It

perfectly captures the mind of a ten year old boy in Ireland during the mid-1960's. Paddy

Clarke, the young boy who Doyle uses to enter the mind of a ten year old, is a boy who

most can relate to. The book explores most aspects of life through the eyes of Paddy.

Doyle takes us through childhood and childhood's end. Doyle is able to seize the

complexities of life, but at the same time simplify them enough for ten year old.

Everything is a mystery or an adventure to Paddy and his friends. From taking over

construction sites to receiving polio check-ups. However not everything is a game to

Paddy. His parents lack of compatibility troubles Paddy and his brother Sinbad greatly.

The intensity of his parents arguments accelerate as the book goes on. At times Paddy

feels he can stop them, at one point he considers himself a "referee" in the fights. "I didn't

know what I'd do. If I was there he wouldn't do it again, that was all."(p.191) He ends up

contemplating who he would want to win. He comes to the conclusion that he would want

his mom to win because she does so much for him, however his father is his father and he

loves him.

Sinbad reacts differently to his parents fighting. He doesn't try to intervene or stop

them. In fact he closes up, he implodes emotionally. He cuts himself off from everyone.

During one of their parents arguments Paddy tries to talk to Sinbad, but Sinbad shuts

himself off. ""Sinbad?" He didn't answer. He wasn't asleep though, I knew the breathing. I

could hear him listening. I didn't move. I didn't want him to think I was going to get him."

(p.222)

This drama did not effect me as much as the daily life. The fights I could not relate

to. I had never experienced arguments of such high caliber. But inevitably I had

experienced the life of a ten year old. I could relate to Paddy's reactions to certain

situations at school. For instance when Paddy and his grade are in line to receive check-

ups a joke is made and Paddy says, " I laughed harder than I had to. We all did" (p.144).

Doyle was able to allow me to not just be a reader but an actor. He was able to

make me believe that I was part of Paddy Clarke. Just the way the book was set up

brought me closer to the days of being ten. The book was formatted like Paddy's mind.

Jumping from thought to thought and scene to scene. This low attention span was what

really brought me in to Doyle's world.

I believe that this book won the Booker Prize because of the way the book is able

to avoid sentiment but touch on the important aspects of being ten. Doyle is able to take

the life of a young boy and make it interesting, humorous, and most of all meaningful. It

touches on subjects of life that adults still have trouble conquering. "Why do people not

like each other?" is a question Paddy poses in the book. What seems to be a simple

question asked in an innocent way, is actually a question that has stumped many. It may

seem redundant, but the true reason the book is so powerful is how all the elements are

put together to form this masterpiece. Not many books allow the reader to feel like you

are one of the characters.

The most puzzling part of the book is the title. Paddy Clarke HA HA HA  appears

to simple enough but it is loaded with meaning. The title is only used once in the book and

it is on the second to  last page. "Paddy Clarke, Paddy Clarke has no da. Ha ha ha!"  The

book deals with Paddy shedding his childhood ways and taking on the responsibilities of

adulthood. A significant part of how the title is placed in the book is the line right after it.

Paddy says," I didn't listen to them. They were only kids." Earlier in the book Paddy was

often making fun of other kids. He was convinced his family was perfect. But now when

things are not so perfect and Paddy is forced to step up as man of the house, he crosses

over the line into adulthood. Instead of retaliating like he would have done earlier in the

book, Paddy simply does the mature thing and ignores them. The key phrase is "does the

mature thing". Finally Paddy has shed the coat of childhood. And to back this thesis up

even further on the last page of the book Paddy sees his father after a long period of his

parents being separated. He address him with a handshake and a" how are you?". To me

this truly defined his maturity.

Roddy Doyle truly touched me through Paddy Clarke. Very seldomly do you get

to finish a book with such a sense of fulfillment, but yet a yearning for more. It is a feeling

that is seldom used. Doyle was able to stir up memories, thoughts, opinions, and emotions

I had forgot I had. He was able to bring me back to the good old days of innocence and

exploration, he was able to make me ten again.

770.          No Sex

No Sex

Our group chose "Speak To The Hand" by Lakita Garth. This song talks about the health

risks of casual sex, and sexual encounters. We chose it because of it's positive message

and the good results that would take place in the event this concept would be heeded. We

also chose it because of it's rapid, up beat tempo that stimulates movement, which is an

excellent way to keep fit.

First of all, the message that is being exhibited is that abstinence should be

exercised, no sex is the safest sex and that excuses will not protect you from reality. It

presents all the defenses employed such as, dysfunctional family, no will power, been

incarcerated, peer pressure, it's only their "job", they needed the money, they "were going

to get married eventually", it's "their body it's their choice" and even that "whatever

happens, happens". "Speak To The Hand" lets you know that excuses are not O.K., and

says that "If you know who you are and what you are supposed to do then you wouldn't

continue to do what you do". It urges listeners to "seek and find", "to not let their eyes go

blind" and to "not let the wrong things influence their minds". Examples of this would be

sexually stimulating movies, ads, friends, television programs, magazines, music or

dressing provocatively.

Many bad aftereffects can be produced by chance intimate relationships. Among

these are unwanted pregnancy, spread of disease, virus or infection or mental damages.

The most irrepressible effect is the chance of disease. The many afflictions that you leave

yourself open for are innumerable. An example of this would be, Acquired Immune

Deficiency Syndrome, or AIDS, that eventually would deteriorate your immune system.

Also, there's Herpes that causes sores on the genitals, Chlamydia which causes pain while

urinating and severe lower abdominal pain or Gonorrhea which causes pelvic

inflammatory disease.

Another reason this song was chosen was because of it's accelerated tempo. A

rapid beat, accompanied by a positive message influences mood which is a fundamental

piece of holistic health. It motivates you to move by dance, which is an excellent form of

exercise. Exercise speeds the rate oxygen reaches the bloodstream, which causes clearer,

faster more efficient thinking, makes you feel and look more healthy and even increases

your mood.

In conclusion, "Speak To The Hand" by Lakita Garth is a positive and enriching

song that although teaches right from wrong, does so in a non-preaching and

non-lecturing manner. It is a outstanding way to reach people and educate them on the

dangers and trouble that may result from unplanned and out-of-wedlock sexual

encounters.

771.          Norma Jeane Marilyn Monroe

Norma Jeane

I did my report on Norma Jeane, also known as Marilyn Monroe. Norma Jeane was born on June 1, 1926 at the Los Angeles General Hospital. Her mother, Gladys, registered Norma in as Norma Jeane Mortenson. Norma Jeane never knew her father's identity. Since Norma's mother was mentally ill, Norma was fostered by Albert and Ida Bolender for seven years. Albert and Ida were very strict with Norma and tried hard to raise her as an obedient girl. In 1934, her mom, Gladys, cared for her for approximately one year until she passed away in 1935.

Once again, Norma Jeane was passed on to someone else, Grace McKee. Grace was the one to spoil Norma Jeane. Grace inspired Norma and taught her everything that she needed to know - from applying make-up to sitting like a lady with books balanced on her head. Unfortunately, Grace had some financial difficulties and was forced to be wed. In 1935, Norma Jeane was admitted to an orphanage for two years. Grace frequently visited Norma and took her to the movies. After several years, when Norma was 12 years old, she went to live with Grace's aunt, Ana Lower. Then, Ana developed health problems and could not take care of Norma any longer. Norma went back to live with Grace and her Grace's husband, Ervin Goddard.

While living with the Goddard's, Norma met the neighbor boy, Jim Dougherty. On June 19, 1942, right after her 16th birthday, Norma Jeane and Jim were married. The ceremony took place at 8:30 p.m. in the home of Chester Howell. Unfortunately, Jim was called to military service and Norma Jeane moved in with her mother-in-law, Ethel. Ethel was working at Radio Plane and that is where Norma found work too. She would just spray down the parachutes day after day. One day, a photographer showed up to "cheer up the troops" and ended up taking some quality photos of Norma Jeane. That is when she found her talent for modeling. It did not take long for Norma Jeane to go professional with her career. However, it also meant the breakup of her marriage to Jim. Some time later in her modeling career, Norma Jeane met photographer and agent, David Conover. He got her connections into Hollywood.

Norma Jeane, now Marilyn Monroe, was an actress for 16 years. She made 29 films, 24 of which were in the first 8 years of her career. As her acting career progressed, she improved her roles as a supporting and leading actress. The first movie that I found was Dangerous Years in 1947. Marilyn played a waitress and her role was cast at the bottom of the list of credits. In 1948 Marilyn's singing talent was acknowledged in one review in Ladies of the Chorus. In 1952, Don't Bother to Knock listed Marilyn Monroe and Richard Widmark as the leads. Later on, she made films that are still  are popular today, such as Niagara, Bus Stop, and Some Like it Hot.

Marilyn had many connections with directors, and even relationships with a few. She was married to playwright Arthur Miller (her third husband), who wrote the screen-play for The Misfits in 1961. Clark Gable and Marilyn Monroe (of course) had the leads.

Movie Review

This past weekend, I watched Some Like it Hot, starring Jack Lemmon  Tony Curtis, and Marilyn Monroe. Marilyn played one of three protagonists. Tony Curtis played Joe (Josephine) and Jack Lemmon played Jerry (Daphne). Marilyn's character was a ditsy blonde named Sugar.

Marilyn presented her character just as well as she presented herself in Hollywood. That is not to say that she was ditsy, but very strong and intelligent. She went through a heck of a lot when she was a child and all through her adolescence. For a year, though, following her mother's death, Marilyn lived with Grace McKee. It seems that Grace was the one to encourage Marilyn's future, despite all of the difficulties that she had gone through as an eight-year-old. Grace said to Marilyn (Norma), "Don't worry, Norma Jeane. You're going to be a beautiful girl when you get big   . . . an important woman, a movie star."

Conclusion

Sadly, Norma Jeane's life ended on August 4, 1962. Some say that she overdosed on sleeping pills; others say that the CIA killed her because of an alleged affair with President J.F. Kennedy. I say that she still lives on as an inspiration for  us and that she is even more popular now than she ever was when she was living.

772.          Norman Rockwell 751

Norman Rockwell was a very realistic and successful 20th century artist. His paintings were recognized and loved by almost everyone in America. They captured reality and were almost photographic in their representation. Rockwell also succeeds in having an aesthetic feel in his paintings. Aesthetics is an appreciation of beauty. In all of his paintings, they can be appreciated for the quality, beauty, and time put into them. A particular one of his pieces that he painted is entitled, Boyhood Dreams. It entails a certain meaning that can relate to my cultural background.

Norman Rockwell was considered a reserved man, not given to grand gestures. He impressed himself on America's collective imagination by his stubborn attachment to the old values. His ability to relate these values to the events and circumstances of a rapidly changing world made him a special person in ways both hero and friend to millions of his fellow citizens. His ability to get the point across in one picture, and his style for painstaking detail made him a favorite of the advertising industry. Rockwell helped preserve American myths, but, more than that, he recreated them and made them appealing for new generations. His function was to reassure people, to remind them of old values in times of rapid change.

One of Rockwell's pieces that stuck out amongst the rest is one of a young boy sitting on a fence in a field watching a locomotive off in the distance. This painting is entitled, Boyhood Dreams, which was painted in 1974 on an 18 x 18 size canvas. This was one of three painting in a series that Rockwell painted called, Childhood Treasures. The main colors used on this piece are green, gray, tan, blue, and darker shades of these colors. This genre painting demonstrates a various number of techniques in artistry. For one Rockwell uses foreshortening. Foreshortening represents space by adjusting objects that are closer, making them noticeably bigger. This is represented by the little boy and his dog sitting on the fence, which is larger than the train, mountains, and town in the background. This ultimately gives you a sense of distance between the boy and the objects in the background. Also, kinetic lines are used in the painting. A kinetic line is a line that incorporates actual movement. This is used where the smoke is coming out of the locomotive while it is moving forward. The smoke is moving back but also in an upward motion, which implies the train is moving forward. Another type of style is used in this painting. For example in this painting, the train, mountains, and power lines become blurrier and do not appear as bright as the objects in the front of the painting. This style used is referred to as atmospheric perspective. This is a way of using color to achieve the illusion of depth in a two dimensional artwork. As objects recede into the background they become blurrier, have lower color intensity, and have less contrast. Rockwell used these techniques to achieve the great detail and beauty in this painting.

Boyhood Dreams' semiotics can relate to my cultural background in a way. When I was young, I was infatuated with trains. As a matter of fact, I still am. Just the sound of a locomotive passing by gave me goose bumps. The boy in this picture is staring off into the distance at the train passing by wishing he could be on it, or better yet, driving it. I recall as a younger boy, I would sit by my aunt's window in her apartment in the city just waiting for the next train to come whizzing by. Or at my old pre-school, when we heard a train's horn blowing in the distance we would all go running to the fence and watch in awe as it flew by us. That is why I chose this painting by Norman Rockwell to relate to my cultural background because it shows how this boy can be taken aghast by such a powerful machine.

Rockwell stated, "Without thinking too much about it in specific terms, I was showing the America I knew and observed to others who might not have noticed." Although Norman Rockwell was always at odds with modern notions of what an artist should be, he chose to paint life as he wanted to see it. His themes and unique style have passed the test of time making him one of the best known and my personal favorite American artists.

773.          Nosferatu

Nosferatu

Horror films of today employ several film techniques to invoke responses from the

viewer. However, early silent films relied more on these techniques because without a

script, the viewer needs another way to interpret the film. The 1922 silent film Nosferatu

directed by F.W. Murnau is one of the first of it's kind to apply what most would

consider to be more modern film techniques. Montage plays a key role in this film, as

does unusual camera angles, over acting, early special effects, and framing.

Loosely based on the novel Dracula by Bram Stoker, the film is the story of a

realtor named Jonathon who travels to Dracula's castle in order to close a house deal. He

goes there despite many warnings and soon discovers that Dracula is actually a vampire.

Meanwhile, his girlfriend Nina is plagued with nightmares about Dracula and often goes

into strange trances. Jonathon escapes from the castle but is not free of Draculas power,

for Dracula purchases a house across the street from Jonathon.

I seemed to notice a pattern with the shot construction. When a character first

comes onto the screen, they are shown in a long shot, followed by a medium or close

shot. It's as if the viewer is being introduced to the character gradually. For example,

when Jonathon first arrives at Dracula's castle, our first shot of Dracula is a long shot,

followed by close. The film is mostly shot with a closed frame, but there are several

different camera angles, such as a shot from above looking down onto workers loading

earth into crates. Montage plays what i believe to be the most important role in the film. When

Jonathon is in his room on the night he arrives he is studying a book about vampires.

What follows are several shots of menacing passages from the book crossed with the

clock turning midnight and finally, a shot of Dracula in the hall. This causes the viewer

to connect all three and realize that Jonathon is in danger. After this, Dracula enters his

room and there are several flashed shots. There is a close shot of Jonathon , then a shot

of the door with Dracula coming toward him, back to Jonathon hiding under the sheet,

back to Dracula, then there is a random shot of Nina, Jonathons girlfriend, in her bed.

She wakes up and goes outside, apparently in a trance. Then suddenly, the scene is back

to Johnathon but this time a shadow of Draculas hands, arms lifted, fingers outstretched,

as if he is possessing Jonathon. What follows are several more flashed shots of Nina,

John, and Dracula. Another example of this type of editing is when Dr. Reinfeld is

teaching his students and there is a close shot of a venus fly trap catching it's prey. Then

it is followed by the doctors face and the words "vampire of the plant world". There is

another shot of this kind in the mental hospital. It shows a spider on it's web feasting on

it's prey. This makes the viewer more tuned in to the power that Dracula seems to have

on everyone. The ship that Dracula arrives on is introduced to the audience by a series of shots

looped with waves crashing on the shore and a waterfall. There are several close to

medium shots of the ship from many different angles. On board a "plague" has broken

out, but the viewer already knows that it is caused by Dracula. When the captain and

first mate are all that is left, they decide to investigate down below. When found,

Dracula rises straight up out of his coffin in one stiff, yet swift move. It is a very

intimidating special effect and causes the man in the film to jump off the ship. After this

there is a shot of Dracula walking on the ship but it is shot from below. This gives

Dracula a more intimidating and powerful image. After this there is a shot of the mast

rising and falling on the horizon followed by a shot of Nina's room. This leads the

viewer to realize the danger that is coming as soon as the ship lands in the harbor.

Early special effects that are used by Murnau may seem silly or simplistic to the

modern film viewer, but when considering the lack of technology in 1922, the effects are

actually before their time. When Jonathon is on his way to the castle, he is taken for a

frightening ride on a carriage. In order to make the ride seem more dangerous, the film

was actually sped up. Murnau then reversed the film to make the feeling of a vast

darkness. In using these two techniques, the viewer is more caught up with the idea that

Dracula is evil and that Jonathon is in severe danger.

The over acting in the film is my least favorite part because it makes the

characters seem more silly than serious. I do however understand the necessity of this

since it is a silent film. Nina is perhaps the worst in this aspect, doing the "typical"

female swooning and expressing fear in an extremely exaggerated way. Dracula is made

to look like a disgusting man, with huge eyes and a monster like face and hands. His

acting is also over dramatized. Nosferatu is a classic example of the early horror film.

Because it is a silent film,

F.W. Murnau had to use other techniques in order to help the viewer follow the film. He

does this quite well, employing the use of montage brilliantly. Despite the drawback that

comes from over-acting, I thoroughly enjoyed this film and consider it an important

example of a film that uses techniques other than scripting and computerized special

effects.

774.          Odysseus is not a Hero

Odysseus Is Not A Hero

A hero is ³a man noted for his special achievements²  according to the dictionary, but if you ask most people what a hero is, you will get the same general response.  They will probably say ³someone who does something for other people out of the goodness of his heart.²  Odysseus, who is the main character of the book ³The Odyssey² written by Homer, would fit the dictionary¹s definition of a hero; but if you go deeper, looking at what people feel a hero is, he doesn¹t even come close.  In the book, Odysseus does nothing out of the goodness of his heart.  Even if Odysseus fought in the Trojan War, he is not a hero because he is self-centered and ignorant to other people¹s values and needs.

There are multiple examples of Odysseus being self-centered, such as not taking people¹s advice.  Odysseus was given advice from Circe that said not to try to fight Scylla even when she takes six of your men, but Odysseus tried to fight her and he lost three more men than the six he already lost.  He also neglected to take the advice from his crew member, Eurylochus.  Eurylochus told Odysseus not to send men to see what was on Circe¹s island and because he sent them anyway, they ended up being turned into pigs.  Odysseus also neglects other people¹s lives when he takes action; such as when he tried to fight Scylla after strictly being told not to.  Because of this ignorant action, he lost three more men on top of the other six.  He also sacrificed men when he waited at the Cyclops¹ home for ³gifts.²  Odysseus was very self-centered where real heroes are not.

Odysseus also lacks the part of the hero profile which includes having a good heart.  Odysseus definitely does not have this because he kills people without giving them a chance.  Odysseus killed every one of the suitors in cold blood when most of them didn¹t commit a crime suitable for the death penalty.  He also killed all of the maids who were raped by the suitors as if the had a choice in the matter.  Odysseus also doesn¹t care about his crew members.  When Elpenor fell off the roof at Circe¹s house, Odysseus didn¹t even bother to bury him.  He doesn¹t support up for his crew members either.  At the Cyclops' house he didn¹t try to defend his crew members who ended up being killed and eaten.  Being cold-hearted definitely is not a characteristic of a hero.

Being disloyal is not characteristic of a hero, but Odysseus was.  While he was on his journey, Odysseus had affairs with other women.  When he stayed at Calypso¹s Island, he had multiple encounters with her despite his marriage to Penelope.  He also had multiple encounters with Circe when he stayed at her island for a year¹s time.  While Odysseus was being disloyal, his wife , Penelope, stayed completely loyal despite the suitors urging her hand in marriage.  She still stayed loyal even when Odysseus was thought to be dead.  Therefore, Odysseus had no reason to be disloyal to his loving wife.  Disloyalty surely doesn¹t belong on a hero¹s record.

Although a war hero, Odysseus is not a hero in other respects.  This is so because he is self-centered which is clear because he doesn¹t value other people¹s lives.  He also is cold-hearted which is proved by his unlawful killing and his lack of support for his crew members.  As well, he lacks the loyalty of a true hero as shown by his affairs with other women even though his wife remained faithful.  A hero is someone who does something for other people out of the goodness of his heart, Odysseus clearly is not this.

Outline

I)  Introduction

A)  The average definition for a hero

B)  What Odysseus is like compared to the definition

C)  Odysseus isn¹t a hero

II)  Odysseus is self centered

A)  He doesn¹t take people¹s advice

1)  Circe¹s advice about Scylla

2)  Eurylochus¹s advice about Circe

B)  He doesn¹t Consider other people¹s lives

1)  Got crew members killed at Scylla because he tried to fight her.

2)  Got crew members killed at Cyclops¹ because he was being                          greedy.

III)  Odysseus is cold-hearted

A)  He kills people without giving them a chance

1)  Suitors

2)  Disloyal maids

B)  He doesn¹t care about people

1)  Elpenor didn¹t get buried

2)  Doesn¹t try to prevent deaths of crew members

IV)  Odysseus is disloyal

A)  He had affairs with other women

1)  Calypso

2)  Circe

B)  Wife didn¹t betray him

1)  with suitors

2) even though he was thought to be dead

V)  Conclusion

A)  Odysseus is self-centered

B)  Odysseus is cold-hearted

C)  Odysseus is disloyal

775.          Odysseus

The Golden Sock

Years after Odysseus came from his twenty year trip, Odysseus began to feel restless; he wanted to go on an adventure.  He knew that his wife, Penelope would not agree to his decision to go seek the long stolen, "golden sock".  To many people, this may be any ordinary sock, but to Ithica, it was different.  It was the sock worn on the first person to set foot on the land of Ithica.  Odysseus finally decided to go on the journey to seek the "golden sock."  He snuck away leaving Penelope a note telling where he is, and what he wants to do.  Him, and his hundred crew men went all the way to the Gibralter strait where he was turned around by Charybdis' funnel, and stranded on the peninsula of Hubble.  He picked his best men to search the beautiful island.

"Men, our objective here is to find the long gone, "golden sock".  We have traveled hundreds of miles already, and we still have not come close to finding the "golden sock".  I want you to look at the feet of every man on this island, hoping to see the "golden sock".  This may not be easy, and we may have to fight, so I want every man to be ready to go to war," Odysseus claimed.

Odysseus and his men came to a cave and were directly surrounded.  They got ready to fight, but the people were only trying to find out if they were friendly or hostile.  The people were called the Takol Klan.  They invited Odysseus and his men for the verrano feast.  The Takol Klan, that greeted them, seemed to overly excited to Odysseus.

"Hey, do two of you want to come and help us set up for tomorrow's feast," Taboli said.

"Sure, Odysseus, Ankortipo and I are going to go with these friendly hosts," said Amtiphorus.

"Go ahead, you two, but watch your back; we don't know these people, they might have the holy, golden sock," said Odysseus.

Odysseus gathered all of his men, and told them, that their main task was to look at all the men's feet, trying to seek the "golden sock".  Odysseus followed the soldiers to the sitting room, and a mammoth of a beast was sitting on the couch watching T.V.  He stood up and introduced himself.

"My people call me Cyclops, and you can see why, I am the leader of this tribe."

"My name is Odysseus, my men call me Odysseus, but you can call me Master."

"Welcome Master.  Will you join me for dinner in my private quarter?" asked Cyclops.

"Sorry Cyclops, I would like my men to be present during my dinner," said Odysseus.

"No problem Master, that can be arranged."

Half an hour later, Odysseus and his men were called to the dinner table.  They ate quickly shrugging off any conversation starting questions.  After their feast, Odysseus left the room with Cyclops and asked where his two crew members were.

Cyclops replied, "what do you think we had for dinner today?"

Odysseus gagged and leapt for the Cyclop's throat.  Warriors came to the rescue and attempted to kill Odysseus.  Odysseus ran back to the dinner table and roused his men to fight.  They fought all night and half of the crew were killed.  All of the Takol were lying motionless in their own pools of blood.  Except for Cyclops who shook with spasms on the ground after Odysseus stomped on his head and tore out his eye.

"Come on men, let us search all the dead people to see if one is wearing the golden sock," said Odysseus.

"But the men are under a pool of blood," said on of Odysseus' men.

"Swim under, and check.  I don't care what you men do as long as you check every man for the golden sock," said Odysseus.

The men searched for hours, and did not find anything. So, Odysseus and his crew headed out of the peninsula of Hubble and were sailing home when a storm broke out sending them through the portal of time, or the Girbralter straight.  He ended up in calm water, and they sailed through many, many moons.  Finally, they arrived in a place where there were many, many tall shiny mountains thrusting up into the sky.  Odysseus tried talking to some of the natives, he asked them what this place was called.  They told him Florida dude, USA."

They had never heard each others dialects before so they both ran after answering.  Odysseus ran to his ship and the native ran to the Florida Post.  The editor of the Florida Post was enthralled; he immediately sent the story to the printers.  Meanwhile, a crowd gathered around Odysseus' ships to see the so-called cavemen.  All the news channels were live from the center of all the excitement.  In the crowd was a murderer, cold blooded murderer, but nobody knew it.  To him murder was like sex; it was addicting and you had to do it in more than one place, and to more than one person.  He is a physic vampire; he sucks all the energy from a person and they eventually die from this.  His next targets were Odysseus and his crew.  Each night they found on crew member missing until the final confrontation between the monster called Tom Psyche and Odysseus.  They fough all day and all night runnign between the city and the ship.  Tom had more stamina and endurance than Odysseus, so naturally... the Psycher jumper from the ship's crow's nest onto Odysseus' back.  Odysseus managed to get Tom off his back, then twisting Tom Psycher head off.  He took off Tom Psycher shoes finding the "golden sock."

The Florida State Police arrived, witnessing Odysseus stripping the "golden sock" from Tom.  Odysseus began to run towards his ship, instructing the captain of his crew to leave Florida.  The State police gave Odysseus a warning, and began to fire at him, and at his crew.  He managed to dodge the bullets, and make it successfully on to the ship.  They sailed off into the Atlantic Ocean.  They sailed for many, many moons, and were still clueless of to where they were.  They had finally spotted land, when a storm broke out sending them back through the portal of time, sending them to the peninsula of Hubble.  They sailed back the Straight of Gibralter, finally reaching their homeland, Ithica.  Thousands of Ithican's were out their waiting to touch the "golden sock", and that they did.  And from that day on, the people of Ithica lived happily ever after.

776.          of Mice & Men John Stienbeck overview

Of Mice and Men Mini-Critique

John Steinbeck was born in Salinas California on February 27, 1902.  His mother was a school teacher in the public school in Salinas.  Steinbeck grew up in the beautiful Salinas Valley which furnished most of the material for his novels.  His mother read to him, at an early age, famous literature of the world which planted a seed in his imagination.  He entered Stanford in 1920, remaining there until 1925 but never graduating.  In 1930 Steinbeck married Carol Henning.  Steinbeck died in 1968.

After college, Steinbeck moved to New York, where he worked briefly for the old New York American  newspaper and helped with the construction of Madison Square Garden.  His first book, Cup of Gold (1929), appeared two months before the stock market crash and sold about fifteen hundred copies.  Steinbeck returned to California, living in migrant worker camps to furnish inspiration for writing novels that described the problems and stresses of the times.

Of Mice and Men takes place during the great depression in the Salinas Valley, California.  It is a story about two farm-hands, George Milton and his large retarded friend, Lennie Small.  George and Lennie are on their way to a farm that has harvesting jobs available.  While camped along side a river George and Lennie talk about their dreams of someday owning a farm with rabbits for Lennie to take care of.  The next day George convinces the farm boss to hire Lennie and him.  Lennie¹s Love for feeling soft things becomes a problem when he is playing with a puppy and accidentally kills it.  The wife of Curley, the boss¹s son, comes into the barn to talk to Lennie.  The climax comes when Curley¹s wife lets Lennie feel her hair, but he strokes it too hard and she becomes scared.  Lennie holds her tightly to keep her from screaming and ends up breaking her neck.  The resolution of the story happens when George shoots Lennie through the back of the head.  George does this for Lennie¹s own good.  The main theme of the story is that, no matter how lowly on the social scale, everyone has the unalienable right to pursue their individual dreams.  While the value of friendship is another strong point that comes through in the book.

Magill, Frank N. ³Of Mice and Men² Masterpieces of American Literature. Harper Collins Publishers, 1993.

³[Of Mice and Men] is perhaps the finest expression of the writers lifelong sympathy for abused common people.²

Roberts, James L.  Cliffs Notes on Steinbeck¹s Of Mice and Men.  Lincon, Nebraska: Cliffs Notes Inc., 1966.

³Part of Steinbeck¹s greatness lies in his ability to capture [the] tone of basic reality.²

Of Mice and Men is based solely on the events that transpired in the Salinas Valley during the great depression.  The story accurately shows what life was like among most people just trying to survive.  John Steinbeck actually lived as a migrant worker during the depression, this is how he managed to so truthfully portray the lives of the people who were simply striving to make their lives better.

Works Cited

Author Background

Hart, James D. ³Steinbeck, John² The Oxford Companion to American                   Literature.  Oxford University Press, 1983.

Salzman, Jack ³Steinbeck, John² The Cambridge Book of American                        Literature.  Cambridge University Press.

Plot Analysis

Magill, Frank N. ³Of Mice and Men² Masterpieces of American Literature.  Harper Collins Publishers, 1993.

Roberts, James L.  Cliffs Notes on Steinbeck¹s Of Mice and Men.  Lincon, Nebraska: Cliffs Notes Inc., 1966.

Criticisms

Magill, Frank N. ³Of Mice and Men² Masterpieces of American Literature.  Harper Collins Publishers, 1993.

Roberts, James L.  Cliffs Notes on Steinbeck¹s Of Mice and Men.  Lincon, Nebraska: Cliffs Notes Inc., 1966.

Historical Perspective

³Depressions and Recessions² The Book of Knowledge.  Grollier Incorporated, 1993.

³United States of America, The: History² Colliers Encyclopedia.  MacMillan Educational Company, 1990.

777.          Of Mice and Men 2

Of Mice and Men, written by John Steinbeck, is the story of two simple farm hands,

Lennie Small, who incidentally, really isn't very small, and his better half, George Milton, on

their quest to have "a place of their own," with plenty of furry bunnies, of course.  Sound

strange?  Read on to get clued in.

The book opens along the banks of the Salinas River a few miles south of Soledad,

California.  Everything is calm and beautiful, and nature is alive.  The trees are green and fresh,

lizards are skittering along, rabbits sit on the sand. There are no people in the scene. Suddenly,

the calm is broken.  Trouble is in the air.  Animals begin to scatter.  Two men have arrived on

the scene, and the environment seems troubled by their presence.  For a moment the scene

becomes "lifeless."  Then in walk George and Lennie.

Lennie, a large, retarded, big man who has the mind of a little child, and who loves to pet

soft, pretty things, and George, a little man, who has assumed the responsibility of taking care of

his simpleminded friend Lennie, are walking on their way to apply for a harvesting job on  a

nearby farm.  The two had been traveling together for quite some time now, which was very rare,

because most farm workers rarely have companions, but George and Lennie have been together

ever since Lennie's Aunt had passed away, and Lennie began to follow George around

everywhere.

Instead of hurrying to the farm that night, they stop by a stream to camp in the open, and

they'll arrive at work the next morning. Why?  Well, Lennie isn't very bright.  George didn't want

him to blow the job opportunity.  The logic between waiting until morning until going to work was,

that way, all the other farm hands would be out working, thus they'd have a better chance of

getting the job, since Lennie wouldn't have to confront to many

people, which can easily make him "confused."

During that evening, George had to take a dead mouse away from Lennie, who had been

hoarding it because he liked to pet it.  George tried to teach simpleminded Lennie that you don't

pet dead things, but Lennie had a hard time remembering.

George is aware that Lennie has difficulty remembering things, so he has to remind him

every time that they went for a job not to say anything, and to let him do the talking.  He also

stresses the importance that Lennie returns to the particular place and hide in the stream or

bushes if gets in any trouble, which plays an important role later on in the story.  Also in the

forest, we here the story of living "off the fatta' the land," for the first time. They dreamed of one

day having a place of their very own, in which Lennie could tend to as many bunnies as he would

like.  Lennie was apparently obsessed with this dream, because all throughout the book, he nags

George to repeat the story over and over, like a child.

The next morning during the job interview, the boss of the farm becomes suspicous

when George answers every question for Lennie.  George told him of the situation, how he isn't

very smart, but he makes sure the boss realizes that he is an excellent worker.  The boss is a

little suspicious, and believes that George is taking advantage of Lennie, so he had to lie,

and he told the boss that they were cousins, in order to get rid of any suspicion.  Then they were

hired.

That night in the bunkhouse, which is were Lennie and George were staying, there is a

conflict over whether or not the old dog which Candy, an old crippled farm hand, owned should

be killed or not, because it smelled so terrible.  After much argument, Candy agrees to let

Carlson, another farm hand, kill the old dog.  After making sure that the dog had his head turned,

Carlson shot him. Candy later regrets letting someone else shoot his own dog like that, and

wishes he would have put him out of his misery himself.  This is foreshadowing an event that

takes place with Lennie and George later in the book...

Later that night, after the old dog had been killed, Candy realized that he to would soon

be old and unwanted like the dog was, so, wanting to have companions, he decided to join

Lennie and George in their dream of having their own place, where they could all be together.

This becomes an important theme throughout the book, the idea that all people have dreams,

and also that fact that all people need companionship to get along.

Meanwhile, Curley, the arrogant son of the boss, who likes to try and pick on bigger

people that he is, was trying to find his wife, and he couldn't find her anywhere.  When he walked

into the bunkhouse and saw Lennie grinning, about the dream of the place that they would one

day have, of course, he began to hit him, thinking that Lennie was grinning towards him.  Lennie

did nothing for self defense until George told him to.  He then, almost mechanically, reached out

and crushed Curley's hand, with no apparent difficulty at all.  This gets Curley all steamed, and

would eventually push him over the edge later in the book...

That weekend, everyone is in town but Lennie, Candy, and Crooks, who is a Negro

stable keeper who keeps to himself, and has no friends.  After being really rude towards Lennie

when he tried to walk into his quarters of the bunkhouse, he saw that Lennie was generally

friendly, and let he and Candy in.  They talked about their dream of their own place, and Crooks

decided he'd like to join them.  He said he'd work for his keep.  They all agreed on it, and now

Crooks too was in on the deal, that is, until Curley's wife, who is also just as lonely as the farm

workers, is bored and comes in and begins to harass him, and he realizes that he really has no

hope of these things really happening.

The next day, Lennie receive's a puppy after begging George, but accidentally kills it by

playing too hard with the puppy.  Curley's wife, who is really bored, sees what he is hiding, and

tries to talk to him about it, explaining that it was okay, it was only a "mutt."  After she discovers

his obsession with petting things, she lets him pet her soft hair.  He enjoys it, but doesn't know

how to be gentle, and pets it to hard.  She struggles to get loose, but he held her closer.  When

she tried to yell, he held her even tighter, because he was tensing up, afraid that he had done

something bad, and if anyone found out about it (he wasn't even supposed to be talking with her

in the first place), he'd get in big trouble, and not get to tend to the  bunnies one day,

which was his big goal in life.  Knowing this, and not knowing what to do, he grasped her tighter

and tighter, until his strength had snapped her neck, leaving her dead.  He was all confused, and

afraid.  He knew this was bad.  Luckily, he remembered to run to the forest and hide if he was in

trouble, so he did.

When Candy discovered her body, they new immediately that it was Lennie.  Curley,

was furious, and in addition to this, he was already mad about Lennie crushing his hand, so he

ordered that all the men go with him to find Lennie and kill him.  George was concerned for his

friend, so, while he stalled, he stole Carlson's gun so he wouldn't have it to go after Lennie with.

Then he ran ahead of the gang to the forest to check on Lennie.

Meanwhile, Lennie was seeing strange things.  He saw a huge image of his Aunt, and

she was scolding him for messing things up, and always being a hassle for George.  Then he

saw the image of a large rabbit.  The rabbit told him that George would beet him, and that

he'd never be able to take care of the rabbits.  Lennie, having complete faith in his good friend

George, denied all this, saying that George would never do such  a thing.

After a little while, George showed up, and Lennie was relieved.  He told Lennie that

everything would be alright.  But not even George could deny that Lennie had done something

very wrong this time.  While Lennie had George repeat the story of the place that they would one

day have, and Lennie's back was turned, he pulled out the gun and shot Lennie, killing him.  The

rest of the workers then caught up and congratulated him for his doings.

Why had George killed his dear friend Lennie?  Well, think back to when Candy had to

part with his dog, and he let Carlson do it for him.  This was the same type of situation, but

George decided that he'd rather put Lennie out of his misery himself rather that see him

mutilated by the vengeful Curley.  It was mainly for his own good, and at least he died happily,

thinking of his long life dream.  But George had sacrificed his companion, and he too, like the

other farm hands, would now have to live a life alone in misery, with nobody who cares for him.

778.          Of Mice and Men 5

Movies and books have similar and very different values that each other share and contrast with.  Most movies are 'undetailed' compared to the book versions.  Movies tend to shorten because of allowed time while books can be as long as they want, if the author can keep the reader in suspense.  Some books have much more detailed information in it than the movie version.  A good author can make a reader see what they are reading in their head, as a 'virtual' movie.  That is what separates them from each other.  John Steinbeck is the author of the novel Of Mice and Men.  The film director of the reproduced Of Mice and Men movie is Gary Sinice. Of Mice and Men has three parts to it, it has a plot, a theme and a Characterization to it, as does the movie.

George and Lennie always wanted to own a farm of their own, where they could work for themselves and be self dependent.  They didn't have enough money at the time to start the farm, but they did have the willpower.  The only way they could think of raising money is to go to work on another farm and to save up for their dream.

At the new farm they worked on Lennie proved very quickly what a good hand he was.  What he was told he would do, and, he could do twice what the other men could do.  Many people said things about him.  They said how he had 'paws' instead of hands and how he was a giant.  George was Lennies' hero in a sense.  Lennie loved George with all his heart, whatever George said, Lennie would do.  One thing that would never leave Lennies mind was their dream, the dream of the farm with rabbits he could tend and how he could live off the fat of the land.

George was a leader, what he said most respected.  Lennie was a follower, but he didn't know any better, he just knew the only person he could really trust is George.  Slim was the most respected on the farm George and Lennie worked on.  Nobody had seen him fight, but they knew to respect him.  They were all respected in one way, even the hated ones.

Of Mice and Men has three parts to it, it has a plot, a theme and a Characterization.  The book has all the details, yet the movie portrays the characters views and looks better than the mind.  The movie also shows how angry they really get, when you are supposing with the novel.  The book I think is a better story.  It has much more detail, content, and violence than the movie.  All in all, I think Of Mice and Men was a great book.

779.          Of Mice and Men A Comprehensive Comparision of the novel and

Who doesn't know of John Steinbeck's classic novel "Of Mice and Men"?  It is a novel that almost everyone educated in the United States has either read it or pretended to read it.  But how many have seen the 1992 film "Of Mice and Men"?  The relative obscurity of 1992 screen version of this timeless drama does not mean that it was poorly done.   Just the contrary is true, it is one of the best film adaptations of a novel that I have seen.  The novel and the film are very similar.  The Steinbeck's novel could be though of as the screenplay's first draft.  There were some small changes, but they were instituted for the good of the film.  I liked the film better than Steinbeck's novel.

"Of Mice and Men" is a story of people who express their troubles clearly, holding on to thin dreams as they go about their thankless business.  The novel, set in the 1930s, is a story of friendship of migrant workers George Milton and Lennie Smalls.  The pair travels from ranch to ranch, dreaming of someday making enough money so they can buy their own plot of land and a stake in their future.  George is a father figure and protector of the strong simple-minded Lennie.  Lennie's strength is his gift and his curse.  Like the child he is mentally, he loves animals, but he inadvertently crushes them to death.  Women, to him, are rather like animals, -- soft, small, and gentle.  And there lies the tension that powers this narrative to its tragic conclusion.

The film version and the novel are very similar.  There is minimal description in the novel, enough to set the scene, and the rest is dialogue.  The film's story is very pure and lean as Steinbeck's original.  Producer/director Gary Sinise and screenwriter Horton Foote don't try do anything fancy, they don't try to make it anything other than exactly what it is, a timeless simple story.   Sinise and Foote make American Literature teachers everywhere proud; they have left the film's story uncluttered.  Everything is very clear, and makes sense within its context.   They remembered "Of Mice and Men  is a classic for a reason, and if it ain't broke, don't fix it.

The screenplay and the novel are not synonymous but they are very close to being that way.  Sinise and Foote held very true in their adaptation.  All of the changes made were minor and to nothing to detract from the narrative.  There were many more scenes in the film than the novel.  It is believable to think the novel was originally a play and then was adapted into book form because there are only four different scenes in the entire novel.  Chapter one is set at the Salinas River, chapter two and three are in the bunkhouse, chapter four in Crook's room, chapter five is in the barn, and chapter six is at the river again.  Scenes had to be added to the film to keep the audience from getting bored.  Dialogue was deleted to help move the story along.  The only way we get background information about George and Lennie in the novel is through their dialogue.  There was less dialogue in the film because the audience can learn the background information from visual cues from the added scenes.  For instance, in the novel, George and Lennie speak of walking ten miles after being forced off the bus by the driver.  But in the film, we see the driver kick the pair off of the bus.  Similarly, George only speaks of the trouble that Lennie had gotten them into in the town of Weed.  But in the movie we are able to see what happens.

Curley's wife, played by Sherilyn Fenn, plays a larger role in this film than in the novel.  This character steadily develops as layers are peeled back like an onion.  The wife in this version is far more predatory and dangerous than in Steinbeck's novel.  Initially she acts quite sluttish, but she eventually shows to be naive, lonely, and trapped in an abusive marriage.  She acts as a feminist voice that Steinbeck probably never intended.

The film version is different because downplays the novel's political subtext, a call for humane socialism where people take care of one another.  Instead, the film version focuses on the human condition on the individual level only.  We are given characters, a setting, and events.  The drama of this story comes from two men who have formed a friendship that works - they have a bond in which each takes according to his needs and gives according to his abilities.  The two main characters truly need each other.  When George is not there, Lennie would get into trouble and when Lennie is not there, George would think of throwing away his dreams.

I liked the film better than the novel for several reasons.  The novel gave good descriptions of the characters but I learned more about them and the story form the film because I was watching and listening to them, rather than just reading about them.   John Malkovich's (Lennie), Gary Sinise's (George), and Ray Walton's (Candy) performances made the film very worthwhile.  Malkovich and Sinise are touching and pleasurable to watch together.  Malkovich uses his baldness with bulky costumes to become convincingly large and stupid.  He takes the time to show us that the wheels are turning very slowly and uncomprehendingly beneath his broad forehead.  Many actors would have easily overacted playing Lennie.  They'd end up looking cartoonish, but Malkovich does well because he exercises remarkable restraint.  Sinise does a lot for this film by doing less.  He lets Malkovich's character be the attention getter, while he does well in the quieter caretaking role.  Sherilyn Fenn impressed me in presenting a new take on Curley's wife.  But Ray Walston as Candy may have turned in the film's best performance.  All Candy had in life was his old smelly dog, but one of the ranch hands shot him because "he was of no use anymore".  Walston delivers the best lines of the movie when he says, "I wish someone would shoot me when I'm of no use anymore.  But they won't, they'll just send me away."

The film is a success because it was well photographed.  The film captured some of California's picturesque golden wheat fields.  The entire film was very pretty but it maybe too pretty.  I had pictured Candy and Slim to be more dirty and grizzled men.  I thought Ray Walston looked a little too feeble to play Candy but his acting made up for any shortcomings he had in his appearance.  Slim looked a little too young and handsome to be the character I had envisioned.  Overall, the casting and photography was excellent.

Another reason why I liked the film better was because of its dramatic conclusion.  At the end of the novel we know what that George has Carlson's gun and then we know what is going to happen.  At the end of the film, we don't know George has the gun and we can't see that he is holding the gun to the back of Lennie's head.  This makes for a very dramatic ending.  Because I read the novel, I knew what was going to happen, but I still was very drawn into the action.

The film was a very good adaptation of a great book.  It is a wonderful story of friendship,loneliness, and pain.  This was an excellent film because it was dramatic but it never went too far and became sappy and overdone. This film is great because the creators realized how important the original text was in making this film.  They did not fool around with it; the story says all they want to say.

780.          Of Mice and Men Essay

Of Mice and Men: A Comprehensive Comparison of Novel and Movie

Who doesn't know of John Steinbeck's classic novel "Of Mice and Men"?  It

is a novel that almost everyone educated in the United States has either read it

or pretended to read it.  But how many have seen the 1992 film "Of Mice and

Men"?  The relative obscurity of 1992 screen version of this timeless drama does

not mean that it was poorly done.   Just the contrary is true, it is one of the

best film adaptations of a novel that I have seen.  The novel and the film are

very similar.  The Steinbeck's novel could be though of as the screenplay's

first draft.  There were some small changes, but they were instituted for the

good of the film.  I liked the film better than Steinbeck's novel.

"Of Mice and Men" is a story of people who express their troubles

clearly, holding on to thin dreams as they go about their thankless business.

The novel, set in the 1930s, is a story of friendship of migrant workers George

Milton and Lennie Smalls.  The pair travels from ranch to ranch, dreaming of

someday making enough money so they can buy their own plot of land and a stake

in their future.  George is a father figure and protector of the strong simple-

minded Lennie.  Lennie's strength is his gift and his curse.  Like the child he

is mentally, he loves animals, but he inadvertently crushes them to death.

Women, to him, are rather like animals, -- soft, small, and gentle.  And there

lies the tension that powers this narrative to its tragic conclusion.

The film version and the novel are very similar.  There is minimal

description in the novel, enough to set the scene, and the rest is dialogue.

The film's story is very pure and lean as Steinbeck's original.

Producer/director Gary Sinise and screenwriter Horton Foote don't try do

anything fancy, they don't try to make it anything other than exactly what it is,

a timeless simple story.   Sinise and Foote make American Literature teachers

everywhere proud; they have left the film's story uncluttered.  Everything is

very clear, and makes sense within its context.   They remembered "Of Mice and

Men  is a classic for a reason, and if it ain't broke, don't fix it.

The screenplay and the novel are not synonymous but they are very close

to being that way.  Sinise and Foote held very true in their adaptation.  All of

the changes made were minor and to nothing to detract from the narrative.  There

were many more scenes in the film than the novel.  It is believable to think the

novel was originally a play and then was adapted into book form because there

are only four different scenes in the entire novel.  Chapter one is set at the

Salinas River, chapter two and three are in the bunkhouse, chapter four in

Crook's room, chapter five is in the barn, and chapter six is at the river again.

Scenes had to be added to the film to keep the audience from getting bored.

Dialogue was deleted to help move the story along.  The only way we get

background information about George and Lennie in the novel is through their

dialogue.  There was less dialogue in the film because the audience can learn

the background information from visual cues from the added scenes.  For instance,

in the novel, George and Lennie speak of walking ten miles after being forced

off the bus by the driver.  But in the film, we see the driver kick the pair off

of the bus.  Similarly, George only speaks of the trouble that Lennie had gotten

them into in the town of Weed.  But in the movie we are able to see what happens.

Curley's wife, played by Sherilyn Fenn, plays a larger role in this film

than in the novel.  This character steadily develops as layers are peeled back

like an onion.  The wife in this version is far more predatory and dangerous

than in Steinbeck's novel.  Initially she acts quite sluttish, but she

eventually shows to be naive, lonely, and trapped in an abusive marriage.  She

acts as a feminist voice that Steinbeck probably never intended.

The film version is different because downplays the novel's political

subtext, a call for humane socialism where people take care of one another.

Instead, the film version focuses on the human condition on the individual level

only.  We are given characters, a setting, and events.  The drama of this story

comes from two men who have formed a friendship that works - they have a bond in

which each takes according to his needs and gives according to his abilities.

The two main characters truly need each other.  When George is not there, Lennie

would get into trouble and when Lennie is not there, George would think of

throwing away his dreams.

I liked the film better than the novel for several reasons.  The novel gave

good descriptions of the characters but I learned more about them and the story

form the film because I was watching and listening to them, rather than just

reading about them.   John Malkovich's (Lennie), Gary Sinise's (George), and Ray

Walton's (Candy) performances made the film very worthwhile.  Malkovich and

Sinise are touching and pleasurable to watch together.  Malkovich uses his

baldness with bulky costumes to become convincingly large and stupid.  He takes

the time to show us that the wheels are turning very slowly and

uncomprehendingly beneath his broad forehead.  Many actors would have easily

overacted playing Lennie.  They'd end up looking cartoonish, but Malkovich does

well because he exercises remarkable restraint.  Sinise does a lot for this film

by doing less.  He lets Malkovich's character be the attention getter, while he

does well in the quieter caretaking role.  Sherilyn Fenn impressed me in

presenting a new take on Curley's wife.  But Ray Walston as Candy may have

turned in the film's best performance.  All Candy had in life was his old smelly

dog, but one of the ranch hands shot him because "he was of no use anymore".

Walston delivers the best lines of the movie when he says, "I wish someone would

shoot me when I'm of no use anymore.  But they won't, they'll just send me

away."

The film is a success because it was well photographed.  The film

captured some of California's picturesque golden wheat fields.  The entire film

was very pretty but it maybe too pretty.  I had pictured Candy and Slim to be

more dirty and grizzled men.  I thought Ray Walston looked a little too feeble

to play Candy but his acting made up for any shortcomings he had in his

appearance.  Slim looked a little too young and handsome to be the character I

had envisioned.  Overall, the casting and photography was excellent.

Another reason why I liked the film better was because of its dramatic

conclusion.  At the end of the novel we know what that George has Carlson's gun

and then we know what is going to happen.  At the end of the film, we don't know

George has the gun and we can't see that he is holding the gun to the back of

Lennie's head.  This makes for a very dramatic ending.  Because I read the novel,

I knew what was going to happen, but I still was very drawn into the action.

The film was a very good adaptation of a great book.  It is a wonderful

story of friendship,loneliness, and pain.  This was an excellent film because it

was dramatic but it never went too far and became sappy and overdone. This film

is great because the creators realized how important the original text was in

making this film.  They did not fool around with it; the story says all they

want to say.

781.          of mice and men

Of Mice and Men

"Of Mice and Men", by John Steinbeck, is composed of four major themes.

These themes are the value of dreams and goals, moral responsibility, social injustice,

and the bond of friendship and loyalty.

The value of dreams and goals are that they provide hope and the desire to keep

going in life, rather than laying down to die.  When Lennie is feeling depressed in the

woods he asks George to tell him about the "dream farm" again.  This is the farm that

Geore and Lennie hope to own someday.  Even though this dream seems almost

impossible at the time it still generates enough hope to keep Lennie and George going.

When George starts talking bout it Lennie gets all excited and happy and so does

George.  Another example of the power of dreams is when Candy over hears George

and Lennie's "dream farm" and becomes a part of the dream.  Candy goes from a

depressed sad additude to a cheerful excited one.  He now has hope of doing something

and it came from the "dream farm".  A final example of the value of dreams and goals is

when Crooks hears of the farm.  Crooks is a lonely black man who has no future, but

when he starts to think of how he can be a part of the dream he also gets happy and

excited, until his dream is crushed.

Many people of good character have to honor certin moral responibilites.

George is bond by his own moral to take care care of Lennie.  No one makes him do it,

he just does it because it feel like the right thing to do.  Candy felt like he neglected his

moral responibility to shoot his own dog.  Candy felt real bad inside because it was his

job to shoot his dog but instead Carlson shot him.  This shows that when a person goes

against what is moraly right to them , they hate themselves for it.  At the end of the

story George is forced, out of moral, to shoot Lennie.  It was the right thing to do, and

even though it almost killed George inside to kill his best friend, he still did it.

Social injustice is when a person or a goup of people feel they are better than

people who are different by race, inteligence, age, sex, or other differences.  Curley is

rude and mean toward Lennie for the sole reason that Lennie is a big guy.  Curely

dosn't like big guys so he singles out Lennie and attacks him. Another good example of

social injustice is Crooks.  Crooks has to be alone all the time because he is black.

When Crooks tells Miss Curley to leave his room Miss Curley threatens that she can

get him linched. This reduces Crooks to a big pile of nothing and crushes Crooks

dreams of going to the "dream farm".  Crooks only responds with a series of "yes

mam" 's then becomes beyond depressed.  The power that one person can end another's

life with a single lie without and evidence is a prime example of social injustice.  A final

example of social injustice is Candy being old.  He is treated old and useless, if he stuck

up for Crooks about the Miss Curley lie no one would believe him. Miss Curley laughs

at Lennie, Crooks, and Candy because to her they are all below her.

The bond of friendship and loyalty is a force that keep people looking out for

each other, rather than themselves.  When Lennie is getting beat up by Curley and

Lennie, Lennie wasn't fighting back because he was being loyal to George's request for

him not to make trouble.  George sees lennie getting beat up and tells Lennie to fight

back out of friendship.  When Crooks starts telling Lennie that George might die or get

hurt Lennie gets mad.  He feel that someone, Crooks, might hurt his friend and almost

fights Crooks to defend his friend. Candy shows loyalty when he tells Miss Curley that

he would stick up on Crooks behalf if she tried to lie and yell rape.

Steinbeck used these four themes to show what problems America was faceing

at the time.  A time of racial injustice, loss morals, tainted loyalties, lost hope and

smashed dreams.  The people needed their eyes opened to what is important to

everyone as a whole rather than to one.  In the battle to rise up in the world, people

rarely care who is on the bottom and why they are there.

782.          Old Man By the Sea

Sea

"The great DiMaggio is himself again!"(21), in Ernest Hemingway's novel, The Old Man and the Sea, which takes place near Havana, Cuba in the Caribbean Sea, a very old, unlucky, fisherman sets out for the big catch.  The great DiMaggio is seamed throughout the novel to symbolize the old man and his struggle to catch the big fish, yet also he poses as a role model for Santiago (the old man).                                                                                     The old man is using the great DiMaggio for a role model.  At a certain point in the struggle to catch this great fish, the old man begins to cramp up in his left hand, do to the fish pulling so strenuously on the line.  Where as the great DiMaggio (during this time) is struggling with a bone spurn his ankle, yet still continues to play baseball, and plays well.  The old man looks at DiMaggio as a role model in the sense that if DiMaggio can play with a bone spur in his ankle and tough things out, then he will work around his cramp and continue to fight the fish, as would the great DiMaggio.  This is what the old man thought, "Do you believe the great DiMaggio would stay with a fish as long as I will stay with this one?  I am sure he would and more since he young and strong.  Also his father was a fisherman.  But would the bone spur hurt him too much?"(68).

"But I must have confidence and I must be worthy of the great DiMaggio who does all things perfectly, even with a bone spur in his heel"(68), this particular quote from the old man shows that the image of  Joe DiMaggio works in fulfilling its role in the old man's challenge of catching the fish.  When thinking of the great DiMaggio, the old man remembers to give himself more confidence, and in doing so thinks back to his younger years when he was referred to as the champion because of an arm wrestling match.  This gave the old man more strength and will to push on and fight the fish until he wins.  Also this image of DiMaggio reminds him he must be very strategical, and do everything right, despite any cramps in his hand.

There is hard evidence that shows that DiMaggio symbolizes the old man.  Previously Joe DiMaggio had been struggling in his profession of baseball, due to a bone spur in his heel.  The whole team struggled because DiMaggio was the main hope to the Yankee's team.  Now in the case of the old man, who had previously struggled to catch a fish because of his newly developed unluckiness, struggles in his life because he has not caught a fish and in turn, has no money to buy the necessities for life.  Well as soon as DiMaggio picked up his game and started to play at a whole new level, the old man hooked into a great big marlin, and started a fight that would change his life.  Not to mention the fact that DiMaggio played outstanding even though he suffered from a bone spur in his heel.  As did the old man out struggle and out think the fish even though he suffered from a temporary cramp in his left hand.  All of this shows how DiMaggio "is" the old man  "The great DiMaggio is himself again"(21).

In conclusion to Hemingway's novel, The Old Man and the Sea, the great DiMaggio is most definitely a symbol of the old man himself, and his struggle to catch a fish.  Also DiMaggio poses as a role model for the old man.  Within this paper there were great facts from the novel to prove that my thesis is indeed  strong, and something to think about.  But one could ask himself, "Is it possible to take a model figure, such as the great DiMaggio, and use him in such a way to give yourself courage, confidence, and strength to succeed in your goals?" The old man would tell you so, and so would I!

783.          On Experiencing Verdis Aida

"On Experiencing Verdi's Aida"

Being my first time seeing an opera, I was very much impressed by the whole

production.  I did not, however think it was very  different than I had

imagined it would be like.  Although my opinion would have been much better if

I saw it live, it was a great first impression.

I thought that all of the characters were very well casted.  I did

think that even though they were all very talented singers, they could have

used more facial expressions and gestures to play out their emotions to match

the scenes and the music.

Out of all the characters, I liked Aida the most. I thought that she

carried  herself very well and gave a fantastic performance. She also had

great chemistry with Radames. Radames too, showed little or no change in his

voice or actions to display the full range of emotions that he experienced.

One of the characters that had no effect on me was Amneris.  Her character did

not make very much sense to me because she was cast as a princess and since

Aida was her slave I thought that Amneris did practically nothing to stop

Radames and Aida's love for one another.  She did, however, show great

dignity. I felt much compassion for her betrayal and for her loneliness. I

could identify with Amneris very much because I think that we all would act

like that out of jealousy and rage.

The music in Aida was terrific. I thought that they wonderfully designed

the tempo to match the acts.  The costumes and scenery were also excellent.

The dances gave great drama and spice to the production. Overall, I thought

that Aida was an enticing journey of nationalistic warship and hierarchy.

784.          On The Waterfront

On The Waterfront

Terry Malloy as a "Hero???"

When Terry Malloy was first introduced, he did not make any indications that he would strive for the respect that he gained throughout the story. His tough-guy behavior and compassionate attitude has made him what he is: a hero. He never revealed what he was truly made of or what he was capable of. He always had low self-esteem about himself-repeatedly calling himself a "bum." Despite his stubbornness to change and his ignorance to others, Malloy proves himself by doing what he knows is right to be a true hero. Throughout the whole film, Malloy displayed himself as a bum. He rarely works, and he is a has-been boxer. Others occasionally criticize him about his boxing career; explaining to him that he was no good. Because a lot of the criticism got to Terry's head, he was unable to associate with others. This proves so with the relationship he has with Edie Doyle. He is barely able to hold the relationship with Edie, even though she is the one whom Terry loves so much. Up to this point, Malloy does not display himself as a hero, or even close to being one.

When Malloy put himself to the test, he rarely came out successful. This all changed when he saw the death of his brother, Charlie the Gent. Malloy decided to stand up for what he knew was right and went to speak with Johnny Friendly face to face. As the scene unfolded, the depiction of Malloy being a hero was relevant. He stood up for his brother, and his girlfriend. He knew what the outcome would be if he confronted the "hoods," yet he did what he had to do for the people on the dock, and above all, for the people he cared about the most; and for this, he gained the respect and loyalty that he deserved.

As the film progressed, Malloy's character seemed to have changed. He became more sensitive towards Edie, and he stuck with his wits and testified against his own former friends, "the hoods." But with every good thing, there must be something bad that comes out of it. When Malloy lost the respect of his co-workers and friends by testifying against the hoods, he became a target for blame that the people of the town needed to show that they were still behind the hoods. Yet when Malloy went on the dock and professed what he truly thought of Friendly and the others, the people of the town realized that what Terry was saying is correct, and they eventually regained there respect for Terry. What he did in that last scene proves him to be a hero. He was the only one that stood up against the hoods and he was willing to accept the consequence of his actions. All the people needed was someone they could look up to, someone to lead them one their way; that is the definition of a hero, and Terry Malloy expressed himself as one.

785.          Once And Future King Analytical Paper

Once And Future King Analytical Paper

Sir Lancelot's intense desire to perform heroic deeds was brought on by his lack of confidence and insecurity.  His childhood was spent in seclusion, training for a job desired only to escape the hellish life that his hideous face would otherwise hold in store for him.  Lancelot's adulthood was spent trying to overcompensate for this ugliness by performing Herculean feats and good deeds.  And the twilight years of his life were spent in remorse for the bad things he had done.  Although held up to almost godlike stature in T.H. White's novel The Once And Future King, Lancelot was truly the most human character of them all.

Lancelot's childhood was spent sequestered, training to be a knight in order to escape from his ugliness and give him something to be proud of.  Lancelot wanted to be a knight because he felt that he was a depraved, lubricious soul.  His hideously twisted visage was a sure sign to him that deep in his inner self he was an evil person.  Night and day he brooded over his ugliness, his malfeasance.  "The boy thought that there was something wrong with him.  All through his life - even when he was a great man with the world at his feet - he was to feel this gap: something at the bottom of his heart of which he was aware, and ashamed, but which he did not understand."(p.315) As a result of this fear of himself, Lancelot trained to become a knight.  The knighthood, a bastion of chivalry and nobleness, would be the only way to counter his immoral soul.  Secondly, Lancelot lived a baneful existence as a boy.  He was kept away from all the other children and spent his every waking hour with a fiery old man in a single room, learning to fight, joust, and fence.  This may seem extreme to some, but for Lancelot, it was all he had.  "Three years may seem a long time for a boy to spend in one room,...unless you realize from the start that...this rather sullen and unsatisfactory child, with the ugly face, did not disclose to anybody that he was living on dreams and prayers."(p.320) While this single-minded seclusion would make him a great knight, it also kept him alone.  He had no childhood friends, nobody to relate to, nobody to tell him that he was a good person.  Consequently, his misgivings about himself took a firm root.  Finally, Lancelot was filled with terrible, hateful thoughts toward himself and his face.  The only job he could succeed in would be the knighthood, a profession in which a man is measured not by his looks, but by his strength.  He was clinging to the dream that he would be able to become the best of them all and conquer his fears.  Lancelot worked for a goal that he had to attain in order to prove to himself that he was not impure.  He wished to become a heroic miracle worker.  "He supported himself mainly on daydreams.  He wanted to be the best knight in the world..., and he wanted one other thing which was still possible in those days.  He wanted, through his purity and excellence, to be able to perform an ordinary miracle..."(p.323) Lancelot had to prove to himself that he was not evil.  He knew that only the pure of heart could work miracles.  If he could be pure and work miracles, then he would know that any inherent evilness he might have had would be taken away, and he would have nothing to be insecure about.  In conclusion, Lancelot's childhood was a seedbed for his wretched self-image, but also a seedbed for his skills.  Indeed, if he had not been so unconfident, he would not have worked as hard as he did, because the only reason he wanted to be a knight was to show that he was more than just a repugnant, vile-looking ape.

Although his body grew since his childhood days, the adult Lancelot was still concerned with trying to overcompensate for his feelings of insecurity. When he became an adult, Lancelot did indeed become a great knight.  He was the strongest in the land, and the noblest.  Yet he still thought that he had not done enough.  He was still trying to overcompensate.  He tried to be the best, and tried almost too hard.  From childhood, he had worked toward this goal.  "'I had spent all my childhood, when I might have been chasing butterflies, learning to be your best knight.  Afterwards I was wicked, but I had one thing.  I used to feel so proud, inside myself, because I knew that I was top of the averages.  It was a base feeling, I know.  But I had nothing else to be proud of.'"(p.463) In this statement we learn definitively that Lancelot was only proud of his deeds.  He was proud not of himself, not of his thoughts, but of his deeds.  We must ask why this pride?  It seems the only true answer is that Lancelot was ugly.  He thought that his ugliness stemmed from an inherent evilness, so he could not be proud of himself.  He could only take pride in his deeds, for they were the only truly good things that he had, and once they were gone there was nothing left.  Another example is Lancelot's affair with Guenever.  In the beginning of their love, Lancelot felt badly about it.  He felt that their relationship was making him impure, and so he went out to be a hero.  Lancelot thought that his inclinations toward Guenever were coming from his evil soul.  These thoughts added to his insecurity and compounded his belief that he was a sinner with no hope of redemption except by his good works.  So he went forth to go questing, hoping that the good deeds he would do would balance out his impurity and flagitiousness.  Finally, Lancelot flat out states that the only reason why he performed great deeds was to make up for his troubled soul.  "'You see, Arthur, I had a lot of troubles on my mind which being a famous fighter seemed to make up for, a little, and when that was gone it felt as if there was nothing left to me.'"(p.463)  This proves that the reason Lancelot was so keen on being a champion was to make up for his troubles.  He felt that his good deeds would counteract his malfeasant nature.  All in all, Lancelot's golden years were spent  trying to contain his insecure spirit by being a Superman and failing, for supermen are found only on the pages for comic books, and not in real life.

When Lancelot was in the final stages of his life, he still could not lose his uncertainty, his self-depreciating mentality.  For example, when he killed Gareth and Gaheris, he could not admit that it was an accident.  Instead, he put the blame directly on his own shoulders.  He blamed it on his wickedness.  "He was in his customary religious misery.  'It was my fault.  You are right that it was unlike me.  It was my fault, my fault, my grievous fault.'"(p.589)  In the preceding quotation, Lancelot denigrates himself as he always does.  He thought that he had subconsciously wantereams.  He wanted to be the best knight in the world..., and he wanted one other thing which was still possible in those days.  He wanted, through his purity and excellence, to be able to perform an ordinary miracle..."(p.323) Lancelot had to pstakes up to his demonic soul.  With every mistake comes the realization that he is imperfect, and will no longer be able to perform miracles, which just makes him more insecure.  Another example comes before Mordred seizes control of the kingdom.  Lancelot, Arthur, and Guenever are together in a room, and Arthur is about to talk about the time when he drowned all the baby boys.  Arthur asks them not to blame him, and Lancelot says, "'We are not in a position to blame people, King.'"(p.546)  This quote, pure and simple, shows Lancelot's base feelings about himself.  He feels that he has been an evil person in his life, and that he is not qualified to blame Arthur for anything.  In other words, he feels that people who live in glass houses should not throw stones.  Lancelot cannot understand that the good deeds he has done cancel out his supposedly wicked nature.  A final example comes again from the Gareth/Gaheris affair.  While reflecting on what he has done, Lancelot condemns not only himself, but the whole human race in a scathing soliloquy.  "'I killed him...because he refused to wear his armour against me.  What horrible creatures humans are.  If we see a flower as we walk through the fields, we lop off its head with a stick.  That is how Gareth has gone.'"  As we have seen so many times, Lancelot has a very heavy heart.  He is guilty about his terrible mistake, and chalks it up to his wickedness.  He then condemns the whole human race, judging them all to be murderous tyrants.  Seeing as how he is a member of the human race, he is condemning himself as well.   He cannot find solace in the good deeds he has done.  He prefers to dwell on the negative aspects instead.  He is insecure, unconfident that he could ever overcome his negative inclinations and do good works.  In conclusion, During Lancelot's older years, instead of finding joy and comfort in his good deeds of the past, he can only see his evilness and his insecurity about himself.

Lancelot longed all of his life to be a hero as a result of his insecurity.  He always thought that he did not measure up to what he should be.  He always considered himself a failure. His childhood was spent dreaming about what he must do to overcome his fears, his adulthood was spent counterbalancing those fears several times over, and his later years were spent reflecting on what a bad person he had been.  He always considered himself a failure.  He was set in his idea that his ugliness made him evil, and that he could never be good.  Lancelot lived his entire life under these assumptions.  He could never see what a truly good man he was.  Lancelot always considered himself the Ill-Made Knight.  What he failed to realize was that he was a man, a mortal man.  Knights are men, with frailties and failings like everybody else.  If he could have realized how much alike he was with the others, then he would have seen that he was not the Ill-Made Knight, but truly the Well-Made Knight.  Alas, though, his vision was only skin deep.  For if he could have known how much his need to succeed had helped other people, if he had known how much better he really was than everyone else, then he would have finally come to the conclusion that his homeliness was not a curse, but a blessing.

786.          One Flew Over the Cuckoos Nest

Thomas Evans

One Flew Over the Cuckoo's Nest

12-6-96

General Psychology

Dr. Sabin

In the movie, One Flew Over the Cuckoo's nest, there was a character named McMurphy, played by Jack Nickolson, who was admitted into a mental institution for medical testing after having been convicted of statutory rape.  It was obvious that he was only faking and he thought that he could get off from having to serve his sentence in a work camp.  He pretty much saw everything and everyone as a joke but the only person who he didn't fool was nurse Ratchet.  He thought that he would be able to leave in a couple of months, the time of his sentence in the work camp, until he found out that he wouldn't be allowed to leave.

After a few days he began to see the patients as a group that needed more enjoyment in their lives and he wanted to try to find some way that they could get out and go to a bar and watch the world series.  The nursing staff seemed uncaring to their lack of enjoyment to life and basically refused to allow the patients to even watch the game on the TV during their chores even after having took a vote where a mute patient nicknamed 'Chief' for the first time communicated that he wanted to watch the game.  McMurphy had befriended Chief and later discovered that he was not deaf and dumb but was only faking his muteness and they planed to escape together.

McMurphy later found out that many of these patients were here only because they put themselves here and didn't want to leave even though they had the option to.  He tried his best to bring some life to these patients such as teaching them to play poker and gambling for cigarettes.  He even went so far as to escape over a fence only to open the gate and to get the patients onto a nearby bus and drive them to the docks where he took them on a fishing trip.  Also he arranged for his girlfriend and a prostitute to come to the institution at night with some alcohol and had a little party for them before he decided he was going to escape.  The next morning one of the patients who was suicidal was found by the nurses in bed with the prostitute.  Nurse Ratchet told him that he would tell his mother what he had done and the patient was found later dead on the floor from having had slashed his own throat.

McMurphy never did leave and he was given a form of therapy called ECT, electro-convulsive therapy, and after many sessions this left him in a near-comatose state.  One night, Chief had killed McMurphy out of pity for him as he thought it was undignified that they had taken nearly all of his humanity and the movie ended with Chief escaping after it had been said that it couldn't be done.

Electro-convulsive therapy is a technique used to treat disorders such as major depression and schizophrenia.  Patients usually receive one treatment about three time a week for usually ten sessions.  Electrodes are attached to the temples and a strong electrical shock is given, enough that convulsions are produced.  This application of current induces unconsciousness so it becomes nearly impossible for the patients to recall the treatment.  The patients are given a sedative beforehand and are also given muscle-relaxants because the shock produces such strong convulsions that the patients would otherwise flail about wildly sometimes breaking bones.  With these muscle-relaxants the convulsions are barely noticeable to any onlookers.  Also this form of therapy is not given to patients that have heart-problems or high blood pressure.

ECT has been under much controversy for many reasons.  Many professionals dislike the idea of passing electric current through the head that produces convulsions, even if they are given sedatives before hand.  There is also the side effects.  There is disruption in the recall of recent events and some patients suffer this lapse of memory on a permanent basis.  No one seems to know how ECT works and for reasons stated above, it was outlawed in California but later overturned by the courts.

787.          One Sick Christmas

Jay June

1/5/96

One Sick Christmas

"Hurry up Joe!  It's 10:15, your fifteen minutes late!"  Claire screamed from

outside the dressing room with a hint of a New York Accent.  Claire was Santa's helper at

the mall.

"I'm coming!"  Joe yelled back.  "Stupid kids, I hate kids." Joe mumbled to himself

while getting himself dressed.

Joe was the Santa at the local mall.  Since Joe had just been released from the

mental institution for insanity, the cost of the institution wiped him out of money so he

needed the job badly.   When the job was offered to him he had to take it.

Joe was a scrawny man.  Not your usual Santa Clause.  He had no rosy cheeks or

round belly, he didn't have the hearty laugh nor real white hair.  His ribs poked out of his

skin and his stomach looked like an empty cave.  His eyes were pushed into his head way

more than most people, the dark rings circling his made his eyes look like they were going

to pop out any second.  The bones of his cheeks showed through his dry, pale skin making

him look like a zombie.

"Let's go now!!" Claire screeched at the top of her lungs.

Claire meant this time.  Quickly, Joe stumbled out of the dressing room in a clumsy

fashion.  Looking like he had just chugged a couple of  kegs, dragged his oversized Santa

coat and pants with him hopping they wouldn't fall down and left the dressing room.  Joe

and Claire walked toward where Santa's hut was while watching a crowd gather around it.

"Ya know Claire," Joe said, "I really hate my job."

"Really," replied Claire in a sarcastic tone, "Who doesn't hate little brats crawling

around on your lap."

Joe sat down in his special Santa chair and waited for the first child to come

forward.

The fist kid was about five yrs. old.  Joe thought he was disgusting.  The child was

wearing cuarteroy overalls with a white turtleneck underneath.  The cuarteroys had crusty

stains of peanut butter all down the front of his navy blue overalls.  Making a revolting

contrast between colors.  The turtleneck seemed to have lost its whiteness a long time

ago.  It was imbedded with red pasta sauce and olive chunks glued to the sauce.  His face

wasn't very attractive either.  On his left cheek a piece of spagetti attached to his skin

dangled and dried mucus flaked off his upper lip.  Joe leaned back in remorse wishing this

was all a long terrifying dream.

The kid hopped on his lap and in a happy voice said,

"Hi Mr. Santa Clause, can I tell you what I want for Christmas?"

"Ya sure kid, go ahead."  Joe replied.

As the child dragged on about his stupid toys and things he wanted, Joe thought

about something else, his revenge.

Revenge to get back at all these little punks who have annoyed him ever since he

got the job.  He wanted revenge..........badly.

Joe had an idea.

"Hey kid, can you shut-up for a second." Joe sternly asked.

"Okay" The child answered.

"Since I think you're my favorite kid of all," Joe praised, " I'm going to give you a

special present."

" What!?!?  Tell me!  Tell me!!"  The kid excitedly asked.

"Something you'd never guess."  Joe answered

" Just come with me after all the kids are gone."

Joe pushed the kid off his lap before he could answer and the next kid jumped on

his lap.

Joe quickly finished talking to the rest of disgusting, impatient kids, and turned to

see if the kid in the navy blue overalls was still waiting.  The kid stood next to Joe with a

selfish, happy, but disgustingly wide grin attached to his face, stretching from ear to ear.

" Ya ready?"  Asked Joe.

"Yippee!"  The child screamed.  "I'm going to get a present!  I'm going to get a

present!  I'm going to......."

"Shut-up kid!"  Joe yelled becoming very impatient and irritated.  "Now let's go."

Joe led the brat into his dressing room and told him to sit by the closet as Joe shut

the door.  Joe opened a drawer and pulled out the surprise.

A few minutes later Claire walked into the dressing room, but stopped dead in her

tracks.  She screamed.  It was too late, Joe had gotten his revenge.  In Joe's hand was a

knife, soaked in blood that was dripping in a rhythmic pattern to the floor.  And on the

floor was a child laying in a pool of blood.  His navy blue overalls were stained to the

color maroon from the blood and a piece of spagetti dangled from his left cheek.

you may have the honor of taking the copyright into your own hands.-Jay June

788.          One strange trip

Jeff Ebersole

4/16/97

D3

2nd hour

One Strange Trip

One day while lost in the vast woodlands of Scotland, I came upon a pop machine,  I had no money, and because of my strong moral values, I felt I could not force it open with a stick or break it with a rock, because that was wrong.  As I sat there leaning against it, I pondered how I could get a refreshing can of pop.  I got up and looked around to find a coin or a bill that someone might have left or lost.  After five or six hours I gave up, no one had dropped anything that I could find.  By this time it was now nightfall, so I slept leaning against this oasis.  While asleep, I had a wonderful dream of this pop machine.  I dreamed that it opened up and asked me to indulge in a cold refreshing drink.  Another dream I had was where every five minutes the machine gave me a can from now until eternity.

When I awoke I jumped up and turned around to see if any of the dreams were true.  I quickly saw that they were not.  I decided that I could not leave this place until I had enjoyed a can of pop.  By the 3rd day, I had to scout for food and water because I was feeling malnourished.  As I walked around I found a snack machine the kind with many divine foods inside such as candy bar and chips, but still no way to eat them.  I stayed here until morning trying to rig a transport of some sort for it.  I cut a tree down and made 4 wheels and eventually a cart to support the machine and than to transport the machine to the other.  This was such a great task, I forgot about my hunger.  By dusk I had arrived back at the pop machine.  As I set the candy machine next to the pop machine, my hunger came back even stronger than before   Once again, I knew I could not break into the machine to eat, again my strong moral values.  So I went out again in search of food and water.

As my walk progressed I found a stream and I took a drink and ate many fish, then thought that I should of cooked them first.  On my way back, I got lost and had to sleep under a foreign tree and try to find my way home at day break.  As I tried to find my way home, I found another machine.  It was one with pre-made sandwiches.  As I looked at it, a sign on it read "Sandwiches made fresh every morning".  I thought about this and thought maybe the person who stocks the machine might have dropped some money.  I looked, but again as before found none.  I built this one a trailer and moved it to the others after I found my way back.

While I went to sleep leaning against the machines I thought about how I could fool the machines into giving me food.  I thought about making coins or bills to confuse the machine.  I thought about this for several hours and I decided to attempt to use leaves to buy a pop.  I looked around for a leaf that had texture and size that was comparable to that of a dollar bill.  I set out on a long trek to locate a leaf that fit my profile.  As I was gathering leaves I found a change machine so I built another cart and took it to the others.  I tried my leaves in the pop machine, one after another.  I have about 5 leaves left when my mind started to think that this would not work.  But I kept trying -- 4 left, no pop, 3 left, no pop, 2 left, no pop, one left, Oh my goodness, it worked.  It accepted by leaf.  The read out said not enough credit use exact change; credit 25 cents; add 25 cents now.  "What" I yelled.  How is that only a quarter, it accepted it as a bill.  To say the least I was mad.  I pressed the coin release.  It didn't work, now I was really mad.

I took off running to find the tree where I got the first leaf, finally I found it.  I took a leaf that looked like the other one and headed back.  Because I was running so fast, I tripped and fell.  While laying there gathering my strength to get back up, I saw a gum-ball machine so of course I had to take it to the others, but this was much easier because I could carry it.  I hurried back and put the leaf into the pop machine, only to see the LED read out again say Credit 25 cents and 25 cents more.  I hadn't seen a piece of paper taped to it that read "Sorry about your quarter, but I only had one and I was dying for a drink:.  I was so mad I could kill this man.  But there was no sign of him.  I ran for another leaf, got it and ran back on the way back I found a cash machine this disturbed me because I had left my cash card with my money, but I took the machine anyway.  I put the leaf in the machine it clicked and I pushed Mountain Dew button, the can fell bounced off the front bumper then rested neatly in the tray.

I pulled it out looked at it, felt it, thought about it.  Then I opened it.  I smelled it, and drank it.

This night was different, I felt very nourished, I was refreshed.  I slept great.  When I awoke, I went for leaves and bought a candy bar and a pop.

Around lunch I heard a whistling sound.  As I listened, it got louder and more clear, soon a skirted man approached.

"Hello,"  he stated in a Scottish accent.

"Nice skirt," I replied.

"It's a kilt!" he bellowed.

"Whatever!,"  I told him, and mumbled, "to each his own" to myself.

We visited for awhile about the sky and how blue it was, then about how brown the dirt was.  I offered him a pop and he said that he would buy it so I let him.  As we talked, I asked him how to get out of the woods he said he didn't know he had been lost for about 3 years now and has just been wandering around.  As we spoke, we heard what sounded like a truck, it was a truck.  A man wearing a Pepsi shirt got out and walked up to the machine and opened it.  I asked him if he would give me a ride to the next town.  He said no riders were permitted.  I looked at the skirted man then we looked at the Pepsi man, looked back at each other then be both leapt to our feet and strangled the Pepsi man.  We both hit him and then I tied him up.  We both bought a pop and a sandwich with the Pepsi mans money.  We walked to this truck and drove off.

When we got the next town we both went our different ways, and here I am today, and Him, I think he plays Willie on the Simpsons.

789.          opiate of the masses

There was once a great philosopher who stated that religion is the opiate of the masses.  i believe that this holds true even today.  Except what keeps people in a daze is television.  Television is rarely used for any good today, for example, do you really think that full house is an intellectual stimulus? hell no.  TV is designed to be brain candy for the weak-minded and ignorant.  The internet is more useful and I might add, stimulating. This is a medium in which you can interact and communicate with others instead of sitting on your ass drooling watching itchy and scratchy.  There are honestly interesting sites available on this medium.

I have heard people call television the "one-eyed monster", this simply suggests to me that this person is obviously poor-bred or simply ignorant.  Television can be used to convey pornography, religion, drug use, love, or any other possible subject to be dealt with.  The actual machine itself is not bad, it is the people who provide the programming for it that are the cause of the problem.  Do people really think I give a rat's ass if Uncle Joey makes it or not?

I do not want to come across as saying that televison should be abolsihed altogether, not at all.  I personally love seinfeld and the occasional Beavis and Butthead, but everything in moderation and nothing to excess, so to put it simply, do not overdo it, or you will end up a moron who needs Tom Brokaw to tell them what is right and wrong.

790.          Opinion on Movie Villians

Movie Villains

What really is a villain?

Villains have been alive forever, there is no way to easily detected them or stopping them.  They come in all shapes and sizes from animals to little children to even space aliens.  Each villain has his or her own particular style, usually greed.  Another big reason for there evil acts is because of revenge, revenge can turn innocent people in to cold blooded killers.  The term used to represent villains is antagonist, or someone who opposes the protagonist or hero of the story.  Movie villains are not just plainly the main enemy in a movie as in Nightmare on Elm Street series or on the Friday the 13th series, but sometimes it is just a little enemy, sometimes killed off, that is the villain.  Sometimes the protagonist turns out to be the biggest antagonist in the story, like in the movie La Strata.  Villains usually meet their end by death, but sometimes their fate can be worse than that, like in the movie Time After Time a character call Dr. Stevenson, who is also know as Jack the Ripper, meets his death by traveling to the farthest time ever in the face of the earth, probably when the earth is completely destroyed.  Other villains meet their doom with being put in jail.  There are a few movies in which the villains actually comes out victorious, as in the movie Chinatown.  Villains or antagonist are the spotlights of most movies.

What is the origin of villains?

Villains have been around since evil has walked the earth.  Movies have made evil from all the different ages to come out, for instance Messala in Ben Hur is from the early AD years and Toecutter from the movie Mad Max lives in the late 1990's.  Probably the earliest known villains would be the serpent in the garden of eve.  It was the first villains by coaxing Adam and Eve into eating the apple.  From there more villains came, from Egypt's Pharaohs to Chinese emperors.  One movie era of villains was villains from the medieval times or a little earlier, like Vikings and evil knights.  More modern movie villains were Nazi's, mad scientists, psychopaths, gangsters, people with super human powers, and spies.  Villains have evolved devilishly throughout the ages.

What are some famous villains?

There are millions of villains throughout movie history, some stand out more than others.  One villains I think anyone can recognize is the wicked witch of the west from The Wizard of Oz, she is so sinister it makes her stand out and also everyone likes her flying monkeys.  One villains from biblical times is Dathan from The Ten Commandments, who is the sinister helper of the Pharaoh Ramses that tries to kill Moses.  Dathan meets his despise by being engulfed in a trench than makes him fall into a place worse than any other place in the world.  A fairly old villain is Long John Silver from Treasure Island.  Long John doesn't die in the end, he escapes because he tricks Jim into letting him go from his prison, he escapes and probably is still trying to find gold to this day.  One more modern villains is Jaws, not the fish, from the James Bond series.  Jaws is a really tall man who has hands as big as a person head, and metal teeth that can crush thorough anything.  Jaws never dies but usually comes back in another movie, he actually turns good in one movie.  Villains are in every form and in every age.

Why do villains appeal to me?

I love to watch villains do there dirty work and to use trickery to ruin the hero's life.  It is not that I am a villain in real life, but it just intrigues me to watch them.  Usually the villains get their just desserts but I always think in the back of my head that they would come out on top.  One villains that totally was intriguing was Noah Cross from Chinatown.  He was pure evil committing such crimes as rape, incest, child abuse, murder, conspiracy, kidnapping, and bribery and he actually comes out on top at the end of the movie.  The wrong person got shoot and his daughter, which he raped and abused, gets returned to him at the end of the movie, probably to get raped again.  That type of movie villains is rare, and when it does happen it is amazing.  Another thing I like is when villains are still alive and waiting to come back in a sequel as in the Omen series.  I just love that little antichrist Damien and all of his little killings.  Movie villains are my favorite thing in the world, they are so evil it is funny.

Works Cited

Stacy, Jan The Great Book of Movie Villains Chicago: Contemporary Books Inc. 1984

Pathfinder Information

Topics  1.  Villains

2.  Movies

3.  Movie Heroes

Additional Sources

1.  Villains in motion pictures.

2.  Moving-pictures--Plots, themes, etc.

3. 1996 Movie & Video Guide

Topic: Movie Villains

Thesis Statement:  Movie villains are numerous what are some of their reason for their cruelty.

I.  Explaining villains

A.  Villains have been around since the garden of eve.

B.  What makes villains who they are, what drives them to evil?

C.  The speech is setup into listing villains and explain their backgrounds.

II.  Villains

A.  Wicked Witch of the West.

B.  Leatherface.

C.  Long John Silver.

D.  Noah Cross.

III.  Villains and their untimely death.

A.  Every villains has his own reason for his acts, each is different.

B.  Mostly the common reasons are, greed, revenge, or just plain psychopathy.

C.  I love villains, and even though some of the movies are just plainly disgusting,                               they are fun to watch.

791.          Oppression

Oppression

In the two novels, Master Harold...and the boys and the boys, and Like Water for

Chocolate, there are many symbolic similarities.  In both books there are acts where

individuals strongly oppressed, or discriminated against.  Although the individuals are

being oppressed for different reasons their emotions are shattered deeply.  In Athol

Fugard's book Master Harold and the boys, an older man is discriminated against by a

younger child only because the older man is black and the child is white.  In Laura

Esquivel's book Like water for chocolate, a girl by the name of "Tita" is oppressed by her

own mother because of the soul reason of being the youngest child, therefore lying in her

destiny to serve her mother till death, and being unable to decide her own destiny.

However in both cases there are signs of rebellion, and protestation, even though both

novels do not end the same end the same, both Sam and Tita get their point across.

Hally is a young white boy living in Africa, it is safe to say that he was raised by a

black man by the name of Sam. Now Hally is starting to grow up and he is noticing

things which he did not notice when he was younger. He realized that where he lives

white people have certain rights over black people. Hally owns a cafe and he has got two

black men working for him, one of which is Sam. Hally walks in one morning and finds

Willie and Sam dancing, preparing for a dance contest. "Hally- Think you stand a chance.

Act your bloody age! (Hurls the rag at Willie) Cut out the nonsense now and get on with

your work. And you too, Sam. Sop fooling around " (Athol Fugard, Master Harold and

the boys 18). Hally criticizes Sam by asking him sarcastically if he really thinks that he is

good enough to win a dancing contest. Hally screams at Willie and Sam for making a

mistake, this is ironic because Willie and Sam are in their forties while Hally is not even

a teenager yet. Hally has power over Sam and Willie because of their difference in skin

color.

Tita falls deeply in love with a man by the name of Pedro. Pedro asks Tita to get

married, she would love to marry Pedro but she knows that her destiny is to take care of

her mother till death. Tita will confront her mother and ask her permission to marry the

man he loves. "If he intends to ask for your hand, tell him not to bother. He'll be wasting

his time and mine too. You know perfectly well that being the youngest daughter means

you have to take care of me until the day I die" (Laura Esquivel, Like Water for chocolate

10).  Tita loves Pedro dearly and would love to marry him, but her mother refuses to

grant her permission because she is the youngest daughter and her task in life being to

take care of her mother till death.

Sam is like a father figure to Hally but yet he doesn't respect him, because of the

color of his skin. "Hally- Don't turn your back on me! I haven't finished talking (He grabs

Sam by the arm and tries to make him turn around. Sam reacts with a flash of anger"

(54). Hally does not respect Sam, he not only orders him around but becomes violent

when Sam does not listen to him. He treats Sam like a dog.

Mama Elena refuses to let her youngest daughter get married, to make the

situation worse she Pedro and his dad show up at the ranch to ask permission from mama

Elena to get married to Tita. Mama Elena refuses to approve on the marriage of her

youngest daughter. "But if you really want Pedro to get married, allow me to suggest my

daughter Rosaura, who's just two years older than Tits. She is one hundred percent

available, and ready for marriage" (13). Not only does mama Elena disapprove the

marriage of Pedro and Tita but she offers Rosaura, which is an older daughter.

Hally is not grateful for what Sam has done for him in life. He understands that

Sam cannot do anything to him, because he is white and Sam is black. Hally therefor

Hally takes advantage of this, by degrading Sam whenever he can. "Hally- (quietly) Sam..

(Sam stops and looks expectantly at the boy. Hally spits in his face. A long and heartfelt

groan from Willie. For a few seconds Sam doesn't move)" (56). The worse act of

discrimination one person can possibly do to another, is spitting in one's face. This is

extremely degrading.

Mama Elena sets up a marriage between the man that Tita loves and her sister

Roraura. Tita is extremely depressed. "I won't stand for disobedience, Mama Elena told

her, nor am I going to allow you to ruin your sister's wedding, with your acting like a

victim. You're in charge of all the preparations starting now, and don't ever let me catch

you with a single tear or even a long face, do you hear?" (27). Not only does mama Elena

approve the marriage between Rosaura and Pedro, but she also holds Tita responsible for

the preparations of the marriage of her sister.

Hally- Think you stand a chance" (Athol Fugard, Master Harold and the boys 9).

Sam shows sign of rebellion against Hally. He is tired of being picked on and spoken

down to just because of the color of his skin. "Hally-(Pause as Hally looks for something

to say) To begin with, why don't you also start calling me Master Harold, like Willie"

(54). Sam proves appoint to Hally and Hally does not know how to reply so he relies on

the fact that he is on a higher rank and asks Sam to call him Master Harold, instead if

Hally. This proves the power trip which Hally is going through. Sam is an old friend as

well as a father figure, and know Sam has got to put the word "Master" in front of his

name, to demonstrate to himself, Hally, and everyone else how Hally is at a higher level

than Sam. "Sam- (Quietly and very carefully)  If you make me say it once, I'll never call

you anything else again"(54). This is the only sign of rebellion that Sam shows. He lets

Hally know that he is against it, and threatens to not call him anything else. At this point

Sam realizes that Hally has grown up and changed.

Tita rebels against the ghost of mama Elena. The Ghost shows up to tell Tita that

what she is doing is wrong. "See what you've done now? You and Pedro are Shameless. If

you don't want blood to flow in this house, go where you can't do any harm to anybody,

before it's too late.  The one who should be going is you. I'm tired  of your tormenting

me. Leave me in peace once and for all. Once and for all, leave me alone; I won't put up

with you! I've always hated you!  Tita had said the magic words that would make Mama

Elena disappear forever"(199). (199).  After all this time Tita finally stands up against her

mother, and puts her in her place. She chooses to fight back instead of just remaining

quiet and obeying her mom's orders.

Throughout the novels Like Water for Chocolate, and Mater Harold...and the

boys, Tita and Sam experience discrimination. The difference between them were that

after Sam protested, he was still treated the same, were as when Tita rebelled, she was set

free. The ad thing about all this is that, Sam's example is what happens in the real world.

Maybe people can learn from these novels and stop discriminating people because they

were born in class were they are expected to do perform only certain roles in society, or

obey certain people.

792.          orange

A Clockwork Orange: Good Riddance to Bad Rubbish

A Clockwork Orange received critical acclaim, made more than thirty million dollars at the box office, and was nominated for various awards; however, this esteemed film was outlawed from the nation of Great Britain in order to curb its immoral content from permeating society.  Before all the controversy began, A Clockwork Orange was a novel, written mostly in Russian, by Anthony Burgess.  Stanley Kubrick is known to critics as a film maker who probes the dark side of human psyche.  Kubrick has also directed films such as Dr. Strangelove, The Shining, and Full Metal Jacket.  In each of these movies the audience delves into the evil side of the main character. Great Britain had this film removed from theaters across the country because the government justly illustrated there was a connection between the movie's graphic violence and an increased crime rate.

In Clockwork . . . , there are unquestionably  violent and graphic actions. Multiple beatings, a rape, and a murder are performed by the lead characters. These crimes are drug induced.  Before going out, the gang goes to the "milk bar" for some "milk plus" which is riddled with amphetamines.  The first violent act came not more than ten minutes into the movie.  It was when the boys, led by Alex, beat a helpless wino that asked them for some change. The gang then strode away as if nothing occurred.  They struck him repeatedly with canes and they kicked him a few times to the job.  Next, the boys went to see a rival gang.  This other group was in the middle of raping a woman when Alex and Company came in and intervened.  They proceeded to beat the other gang members to a pulp.  Then, they went to the house of a writer, to burglarize it.  While there, they brutalized the writer and his wife.  Alex raped the wife in front of the writer and then started to sing "Sing'n in the Rain" as he pummeled the old man.  Alex's final act of violence came at the house of a rich health spa owner.  The gang went there with the intent of robbing the place, but the woman who lived there was alert to the scheme and called the police.  She attacked Alex and he defended himself with a sculpture of male genitalia.  The fight ended when Alex crammed the statue in the mouth of the victim, and killed her.  These were some of the more graphic scenes, which aided Britain's decision to ban the film.

Incidents from this film triggered an onslaught of violent crimes across the country of Great Britain.  Numerous copycat crimes were reported which mimicked to exact detail the grotesque murder and rape scenes found in Clockwork. The most notable copycat crime was in Britain where a woman was raped and beaten by a group of thugs who sang "Sing'n in the Rain" as they carried out their ruthless act of violence.  When questioned by police, one of the thugs commented, "I got the idea to beat this b**** from a movie I saw." The movie turned out to be none other than Clockwork....

Stanley Kubrick has also been responsible for additional films that are bleak, pessimistic, and sometimes terrifying.  Not only is this his style, but it is also his means of conveying a very sublime personal message.  Kubrick believes that contemporary society is a very tragic and violent place.  This message comes across very clearly in Clockwork Orange.  It is through this film that Kubrick explores the nature of violent crime and in doing so brilliantly satirizes the deterioration of society and its values.

Although Kubrick's message may be sincere, his methods exploit the intentions of video imagery and demean his viewing audience.  Films of this nature have an incredible power to induce its viewers into committing violent actions.  This theory is not ingenuous and has been supported by many prominent members of the psychological community.  For this reason, I believe the film needs to be formally banned.  Although it played to sellout crowds in London for nearly a year, it introduced weak moral standards and a glorification of violence to the public. This film was best received by the college aged youths of Great Britain. This is a very impressionable time in the life of a person and could influence them into justifying violence and the abuse of women.  The British government made the right decision in banning the movie and protecting the ailing moral standards of Great Britain.

As stated previously, many scholars believe that  A Clockwork Orange  was responsible for a wave of copycat crimes and an increase in the crime rate.  This theory can be supported by the fact that in the viewing area where Clockwork was shown there was a dramatic increase in crimes directly related to scenes from the movie.  Even if the percentage of the increase in crime was  minuscule, this does not underscore the value in banning the film.  Does not saving just one life justify banning the content of this heinous video?  I wholeheartedly believe the answer to this question is yes. Human life is worth much more than one man's sarcastic dissertation on violent crime.

What will be next--a young girl brutally raped and killed, an innocent child tortured by ruthless villains, and old man shot down in cold blood?  One would think a society as educated as ours would recognize the danger in glorifying these films of violence and gore.  Our children have a hard enough time determining right from wrong.  Movies such as Clockwork... only add to the moral decay of our society.  If society is to work toward the esteemed goal of building a kinder, gentler nation, censorship must play a key role in our dauntless journey.

.A Clockwork Orange: Good Riddance to Bad Rubbish

A Clockwork Orange recieved critical acclaim, made more than thirty million dollars at the box office, and it was nominated for various awards.  However, this esteemed film was outlawed from the nation of Great Britain in order to curb its immoral content from permeating society.  Before all the controversy began, A Clockwork Orange was a novel, written mostly in russian, by Anthony Burgess.  The film is an adaptation of the novel.  That is, the movie is Stanley Kubrick's interpretaion of the book.  Stanley Kubrick is known to critics as a film maker who probes the dark side of human psyche.  Kubrick has also directed films such as; Dr. Strangelove, The Shining, and Full Metal Jacket.  In each of these movies, the audience delves into the evil side of the main character. Great Britain had this film removed from theaters across the country because scholars justly illustrated there was a connection between the movie's graphic violence and an increased crime rate.

In Clockwork... there are unquestionablly  violent and graphic actions. Multiple beatings, a rape, and a murder are performed by the lead characters. These crimes are drug induced.  Before going out, the gang goes to the "milk bar" for some "milk plus" which is riddled with amphetamines.  This is called "a bit of the old ultra violence" by Alex, the leader of the gang.   The first violent act came not more than ten minutes into the movie.  It was when the boys, led by Alex, beat a helpless wino that asked them for some change. The mob then strode away as if nothing occurred.  They struck him repeatedly with canes, then  they kicked him a few times to finish him up. Next, the boys went to see a rival gang.  This other group was in the middle of raping some woman when Alex and Co. came in and intervened.  They then proceeded to beat the other gang members to a pulp.  Then, they went to the house of a writer, to burglerize it.  While there, they brutilized the writer and his wife.  Alex raped the wife in front of the writer, and then started to sing "Sing'n in the Rain" as he pummeled the old man.  Alex's final act of violence came at the house of a rich health spa owner.  The gang went there with the intent of robbing the place, but the woman who lived there was alert to the scheme and called the police.  She attacked Alex and he defended himself with a sculpture of male genitalia.  The fight ended when Alex crammed the statue in the mouth of the victim, which killed her.  These were some of the more graphic scenes, which probably aidded Britains decision to ban the film.

This movie alegedly spawned violence.  Copycat crimes were reported, as well as an increased crime rate throughout the country.  The most noteable copycat crime was in Britain where a woman was raped and beaten by a group of thugs who sang "Sing'n in the Rain" as they went.

Stanley Kubrick has been responsible for other films that are bleak, pessimistic and sometimes terrifying.  That is simply his style.  In his film Kubrick tries to convey a bit of his personal beliefs in that society is a very violent place, this film is no exception.  In this effort Kubrick tried to explore the nature of violence, and satirize our crumbling society.

This film needed to be formally banned. Although It played to sellout crowds in London for nearly a year, it introduced weak moral standards and a glorification of violence to the public. This film was best recieved by the college aged youths of Great Britain. This is a very impresionable time in the life of a person.  The British government made the right decision in banning the movie and protecting fragile moral standards in their nation.

Many believe that "A Clockwork Orange" was responsible for a wave of copycat crimes and an increase in crime rate.  That is believable  because out of the people  who saw the film there was a percentage of copycat crimes.  Eventhough this percentage may be minuscule, if this film was not viewed these haneous crimes may not have been commited.  If the film had influence on certain people to comit crime than psycologically the perpitrators may have all ready been somewhat disturbed, but why should there be any reason to promote these feelings?

No matter how much violence is displayed on movies, society's moral values should be high enough to tell right from wrong.  If society lets itself  be manipulated by movies and such than that just reflects how weak we really are.

793.          Origins and History of The Dulcimer

Origins and History of The Dulcimer

The dulcimer is a member of the string family. It is further categorized into

the Psaltrey family, a group of instruments that are comprised of strings

stretched across a frame and played by plucking or drumming.  The only

difference, in fact, between the dulcimer and the psaltrey is the fact that one

is plucked and the other is drummed.  The dulcimer family is divided into two

sections.  The dulcimers with keys and dulcimers without keys.  A dulcimer with

keys would be played by depressing a key which would move a mechanism that would

cause a hammer to strike the string.  The most improved instrument in the keyed

dulcimer section is the piano.  Dulcimers that are played without the aid of a

key are usually in the unusual shape of a trapezoid.  Early descriptions of this

instrument, dating back to the Middle Ages, describe the instrument as a

rectangular box with strings stretched over two bridges. Both the single and the

double bridged dulcimers are common in traditional Irish music.  It is played by

striking the strings with padded wooden hammer.

It is commonly believed that the dulcimer came to Europe from the East sometime

in the fifteenth century.  This cannot be true.  The dulcimer is closely related

to the yang ch'in from China.  However, the yang ch'in was introduced to the

Chinese around 1800.  A similar traditional dulcimer found its way to Korea in

about 1725.  The dulcimer originated as the santir in what is now Iraq from a

Greek instrument, the psalterion.  The santir was a trapeziodal box covered with

strings.  It was played by striking the strings with light sticks.  From there

the Arabs carried the santir through North Africa where it was integrated into

the Jewish culture.  From North Africa it was taken to Spain, for  a carving was

discovered in the cathedral Santiago de Compostela, dated 1184.  It is unknown

why the Irish make mention of the timpan, a generic term for any member of the

psaltrey family, being used by St. Patrick in the 6th century, six hundred years

earlier than the dulcimers first introduction into Spain from North Africa.

Dulcimers gained popularity from the churches and cathedrals throughout the 14th

century.  But in the 16th century, as the violin and wind instruments became

increasingly fashionable, the dulcimer virtually disappeared.  For the next two

hundred years it went unnoticed.  In 1705 Pantaleon Hebenstreit presented the

French King Louis XIV with a slightly revised dulcimer.  Hebenstreit built a

larger sound chamber and used strings of gut and wire to span five octaves.  He

hoped to revolutionize the dulcimer and its capacities.  Sadly, the instrument

was not highly accepted, for the reverberation created in the larger sound

chamber made the performance of rapid passages impossible, and the longer

strings were harder to keep in tune.  Again the dulcimer lay dormant.

Although the dulcimer escaped the Western orchestral music, it was accepted

amongst the folk musicians of places like Ireland.  It has really only gained

popularity in the past fifteen years, although it has been a member of some

Irish ensembles throughout history.

794.          Orsen Welles

Orson Welles was an actor, producer, director, writer, and columnist who revolutionized the film industry by directing movies that depicted men and woman as real human beings. Throughout his writing career, Welles' characters reflected his own personality and inspired others writers throughout his career.

Orson Welles, born on May 6, 1915 to Richard Head Welles and Beatrice Ives Welles in Kenosha, Wisconsin wasn't the focus of his parents' attention. Instead his brother, Dickie was the one who was pressured to become a  famous and great person. However, Dickie wasn't meant for the stage, and eventually became homeless with an alcohol problem. Orsen then stepped up to the plate, and filled into Dickie's shoes as his parents' pride and joy. He adapted wonderfully to the pressure of becoming famous, and took on many tasks trying to achieve his goal. Nevertheless, Orsen's personal relationships suffered because of this pressure to succeed. However, as he once said "A good artist should be isolated. If he isn't isolated, something is wrong" (BrainyQuote).

In 1931, Welles made his first appearance on stage in Dublin, Ireland. He then toured the United States with Katharine Cornell, and by 1934 had become a radio producer in the U.S. By 1937, Welles was well on his way to making it in New York, directing numerous Federal Theatre productions and organizing the Mercury Theatre company. In 1938, Welles and Mercury Theater broadcasted short plays over the radio, often from popular pieces of literature. Welles' first notoriety on a national level would come when he broadcasted H. G. Welles' War of the Worlds on his radio show. His broadcast wasn't a typical one, as he treated it as if it were a real news story, cutting into a regularily scheduled music program. He frightened countless listeners while describing the landing of matrian spacecraft in Grovers Mill, New Jersey.

Orsen Welles' most famous legacy, which still lives on today, is the movie Citizen Kane. The movie, although not as popular when it was released as it is in modern days, was a revolutionary film. Welles coscripted, starred in, and directed this psychological study of an American newspaper tycoon, William Randolph Hearst, who was the basis for Citizen Kane. Hearst and his newspapers and other media outlets boycotted the film. His innovative way of telling his story greatly influenced later filmmakers. "A film is never really good unless the camera is an eye in the head of a poet" is what Orson said when asked how to make a good, influential film (BrainyQuote).  The film Citizen Kane, directed by Orson Welles at age 25, is a grand example of how a man can be corrupted by wealth. Through the characters in the film it can be observed how Charles Foster Kane, an idealistic man with principles, can be changed and misguided by wealth and what accompanies wealth. The film takes places during the late 19th century and early 20th century, a time in American history when the world is changing and wealth gives you power to help change that world. Through the story telling of Kane's life we are able to see how wealth changes not only Kane's ideals, but his actions and how he perceives the world. Citizen Kane is the story of a man's failed intent to make the world better because of the corruption wealth brought him.

The corruption of idealism by wealth can be seen throughout the film, especially through the thoughts and actions of Kane and the other characters. Kane, with his wealth, tries to create his idealistic world with the power that wealth gives him and as a result tries to control everyone. In addition, the reference of "Rosebud" throughout the movie is a symbol of Kane's wish to return to his childhood and a new start. When his second wife leaves him Kane realizes the corruption wealth has done on his life and says "Rosebud" because he wants to return to his sled, his childhood, to return to the beginning when wealth has yet to corrupt him.

Citizen Kane is set at a time in American History where the world is changing and money is at the center of that world. Kane is a part of this new money sweep across America and like everyone else is stretching his power and wealth. He stretches it so much that he loses sight of his objective, which is replaced by his obsession to be in control and make all the decisions, a power he finds through wealth. It is because of this obsession that his idealistic world is corrupted.

Furthermore, the film revolves around a newspaper. A newspaper reaches everyone and during this time one of the few media sources. It is through the newspaper that Kane increases his wealth and influence. He is corrupted by the power that the newspaper gives him. In addition, Kane is constantly surrounded by beautiful things and people, until the end of the movie when he has become engrossed in his corruption. Kane at he end of the movie is left in seclusion at Xanadu, still surrounded by beauty, but his idealistic world has become empty because he has no one to share it with.

Citizen Kane puts together one event after another, an endless stream of events that lead to Kane's corruption from wealth. For example, Kane believes that he will win the election and become Governor, even when his opponent, Getty, has threatened to release news that will cause his downfall. Kane believes that wealth has made him invisible and unstoppable. When Kane realizes his defeat he tries to compensate it by marrying Susan Alexander. In addition, Kane uses his wealth to try to prove that he can create his idealistic world. Kane tries to prove to the world that his wife is a real singer and not just a "singer" as was printed in the newspaper. Kane goes to great lengths to try to prove himself and becomes even more absorbed in his wealth, power, and image. The corruption of wealth can be most seen during the meal scene between Kane and Emily Norton. We can see that over time Kane and Emily's relationship changes as Kane becomes more immersed in his newspaper and the power he has. As Kane grows more and more corrupt, his relationship with Emily gets worse. Through the events that occur in the film and Kane's life we can observe the changes Kane goes through as wealth corrupts him.

Citizen Kane is an example of the many lives changed during this point in American history when the world began to see more wealth. Charles Foster Kane was a man who began with good beliefs and a goal to see idealism put into action. But wealth was able to corrupt him and Kane lost sight of his goal. He became obsessed with the life that wealth brought him, as well as the power it gave him. When the corruption destroyed Kane altogether, it was too late for him to turn back; he was already lost in his obsession. Kane wanted to return to the beginning and change his life with his "rosebud" sled and his childhood, when his wealth had not yet gone to his head. The film Citizen Kane is a story of wealth and how it corrupted one mans perfect world.

In 1942, a year after making Citizen Kane, which won an Oscar for best writing, original screenplay; nominated for best actor, best picture and best director, Welles made The Magnificent Ambersons, which was nominated for Oscar for Best Picture and famously shortened and recut against Welles's wishes. Some of Welle's greatest films were The Stranger (1946), The Lady from Shanghai (1947), Macbeth (1948), Othello (finished in 1952 but not shown in the United States until 1955), A Touch of Evil (1958), and Chimes at Midnight (1966). Other films he directed were Journey into Fear (1943), Mr. Arkadin (1955), The Trial (1963), The Immortal Story (1968; originally for French television), and the semi documentary F Is for Fake (1974).

Orson Welles died in 1985 after a heart attack in Hollywood, California, but not before receiving the Life Achievement Award of the American Film Institute, in 1975. Welles was a revolutionary film maker, who's outstanding work still lives on today.

795.          Orson Welles

History of Cinema

Term Paper

Orson Welles

The term 'genius' was applied to him from the cradle, first by the man who would vie with Orson's father to nurture the talent all agreed resided in the fragile boy.(Leaming, 3)

George Orson Welles was born in Kenosha, Wisconsin on May 6, 1915. He was the second son of Richard Head Welles, an inventor, and his wife Beatrice Ives, a concert pianist.  His mother was the child of a wealthy family.  She had been brought up to revere artistic achievements, and began playing the piano, professionally, only after her marriage broke up when Orson was six.  A local doctor, Russian-Jewish orthopedist named Maurice Bernstein, who was a passionate admirer of Mrs. Welles, on first sight of the infant Orson declared him to be without a doubt a genius.  Bernstein showered Orson with gifts and virtually took over the direction of his life, to such an extent that Orson called him 'Dadda'.

When Orson was four, his father moved his family to Chicago, possibly to get away from Bernstein's attentions.  This plan failed when Bernstein almost immediately followed them.  Through Bernstein who was always forcing him to perform, and through his mother musical talents, the young Orson quickly came into contact with Chicago's musical society and walked on in the Chicago Opera's production of 'Samson and Delilah', then in a more important role of Butterfly's love-child Trouble in 'Madame Butterfly'.  He also got a temporary job dressed up as a rabbit at Marshall Fields.

Shortly after Orson's sixth birthday his parent's formally separated, his father taking off and his mother remaing to pursue her music ambitions in Chicago.  Welles live most of his time with his mother and Dadda Bernstein, but regularly traveled with his father on holidays.

His health effectively kept him out of school until he was eleven, so he had acquired a lot of cultural groundings at home with his mother and the doctor.  Fears that he might prove ungovernable like his brother Richard, who had been expelled from school by the age of ten and subsequently banished from home, brought him in 1926 to enrollment in the Todd School for Boys at Woodstock, Illinois, a few months after his mothers death from a liver condition at the age of forty-three.  The school was ideally equipped for the nurturing of a young wayward genius.(Taylor)  It was run by the proprietor, a terror rejoicing in the name as 'the King'.

Todd School had something of a tradition in drama, though mainly lightweight revues, nativity plays and such.  In this department Orson soon got his own way.  He was before long adapting, directing and starring in:  'Doctor Faustus', 'Everyman', 'Le Medicin Malgre Lui', 'Julius Caesar' with Orson as Cassius, 'Dr. Jekkyl and Mr. Hyde', with Orson as both.  He also built and managed a large puppet theater, writing his own melodramatic scripts and directing his assistants with the utmost authority.

As he moved into his teens Orson was already well on his way to becoming a legend. Everybody seemed to be convinced that he was extraordinary, and quite possibly a genius in the making.  But for all his outward reassurance, the child lived in a constant fear of not living up to his parent's expectations.  'I always felt I was letting them down.  That's why I worked so hard.  That's the stuff that turned the motor.'(Leaming, 6)  He would do anything for their approval.  He remembers that when he was very young his parents sent him on errands to the other side of town.  Terrified to go off alone, but wanting to please them, the child repeatedly forced himself to do as they asked without flinching.  ' I was taught to feel secure, it was not in my character.'

It is important in looking at Welles's arrival in Hollywood and his extraordinary contract his agent Arnold Weissburger managed to get out of RKO to be quite clear what the 'it' was.  What Welles had done was to hit the headlines with amazing consistency.  From the black Macbeth onwards, Welles had shown an uncanny knack, not only of delivering enough quality to keep the intellectual audiences returning, but also of doing it in the most public and newsworthy way, so that he was a name and had achieved a notoriety even with millions who had never had the chance to sample his work.  The talent was worth gambling on, even in Hollywood.(Taylor, 41)

And that sort of gamble is just what Schaefer and RKO decided to take.  The very nature of Welles's contract, which tied him to make two films, the first by 1940, the second by 1941.  Getting paid $100,000 for the first, and $125,000 for the second, plus percentages of the profits after RKO had made back that initial investment of $500,000 per picture.  Orson would produce, write, direct, and appear in both of these pictures which was news in itself, and supported his public image of the wonder boy.  In early February of 1939 Orson began to work on the idea which was to become a milestone in motion picture history, 'Citizen Kane'.  To help him he hired Herman J. Mankiewicz, successful screenwriter, and more immediately a regular writer for the Welles radio shows and collaborator on 'The Smiler with a Knife' script.

Apart from anything else, there are very clear autobiographical connotations in Welles's picture of Charles Foster Kane.  The most obvious is the naming of young Kane's kindly, protective guardian as Bernstein, like Welles's own.

Citizen Kane was them, and is now, essentially a film-makers film. there was possibly nothing in the film that was absolutely unprecedented.(Taylor,57

796.          Oscar History

OSCAR HISTORY

The Academy of Motion Picture Arts and Sciences is a professional honorary organization composed of over 6,000 motion picture artists and craftsmen and women. The purposes of the Academy are to advance the arts and sciences of motion pictures; foster cooperation among creative leaders for cultural, educational and technological progress; recognize outstanding achievements; cooperate on technical research and improvement of methods and equipment; provide a common forum and meeting ground for various branches and crafts; represent the viewpoint of actual creators of the motion picture; and foster educational activities between the professional community and the public-at-large.

The Academy's field of activity does not include economic, labor, or political matters. The Academy was organized in May, 1927, as a nonprofit corporation chartered under the laws of California. Its original 36 members included production executives and film luminaries of the time.

Douglas Fairbanks, Sr. was the first president. Others have been William deMille, M. C. Levee, Conrad Nagel, J. Theodore Reed, Frank Lloyd, Frank Capra, Walter Wanger, Bette Davis, Jean Hersholt, Charles Brackett, George Seaton, George Stevens, B. B. Kahane, Valentine Davies, Wendell Corey, Arthur Freed, Gregory Peck, Daniel Taradash, Walter Mirisch, Howard W. Koch, Fay Kanin, Gene Allen, Robert E. Wise, Richard Kahn, Karl Malden, Arthur Hiller and Robert Rehme. Current president Frank Pierson took office in August 2001.

From its founding until 1946, when it moved into a building in Hollywood, the Academy occupied a number of rented offices. In December of 1975, the Academy dedicated its new seven-story headquarters at 8949 Wilshire Boulevard in Beverly Hills.

For the first time in the organization's history, the Players Directory, the Margaret Herrick Library, the Samuel Goldwyn Theater, its administrative offices, and other facilities were all located under one roof.

Within a decade, however, the rapid growth of the holdings of both the Herrick Library and the Film Archive had necessitated the search for a new separate facility. In 1988, a 55-year lease was arranged with the City of Beverly Hills for the conversion of its historic Waterworks building in La Cienega Park into the new home of the Academy's film research facilities, now known as the Center for Motion Picture Study.

Membership in the Academy is by invitation of the Board of Governors and is limited to those who have achieved distinction in the arts and sciences of motion pictures. Some of the criteria for admittance are: film credits of a caliber that reflect the high standards of the Academy, receipt of an Academy Award nomination, achievement of unique distinction, earning of special merit, or making of an outstanding contribution to film.

Members represent 13 branches -- Actors, Art Directors, Cinematographers, Directors, Executives, Film Editors, Music, Producers, Public Relations, Short Films and Feature Animation, Sound, Visual Effects, and Writers. In early 2001, the Academy's Board of Governers approved the creation of a 14th branch for documentarian members of the Academy.

A candidate for membership in the Academy must first receive the favorable endorsement of the appropriate branch executive committee before his or her name is submitted to the Board of Governors for its approval. The Board of Governors also may invite to membership members-at-large and associate members.

Members-at-large are those engaged in theatrical film production, but for whose craft there is no separate branch. They have all the privileges of branch membership except for representation on the Board.

Associate members are those closely allied to the industry but not actively engaged in motion picture production. They are not represented on the Board and do not vote on Academy Awards.

Life members are designated by unanimous vote of the Board of Governors and have full privileges of membership, but pay no dues.

Corporate management, control, and general policies are administered by the Board of Governors. This group consists of three representatives from each of the 13 Academy craft branches. Governors are elected for three-year terms, with one representative from each branch being elected annually. This method assures a continuity of experience from year to year. The new Documentarians Branch will have one Governor.

Officers are elected from the Board for one-year terms. They include a president, first vice president, two vice presidents, treasurer, and secretary. No member of the Board of Governors may serve more than three consecutive three-year terms and no officer may serve more than four consecutive one-year terms in the same office.

Administrative activities of the Academy are conducted under the supervision of an executive director who is appointed by the Board of Governors. Bruce Davis, Executive Director since 1989, and his staff of 153 conduct the day-to-day business of the Academy.

The operating revenues of the Academy are obtained from membership dues, rental of its theater to film companies for previews and other special screenings, publication of the Players Directory, the sale of rights to televise the annual Academy Awards Presentation, and from other special programs.

OSCAR STATUETTE

A popular story has been that an Academy librarian and eventual executive director, Margaret Herrick, thought the statuette resembled her Uncle Oscar and said so, and that as a result the Academy staff began referring to it as Oscar.

No hard evidence exists to support that tale, but in any case, by the sixth Awards Presentation in 1934, Hollywood columnist Sidney Skolsky used the name in his column in reference to Katharine Hepburn's first Best Actress win. The Academy itself didn't use the nickname officially until 1939.

Since its conception, the Oscar statuette has met exacting uniform standards -- with a few notable exceptions. In the 1930s, juvenile players received miniature replicas of the statuette; ventriloquist Edgar Bergen was presented with a wooden statuette with a moveable mouth; and Walt Disney was honored with one full-size and seven miniature statuettes on behalf of his animated feature SNOW WHITE AND THE SEVEN DWARFS. Between 1942 and 1944, in support of the war effort, Oscars were made of plaster. After the War, winners turned in the temporary awards for golden Oscar statuettes.

The traditional Oscar statuette, however, hasn't changed since the 1940s, when the base was made higher. In 1945, the base was changed from marble to metal and in 1949, Academy Award statuettes began to be numbered, starting with No. 501.

BEST PICTURES IN THE HISTORY

(1928) WINGS

(1929) THE BROADWAY MELODY

(1930) ALL QUIET ON THE WESTERN FRONT

(1931) CIMARRON

(1932) GRAND HOTEL

(1933) CAVALCADE

(1934) IT HAPPENED ONE NIGHT

(1935) MUTINY ON THE BOUNTY

(1936) THE GREAT ZIEGFELD

(1937) THE LIFE OF EMILE ZOLA

(1938) YOU CAN'T TAKE IT WITH YOU

(1939) GONE WITH THE WIND

(1940) REBECCA

(1941) HOW GREEN WAS MY VALLEY

(1942) MRS. MINIVER

(1943) CASABLANCA

(1944) GOING MY WAY

(1945) THE LOST WEEKEND

(1946) BEST YEARS OF OUR LIVES

(1947) GENTLEMAN'S AGREEMENT

(1948) HAMLET

(1949) ALL THE KING'S MEN

(1950) ALL ABOUT EVE

(1951) AN AMERICAN IN PARIS

(1952) THE GREATEST SHOW ON EARTH

(1953) FROM HERE TO ETERNITY

(1954) ON THE WATERFRONT

(1955) MARTY

(1956) AROUND THE WORLD IN 80 DAYS

(1957) THE BRIDGE ON THE RIVER KWAI

(1958) GIGI

(1959) BEN-HUR

(1960) THE APARTMENT

(1961) WEST SIDE STORY

(1962) LAWRENCE OF ARABIA

(1963) TOM JONES

(1964) MY FAIR LADY

(1965) THE SOUND OF MUSIC

(1966) A MAN FOR ALL SEASONS

(1967) IN THE HEAT OF THE NIGHT

(1968) OLIVER!

(1969) MIDNIGHT COWBOY

(1970) PATTON

(1971) THE FRENCH CONNECTION

(1972) THE GODFATHER

(1973) THE STING

(1974) THE GODFATHER PART II

(1975) ONE FLEW OVER THE CUCKOO'S NEST

(1976) ROCKY

(1977) ANNIE HALL

(1978) THE DEER HUNTER

(1979) KRAMER VS. KRAMER

(1980) ORDINARY PEOPLE

(1981) CHARIOTS OF FIRE

(1982) GANDHI

(1983) TERMS OF ENDEARMENT

(1984) AMADEUS

(1985) OUT OF AFRICA

(1986) PLATOON

(1987) THE LAST EMPEROR

(1988) RAIN MAN

(1989) DRIVING MISS DAISY

(1990) DANCES WITH WOLVES

(1991) THE SILENCE OF THE LAMBS

(1992) UNFORGIVEN

(1993) SCHINDLER'S LIST

(1994) FORREST GUMP

(1995) BRAVEHEART

(1996) THE ENGLISH PATIENT

(1997) TITANIC

(1998) SHAKESPEARE IN LOVE

(1999) AMERICAN BEAUTY

(2000) GLADIATOR

WINNERS LIST OF THE 74TH ACADEMY REWARDS

ACTOR - LEADING  Denzel Washington TRAINING DAY

ACTOR - SUPPORTING  Jim Broadbent IRIS

ACTRESS - LEADING  Halle Berry MONSTERS BALL

ACTRESS - SUPPORTING  Jennifer Connelly A BEAUTIFUL MIND

ANIMATED FEATURE FILM  SHREK Aron Warner

ART DIRECTION  MOULIN ROUGE Catherine Martin (Art Direction) and Brigitte Broch (Set Decoration)

CINEMATOGRAPHY  LORD OF THE RINGS Andrew Lesnie

COSTUME DESIGN  MOULIN ROUGE Catherine Martin and Angus Strathie

DIRECTING  A BEAUTIFUL MIND Ron Howard

DOCUMENTARY FEATURE  MURDER ON A SUNDAY MORNING Jean-Xavier de Lestrade and Denis Ponce

DOCUMENTARY SHORT  THOTH Sarah Kernochan and Lynn Appelle

FILM EDITING  BLACK HAWK DOWN Pietro Scalia

FOREIGN LANGUAGE FILM  NO MAN'S LAND Bosnia & Herzegovina Directed by Danis Tanovic

MAKEUP  LORD OF THE RINGS Peter Owen and Richard Taylor

MUSIC (SCORE)  LORD OF THE RINGS Howard Shore

MUSIC (SONG)  MONSTERS, INC. "If I Didn't Have You" Music and Lyric by Randy Newman

BEST PICTURE  A BEAUTIFUL MIND Brian Grazer and Ron Howard

SHORT FILM - ANIMATED  FOR THE BIRDS Ralph Eggleston

SHORT FILM -- LIVE ACTION  THE ACCOUNTANT Ray McKinnon and Lisa Blount

SOUND  BLACK HAWK DOWN Michael Minkler, Myron Nettinga and Chris Munro

SOUND EDITING  PEARL HARBOR George Watters II and Christopher Boyes

VISUAL EFFECTS  THE LORD OF THE RINGS Jim Rygiel, Randall William Cook, Richard Taylor and Mark Stetson

WRITING (ADAPTED)  A BEAUTIFUL MIND Written by Akiva Goldsman

WRITING (ORIGINAL)  GOSFORD PARK Written by Julian Fellowes&#12288;

Nominations for the 74th Annual Academy Awards were announced on February 12, 2002 by Academy of Motion Picture Arts and Sciences President Frank Pierson and Oscar winner Marcia Gay Harden.

Pierson and Harden announced ten of the 24 categories at a 5:30 a.m. news conference attended by over 400 international media. Nominations in all categories were distributed simultaneously to news media in attendance and via the Internet on the official Academy Awards Web site

Harden received her first Academy Award Nomination last year at the 73rd Academy Awards, and won the Supporting Actress Oscar for her portrayal of Lee Krasner, the artist wife of abstract expressionist painter Jackson Pollock, in "Pollock."

Academy members selected the nominees in their respective branches, with the exception of the Animated Feature, Foreign Language Film and Makeup categories, where nominations were selected by vote of screening committees. All members select the Best Picture nominees. The secret ballots were mailed to 5,739 members in early January and were returned directly to PricewaterhouseCoopers, the international accounting firm, for tabulation.

Official screenings of all pictures with a nomination will begin this weekend for members at the Academy's Samuel Goldwyn Theater. Screenings in special categories also will be held in London, New York and San Francisco.

The Academy's entire active and life membership is eligible to select the winners in all categories, although in five of them - the two short film, the two documentary and the foreign language film categories - members can vote only after attesting they have seen all of the nominated films in those categories.

Academy Awards for outstanding film achievements of 2001 will be presented on Sunday, March 24, at the Kodak Theatre at Hollywood & Highland and televised live by the ABC Television Network beginning at 5:30 p.m. PST. A half-hour arrival segment will precede the presentation ceremony at 5 p.m.

Gordon E. Sawyer Award

Edmund M. Di Giulio, one of the industry's foremost engineering minds, was voted the Gordon E. Sawyer Award by the Board of Governors of the Academy of Motion Picture Arts and Sciences.

The Award, an Oscar statuette, was presented at the Scientific and Technical Awards Dinner on Saturday, March 2, 2002 at the Regent Beverly Wilshire Hotel.

Established in 1981, the Sawyer Award, an Oscar statuette is "presented to an individual in the motion picture industry whose technological contributions have brought credit to the industry." Di Giulio is the 16th recipient.

Perhaps best known for his part in the engineering and development of the Steadicam, Di Giulio has been active on various Academy subcommittees for many years and chaired the Academy's Scientific and Technical Awards Committee for five years.

"In my opinion, Ed is something of an engineering statesman, and someone one could always call on for advice and guidance," said Richard Edlund, current chair of the Scientific and Technical Awards Committee. "We could think of no one who more deserves the Sawyer Award than he does."

To this point in his career, Di Giulio has received four Sci-Tech Awards, which he shares with several other people. While at Mitchell Camera Corporation in the early sixties, he developed the company's first reflex camera - the Mark II - and in 1968, he received the Scientific and Engineering Award for the important design and application of a conversion that made it possible to change over most of the industry's existing sound cameras to reflex viewing. In 1992, he received another Scientific and Engineering Award for the camera system design of the CP-65 Showscan Camera System for 65mm motion picture cinematography. In 1998, Di Giulio received a Technical Achievement Award for the design of the KeyKode Sync Reader.

The next year, Di Giulio received the John A. Bonner Medal of Commendation, awarded for "outstanding service and dedication in upholding the high standards of the Academy."

Di Giulio has authored a number of influential scientific papers and is a well-known lecturer who has appeared at technical conferences and symposia both in the United States and around the world. An Academy member since 1966, Di Giulio is also fellow of the Society of Motion Picture and Television Engineers (SMPTE), and holds more than a dozen patents in computer and cinema technology.

Robert Redford was voted an Honorary Award, presented during the 74th Academy Awards, by the Board of Governors of the Academy of Motion Picture Arts and Sciences.

The citation reads: "Robert Redford - Actor, Director, Producer, Creator of Sundance, inspiration to independent and innovative filmmakers everywhere."

"Bob's dedication to independent filmmaking has had an enormously positive impact on the motion picture industry since he created Sundance 20 years ago, and young filmmakers for years to come will continue to benefit from the training that his institute provides and the world-class showcase that his festival offers," said Academy President Frank Pierson.

Since his acting debut in the 1962 drama "War Hunt," Redford has appeared in more than 35 films including "Butch Cassidy and the Sundance Kid," "The Way We Were," "All the President's Men" and "The Sting," for which he received an Academy Award nomination for Best Actor in 1973.

After gaining success as an actor, Redford tried his hand at directing and won an Academy Award in his directorial debut for the film "Ordinary People" in 1980. He received two nominations in 1994 for directing and producing Best Picture nominee "Quiz Show."

Honorary Awards, in the form of Oscar statuettes, are given by the Academy for "exceptional distinction in the making of motion pictures or for outstanding service to the Academy." Previous recipients include Ernest Lehman, Stanley Donen, Deborah Kerr, Federico Fellini, Ralph Bellamy, Michael Kidd, Alex North and Hal Roach.

Actor Sidney Poitier was voted an Honorary Award, presented during the 74th Academy Awards, by the Board of Governors of the Academy of Motion Picture Arts and Sciences. The award, an Oscar statuette, is being given to Poitier "for his extraordinary performances and unique presence on the screen, and for representing the motion picture industry with dignity, style and intelligence throughout the world."

"When the Academy honors Sidney Poitier," Academy President Frank Pierson said, "it honors itself even more."

In a career that has spanned more than 50 years, Poitier has been nominated for two leading actor Oscars, in 1958 for his role in "The Defiant Ones," and in 1963 for "Lilies of the Field," for which he won the statuette.

He has appeared in over 40 films since 1949, including such classics as "Blackboard Jungle," "To Sir, with Love," "Guess Who's Coming to Dinner," "A Raisin in the Sun" and "In the Heat of the Night."

So many governors made comments seconding Poitier's nomination that it took Actors Branch Governor Tom Hanks' remark - "When I was a young actor, I worked as a bellboy. I carried Mr. Poitier's bags once, and he tipped me five bucks!" - to finally bring the proposal to a vote.

Academy rules state that Honorary Awards, in the form of Oscar statuettes, may be given for "exceptional distinction in the making of motion pictures or for outstanding service to the Academy." Previous recipients include Paul Newman, Satyajit Ray, Michelangelo Antonioni, Akira Kurosawa, Sophia Loren, Walter Lantz, James Stewart and Henry Fonda.

John A. Bonner Medal of Commendation

The Board of Governors of the Academy of Motion Picture Arts and Sciences has awarded Ray Feeney the John A. Bonner Medal of Commendation. The medal was presented during the Scientific and Technical Awards presentation dinner on Saturday, March 2, 2002.

Feeney received the Bonner Medal for his pioneering efforts to improve visual effects in the motion picture industry.

Since the mid-70's, Feeney has worked to provide leading-edge scientific and engineering solutions to the film industry. The new technologies offered by Feeney and RFX, Inc., the company he founded in 1978, have served as the catalysts to produce ground-breaking visual effects for both feature films and television.

In conjunction with leading filmmakers and software engineers, Feeney also founded Silicon Grail, a company that develops digital compositing software to more efficiently create visual effects for feature films.

"Ray Feeney has played a leading role in the motion picture industry by working to improve upon current technologies. He has played a pivotal role in the field of visual effects and is truly deserving of the Bonner Medal," said Richard Edlund, chair of the Scientific and Technical Awards Committee. No stranger to Academy recognition, Feeney has won four Scientific and Engineering Awards from the Academy during his illustrious career: in 1988, for developing one of the first motion control camera systems; in 1991, for his work on the Solitaire Film Recorder; and in 1994, honoring his development of film input scanners and the Cinefusion bluescreen extraction technology.

Named in honor of the late director of special projects at Warner Hollywood Studios, the Bonner Medal is awarded for outstanding service and dedication in upholding the high standards of the Academy of Motion Picture Arts and Sciences.

Director Arthur Hiller was voted the Jean Hersholt Humanitarian Award by the Board of Governors. The Oscar statuette, was presented to Hiller during the 74th Academy Awards Presentation on March 24, 2002.

The Hersholt Award is given to an individual in the motion picture industry whose humanitarian efforts have brought credit to the industry.

"The board was persuaded not by Hiller's participation in a single cause, but by the wide diversity of his charitable and educational interests," Academy President Frank Pierson said. "In a long and productive career as a director and producer, Arthur has been extraordinarily generous with his time, a most precious commodity in the hell-for-leather pace of motion picture making. His activities extend far beyond the community of film to the society at large."

Hiller has been involved with such charitable organizations as the Motion Picture and Television Fund, KCET, Amnesty International, Inner City Filmmakers, the Los Angeles Central Library's reading program, the Deaf Arts Council, the Anti-Defamation League, Los Angeles County Museum programs on film and television, Humanitas, the Streisand Centre at UCLA and the Venice Family Clinic. Hiller is a frequent participant in classes and workshops at universities, festivals and other organizations in the United States and abroad.

Hiller was nominated for an Academy Award in 1970 for directing "Love Story," and served as Academy President from 1993 through 1997. Hiller's other film credits include "The Americanization of Emily," "The Out-of-Towners," "Plaza Suite," "Man of La Mancha," "The Hospital," "The In-Laws," "Silver Streak," "Author! Author!," "Outrageous Fortune" and "The Man in the Glass Booth."

Hiller's career spans many years and several media. It began in Canadian radio and moved into television in 1954 when he started directing for CBC Television. Shortly after, he was brought to the United States by Matinee Theatre and worked on many other prestigious television series such as "Playhouse 90," "Alfred Hitchcock Presents," "Gunsmoke" and "Naked City."

797.          Oscar Howe 984

Oscar Howe

(1915-1983)

Oscar Howe was a Yanktonai Sioux Indian, born on the Crow Creek Reservation in South Dakota in 1915.  Howe attended the Prierre Indian School until he reached 18-years of age.  Then he went to the Santa Fe Indian School to finish his high-school  career.  While in high-school, Howe was already doing exceptional work following the studio style of art.  He had exhibits state wide from New York City to San  Francisco and abroad in London and in Paris.

Oscar Howe spent a few years teaching art, at the same school he had attended during his childhood,  before he enlisted into the United States Armed Forces.  During World War II he was stationed in Europe for four years.  In Europe is were Howe experienced a new style of art that later became a major influence in his work.

After Oscar Howe returned to the United States, with his new bride, he taught art while working towards his undergraduate degree at the Dakota Wesleyan University.  Howe earned a Master of Fine Arts degree from the University of Oklahoma in 1954.

There, Howe began to develop his personal style which included cubism mixed with Sioux influences.  In 1957, at age 43, Oscar Howe was appointed Assistant Professor of Fine Arts at the State University of South Dakota.  During the same year he also held his first one-man retrospective in Santa Fe, New Mexico.

Oscar Howe's style of painting, in the later years, was marked as New Indian Painting.  Howe was and is considered a pioneer of this new form as it began its rise in the 1950's.  Native American artists moved beyond the Traditional Indian Paintings and began to develop a style using modern characteristics such as Cubism and Abstract Expressionism.  This is easy to see in Oscar Howe's Horses, 1963.

Their are several factors that caused the shift from Traditional Indian Painting to New Indian Painting.  One of these factors was the World Wars in which Indian soldiers had the largest number of enlistments.  When their duty was up and the Indian soldiers returned home ceremonies to purify them were held to welcome them back.  Also, as in the case with Oscar Howe, Native American artists in the 1950's were for more widely exposed to the national  and international art scene than the artist that came before them had been.

Oscar Howe,  I found to be a lot like Robert Henri although they used different styles Howe and Henri both painted what they knew.  All of Oscar Howe's paintings I have seen thus far have dealt with the Indian culture.  One example would be his painting Ghost Dance , 1960.  This painting, I believe to abstract expressionism, it is a water color painting where the dancing figures are distorted yet you can make out some of the feet and heads.  The Ghost Dance  refers to the Ghost Dance Movement in which ritual dances were performed to bring back dead loved ones and make them invulnerable to bullets.  The United States government ordered a ban on Ghost Dancing afraid of large gatherings of Indians.  The Lakota Sioux, in violation of the ban, held a  Ghost Dance.  The government sent troops to stop the dance and ended up opening fire on the Lakota Sioux with automatic weapons.  The death toll was over 200 men, women and children.

Oscar Howe has earned many awards from 1947 to his death in 1983.  He has many private collections as well art in museums and galleries all across the country side such as the Gallup Art Gallery in Gallup, New Mexico;  Denver Art Museum in Denver, Colorado;  and the U.S. Department of the Interior in Washington, D.C.  Howe's Murals decorate several public buildings including the Corn Palace in Mitchell, South Dakota.  Also, located at the Joslyn Art Museum in Omaha, Nebraska is a permanent collection.

I have always enjoyed art and I have always felt  I had a good eye for art.  In the past I have found myself seeing modern art such as Cubism, Abstract and Abstract Expressionism as bad art.  It seemed to easy to do.  How hard could it be to distort faces or throw paint on the wall?  Now, after taking this class and looking at different artist and art pieces including Oscar Howe I look at art through a different perspective.  Hearing and seeing what drove some of these artist to create what they did helped me to see what the message was the artist was trying to get across.  Where once there was simply distorted figures, their is now pain and suffering trying to keep a way of life alive.

I wish I knew the story behind all of Oscar Howe's paintings.  I believe I could learn more about the Native American culture through his paintings than I could through any history book.  His paintings not only bring across factual information but they also create a environment in which the viewer can feel, something I think all good artist need to be able to do.

Oscar Howe was not only an exceptional artist, he was also a successful teacher.  It was primarily through his efforts that it became acceptable for Native American artists to break away from Traditional Indian style's to other artistic styles such as New Indian Painting.  Howe's goal was to express truths through his paintings that were once deeply personal to him and his people.  In 1969, he wrote, What I hope to accomplish in my painting is satisfaction in content and form with completeness and clarity of expression, and to objectify the ³truths² in Dakota culture and present them in an artistic way.²  Through looking through his work, I like many other people felt he accomplished this with great success.

BIBLIOGRAPHY

Legacy of the West,  1982.  Josyln Art Museum/Center for Western Studies.  65/66.

Native American Fine Art Movement:  New Indian Painting;  03/10/97; http://www.heard.org/EDU/NAFAMRG/rsrcch7.htm

The Oscar Howe Collection;  03/10/97; http://www.sdstate.edu/~wsam/http/oscar.html

798.          Oscar Romero

Oscar Romero

Oscar Romero was at first a quiet, ordinary priest in the democratic country of El Salvador. But things change once newly appointed Arch-Bishop. Romero quickly finds out the way the country is run by the military. The poor people of Salvador are missing and being executed by the military. Romero tries to stop these events through the power of the Church. Raul Julia plays Oscar Romero the soft spoken priest turned Arch-Bishop. His character goes through a metamorphoses from beginning to end that eventually gets him killed. The one moment in time that really changes the way he acts is the death of Father Grande. Fr. Grande was a preacher to the poor or anyone who wanted to listen to the Word of the Lord. By the killing and torturing of people Romero gets very angry and says STOP! In one scene while in prison listening to a priest get tortured, he doesn't understand why one human being would do this to another. We are all human and why should their life be taken away if they have done nothing. The Church in this movie are people very strong in their faith and stand up for what they believe in. For example, When the people of one city walk right into a church that has been taken over by the military. This shows their willingness to die for God. Other acts show the people of El Salvador courage and deep faith. I thought that this was a very good movie. The strong imagery and sadness that these events really occur in El Salvador and other countries like it. The words of Romero were inspiring, the way he presented himself after every bad act by the military he just turned the other cheek. The pictures were probably the most disturbing thing in the movie. People with half of their face gone, limbs in all different positions, just hit me like Wow! How could a person do this and then live with themselves. The strength of Oscar Romero gave me chills down my spine. His acts of generosity, kindness, bravery and sacrifice he truly did live the way God wanted him.

799.          Othello 5

The film Othello by director Oliver Parker, is based on the Shakespearean tragedy based on the insecurities of one man, being played upon leading to his undoing at the hands of the one he most trusts, ?honest Iago?. In this essay, we look at how this age old play is dealt with by the medium of film, reviewing the director?s ability to provide an effect caused by insight into the play?s mechanization and interpretation of such affected by visual mastery. This analysis focuses mainly on techniques and devices used to achieve this and their effect.

The effectiveness of Parker?s choice of actors and actresses needs to be first questioned. Cognizant of the character Othello's empty un-reflective nature, he filled the void with sex and violence, traits embodied through actor Lawrence Fishburne's stunning visual presence. The idea was to make the erotic relationship between Othello and Desdemona the emotional hinge of the play, and this aspect at least, was handled well by the American actor. Fishburne's physicality and stilted American speaking of the lines make him the epitome of the alien "other" inherent in the play?s racist nature. The casting for all of the other parts is just as creative, for example Desdemona is not portrayed as the blond-haired embodiment of innocence as has been the norm in traditional productions. Rather she is sensual and dark-haired, played by the actress, Irene Jacob. Although Shakespeare's Othello says "she loved me for the pains I have suffered," this Desdemona, speaking in heavily accented English, rather conveys the full measure of erotic chemistry that can precipitate a sudden elopement.

With this is mind, the audience already witnesses a hint of the contrasting value of the play, mirrored well and in fact improved by the film. The movie begins with the image of Othello lifting a black and white mask onto his face (the mask is appropriate ?Othello? is a play about identity - both our conception of ourselves and the way we perceive others). This image is also significant of the two faced god Janus, who is linked to Iago. The symbol is effective as it is a mask of sorrow donned, signifying that it is this ?two-faced? nature that causes this tragedy.

In the opening act of the play itself, Iago show of allegiance to the double-faced god points primarily to the doubleness of Iago himself. However, there is another aspect of Iago's allegiance to Janus which is quite evident especially in the film. This likeness is Iago?s being the guardian of doorways and thresholds ? a concept played on by Parker?s apparent concern with entrances, doorstep hesitations and lurking by windows, in attempts to give the film a thriller effect. It is very important to notice that Iago is repeatedly stationed on a threshold, between inside and outside, often ushering the characters in and out. In the opening of the film, Iago and Roderigo are seen lurking (in the foreground) beside a door, apparently spying on Desdemona who is hurrying to some secret place to be wedded to Othello in the middle of the night. This is also apparent in Act III, scene 3, where when Othello collapses on his bed partly out of shot, the camera reveals Iago still lurking in the doorway. Shortly after, when Othello wakes up with a start in the middle of the night, having dreamt of Desdemona and Cassio's embraces, and leaves the palace for the beach. Unexpectedly Iago appears stealthily behind him, as if he had been lurking there, and remains for a while in the doorway of the palace with his eyes on Othello before joining him on the beach.

It is believed that from standing at the entrances of houses, at the doors, Janus is considered the patron of beginning and endings. So is Iago given the role of opening and closing most of the scenes. Parker utilizes this, having Iago linger behind the characters after leaving any place he is in. This gives Iago a diabolical, supernatural effect, as he seems to appear behind and aside characters out of some dark abyss. The director makes this even more apparent with his adaption of the significance of the soot in the play, after the villain has devised his plot. The devilish Iago grasps a red hot brand and smears his hands with soot, then places his blackened hand on the lens of the camera, with the effect of a black-out, saying "So will I turn her virtue into pitch, And out of her own goodness make the net, That shall enmesh 'em all"

Thus Iago appears as the absolute master of the gaze, of seeing, hiding and showing things at will; in so doing, he controls the physical and mental movement of characters, as well as the audience whose vision he may aid or obscure at will. The soot he spreads over the "eye" of the camera also suggests the fact that the characters are overly blind. It also testifies to the fact that as the play progresses, night seems to spread over Cyprus (with literally a growing importance of night scenes) overshadowing all the characters, including the fair Desdemona, who becomes, in Othello's very words, "begrim'd, and black." This furthermore shows Iago as film director, and most of all as god of passageways, with the impression that he steps out of the dramatic universe.

The scheming mastery possessed by Iago is excellently captured and portrayed by the visual devices and symbolic imagery used by the director to make effective his interpretation of Shakespeare?s work. Very important is the use of camera focus, a device Parker liberally utilizes to make up for the scenes from the play he has omitted from the film. He particularly makes use of the technique of ?rack focus?, a device where one character?s face is blurred while another?s is in focus. This technique is used for dramatic and symbolic effect, significant for instance in the night after the fight scene where Cassio?s face is highlighted and Iago?s words muffle until inaudible and the view of he and Othello are unclear. This works to further emphasize Iago?s God- like persona and pervasive effect.  By illuminating the faces of these victims, Parker is forcing us to concentrate on the effects of his words.

Alternately Iago who is standing in the background comes progressively into focus, while the character in the foreground fades out, which produces a new backward ? forward inversion. This is dramatized on several occasions. As fore-mentioned, in Act II, scene 3, while Iago is reporting to Othello how the fight came about, the camera repeatedly changes focal point, alternately shooting Cassio in focus, while Iago and Othello in the background blur out, and vice versa. Later in the same scene, Iago comes into focus in the far background between Cassio and Othello to signify to Cassio that he has done his utmost to temper Othello's anger. The device is again loaded with meaning when, in the vaulted armory, Iago who is at first sitting in the background starts making insinuations to Othello, whose face is screened by swords displayed on racks. Iago is at first out of focus, seen as much as unseen, while his initial tacit suspicions of Desdemona's apparent infidelity are shut out by Othello, yet seep through his closed ears to infect his mind. As Iago comes back into focus (before he walks over to Othello who has moved away from him at the first disclosure), one can assume that Iago's poisoned words have already made their way into Othello's thoughts. The same device will be at work at the end of the play, while Othello is reading the letter brought from Venice by Lodovico, to convey the double focus of the scene. The focus keeps shifting from Othello who is perusing the letter and Desdemona in the background who is talking with Lodovico about Cassio, showing the build-up of intensity leading to the slap.

This use of indirection and distortion of the gaze is a device utilized again by Parker, seen when the characters arrive in Cyprus, Iago observes behind him without being seen, the courteous exchange between Desdemona and Cassio reflected on the blade of his knife, uttering the words: "Very good, ay, well said, whisper: in as little a web as this will I ensnare as great a fly as Cassio." The reflection is blurred and warped on the unpolished blade. This is very significant, as the image blurred on blade shows that Iago is unsure of the authenticity of this action, yet pounces upon it ? seeing it through his blade signifying the violence he intends to create out of it. Once again his likeness to the two-faced god is apparent as he sees everything, before him and behind him, forward and backward.

One of the most important signifiers of Othello?s insanity is his obsession with images of Desdemona and Cassio having sex. These images are combined by Parker to create a flashing sequence forming one of Othello's nightmares. Whereas in the scene where Othello and Desdemona consummate their marriage, we see Othello's black hand grasp Desdemona?s white one, during Othello's disturbed visions, the camera instead shows us Cassio's white hand over Desdemona's. These images are particularly tormenting for Othello as his potent love for Desdemona and insecurities about his age and race result in a sense of unworthiness. His possessiveness of Desdemona is an important pioneer to his jealousy which is predominantly sexual as he treats Desdemona?s beauty as the cause which inflamed his love for her but which he also believes to have tempted Cassio, thus leading to his madness.

In conclusion, Fishburne and Jacob may not have been the ideal candidates for the portrayal of Othello and Desdemona respectfully, due to their lack of?. , they have nonetheless done well with their roles for the purpose they had been granted them ? to embody an erotic screen presence, as Parker intended to re-conceive the play as a sexual thriller. Saved by the acting genius of Kenneth Branagh as Iago, as well as the devices and effective camera use previously mentioned, this production would have indeed been a disaster. Irene Jacob's sensuous Desdemona is an erotic match for Fishburne on the screen and Othello does not have to be crazed to imagine her making love to another man, especially after Parker inserts a scene in which Othello watches Desdemona dance with Cassio, with a look of sensual pleasure in her eye. All of this makes Othello's jealousy more believable. The director embodies this passion symbolically in Desdemona?s dance with fire, which she passes around first to Othello then hands to Cassius ? Suggestive of a nature prone to infidelity.

In his manipulative interchanges with Roderigo, Cassio, and Othello, Parker through his screenplay fashions Iago to occasionally assume a seductive feminine demeanor, wooing them with yielding words and promises. This is predominantly shown in the scene after Othello's arrival in Cyprus where the celebration of the Turkish fleet's destruction has become a drunken orgy. In a cart rocking above them the camera reveals, without being overly graphic, that a couple is having intercourse while below a gleeful Iago embraces Roderigo and deviously sets him on to further machinations. This apparent nature is also implied in the body language between Fishburne and Branagh suggesting dominance-submission, sadism-masochism. Thus, this possibly suggested aspect of homosexual attraction being the power behind Iago?s evil actions, by Shakespeare in the play, is also embodied into Parker?s film.

With his fallbacks caused by omission of scenes and lines, Othello?s lack of a significant fall from innocence, no defining tragic moment, and Fishburne?s offer of nothing more than his physical presence; Parker hoped that sexual passion would bring emotional coherence to a play that has puzzled Shakespeare critics for two centuries. What however managed to save him from complete disaster, was his excellent use of symbolism inherent in the chess pieces (black king representing Othello, White queen as Desdemona and white knight as Cassio) held in and tossed out of Iago?s hand, as well as other fore-mentioned symbols (such as the mask) and brilliant use of film?s perks (camera focus-point and devices).

800.          Othello Battle of Good vs Evil

Othello - Battle of Good vs. Evil

"I am not what I am." What is Iago? -- as distinct from what he pretends to be -- and what are his motives?

In Shakespeare's, Othello, the reader is presented the classic battle between the deceitful forces of evil and the innocence

of good. It are these forces of evil that ultimately lead to the breakdown of Othello, a noble venetian moor, well-known

by the people of Venice as a honourable soldier and a worthy leader. Othello's breakdown results in the muder of his

wife Desdemona. Desdemona is representative of the good in nature. Good can be defined as forgiving, honest, innocent

and unsuspecting. The evil contained within Othello is by no means magical or mythical yet is represented by the character

Iago. Iago is cunning, untrustworthy, selfish, and plotting. He uses these traits to his advantage by slowly planning his own

triumph while watching the demise of others. It is this that is Iago's motivation. The ultimate defeat of good by the wrath of

evil. Not only is it in his own nature of evil that he suceeds but also in the weaknesses of the other characters. Iago uses

the weaknesses of Othello, specifically jealousy and his devotion to things as they seem, to conquer his opposite in

Desdemona. From the start of the play, Iago's scheming ability is shown when he convinces Roderigo to tell about

Othello and Desdemonda's elopement to Desdemona's father, Brabantio. Confidentally Iago continues his plot

successfully, making fools of others, and himself being rewarded. Except Roderigo, no one is aware of Iago's plans. This

is because Iago pretends to be an honest man loyal to his superiors. The fact that Othello himself views Iago as

trustworthy and honest gives the evil within Iago a perfect unsuspecting victim for his schemes. The opportunity to get to

Desdemona through Othello is one temptation that Iago cannot refuse. He creates the impression that Desdemona is

having an affair with Cassio in order to stir the jealousy within Othello. It is this jealousy and the ignorance of Othello that

lead to the downfall of Desdemona; the one truely good natured character in the play.

As the play opens we are immediately introduced to the hostility of Iago against Othello. Iago has been appointed the

position of servant to Othello instead of the more prestigous position of lieutenant. Michael Cassio has been appointed

this position. Iago feels betrayed because he considers him self more qualified than Cassio to serve as lieutenant. Iago

then foreshadows his plans for Othello to Roderigo, "O, sir, content you. / I follow him to serve my turn upon him (Act I,

Scene I)". Iago already realizes that Othello thinks about him as an honest man. Roderigo is used by Iago as an

apprentence and someone to do his "dirty" work. Roderigo is naively unsuspecting. As the play shifts from Venice to

Cyprus there is an interesting contrast. Venice, a respectful and honourable town is overshadowed by the war torn

villages of Cyprus. It could be said that Venice represents good or specfically Desdemona and that Cyprus represents

evil in Iago. Desdemona has been taken from her peacefullness and brought onto the grounds of evil. Iago commits his

largest acts of deceit in Cyprus, fittingly considering the atmosphere. Ironically, the venetians feel the Turks are their only

enemy while in fact Iago is in hindsight the one man who destroys their stable state. Act II Scene III shows Iago's willing

ability to manipulate characters in the play. Iago convinces Montano to inform Othello of Cassio's weakness for alchohol

hoping this would rouse disatisfaction by Othello. Iago when forced to tell the truth against another character does so very

suspiciously. He pretends not to offend Cassio when telling Othello of the fight Cassio was involved in, but Iago secretly

wants the worst to become of Cassio's situation without seeming responsible. Cassio is relieved of his duty as lieutenant.

With Cassio no longer in the position of lieutenant, this gives Iago the opportunity to more effectively interact with and

manipulate Othello. By controlling Othello, Iago would essentially control Desdemona.

To reach Desdemona directly is unforseeable for Iago considering that Othello is superior to him. It is for this reason that

Iago decides to exploit Othello. If Iago can turn Othello against his own wife he will have defeated his opposition. Act III

Scene III, is very important because it is the point in the play where Iago begins to establish his manipulation of Othello.

Cassio feels that it is necessary to seek the help of Desdemona in order to regain his position of lieutenant and therefore

meets with her to discuss this possibility. Iago and Othello enter the scene just after Cassio leaves, and Iago witfully trys

to make it look like Cassio left because he does not want to be seen in the courtship of Desdemona. Iago sarcastically

remarks :

Cassio, my lord? No, sure, I cannot think it

That he would steal away so guilty-like,

Seeing your coming.

(Act III, Scene III)

When Desdemona leaves, Iago takes the opportunity to strengthen Othello's views of honesty and trust towards him by

saying ironically, "Men should be what they seem; / Or those that be not, would they might seem none! " (Act III, Scene

III). This cleverness by Iago works upon one of the tragic flaws of Othello. Othello has a tendency to take eveything he

sees and everything he is told at face value without questioning the circumstances. Iago wonders why someone would

pretend to be something they are not, while in fact that is the exact thing he represents. Finally, after hearing the exploits of

Iago and witnessing the events surrounding Cassio, Othello for the first time is in conflict about what is the truth. This is

the first stage of Iago's scheme to control Othello. As Emilia becomes suspicious about Othello's development of

jealousy, Desdemona defends her husband by blaming herself for any harm done. This once again shows Desdemona's

compassion and willingness to sacrifice herself for her husband. Othello begins to show his difficulty in maintaining his

composure :

Well, my good lady.  O, hardness to dissemble --

How do you, Desdemona?

(Act III, Scene IV)

Act IV, Scene I is a continuation of the anxiety and indifference Othello is under going. Iago takes advantage of this by

being blunt with Othello about his wife Desdemona. Iago suggests that she is having sexual relations with other men,

possibly Cassio, and continues on as if nothing has happened. This suggestions put Othello into a state of such emotional

turmoil that he is lost in a trance. Iago's control over Othello is so strong now that he convinces him to consider getting rid

of Desdemona and even suggests methods of killing her. Iago, so proud of his accomplishments of underhandedness :

Work on. My med'cine works! Thus credulous fools are caught, And many worthy and chaste dames even thus, All

guiltless, meet reproach. (Act IV, Scene I)

Othello in this state commits his first act of violence against Desdemona by hitting her. This as a result of Desdemona's

mention of Cassio. This shows now Othello's other tragic flaw. He made himself susceptable to Iago and the jealousy

within him begins to lead to the demise of others. By his actions Othello has isolated himself from everyone except Iago.

This gives Iago the perfect opportunity to complete his course of action. Iago does not tolerate any interference in his

plans, and he first murders Roderigo before he can dispell the evil that Iago represents. Finally, Othello, so full of the lies

told to him by Iago murders his wife. Desdemona, representative of goodness and heaven as a whole blames her death

on herself and not Othello. Iago's wife, Emilia, becomes the ultimate undoing of Iago. After revealing Iago's plot to

Othello, Iago kills her. This is yet another vicious act to show the true evil Iago represents. Othello finally realizes after

being fooled into murder :

I look down towards his feet -- but that's a fable If that thou be'st a devil, I cannot kill thee. (Act V, Scene II)

Iago says "I bleed, sir, but not killed", this is the final statement by Iago himself that truely shows his belief in evil and that

he truely thinks he is the devil. That is the destruction of all that is good. Hell over heaven and black over white.

Iago, as a representation of evil, has one major motivational factor that leads him to lie, cheat, and commit crimes on

other characters. This motivation is the destruction of all that is good and the rise of evil. This contrast is represented

between Iago and Desdemona. Desdemona is described frequently by other characters as "she is divine, the grace of

heaven" (Act II, Scene I), while Iago in contrast is described as hellish after his plot is uncovered. Iago uses the other

characters in the play to work specifically towards his goal. In this way, he can maintain his supposed unknowingness

about the events going on and still work his scheming ways. Iago's schemes however at times seem to work unrealistically

well which may or may not be a case of witchcraft or magic. Iago's major mistake, ironically, is that he trusted his wife

Emilia and found that she was not as trustworthy as he thought. Although not completely victorious at the conclusion of

the play, Iago does successfully eliminate the one character representative of heaven, innocence, and honesty. Yet

"remains the censure of this hellish villian" (Act V, Scene II). Finally, everything Iago pretended to be led to his demise :

Honesty, Innocence, and Love.

801.          Othello Change of Characters

Othello - Change of Characters

Othello's character during the play is first shown as a hero of war and a man of great pride and courage. The other main

characters in the play all form their own opinions of him and as the play continues, his character begins to deteriorate and

become less noble. Chronologically through the play Othello's character changes from a flawless military leader, to

become a murderer. Also as the play progresses, the other characters in the play change their opinions of Othello which

causes the plot to happen the way it did.

Throughout the first act of the play, Othello was shown as many different characters depending on who was speaking.

Iago complains of Othello's pride and "bombast circumstance" and is angered by the appointment of Cassio, and

educated military theoretician of Florence to lieutenant, instead of himself. Although he knows Othello is a proud man, his

open and trusting nature in the beginning of the play will be eroded by the conclusion of the plot. As Iago is speaking to

Brabantio about Othello, he uses the term "white ewe" to represent Desdemona, and "black ram" when referring to

Othello. By using these terms, it shows that he is trying to give a bad impression of Othello when he is speaking to the

royal family in Venice, because Othello is a Moor or a Negro. Iago shows his black hatred for the Moor, and his jealousy

of Cassio in his first soliloquy and also reveals his evil intentions. As the act continues and Othello is being searched for by

a group of people, Iago attempts to incite Othello into anger against Brabantio, but Othello does not take the bait. He

feels that he (Brabantio) may do his worst because Othello is assured that his military services to the government will

outweigh Brabantio's complaints of him marrying Desdemona. These answers to Iago's persistence show that he is still a

character of calmness and dignity, and he still has the self-assurance suitable to command armies of men.

When Othello is found by Cassio, he seems to be relieved because he does not like personal conflict, which would have

occurred if Brabantio had found him instead. After he is found, Othello is taken to Brabantio where he is interrogated on

how he possessed Desdemona enough in order to make her run off with him. Brabantio damns Othello and calls him an

enchanter, saying that the "tender, fair, and happy" Desdemona was too shy of marriage, which is why she shunned all of

the suitors sent to her. This entire scene helps to establish Othello as an alert and composed leader. Later in this act,

Othello offers to explain how he won Desdemona. He chooses not to contradict or deny that he has used "magic" but

when the true meaning of the "magic" comes to light it is shown that he used the magic of love and not a conjured magic.

Iago also suspects Othello of having some kind of relationship with his own wife, although he doesn't know or even seem

to care whether or not his suspicions have any foundation at all. Again, according to Iago, Othello is an "ass" because he

has a "free and open nature." This act works as an introduction to the Othello character and shows how other characters

react to his presence in different ways.

The remaining acts of the play continue to show how the characters react to Othello's lifestyle changes. Even though he

must rid Cassio of his lieutenant responsibilities forever, Othello explains how he still loves him. If it were up to him

Othello would have reinstated Cassio at the first opportunity, but this would be bad political practice. He wishes to

appease Desdemona by doing this but he realizes that he can't. These practices show that he is a good governor and does

not wish to arouse hostilities in the city, with an untimely pardon of Cassio. Desdemona tells Emilia that Othello is not the

jealous type, which Othello believes to be true himself. However, as the play progresses through Act 3, Othello talks to

Iago telling him that their prior conversation gave him reason to suspect Desdemona's motives. As a reader, you can see

that Othello's capacity for judgement has deteriorated up to this point, not only is his state of mind changing due to Iago's

constant prodding, but his morals have also deteriorated along with his character.

As the play winds to a close, the characters continue to show their own opinions on Othello. Many of the characters have

changed their initial opinions because of Othello's obvious attitude change, but Iago is one of the only characters that has

kept the same mindscape, besides Desdemona. Othello continues to disrespect Desdemona by acting as if she was a

prostitute, Emilia was her owner, and he was a visiting buyer. This is blatant disrespect for his wife but she does not sway

her love and devotion from him. She does however feel that she is at the lowest point she could possibly be at and the

only way to go is up, because her lover has turned into a "beast." The last act of the play allows the characters to express

their last views of Othello, and how he has affected them. The night where he plans on killing Desdemona is an important

scene because he is still knowing enough to ask if she has prayed to allow her to have a clean soul when she dies. After

hearing this question, she realizes what he is about to do and pleads with him asking why he is doing it. Desdemona

always had faith in her husband until the bitter end and this gave no help to her life. She died because Othello was a pawn

in Iago's game, and she had nothing to do with it.

The conclusion of the play signifies the end of the frustration for many characters. Each of them has a different view of

Othello's character and through the duration of the play, many of these ideas change, however Iago and Desdemona are

the only main characters that do not change. They continue to have the same outlook upon Othello's unchanging character

changes. Each character looks upon Othello in his/her own way and that is how much of the plot unravels as the play

moves on.

802.          Othello Character Analysis

Othello - Character Analysis

In the play Othello, the character of Othello has certain traits which make him seem naive and unsophisticated compared

to many other people. This is why Iago, to get his just rewards uses him as a scapegoat. Iago told Roderigo, " O,sir,

content you. I follow him [Othello] to serve my turn upon him "(I, i lines 38-9). Iago is saying, he only follows Othello to a

point, and upon reaching it he will not follow him any longer. Iago has opened my eyes to see the real meaning of deceit.

No matter what, Iago will try to take advantage of Othello any time and he will be easily lead to believe the lies of Iago.

The Moor, as many Venetians call him, is of strong character. He is very proud and in control of every move throughout

the play. The control is not only of power but of the sense of his being who he is, a great warrior. In Act I, Othello has a

scuffle with Brabantio, who has come to kill him, but before anything could happen Othello said, "Hold your hands, both

of you of my inclining and the rest. Were it my cue to fight, I should have known it without a prompter" (I, ii, lines 80-3).

The power shown here is quite astounding.

The nature of Othello's character is of a dark man. A dark man, not only because he is black, but also because his whole

person is very mysterious. He is mysterious in that he believes there is magic brewing everywhere. With this dark side he

is also very outgoing, and not very bright. He isn't observant and the schemes of Iago work well on him. Though he

doesn't reflect too much on his past, except occasional ventures of wars fought, he does let his emotions run his life.

For all the dangers and encounters he has been involved in, this man is still naive of the corruptness of other individuals.

Othello has a trusting nature in which he gives it all. He put all his trust in Iago during times of war and during Othello's

marriage to Desdemona. This wasn't very bright of Othello, even if he wasn't trusting or more corrupt he still wouldn't

realize Iago was lying. Everyone considered Iago as honest, and would be out of character for Othello to believe any

different. For example, Othello had told the Duke, "So please your grace, my ancient; A man he is of honesty and trust.

To his conveyance I assign my wife, With what else needful your good grace shall think, To be sent after me" (I, iii, lines

284-8).

The control over any situation is one Othello's strong characteristics. Through the whole first act you can picture a man so

much power and natural leadership and when he changes you cannot believe it. For example, when Lodovico had

witnessed Othello hit Desdemona, he said:

"Is this the noble Moor whom our full Senate

Call all in all sufficient?  Is this the nature

Whom passion could not shake? whose solid virtue

The shot of accident nor dart of chance

could neither graze nor pierce" (IV, i, lines 264-8)?

While Iago, being the honest man he is, answers:

"He's that he is, I may not breathe my censure.

What he might be (if, what he might, he is not)

I would to heaven he were" (IV, i, lines 270-2).

Another place where Shakespeare shows Othello taking control over a situation is when Cassio and Montano are fighting

after Roderigo antagonized him. These words Othello said are important now, but they will be more important later when

he is alone with Desdemona in their bedroom. He will say:

"Now, by heaven,

My blood begins my safer guides to rule,

And passion, having my best judgement collied,

Assays to lead the way.  If I once stir

Or do but lift this arm, the best of you

Shall sink in my rebuke" (II, iii, lines 203-8).

You must feel sorrow for Othello because with all the power he has and the endless trust he gives, you try to reach out

and show him the truth.

By having his ancient or friend, Honest Iago bring him the news of his wife's bad habits. Othello had no alternative but to

believe him. If any man was brought news of this type they would surely go off the deep end. Iago not only told him but

he told him in a way that it was hard not to believe. He didn't tell a couple who have been married for years, and who

would know the likes and dislikes of one another, but he told a newly wed couple. Othello didn't really know Desdemona

before they were married. Othello said, "She loved me for the dangers I had passed, and I loved her that she did pity

them"(I,iii, lines 166-7). This man had really fallen in love with someone whose life was boring and needed adventure.

Othello's origin also inhibited him from understanding European women. He did see for himself the deception of

Desdemona toward her father and remembered the words he had said to him:

"Look to her, Moor, if thou has eyes to see:

She has deceived her father, and may thee"

(I, iii, lines 286-7).

When Othello has been given information from Iago in Act III scene iii, he cannot take any more so he asks Iago to leave

in which he does. Upon returning, Iago continues to enforce his previous statements and Othello seems not bothered for

he replies, "Fear not my government" (III, iii, 256).

With all this there is no man who can withstand such news like the news that Iago has given to Othello. Most of the men

who are would do much worse than in the case of Othello. This doesn't show jealousy, but when he is alone and has time

to contemplate the situation and has seen the handkerchief in the hands of Cassio, now is when his blood begins his safer

guides to rule.

After realizing Othello had been tricked into believing the lies of Iago. He couldn't handle the anguish of knowing he had

murder in jealousy rather for justice. This devastation in Othello's character brought the strong warrior back into the

scene. Where he transformed into his own judge, jury, and sentenced himself. He told the people around him in their

letters to write of him not in malice, then he said:

"Then you must speak of one that loved not wisely but too well" (V, ii, line 344).

After the speech was done he carried out his sentence, took a knife and stabbed himself. He then said:

"I kissed thee ere I killed thee. No way but this, Killing myself, to die upon a kiss" (V, ii, line 359-60).

He then laid down on the bed and died with dignity ( Stauffer 173).

Othello was jealous. He was told his wife was cheating on him and he thought he was killing for justice. He even said he

loved not wisely but too well. When he did kill it was not very smart of him to believe another man about something he

should know more about. This play introduced changes in Othello's character when these changes evolved there was

Iago lurking and waiting for the chance to jump in and take advantage of Othello. This why my belief of Othello is one of

a man whose character is brought to light of a horrible situation by a deceitful devil named Iago.

803.          Othello

OTHELLO FINAL PAPER

2. Discuss the techniques Iago used to manipulate others

Through out the play of Othello Iago used many techniques to get what he wanted

and one way or another he some how all most always got what he wanted. His techniques

were that of an everyday sneaky, conniving bad guy, who always got people to trust him,

except the person that was closest to him. But the main overall techniques he used were;

1)He gained the trust of people. Which was the number one technique, and from gaining

their trust he could branch off form that and then he could manipulate the people he was

playing into thinking that he was on their side even when he might be on the opposite side.

Another thing that he could do to people was to, from gaining their trust and making then

think that he was on their side he could manipulate them and make them turn on each

other. The other technique that he used which didn't nearly play a role as large as the first

technique but was important was he was always very careful, in being discovered and by

covering his tracks. He knew how to take care of things in precarious situation. There was

in my own personal opinion one more technique, and that was that he knew how to use all

his options and could use his wits and cunningness.

Iago's number one technique was his ability to make people trust him. He had just

about everyone spun in Iago's web. Rodrigo, Othello, Cassio, Desdemona, Emilia, and

etc. And he got every one of them to trust him, although he still hadn't got Emilia into his

web fully. She still had suspicions about him. He could gain the trust of people as if it was

nothing to him. He always when talking to that certain person said that he was on their

side, making a false trust that the person believed, and therefore trusted him. Now most of

the people he did this to it worked on. Such as Cassio calling him "Honest Iago" and when

Cassio got in that fight with Rodrigo, he believed that Iago was the only good, honest man

on his side, even though he was the one who set him up. By getting him drunk through his

other technique of being cunning. Ok so now that he gets the trust of people he can work

with that, he would make everyone he came in contact with feel as if he was on their side.

He could manipulate their minds, tell them false things. Such as who's the bad guy, who's

planing against them, and when he was talking to Othello who was cheating on who. Such

a lady named Desdemona, who was supposedly cheating on a guy whom he once fired. And

that was all accomplished through one guy named Iago. He got Cassio fired, got the

hanky that Othello gave to Des. in Cassio's possession, and convinced Othello that Cassio

was cheating with his wife Desdemona. Now that he could do all that with out anyone but

his wife finding out, he must have had some good techniques. He had from the very

beginning known what he wanted. He wanted revenge from Othello for not getting the

job, and Cassio for getting the job. And for whoever gets caught in the middle of his web

oh well, too bad. In his work he got what he wanted, and all by using his techniques, so

they do work. He got everything accomplished but one thing didn't tun out as he wanted

and that was that he got caught.

Now for the other technique that he used that was that he knew how to cover his

tracks, and try to make sure that he wouldn't be caught. Even though he did it took them

a very long time. He did this by being very careful. He did things such as when Brabantio

was outside talking and hearing news about his daughter, he could see Rod. but there was

another voice, talking and telling him about Othello his daughter Des. and how Othello

got her through witchcraft. Now by not showing his face he could run over to Othello

pretend to tell him some false information and then have Bra. walking up the street and

not know that it was Iago telling him that information. Then later on when there was a

fight and Rod. was hurt he was about to spill all and tell about Iago's hidden agenda,

Iago killed him ending the threat that his wildcard Rod. might get him in trouble, and he

killed him when he was on the ground and no one was looking. So he therefore was

covering his back and making sure he wouldn't be caught.

The next technique that he used was that he knew how to use all his options

he could use all the tools in his grasp. Such as using the slow wit of Rod. and exploiting

that to get him to do things, like give him money. He had his wits, his cunningness, and

his use to exploit people.

Ok so those were the techniques that Iago used to manipulate others. Although we

only read about him gaining Cassio in his web I'm sure he might have used other

techniques to get the trust of the others. So the techniques that he used were to gain their

trust, then branch off that. Another one was that he knew how to cover his tracks, and the

last one was that he knew how to use all his options. So Iago accomplished all his tasks

with those simple techniques.

804.          Our Journey to Earth

Our Journey to Earth

Today we journeyed to a distant planet known as "Earth."  The main life form on this planet are humans, an organized group of emotional and vivacious individuals.  Our crew traveled to a large building the humans named a "Library."  This structure contains lots of information of the human's existence.  During our mission we found a large assortment of writings which we could not translate, but we also unearthed pictures of humanoids in many activities they share with one another.  The humans appear to be spirited and well-groomed and have established a successful civilization.

We encountered a picture of humans with long, white sticks of some sort, sticking from their aperture on the front.  The humans labeled these sticks "cigarettes" and appear to be happy and carefree when they are "smoking" them.  In this illustration,  there seems to be two species of mankind: males and females.  The males seem to be physically superior and  raw.  The females appear to be sexy, seducing, and physically prepared.  There also seems to be a strong sexual attraction between the two species.  The setting in this picture is very relaxing and seems to be a place of excitement for the jovial humans.  Cigarettes appear to be a source of absolute happiness.

Another source of satisfaction for the humanoids are bottles of alcohol which seem to bring smiles to dispirited individuals. This picture that I'm looking at now has some type of amphibious creature saying the same word "Budweiser".  This small creature is in the middle of a large humanoid gathering, where females are sitting on the laps of males, and everyone seems joyful.  Everyone has their forelimbs risen, holding drinks, and there appears to be three females for every male.  The location of the gathering is in a large structure on the edge of a very large body of water.

As I look through the library, another ad catches my eye with the title of "Olympics".  Humans in this picture seem to be having some type of competition.  It includes many small pictures of these humans in different events.  There is a picture of a humanoid dressed in colorful clothing and throwing some sort of large stick.  I'm not too sure if this is some sort of organized army, because another small picture shows a very large male holding device that appears to cause the male to strain.  There is also a small picture of many females moving through water.  The last small event displays a physically built male tossing a steel ball.  There are colorful rings underneath the title which brings some type of symbolic meaning to the picture, that we can't seem to distinguish.

Another page in these "magazines" shows a female laying out near a large body of water with a bottle in her hand.  The woman looks very seducing to a male alien such as myself.  She is showing most of her skin and is rubbing herself with liquid from the container.  Her body captures the sunlight and the large bodies of water seem to rise high in the air.  The females have large features on her chest that I can't seem to interpret, because they are covered.  If all women on earth look like this, life must be great for the males.

The final picture shows two old males of great importance.  One can distinguish their importance because they are on the cover of the magazine and are pointing at one another.  It appears harsh words are being expressed toward each other.  They are both wearing a long band from their upper appendage that hangs and gives a very formal appearance.  I believe he is the humanoid's leader, because he has one striking feature: the top of his head is covered with white hair.  No other males in the pictures contain this white substance which displays their authority.

By observing the pictures of these humanoids and their activities I believe I have learned a lot about their lives.  I believe the humans lived carefree lives and did not experience worries that we the members of the Planet Xernon encounter.  I admire their ability to be carefree and live lives I can only dream of.   If only I could translate these writings I could learn more about these magnificent beings.

805.          Outdoors Or TV

Outdoors Or TV?

Todd Turner

Composition

10/15/96

I think that if kids spent their time outside rather than watching TV there

would be less kids in gangs and less kids causing crimes.  I've noticed lately

that alot of kids are in gangs and have been burglarizing houses and stores.

One reason why I think kids are becoming more violent and committing crimes is

because, they sit in front of the stupid TV all day long.  They don't spend

enough time outdoors, hunting, fishing, surfing, and doing all those fun

exciting things.

The outdoors offers so much to do and takes your mind off reality and

into the fun world.  When you are outdoors you are free as a bird and there

aren't too many rules.  The one rule I go by is; "have fun."  When you're

outdoors you don't have to think about being robbed or hurt by crazy people

because, they stay in the city.

If you are outdoors you can't watch TV.  That means that there would be

fewer kids wanting to join gangs and probably less violence.  That would stop

allot of killing and stealing in this world if every body went outdoors instead

of watching TV.

Just think, what if kids spent their time outside rather than watching

TV and learning how to steal and kill.  Maybe our world would become a safer

place.  Instead of watching TV, I spend my time outside.  It is allot more fun

then learning how to fight and kill each other.

806.          Pablo Picasso 1087

Pablo, Picasso (a Spanish painter) who is widely acknowledged to be the most important artist of the 20th century was born Pablo Ruiz in Malaga, Spain and later adopted his mother's unique name

Picasso. Though Picasso was born in Spain he spent most of his life in France. As a child Pablo was a prodigy. He studied art first privately with his father and then at the Academy of Fine Arts in La Coruna, Spain, where his father taught. Picasso's early drawings, such as Study of a Torso, After a Plaster Cast (1894-1895), and Musee demonstrate the high level of technical talent he had achieved by the age of 14.Picasso was admitted to advanced classes at the academy after he completed in a single day the entrance examination that applicants traditionally were given a month to finish. In 1897 Picasso left Barcelona to study at the Madrid Academy in the Spanish capital. Dissatisfied with the training, he quit and returned to Barcelona.

Later in 1904 Picasso settled in France where he encountered and experimented with, a number of modern artistic styles. Picasso's painting Le Moulin de la Galette (1900, Guggenheim Museum, New York City) revealed his interest in the subject matter of Parisian nightlife.In addition to café scenes, Picasso painted landscapes, still lifes, and portraits of friends and performers.From 1901 to 1903 Picasso initiated his first truly original style, which is known as the blue period. Restricting his color scheme to blue, Picasso depicted wasted and pitiful figures whose body language and clothing showed the humbleness of their social status. In The Old Guitarist (1903, Art Institute of Chicago, Illinois), Picasso

the guitarist's poverty and position as a social outcast, which he  by surrounding the figure with a black outline, as if to cut him off from his environment. The guitarist is compressed within the canvas (no room is left in the painting for the guitarist to raise his lowered head), suggesting his helplessness: The guitarist is trapped within the frame just as he is trapped by his poverty. Although Picasso underscored the unpleasantness of his figures during this period, neither their clothing nor their environment shows a specific time or place. This lack of specificity suggests that Picasso intended to make a general statement about human alienation (isolation)rather than a particular statement about the lower class in Paris.

The year 1912 marks another major development in the cubist language: the invention of collage. In Still Life with Chair Caning (1912, Musee Picasso), Picasso attached a piece of oilcloth (that depicts woven caning) to his work. With this action Picasso not only violated the truthfulness of the medium oil painting on canvas but also included a material that had no previous connection with high art. Art could now be created (Picasso seems to imply,) with scissors and glue as well as with paint and canvas. By including pieces of cloth, newspaper, wallpaper, and other materials in his work, Picasso opened the door for any object or material,  to be included in (or even replace) a work of art. This improvement had an important cost for later 20th century art. Another innovation (or improvement) was including the letters JOU in the painting, possibly referring to the beginning of the word journal (French for "newspaper") or to the French word jouer, meaning "to play," as Picasso is playing with forms. These combinations reveal that cubism includes both visual and verbal references, and merges high art with popular culture.In 1937 the Spanish government commissioned Picasso to create a mural for Spain's pavilion at an international exposition in Paris. Unsure about the subject, Picasso procrastinated. But he set to work almost immediately after hearing that the Spanish town of Guernica had been bombed by Nazi warplanes in support of Spanish general Francisco Franco's plot to overthrow the Spanish republic. Guernica (1937, Prado, Madrid) was Picasso's response to, and condemnation of, that event. He executed the painting in black and white--in keeping with the seriousness of the subject--and transfigured the event according to his fascination with the bullfight theme.

At the extreme left is a bull, which symbolizes brutality and darkness, according to Picasso. At the center, a horse wounded by a spear most likely represents the Spanish people. At the center on top, an exploding light bulb possibly refers to air warfare or to evil coming from above (and putting out the light of reason). Corpses and dying figures fill the foreground: a woman with a dead child at the left, a dead warrior with a broken sword (from which a flower sprouts) at the center, a weeping woman and a figure falling through a burning building at the right. The distortion of these figures expresses the inhumanity of the event. To suggest the screaming of the horse and of the mother with the dead child, Picasso transformed their tongues into daggers. In the upper center, a tormented female figure holds an oil lamp that sheds light upon the scene, possibly symbolizing the light of truth revealing the brutality of the event to the outside world. In 1936 Picasso met Dora Maar, an artist who photographed Guernica as he painted it. She soon became his companion and the subject of his paintings, although he remained involved with Walter.

Picasso's emotional life became more complicated after he met French painter Françoise Gilot in the 1940s, while he was still involved with Maar. He and Gilot had a son, Claude, and a daughter, Paloma, and both appear in many of his late works. Picasso and Gilot parted in 1953. Jacqueline Roque, whom Picasso married in 1961, became his next companion. They spent most of their time in the south of France.

One of Picasso's late works, Head of a Woman (1967), was a gift to the city of Chicago. This sculpture of welded steel, 15 m (50 ft) tall, stands in front of Chicago's Civic Center. and the sculpture soon became a city landmark.

Because of his many innovations, Picasso is widely considered to be the most influential artist of the 20th century. The cubist movement, which he and Braque inspired, had a number of followers. Its innovations gave rise to a host of other 20th-century art movements.

While still a medical student, Williams founded Provident Hospital in 1891 to provide greater opportunities for black medical professionals. Provident was the first Chicago hospital to admit blacks to its staff, and the first racially integrated hospital in the city. It included the first nursing school for black women in the United States.

807.          Pablo Ruiz y Picasso 868

Pablo Ruiz y Picasso

A short biography of a famous painter and sculptor

A male born in 1881, died in 1973- Pablo Picasso was one of the most famous painters of the 1900's.

As the son of a professor of art, Picasso's talent for drawing was recognized at an early age. An advanced student at the Barcelona Academy of Fine Arts from the age of 14, he experimented in his youth with nearly all of the "avant-garde styles" current at the turn of the century.

He also became known for his sculpture , drawings, graphics, and ceramics works. In some way he was the artist most characteristic of this century, because he responded to changing conditions, moods, challenges so intensely and so rapidly. His "searching style" made him the leader in expressing the complexity of the 1900's.

For Picasso, the meaning of art was to be derived from other works of art, and not directly from nature.  Henri de Toulouse-Lautrec's work had a significant impact on his early paintings, as did the work of Paul Cezanne.  Their influence, among others, can be detected in the paintings of Picasso's "blue period" (1901-1904), which was stimulated by his exposure to life and thought in Paris, where he made his home after 1904.

In works such as The Old Guitarist (1903;  Art Institute, Chicago) he created "evocative portrayals" of blind, impoverished, or despairing people in a blue palette.  His use of blue as a motif was apparently derived from the symbolic importance of that color in the contemporary romantic writings of Maurice Maeterlinck and Oscar Wilde, whose work often "derived its force from depictions of madness or illness."  Although his palette and subject matter changed when he entered (1904) what is called his "rose period," during which he painted harlequins and circus performers in a lighter and warmer color scheme, a mood of spiritual loneliness and lyrical "melancholy" that marked his "blue" paintings was retained.  These paintings, do display "a classical calm that contrasts clearly with the nervous expressionism" of the blue period.

Picasso's art challenges the viewers' traditional view of life. He appeared drawn to tension and conflict. Picasso seemed to explore the fantastic world of nightmare and deep imagination which modern psychology and modern art cites as great influence on our daily actions. He hoped to reveal unknown influences that lie hidden in the viewers' half unconscious life. Perhaps Picasso was influenced by the art of his native Spain, which often seems fascinated by the visionary and the monstrous.

Picasso was born in Malaga, Spain, but lived in France from 1904 until his death. He was a child prodigy, painting realistic works when he was only 14 years old. Picasso's first personal style, called the Blue Period (1901-1904), focused on the themes of loneliness and despair, and featured mainly shades of blue. The style of this period was between 1904 and 1906 to a style that stressed warmer colors and moods. Abandoning the thin, discouraged faces of the Blue Period, Picasso gave his new subjects more flexibility and frequently included some circus scenes in his works.

By 1906, he began painting great figures that were massive, to withstand potential shock or fear. In 1907, Picasso painted "Les Demoselles d' Avignon", a landmark in art. This picture marked a decisive break with traditional notions of beauty and harmony. Five female figures with masks, rather than faces "pose in a convulsive, jagged array-distorted, shaken, and savagely transformed." The new image grew to be known as cubism.

In early 1912, Picasso began including newspaper clippings, bits of debris, and stenciled works in his paintings. In this way, he hoped to break down the distinction between art and non-art and to make viewers re-think their relationship to traditional art.

After World War I, Picasso extended his explorations of form, placing special emphasis on "brilliantly colored" dreamlike images. From 1918 to 1924, he painted with a classical style, using huge and stately figures. In the 1920's and 1930's Picasso portrayed figures as though from the inside out, and the lifeless objects in these works appear to have a life of their own.

"His Guernica (1937) was painted as a protest against the bombing of the town of Guernica during the Spanish Civil War (1936-1939 ). The painting was Picasso's attempt to make a public statement using his personal symbols of rage and despair. The picture is an expression of crisis and disaster beyond individual control." (Author's thought)

In 1944, Picasso joined the Communist Party because he felt the Communists had been more effective in fighting the Nazis. Even though Picasso supported the Communists,  Picasso's art is official condemned as "decadent" and "unacceptable" in most Communist countries.

After 1945, Picasso's painting, sculpture, and ceramics developed to a more relaxed and gentle feeling . He appeared to make peace with the emotions that had "tormented him" so often in the past. Some critics feel this new Picasso had outlived the best days of his art. Others feel this represented another advance in Picasso's visual and mental adventures in art.  Surely, Picasso was a magnificent artist who created many styles of painting and his legend will continue..

(Note: One of Picasso's famous painting is worth $76,000,000 USD)

808.          Pablo Ruiz y Picasso Career 977

An essay following Picasso's early career until his death -

The Early Life and Career of Pablo Ruiz y Picasso

According to Ariane Ruskin Batterberry, Pablo Ruiz y Picasso is considered the  most famous

artist of the 20th Century.  Picasso always working to improve his artistic skills,  he would just sit alone and paint or sculpt anything  that would come to his mind. Picasso worked on many different styles of art, such as, painting, sculpting, printmaking, ceramics, and scene designs.  As Batterberry brings to our attention, Picasso is said  to have lived several artistic lifetimes. Throughout most of his career Picasso was extremely poor, but this did not stop him from being great at whatever it was he was doing (34-35,243-244).

Picasso was born on October 25, 1881, in Malaga, Spain (Batterberry,243).   When he was young his family moved to Barcelona (World Book Encyclopedia,448).  He liked painting pictures

of the city life around him.  In 1896 he entered the school of Fine Arts, where his father was a

professor.  Paris was the Center of Art and Literature, he visit the city in 1900, where he fell

under the spell of the artistic atmosphere.  He returned later and settled in 1904.  He was very

poor, but his studio became a meeting place for many artists Batterberry, 243-244).  Picasso had

his first exhibition at the Cafe Quatre Gats in Barcelona.  He studied at the Royal Academy of

San Fernado in Madrid for many years (World Book Encyclopedia, 448).

As Ariane Batterberry points out, Picasso painted scenes of the day-to-day life of  many poor

people of his neighborhood.  He painted several circus pictures, which were mostly for the

amusement of children.  He also did paintings in varieties of gray and blue, these were called

"Picasso's Blue Period" (Batterberry, 243).   John Kehoe tells us that, Picasso's works were

named by the atmosphere each piece showed.  His Blue Period-showed lots of blue colors that

were full of sadness.  The Rose Period was a very soft warm optimistic mood. Picasso also

experimented with Cubism, which he picked up from George Braque, a french painter.  He used

postage stamps and newspapers which this style of work was known as Collage (135-137).

Picasso was very much influenced by Paul Ciezanne.  He tried to show the geometric shapes in

life.  Picasso and a friend attempted this and used geometric shapes for the paintings of a band.

This form and style of painting was know as Cubism.  He also made several collages by painting

various things using different materials (Batterberry, 243).  For 70 years or more his energy burst

through conventional boundaries to discover new releases.  Body of works included paintings

and sculpture, they could have very well been the work of a dozen artists.  His works were

auctioned for enormous prices, making him extremely wealthy. Picasso quoted several of his

works, such as; Beauty, Art, and Research... "I have a horror of people who speak about the

beautiful. What is the beautiful? One must speak of problems in painting!  Paintings are but

research and experiment. I never do a painting as a Work of Art.  All of  them are researches.",

Bad Paintings..."I like all paintings. I always look at the paintings-good or bad-in barbershops,

furniture stores, provincial hotels...I'm like a drinker who needs wine. As long as it is wine, it

doesn't matter which wine.", Symbolism and Communism..."If I paint a hammer and a

sickle people may think it is a representation of Communism, but for me it is only a hammer and

sickle. I just want to reproduce the objects for what they are; not for what they mean." ("Domain

of the Arts", 1-2).

Picasso's moods were known to change as often as his lifestyles.  His art was extremely

valuable even in his own lifetime, because of the great variety of his styles.  After he moved to

Spain, Batterberry explains.  Picasso still continued to experiment with painting, as well as sculpture, printmaking, ceramics, and collage (244).  John Kehoe provides us with the

information that, in the late 1920's Picasso turned toward a flat, cubist-related style.  In the

1930's however paintings became militant and political.

Guernica (1937) masterpiece from this time period reflects the terror of the bombing of the town

of Guernica during Spanish Civil War.  After WWII his works became very gentle, because of he

moods that were around him.  Picasso worked the rest of his life on historical styles of art, most

were reproductions of other artists works (200-202).  As he often did, Picasso also quoted many

of his paintings and works done in his later years by saying "If everyone would paint, political

re-education would be unnecessary.", "No, painting is not made to decorate apartments, its and

offensive and defensive weapon against the enemy.", "I paint the way someone bites his

fingernails; for me, painting so a bad habit because I don't know nor can I do anything else.",

and, "Today we haven't the heart to expel the painters and poets from society because we refuse

to admit to ourselves that there is any danger in keeping them in our midst." ("Domain of the

Arts", 1-2).

Picasso, Pablo died April 8, 1973.  Titan of 20th Century art till death at his hill top mansion in

Notre Dame de Vie.  His death at 91 was attributed to pulmonary edema fluid in the lungs.  He

rarely left his 17 acre estate, which was covered by barbed wire.  Besides his wife he left behind

four children, all from previous wives and mistresses. ("Domain of the Arts, 1).

Works Cited

Batterberry, Ariane Ruskin. "Picasso, Pablo." The New Book of Nowledge, Vol. 15, 1986     ed.,

pp. 243-244.

Kehoe, John. Life File. New York: Hearst, and Company, 1987.

"Picasso, Domain of the Arts." (No publishing information given).

"Picasso." World Book Encylopedia, Vol 15, 1995 ed., pp. 448-449.

"Twentieth-Century Art." Los Angeles County Museum of Art, (January 15,1996), 23-25.

809.          Paralells in My Brilliant Career Essay

Paralells in My Brilliant Career

Obtaining ones goals in life is not an easy task.  There are many obstacles

that can prohibit one from doing so.  What separates the weak from the strong?

The ability to overcome the obstacles and reach your goal.  This was most

evident in the movie, My Briiliant Career, it is a stunning example of how one

can go through trials and tribulations and still be successful.  The parallel

between the movie, reality, and Australian history is very clear in this film.

In the movie we meet a young lady by the name of Sevilla.  Her dream is

to write a novel. Unfortunately that is not conducive to the goal of her parents.

So her parents tell her she can move in with her grandmother.  This works to

Sevillas advantage because her grandmother appreciates art and the beauty of

such talents.  This is the first triumph that we witness, but as we know there

is always some other adversity to overcome. That is what we do , we travel with

her through her life and experience the joys and pains that she experiences.

While on this journey we find out some important things about our leading lady.

First we discover that she is a woman with a mission and that she will go

through any length to get it.  We also find out that love is very important to

her. for example she has a man that is courting her and is a womans dream.  He

is handsome and rich, also has a good family name.  In fact her grandmother who

is very important person in her life tells her that she should accept his love.

Instead she rejects it, and tells her grandmother that she does not love Frank.

From this point we find out she is a feminist with very strong views.  She has a

need to feel independent and feels that women don't need men for anything at all.

Then she meets Harry and to her surprise  falls in love with him.  She

does not act on this love in fact, she rejects it.  He wants to marry her and

she tells him to wait, come back in 2 years and then see what happens.  Just as

she makes this decision her family feels it is time to start having a little

responsibility.  The send her off to work in a house taking care of children.

Once again it is like an obstacle thrown in her way, but, she overcomes it and

still continues to write.  After time passed she returned to her grandmothers

and that is when Harry asks to marry her.  She says, no and moves on with her

life.  She rejects love and family or anything that could possibly deter her

from doing what she loves, writing.

At the end of the movie she finishes her novel, the way the director did

this scene was terrific.  he places in a position so that she looks like a

Christ figure.  This was a brilliant scene in that it appeared to show exactly

how victorious she was.  The movie drew many parallels. In reality , the film

really hit home because it was a real situation.

How many times in life have we seen it?  We here success stories everyday of how

people overcome adversity.  It is most prevalent in my own life.  For years all

I wanted to do was act and perform on stage.  Just as Sevilla I had people in my

life that did not wish for me to do well.  Those people viewed me as selfish and

strong headed. Questions were often asked like, What is your realistic goal?  So

this movie really hit home for me.  Seeing Sevilla suffer through these heart

aches and pain moved the movie to a new level.  Also seeing her reign triumphant

at the end of the movie was a scene that put a smile on my face knowing that it

is possible to overcome things that others put in your way.

A neat twist in the movie is that if you substitute the men in

Sevillas life for Britain and Sevilla herself for Young Australia you have the

history of that nation. Sevilla herself is Australia a nation that had many

obstacles to overcome.  The history which I speak of has been prevalent in all

the movies that we watch in class. This nation has overcome manta bad times.

That was well demonstrated in the movie Breaker Morant. That movie concentrated

on the bore wars of Australia, it also showed how the men in this movie parallel

to Britain. There are so many parallels that can be drawn by this movie.  I just

chose to put a few of  those analogies down on paper and express them to you.

My Brilliant Career , is an exciting movie that creates a positive

image of life. This movie also gives a new and exciting way to view Australian

history.  The creators of this film were brilliant in that they gave an

excellent view of life and history, well balanced, and still exciting.

810.          Paralells in My Brilliant Career

Ray Romeo

Film as Lit.

Strojan and Ward

Paper #1

My Brilliant Career

Paralells in My Brilliant Career

Obtaining ones goals in life is not an easy task.  There are many obstacles that can

prohibit one from doing so.  What separates the weak from the strong?  The ability to

overcome the obstacles and reach your goal.  This was most evident in the movie, My

Briiliant Career, it is a stunning example of how one can go through trials and tribulations

and still be successful.  The parallel between the movie, reality, and Australian history is

very clear in this film.

In the movie we meet a young lady by the name of Sevilla.  Her dream is to write a

novel. Unfortunately that is not conducive to the goal of her parents.  So her parents tell

her she can move in with her grandmother.  This works to Sevillas advantage because her

grandmother appreciates art and the beauty of such talents.  This is the first triumph that

we witness, but as we know there is always some other adversity to overcome. That is

what we do , we travel with her through her life and experience the joys and pains that she

experiences.  While on this journey we find out some important things about our leading

lady.  First we discover that she is a woman with a mission and that she will go through

any length to get it.  We also find out that love is very important to her. for example she

has a man that is courting her and is a womans dream.  He is handsome and rich, also has

a good family name.  In fact her grandmother who is very important person in her life tells

her that she should accept his love.  Instead she rejects it, and tells her grandmother that

she does not love Frank.  From this point we find out she is a feminist with very strong

views.  She has a need to feel independent and feels that women don't need men for

anything at all.

Then she meets Harry and to her surprise  falls in love with him.  She does not act

on this love in fact, she rejects it.  He wants to marry her and she tells him to wait, come

back in 2 years and then see what happens.  Just as she makes this decision her family feels

it is time to start having a little responsibility.  The send her off to work in a house taking

care of children.  Once again it is like an obstacle thrown in her way, but, she overcomes it

and still continues to write.  After time passed she returned to her grandmothers and that

is when Harry asks to marry her.  She says, no and moves on with her life.  She rejects

love and family or anything that could possibly deter her from doing what she loves,

writing.

At the end of the movie she finishes her novel, the way the director did this scene

was terrific.  he places in a position so that she looks like a Christ figure.  This was a

brilliant scene in that it appeared to show exactly how victorious she was.  The movie

drew many parallels. In reality , the film really hit home because it was a real situation.

How many times in life have we seen it?  We here success stories everyday of how people

overcome adversity.  It is most prevalent in my own life.  For years all I wanted to do was

act and perform on stage.  Just as Sevilla I had people in my life that did not wish for me

to do well.  Those people viewed me as selfish and strong headed. Questions were often

asked like, What is your realistic goal?  So this movie really hit home for me.  Seeing

Sevilla suffer through these heart aches and pain moved the movie to a new level.  Also

seeing her reign triumphant at the end of the movie was a scene that put a smile on my

face knowing that it is possible to overcome things that others put in your way.

A neat twist in the movie is that if you substitute the men in Sevillas life for

Britain and Sevilla herself for Young Australia you have the history of that nation. Sevilla

herself is Australia a nation that had many obstacles to overcome.  The history which I

speak of has been prevalent in all the movies that we watch in class. This nation has

overcome manta bad times. That was well demonstrated in the movie Breaker Morant.

That movie concentrated on the bore wars of Australia, it also showed how the men in this

movie parallel to Britain. There are so many parallels that can be drawn by this movie.  I

just chose to put a few of  those analogies down on paper and express them to you.

My Brilliant Career , is an exciting movie that creates a positive image of life. This

movie also gives a new and exciting way to view Australian history.  The creators of this

film were brilliant in that they gave an excellent view of life and history, well balanced, and

still exciting.

811.          Paul Gauguin 743

Paul Gauguin

I think Paul Gauguin had a very interesting life and I consider him one of the best artists of his time. Although he had a very active life, he managed to express and record his feelings through painting. In the following paragraphs I will explain Gauguin's life and  give my opinion about his life and his works of art.

Gauguin was born on June 7, 1848 in Paris. He was considered one of the leading painters of the Postimpressionist period. In 1849 his journalist father's political activities forced the Gauguin family into exile, and  set off for Peru.  His father died during the crossing from France. Gauguin's mother, of Peruvian descent on her mother's side, and her two children moved in with a great grand uncle and his family in Lima. At the age of 17 Gauguin joined the French merchant navy, traveling around the world for six years. After the death of his mother in 1867, he settled down with his wealthy guardian, Gustave Arosa, who had a large art collection that included works by Delacroix. This period in time shaped Gauguin's interest in the arts. He started collecting Impressionist paintings, and became an amateur painter.

Gauguin began his career as a stockbroker in Paris in 1872. He attended the Impressionist's first exhibition in 1874, and was captivated by the impressionist style. He purchased works by Monet,  Pissarro, Renoir and others. His exposure to the Impressionists reinforced his desire to become a painter. In 1883 the bank that employed Gauguin experienced financial difficulties, and he found himself free to paint full-time. Much of his work during this period was influenced by the Impressionists, especially Pissarro. In 1884 Gauguin went to paint at the artists haven of Pont-Aven. Influenced during this period by van Gogh, Seurat, and Degas, he began to adopt his own independent style. In 1887, Gauguin left France for Panama. For a short time he worked as a laborer for the Panama Canal Company. He soon left Panama for Martinique, where he continued his development as an artist. In 1888 he returned to Brittany. His experience in Martinique broadened his vision and enabled him to develop original interpretations of scenes in Brittany. In October, 1888 he traveled to Vincent van Gogh's home in Arles, France. His stay was both traumatic and fruitful for both artists. Gauguin returned to Paris in December after Van Gogh's "ear incident." Gauguin's break with the Impressionists came when he painted "Vision after the Sermon," where he tried to depict the inner feelings of his subjects. This painting also marked the start of a new painting style that came to be known as "Symbolism."

Although this period had been highly productive for Gauguin, he was deeply depressed and in 1891 abandoned his family to seek an idyllic life in the South Pacific Islands. He stayed briefly in Tahiti's capital, Papeete, and then relocated to a remote part of the island. He lived in Tahiti from 1891 to 1893, and again from 1895 until his death. In Tahiti his painting style evolved to reflect the Pacific Islands' primitive forms and brilliant colors. His striking images of Polynesian women rank among the most beautiful paintings of the modern age. In 1904, Gauguin, dissipated by drug-addiction, died of a heart attack on Hiva Oa Island in the Marquesas in French Polynesia.

I think that Gauguin always had an interest and talent  in art, but began to put it

to action when he lost his job. He always had a good taste and knew how to appreciate art in diverse ways. Although he was influenced by Impressionist artists of his time, he managed to paint in his own independent style. Many of his painting were of things, people, and places in which he had been in different times of his life. I think that one of his major influences was Vincent van Gogh since they both had time to get to know each other better and share ideas. One of Gauguin's masterpieces was "Vision after the Sermon," in which he showed the feelings of the subjects in the paintings.  With this painting he made a new painting style called Symbolism.  Some of my favorite paintings were towards the end of his life when he was in Tahiti and Polynesia.  His paintings were filled with bright colors and depicted the lifestyle in these islands. This is why I think that Paul Gauguin has been one of the greatest artist.

812.          PAUL MCCARTNEY is he really six feet under

PAUL McCARTNEY, SIX FEET UNDER?

I read the news today, oh boy, about a lucky man who made the grade...he blew his mind out in a car.  He didn't notice that the lights had changed.(the Beatles, 1967) These lyrics proved to fans that Paul McCartney had indeed died in a tragic auto accident in late 1966.  Some people were skeptical about the explanation, but upon investigating the album covers and the lyrics of the Beatles' songs, the story seems to make sense.  Some of the lyrics have to be a twisted in order to make sense in the prank, but after an explanation, the clues are perfectly coherent.

For thirty-one years, the "Paul Death Hoax" has intrigued a horde of Beatles' fans and fanatics alike.  While it's difficult to point to an absolute point of origination, there is no evidence whatsoever that the Beatles themselves had anything to do with the story, although many claim that the Beatles intended it to be a joke the their fans.  However, clues, which seem so cleverly arranged, are random coincidences or inaccurate interpretations of existing facts, and all Beatles have denied that they were in any way involved with the deceit.  This leads people to believe that maybe Paul did die in that alleged accident.

In the late summer 1969, the Northern Illinois University campus newspaper, Northern Star, obtained a list of clues from a student who wrote a research paper on the hoax.  (Saki) Russell Gibb, a disc jockey for the Detroit radio station, WNKR, then got a copy of it from a friend of his, and on his radio show, proceeded to read them and even make up his own on the spot.  Within a few days, Gibb and his coworkers were astonished to see that newspapers and reporters took his on-air joke too seriously and spread the story more widely. (Saki) More clues came about when Fred Labour, arts reviewer of the University of Michigan's student newspaper, The Michigan Daily, was asked to review "Abbey Road."  He had listened to Gibb's radio show a few days before this, and was inspired to write his own article, based on "clues" from Gibb and making up his own.  The newspaper published the article under the title, "McCartney Dead; New Evidence Brought to Light." (Saki) Labour and the editor, J. Gray, assumed that everyone knew it was a joke.  The rest of the world took it seriously, and soon Labour was swamped with phone calls from media who wanted more information about his findings.  However, these two men are not "responsible" for the hoax, they were the ones who figured it out from the clues.

James Paul McCartney was born in Liverpool, England, on June 18, 1942, in Ward Hospital.  His mother, Mary Patricia, had given up hospital work just over a year previously and became a health visitor.  Jim McCartney, his father, worked for Napiers, the engineering works in Liverpool, at the time of Paul's birth.

Paul started primary school at Stockton Wood Road Primary when the family moved to Speke, near Liverpool.  He then went to the Liverpool Institute, the best-known of Liverpool's grammar schools. (Davies, 24) At age thirteen, the McCartneys moved to a little house in Ardwick, also near Liverpool.  A year later, Mary died of breast cancer, a tragedy that was extremely painful to the family, especially Paul's little brother, Michael.  The boys were then moved to stay with one of Jim's sisters, Aunt Jinny, so Jim could start over with the household work.  The boys eventually moved back home, but not without help from Jinny and Aunt Milly, another one of Jim's sisters.

It was most likely because of his mother's death that Paul decided to start playing guitar.  (Davies, 26) He was influenced by the skiffle phase and Bill Haley's early rock numbers, but like his fellow Beatles, he was impressed by Elvis Presley.  It wasn't until the summer of 1956 that Paul finally saw the first performance of his future co-lyricist, John Lennon.  Paul was the one who showed them the chords and words to the popular tune, "Twenty Flight Rock."(Davies, 33) His first real performance with the Quarrymen was at a dance at the Conservative Club in Broadway.  A few years later, with the addition of another guitarist named George Harrison, the group changed their name to Johnny and the Moondogs, a name thought of at the spur of the moment by the host of a television show at an audition. (Davies, 58) In 1959, they changed their name to the Silver Beatles for an audition for the king of British rock and roll, Larry Parnes.  Through a gig in Hamburg, Germany, they met their permanent drummer, Ringo Starr, who was then in the group Rory Storme and the Hurricanes.  Finally in 1960 they shortened their name to the Beatles, the name that stuck. (Davies, 92)

On Wednesday, November 11, 1966, Paul was driving through town at five o'clock in the morning.  He was staring at a meter maid named Rita, and didn't realize that he was coming up to a red light.  A gathering of people stared at the end result.  Paul died of massive head trauma suffered in the crash.  The Beatles later held a Paul look-alike contest to replace him.  The winner was named William Campbell, a dead ringer for Paul, except for a scar on his upper lip.

The title on the cover of the album "Rubber Soul," released in 1965, is in the shape of a heart, indicating a lost soul among the four Beatles. (Saki)  The group (including "Paul") is looking down, possibly peering into a grave.  The picture is somewhat distorted so no one can tell there is an imposter Paul and not the real one.  Even though this album came out before Paul's death, it is still referred to for clues.

In the song "I've Just Seen a Face," the words indicate what might have been going through Paul's mind at the time of the crash: ...-had it been another day, I might've looked the other way and never been aware.  In the song, "Girl," the lyrics refer to the highly publicized relationship between Paul and Jane Asher.  ...that a man must break his back to earn his day of leisure will she still believe it when he's dead...  shows that their relationship wasn't a very good one.  Most of the lyrics of "I'm Looking Through You" tell that Paul is in his grave:

I'm looking through you, where did you go?  I thought I knew you, what did I know?  You don't look different but you have changed, I'm looking through you, you're not the same...your lips are moving I cannot hear, you don't sound different I've learned the game...you were above me but not today, the only difference is you're down there...you've changed, you've changed, you've changed....

The words in "In My Life" describe how being alive is better than being dead ...all these places have their moments....some are dead and some are living, in my life I love you more...  The song "Nowhere Man" describes Paul in his present state, dead.  He's a real nowhere man...doesn't have a point of view, knows not where he's going to...you don't know what you're missing, nowhere man can you see me at all?

The next album that contains any clues is "The Beatles 'Yesterday'...and Today," released in 1966.  This album had two covers, the first being the infamous "butcher cover."  In it, the group has lab coats on, and they are holding dismembered dolls.  There is a set of teeth on Paul's right arm, signifying his teeth were knocked out in the car crash, rendering dental records useless for identifying the body.  (Gabriel) George is holding a doll's head next to Paul's head.  This is supposed to show that Paul was decapitated in the accident. (Gabriel) The alternate cover had Paul in a box with the other three surrounding it.  When the album was turned on its side, the box looked like a coffin.  As a sick joke, George called Capitol Records and just had the alternate covers on top of the original covers, instead of reprinting them. (Saki) This is the first time "Paul" is seen with a scar on his upper lip, so it has to be the imposter, William Campbell.

The album had a couple of songs with lyrics that pointed to the death.  I believe in yesterday...suddenly, I'm not half the man I used to be, there's a shadow hanging over me.  Yesterday came suddenly are to signify that either Paul is no longer himself or he is not who he thinks he is.  (Gabriel) He does everything he can, Dr. Robert... from the song "Dr. Robert" means that the doctor did everything he could to save Paul's life after the accident.  A reference to Paul being buried is in the song "And Your Bird Can Sing": you can't see me...you can't hear me.

"Revolver" was released in August, 1966.  This is the first cover picturing an open hand above Paul's head, signifying that the person below was departed from this world. (Gabriel)  Paul's name is sideways, as if it didn't fit with the rest of the names, indicating he doesn't fit in with the rest of the band.

There are three lines of "Taxman" that have clues: ...if you drive a car *Paul*..., reinforcing the fact that he died in a car accident, ...if you get too cold, *Paul*..., saying that bodies become cold after they die, and ...my advice to those who die, taxman..., could be a shortened form of taxidermist, who preserves the remains of dead animals.  The word "Paul" is in asterisks because they really say "ohhh," but it could be interchanged with "Paul."  Instead of using Father McKenzie in "Eleanor Rigby," the lyrics were going to be Father McCartney, but the group figured that Paul's father wouldn't be too happy with his surname being used.  Father McKenzie, writing the words of a sermon that no one will hear...was buried...Father McKenzie wiping the dirt from his hands as he walks from the grave, no one was saved...  "For No One" tells of a love of Paul's (possibly Jane Asher) who is no more: ...she says her love is dead...she says that long ago she knew someone but now he's gone.  The song "Got to Get You Into My Life" tells what happened that tragic day, in nutshell:  I was alone I took a ride I didn't know what I would find there...and then suddenly I see you (the metermaid).  (Saki)  Even though the lyrics of "Tomorrow Never Knows" don't have Paul's name in them, it could be substituted for the word "all" in this line: ...*Paul* played the game existence to the end.

The front and back covers and inside gatefold of "Sgt. Pepper's Lonely Hearts Club Band," released in 1967, depict the most clues of any other album.  Each of the wax figures on the front cover is of a deceased celebrity or someone who was outdated by then.  There appears to be a freshly dug grave in front of all the people.  The wax figures of the early Beatles show them facing Paul, who is facing forward into a grave. (Saki)  Each Beatle is holding an instrument, John, a brass french horn, George, a brass flute, Ringo, a brass trumpet, and Paul, a black Cor Angelis clarinet.  The flowers spell out "Beatles", and there is a left-handed bass guitar with three sticks upon it, indicating the three remaining Beatles.  Some even believe that the guitar appears to spell "PAUL?" (O'Brien).  On the right side of the cover, there is a doll with red lines (blood) running down her dress (Jane Asher or the metermaid), and there is a small car on her lap, the model of the one Paul was driving.  Below the "T" in the word "Beatles," there is a statue of the Hindu god Shiva, "The Destroyer," whose hand points directly at Paul. (O'Brien).  If a mirror is held up perpendicular to the drum on the front, so the words "LONELY HEARTS" are split in half, the combined writing of the drum and the mirror says, "1 ONE 1 X HE DIE."  It says that there are three original Beatles left, the "X" crosses out the deceased Paul, and the arrow between "HE" and "DIE" points directly to Paul.  There is another open palm above Paul's head.

On the inside gatefold, the Fab Four are seen facing the camera.  On Paul's left shoulder, there is a patch whose identification is wrong at first glance.  Some say it says "O.P.D." which means "officially pronounced dead" in Canada, but it really says "O.P.P." which stands for "Ontario Provincial Police."  This could also be interpreted in the song "She Came in Through the Bathroom Window" that William Campbell was once a police officer.

The vinyl copy of "Sgt. Pepper's..." has lyrics printed on the back cover, layered over a picture of the Beatles.  Paul is facing backwards, to signify he is an imposter, and he appears to be taller than everyone else, even though he, John, and George are the same height.  The lyrics "Within You Without You" from the song of the same title are coming out of Paul's head.  George's thumb is pointing to the line, "Wednesday morning at five o'clock," the time of Paul's death.  The word "LOVE" is spelled out by the Beatles, Paul's "O" being left out. (O'Brien)  George is pointing a "sixth finger" at Paul, indicating an ill-omen. (Saki)

"Sgt. Pepper's Lonely Hearts Club Band" is an actual idea taken from history where a man can replace another man without anyone catching on. (Saki)  ...so let me introduce to you, the one and only Billy Shears and Sgt. Pepper's Lonely Hearts Club Band...  introduces William Campbell to the world as Paul's replacement.  The lyrics to "Fixing a Hole" show how William is adjusting to his new position: ...and it really doesn't matter if I'm wrong I'm right, where I belong I'm right where I belong.  See the Beatles standing there, they disagree...silly Beatle run round, they worry me...  "She's Leaving Home" tells the day of the week and time of day Paul died: Wednesday morning at five o'clock as the day begins...  The metermaid he was looking at when he died is found to be named Rita, as in "Lovely Rita": ..standing by a parking meter when I caught a glimpse of Rita...  "Good Morning" tells of the chaos that followed the accident.  ...nothing to do to save his life...you're on your own you're in the street....people running around it's five o'clock...watching the skirts you start to flirt now you're in gear...  The tragedy is finally told in the song, "A Day in the Life" : ...he blew his mind out in a car, he didn't notice that the lights had changed.  A crowd of people stood and stared, they'd seen his face before.  Nobody was really sure if he was from the house of Paul...  However, the lyrics on the album cover say "house of Lords."  On side B of the British release, there is a statement called "The Inner Groove" that says, "Will Paul come back as Superman?" (Saki)

On the cover of "Magical Mystery Tour," also released in 1967, the walrus is Paul, something not discovered until "The White Album."  Paul is also the only one in black, and is in front of the other three Beatles.  According to the Lewis Carroll story, the walrus ate oysters and died, and the walrus is a sign of death in certain cultures. (O'Brien)  When a mirror is held up to the word "Beatles," it reveals a phone number (2317438).  When called, the caller gets this cryptic message: "You're getting closer..." and the call would abruptly end. (O'Brien) Throughout the booklet issued with the vinyl album, Paul is shown without shoes on.  Generally people are buried without their shoes on.  On the first page, Paul's magician hat is pulled down over his face, hiding it because it is not really him.  Page three finds Paul sitting under crossed flags; crossed flags are placed over caskets at British military funerals. (O'Brien)  On the same page, a sign sits in front of him at the desk, reading "I WAS YOU."  It is this picture that the scar on his upper lip is noticed, indicating that William has successfully replaced Paul in the band.  Paul's hat is crushed on page four, indicating he suffered head injuries in the crash.  The reference to head injuries comes up again on page nine, when the drawing of Paul shows a crack in his head.  Page thirteen shows Ringo's drum reading, "LOVE THE 3 BEATLES," and a pair of bloody shoes right next to it.  On page 23, the three remaining Beatles have red carnations, while Paul has a black carnation.  Page 24 shows yet another open palm over Paul's head. (Gabriel)

Day after day, alone on a hill, the man with a foolish grin is keeping perfectly still...but nobody ever hears him and the sound he appears to make... are the lyrics of "Fool on the Hill."  On page nine in the booklet, there is a cartoon of Paul labeled 'fool on the hill', with the word "hill" running down Paul's head.  Nobody ever hears him because he is gone.  In "I am the Walrus," the eggman equals life, while the walrus equals death: I am the eggman they are the eggman I am the walrus...(no you're not, said little Nicola). "Hello Goodbye" tells how William had to adjust: ...you say goodbye and I say hello.  There is some conflict about the line I buried Paul, signifying that he was there with Father McKenzie ("Eleanor Rigby"), at the end of "Strawberry Fields Forever."  Some say John says that, others say John says cranberry sauce, but why would there be a pause between the syllables? ...No one you can save that can't be saved...nothing you can see that isn't shown...yes, he's dead...we loved you yeah, yeah, yeah from "All You Need is Love" confirms to listeners that Paul is indeed dead, and will be sorely missed.  (Gabriel)

The album cover for "Hey Jude" shows the four Beatles standing in a doorway.  On top of the doorway is a picture of where Paul is supposed to be buried.  In the song, "Lady Madonna," the lyrics say the newspapers that day of the accident were recalled: ...Wednesday papers didn't come...  At the end of "Revolution," some of the all rights sound just like Paul died, and occasionally a background vocal dubs in that phrase. The song "You Know My Name, Look Up the Number," cites the phone number found on the "Sgt. Pepper's..." album cover.  There is a cuckoo clock that rings five times (possibly for the four Beatles and William) when the phone number is called and a gruff voice saying, "BEWARE OF ABBEY ROAD." (O'Brien)

"White Album", the mysterious double album, was released in 1968.  On page seven of the CD booklet, there is a picture of Paul dancing in the bottom right corner.  Looking closely, there appears to be two skeletal hands reaching for him.  There is a large picture of Paul that clearly shows the scar on his upper lip, on page fourteen.  William Campbell's face is finally shown, before plastic surgery to look more like Paul, on page eighteen.

As mentioned before, in the song "Glass Onion," the lyrics figure out very important evidence about Paul: I told you about Strawberry Fields...well her's another place you can go...to see how the other half live looking through a glass onion... tells of looking at the coffin; "glass onion" is a term used for a coffin that has a glass panel over the top so people can see in. ...I told you about the walrus and me man, you know that we're as close as can be man, well here's another clue for you all, the walrus was Paul... confirms the walrus's identity, as well as John and Paul's friendship.  I told you about the fool on the hill...listen to me fixing a hole in the ocean... tells about Paul's passing.  He is referred to in the album "Magical Mystery Tour" as the fool on the hill.  The ocean reference comes from the album "Yellow Submarine" when the lyrics tell of Paul buried under the grass.  The hole is his grave.  George sings "While My Guitar Gently Weeps," and at the fade-out, he can be heard singing Paul, Paul, Paul, Paul...  The end of the song "I'm So Tired" and the beginning of the song "Blackbird," played backwards, says Paul is dead man, miss him, miss him.  "Mother Nature's Song" is sung by "Paul," and he says find me in a field of grass, Mother Nature's Son, referring to he being buried.  Ringo laments Paul's accident in the song "Don't Pass Me By": you were in a car crash and you lost your head (the lyrics say hair)...  "Revolution #9" is the spookiest of any of the songs mentioned. ..his voice was low and his eye was high and his eyes were closed...*Paul* died...my fingers are broken and so is my hair, I'm not in the mood for wearing clothing...maybe even dead...you become naked... are heard playing the song forward, among other things, and the droning number 9 refers to Paul's last name, which has nine letters in it.  Played backwards, there is a nasty car crash heard, the car catches fire, and Paul is heard screaming get me out!  get me out! The words number nine played backwards really are turn me on, dead man. (O'Brien)

"Yellow Submarine"'s album cover shows another open palm above Paul's head, and the yellow submarine is stationery under the land.  In the song "Yellow Submarine", John shouts various naval orders, which include Paul is queer, an attempt to divert Paul's fan's attentions from Paul's eternal absence so it wouldn't be so traumatic. ...sky of blue, sea of green, in our yellow submarine...in the land of submarines... tell that Paul was buried in a yellow coffin, under the green grass in the land of coffins, a cemetery. (Saki)  The name of the publishing company for the Beatles is called Northern, the song "Only a Northern Song" was written because of that.  When you're listening late at night you may think the band is not quite right...you may think the band's a little dark and out of key, you're correct, there's nobody there... shows that the group really missed Paul because he played bass, and in a band the lower-pitched instruments keep rhythm, as well as percussion.  Obviously since Paul's bass-playing abilities were absent, the group suffered musically.  People oblivious to Paul's untimely death were made aware of it in "Hey Bulldog": ...you think you know me but you haven't got a clue... (O'Brien, Gabriel)

The album cover for "Abbey Road," released in 1969, was the clincher.  The front shows a funeral procession with each of the Beatles taking a role: John, the preacher in white, Ringo, the mourner in black, and George, the gravedigger in work clothes.  Paul is out of step with the rest and in bare feet.  In his right hand he holds a cigarette, even though he is left-handed, and he is the only one smoking.  The Volkswagen in the background on the left has a license plate that reads "28IF," meaning that would be Paul's age at the album's release, if he lived.  Because he would actually only be 27, it is pointed out that in many Indian religions, a person is one year older than he or she really is.  On the back cover, a crack runs through the word "BEATLES" signifying a split in the group, and a glimpse of a woman (possibly Rita) can be seen walking by.  To the left of the woman's arm, a shadow of a skull is present.  There are three holes of very similar shape beneath the word "BEATLES," representing the three remaining Beatles.  To the left of the word, there is a curious pattern of circles cut in the stone--four are grouped together, but one is a different color (William), and one is the same color as three of the four (Paul). (O'Brien)

"Come Together" describes Paul: ...he got early warning... meaning he died early in his life. ...one and one and one is three... mentions the three remaining original Beatles.  The fact that he lost his hair in the crash is implied in this line: ...here come ol' flattop...  Paul's eyeballs were replaced by the undertaker as portrayed by this: ...he got Joo Joo eyeballs...  He is known to be in heaven because the song calls him holy roller.  The song "You Never Give Me Your Money" has this at the end: one, two, three, four, five, six, seven, all good children go to heaven.  Apparently Paul was good enough in his life to get to heaven.  (Saki)

So, did James Paul McCartney really die on November 9, 1966?  Are the clues just coincidental?  The much better question is who really was behind the story.  It's a big puzzle, and the Beatles relied on their true fans to cling to the clues until the story was revealed.  So, it has to be true, or everyone else has wasted a huge amount of energy finding the clues.  This is not an attempt to gather all available clues, new ones being invented by well-meaning fans who think they've found something new.  For the time being, Paul is dead, and that is that.  Case closed.

813.          Paul McCartney Six Feet Under

Paul McCartney: Six Feet Under?

I read the news today, oh boy, about a lucky man who made the grade...he

blew his mind out in a car.  He didn't notice that the lights had changed.(the

Beatles, 1967) These lyrics proved to fans that Paul McCartney had indeed died

in a tragic auto accident in late 1966.  Some people were skeptical about the

explanation, but upon investigating the album covers and the lyrics of the

Beatles' songs, the story seems to make sense.  Some of the lyrics have to be a

twisted in order to make sense in the prank, but after an explanation, the clues

are perfectly coherent.

For thirty-one years, the "Paul Death Hoax" has intrigued a horde of

Beatles' fans and fanatics alike.  While it's difficult to point to an absolute

point of origination, there is no evidence whatsoever that the Beatles

themselves had anything to do with the story, although many claim that the

Beatles intended it to be a joke the their fans.  However, clues, which seem so

cleverly arranged, are random coincidences or inaccurate interpretations of

existing facts, and all Beatles have denied that they were in any way involved

with the deceit.  This leads people to believe that maybe Paul did die in that

alleged accident.

In the late summer 1969, the Northern Illinois University campus

newspaper, Northern Star, obtained a list of clues from a student who wrote a

research paper on the hoax.  (Saki) Russell Gibb, a disc jockey for the Detroit

radio station, WNKR, then got a copy of it from a friend of his, and on his

radio show, proceeded to read them and even make up his own on the spot.  Within

a few days, Gibb and his coworkers were astonished to see that newspapers and

reporters took his on-air joke too seriously and spread the story more widely.

(Saki) More clues came about when Fred Labour, arts reviewer of the University

of Michigan's student newspaper, The Michigan Daily, was asked to review "Abbey

Road."  He had listened to Gibb's radio show a few days before this, and was

inspired to write his own article, based on "clues" from Gibb and making up his

own.  The newspaper published the article under the title, "McCartney Dead; New

Evidence Brought to Light." (Saki) Labour and the editor, J. Gray, assumed that

everyone knew it was a joke.  The rest of the world took it seriously, and soon

Labour was swamped with phone calls from media who wanted more information about

his findings.  However, these two men are not "responsible" for the hoax, they

were the ones who figured it out from the clues.

James Paul McCartney was born in Liverpool, England, on June 18, 1942,

in Ward Hospital.  His mother, Mary Patricia, had given up hospital work just

over a year previously and became a health visitor.  Jim McCartney, his father,

worked for Napiers, the engineering works in Liverpool, at the time of Paul's

birth.

Paul started primary school at Stockton Wood Road Primary when the

family moved to Speke, near Liverpool.  He then went to the Liverpool Institute,

the best-known of Liverpool's grammar schools. (Davies, 24) At age thirteen, the

McCartneys moved to a little house in Ardwick, also near Liverpool.  A year

later, Mary died of breast cancer, a tragedy that was extremely painful to the

family, especially Paul's little brother, Michael.  The boys were then moved to

stay with one of Jim's sisters, Aunt Jinny, so Jim could start over with the

household work.  The boys eventually moved back home, but not without help from

Jinny and Aunt Milly, another one of Jim's sisters.

It was most likely because of his mother's death that Paul decided to

start playing guitar.  (Davies, 26) He was influenced by the skiffle phase and

Bill Haley's early rock numbers, but like his fellow Beatles, he was impressed

by Elvis Presley.  It wasn't until the summer of 1956 that Paul finally saw the

first performance of his future co-lyricist, John Lennon.  Paul was the one who

showed them the chords and words to the popular tune, "Twenty Flight

Rock."(Davies, 33) His first real performance with the Quarrymen was at a dance

at the Conservative Club in Broadway.  A few years later, with the addition of

another guitarist named George Harrison, the group changed their name to Johnny

and the Moondogs, a name thought of at the spur of the moment by the host of a

television show at an audition. (Davies, 58) In 1959, they changed their name to

the Silver Beatles for an audition for the king of British rock and roll, Larry

Parnes.  Through a gig in Hamburg, Germany, they met their permanent drummer,

Ringo Starr, who was then in the group Rory Storme and the Hurricanes.  Finally

in 1960 they shortened their name to the Beatles, the name that stuck. (Davies,

92)

On Wednesday, November 11, 1966, Paul was driving through town at five

o'clock in the morning.  He was staring at a meter maid named Rita, and didn't

realize that he was coming up to a red light.  A gathering of people stared at

the end result.  Paul died of massive head trauma suffered in the crash.  The

Beatles later held a Paul look-alike contest to replace him.  The winner was

named William Campbell, a dead ringer for Paul, except for a scar on his upper

lip.

The title on the cover of the album "Rubber Soul," released in 1965, is

in the shape of a heart, indicating a lost soul among the four Beatles. (Saki)

The group (including "Paul") is looking down, possibly peering into a grave.

The picture is somewhat distorted so no one can tell there is an imposter Paul

and not the real one.  Even though this album came out before Paul's death, it

is still referred to for clues.

In the song "I've Just Seen a Face," the words indicate what might have

been going through Paul's mind at the time of the crash: ...-had it been another

day, I might've looked the other way and never been aware.  In the song, "Girl,"

the lyrics refer to the highly publicized relationship between Paul and Jane

Asher.  ...that a man must break his back to earn his day of leisure will she

still believe it when he's dead...  shows that their relationship wasn't a very

good one.  Most of the lyrics of "I'm Looking Through You" tell that Paul is in

his grave:

I'm looking through you, where did you go?  I thought I knew you, what did I

know?  You don't look different but you have changed, I'm looking through you,

you're not the same...your lips are moving I cannot hear, you don't sound

different I've learned the game...you were above me but not today, the only

difference is you're down there...you've changed, you've changed, you've

changed....

The words in "In My Life" describe how being alive is better than being

dead ...all these places have their moments....some are dead and some are living,

in my life I love you more...  The song "Nowhere Man" describes Paul in his

present state, dead.  He's a real nowhere man...doesn't have a point of view,

knows not where he's going to...you don't know what you're missing, nowhere man

can you see me at all?

The next album that contains any clues is "The Beatles 'Yesterday'...and

Today," released in 1966.  This album had two covers, the first being the

infamous "butcher cover."  In it, the group has lab coats on, and they are

holding dismembered dolls.  There is a set of teeth on Paul's right arm,

signifying his teeth were knocked out in the car crash, rendering dental records

useless for identifying the body.  (Gabriel) George is holding a doll's head

next to Paul's head.  This is supposed to show that Paul was decapitated in the

accident. (Gabriel) The alternate cover had Paul in a box with the other three

surrounding it.  When the album was turned on its side, the box looked like a

coffin.  As a sick joke, George called Capitol Records and just had the

alternate covers on top of the original covers, instead of reprinting them.

(Saki) This is the first time "Paul" is seen with a scar on his upper lip, so it

has to be the imposter, William Campbell.

The album had a couple of songs with lyrics that pointed to the death.

I believe in yesterday...suddenly, I'm not half the man I used to be, there's a

shadow hanging over me.  Yesterday came suddenly are to signify that either Paul

is no longer himself or he is not who he thinks he is.  (Gabriel) He does

everything he can, Dr. Robert... from the song "Dr. Robert" means that the

doctor did everything he could to save Paul's life after the accident.  A

reference to Paul being buried is in the song "And Your Bird Can Sing": you

can't see me...you can't hear me.

"Revolver" was released in August, 1966.  This is the first cover

picturing an open hand above Paul's head, signifying that the person below was

departed from this world. (Gabriel)  Paul's name is sideways, as if it didn't

fit with the rest of the names, indicating he doesn't fit in with the rest of

the band.

There are three lines of "Taxman" that have clues: ...if you drive a car

*Paul*..., reinforcing the fact that he died in a car accident, ...if you get

too cold, *Paul*..., saying that bodies become cold after they die, and ...my

advice to those who die, taxman..., could be a shortened form of taxidermist,

who preserves the remains of dead animals.  The word "Paul" is in asterisks

because they really say "ohhh," but it could be interchanged with "Paul."

Instead of using Father McKenzie in "Eleanor Rigby," the lyrics were going to be

Father McCartney, but the group figured that Paul's father wouldn't be too happy

with his surname being used.  Father McKenzie, writing the words of a sermon

that no one will hear...was buried...Father McKenzie wiping the dirt from his

hands as he walks from the grave, no one was saved...  "For No One" tells of a

love of Paul's (possibly Jane Asher) who is no more: ...she says her love is

dead...she says that long ago she knew someone but now he's gone.  The song "Got

to Get You Into My Life" tells what happened that tragic day, in nutshell:  I

was alone I took a ride I didn't know what I would find there...and then

suddenly I see you (the metermaid).  (Saki)  Even though the lyrics of "Tomorrow

Never Knows" don't have Paul's name in them, it could be substituted for the

word "all" in this line: ...*Paul* played the game existence to the end.

The front and back covers and inside gatefold of "Sgt. Pepper's Lonely

Hearts Club Band," released in 1967, depict the most clues of any other album.

Each of the wax figures on the front cover is of a deceased celebrity or someone

who was outdated by then.  There appears to be a freshly dug grave in front of

all the people.  The wax figures of the early Beatles show them facing Paul, who

is facing forward into a grave. (Saki)  Each Beatle is holding an instrument,

John, a brass french horn, George, a brass flute, Ringo, a brass trumpet, and

Paul, a black Cor Angelis clarinet.  The flowers spell out "Beatles", and there

is a left-handed bass guitar with three sticks upon it, indicating the three

remaining Beatles.  Some even believe that the guitar appears to spell "PAUL?"

(O'Brien).  On the right side of the cover, there is a doll with red lines

(blood) running down her dress (Jane Asher or the metermaid), and there is a

small car on her lap, the model of the one Paul was driving.  Below the "T" in

the word "Beatles," there is a statue of the Hindu god Shiva, "The Destroyer,"

whose hand points directly at Paul. (O'Brien).  If a mirror is held up

perpendicular to the drum on the front, so the words "LONELY HEARTS" are split

in half, the combined writing of the drum and the mirror says, "1 ONE 1 X HE

DIE."  It says that there are three original Beatles left, the "X" crosses out

the deceased Paul, and the arrow between "HE" and "DIE" points directly to Paul.

There is another open palm above Paul's head.

On the inside gatefold, the Fab Four are seen facing the camera.  On

Paul's left shoulder, there is a patch whose identification is wrong at first

glance.  Some say it says "O.P.D." which means "officially pronounced dead" in

Canada, but it really says "O.P.P." which stands for "Ontario Provincial

Police."  This could also be interpreted in the song "She Came in Through the

Bathroom Window" that William Campbell was once a police officer.

The vinyl copy of "Sgt. Pepper's..." has lyrics printed on the back

cover, layered over a picture of the Beatles.  Paul is facing backwards, to

signify he is an imposter, and he appears to be taller than everyone else, even

though he, John, and George are the same height.  The lyrics "Within You Without

You" from the song of the same title are coming out of Paul's head.  George's

thumb is pointing to the line, "Wednesday morning at five o'clock," the time of

Paul's death.  The word "LOVE" is spelled out by the Beatles, Paul's "O" being

left out. (O'Brien)  George is pointing a "sixth finger" at Paul, indicating an

ill-omen. (Saki)

"Sgt. Pepper's Lonely Hearts Club Band" is an actual idea taken from

history where a man can replace another man without anyone catching on. (Saki)  .

..so let me introduce to you, the one and only Billy Shears and Sgt. Pepper's

Lonely Hearts Club Band...  introduces William Campbell to the world as Paul's

replacement.  The lyrics to "Fixing a Hole" show how William is adjusting to his

new position: ...and it really doesn't matter if I'm wrong I'm right, where I

belong I'm right where I belong.  See the Beatles standing there, they

disagree...silly Beatle run round, they worry me...  "She's Leaving Home" tells

the day of the week and time of day Paul died: Wednesday morning at five o'clock

as the day begins...  The metermaid he was looking at when he died is found to

be named Rita, as in "Lovely Rita": ..standing by a parking meter when I caught

a glimpse of Rita...  "Good Morning" tells of the chaos that followed the

accident.  ...nothing to do to save his life...you're on your own you're in the

street....people running around it's five o'clock...watching the skirts you

start to flirt now you're in gear...  The tragedy is finally told in the song,

"A Day in the Life" : ...he blew his mind out in a car, he didn't notice that

the lights had changed.  A crowd of people stood and stared, they'd seen his

face before.  Nobody was really sure if he was from the house of Paul...

However, the lyrics on the album cover say "house of Lords."  On side B of the

British release, there is a statement called "The Inner Groove" that says, "Will

Paul come back as Superman?" (Saki)

On the cover of "Magical Mystery Tour," also released in 1967, the

walrus is Paul, something not discovered until "The White Album."  Paul is also

the only one in black, and is in front of the other three Beatles.  According to

the Lewis Carroll story, the walrus ate oysters and died, and the walrus is a

sign of death in certain cultures. (O'Brien)  When a mirror is held up to the

word "Beatles," it reveals a phone number (2317438).  When called, the caller

gets this cryptic message: "You're getting closer..." and the call would

abruptly end. (O'Brien) Throughout the booklet issued with the vinyl album, Paul

is shown without shoes on.  Generally people are buried without their shoes on.

On the first page, Paul's magician hat is pulled down over his face, hiding it

because it is not really him.  Page three finds Paul sitting under crossed

flags; crossed flags are placed over caskets at British military funerals.

(O'Brien)  On the same page, a sign sits in front of him at the desk, reading "I

WAS YOU."  It is this picture that the scar on his upper lip is noticed,

indicating that William has successfully replaced Paul in the band.  Paul's hat

is crushed on page four, indicating he suffered head injuries in the crash.  The

reference to head injuries comes up again on page nine, when the drawing of Paul

shows a crack in his head.  Page thirteen shows Ringo's drum reading, "LOVE THE

3 BEATLES," and a pair of bloody shoes right next to it.  On page 23, the three

remaining Beatles have red carnations, while Paul has a black carnation.  Page

24 shows yet another open palm over Paul's head. (Gabriel)

Day after day, alone on a hill, the man with a foolish grin is keeping

perfectly still...but nobody ever hears him and the sound he appears to make...

are the lyrics of "Fool on the Hill."  On page nine in the booklet, there is a

cartoon of Paul labeled 'fool on the hill', with the word "hill" running down

Paul's head.  Nobody ever hears him because he is gone.  In "I am the Walrus,"

the eggman equals life, while the walrus equals death: I am the eggman they are

the eggman I am the walrus...(no you're not, said little Nicola). "Hello

Goodbye" tells how William had to adjust: ...you say goodbye and I say hello.

There is some conflict about the line I buried Paul, signifying that he was

there with Father McKenzie ("Eleanor Rigby"), at the end of "Strawberry Fields

Forever."  Some say John says that, others say John says cranberry sauce, but

why would there be a pause between the syllables? ...No one you can save that

can't be saved...nothing you can see that isn't shown...yes, he's dead...we

loved you yeah, yeah, yeah from "All You Need is Love" confirms to listeners

that Paul is indeed dead, and will be sorely missed.  (Gabriel)

The album cover for "Hey Jude" shows the four Beatles standing in a

doorway.  On top of the doorway is a picture of where Paul is supposed to be

buried.  In the song, "Lady Madonna," the lyrics say the newspapers that day of

the accident were recalled: ...Wednesday papers didn't come...  At the end of

"Revolution," some of the all rights sound just like Paul died, and occasionally

a background vocal dubs in that phrase. The song "You Know My Name, Look Up the

Number," cites the phone number found on the "Sgt. Pepper's..." album cover.

There is a cuckoo clock that rings five times (possibly for the four Beatles and

William) when the phone number is called and a gruff voice saying, "BEWARE OF

ABBEY ROAD." (O'Brien)

"White Album", the mysterious double album, was released in 1968.  On

page seven of the CD booklet, there is a picture of Paul dancing in the bottom

right corner.  Looking closely, there appears to be two skeletal hands reaching

for him.  There is a large picture of Paul that clearly shows the scar on his

upper lip, on page fourteen.  William Campbell's face is finally shown, before

plastic surgery to look more like Paul, on page eighteen.

As mentioned before, in the song "Glass Onion," the lyrics figure out

very important evidence about Paul: I told you about Strawberry Fields...well

her's another place you can go...to see how the other half live looking through

a glass onion... tells of looking at the coffin; "glass onion" is a term used

for a coffin that has a glass panel over the top so people can see in. ...I told

you about the walrus and me man, you know that we're as close as can be man,

well here's another clue for you all, the walrus was Paul... confirms the

walrus's identity, as well as John and Paul's friendship.  I told you about the

fool on the hill...listen to me fixing a hole in the ocean... tells about Paul's

passing.  He is referred to in the album "Magical Mystery Tour" as the fool on

the hill.  The ocean reference comes from the album "Yellow Submarine" when the

lyrics tell of Paul buried under the grass.  The hole is his grave.  George

sings "While My Guitar Gently Weeps," and at the fade-out, he can be heard

singing Paul, Paul, Paul, Paul...  The end of the song "I'm So Tired" and the

beginning of the song "Blackbird," played backwards, says Paul is dead man, miss

him, miss him.  "Mother Nature's Song" is sung by "Paul," and he says find me in

a field of grass, Mother Nature's Son, referring to he being buried.  Ringo

laments Paul's accident in the song "Don't Pass Me By": you were in a car crash

and you lost your head (the lyrics say hair)...  "Revolution #9" is the

spookiest of any of the songs mentioned. ..his voice was low and his eye was

high and his eyes were closed...*Paul* died...my fingers are broken and so is my

hair, I'm not in the mood for wearing clothing...maybe even dead...you become

naked... are heard playing the song forward, among other things, and the droning

number 9 refers to Paul's last name, which has nine letters in it.  Played

backwards, there is a nasty car crash heard, the car catches fire, and Paul is

heard screaming get me out!  get me out! The words number nine played backwards

really are turn me on, dead man. (O'Brien)

"Yellow Submarine"'s album cover shows another open palm above Paul's

head, and the yellow submarine is stationery under the land.  In the song

"Yellow Submarine", John shouts various naval orders, which include Paul is

queer, an attempt to divert Paul's fan's attentions from Paul's eternal absence

so it wouldn't be so traumatic. ...sky of blue, sea of green, in our yellow

submarine...in the land of submarines... tell that Paul was buried in a yellow

coffin, under the green grass in the land of coffins, a cemetery. (Saki)  The

name of the publishing company for the Beatles is called Northern, the song

"Only a Northern Song" was written because of that.  When you're listening late

at night you may think the band is not quite right...you may think the band's a

little dark and out of key, you're correct, there's nobody there... shows that

the group really missed Paul because he played bass, and in a band the lower-

pitched instruments keep rhythm, as well as percussion.  Obviously since Paul's

bass-playing abilities were absent, the group suffered musically.  People

oblivious to Paul's untimely death were made aware of it in "Hey Bulldog": .

..you think you know me but you haven't got a clue... (O'Brien, Gabriel)

The album cover for "Abbey Road," released in 1969, was the clincher.

The front shows a funeral procession with each of the Beatles taking a role:

John, the preacher in white, Ringo, the mourner in black, and George, the

gravedigger in work clothes.  Paul is out of step with the rest and in bare feet.

In his right hand he holds a cigarette, even though he is left-handed, and he

is the only one smoking.  The Volkswagen in the background on the left has a

license plate that reads "28IF," meaning that would be Paul's age at the album's

release, if he lived.  Because he would actually only be 27, it is pointed out

that in many Indian religions, a person is one year older than he or she really

is.  On the back cover, a crack runs through the word "BEATLES" signifying a

split in the group, and a glimpse of a woman (possibly Rita) can be seen walking

by.  To the left of the woman's arm, a shadow of a skull is present.  There are

three holes of very similar shape beneath the word "BEATLES," representing the

three remaining Beatles.  To the left of the word, there is a curious pattern of

circles cut in the stone--four are grouped together, but one is a different

color (William), and one is the same color as three of the four (Paul).

(O'Brien)

"Come Together" describes Paul: ...he got early warning... meaning he died

early in his life. ...one and one and one is three... mentions the three

remaining original Beatles.  The fact that he lost his hair in the crash is

implied in this line: ...here come ol' flattop...  Paul's eyeballs were replaced

by the undertaker as portrayed by this: ...he got Joo Joo eyeballs...  He is

known to be in heaven because the song calls him holy roller.  The song "You

Never Give Me Your Money" has this at the end: one, two, three, four, five, six,

seven, all good children go to heaven.  Apparently Paul was good enough in his

life to get to heaven.  (Saki)

So, did James Paul McCartney really die on November 9, 1966?  Are the

clues just coincidental?  The much better question is who really was behind the

story.  It's a big puzzle, and the Beatles relied on their true fans to cling to

the clues until the story was revealed.  So, it has to be true, or everyone else

has wasted a huge amount of energy finding the clues.  This is not an attempt to

gather all available clues, new ones being invented by well-meaning fans who

think they've found something new.  For the time being, Paul is dead, and that

is that.  Case closed.

814.          Paul Simon I Am A Rock

Paul Simon: I Am A Rock

Paul Simon said that the person or people in his poem were sick of

society, and wanted to be isolated away from society.  He represents this by

saying that they want to be like a rock, or like an island.  They wanted to be

isolated away from society.

The poem talks about people being sick of society, and want to be

isolated from it.  Even in the first line, he made an analogy between December

being dark and dingy, by saying "A winter's day - in a deep and dark December."

The month of December is usually likened to being cold, dark, and 'dangerous'.

He also says that it is a lonely December in the second line where he says "I am

alone gazing from my window to the street below" he feels left out, and now

wants to be left alone, like an island, or a rock.  Like in the second poem,

where he says that he "has no need of friendship."

The person in the poem wants to be left alone, like an island, or a rock.

In the second stanza, he says "I've built a wall, a fortress deep and mighty."

He has built a mental block to all outsiders, and he compares this to an

inpenetrable wall.  Inpenetrable walls keep unwanted things out: bad feelings,

love, etc.  Then, in the third line of this stanza, he says "I have no need of

friendship - friendship causes pain,  It's laughter and loving I disdain."  He

said that he doesn't want friendship because it just causes pain, and that the

laughter and loving he hates or despises.  He wants to be left alone, like it

says in the third stanza, "Hiding in my room, Safe within my tomb."

He wanted to be shielded from society.  In the first line of the third

stanza, he says "I have my books and my poetry to protect me, I am shielded in

my armour"  He used the books as a type of shield, to shield him from outside

things that can hurt him.  All he needs are his books to keep him occupied away

from society, and isolated.  Just like in the last stanza, "a rock feels no pain,

an island never cries."

He wants to be like a rock, and like an island.  Rocks don't feel any

pain, therefore, if he was a rock, he wouldn't feel any pain.  In the first line

of the fourth stanza, it says "And a rock feels no pain, " He wants to be like a

non-feeling rock, that nothing except god himself can destroy, then he would be

tough and free of his troubles.  He wants to be like an island, because islands

don't have much to deal with, some islands are so isolated, that no-one even

knows that they are there.  This would be good to live on, to be isolated from

society.  He wouldn't have anyone to be hurt by, and no one to hurt.  If he was

isolated, and like a rock, then he would be in good shape.

Paul Simon simply used a rock to symbolify how the person wanted to feel.

"They" wanted to be isolated from society, which obviously hurt him in some way.

"I am a Rock" and no one can reach me on my island, is what Paul Simon wanted

to put in the minds of the listeners, in my opinion at least.

815.          Pay It Forward

Pay It Forward - A Biblical Comparison

"Do unto others as you would have them do unto you."  This is what we know as the golden rule.  In today's society, it seems to have been altered just a tad - "Do unto other's before they do unto you."  Albeit a negative connotation, it can be turned one hundred eighty degrees into a positive thought and gesture.  The movie Pay It Forward does just that.  This movie tells the story of a social studies teacher who gives an assignment to his junior high school class to think of an idea to change the world for the better, and then put it into action. Movie critic David Bruce remarked, "When one young student, Trevor McKinney, creates a plan for "paying forward" favors, he not only affects the life of his struggling single mother, but he sets in motion an unprecedented wave of human kindness which, unbeknownst to him, has blossomed into a profound national phenomenon." (Bruce, 2000) These actions have three requirements: It has to be something that really helps

Pay it Forward 3

people, It has to be something they can't do themselves, and I do it for them, they do for three other people.  This movie gives us a fictional, yet highly symbolic example of this power of self-sacrificing love and how humanity could be changed by the thought patterns of mankind.  A simple change in the thought pattern of one person did, in all actuality, change the world.  It's not ironic, nor coincidental, that this movie has significant Biblical parallels and symbolism.  This writer will delve into the archetypes and protagonist symbolism as well as the religious symbolism and biblical parallels in this film.

There is no doubt there are numerous archetypes in this film.  Mr. Simonet was the herald/harbinger, the carrier and initiator of Trevor's journey.  He gave the assignment to his class that started the journey.  Sean, Trevor's best friend, was seen as a loyal retainer in that he stuck with Trevor through thick and thin... just as Trevor sticks with him.

Pay it Forward 4

Arlene, Trevor's mother, was considered the hearth keeper.  She was a single mother and was willing to work at any job to protect and care for Trevor.  Trevor filled the shoes of the hero.  After all, it was his idea of "pay it forward" that spread throughout the nation and gave hope to countless thousands. In the end, Trevor became the scapegoat in that he gave his life to defend his friend Sean.

The situational archetypes are also rather forthcoming.  First, the quest was set in the first five minutes of the movie.  The social studies assignment was the quest.  The task was the idea of "Pay it Forward".  Secondly, the initiation was almost immediate.  Trevor knew what he must do before he left class that day.  Third and finally, the death and rebirth was when Trevor was literally killed by a classmate.  Interestingly enough, even though he did not physically come back to life, Trevor's "Pay It Forward" theory kept him alive.  Moreover, his life and memory were

Pay it Forward 5

uniquely patronized at the end of the movie when the entire town lined up in Trevor's front yard in a candlelight vigil.  People and cars were lined up as far as the eye could see.

The protagonist symbolism began when Mr. Simonet, the Social Studies teacher, introduced the opportunity for Trevor to accept the project, or the call to adventure, to ""Think of an idea to change the world and put it into action".  (Abrams, 2000)  The first threshold was when Trevor found a homeless man, Jerry, and brought him home to feed him.  Was this a life or death situation for Trevor?  Probably not, however, Trevor's overcoming this first hurdle sent his idea into action.  As a result, Trevor's idea was proven successful when Jerry was caught repairing Trevor's mom's vehicle.  Jerry told her, "...because of her son's kindness, he was just paying it forward." (Abrams, 2000)  Likewise, the road of trials is quite noticeable.  After Trevor helped Jerry, he later found out that Jerry was taking drugs again. That was strike

Pay it Forward 6

one for Trevor's idea.  Also, Trevor tried to get his mother and Mr. Simonet to fall in love.  Seemingly, that appeared to fail as well.  That was strike two for the pay it forward theory.  Lastly, Trevor tried to help his friend, Sean, from getting beat up at school.  The result seemed to be the same as the other two situations, failure.  In the eyes of Trevor, that was strike three.  In spite of what had appeared to have happened, two of the three "deeds", a love relationship with his mother and Mr. Simonet, as well as Sean's overcoming the school bullies, do eventually come true so his theory is quite a success.   As you can see, this film was heavy laden with archetypical and situational symbolism.

In addition to the literary symbolism, the religious symbolism and biblical parallels were quite astounding.  Particular events stood out immediately.  Trevor was killed by a stab wound to his right side, just as Jesus was.  He died

Pay it Forward 7

as the sun was beginning to set, just as Jesus did.  His idea that "The world is bad and the idea of sacrifice, humility, and forgiveness is the only hope," (Abrams, 2000) was mirrored within the Gospels of Matthew, Mark, Luke, and John by Jesus Christ himself.  To draw the parallel of Trevor with Jesus Christ is quite apparent.  The overall idea of pay it forward stands alone as what God did for us by "paying forward" Jesus Christ into our lives.  David Drury, writer and contributor to Next Wave Christian Web Magazine explained, "The idea is not just parallel to Christian principles; it may in fact be what the real "movement" was meant to be. Consider this: what thing can a Christian do that can never really be paid back to them, but can only be 'Paid Forward'?." (Drury 2003) In the Christian life, the most important thing a Christian can do is to lead someone to Jesus Christ as their Savior - and act that can never be paid back, but can only be paid forward.

Pay it Forward 8

The three requirements for paying it forward are scriptural as well.  First, it had to be something that really helps people.   The concept of salvation clearly fits this category.  Jesus said, "I am the gate; whoever enters through me will be saved."  (John 10:9) Trevor proved this by bringing Jerry home with him to feed him. This was not something Jerry could do himself and, more importantly, it saved his life.  Secondly, it has to be something they can't do themselves.  Paul wrote in Acts 4:12 says, "Salvation is found in no one else, for there is no other name under heaven given to men by which we must be saved." (Acts 4:12) Undoubtedly, the actions of Trevor trying to protect and defend Sean against his enemies, the bullies, paralled with Jesus taking up for us against Satan and sin, who are our bullies.  Thirdly, I do it for them, they do for three other people.  Mark illustrated this best in Mark 16:15, "He said to them, "Go into all the world and preach the good news to all creation." (Mark 16:15) As was alluded to earlier, when

Pay it Forward 9

Jerry fixed Arlene's truck, he said he did it because Trevor helped him.

The "pay it forward" requirements spoke volumes of what Jesus tried to teach us in all of the Gospels.  Marvin Williams, writer for The Soul Journey and RBC Ministries, states "More important, it was symbolic of Jesus' sacrifice, suffering, and humiliation on the cross. He was doing something big, something that we were incapable of doing for ourselves. His simple request to His disciples, and to us, is that we 'pay it forward'." (Williams, 2003)

Some consider "Pay It Forward" a novel new idea, but in actuality, it is as old as the Bible.  King David gave us his version by saying, "Create in me a pure heart, O God, and renew a steadfast spirit within me. Restore to me the joy of your salvation and grant me a willing spirit, to sustain me. Then I will teach transgressors your ways, and the broken will turn back to you." (Psalm 51)  What this is telling us is

Pay it Forward 10

to pay it forward, to invest ourselves in others that they would do likewise.  Just as Trevor was doing for his a complete stranger, his mother, and his best friend, we should invest in those we know and, equally important, those we don't know.

Finally, a concrete conclusion can soundly be drawn that this film is saturated with literary and religious symbolism and biblical parallels.   Protagonists symbolism has been clearly identified as were the character and situational archetypes.  Even more intriguing was the religious symbolism and biblical parallels.  It all came down to a basic concept that was put into place more than two thousand years ago by one man, Jesus Christ.  Similarly, two thousand years later, one eleven year old boy had the same impact on a city and a nation.  Bruce explained it best when he said, "When Jesus came to earth and was put to death, many people misunderstood the message.  They thought that his crucifixion was a sign of failure.  They thought that the darkness of the world had overcome the Light.  But as time went on and one individual reached out to another who reached out to another with the same sacrificial love that Jesus showed, a movement began which is still multiplying two thousand years later (Bruce 2000)."  Likewise, when Trevor was killed, people initially thought his idea would die and that because he was killed it was a failure.  That too, was untrue.  Much to our surprise, and to our benefit, the idea of paying it forward is still very much alive.

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References

Abrams, Peter, Carson, Paddy, Levy, Robert , McLaglen, Mary, Reuther, Steven, Treisman, Jonathan (Producers) &amp; Leder, Mimi (Director). (2000). Pay It Forward [DVD]. United States:  Warner Brothers Pictures

Bacon, Cynthia. (2003, March 16). Pay it Forward-Sermon Archive.  Retrieved December 8, 2003, from http://

http://www.heritagemadison.org/cb031603.htm

Bruce, David.  (2000, October 15).  Pay it Forward 2000.  Retrieved December 6, 2003 from http://www.hollywoodjesus.com/pay_it_forward.htm

David. Holy Bible - New King James Version (1982) Nashville TN; Thomas Nelson Publishers (Citation - Psalm 51)

Drury, David. (2000, November).  An Analysis of the Pay it Forward Idea.  Retrieved December 7, 2003, from: http://

http://www.next-wave.org/nov00/payit.htm

John.  Holy Bible - New King James Version (1982) Nashville TN; Thomas Nelson Publishers (Citation -  John 10:9/13:14)

Mark.  Holy Bible - New King James Version (1982) Nashville TN; Thomas Nelson Publishers (Citation - Mark 16:15)

North Church.  (ND).  Person to Person - Pay it Forward.  Retrieved December 7, 2003, from http://www.north-church.org/sermon051202R.html

Pay It Forward 12

Paul.  Holy Bible - New King James Version (1982) Nashville TN; Thomas Nelson Publishers (Citation - Acts 4:12)

Williams, M. (2003, October 18).  Pay it Forward - Journey through John.  Retrieved December 7, 2003, from  http://www.gospelcom.net/rbc/sj/20031018.php

Author?.  (2003, March 5).  Pay it Forward, Ash Wednesday Sermon.  Retrieved December 8, 2003, from

http://www.agcmcc.org/sermons/030503.html

816.          Pearl Jam Everclear and No Doubt

Pearl Jam, Everclear, and No Doubt

Almost everyone has a favorite band. People buy CD's and tapes to not

only listen to the music that they like, but to support that band. There are

many, many different types of music, and usually a certain band will fit into a

specific type of music. I listen mostly to alternative/grunge music. And by

coincidence the three bands I'm going to talk about are all from the west coast.

I am going to talk a little bit about three of my favorite bands in that

category: Pearl Jam, Everclear, and No Doubt.

Pearl Jam is a band from Seattle. They were one of the first alternative

bands to ever become popular from this area. The lead singer of Pearl Jam is

Eddie Vedder, he does the lead vocals and plays the guitar. The rest of the band

includes, Jeff Ament, (bass) Stone Gossard, (guitar and vocals) Jack Irons,

(drums) and Mike McCready, (guitar). A couple of the songs that Pearl Jam does

are Jeremy, Daughter, Smile, Spin the Black Circle and Tremor Christ. Pearl Jam

has a knack for writing catchy lyrics that become very popular.

Everclear is a band from Portland. They are not as popular as Pearl Jam,

but they do have a large following of fans. The three band members of Everclear

are Art Alexis, (lead vocals, and guitar) Greg Eklund, (drums and vocals) and

Craig Montoya, (bass, and vocals). Their album together is Sparkle and Fade, and

it is one of the best albums I've ever heard. Among the may popular songs are

Heroin Girl, Sparkle and Fade, and Santa Monica. All of the lyrics are good, but

there is a lot of profanity on this album.

No Doubt is the last band, but is not the least. No Doubt has had a

number one album, Tragic Kingdom, and it is VERY popular. This band is out of

California. The band members are: Gwen Stefani, (lead vocals) Tom Dumont,

(guitar) Tony Kanal, (bass) Adrian Young, (drums and percussion) and Eric

Stefani (piano and keyboards) Gwen, the lead singer is the only female in this

band, and hers is the only voice you hear in all of the songs. Some of their

songs includes, Just a Girl, Spider Webs, and  Excuse Me Mister. All are popular

and make an awesome album with all of the songs on it.

These bands all are popular here in the Northwest and all have popular

albums out. People have shown their support of these bands by buying their

albums and requesting their favorite songs on the radio. Pearl Jam, Everclear,

and No Doubt are among my very favorite bands, and I own all of their albums.

817.          Pearl Prequel

It was a dark and stormy night ... no that's not it. It

was a beautiful sunny day ... not it either. Could it be uhh... On

that rainy day when the sea would not quit, the sky growled

and men shuttered in their huts. That's it !! Well now that I seem

to temporarily regained my memory Ill tell you the story of that

horrible season of the oyster conference. What's that you don't

know what the oyster conference is! You see it is a time when

the oysters of  the world gather together in their respective

clans and decide who shall carry the pearl of power. These

pearls are no ordinary pearls. They were not made by an oyster

but were forged by the pillar. This pillar was the giver of power

before the pestilence of man arrived. Now the pillar does not

exist due to the carelessness of man. To keep order among the

oysters they gathered all the pearls forged by the pillar and

cursed them so that if man found one in the leader oyster it

would destroy the finder and find its way back to the sea.

This conference I told you about is a great as well as

horrible experience for all the oysters. Triumph and defeat lurks

around all corners. The contending oysters must run the test and

those standing at the end must do it again until one oyster

stands. This was the first time in history that more than three tests

had to be run. It came down to Chuck the clan favorite and

Tinagel the outcast. Finally with a little cheating and a lot of

dishonesty Chuck took the pearl to gain its power till the

coming year when he would relinquish control of the pearl.

Tintagel knew this fact but was jealous and devised a plan to

steal the pearl by poisoning Chuck. The next few days Tintagel

spent carefully gathering all the equipment and materials he'd

need to complete his plan. Then after his materials were

gathered he mixed and organized them in perfect blend. He

had them delivered to Chuck and unknowingly took the poison.

There was but a single fact overlooked by Tintagel and that

was the power of the pearl. Instead of killing Chuck it made him

diseased and mentally insane. He starts to disconnect himself

from reality. Oysters begin to fear him. Perturbed by what he

has done Tintagel leaves the colony which means certain

death and is never heard from again. Meanwhile back at the

farm ma's killin off da injuns OOPS there I go again just a sec.

KAY.... back to our regularly scheduled story. Chuck ends up all

alone. By the end of his life no goes near him and no one will

until his year is up. What's that another man to pick us up an

mutilate us oysters. We never did a thing to you before. Why.

The clan of oysters gather in their hiding spots but Chuck is just

sitting there. The clan tries to war him but its too late and a few

minutes later his sorry carcass is discarded back to the sea. The

PEARL is missing. The clan soon is discomforted by this

knowledge and wonder if the curse is true. Fast Forward to the

end of the Pearl by that boring guy who people think is great

because a few over-educated chuckle heads say so(john

stienbeck). The oysters are still wondering about how to get the

pearl back when Poof there it is in their midst. No one asks any

questions and the pearl is kept buried until Chucks term is

finished and his successor is found. Okay so it wasn't much of a

story but hey this is just a start. I got no moral or even a thrill out

of writing it but hey it was defiantly a writing experience not to

be missed. It taught me to stick with it even if you didn't want to

do the project in any remote way. I hope you found my writing

style to your liking and subscribe for future installments of

prequels to boring books.

818.          Pen Pals

Forward:

This story was written based on the X-Files characters created by Chris Carter and Ten Thirteen productions.  In no way this story is being used to infringe or defame these characters or the X-Files television series.  The story is based on my speculation of what happened to Agent Fox Mulder's sister when she was a child.  According to the writers of the X-Files, this story has no affiliation to what really happened to Samantha Mulder when she was a child, as no one really knows the whole story.  As the series unfolds, we will hopefully learn more about what happens.  I have submitted my story to the writers & producers of the X-Files via the Internet in hopes they will use my story in a future episode.  This story is also available over the Internet on my home page so others can view it at their leisure.

The idea for this story has been in the back of my mind before I was assigned this project.  I have always loved the X-Files since it premiered and within the past year, I have submitted my stories, ideas, and suggestions to the writers of the X-Files.  Unfortunately, none of my ideas have been selected.  Lots of activity regarding the X-Files goes on over the Internet, and through discussions are where I get a lot of my ideas for the stories that I write.

===============================================

June 8th, 1996  6:58pm-

Washington, DC, Scully's Apartment

Dana Scully arrived home to find a package sitting in the hallway outside her door. Curious, she picked it up and tucked it under her arm while she let herself into the apartment. Once inside, she set the box wrapped in brown paper down on her dining table and left it there while she hung up her coat and kicked off her high heels. Mulder would be coming over later to discuss the case they were currently working on, but until then, she wanted to relax.

She made herself a cup of hot coffee and carried both it and the package with her over to the sofa. She noticed that her mother's return address was on the label. I wonder what this could be? She didn't say she was going to be sending me anything.

Dana set her tea down and ripped the paper open. Inside she found a rather old, very familiar shoebox with an envelope taped to the top. She opened the envelope and read the letter her mother had enclosed.

Dear Dana,

I found this when I was going through some boxes in the attic and almost threw it away, but was afraid you would kill me if I disposed of it without consulting you, considering how important some of this stuff was to you as a girl. So, I decided to send it to you and let you dispose of it as you see fit. Here's hoping that it will bring back pleasant memories for you.

Love,

Mom

Smiling at some of the memories the box did evoke, Dana reverently lifted the lid. It was filled with smudged envelopes with the name "Danni" scribbled on them in a child's handwriting.

Danni had been her nickname in elementary school, a name she had gotten through a pen-pal program between her class and a third grade class somewhere in New England. Dana had complained that her pen pal had a boy's name, and from the moment said pen pal first heard about it, she had insisted on calling her Danni, so they would be even.

The envelope on the top was the last one she had received. A sad smile crept over her face as she remembered what had brought a stop to their correspondence...

October 7th, 1971   11:30am -

New Ridge Elementary School, Ithaca Naval Base

Danni was excited. It was pen pal day, and she was expecting a letter from Sammie. These two girls had become closer than any of the other pen pals in the two classes because they were so much alike. Sammie's dad worked for the government, and Danni's was in the Navy. They both had older brothers, though Danni also had another brother and a sister. And both of them LOVED reading fairy tales and ghost stories, though neither of them believed in fairies or ghosts.

Of course, there were differences between them too, but that just served as fodder for conversation. Sammie's family didn't go to church, so she had been eagerly awaiting Danni's account of her first Holy Communion, which she had just sent to her in the last letter. And then there was the fact that Sammie's parents had been fighting a lot lately. She was scared they were going to get divorced, and Danni was the only one of her friends she had told about it.

Because of their closeness, Danni looked forward to pen pal day for the whole month. Just recently the two girls had discussed exchanging photos when school pictures came out, and maybe even talking their parents into finding a way for them to meet in person. Danni couldn't wait to see if Sammie had thought of anything.

The children clustered around Miss Reynolds as she entered the room with the box full of letters and began handing them out. Danni was right at her knee, since Sammie's was almost always on top.

But something was wrong. She could tell from the way Miss Reynolds had looked at her when she pushed through the crowd of other kids. There was a strange sadness in her eyes, as if she was thinking about something she didn't want to be thinking about.

Finally, all the letters had been distributed but one, which Danni knew had to be Sammie's since she was the only one left. But she didn't like the way Miss Reynolds kept looking at her so pityingly. What was wrong? Was Sammie hurt.

The teacher pulled her aside. "Dana..." she handed her the envelope with a somber sigh. "I'm afraid this is the last letter you will be receiving for a while."

The little girl frowned. "But, why? Did something happen to Sammie?"

Miss Reynolds nodded reluctantly. "I'm afraid so. Dana...Sammie has been kidnapped. Her family is searching for her, but--God, I hate to tell you this-they don't have much hope."

Danni fell back against the back of her seat, stunned. Her pen pal had been kidnapped! Even though she had been told that it was babyish for a nine-year old to cry, she couldn't help it. The tears came out of their own accord.

"I'm sorry, Dana. I know how close you two were."

"I'll pray...every...day that...they find her," she managed to gasp out between sobs.

Almost crying herself, the teacher put her arms around the girl and held her until the weeping subsided.

"You do that, honey," she whispered softly. "It's all any of us can do for her now."

June 8th, 1996   7:16pm-

Washington, DC, Scully's Apartment

Blinking back the tears that had resurfaced with the memory, Dana opened the last letter she had received from her pen pal and began to re-read it. Suddenly, she froze as one part unexpectedly caught her eye.

"He says the girls have started calling him 'Foxy' at school. Dad teases him about it, saying that he should be flattered, but he hates it. He told me that when he grows up, he's not going to let anyone call him by his first name. Except me, of course, because I'm his sister."

Oh, my God... she thought to herself, stunned. Because she hadn't read the letters in so long, she had never made the connection before now. But now, the name that was always signed at the bottom of the letters came back to her in a rush, without even looking at it--Sammie Mulder.

As if she were once again the little girl learning that her pen pal had disappeared, Dana began to cry, holding her face in her hands. The agony Mulder had gone through all those years looking for his sister took on a more awful reality in the light of this new revelation.

The doorbell rang. Forcing herself to regain control, Scully wiped her face and went to answer it, still clutching the letter tightly in one hand.

The first thing Mulder saw when she opened the door was that she had been crying, and crying hard. His face instantly expressed his concern.

"Scully, what's wrong?"

She couldn't answer, and her hand shook as she held out the letter to him. He took it, and his eyes filled with pain as he recognized the handwriting. Then, the meaning of the envelope he held in his hands sank in, and he glanced up at his partner in surprise.

"You were Danni?" he asked softly, amazed.

Dana nodded. "My mom sent me the letters so that I could decide what to do with them. I hadn't looked at them in years, never made the connection... until now."

"Oh, God." He had never imagined that she shared his keenest loss with him in this way, and all he could do was wrap his arms around her and let her cry, while his own tears fell into her hair.

When they were both calmer, Dana pulled away and walked over to the box. Picking it up, she brought it back over to where he was still standing just inside the door.

"I know we have business to discuss, Mulder, but I thought that first, you might like to read some of these."

It wasn't often that Fox Mulder was given an opportunity to see something new about his beloved sister, and his eyes filled with tears again at the suggestion.

"Yeah, Scully," he replied softly. "I would love to."

819.          Percussion

Percussion

Drums are among the oldest musical instruments. The best known of percussion instruments, they are found throughout the world and in a great variety of shapes and sizes. A drum normally consists of a skin or other membrane, called a head, which is stretched over an enclosed space or over one or both ends of a hollow vessel. Exceptions include the African slit drum, made from a hollowed-out tree trunk, and the Caribbean steel drum, made from a metal barrel. Drums are usually played by the hands or by one or two sticks. In some non-Western cultures drums have a symbolic function and are often used in religious ceremonies. They are sometimes used in sending signals. The talking drums of Africa can imitate the inflections and pitch variations of a spoken language and are used for communicating over great distances.

Many drums used in Western societies are of African, Arabic, or Turkish origin. The kettledrum was introduced into Europe during the Crusades. The European tabor, derived from an African instrument and sometimes called a tambour, was a small drum played with the right hand, while the left hand fingered a 3-hole flute. Across its center, the tabor often held a snare, which produced a strong vibration and sustained the sound between beats.

The modern symphony orchestra employs a variety of drums. Kettledrums are the most common; the bass drum, tenor drum, and snare drum, or side drum, are also sometimes used, along with tambourines and bongo drums on occasion. Among these, only the kettledrums produce sounds of definite pitch, which is adjustable. The tenor drum is a large deep drum with two heads that is played with wooden sticks. The larger bass drum, also with two heads, stands upright on its side and is struck with felt-padded sticks. Bongo drums are small single-headed drums struck with the hands and usually played in sets of two or three. The tambourine is a shallow single-headed drum with metal jingles inserted into the frame.

Drums are also used in large numbers in military and marching bands. Traps, an assorted set of drums and other percussion devices played by a single performer, are a standard feature of modern dance, jazz, and rock bands. Electronic drums and drum machines, both containing programmed drum sounds, have come into use in pop music and rap.

820.          Personal Essay

Personal Essay: The Drainpipe

For a half hour, every school day, for a few months, I was really happy. A

friend and I would go to the drainpipe, and we would sit, talk, eat our lunches,

and listen to my walkman. It was the perfect place: It was quiet, beautiful, and

it was full of peace. It didn't matter whether it was cold or hot, somehow you

didn't feel anything sitting on that drainpipe. You would feel the wind on your

face, and it made your face cold, but inside, you felt warm and cozy, and you

almost felt like you couldn't be harmed. There was something magical about the

drainpipe. Maybe it was the fact that nobody was around except the two of us,

and we were tiny compared to the long grass surrounding us. Then again, it could

just been the freedom of knowing that we were listening to the walkman that was

banned from school, and we weren't getting caught. What ever it was, it doesn't

matter because analyzing something takes away the feeling it gives when you

think about it. It was just a great place, and it made me happy, and I don't

know why. That makes it better in a way, just knowing that it had that power.

Everyday, I would meet with a friend at the drain-pipe. That is until a

teacher found us and told us that because we didn't have any adult supervision,

we couldn't eat there anymore. It felt terrible. I wanted to stay there. I had

always thought that adult supervision was outdated by the time we were this old.

We had come to this place to get away from adults and all the other P.C. people

in this world, and now we had to join them again. At lunch time, I wander now,

using the tape player in any open classroom and get into screaming matches with

people, it's all just little kid fun anyway. Lunchtime isn't the same anymore. I

wish the teacher had never found us.

Even to this day, I go to the drainpipe. When things get to hard at home,

and I need to just escape, I make the excuse that I forgot a book at school and

I leave. I cross the soccer field, then the gym, sometimes stop at my locker to

put away my backpack, and I run to the drainpipe. I lay down in the grass, and

think about what ever is bothering me right now. I put my headphones in my ears

and blast the tape that is in my walkman. I'm transported.

821.          PERSONAL LOVE FOR FILMS

Filmmaking

When I was 14 years of age I used to see many films. Of those films I liked technical films made by Steven Spielberg and Ramgopal varma the best. Their films inspired me very much, and then I decided to become a filmmaker. I had known about film making through watching interviews of the directors, by reading books and by watching films. It needs hard work, patience and talent.

In order to make a good movie you must follow certain steps: first you must choose a story, then have a director, shoot the film, edit the film and play it before it is released.

First to make a film, a good story and a good director are needed. Generally, a story is taken from a novel or the director writes the story. Then the director chooses the actors according to story and how they fit the particular character in the film. It makes more sense if a director produces a film.

Next, there must be a director, because he is the heart of the film. He is the one who chooses all the technians needed for making the film, such as music director, cinematographer, special effects coordinator, etc. The music director gives the background score for the movie depending on the story. But the director is the one who chooses the tunes and lyrics from the music director and the lyricist for any song of the movie.

Then starts the main part of filmmaking: shooting the movie. Shooting is nothing but recording the scenes of the film with a movie camera, where their cinematographer plays a main role. Shooting can be done with different types of cameras, such as 35mm or 70 mm cameras. Now a days we find many modern cameras with more features. The director makes the schedule of the shooting and completes the shooting according to the schedule. Many directors say that shooting is the hardest part of filmmaking. Shooting must be done in different places and not just in a studio; generally it depends upon the story. For example, a movie like "star wars" was shot in the studio, and computer graphics were used for showing the space and some scenes in the movie. For shooting a single shot director take many takes till they get a perfect shot. A director needs great patience during shooting.

After shooting the film, comes the editing. The editor along with the director does editing. Editing is nothing but eliminating unnecessary bits from the film and compiling all the scenes together. The hard copy is then rerecorded with background music and dialogues. Special effects are added to the film by the special effects coordinator to recreate nature in scenes and for style. The first copy is then played in the studio. The film unit watches it, and if they feel any changes are needed, they will make changes. Then finally the film is released and the audience will decide whether the film is good or bad.

In this way a film is made, filmmaking needs teem work for making a hit film. My love for filmmaking had taught me about filmmaking.

822.          Pharaohs of Ancient Egypt 573

Egyptians believed that people had to be mummified to live forever. They thought that after the person was dead their soul became something different. Reports indicate that the soul took the shape of a bird. Egyptians saw heaven as paradise. They often called heaven the "Field of Reeds" where people grew crops. They thought the crops grew a foot taller in heaven. Mummification is a long and sacred part of Egyptian history. This essay will help outline the mummification and burial process often performed only for the pharaohs of Ancient Egypt.

For centuries mummification was a wonderful and great privilege enjoyed by the pharaohs of Ancient Egypt. From about 2500 B.C. many more people were able to hope for immortality by having themselves embalmed. Mummification remained an expensive business, well beyond most Egyptians. The process of mummification preserves the body so it won't rot away. It is also called embalming. After the person was dead the embalmer would take out the internal organs; intestines, lungs, stomach, and liver. Perhaps the most well known method was the use of Canopic Jars. These were used to hold the lungs, liver, stomach and intestines of the deceased. Initially these jars had a lid that represented the deceased, or the four sons of Horus. Depending on the period, and the wealth of the dead person, various methods were used.

An excellent embalming took 70 days. The first 40 days were dedicated to removing every single drop of moisture from the body to leave no breeding ground for the bacteria to cause decay. The brain was removed first followed by the internal organs. Then the body was covered in natron, a kind of natural salt made of baking soda. The body was covered with oils and resins and finally wrapped tightly in linen bandages many times over. In certain burials, such as those of the Pharaohs, the provision for the protection of the internal organs was often more sophisticated. The embalmed organs were placed inside the coffins, which were then put into an alabaster canopic chest with the four stoppers carved with the Pharaohs likeness.

The mummies were put in coffins that were made of wood or plaster. Some of the pharaohs were laid to rest in golden coffins. The mummies were buried with a book of magic spells to help them through the underworld. The important people, like the pharaohs, were buried in tombs. Egyptians put things in the pharaohs' tombs that would help them in the after life. They put things like spears and shields to hunt, a couch to be comfortable, jewels to be rich, lots of fancy clothes, and food.

In conclusion, ancient Egyptians thought that in order to live forever the body had to be mummified. The process of mummification was to preserve the body to prevent rotting. The internal organs were removed and placed in canopic jars for preservation. The embalming process usually took 70 days to complete, most of which was dedicated to the removal of body moisture. Once the embalming process was completed the body was wrapped tightly in linen bandages many times. As we can see the mummification process was a long and complicated process. The modern world has learned many secrets that may one day prove helpful to those interested in body preservation during the afterlife.

References:

Odijk, Pamela. The Egyptians. South Melbourne: Australia Macmillan Company, 1989.

Seedman, Scott. Ancient Egypt. New York: Dorling Kindersley Publishing Inc., 1995.

823.          Philadelphia

Philadelphia

The movie, Philadelphia, was an excellent example of the severe

discrimination many people with Aids are exposed to. In this instance the

main character, Andy ,was also gay. Unfortunately, in our society, he was

faced with a double whammy. The gay iss

is controversial enough, but to compound that in the work force with having

Aids would be almost unbearable for any person to cope with. Tom Hanks

played Andy with a serious need to communicate to the viewers how everyday

life, work, emotions and ment

well being are affected by this kind of situation. The movie was well cast

and thoughtfully portrayed Andy's serious predicament. The theme was very

interesting. It made me realize how lucky I am to not have to deal with

those kinds of problems.

It's really very frightening to realize, as Andy did, that even our legal

system can be discriminating. When he started looking for a lawyer, he found

many people who did not want to represent him because of his illness. The

frustration he felt must ha

been a real burden. Most people were afraid of him. Even the man who

finally represented him was afraid of him. He soon came to understand Andy

was no threat to his health or his reputation, but someone he learned from

and ended up becoming friends.

Andy himself feared his disease even before he was sure he had it. He did

not want to go for his blood test. He didn't want to face the reality of

having Aids. He really didn't have any choice. After the doctor confirmed

his fears and diagnosed him a

having Aids, Andy began to deal with the news and the way it was changing his

life and how people treated him. His employer was trying to shaft him. He

fought for his rights, not knowing what the outcome would be, but knowing

this was something he fel

he must do.

The turning point in the movie for Andy was when he was in the library trying

to learn more about Aids. He was asked by the librarian to go to a private

room. His lawyer was there and saw this happening, although he was hiding

behind a pile of books. guess this is when he realized Andy needed him to help protect his rights.

It killed me to think just because someone has an illness people don't

understand that they can let their ignorance make them behave in a way they

normally wouldn't. To tell yo

the truth I can't honestly say I would have acted any different then the

librarian did !!! The lawyer took the book Andy was holding out of his hand

to show the librarian he was not afraid getting the disease by touching

something Andy had touched. An

must have felt one hell of a big relief when that happened !!! He finally

had someone on his side.

I hated the firm Andy worked for. At first they seemed okay, but after they

tried shafting Andy, I was really pissed. He worked for them, produced for

them, was an asset to their business and then they just blew him off. The

blowing him off part wasn

as bad as how they tried to do it. They tried to make him look like a

loser. They cut down his work, his character, his abilities as an employee.

What gives them the right to try and destroy someone's life ?? Especially

someone whose life is being d

troyed anyway by the disease he has. The illness didn't affect the way he

did his job or how well he did it. They were just a bunch of ignorant morons

who didn't care about anything other than how having someone with Aids

working for them would make t

m and their business look..... and in their opinions it could ruin them. So,

just fire the guy to cover their own asses. What a bunch of shit !!!!

Especially coming from the very institution that was supposed to help

protect peoples' rights, lawyers !! The whole system must have really gotten to Andy.

Especially because he was a part of that very same system.

I agreed with the verdict of the trial hands down. It really made me happy

to see Andy get true justice. I also loved to see his so called "associates"

eat crow pie !!!! I have to admit I was a little nervous during the trial.

I wondered if the jury

elt as strongly as I did about Andy's situation. Justice prevailed, but I

know this was only a movie. I have to ask myself how many people in the real

world suffer from this kind of discrimination and don't get the help Andy

had. It's a terrible thou

t... really a terrible reality because it probably happens every day.

The most important thing I learned from this movie is not to be too quick to

pass judgment against people who, for whatever reason, are different than you

are. It could be their health, financial status, color of their skin, the

way they talk, their he

tage or the culture they grew up in. None of these things should matter.

People are people. They all deserve the same consideration, compassion and

right to live their lives in a way that's comfortable to them. No one should

be so quick to "judge a ok by it's cover !!!!"

824.          Picasso 1853

Pablo Picasso, Spanish painter, died in 1973 at the age of 91. But I really think he was the world "youngest" artiest, it is because when he picked up palette and brushes pencil even was at his nineties, everything into his eyes, just like the first time he saw them, so we have always found his work very interesting and unique. He has a style all his own and, I believe that this was what made him so famous and at the same time controversial.

Among Picasso's many contributions to the history of art, his most important include pioneering the modern art movement called cubism, inventing collage as an artistic technique, and developing assemblage (construction of various materials) in sculpture. All of these proofs that he is and has to be the most important artist of the 20th Century.

§Early life and work

Picasso was born Pablo Ruiz in Malaga, Spain. He later adopted his mother's more distinguished maiden name-Picasso-as his own. Though Spanish by birth, Picasso lived most of his life in France.

Picasso's father, who was an art teacher, quickly recognized that his child Pablo was a prodigy. Picasso studied at first privately with his father and then at the Academy of Fine Arts in a city of Spain, where his father taught. At the age of 10 he made his first paintings, his early drawings, such as Study of a Torso, After a Plaster Cast (1894-1895) demonstrate the high level of technical proficiency he had achieved when he was 14. In 1895 his family moved to Barcelona, Spain, after his father obtained a teaching post at that city's Academy of Fine Arts. Picasso was admitted to advanced classes at the academy after he completed in a single day the entrance examination that applicants traditionally were given a month to finish. In 1897 Picasso left Barcelona to study at the Madrid Academy in the Spanish capital. Dissatisfied with the training, he quit and returned to Barcelona.

§The Blue Period

During his lifetime, the artist went through different periods of characteristic painting styles. Shortly after moving to Paris from Barcelona, Picasso began to produce works that were suffused in blue. This particular pigment is effective in conveying a somber tone. The psychological trigger for these depressing paintings was the suicide of Picasso's friend Casagemas. Between Blue Period 1901 and 1902, Picasso made three trips to Paris, finally settling there in 1904. He depicted the world of the poor. He found the city's bohemian street life fascinating, and his pictures of people in dance halls and cafés show how he learned the postimpressionism of the French painter Paul Gauguin and the symbolist painters called the Nabis. The Blue Period work is quite sentimental, but we must keep in mind that Picasso was still in his late teens, away from home for the first time, and living in very poor conditions. Picasso's Blue Room (1901, Phillips Collection, Washington, D.C.) shows his evolution toward the Blue Period, so called because various shades of blue dominated his work for the next few years.

These melancholy paintings (such as The Old Guitarist, 1903; Art Inst. of Chicago) are among the most popular art works of the century.

§The Rose Period

Rose Period Shortly after settling in Paris in a shabby building known as the Bateau-Lavoir ("laundry barge," which it resembled), Picasso met Fernande Olivier, the first of many companions to influence the theme, style, and mood of his work. With this happy relationship, Picasso changed his palette to pinks and reds; the years 1904 and 1905 are thus called the Rose Period. Many of his subjects were drawn from the circus, which he visited several times a week. His subjects are saltimbanques (circus people), harlequins, and clowns, all of whom seem to be mute and strangely inactive. At the time, Picasso's Parisian studio attracted the major figures of the avant-garde at this time, including Matisse, Braque, Apollinaire, and Gertrude Stein. He had already produced numerous engravings of great power and began his work in sculpture during these years.

One such painting in this period is Family of Saltimbanques (1905, National Gallery, Washington, D.C.).

§Sculpture

Picasso discovered ancient Iberian sculpture from Spain, African art, and Gauguin's sculptures. Slowly, he incorporated the simplified forms he found in these sources into a striking portrait of Gertrude Stein, finished in 1906 and given by her in her will to the Metropolitan Museum. She has a severe masklike face made up of emphatically hewn forms compressed inside a restricted space. (Stein is supposed to have complained, "I don't look at all like that," with Picasso replying, "You will, Gertrude, you will.") This unique portrait comes as a crucial shift from what Picasso saw to what he was thinking and paves the way to Cubism.

§The Beginning of Cubism

In late 1906, Picasso started to paint in a truly revolutionary manner. Inspired by Cézanne's flattened depiction of space, and African art, working alongside his friend Georges Braque, he began to express space in strongly geometrical terms. These initial efforts at developing this almost sculptural sense of space in painting are the beginnings of Cubism.

§The Cubism Period

We can see the change from his early paintings, he distorted real objects into flat planes and cubes. He wanted us to see all sides of an object in space. He used the elements of color, shape, and line, and repeated the cubes, lines, and colors with variations. Other painters used construction paper and oil pastels to construct their art. Picasso used oil paint and canvas to make his. People stared to cognize this kind of sculpture as a name "cubism".

Cubism is broken down into two distinct styles: Analytical and Synthetic.

ØAnalytical Cubism (1907-1912)

By 1907,Picasso and Braque had developed Cubism into an entirely new means of pictorial expression. In the initial stage, known as Analytical Cubism, objects were deconstructed into their components. In some cases, this was a means to depict different viewpoints simultaneously; in other works, it was used more as a method of visually laying out the FACTS of the object, rather than providing a limited mimetic representation. The aim of Analytical Cubism was to produce a conceptual image of an object, as opposed to a perceptual one.

At its height, Analytical Cubism reached levels of expression that threatened to pass beyond the comprehension of the viewer. Staring into the abyss of abstraction, Picasso blinked...and began to start putting the pieces of the object back together

An example of this is Houses on the Hill , 1909.

ØSynthetic Cubism (1912-1914)

Picasso marked the change into the second stage of Cubism, Synthetic Cubism in 1912, he took the conceptual representation of Cubism to its logical conclusion by pasting an actual piece of oilcloth onto the canvas. This was a key watershed in Modern Art. By incorporating the real world into the canvas, Picasso and Braque opened up a century's worth of exploration in the meaning of Art.

Some of the finest Synthetic Cubist work, both visually and conceptually, are the collages. These works were characterized by a wider usage of color and decoration, although shapes in the paintings remained flat and fragmented.

Creation of his first collage, Still Life with Clair Caning, 1912

In this period, Picasso also created several Cubist sculptures, like Head of a Woman, 1909, along with various constructions made from different materials.

The Cubist movement in painting became a major influence on Western art. Every progressive painter, whether French, German, Belgian, or American, soon took up Cubism, and the style became the dominant one of at least the first half of the 20th century. In 1913, in New York, the new style was introduced at an exhibition at the midtown armory - the famous Armory Show - which caused a sensation. The Cubist was a movement that transformed the history of twentieth-century art. And, as we say, Cubism -- after Picasso -- the world never looked the same again.

§During the war

The collaboration between Picasso and Braque was ended by the First World War. After the war, Picasso, reflecting society's disillusionment and shock with the technological horrors of the war, reverted to a Classicist mode of representation. At the same time, however, he was continuing to push Cubism into new paths. During the '30s Picasso became tangentially connected with the Surrealist movement.

§Picasso and Guernica

At the outbreak of the Spanish Civil War, Picasso was appointed the director of the Prado. In January, 1937, the Republican government asked him to paint a mural for the Spanish pavilion at the world exposition in Paris. Spurred on by a war atrocity, the total destruction by bombs of the town of Guernica in the Basque country, he painted the renowned oil painting in monochrome. With no doubut,this is the artist's landmark painting Guernica, a protest against the barbaric air raid against a Basque village.Guernica. is composition was a grouping of human and animal forms being destroyed by bombs during the war. He was so outraged by the death of these innocents that he put his soul into this enormous work.  People can look to this painting as an expression of sorrow for the tragic loss of life in all wars.  In Guernica, Picasso used symbolic forms as well.

§Conclusion

Pablo Picasso created thousands of works in his lifetime. And he was not only a very prolific printmaker, but also a very diverse one in the use of a great variety of different techniques. He created lithographs, etchings, dry points, lino cuts, woodcuts and aquatints. Always on the search for something new, he experimented a lot with these techniques. Some of Picasso's graphic works are combinations of several techniques.

Through out history, never have a painter has so many kinds of forms, from naturalism to expressionism, from classicism to romanticism, then turned back to realism; Never have a artist created so many kinds of art, sculpture, ceramic, lithography, play writing, and poetry. As a special honor to him, on his 90th birthday, many of Picasso's works were displayed in the Louvre, Paris. This was the first time that a living artists works had been hung in the famous museum.

Pablo Picasso had backward view on life and people. He saw things out of order, or upside down. He painted this way and influenced people to paint, this type of influence could have only came from one person, Picasso. His paintings in every-day life to enrich our lives. We also use them to enjoy ourselves, and to see how this man's imagination made art just that much better.

Picasso described himself as a poet who had gone wrong: "When I was a child, my mother said to me, become a soldier you'll be a general. If you become a monk you'll end up as the Pope. Instead, I became a painter and wound up as Picasso." But I think the last sentence should have changed and also the recognized truth is "I became a painter and would always to be the most important artist in 20th century as Picasso".

References:

Brassai         Conversations With Picasso

Patrick O'Brian   Picasso: A Biography

Herbert Read    A Concise History OF Modern Painting

www,webmuseum.com

825.          Picasso life from birth to death 964

The Early Life and Career of Pablo Ruiz y Picasso

According to Ariane Ruskin Batterberry, Pablo Ruiz y Picasso is considered the  most famous

artist of the 20th Century.  Picasso always working to improve his artistic skills,  he would just sit alone and paint or sculpt anything  that would come to his mind. Picasso worked on many different styles of art, such as, painting, sculpting, printmaking, ceramics, and scene designs.  As Batterberry brings to our attention, Picasso is said  to have lived several artistic lifetimes. Throughout most of his career Picasso was extremely poor, but this did not stop him from being great at whatever it was he was doing (34-35,243-244).

Picasso was born on October 25, 1881, in Malaga, Spain (Batterberry,243).   When he was young his family moved to Barcelona (World Book Encyclopedia,448).  He liked painting pictures of the city life around him.  In 1896 he entered the school of Fine Arts, where his father was a professor.  Paris was the Center of Art and Literature, he visit the city in 1900, where he fell under the spell of the artistic atmosphere.  He returned later and settled in 1904.  He was very poor, but his studio became a meeting place for many artists Batterberry, 243-244).  Picasso had his first exhibition at the Cafe Quatre Gats in Barcelona.  He studied at the Royal Academy of San Fernado in Madrid for many years (World Book Encyclopedia, 448).

As Ariane Batterberry points out, Picasso painted scenes of the day-to-day life of  many poor people of his neighborhood.  He painted several circus pictures, which were mostly for the amusement of children.  He also did paintings in varieties of gray and blue, these were called "Picasso's Blue Period" (Batterberry, 243).   John Kehoe tells us that, Picasso's works were named by the atmosphere each piece showed.  His Blue Period-showed lots of blue colors that were full of sadness.  The Rose Period was a very soft warm optimistic mood. Picasso also experimented with Cubism, which he picked up from George Braque, a french painter.  He used postage stamps and newspapers which this style of work was known as Collage (135-137).

Picasso was very much influenced by Paul Ciezanne.  He tried to show the geometric shapes in

life.  Picasso and a friend attempted this and used geometric shapes for the paintings of a band.

This form and style of painting was know as Cubism.  He also made several collages by painting various things using different materials (Batterberry, 243).  For 70 years or more his energy burst through conventional boundaries to discover new releases.  Body of works included paintings and sculpture, they could have very well been the work of a dozen artists.  His works were auctioned for enormous prices, making him extremely wealthy. Picasso quoted several of his works, such as; Beauty, Art, and Research... "I have a horror of people who speak about the beautiful. What is the beautiful? One must speak of problems in painting!  Paintings are but research and experiment. I never do a painting as a Work of Art.  All of  them are researches.", Bad Paintings..."I like all paintings. I always look at the paintings-good or bad-in barbershops, furniture stores, provincial hotels...I'm like a drinker who needs wine. As long as it is wine, it doesn't matter which wine.", Symbolism and Communism..."If I paint a hammer and a sickle people may think it is a representation of Communism, but for me it is only a hammer and sickle. I just want to reproduce the objects for what they are; not for what they mean." ("Domain of the Arts", 1-2).

Picasso's moods were known to change as often as his lifestyles.  His art was extremely valuable even in his own lifetime, because of the great variety of his styles.  After he moved to Spain, Batterberry explains.  Picasso still continued to experiment with painting, as well as sculpture, printmaking, ceramics, and collage (244).  John Kehoe provides us with the information that, in the late 1920's Picasso turned toward a flat, cubist-related style.  In the 1930's however paintings became militant and political.

Guernica (1937) masterpiece from this time period reflects the terror of the bombing of the town

of Guernica during Spanish Civil War.  After WWII his works became very gentle, because of he

moods that were around him.  Picasso worked the rest of his life on historical styles of art, most were reproductions of other artists works (200-202).  As he often did, Picasso also quoted many of his paintings and works done in his later years by saying "If everyone would paint, political re-education would be unnecessary.", "No, painting is not made to decorate apartments, its and offensive and defensive weapon against the enemy.", "I paint the way someone bites his fingernails; for me, painting so a bad habit because I don't know nor can I do anything else.", and, "Today we haven't the heart to expel the painters and poets from society because we refuse to admit to ourselves that there is any danger in keeping them in our midst." ("Domain of the Arts", 1-2).

Picasso, Pablo died April 8, 1973.  Titan of 20th Century art till death at his hill top mansion in Notre Dame de Vie.  His death at 91 was attributed to pulmonary edema fluid in the lungs.  He rarely left his 17 acre estate, which was covered by barbed wire.  Besides his wife he left behind four children, all from previous wives and mistresses. ("Domain of the Arts, 1).

Works Cited

Batterberry, Ariane Ruskin. "Picasso, Pablo." The New Book of Nowledge, Vol. 15, 1986     ed.,

pp. 243-244.

Kehoe, John. Life File. New York: Hearst, and Company, 1987.

"Picasso, Domain of the Arts." (No publishing information given).

"Picasso." World Book Encylopedia, Vol 15, 1995 ed., pp. 448-449.

"Twentieth-Century Art." Los Angeles County Museum of Art

826.          Picassos background and life experiences 904

Picasso was arguably the most influential artist of the twentieth century. He had some degree of influence in all styles of painting which were used during his time, and was known and respected by almost every art enthusiast on the face of the planet. Pablo Picasso, born Pablo Ruiz  Picasso, came into the world on the 25th of October 1881 in the southern Spanish town of Malaga. Pablo was an artist from early in his life - he was a child prodigy. He began his career as a classical painter. He painted things such as portraits and landscapes. But this style didn't satisfy Picasso, he was a free man and wanted to express himself and ultimately leave a lasting mark on art, as we know it.

Picasso turned his attention to cubes. He invented Cubism - a radical art form that used harsh lines and corners to display a picture instead of the usual soft curves. Picasso won a lot of fame for his Cubist paintings, but was criticized for it also. He designed and painted the drop curtain and some giant cubist figures for a ballet in 1917. When the audience saw the huge distorted images on stage, they were angry, they thought the ballet was a joke at their expense. Cubism lived on despite this. Other artists mimicked Picasso's Cubism, and it took hold. Picasso had only just begun his one-man art revolution. In the late 1920s, Picasso fixed himself upon an even more revolutionary art form - Surrealism. Surrealism emphasized the role of the unconscious mind in creative activity. Surrealists aimed at creating art from dream, visions, and irrational impulses. Their paintings shocked the world - particularly Picasso's - it was unlike anything anyone had ever seen before. He took advantage of this fact and also the fact that he was extremely famous, to make a few political statements, statements that would go down in history.

1936 saw the outbreak of the Spanish Civil War. Fascist revolutionaries, led by Francisco Franco took hold of Spain and imposed a fascist dictatorship upon the country. Due to poor economic control and disregard for the people on the part of the Fascists, the country went through hell. The unemployment rate was phenomenal. The majority of the population were peasants and lived in appalling conditions. Impoverished gangs scavenged in fields and rubbish heaps for anything they could find. A vast horde of ragged, jobless people wandered around from town to town. On top of this the Fascists operated as a police state and therefore anyone who opposed it would be executed. This incident sparked the most important time in Picasso's life. On April 26 1937, Nazi German bombers flying under orders from General Francisco Franco, laid waste to the town of Guernica, in the Basque part of Spain, killing many innocent civilians. The bombing of Guernica was an extremely cruel example to the rest of Spain of what would happen if the Republican resistance continued.

This action prompted Picasso to paint Guernica; some say his greatest masterpiece ever. It shows the suffering and destruction of the town, as well as Picasso's own horror and outrage at what happened. The painting depicts death and carnage on a large scale. A grief stricken mother is holding her dead child, a woman is burning, a severed arm holding a broken spear is lying next to a dead man and a horse, which represents the people, has been speared through the heart and is in agony. The bull stands alone, above everything else. The painting shook not only the art world but also the political world. Guernica is Picasso's major political expression of all his paintings. Even though it is a single painting, it did so much. And even though it is painted using expressionism, it is still so powerful and it made people realize what was going on in Spain and struck up sympathy for the Spanish people, and hatred for the fascists. Even though Picasso only aimed to express his own horror, outrage, suffering and sorrow of the Spanish people. By unleashing Guernica on the world, Picasso achieved more than he set out to do. Guernica struck up mixed emotions. The Nazis thought of his work as "degenerate" art - not only did it defy "the rules" of painting; his artwork was anti-Fascist and therefore anti-Nazi. On the other hand, the British, Americans, French etc. loved his work because it expressed, as nothing else could, the horrors and atrocities of Fascism.

When Nazi occupation of Paris came, Picasso's work was prohibited from public exhibition. Picasso then took on a new role. He refused to leave Paris while the Nazis were there - his fame protected him. But Picasso's refusal to co-operate with the Germans also made him, as a person, a symbol of freedom, of the "unvanquished spirit" After the war however, Picasso's work was not met entirely with open arms. In Paris, those still influenced by Nazi propaganda, violently protested against Picasso. But this wore off and Picasso went down in history as not only one of the greatest artists ever, but also a hero, and a figure of defiance against Fascism.

Works Cited Page

·"Pablo Picasso: The Early Years". E-Library Article Preview. http://ask.elibrary.com

·Picasso and Braque : pioneering cubism : [exhibition] Museum of Modern Art, New York, September 24, 1989-January 16, 1990.

·The Artist and the Camera : Degas to Picasso, by Kosinski, Dorothy M.

827.          Pick a historical related film and analyse its historical accuracy

The historical accuracy of gladiator in some aspects was quite good but in others, quite bad. Even right from the opening scene, the inaccuracies start. First, there was no last great battle with the Germanic tribes on the eve of Marcus Aurelius' death. There was a great daylong battle late in the campaigning season of A.D. 179, but Marcus died on March 17 of 180, just as he was about to launch another great military campaign. It is most probable that the scriptwriters needed to shorten the chronology here to save time in a long movie, but that wasn't their only mistake relating to battles. The use of fire-hurling catapults and mechanical dart launchers against the oncoming barbarians was certainly dramatic but probably unhistorical. Such weapons were too burdensome for use on the open battlefield, thus were confined to more static siege warfare.

I have found no proof corresponding to the Roman commander Maximus, the movie's hero, and if there were one, it would not have been a German shepherd, a breed that did not exist in ancient times.

Marcus Aurelius was not quite 59 when he died, perhaps of plague. "Gladiator" does capture his kindly and philosophical nature, but his decrepit frailty, thin beard, and wispy fly-away hair in the movie bear little resemblance to his statues and portraits on coins. They show him as a fairly vigorous man with a full beard and a thick head of curly hair.

The whole movie in addition radically compresses the chronology of the Emperor Commodus' reign. He became sole emperor upon his father's death in March of 180AD and was assassinated almost thirteen years later on December 31, 192AD. Although the time covered by "Gladiator" is not precisely indicated, it would appear that no more than two years could have elapsed before Commodus was killed. Within that time-frame, however, the movie does utilize some historical facts relating to him: Commodus was fascinated with shows of beast hunting, chariot racing, and gladiatorial combat and he did train himself in those skills; and eventually he fought in the public arena as the kind of light-armed gladiator known as a secutor (pursuer).

Commodus was in fact a joint ruler with his father from the beginning of 177AD, when Commodus became the youngest of Roman consuls up to that time. From August of 178AD, they jointly commanded the war on the Danube until Marcus' death. Furthermore in real life, Commodus' eldest living sister, Lucilla, did plot with a number of senators to kill him within the first two years of his reign. As the movie indicates, she had been married to Marcus's former co-emperor, Lucius Verus. After that, however, specific historical details seem to be left out. She was only fourteen when she married in 164AD; Lucilla had borne him three children before she was widowed in 169. Obviously, the character identified as their eight-year-old son named Lucius Verus in the movie is unhistorical. In fact, their only son and one of their two daughters had died as infants.

Proximo too was not an historical character, and wrongly claims that Marcus Aurelius had banned gladiatorial contests and thereby forced him to leave Rome to scratch out a living in hick towns like North African Zucchabar. In fact, Aurelius had endorsed a legislation to guarantee the continuance of gladiatorial games in hard economic times. But not all that Proximus stated was false, Proximus truthfully explained that five victories would win the gladiator-slave a wooden sword, and freedom - which was the case at certain points in Roman history. Also the greeting of the gladiators to the crowds before they fight in the film - 'Hail Caesar! We who are about to die salute thee' - was actually said on at least one historical occasion. It is also known that Emperors did signal whether a wounded gladiator should be spared but it seems unclear whether they used the thumbs up/down gesture. Furthermore scenes showing women hurling themselves at Russell Crowe also ring true, as a good gladiator was an object of desire to women which is why some freemen chose to be a gladiator.

So despite its many specific inaccuracies, "Gladiator" is an extraordinary film because it does vividly and convincingly portray some important general truths about the late second-century-A.D. Roman World. Many people find the movie offensively violent, bloody, and gory. Unfortunately, life in the ancient world in general was much more violent and gruesomely bloody than life in modern industrial democracies such as ours. Yet it may be this aspect of Ancient times that excite us most.

By: Taha Ashraf

828.          Piero Della Francesca 360

Piero Della Francesca was an early Italian renaissance artist with an individual

style and perspective that linked geometry and art together to create works of

intense religious value. He believed that forms should have the purity of

geometry, and was dubbed the "monarch of painting" by Luca Pacioli. His

theories and perspectives have been studied by artists all over the world.

Piero was born in Borgo San Sepolcra, Italy around 1415. His father

worked as a wool and leather merchant, and his mother lived in the nearby town

of Monterchi. Piero Della Francesca began his career in art by taking an

apprenticeship with Antonio d'Anghiari, although it is believed that he was

strongly influenced by Domenico Veneziano. Piero Della Francesca applied a

deep understanding of Florentine art to his paintings that is common to many of

Veneziano's great works. It is thought that Piero worked as an assistant to

Domenico Veneziano for painting the fresco "History of the Virgin" for the

church of Saint Egidio. Some of Piero's earlier works display lucid colors and

brilliant sunlight which is very similar to the techniques in Veneziano's works.

Piero Della Francesca's artwork has also shown similarities to that of Massacio's.

Massacio was one of the first great artists of the renaissance whose depiction of

natural light influenced some of Piero's works. Later, around 1440, Piero worked

for Marquis Leonello d'Este, one of the most clarified patrons of the renaissance.

All most all of Piero Della Francesca's works are related to religion. He

has created dozens of altarpieces and church frescoes. One of his most famous

religious Frescoes was the series "Legend of the True Cross" which was

completed for the Church of San Francesco in Arezzo. Some of Piero's later

works show an influence of Flemish art principals like intricate details and

complex still life pieces.

Piero spent his career working in numerous cities such as Rome, Ferrara,

Arezzo, Urbino, and Rimini. His work was too individual to have a dramatic

impact on Florentine art, but certain aspects of his work were significant to the

later Bellini and Raphael. Piero Della Francesca died in Borgo San Sepelcron on

July 5th in 1492.

829.          Piet Mondrian 993

"Broadway Boogie Woogie" by Piet Mondrian is the culminating achievement of his New York Period.  Broadway Boogie Woogie was one of many pieces of Mondrian's that was exhibited at a retrospective of his life's work at the Museum of Modern Art in New York City.  The exhibit traced the evolution of Mondrian's artistic career and its many changes.

The exhibit, "Piet Mondrian: 1872-1944" was the first major show to to study his career leading up to and through is discovery of abstract.  There were near 170 paintings and drawings in the show from his early naturalistic paintings to his abstract neo-plasticism New York period (Kimmerlman B1).  The exhibit did not only show Mondrian's work but how he worked; included in the show were his sketches, many works in progress, and a recreation of his final studio in New York City.

Piet Mondrian was born in Amersfoort , Holland in 1872 and started to study art a very early age.  At the age of fourteen he moved to Amsterdam to study painting.  His early work was based in nineteenth-century Dutch realism.  Mondrian's work transformed into the abstract slowly with the use of pure bright color after seeing the modernism work of Seurat, Matisse, and van Gogh in 1908 at a exhibition in Amsterdam.  Mondrian explored modernism while living in Domberg, an avant-garde art colony along the coast in southwestern Holland.  At the same time he became interested in the religious philosophy of theosophy, a blend of Eastern and Western religions which centers around the movement of humanity towards a spiritual unity.  Theosophy also held that geometric shapes represented different stages in spiritual development which greatly interested Mondrian and influenced his work (Kermit 14).

Another major influence on Mondrian was works of Cézanne and the early cubism of Picasso which he discovered at another exhibition in Amsterdam (Bois 331).  Mondrian was so moved by cubism he moved to Paris in 1912 to study the style.  Here he studied cubism and moved towards pure abstractism until he returned to Holland to visti his father (Bois 33).

While in Holland, Mondrian became stranded there when World War I broke out in 1914.  He returned to Domburg to again explore and elaborate on the motifs that he studied before with what he learned while in Paris.  During this time Mondrian created his first pure abstract painting, Composition in Line.

Mondrian returned to Paris soon after the war and devoted himself almost completely in his art.  During this time he arrived at his signature style which he called neo-plasticism.  The first work in this style is Composition with Yellow, Red, Black, Blue, and Gray which he completed in 1920.  Mondrian's neo-plasticism style used pure primary colors (red, yellow, and blue) and "non-colors" (white, black, and gray) in rectilinear forms.  Mondrian wanted to create a "dynamic balanced" relationship between lines and planes of color and non-color based on a grid (Milner 161).  Mondrian work for several years changing his neo-plastic style by using fewer planes and not using all three primary colors at once.  The next major development of neo-plasticism came after his move to the United States.

World War II was starting in Europe and Mondrian moved to New York City to escape the war in 1940.  He was greatly influenced by the fast paced city life and jazz's new movement of boogie-woogie.  He reworked many paintings he finished in Europe for a solo exhibition to give them more of the feeling of jazz and the city (Milner 210).

Mondrian's next new variation of the neo-plasticism style is know as the New York period.  Mondrian felt great artistic freedom and found his traditional black lines and areas of color too traditional.  He replaced the traditional black lines with color and used smaller areas of just one color.  His culminating achievement of this period was Broadway Boogie Woogie.  His style changed again slightly, instead of sold color lines they became, ". . . trains of speckled color; which were divided into small units like the tesserae of a mosaic, mainly yellow, alternating with red, gray and blue (Shapiro 67)."  This was Mondrian's last finished painting.  When he died in February of 1944, he left Victory Boogie Woogie which he was reworking for the third time in a near finish state (Bois 84).

Broadway Boogie Woogie is the masterpiece of Mondrian's New York period.  Champa says, "Broadway carries that full burden of the artist's aesthetic accomplishment at its most mature and its most complex (127)."   Looking at Broadway one can see the influence of the city and the new jazz movement of boogie-woogie on this and his other New York paintings.  The oil on canvas painting was given anonymously to The Museum of Modern Art in New York soon after his death.  It is a large unframed painting, 127 cm by 127 cm  which he finished in 1943 (Milner 220).

Not even knowing  the title of Broadway Boogie Woogie it is easy to see the feelings and excitement that Mondrian was trying to get across.  The hustle and bustle of the life in New York at night can been seen along with the excitement of jazz music the two major influences of his work during that period.  Seeing the exhibit of most of his work it became very easy to follow his style and find meaning in the abstract.  It seemed that after creating Broadway and Victory Boogie Woogie Mondrian had a new vision and idea where he was going to take his work.  One can only imagine what else he had envisioned.

Bibliography

Bois, Yve-Alain. , et al.  Piet Mondrian.  New York: Bulfinch Press, 1994.

Champa, Kermit Swiler.  Mondrian Studies.  Chicago: The University of Chicago Press, 1985.

Kimmelman, Michael.  "The Joy, Jazz and Delicacy Under Those Mondrian Grids."  New York Times  29 September 1995, sec. B, p. 1.

Milner, John.  Mondrian.  New York: Abbeville Press, 1992.

Schapiro, Meyer.  Mondrian- On the Humanity of Abstract Painting.  New York: George Braziller, 1995.

830.          Planet of the Apes

"Planet of the Apes"

James Burroughs is a critic.  In his article, "The Fiction of Science Fiction," he expresses his opinion that the movie, "Planet of the Apes," has no value or real meaning for society today.  He says it is like other similar science fiction movies made in the 1960s because it is so out-of-date.  He seems to feel the only people that would enjoy "Planet of the Apes" are people who have nothing better to do.  I disagree with Mr. Burroughs.

In the movie, "Planet of the Apes," humans did not possess language, and as a result were dominated by apes.  The significance of language is the main reason I do not agree with Mr. Burroughs.  Imagine the world if humans did not have language.  Life would not be as we know it today.  Consider how valuable language would have been to the mutes in the movie.  When they were being chased and whipped like animals, would they not have been able to plot an escape to avoid capture and imprisonment by the apes if they had been able to communicate?  Yes, they would have been free to live as equals.  The apes and the humans would have been co-inhabitants of the earth rather than creatues in a superior-inferior relationship.  "Planet of the Apes" is a perfect example of why language is so important.

Another reason I am disputing Mr. Burrough's opinion of this movie is its strong message concerning how humans were treated by apes.  When we watched "Planet of the Apes," we cannot fail to notice the mutes are treated.  They were beaten, battered and bruised; they were attacked and assaulted; worst of all, they were degraded, disgraced and caged like animals.  This is not how humans or animals should be treated.  Animals should be revered and respected, for we are all God's creatures.

Finally, I disagree with Mr. Burroughs because this movie made us think about how we may be destined for self-destruction.  "Planet of the Apes" has a valuable message concerning our fate.  Remember when the flower was found by the astronauts as the first sign of life on the "new" planet?  Picture the "museum" and the talking human doll found in the cave.  The Statue of Liberty scene had a huge impact on our thinking.  All these circumstances caused us to realize that if we do not start to care about how we treat our fellow man and our planet, the destruction of our world will be inevitable.

In conclusion, "Planet of the Apes" was worth watching.  The movie offered several valuable lessons, including the significance of language, how we treat animals, and how we may be destined for self-destruction.  For all these reasons, I disagree with Mr. Burroughs.  I feel "Planet of the Apes" does have meaning for people today.

831.          Platoon

The Vietnam War was on everyone's mind in 1960s and 1970s in our country. It was the center of much of America's troubles during this time, but only the soldier's who fought in that war knew the true madness that was Vietnam. Oliver Stone began writing Platoon because the Vietnam War was "a pocket of our history nobody understands." (Schuer t24) Platoon is a movie which should be viewed by everyone, not only for its cinematic qualities but for its historic insight as well.

Platoon is an Orion Pictures production, filmed in 1986.  Written and directed by Oliver Stone it tells the gruesome story of a Vietnam War not known by the American public.  Tom Beringer, who plays the experienced Sergeant Barnes, was nominated in the Best Supporting Actor category along with Willem Defoe who plays Sergeant Elias. Charlie Sheen plays Chris Taylor, an idealistic student who had dropped out of college, joined the army, and volunteered for Vietnam. His idealism and view of war in general rapidly change during the course of the film.  The character is based off the director Oliver Stone, who dropped out of Yale to join the war effort. Chris and the rest of the soldiers are unaware of what they are getting into and are given little time to prepare. "Trapped in the cage of front-line life, living (if they're luck) from moment to moment, values that apply elsewhere fade out for Barnes and others" (Kauffman 24).  While serving his time Taylor experience the war in its full spectrum, from the homesickness and the comradery of the men to the nightmares of battle.

The enemy is the North Vietnamese and the Viet Cong but you rarely view them except as shadowy figures in the jungle or momentarily illuminated by the light of a flare. There are no defined battle lines and the combat scenes lead you to believe that the enemy is everywhere.  The line between good and evil is blurred or nonexistent in this film. Sergeant Elias is portrayed as a caring, intelligent leader who escapes reality through the use of drugs. His nemesis, Sergeant Barnes, is portrayed as an efficient fighting machine who will stop at nothing to get the job done. You soon realize that he, too, is just doing everything to ensure his own survival.

Platoon shows how the War affected the soldiers, and how none of them felt that they were fighting for a reason. The film shows the Vietnam experience from the average soldier's point of view. In the beginning Chris Taylor is very ignorant and his chances of survival are slim. The movie went beyond just showing battles, with the showing of the moral dilemmas that the soldiers faced. The film does not in any way glorify the war in Vietnam. It is a gritty look at what the soldiers endured while serving their country. The men in the platoon come from all walks of life and all over the country. However they all share the same desire to serve their time and get as far away from the fighting as possible.  There is not one soldier in the jungle whose mind is not irrevocably warped by the ravages of war.  Some critics complain that the character development in the story is weak and there is no plot. J.P. Stern of U S News and World Report states that "The Central Plot tension - the battle for a young private's soul between a "good" sergeant who has retained humanity and a "bad" sergeant who has become a killing machine is not very tense." However, the introduction of the entire cast in the film is what sets the film apart from others like it. There are no real heroes in this movie and no real villains. There is just a group of frightened men fighting for survival in their own ways and counting the days until they can leave the country.

Nearly the entire film is set in a very thick jungle with tall grass and a beautiful landscape. All of the soldiers are forced to walk through thick jungle with biting insects, and hidden trip wires. The camera is always moving to give a sense of confusion and disorientation. Shots of wounded men screaming and constant gunfire makes you feel like you are in the middle of it all. The violence and paranoia that plagued the soldiers are constantly evident."Complaints about the violent nature of his work elicit from Stone what might be called the journalist's defense that's just the way it is. (Ansen 56) In order to accurately tell the story Stone could pull no punches.

Platoon was instantly acclaimed upon it's release as the first truly authentic look at Vietnam since the end of the war.  It was nominated for many academy awards including, best picture, best film editing, best sound, best director, best cinematography, best writing, and best supporting actor. The film won Academy Awards for Best Picture, Best film editing, best sound, and best director.  Richard Corliss of Time Magazine states that "Stone's film is a document written in blood that after almost 20 years refuses to dry."  Yet behind all of the prestige and awards it was given, Platoon holds an underlining message. "Charlie Sheen is America in its innocence, and the jungle is the dark, confused mystery that the war remains for us twenty years later" (Evans 78). Platoon is more than just a gory war movie; it is a realistic look at world that we would never want to experience.

Works Cited

1. Ansen, David. "A Ferocious Vietnam Frenzy" Newsweek 5 Jan. 1987: 57.

2. Corliss, Richard "Platoon" Time Magazine 26 Jan. 1987:54-61.

3. Kauffmann, Stanley. "An American Tragedy" The New Republic  19     Jan.  1987: 24-25.

4. Schuers, Fred. "Soldier's Story" Rolling Stone 29 Jan. 1987:     22+.

5. Stern, J.P.. "Parable in the Jungle" U S News and World Report     2 March 1987: 78.

832.          Play response Pirandellos 6 Char in Search of an Author

Title: Six Characters in Search of an Author

Author:  Luigi Pirandello

Nationality: Sicilian

Period and Setting:  in a theatre during present times (or 1922 if wanting to be historically accurate, but it is meant to be modern, present day)

Synopsis: A cast and crew of theatre people are getting ready to rehearse a Pirandello play when they are interrupted by a group of people claiming to be "characters" whose author has refused to give them life and they are looking for someone to stage their drama. The Stage Manager is hesitant at first, thinking them to be crazy, but their story interests him enough that he agrees to give it a try.  So the characters begin to act out their story for the group. First, the father sent the mother to live with a man in the house that she had become friends with and kept their son and the mother moved away and had three more children and the son was sent to a wet nurse to be raised. Eventually, the man the mother was living with died and the family moved back to the town of the father, but didn't get in touch with him.  They were poor so the mother went to work as a seamstress and the step-daughter as a prostitute.  One day, she is working and the father comes in and almost gets it on with the step-daughter, but the mother stops them in time.  Then the step-daughter goes to him and demands that he give them money and allow them to live in the house. The son, who has moved back in at this point in time, is disgusted with this arrangement and shuns the family and disowns his mother. This drives the young boy (the step-son) to muteness and is very hard on the rest of the family, especially the mother.  Then, one day, after a confrontation between the mother and the son, the son takes off across the garden and finds the little girl drowned in the fountain and sees the boy staring at her and then the boy kills himself.  At the end of the enactment, the boy and little girl lie dead and the step-daughter takes off and runs away, leaving the cast and crew to figure out what was real and what was pretense.

Unique Elements of Playwright's Style: His constant themes of the stability of art versus the instability of reality, the idea of theatre within the theatre, and the idea of social masks and pretense and the rejection of realities that are too hard to bear.

833.          Playground of the Gods

The Playground of The Gods

Cathy Spellman's, The Playground of The Gods is an exuberant novel which deals with murder in a remote tropical paradise but can further be read as an illustration of man's ignorance and invasion of nature.

"Do it big, or stay in bed."( Larry Kelly).  These are words that Thoros Gagarian lives by.  He is one of the wealthiest men in the world and when picking his private paradise, only one place on earth could serve his needs and fantasies.  This place is Mora Utu-The playground of the Gods-a green jewel in the placid blue expanse of the South Pacific, the most luxurious and seductive private preserve anywhere on the planet. Once his prized-possession has been found, Thoros immediately ships the island natives to a different island and brings in his construction crews to hurriedly build his paradise in order to have it ready for a celebratory visit by 12 of his close friends.

In the introduction to the story, Cathy Spellman makes clear the notion that the protagonist, Thoros Gagarian views himself as an indestructible god.  Her descriptions of his haste purchase of his Island paradise shows a man for whom their is no boundaries.  His arrogance is further displayed in his building of his compound.

Spellman's voice of reason comes from a spiritual Mexican couple who are Thoros's servants.  They not only warn but predict of many consequences to the ignorance to which nature is being shown.  "Nature will not permit alteration on such a scale."(Emilio, 114).

However, these warnings are ignored by the men who do not appreciate a bizarre servant couple speaking of things which money can't buy and power can't control.  This is when Spellman's utilization of irony comes into the picture.  A member of the party catches a tropical fever, yet he can't be cured because the tree which possesses the antidote was destroyed in the creation of the facility.  This is followed by a serendipitous chain of events which is climaxed when an immense typhoon hits the island and takes two of its visitors as its sacrifices.

"In nature there are neither rewards nor punishments, there are consequences."(Ingersoll).  This statement indicates the underlying theme of the novel.  Man's ignorance regarding nature is a fatuous fault, for which he will have to face the consequences.  Whether it be in the near future, or impending on him till the moment where he realizes that his ignorance has not come without its price.

834.          Playstation

Twisted Metal

The Following are Advanced Attack moves that can be performed by any Vehicle

Freeze ----------------------------------------------- L,R,U

Napalm ----------------------------------------------- R,L,U

Shield ----------------------------------------------- U,U,R

Jump   ----------------------------------------------- U,U,L

Cloak  ----------------------------------------------- R,D,L,U

Mine   ----------------------------------------------- R,L,D

Fire Weapon Backward --------------------------------- L,R,D

Minion's Special Weapon ------------------------------ U,D,U,U, (MGun Button)

Life {It Clears ALL Wepons}[More Weapons, More Life] - D,U,R,L,U,U,D,D

Hidden Boards

Twisted Metal 1 Rooftops ----------------------------- D,L,R1,D

Jet Moto Level --------------------------------------- U,D,R,R1

Cyburbia Level --------------------------------------- D,U,L1,R1 <=========

=

Hidden Characters                                                         =

Sweet Tooth ------------------------------------------ U,L1,Triangle,R    =

Minion ----------------------------------------------- L1,U,D,L           =

=

Miscellanous                                                              =

Mona Lisa Code{At SingleTrac Logo Screen}------------- U,L1,T,R (or) ======

835.          Pleasantville and American Acceptance What does the changing in Pleasantville represent in American so

What do people think of when they hear the name "America?" Do they picture a happily diverse nation where everyone wants a flawless body, an affectionate family, and endless amounts of money? Or do they appreciate America's long, rich history of war after war, struggle after struggle and see that this nation continues in this pattern to present day? Maybe people see it as a country where the freedom of expression really holds true. To put a definite label on our society's vocal tendencies and insatiable desires is difficult, so we encompass it all by cramming it into the name "America." However, America was not always a place where freely expressed emotions were as welcomed as they are now.

If people are satisfied with the way their lives are going, then they will not make it a point to change anything. By doing so, they would run the risk of altering their ideal lifestyle. The world is not a static environment, though. With the constant interactions of people and the advancement of ideas, it is impossible to keep things the same for even a few seconds. Gary Ross' Pleasantville examines people's reactions to change in their comfortable way of life, and parallels America's experience with racism and the world's experience with anti-Semitism.

In Pleasantville, the two adolescents transported from the radical 1990s into the conservative 50s have a dramatic influence on the residents of Pleasantville. Since the two have become accustomed to being allowed to openly express themselves without a threat, they cannot help having such an effect. Not only do the people of Pleasantville adapt some of their habits, like having sex and reading, but they also learn to express their innermost thoughts and feelings. Gradually, the black and white Pleasantville landscape and residents begin to gain color.

The spread of color becomes an unwanted epidemic to many of the citizens. They do not look into what truly causes the change to color, which is the discovery of true, unfettered emotion and hidden desire. They simply see it as people acting differently from before. That is unwelcome in Pleasantville since it was already such a perfect place where the biggest problem was choosing what to eat at Bill's diner. The only people who are happy with the change to color are the enlightened colored people themselves. The refusal to accept coloreds is quite apparent, by observing the unfriendly interactions between grayscale and colored and the "no coloreds" signs showing up in storefront windows. The people who were not colored were disapproved of if they associated with those who were.

Pleasantville conveys the idea that humans will generally reject changes to the environment if they are already comfortable and happy. It is demonstrated by people's reaction to the change of the black and white "pleasant" world to a colorful one. This parallels America's experience with the acceptance, or lack thereof, of black people into society. Before blacks were given the same rights as white people, they had their own world, a level below that of whites. They had their own neighborhoods, schools, even water fountains, that lacked the quality of those that the white people had. After the civil rights movements and a few Supreme Court decisions, black people had the same rights and opportunities as whites, on paper.

When blacks started showing up in traditionally white neighborhoods and attending their schools, whites did not take it lightly. They were enjoying their world in isolation, away from any minorities that might spoil their perfect system. Just like in Pleasantville, they were used to their static environment with no effect from the outside world. Additionally, white folks who associated with or, even worse, dated blacks were condemned, similar to the situation in Pleasantville. Of course, in Pleasantville, grayscale folks could become colored. In reality, it is a little harder to become "colored." Nonetheless, the portrayal of reactions of the people of Pleasantville to the drastic changes is indicative of a passage in our history.

Pleasantville is not a mere historical commentary saying that American whites were reluctant to incorporate blacks into their ideal world. It is saying that this could easily happen again for it is a human trend to reject transformation to a seemingly flawless environment. More specifically referenced in Pleasantville than white American racism is anti-Semitism. Though neither is directly mentioned at any point during the film, they are both undeniably demonstrated by the people's reactions to color.

During the Holocaust, Jewish people were persecuted simply for their religion and culture. They had to set themselves off from the rest of their fellow Europeans by sewing yellow Stars of David onto their clothes. Even before the transfer of Jews into concentration camps, they suffered countless discriminations and violent attacks. One memorable event is Kristalnacht, the night of broken glass, which was part of Adolf Hitler's plan for the Nazification of Germany. Nazis destroyed Jewish buildings, such as synagogues and Jewish-owned businesses. There was also Nazi book burning, which cleansed Germany of non-German thoughts by throwing books that did not possess the accepted Nazi ideology into a huge bonfire. Later on, Jews were transported to ghettos so they were confined and separated from the rest of the Europeans.

There are nearly identical scenes in Pleasantville that directly parallel Nazism. Since the black and white people go out of their way to obliterate any source of expressiveness of the coloreds, they decide to destroy the window painted with Betty Parker's nude body. The vibrantly-colored glass shatters, and they continue to destruct the previously enjoyable, innocent diner, which has become a tainted haven for the coloreds, set off as Jews were in the ghettos. Then, there is a bonfire of books, which were another source of knowledge, happiness, and self-discovery, that is instigated by the angry black and white people.

It is mostly human nature that causes people to grudgingly instead of willingly accept change, but it is the herd mentality that possesses a group that is even stronger. Pleasantville's charismatic mayor, Big Bob, is one of the citizens most vehemently opposed to the all too sudden and unappreciated change to color in his town. He even refuses to let people accept that the high school basketball team actually lost a game because it would be letting people acknowledge that a change is actually occurring.

Big Bob is a Hitler-like dictator and develops a huge following. He makes himself seem like he actually wants to help people, but he does it by feeding on people's insecurities. He starts a loud, but comforting "TOGETHER" chant in the bowling alley with men whose wives and families are falling apart, meaning finding something to do other than cook dinner and stay in the house. The men feel unified and like they too now have a cause outside the household. At the organized town meeting, Big Bob says "[W]e have to... separate the things that are pleasant from the things that are unpleasant." The people who have not yet changed to color just want things back to the way they were, so his plan to re-isolate Pleasantville sounds appealing to them. People will listen to Big Bob because he is the mayor so he will allegedly do what is in the best interest of the town. However, his philosophies are influential because he is so controlling and power-hungry, especially since he has gained credibility from his black and white followers.

Eventually, everyone and everything in Pleasantville becomes colored because everybody defies their roles as unchangeable, unemotional life forms that crawl from day to day. Unfortunately, the racist and anti-Semitist parallels in the real world are not so effectively eradicated. Although the change and arrival of different people has been accepted theoretically, hatred still exists.  Pleasantville conveys the idea that if people see life through another's perspective, then they will find it easier to accept them. Those that are colored in Pleasantville all have the experience of ending repression of their emotions and overcoming the fear that they will be rejected by society.

Hopefully, when people hear the name "America," they will think about our long history of discrimination, including the refusal to accept immigrants, even whites such as the Irish, and blacks as part of mainstream American culture. America is a dynamic environment, so not only is change perpetually occurring, so is acceptance, little by little. People will initially resist change to an ideal living environment, but change is ultimately embraced because it adds color to an otherwise black and white life.

Work Cited

Pleasantville. Dir. Gary Ross. Perf. William Macy, Joan Allen, Tobey Maguire, Reese Witherspoon, J.T. Walsh, and Jeff Daniels. New Line Cinema,1998.

836.          Plot summary of Ralph Ellisons Invisible Man

Ralph Ellison's Invisible Man opens with a prologue describing the main character in

time after the begining of the body of the book.  In the prologue, Ellison tells of the main

characters invisibility.  It is not a physical invisiblity, but rther he is not recognised, and therefore

persieved, by the world at large.  This is coupled with the fact that he is constantly trying to be

someone else, other than himself, creates for his a complete loss of identity, and he becomes a

man without a soul.

The story begins with the main character being forced to partisipate in an archaic and

animalistic free-for-all in order for him to be allowed to give his speach that will determine

wheather he will be accepted to the 'college'.  He is accepted and goes through two of his years at

the college uneventfully.  He is ejected from the school during his junior year when the trustee

who ws in his care while visiting the school fell ill and is taken to a local bar to get some

alchohol.  He is given seven letter of what he suposes to be recomendation to give to people in

New York.  He moves to Harlem and delivers the letters.  He finds out that these letters were not

recomenation but rather advisments against hiring him.  The seventh reciever of a letter gives him

a job in a paint factory.  He does not derform well there and evetually causes he own dismissal by

ignoring hes work and getting knoked out by an explosion that is his fault.  He joins a black

power group called The Brotherhood and is sent out to spread the word of the group.  He meets a

man named Clfton, his first real freind, and clifon is shot by a police officer.  He speaks  at

Clifton's funeral and the Brotherhood does not like what he says.  he befriens a middle aged

white woman whao flirs with him a good bit.  one night while with her is is asked to come to

Harlem and come a riot that is occering.  A rival of the Brotherhood, Ras the Exhorter, sees him

there and and starts chasing him.  While in the subway he, quite literally, runs into Mr. Norton,

the trustee from the college that had the fainting spell.  When he asks Mr. Norton if he

remembers him Mr. Norton says no.  Then he begins lghing histerically at Mr. Norton.  The book

ends with hi realization that he is not his own man and completely invisble to all.

837.          Poes Cask of Amontillado

UNIVERSIDADE FEDERAL DO PARANÁ

Curitiba, 8 de outubro de 1996

Curso: Letras - Inglês / Noturno

Disciplina: Literatura Norte Americana I

Aluno: Anderson José Nogueira

TASK: To write a summary theme of Poe's "The Cask Of  Amontillado"

One of the main themes of Edgar Allan Poe's The Cask Of Amontillado is revenge. In this summary theme I intend to demonstrate how dramatic irony is used all along the short story as a way of reminding us the true intentions of the character who vowed revenge.

Firstly I will make a brief summary of the short story: the story is supposed to happen more than a hundred years ago ( it was first published in 1846 ) during  Italian Carnival festivities. The main character, a man called Montressor, feels terribly ofended, even insulted by a friend named Fortunato, and firmly decides to take this friend's life. In order to achieve his aim, Montressor elaborates a plan which consists basicaly of two steps: first, to take Fortunato to the catacombs of the Montressors, and second, to arrest Fortunato down there forever.

Irony first appears in Fortunato's name, once we are made aware, in the second paragraph, that he is going to be killed, but it ( the irony ) continues present during all the short story as something to call our attention to what is really happening.

In the second paragraph Montressor states that in spite of his decision of killing Fortunato, he continued smiling in his face ( Fortunato's ), but he adds: "...and he did not perceive that my smile now was at the thought of his immolation." So, when they meet each other they behaved as always, but now Montressor's smile had another meaning for himself.

Certain evening, " during the supreme madness of carnival season...",  Montressor meets his "friend" Fortunato and Montressor is very kind, even affectionate towards him. He greets Fortunato... "My dear Fortunato, you are luckly met..." . The reader that knows Montressor's real intentions notices here that this greeting has another meaning, different from what it would mean if we did not know about Montressor's plan.

Once we are aware of Montressor's intentions, we perceive that the real meaning of the sentence could be something like MY ODIOUS ENEMY FORTUNATO, IT IS BAD LUCK FOR YOU HAVING MET ME, for instance. Here, the irony dresses itself with a bitter taste of sadist disguised angry.

However, there are passages in which is impossible to assure that Montressor was using irony in his speech. For example, in the passage that Fortunato says- "Enough (...), the cough is a mere nothing; it will not kill me. I shall not die of a cough." and Montressor replies- "True-true,...", we can not be sure that Montressor said that because he knew Fortunato was going to die by a different cause. Perhaps Montressor said that without thinking that he himself would be the cause of Fortunato's death, or at least the agent to cause it.

Another very interesting passage in which there is explicit or implicit irony is when the two men talk about Montressors' arms. In this case the irony has meaning by itself. It is not a sentence said dubiously, but an object that has its own unique meaning. The Montressors' arms consisted of a image of someone's foot treading  a rampant serpent whose fangs were imbedded in the heel. And the motto was Nemo me impune lacessit that means no one insults me with impunity. Fortunato does not know that everything symbolized in Montressors' arms is going to happen to him. He is the "foot" that is going to be bit by the revengeful "Montressor's fangs". It is another reminding of what is the real Montressor's purpose in taking Fortunato to the catacombs.

All these examples demontrate how Edgar Allan Poe uses dramatic irony in his short story to call the readers' attention to the double meaning of words, and for extension, as one of Poe's favourite motifs, the duplicity of human nature.

838.          poet and the society 2006

Since the begining of human history , men desired to understand the entities that surround them . People who chose the love of knowledge as away of life asked questions to reveal the unknown . Mankind called these curious people philosophers . they tried to define what human being is , what is bad and what is good and lot questions that need to be answered by looking for the truth , so that we can see that as being the tool for self &#1581;&#1580;preservation , the desire for truth , turned in to a value for mankind .                                       In this field of people seeking for knoweldge , i will discuss the issue of ganing knowledge , and the harm of poet and poetry in the ideal society in platos world (Republic ) in this book plato claims that when ever we are looking to learn something , we only get it through facts and true , there in no room for people to imagine or follow their feeling or senses to know things , more over Plato in the Republic did band all poet from his society , because as plato claims , poets encourage poeple to express their feelins and emotions then people might be controled by their passions in the absent of their minds , which may leads them to do do wrong thins or wrong judgment on things  .          Monaliza smile is the title of a new movie that discuss the same issue about knoweledg sourcess and poets effect on the society , in this movie we are able to another point of view and new teaching philosophy used by the teacher to put her students in the right track of learing and discovering new aspects of their life .                                       Julia Roberts (the teacher ) is the symbole of a poet who tries his best to simplify her ideas and deliver certain messeges to her students  .                      Through out the movie the teacher ( julia Roberts ) encouraged her pupils to turn from academic philosophy to the active study and practice a new way of academic study which is to taste the art and criticise it , just as the true artist approaches every thing in life with a distinct sensibility , expressing his feelings and emotions in his work and shows in what he represent there , we can criticise them and interpret them according to our own perspective .                                                                                                                              Plato thinks that emotions and feelings are bad , because emotions may control people , thats why he reject poet from his world , but as amatter of fact , people have their own ideas and believe in their spirits and souls , which come up sooner or later , all what th poet do is that he helps poeple to discover themselves before it come late for them , its only a matter of time , Further more poeple(  especiall poets ) all over the world follow their passion for creating art often in variety of challenging circumstances , yet they all agree to the delight , curiosity and fun that artist creativity brings the  life.                   Writers of novels , poems , plays , movie and artist poeple who have thir craft in painting , drawing or playing any musical instrument , their sounds and words helpe to shape our understanding of socity and culture .                                                                                 We can see this when the teacher ( julia Roberts ) tell her student to do what they wont to do and feel that they can do it  encourage her student to be a loyar , wrong doing and losing or gold chances , may be the only thing that harm our soul .                                            Every thing we claim to know by means of the senses is only appearance . Our so called empirical knowledge is not really knowlldge &lt; thats what plato claims &gt; , which goes the marrid girl idea about people and their appearance , when she was talking with her mother about divorce she ask her mother to look at the painting of the Monaliza smile and see what she maight get from it , her mother said that she is smiling according to her sight judgment , which is the complate knowledge , but her daughter learned to go beyound the image , then  the daughter said , is she happy in her life , her mother said , yes she seems to be happy because she is smiling , then her daughter said , who  knows she looks smiling but she maight smile on the grave and sadness in her  heart , this young girl experanced being decieved by appearance , and that was her marrige , she pretend to be happy with her husband in her new life . She was triyng her best to hide her sadness and upseting beyound the mask of smily face , she used to write articles with photos to show her ability to mange her marrige with her study , until she discover that she was decieved by the knwledge she got through her senses .                                                                     As  an evidence to support the movie and the idea of knowledge  , Socrates said that &lt;people  seeks to reach the goal of reality , to reach this goal our souls need purification ,  the true philosopher ... keeps his attention as much as he can away from the body and toward the soul ; Moreover he then says that &lt; the person most likely to succeed in this search is the man who pursuses the truth by applying his pure and unadulterated thought to the pure and unadulterated object &gt; ( 65 C - 66 E ) . He goes on : if we are ever to have pure knowledge of anything we must get rid of the body and contemplate things by themselves with the soul by itselfe , in this way [ he says ] we shall gain direct knowledge of All that is pure and uncontaminated - that is presumably , of truth .                                    For Plato poetry is just immiting nature and and coping it which give the illusion of real things . That was according to plato point of veiw  , But from the teacher ( Julia Roberts ) point of view we can say that she love and admire poetry and art , she encourages her pupils to get their inner feelings , ideas , believe in the shape or the form of paintings , its obvious that she can add things to life more than what nature provides us she knew how to teach her student the way of expressing things and let our spirit and our soul to talk an create its own creation an have our own identity .                           This effect on her students was clear at the moment they all were holding their own art piece ( painting ) in her office , it was to see such good changs in people life , that was what Plato hate about poets , that their ideas leads to actions  and changes wich will effect the stability of the ideal society , and this may help people to raise their fortune and get the  knowledge to arrgue with the high class ( philosophers ) and he maybe able to join them which tends to cross the divition lines in the society .                  In the Monaliza Smile every one has his own identity and his oen interst , just like the Republic where every own have his own work to do , but the difference is , in the Republic people have to work for work , but in the Monaliza Simle , every one is doing what he want to in aprodutive way and sometime they tends to do more than one work due to their like or intres .                   People in Plato's world an in our present days always try to satisfy their instaible curiosity by searching for new things to learn and discover them , and this what is the students in the Monaliza Smile  did . They had organize their own meeting to discuss things , express themselves , reveal their inner emotions and their spirtual  interest ; Inaddtion they are trying to see the world from their own angle . Such meeting may help them alot in developing themselves , facing  their problems , and they can gain knowledge from others experience . What ever one may think of their discussion and arguments , the argumnts involve many intresting philosophical ideas to be considered , that was clear when the teacher ( Julia Roberts ) tell her pupils her experience in love and relationships  , she said that not all love relationships ends with marriage , then she discussed the issue of love , she told her student the difference between the love of eyes and the love of pure - hearted in which people love you because of you , unlike love of eyes in which people love you because of your beauty and appearance.                                                                                This meeting will not be accepted by Plato book the ( Republic ) when he says "   this irrational side makes us display emotions publicly which we shouldn't do "it is the law and reason in him which bids him resist; while it is the affliction itself which is urging him to indulge his sorrow."  Plato also belives that being in such meeting with  poet " the teacher - Julia Roberts " is dangerous , because poet and poetry are unreliable source of truth , so that when you consult a poet and express you'r feelings to him , you may be driven away from reality , poet give a great illusion of truth , the poet may use the power of his words to control and rush  you  to do things and to behave in the way he likes , then you will be controled by you'r feelings and the words of apoet . But from what we had seen in the Monaliza Smile , all the changes which happened to the pupils were good changes that turn their life to be better . For example , their was agirl in the movie wants to be a lawyer which run against her marriage and her future responsibillity , but was dying to be alowyer . One day , her teacher ( Julia Roberts ) came to her home with the application that the girl need to make her dream real  , but the girl refused it ...... , she has been changed because her teacher ( the poet according to Plato ) told them and teach them to do what they want and what they feel it would be good for them , upon that  the girl  decided to be a good wife rather than being a lawyar and waste her time working instead of having kids and enjoy her youth  , such change was good for the girl future and life .                Tears and crying are bad , because revealing such emotions shows you'r weakness to the public , so it will harm you and other people may abus you  due to their knowledge about you'r  weakness .  That was according to Plato point of view , but in the Monaliza Smile when ever the audience a tear or some one cry they immediately realize that some one is struggling and something wrong that need fixing , either fixing the situation , the person or the society itself  .     People need to reveal such emotions as an alert for the society , to the existence of a problem , which need to be fix as soon as possible .     At the end , still Plato , the father of philosophy scince , he is a man that has , in away , been immortalized . Even though , he lived and died thousands of years ago , his thoughts and his ideas still live on today and still the main issue of most discssion meetings .

839.          point of view using evidence including artists and their works 603

The statement "artist frequently break traditions in order to challenge the audience's perception" can be supported when addressing the art movement Dada. Dadaists such as Marcel Duchamp and Kurt Schwitters produced unconventional art works that provoked the audience to consider what art really was.

One of the first large scaled movements to translate art into provocative action. From 1915 Dada produced many of the most anarchic, playful, antibourgeois, anti-rational, confrontational and nihilistic works made during the twentieth century. Dada began as an indictment of the bourgeois values responsible for the horrors of the war, and assumed many forms such as outrageous performances, festivals, readings, erotic mechanomorphic art, nonsensical chance, generated poetry, found objects, and political satire in photomontage. Its main purpose, however, whether it carried a social or political message or not, was to shock the audience.

The art works produced by Dadaists was something created with unconventional form and produced by unorthodox means challenging the audience's perception as to what art was. In previous years, artist had been limited to certain styles of art by their patrons. Patrons commissioned artworks to convey authority and power, ensure fame and memory, or to demonstrate their spiritual virtues and worthiness. Hence, the audience had been lulled into believing the definition of art was to convey such aspects in a precise a manner as possible. The Catholic Church and government institutions had been major art patrons up until the late nineteenth century. By this time it had become more common for artists to sell their work uncommissioned. This system allowed artists to work more independently and nurture new ideas.

The  purpose to challenge the audience is clearly seen in Marcel Duchamp's Bicycle Wheel (1951) as two common place items have been put together, given a title, and exhibited be a practising artist - hence, been transformed into a work of art.

The Bicycle Wheel consists of a wheel joined on top of a stool, which relates to traditional displayment of sculptures on an elaborate base therefore making an "anti-art establishment" statement. It also appears to comment on mechanisation, the wheel being the invention which eventually led to the mechanical age.

This is an example of a Ready-Made, a form of art invented by Duchamp which he conceived by his cerebral pursuit of quasi-philisophical inquiries.

It is because this piece did not fit the mold of the audience's perception of art, that the focal purpose of Duchamp's Bicycle Wheel may be seen as to raise questions in the audience such as: where is the traditional skill of the sculpture as carver, modeler or in casting metal? How is it beautiful, "precious" and original? Is it traditional skill and originality that makes something art?

Kurt Schwitters' Merzz 19 is composed of overlapping pieces of address labels, food stamps, coat checks and other fragments of paper with frayed edges arranged against a blue background.

Merzz 19 carries a political and social comment, also like Duchamp's Bicycle Wheel, in that Schwitters created something new from the discarded fragments of the past, just as postwar Germans had to do with their cities.

Schwitter was able to transform rubbish, the discarded items of his surroundings, into strange and wonder items of beauty. His choice of unconventional  material, use of ready-mades to create collages, and his random collection of objects and the notion of his art as being "meaningless" defined him as a Dadaist.

Unconventional and unorthodox approaches or methods used by Dadists such a Duchamp and Schwitters, assaulted traditional notions of what art should be, hence giving truth to the statement "artist frequently break traditions in order to challenge the audience's perception."

840.          Positraction

Positraction

It was a cold night and Roger Katmandoo ( a 89 year old man) sat on his front porch. His rocking chair squeeked as he rocked back and forth. Right then a pair of hedlights came on and were shining right in Mr. Katmandoo's eyes. The headlights came closer towards Roger as the car's engine screamed. The car was right at the curb, and it keep going right up into Roger's yard. " Shit" he yelled as the red 67' Courger drove through his well kept lawn. "Jesus Palamesus" He hollared "U gonna die U sack of shit" Then the car stoped and flashed A gun out the winder as Roger pulled up a loose board in the floor of the porch and grabbed his machine gun. " Youin's best be gett'n out a here" he bluffed "or I will have to kick your little punk asses" Then th ecar speed off leav'n positraction tire marks all in Mr. Katmandoo's yard. Then when the car was half in the street and half in Roger's yard they all yelled "Hey Fuck-o" and speed off. "You little bastards callin me a buck-o" Roger yelled as his hudge buck teeth bit his bottom lip " I'll kick your ass". Then Roger jumped In his shit brown FORD truck and started the engine (well I mean tried to start the engine because he had to pull start it). Then he speed out of his driveway and took off with smoke coming from the tires (and from under the hood). He caught up with the Cougar and started hanging out the window trying to hit the car but he couldn't hold the steering wheel and do bash the car at the same time. So he got THE CLUB out from underneath his seat and put it on the steering wheel. So he got the Baseball bat and started hanging out the window hitting the car. The guy in the Cougar started swirved and Roger fell out of his car and flew underneath the wheel of the Cougar while he was yelling "I'll kick your ass" and crunched Roger leaving blood and guts all over the freeway. But Roger's skull stuck into the Cougar's hub cap. The cougar spun out of controll and flipped then hit the gaurd rail and went fling accross the freeway into oncoming traffic. And uuhh oh here comes the undertaker's truck full of dead bodies. The truck smashes into the car sending it flying into the air again only this time it explodes in the air and the people's bodies who were in the car go whirling into a pile with all of the undertaker's bodys that are scattered all over the place. Cars on the freeway are just crunching the bodys. As this happenns U can hear all of the body's bones breaking. And also it makes the cars wreck. One car has a body on it's hood and it's still just cruising around.

841.          Postmodernist Ideas

About 600 words

Postmodernist Ideas

Barthelme's "The School" is the first postmodernist story I have ever read.  When I read it for the first time, my lips formed a bitter smile.  In my imagination, postmodernist stories differed from the classical ones in the arrangement of the ideas and in the standard that postmodernists reject society.  True, "The School" does differ in composition, for example the absence of introduction, but though it sounds somewhat comical, it does also have an incorporated pessimism that makes me reflect on the story.  I think this pessimism is the cause that postmodernists reject society.

The notion of rejection comes in the story through the death cases.  It seems strange why Barthelme uses the notion death in his story, but I think the reason is that this is the best way to stress that every living thing is losing its importance. Hopeless pessimism interweaves with the idea of rejection, and I find them together everywhere, in every death case.

For Barthelme, what is lost is unrecoverable.  Pessimism, mostly expressed in taking death naturally, spreads uniformly all over the story, from the first paragraph about the orange trees to the last when the new gerbil enters the classroom.  In this school, where the children are supposed to receive education, everything dies.  The fish, the salamander, and the orange trees die though children take much care of them.  The teacher is pessimistic although life goes on and a new gerbil walks in the school.  Edgar says that "life is that which gives meaning to life," but still this does not change that Edgar knew that the puppy would die in two weeks.  He had seen worse when some parents died in a car accident and when two children died while playing with each other in a dangerous place.  What else, but pessimism, could one expect in an environment where every living thing, including children, is dying?

Death's dominance in the story shows again that  society, which presumably should foster the growth of the future individuals (i.e. children), destroys their very existence. By the end of the story, it is easy to understand that death is the destiny of the children as well, because it would be impossible for them to live in an environment (commonly known as 'society') where parents (symbol of wisdom) die.  It is impossible to live in an environment where the teacher himself is aware that whatever living creature, like the puppy for example, that enters the school (a social institution) will eventually cease to exist.

At this point, I become certain that "The School" is a demonstration that pessimism drives postmodernists.  As Barthelme stresses in the second to last paragraph, death is a close companion of life. The very adjacency of death with the kids, who do as well symbolise life as they are at the very beginning of it, proves my point.  The writer seems, besides other things, to question the very nature of existence.  One should remember the closing paragraph where the kids ask the teacher whether death gives meaning to life. The answer he gives is that life is what gives meaning to life. One could justly ask: why is the story full of images of death then?  Because the story seems to be a sketch of the society, which by breeding death (death in the symbolical sense: death of the ideas, joy, identity) prompts the postmodernists to reject it.

842.          Powder Essay

Powder

Most likely written by some kind of nut, the film Powder is indeed

strange. Powder is the story of an albilno completely hairless teenager who has

the power to use an extraordinary amount of his brain capacity. Powder is the

archetypal outsider.Edward Lightning Hands might be a more fitting name for all

the overuse of the already worn out "Boo Radley-like misfit who is also a

despised prophet" type theme.  Aside from its lack of orignality it is also

typically "hollywood" in it's blatant overuse of moral superlatives.

"The most advanced intellect in the history of mankind," is how one of

the films many protagonistic representatives of society describes Powders

eidetic memory and off the scale IQ.The writer expects the audience to view what

Powder says with more credibility because he has the use of more of his brain

than they do. This is a very powerful way for the  writer to communicate theme,

by developing a philosophy in an attempt to affect the audience, and having

powder embody that philosophy so that people will see him as some sort of role

model. In general, this idea could work, but the writer of this particular film

obviuosly missed the boat here.

Instead of the independence imbodied in most people, Powder belives in a

unification of all humans, every single one, through some sort of single-

consciousness. The idea of using Powder as a role model can work, but the

audience has to view powder as being worthy. Here Powder views people, unwilling

to accept the idea of a single-consciousness solely on faith, as closed-minded.

This dogmatic type of view nullifies any worth powder might have had as a role

model, and it dooms any chance the message of the film, which supposedly

presents a different, better, and higher, view of things, ever had of

influencing people.

Besides the implied message, the film itself is just plain awful. With

cliché after cliché and an abundance of predictable scenes, its a wonder anyone

could think this movie was worth making. A semi-conscious two-year old could

predict exactly what would happen next, and who would suddenly reappear in the

film. The whole addition of a love interest was inane and irrelevant to the

point the writer was trying to get across. The suposedly touching scenes were

obviously predictable, and although some are well acted, they add nothong but

another impractical twist to the story

One good point about this movie is the addition of Jeff Goldblum as

Powder's science teacher. Whoever typecast Golblum as a nutty scientist

pondering technology versus humanity really knew what they were doing, beacause

it works wonderfully. His delivery of lines in the film is impeccable, often

magnifying the script to more than it deserves to be. His talent as an actor

shines clear and true in what is possibly the best line of the best line of the

movie:  "you want to know why he doesn't have a hair on his body, beacause he is

electolysis.....drink that in."

Though powder is interesting and a bit thought provoking it is best used

as an example of what not to see at the theater. It is in the whole a poorly

consructed and cliche film that ends up with an awkward message. In theory we

are to model our lives around what Powder would do, or what he would think about

what we are doing. Goldblum admits that "we live in a dark age of man," where "

we are doing everythin we can merely so we don't kill each other." Therefore, we

are supposed to live our lives as pwder would have us live them? Yeah right!

843.          Powder

Most likely written by some kind of nut, the film Powder is indeed strange. Powder is the story of an albilno completely hairless teenager who has the power to use an extraordinary amount of his brain capacity. Powder is the archetypal outsider.Edward Lightning Hands might be a more fitting name for all the overuse of the already worn out "Boo Radley-like misfit who is also a despised prophet" type theme.  Aside from its lack of orignality it is also typically "hollywood" in it's blatant overuse of moral superlatives.

"The most advanced intellect in the history of mankind," is how one of the films many protagonistic representatives of society describes Powders eidetic memory and off the scale IQ.The writer expects the audience to view what Powder says with more credibility because he has the use of more of his brain than they do. This is a very powerful way for the  writer to communicate theme, by developing a philosophy in an attempt to affect the audience, and having powder embody that philosophy so that people will see him as some sort of role model. In general, this idea could work, but the writer of this particular film obviuosly missed the boat here.

Instead of the independence imbodied in most people, Powder belives in a unification of all humans, every single one, through some sort of single-consciousness. The idea of using Powder as a role model can work, but the audience has to view powder as being worthy. Here Powder views people, unwilling to accept the idea of a single-consciousness solely on faith, as closed-minded. This dogmatic type of view nullifies any worth powder might have had as a role model, and it dooms any chance the message of the film, which supposedly presents a different, better, and higher, view of things, ever had of influencing people.

Besides the implied message, the film itself is just plain awful. With  cliché after cliché and an abundance of predictable scenes, its a wonder anyone could think this movie was worth making. A semi-conscious two-year old could predict exactly what would happen next, and who would suddenly reappear in the film. The whole addition of a love interest was inane and irrelevant to the point the writer was trying to get across. The suposedly touching scenes were obviously predictable, and although some are well acted, they add nothong but another impractical twist to the story

one good point about this movie is the addition of Jeff Goldblum as Powder's science teacher. Whoever typecast Golblum as a nutty scientist pondering technology versus humanity really knew what they were doing, beacause it works wonderfully. His delivery of lines in the film is impeccable, often magnifying the script to more than it deserves to be. His talent as an actor shines clear and true in what is possibly the best line of the best line of the movie:  "you want to know why he doesn't have a hair on his body, beacause he is electolysis.....drink that in."

Though powder is interesting and a bit thought provoking it is best used as an example of what not to see at the theater. It is in the whole a poorly consructed and cliche film that ends up with an awkward message. In theory we are to model our lives around what Powder would do, or what he would think about what we are doing. Goldblum admits that "we live in a dark age of man," where "we are doing everythin we can merely so we don't kill each other." Therefore, we are supposed to live our lives as pwder would have us live them? Yeah right!

844.          Powder1

Powder: Questions

1 Jeremy's original source of rejection came from his parents who banished him

from his home. He was to live in the basement, away from society. This hurting

he received made him a more compassionate, caring and loving person. Although

his early stages of life were of persecution and sadness he accepted as a way of

life. Being banished from society, he solely learned the meaning of compassion.

He acquired the knowledge of caring and loving by experiencing the direct

opposite of treatment. When he received this treatment, he hated it, and wished

for something different.

2. Three personality traits of Jeremy or  Powder  were his extreme compassion,

his shyness, and his caring. Jeremy expressed compassion in the fullest possible

form. He expressed feeling for others that went to extreme measures. Such as the

passing of death from the dying deer to the sheriff who shot him for sport.

Since he was an albino genius, it would be simple to understand his difficulty

of fitting and acquiring new friends that he can socialize with. Thus he became

a shy boy that pretty much kept to himself. Jeremy's characteristic that

distinguished him from the rest of society in which he lived in. Although he was

persecuted, beaten, and ridiculed at. He understood his characteristics and

understood why the boys hated him It was fear!

3. I respect Jeremy's caring. Like Christ himself, he wouldn't fight or use any

sort of violence to resolve problems. Jeremy would speak his words of wisdom, or

use his divine powers of mental stability and force to express a point. He would,

without hurting anyone, prove a point. This characteristic made us create a

field of empathy for the boy.

4. Jeremy showed his love and compassion and caring for other people and

creatures in a few instances in the movie. The most popular scene expressed

caring for a creature. A creature, in the shape of a defenseless deer. A sheriff

was with a bunch of kids, hunting when they should not. The sheriff found and

shot the deer. As the deer laid there breathing his last breathes of life,

Jeremy stepped into action. In order to express the anguish of death to the

sheriff, he held on to the neck of the deer and the arm of the sheriff. Using

his forces of mental power he fed the feelings of death to the sheriff. Even

though Jeremy loved the animal inhabitants, he also expressed compassion and

caring for the human population. Jeremy was being ridiculed once again during

stormy weather. A boy named Johnny pushed Jeremy into the mud, laughing Johnny

was then struck by lightning. Even though revenge would have been sweet, Jeremy

reacquired the life for Johnny.

5. The treatment Jeremy received in the cafeteria by the student is quite

disheartening and show the lack of empathy in the students. But the reasons for

his treatment is more intriguing than the actual treatment received. Einstein

once said, that we fear what is not known , and Jeremy was an unknown case of

supernatural difference. These students, being average, were reacting as normal

as frighten children, in the form of insult. These children were not mean, they

were frighten of the unknown. Another scientist or psychologist said that fear

is sometimes distinguished in the form of laughter. As the children insulted

Jeremy, other children laughed to relieve the tension they held within. Natural

human reactions are to laugh instead of crying when in fear, just as an infant.

And yet another reason for the harsh treatment of Jeremy, was because he made

everyone else seem normal. Today, people try to express their uniqueness the

clothes they wear. Of course they say that its their own look, but we all know

that peer pressure from friends and the media, cause them to do, what they do.

So, Jeremy being albino, distinguished all the other kids. The kids hated this

because they are working to be noticed (just as an infant will). Jeremy proposed

a threat to their uniqueness and that caused their behavior to be what it was.

There was once a student, who was quite isolated because of his external

appearance. But many students began to feel empathy for him and they invited him

to cafeteria tables and accepted into groups.

6. Now although, Jeremy seems to be living in a world of rejection, persecution,

and insult, he has a friend. Like the Good Samaritan, a girl from school,

expresses interest in Jeremy. She talks to Jeremy and sticks by him during harsh

times. Their relationship, sinks into a deeper level of love and compassion.

They become lovers. This girl listens to the troubles of Jeremy, and Jeremy does

likewise. It seems that they stood together as partners fighting the world in

which they lived in.

7. Jeremy was ultimately searching for a way to live free of anguish. He wished

to find a place where he can be accepted by all. A place where his looks were

disregarded and his intelligence acknowledged. In this story, he never finds his

promised land, so he escapes. Since  Powder  is nothing but energy, he flees to

a field of lightning where he is elevated and taken away. This seems to be in

parallel with the story of Jesus Christ and his resurrection.

8. I like the acting jobs by actors Jeff Goldblum and  Powder . They tried their

very best to make sense of the plot that had no logic. Goldblum expressed his

scientific knowledge and Powder  expressed himself as a suffering friend.

Although the actors did a superb job in the acting department. The story itself

is quite unlogical and makes no sense. If you find a boy with an IQ that

surpasses everyone else on the face of the planet, and he has the power to

elevate with lightning, one of the purest forms of energy, you are not going to

leave him in a school where he would beaten and made fun of. No, you will take

him to a home with a family that loves him and cares for him, while he uses his

mental power to learn and resolve many world problems.

9. Jeremy, parallels with Jesus. They both are persecuted, one for his beliefs,

the other for his external appearance. They both have divine power, one comes

from the heavens in the form of lightning, the other from God. Finally they both

escape this world leaving a message behind, one for us to be free from sin, and

the other to be free from ignorance.

10. Besides Jeremy, another character that I liked is Jeff Goldblum. He is an

authentic Jewish Scientist. Consistently searching for answers through the path

of science. Jeff is also quite understanding of Jeremy's problem, and tries to

understand more from this boy of eternal powerand knowledge.

11. The story of Powder, teaches you the lesson, that you should not judge

people from their external appearance. Men are created different, but all in the

likeness of God. Powder also emphasizes the way society treats the unknown. With

violence, persecution, and hate. As in the cafeteria scene, Powder is ridiculed

and made fun of, yet he responds with love. Thus Powder, teaches the ultimate

lesson that love is more powerful than violence. I can incorporate this into my

life, by trying to understand that all humans are different in external

appearance, some are pretty, some are not. But they all have gifts within to

share with the world, if you just give them a chance to show them.

845.          Power of One Essay

Power of One

I did not enjoy this movie. I thought it was poorly done, the camera shots

were very basic, it was extremely predictable and "deja vu". Since I am no

Leonar Maltin and this assignement does not ask for a movie critique , i will

say no further. If we take into factors what I already stated above , I guess

you already know what I think of the ending. I will now expose my train of

thoughts while answering the question.

The two scenes that I found the most signifcant in this movie were th one

where the boxer friends loses his eye and Pk's girlfriend dies. Considering

those two scenes, Idont think this was a very realistic ending. Pk's girlfriend

dies, and two minutes later he does not care, he's already off singing and

dancing. The same happens with the boxer friend. He loses an eye. Who cares? I

mean it's only an eye , we've got so many of those that we can manage to lose

one or two.

What would happen to Pk is he would he would be caught  by the Afrikaaners

police and probably  be tortured  and killed ; same thing with the boxer friend.

Than it would not an american movie anymore, it would be too realistic,

something the american  public, and too a lesser extent the general public does

not appreciate.

I believe this ending  is not realistic as  Pk loses his greatest love(or

so they make us believe in the movie) dies and he does not care  and continues

to fight the "bad guys", not thinking about her ever again in the movie. Same

thing with his boxer friend, who just continues to live on like nothing ever

happened.

I already stated above what should have been done to make this a more

realistic ending. The boxer should have crushed psychologically and should have

dropped all activities against the governement. Same thing with Pk.

I have tried to explain what was wrong with this movie, while exposing my

train of thoughts on the plot.

846.          Power of One

I did not enjoy this movie. I thought it was poorly done, the camera shots were very basic, it was extremely predictable and "deja vu". Since I am no Leonar Maltin and this assignement does not ask for a movie critique , i will say no further. If we take into factors what I already stated above , I guess you already know what I think of the ending. I will now expose my train of thoughts while answering the question.

The two scenes that I found the most signifcant in this movie were th one where the boxer friends loses his eye and Pk's girlfriend dies. Considering those two scenes, Idont think this was a very realistic ending. Pk's girlfriend dies, and two minutes later he does not care, he's already off singing and dancing. The same happens with the boxer friend. He loses an eye. Who cares? I mean it's only an eye , we've got so many of those that we can manage to lose one or two.

What would happen to Pk is he would he would be caught  by the Afrikaaners police and probably  be tortured  and killed ; same thing with the boxer friend. Than it would not an american movie anymore, it would be too realistic, something the american  public, and too a lesser extent the general public does not appreciate.

I believe this ending  is not realistic as  Pk loses his greatest love(or so they make us believe in the movie) dies and he does not care  and continues  to fight the "bad guys", not thinking about her ever again in the movie. Same thing with his boxer friend, who just continues to live on like nothing ever happened.

I already stated above what should have been done to make this a more realistic ending. The boxer should have crushed psychologically and should have dropped all activities against the governement. Same thing with Pk.

I have tried to explain what was wrong with this movie, while exposing my train of thoughts on the plot.

847.          Prejudice In Maycomb

Prejudice in Maycomb

Two major people in To Kill A Mockingbird  are prejudged; Boo Radley and Tom

Robinson. One man is the victim of prejudice; Atticus Finch. These men are mockingbirds. For a

mockingbird has never hurt anyone, and neither has Atticus Finch, Boo Radley, nor Tom Robinson. .

Boo Radley is prejudged because he chooses to stay in his domicile. While Tom Robinson is

prejudged because of his color. Atticus Finch becomes a victim of prejudice due to his valiancy  to

help a innocent black man; Tom Robinson. Boo Radley and Tom Robinson and prejudged; but

because prejudice is so inclusive, even those who help the "mockingbirds", Atticus, become victims

of prejudice.

Maycomb people gossip about Boo Radley because he chooses to stay in his house, while Tom

Robinson is stereotyped by Maycomb because of his skin color. Rumors are spread about these men

because most of Maycomb is guilty of prejudice. Boo Radley is generally gossiped about by Miss

Stephanie Crawford. Miss Stephanie recounts to Jem about rumors spread about Boo Radley. "So

Jem received much of his information from Miss Stephanie Crawford..."( Lee, TKAM 11 ). Miss

Stephanie explains a erroneous rumor about Boo. "As Mr. Radley passes by, Boo drove the scissors

into his parent's leg..." ( 11 ). Tom Robinson is prejudged by many people, some include: Scout, Mr.

Gilmer, and Bob Ewell. For example, when Scout says, "Well, Dill, after all he's just a Negro" (199).

Maycomb people are the sin of all prejudice in Maycomb.

Boo Radley and Tom Robinson are mockingbirds. Both of these men are victims of prejudice.

To take advantage of these men would be a sin, just as it would to kill a mockingbird.

"Mockingbirds don't do one thing but make music for us to enjoy...that's why it's a sin to kill a

Powers 2

mockingbird (90)." Tom Robinson is taken advantage of by the Ewell family. Tom had nothing

against anybody, especially the Ewells'. He would help Mayella with her chores, and the part of it

that made him a mockingbird, is that he did not want anything in return. " Were u paid for these

services...No suh, not after she offered to give me a nickel the first time (191)." What makes Boo

Radley a mockingbird is that he has never really never hurt anybody, he minds his own business

while watching over his children. The Ewell family and many other people in Maycomb have sinned,

distinctively Bob Ewell, because they took advantage and prejudged to innocent men; Tom

Robinson and Boo Radley.

People who help the mockingbirds also become victims of prejudice. Atticus Finch tries to

defend Tom, but in doing so, Atticus becomes a victim of prejudice. People in Maycomb lose

respect for Atticus because he is defending a black man. In Maycomb it was erroneous to defend

a black man against a white. Atticus is also gossiped about, essentially by Mrs. Merriweather. "I

tell u there are some misguided people in this town...folks who thinks they're doing right...not for

me to say who...but all they did was stir 'em up (232). " Therefore, those who help the people that

are prejudged, become victims of prejudice.

Many people in Maycomb prejudge Boo Radley and Tom Robinson. In TKAM , Harper Lee

shows how wide spread prejudice is, using from Atticus standpoint to an Tom Robinson and Boo

Radley standpoint. Tom and Boo are not given a chance. Tom died because he was not given a

chance, because of his skin color, and also because that he was prejudged.  He was convicted

guilty of murder, and ended up shot. Tom was a mockingbird though, because he showed

intrepidity. Boo was not given a chance neither. Boo is hated for not coming out of his house, but

Boo had the intrepidity to watch over his children and save their lives. Courage to help the

"mockingbirds" is really what conquers prejudice.

848.          Pretty Woman Vs Pillow Talk

Pretty Woman Vs. Pillow Talk

The marriage plot has been quite prominent in the film industry over the past few decades. The plot that is characterized by its lead woman "getting" the lead man and vice versa, has contributed to such movie blockbusters as Pretty Woman and the classic film, Pillow Talk. While both films can be classifies as containing marriage plots, the films share other similarities as well. However, in regards to the marriage plot, Pretty Woman follows the pattern much more fluently and precisely that does Pillow Talk. Both Julia Robert's and Doris Day's characters, Vivian and Jan, respectively, are strong women in their films. They both contain quite a few characteristics such as boldness, confidence, and intelligence that make them very attractive and desirable to their male counterparts. While their professions are quite opposite, the women are similar in their personalities. Jan is an interior designer and her history with men is not troublesome or lacking, but like Vivian, the prostitute, she finds that men are sometimes after only one thing. I noticed that both women are extremely confident when it comes to dealing with men; they both know what they want and what the are looking for in a male companion.

The men in these two movies are quite similar as well. Both Rock Hudson and Richard Gere play two powerful men who are popular with the ladies. Although Hudson's career, a musician, is not typically "powerful" it does contain benefits and certain contacts that could be considered powerful. These two men both start out with the women practically chasing them. Vivian is paid to be Edward's (Gere) "beck and call" girl, and does so willingly not just for the money, but because she is also mesmerized by his coyness, charm and good looks. Jan is attracted to Rex (Hudson) because he is also shy and coy and very handsome as well. Both women are interested in their counterparts for the particular reason that they are not men they typically meet. These men are respectful and somewhat quiet and shy. Each plot takes a turn towards the end of the movie when the women leave them, each for different reasons. Ironically and typical of the marriage plot, it then become the man chasing the woman. He is to prove his worthiness to her and to dismiss her conclusion that he, in fact, is like all other men they have encountered.

According to Radner, a key element of the marriage plot is that the woman is of lower status than the male and she is practically the "chosen one" in his eyes. The woman then finds "validation of (her) uniqueness and importance by being singled out among all other women " by this man (Radner 57). This is certainly true in Pretty Woman, for Vivian is definitely not the norm for Edward. He has before chosen women that can be regarded as classy and in the upper social class. Ironically, although he does indeed choose Vivian, the prostitute, it is only after he has transformed her taste from streetwalker trashy to Rodeo Drive classy. As for Pillow Talk, Jan is already of such a class that can be deemed very respectable. Hudson, as well, is of the same class and we can tell this merely by the fact that they share the same friends and acquaintances. So, it is this detail that I question that Pillow Talk can be entirely categorized as a marriage plot. While both movies share another marriage plot characteristic, which is that the heroine contributes to the "goodness" of the hero. She teaches, in essence, him to feel for others and to take their feelings and emotions into consideration. Jan reforms 'Rex' by showing him what love truly is and to mot be a playboy and Vivian does the same to Edward which is shown in his corporate endeavors. Also essential to the marriage plot is the male gaze. It is so prominent in both films that it is hard to miss. It seems that every time either Gere or Hudson would eye up the heroine, the music was played accordingly or the lighting was following his eyes to their target. What comes to mind when I think of the male gaze and Pillow Talk is the scene in the ballroom/bar when Jan first meets 'Rex.' Right when he first realizes that the beautiful woman on the dance floor is also his adversary on his party line, he makes the comment, "So that's what the other side of her looks like." He is obviously pleased and the music of the ballroom smoothly follows his eyes. The male gaze is also a staple with Gere in Pretty Woman. Often throughout the movie he eyes up Vivian with a stare that shows his hidden intentions and his desire for her. It is perhaps most obvious to me when Vivian is talking to the jockey at the polo game. Edward's look towards her show is jealousy, his desire and yet it also shows his approval of her. The male gaze is prominent in both movies and it is also quite important. The heroes both feel they are men to be reckoned with and that he has not found a woman that could equal his mentality or status. What their eyes begin to focus on is the woman that they never expected to be attracted. There are so many emotions, feelings and words in the male gaze and I think that is what makes it so important in these films. These men are captivated by their heroines because they are so opposite of them. The way the heroes look at these women is seemingly full of passion and attraction. The male gaze, alone, is charming to the audience but it is the mood of the scene that makes it more important. The lighting, music, and overall dialog help to make the gaze more enchanting. The hero, to me, also plays a huge role in the male gaze. I don't feel that someone like Jim Carrey could pull off the gaze in a romantic comedy. Gere and Hudson are attractive yet mysterious men that, when they "gaze," they either look hard with intensity or they kind of put their head to the side and gaze longingly. Either way, the look is something that is particular to each man and makes it more believable and personable. While both movies include the standard marriage plot, they do not leave the audience feeling as though they've experienced de-ja vu. Each film has original ideas and characters that make the marriage plot successful. Whereas the films are quite similar in some aspects, their differences make them better. However unoriginal the marriage plot actually is, these movies make the staple story line inventive and unique. WORKS CITED

Collins, Jim and Ava and Hilary Radner. Film Theory Goes to the Movies. New York: Routledge, 1993.

849.          Pride and Predjuce in South Pacific 5

In Rogers and Hammerstein's South Pacific, the main theme is racial prejudices.  The two main characters, Emile de Becque and Nellie Forbush are faced with these problems as they attempt a relationship.  Two other minor characters, Lt. Joe Cable and Liat, are faced with the same dilemma.  Both Nellie and Joe Cable have a hard time copping with their own racial prejudices; Joe loves Liat, yet cannot marry her because she is Tonkinese ; Nellie loves Emile, but cannot marry him because of his former Polynesian wife.  It is these prejudices that set the state for what might be the most significant scene in the production.

In act 2, scene 3, Nellie reveals her prejudices to Emile.

I can't help it.  It isn't as if I could give you a good reason.  There is no reason.  This is emotional.  It's something that is born in me.

She looks to Cable for help in describing what she feels, but he offers no help.  Emile tells her that it is not born in her, that it cannot be born in her.  Nellie, who is crying, runs off.  Emile is left with Joe, who is thinking over his own relationship with Liat.  Emile asks him why he and Nellie think that these prejudices are born in them.  Joe, giving him the product of his thoughts, tell him 'It's not born in you.'

It is at this point that Joe Cable begins singing 'Carefully Taught,' a character song in which Joe is able to vent his frustrations and anger about his own prejudices.  The music is slightly upbeat, which helps to illustrate that by singing this song, he is beginning to feel better.  The words that Joe sing tell the audience that he realizes that prejudices aren't born within someone, but taught to them.

You've got to be taught to be afraid

Of people who's eyes are oddly made,

And people who's skin is a different shade -

You've got to be carefully taught!

...To HATE all the people your relatives hate -

You've got to be carefully taught! (II,iii)

Joe realizes that there would be no prejudices in the world if it nobody were to teach it to the children.  He sees that if nobody had even spoken against other races or people that were different, he would have no problem with marrying Liat.  He realizes that he actually does not feel these things at all and the ideas that have been planted in his head can be as easily uprooted as they were planted.  Joe, feeling better, sits down and listens to Emile begin to speak.

Emile tells Joe that it was prejudice that he had been running away from and it was prejudice that had found him again.  He finishes 'Carefully Taught'.  He sings of being cheated in the past and being cheated out of love again.  He sings that it is the fault of 'a MEAN little world of MEAN little men (II,iii).'  He sings that he will hold on to this island 'and be free - and alone(II,iii).'  It is this part of the song that offers a perfect segue into Emile's next song, 'This Nearly Was Mine.'

Joe alludes to the fact that he will probably marry Liat after all by saying that all he cares about is on the island and so he plans to stay there.  Emile agrees with him that if all you care about is right there on that spot, then it is a good place to be, but if what you care about is gone, there is no place to be.  It is at this point that he adds his voice to the music that has been going on under the dialogue, singing 'This Nearly Was Mine', a love song that shows how much Nellie's refusing marriage has affected him.

The song he sings is about things lost and giving up hope of ever being happy again.   He sings of having one love, one girl, one dream, and each of those things would be in his paradise, which he nearly had.  He poetically sings of how Nellie flew into his heart, only to fly away.  He remembers things like kisses, and time spent with her, but realizes that these things will be no more.  The song is very sad and the music magnifies that emotion of sadness to a higher degree.

After Emile has finished singing, Joe sees the opportunity to take advantage of the situation.  He asks Emile if he would reconsider going on the spy mission with him, now that he has nothing to risk losing.  Emile agrees and they set off to tell Captain Brackett that they will be doing the mission after all.

Act 2, scene 3, is a very important scene in South Pacific because it tackles the problem of social prejudices as well as puts Emile into danger by sending him off on a mission to spy on the Japanese.  The scene puts forth a social message as well as furthering the plot.  It is because of Emile's acceptance of the mission that helps Nellie realize that her prejudices are stupid and that she's giving away everything that is important to her because of someone else's preconceived notions of people.  By examining some of the social problems of the time (and even now),  Act 2, scene 3, proves to be one of the most significant of the production.

850.          Pride and Predjuce in South Pacific

In Rogers and Hammerstein's South Pacific, the main theme is racial prejudices.  The two main characters, Emile de Becque and Nellie Forbush are faced with these problems as they attempt a relationship.  Two other minor characters, Lt. Joe Cable and Liat, are faced with the same dilemma.  Both Nellie and Joe Cable have a hard time copping with their own racial prejudices; Joe loves Liat, yet cannot marry her because she is Tonkinese ; Nellie loves Emile, but cannot marry him because of his former Polynesian wife.  It is these prejudices that set the state for what might be the most significant scene in the production.

In act 2, scene 3, Nellie reveals her prejudices to Emile.

I can't help it.  It isn't as if I could give you a good reason.  There is no reason.  This is emotional.  It's something that is born in me.

She looks to Cable for help in describing what she feels, but he offers no help.  Emile tells her that it is not born in her, that it cannot be born in her.  Nellie, who is crying, runs off.  Emile is left with Joe, who is thinking over his own relationship with Liat.  Emile asks him why he and Nellie think that these prejudices are born in them.  Joe, giving him the product of his thoughts, tell him "It's not born in you."

It is at this point that Joe Cable begins singing "Carefully Taught," a character song in which Joe is able to vent his frustrations and anger about his own prejudices.  The music is slightly upbeat, which helps to illustrate that by singing this song, he is beginning to feel better.  The words that Joe sing tell the audience that he realizes that prejudices aren't born within someone, but taught to them.

You've got to be taught to be afraid

Of people who's eyes are oddly made,

And people who's skin is a different shade -

You've got to be carefully taught!

...To HATE all the people your relatives hate -

You've got to be carefully taught! (II,iii)

Joe realizes that there would be no prejudices in the world if it nobody were to teach it to the children.  He sees that if nobody had even spoken against other races or people that were different, he would have no problem with marrying Liat.  He realizes that he actually does not feel these things at all and the ideas that have been planted in his head can be as easily uprooted as they were planted.  Joe, feeling better, sits down and listens to Emile begin to speak.

Emile tells Joe that it was prejudice that he had been running away from and it was prejudice that had found him again.  He finishes "Carefully Taught".  He sings of being cheated in the past and being cheated out of love again.  He sings that it is the fault of "a MEAN little world of MEAN little men (II,iii)."  He sings that he will hold on to this island "and be free - and alone(II,iii)."  It is this part of the song that offers a perfect segue into Emile's next song, "This Nearly Was Mine."

Joe alludes to the fact that he will probably marry Liat after all by saying that all he cares about is on the island and so he plans to stay there.  Emile agrees with him that if all you care about is right there on that spot, then it is a good place to be, but if what you care about is gone, there is no place to be.  It is at this point that he adds his voice to the music that has been going on under the dialogue, singing "This Nearly Was Mine", a love song that shows how much Nellie's refusing marriage has affected him.

The song he sings is about things lost and giving up hope of ever being happy again.   He sings of having one love, one girl, one dream, and each of those things would be in his paradise, which he nearly had.  He poetically sings of how Nellie flew into his heart, only to fly away.  He remembers things like kisses, and time spent with her, but realizes that these things will be no more.  The song is very sad and the music magnifies that emotion of sadness to a higher degree.

After Emile has finished singing, Joe sees the opportunity to take advantage of the situation.  He asks Emile if he would reconsider going on the spy mission with him, now that he has nothing to risk losing.  Emile agrees and they set off to tell Captain Brackett that they will be doing the mission after all.

Act 2, scene 3, is a very important scene in South Pacific because it tackles the problem of social prejudices as well as puts Emile into danger by sending him off on a mission to spy on the Japanese.  The scene puts forth a social message as well as furthering the plot.  It is because of Emile's acceptance of the mission that helps Nellie realize that her prejudices are stupid and that she's giving away everything that is important to her because of someone else's preconceived notions of people.  By examining some of the social problems of the time (and even now),  Act 2, scene 3, proves to be one of the most significant of the production.

851.          Problems with a happy ending

I looked at my father and he looked at me. "Why did you do it?" he asked. I burst out in anger, "Why can't I do it?" Red with rage, he slapped me hard. I touched my burning cheek, staring hard at him, whose face was turned away from mine.

Then I noticed my mother sobbing beside him. I softened as my feelings overpowered me. I had never been slapped before. My parents had never tried to understand me and neglected me, like I was a child they had never wanted. They paid attention to me only when I asked for something and I got almost everything, except their love. They were always busy with work and I often reasoned with myself that they were doing this for a good life for me. It was hard to believe that.

I let out a sob of frustration, tears of sadness running down my cheeks. Being the richest among my friends, I showered them with gifts, a small price to pay for their constant companionship. However, they were troublemakers who tried to involve me with their misdeeds. I always managed to escape, being the innocent one, until now. They had convinced me to take my first cigarette and policemen nearby caught us. I could not escape because of the cigarette's strong smell. It was a small offence to my friends, a big one to my parents and an eye opener for me.

My father was raged, my mother was crying, and I saw that they actually cared about my doings. They were concerned for me after all. With a hint of tears in his eyes, my father turned to my weeping figure and asked once again, in a warm voice, "Why did you do it?" As I began to reveal my feelings, my mother hugged me and healed where it hurt the most. I guess I did it to get their assurance of love for me.

852.          Problems With Music In Research

Problems With Music In Research

There are many reasons why using music in research is problematic. From

inconsistencies in peoples connotations of the spoken language, to simple familiarity

from portion of the population and not from others, there are many things that can make

music in research very difficult.

One reason for difficulty is that the measurement of peoples perception of music

goes far beyond what can be described verbally. Feeling evoked by the music although

described by the same words i.e. this music makes me feel happy, sad ,etc. is inconsistent

from one person to the next. Also, there is no way to measure many of the reactions that

the person may have. Even if the person tells you what feelings the music evokes, there

is no way of knowing what other thoughts the person might be having, nor how these

reactions will affect that person.

Another factor of difficulty in research with music if familiarity to the music. If

you were to play a piece of music from the classical era to someone who primarily listens

to popular music and is not familiar with any sort of classical music, you will get a very

different reaction than you would if you played that music to someone who is a classically

trained musician. Even if it evokes the same emotions, there might be a difference in

anxiety levels that can be measured by things such as heart rate.

A third factor to take into consideration is the fact that often times we connect

music with experiences that change the feelings experienced whenever the music is heard.

An example of how this makes research difficult is that if someone heard the music on a

first date with the person they love, it will have very different feeling tied to it than it

would if the heard it when a loved one died, or something negative occurred when they

first heard it.

853.          Progression of Music From the 1940 s To the Present

Progression of Music From the 1940's To the Present

The progression of music from the 1940's to the present has seen extremes,

it has been controversial at times, traditional at times and inspirational at

times, but never have the American people turned away music in its entirety.

There have been times when parents did not approve of the music that their

children chose to listen to, but the parents had never turned away music.  Music

has been criticized and promoted.  Since the 40's music has progressed from

Ballads (which were still lingering around from the 30's) to blues (popular

among Blacks) to rock and roll, to pop, and back again.

In the 1940's ballads were popular.  Ballads were dancable music

performed by big bands.  They were composed of stringed instruments, wind

insteruments, and a singer or two.  This was the time period when music started

to be broadcasted live over television and record albums were entering the home.

(Hays)

The 50's marked a beginning for a new era of music to be known as Rock &

Roll. Many of the artists took advantage of the Electric guitar, developed for

popular music in the 1930's but never really became popular until the 50's.

Rock & Roll was a combination of many music styles in an upbeat sort of fashion.

One example of when country had an impact on Rock & Roll was with Bill Haley and

Jerry Lee Lewis.  Jerry's career was huge, with his hits like "Whole Lotta

Shakin' goin' On" and "Great Balls of Fire".  That is, his career was huge,

until the it was made public that he fell in love with a married his 13 year old

cousin.  In 1957 Rock & Roll had been turned upsidedown when Buddy Holly hit the

airwaves with "That'll be the Day."  Buddy Holly rolled out hit after hit after

hit.  That is, until his plane went down in Iowa. He died at the young age of 22.

That night his music was playing non-stop and has not stopped playing to this

day.

The blues and gospel of James Brown and Jackie Wilson was popular with the

black community.  "Someday, maybe someone will discover the reason that Chuck

Berry,  Do Diddley, Fats Domino, and Little Richard never connected with black

audiences" (25 years,p15).  This may be because they might have almost been

embarrassed from their blues roots.

In the 60's such stars as Chubby Checker became popular through Dick

Clark.  Chubby Checker also became popular though his dance called "The Twist".

Folk music was among popular music for a brief period time.  Around 1962 Surfin

music started in California when the Beach Boys were formed.  The Beach Boys

released hit after hit starting with "Surfin USA" in 1963 and "Fun, Fun, Fun" in

1964.  Along with The Beach Boys were a group of two known as Jan & Dean.  They

also produced Surfin Music hits such as "Sidewalk Surfin'" and Dead Man's Curve.

The sixties also introduced the British Invasion to America.  Groups

like "The Yardbirds" and Zombies could be heard everywhere.  At the head of this

British invasion was a group known as "The Beatles" There hits like "I want to

hold your hand".  They broke up in 1970 and all pursued solo careers or in their

own band.  Many people requested that they have reunions, but those requests

basically stopped with the death of John Lennon, a member of the Beatles, was

murdered in 1980.   "The Rolling Stones" were formed in 1962 and very much

contrasted the Beatles softer sound.  The Rolling Stones were a more energetic

type of American rhythm and Blues.

In the 70's The electric guitar became more experimental with the

different sounds that it could produce.  "The change began in 1968.  By 1970 the

change in direction of rock music was cemented.  No longer were life-or-death

rock riffs the order of the day.  Groups like Crosby, Stills and Nash, The Band,

and Creedence Clearwater Revival suggested a return to country roots, a search

for a simpler time." (25 years,p60)

Disco returned in 1974.  Everything went wild when " Saturday night

Fever"  introduced a new type of  dancing and music.  The new form of disco hit

the floors with "The Bee Gees"  They kept the  anger of original Rytheme and

Blues and created very upbeat material.  Very popular among disco was  Gloria

Gaynor.  She sang the message of the new movement:

I won't crumble,

I won't lay down and die,

I will survive.

During this disco period Rock & Roll is some how still staying alive.

When the mid 70's rolled around disco fell behind and new type of rock

became popular.  This new type included artist such as Alice Cooper and

AeroSmith.   The new rock had a punkish industrial twist to it and always put on

large extravagant concerts.

In the 80's the synthesizer became big with such groups as "The

Eurythmics".  The new groups of the 80's revolutionized disco and transformed it

to todays techno.  Synthesizers are insteruments usually in a piano format that

can manipulate sounds into any desired fashion.  The 80's also brought around

many teen idols such as Bon Jovi, Madonna, and Paula Abdul.

In the 90's or present day, the synthesizer is still being used in dance

and techno music.  Also introduced into the 90's was the computer.  The computer

has been around a while, but not been used in the music industry.  Today just

about anyone can produce their music using this tool.  Also metal has become

more aggressive, popular and contains political lyrics.  Lite rock has also

developed and has captured the ears of many listeners.

Music has progressed from fun to an industry in itself.  People can now

earn a living off of music, often luxurious life.  Along with the music

progressing the American people have progressed.  The world of music continues

to change and may never stop progressing until the world stops progressing.

Footnotes

25 Years of Rock & Roll (USA:Lorelei Publishing Co. Inc.,1979)

William Hay, Twentieth-Century Views of Music History (USA:Berne

Convention.,1972)

Bibliography

25 Years of Rock & Roll. USA:Lorelei Publishing Co. Inc.,1979

Ewen, David. American Popular Songs. New York:Random House, 1966

Hay, William. Twentieth-Century Views of Music History. USA:Berne Convention,

1972

Wilder, Alec. American Popular Song New York:Oxford University Press, 1972

854.          Progression of music in america since the 1940s

The progression of music from the 1940's to the present has seen extremes, it has been controversial at times, traditional at times and inspirational at times, but never have the American people turned away music in its entirety.  There have been times when parents did not approve of the music that their children chose to listen to, but the parents had never turned away music.  Music has been criticized and promoted.  Since the 40's music has progressed from Ballads (which were still lingering around from the 30's) to blues (popular among Blacks) to rock and roll, to pop, and back again.

In the 1940's ballads were popular.  Ballads were dancable music performed by big bands.  They were composed of stringed instruments, wind insteruments, and a singer or two.  This was the time period when music started to be broadcasted live over television and record albums were entering the home. (Hays)

The 50's marked a beginning for a new era of music to be known as Rock & Roll. Many of the artists took advantage of the Electric guitar, developed for popular music in the 1930's but never really became popular until the 50's.  Rock & Roll was a combination of many music styles in an upbeat sort of fashion.  One example of when country had an impact on Rock & Roll was with Bill Haley and Jerry Lee Lewis.  Jerry's career was huge, with his hits like "Whole Lotta Shakin' goin' On" and "Great Balls of Fire".  That is, his career was huge, until the it was made public that he fell in love with a married his 13 year old cousin.  In 1957 Rock & Roll had been turned upsidedown when Buddy Holly hit the airwaves with "That'll be the Day."  Buddy Holly rolled out hit after hit after hit.  That is, until his plane went down in Iowa. He died at the young age of 22.  That night his music was playing non-stop and has not stopped playing to this day.

The blues and gospel of James Brown and Jackie Wilson was popular with the black community.  "Someday, maybe someone will discover the reason that Chuck Berry,  Do Diddley, Fats Domino, and Little Richard never connected with black audiences" (25 years,p15).  This may be because they might have almost been embarrassed from their blues roots.

In the 60's such stars as Chubby Checker became popular through Dick Clark.  Chubby Checker also became popular though his dance called "The Twist".  Folk music was among popular music for a brief period time.  Around 1962 Surfin music started in California when the Beach Boys were formed.  The Beach Boys released hit after hit starting with "Surfin USA" in 1963 and "Fun, Fun, Fun" in 1964.  Along with The Beach Boys were a group of two known as Jan & Dean.  They also produced Surfin Music hits such as "Sidewalk Surfin'" and Dead Man's Curve.

The sixties also introduced the British Invasion to America.  Groups like "The Yardbirds" and Zombies could be heard everywhere.  At the head of this British invasion was a group known as "The Beatles" There hits like "I want to hold your hand".  They broke up in 1970 and all pursued solo careers or in their own band.  Many people requested that they have reunions, but those requests basically stopped with the death of John Lennon, a member of the Beatles, was murdered in 1980.   "The Rolling Stones" were formed in 1962 and very much contrasted the Beatles softer sound.  The Rolling Stones were a more energetic type of American rhythm and Blues.

In the 70's The electric guitar became more experimental with the different sounds that it could produce.  "The change began in 1968.  By 1970 the change in direction of rock music was cemented.  No longer were life-or-death rock riffs the order of the day.  Groups like Crosby, Stills and Nash, The Band, and Creedence Clearwater Revival suggested a return to country roots, a search for a simpler time." (25 years,p60)

Disco returned in 1974.  Everything went wild when " Saturday night Fever"  introduced a new type of  dancing and music.  The new form of disco hit the floors with "The Bee Gees"  They kept the  anger of original Rytheme and Blues and created very upbeat material.  Very popular among disco was  Gloria Gaynor.  She sang the message of the new movement:

I won't crumble,

I won't lay down and die,

I will survive.

During this disco period Rock & Roll is some how still staying alive.

When the mid 70's rolled around disco fell behind and new type of rock became popular.  This new type included artist such as Alice Cooper and AeroSmith.   The new rock had a punkish industrial twist to it and always put on large extravagant concerts.

In the 80's the synthesizer became big with such groups as "The Eurythmics".  The new groups of the 80's revolutionized disco and transformed it to todays techno.  Synthesizers are insteruments usually in a piano format that can manipulate sounds into any desired fashion.  The 80's also brought around many teen idols such as Bon Jovi, Madonna, and Paula Abdul.

In the 90's or present day, the synthesizer is still being used in dance and techno music.  Also introduced into the 90's was the computer.  The computer has been around a while, but not been used in the music industry.  Today just about anyone can produce their music using this tool.  Also metal has become more aggressive, popular and contains political lyrics.  Lite rock has also developed and has captured the ears of many listeners.

Music has progressed from fun to an industry in itself.  People can now earn a living off of music, often luxurious life.  Along with the music progressing the American people have progressed.  The world of music continues to change and may never stop progressing until the world stops progressing.

Footnotes

25 Years of Rock & Roll (USA:Lorelei Publishing Co. Inc.,1979)

William Hay, Twentieth-Century Views of Music History (USA:Berne

Convention.,1972)

Bibliography

25 Years of Rock & Roll. USA:Lorelei Publishing Co. Inc.,1979

Ewen, David. American Popular Songs. New York:Random House, 1966

Hay, William. Twentieth-Century Views of Music History. USA:Berne Convention, 1972

Wilder, Alec. American Popular Song New York:Oxford University Press, 1972

855.          Psycho By Alfred Hitcock

Psycho By Alfred Hitcock

PSYCHO

A running theme that is presented to the audience in Psycho is the opposition that exists between good and evil. This is shown throughout the movie among the different characters. Examples can also be taken from conflicts within the characters. Certain conflicts and how the characters deal with them and each other are what shape the structure of the movie. The perception that the audience receives of the characters change throughout the movie by the different conflicts that arise. These conflicts show the audience many sides of good and evil portrayed by the different characters.

One of the first impressions of evil in this movie is the character Tom Cassidy. His character is an affluent middle aged gentleman. He portrays society's perception of America's upper class, snobbishly rich. Cassidy flaunts his money in Marion's face. He talks of his eighteen-year-old daughter who is getting married the next day. As her wedding gift he is buying her a house with forty thousand dollars cash. He claims that she has never had an unhappy day in her life. Though this is unrealistic, he proudly boasts about how his money is to thank for this. Another thought from Mr. Cassidy is that money does not buy happiness, but it buys off unhappiness. His interaction with Marion was brief but very vital to the next turn of events. Mr. Cassidy asked Marion point blank if she was unhappy. Her reply "not inordinately" shows that she is not completely happy with her life(Hitchcock). The major source of her unhappiness is the fact that she can not marry her beloved Sam until he gets his feet on the ground financially. She then takes Mr. Cassidy's advice on using money to buy off her unhappiness by stealing his money. Marion never makes a clear-cut decision. Packing her suitcase suggests that she has decided to go through with taking the money. People are able to commit acts they know are immoral only if they inhibit their conscious processes (Rothman, 262).

Leaving the money on the bed while she packs suggests that she is unsure of her decision. Forcing herself to just "do it" she packs her car and leaves, heading for Sam's hometown. While stopped at a stoplight she sees her boss and Mr. Cassidy crossing the street. This is the first sign to Marion that her attempt to steal the money is futile. Her thoughts are becoming less and less rational and more and more desperate. When she is awakened by the police officer she is once again reminded of the futility of her situation. At this point the audience is drawn towards Marion's flight. They want her to succeed. Her goals have become the viewers' goals. With Marion, the audience loses all power of rational control, and discovers how easily a "normal" person can lapse into a condition usually associated with neurosis. After her encounter with the cop, Marion quickly loses her ability to think rationally. She starts to imagine conversations, and knows that Sam will never accept the money. This fact itself shows that her sense of logic is gone. A rationally thinking person would have realized that she would never get away with the crime. As Marion drives on into darkness rain begins to fall heavily. The viewers' begin to feel as Marion does, hopeless and weary. Her endless journey takes a turn due to an illumination on the side of the road.

Marion exits her car at the Bates motel and finds a deserted office. She then turns to discover a large Transylvanian type house on the hill above the motel. A shadow is seen walking past an upstairs window, then a young man is then seen running down the stairs to greet her. He introduces himself as the proprietor of the motel, Norman Bates. As he is checking her in the two begin to converse. Norman finds out that Marion is very hungry. He offers to fix her dinner in the kitchen of the house on the hill. He shows her to her room and tells her to make herself comfortable. He said he would return once dinner was done. As Marion is left alone to unpack she hears a quarrel between Norman and his mother. The impression left by this first appearance of Norman's mother is that of an overprotective old-fashioned woman.

Norman then comes down from the house with a tray of sandwiches. He offers her dinner in the parlor behind the office instead of up in the house. As he brings her into his parlor she notices that Norman has a very unique hobby. Taxidermy, the art of stuffing animals, is what Norman does to fill his time. He informs Marion that he only likes to stuff birds because he does not like how other beasts look stuffed. He also draws a parallel between caged birds and himself. His talk of being trapped makes Marion realize the extent of her present condition. Norman tells her, "We're all in our private trap. We scratch and claw, but only at the air, only at each other, and for all of it we never budge an inch"(Hitchcock). The viewer is compelled towards Norman despite his withdrawal that seems due to his circumstances. They pity him for his situation of devotion and self sacrifice for the benefit of his mother. Norman saves Marion from further problems. A simple question was asked of her by Norman, who had no idea of the profound effect that his question would have on the young woman sitting across from him in his parlor. Norman says to Marion "We all go a little mad sometimes. Haven't you?" (Hitchcock). To which Marion replies, "Sometimes just one time can be enough. Thank you" (Hitchcock). The thank you at the end of her sentence implies that Marion has regained a rational state of mind. She is thinking more clearly now and realizes that she needs to return the money. After she thanks Norman for dinner she returns to her room, and prepares for a shower. The audience sees Marion under the showerhead. Her movements are almost ceremonial. Her facial expressions show the relief she feels of washing away her guilt. As she is bathing, a shadow can made out from behind the shower curtain. As the figure rips away the shower curtain, the audience is appalled to see Mrs. Bates attack the defenseless bather. The attack continues until Marion is seen reaching for the shower curtain as her last salvation. Her death is as irrational and as useless as the theft of the money.

Following the attack Norman's voice is heard panicky, over finding his mother with a bloody knife. Concern for the young woman in cabin one makes Norman run down the hill to the motel. He is horrified at the slaughter his mother committed. After almost becoming ill, he begins the unpleasant task of cleaning up. He does this because he feels it is his duty to fix his mother's mistakes. The audience, still reeling after the death of Marion, needs a new character to focus on. Norman soon finds a place in the hearts of the audience. For one thing, Norman is an intensely sympathetic character, sensitive, and vulnerable. The fact that he is unbalanced merely serves to evoke protective instincts. He is a likeable human being in an unbearable situation, desperately in need of help and protection yet unable to obtain it. Following the aftermath of the murder and clean up, the audience next encounters Lila, Marion's sister, meeting with Sam. She tells him she is in search of Marion, when a strange voice tells them both the same thing. The voice comes from a middle-aged man who introduces himself as a detective. Everyone is in search of Marion for different reasons, yet they all have the same goal in mind. When they decide to work together, Arbogast sets out to check all of the hotels in the area. He leaves Lila and Sam behind to wait for his call. Just before Arbogast is ready to give up his search of the hotels, he encounters the Bates Motel. Deciding to check it out, he finds Norman in the office. Not seeing anything odd, he introduces himself and begins to ask questions about Marion Crane. Unable to get the answers he wishes, and sensing an uneasiness about Norman, he asks to look at the guest register.

Recognizing the woman's handwriting, he again questions Norman who then begins to back away from the answers he had given previously. Getting some of the answers that he desired he leaves the motel and calls Lila and Sam from a pay phone. He proceeds to explain that Marion had been at the motel earlier in the week, but had only spent one night and had left early the next morning. Deciding that he needed some more questions answered, he told Lila that he was going to return to the motel but that he would meet them within the hour.

Returning to the motel, he encounters no one. Seeing a shadow in the upstairs window, he begins the ascent to the house on the hill. Finding the front door unlocked, he enters. Once inside the house, Aborgast sees a staircase leading to the upstairs bedroom. As he reaches the top of the staircase, Mrs. Bates emerges from the room yielding a knife. After being stabbed, he falls down the stairs where Mrs. Bates proceeds to stab him to death. After more than an hour had passed Lila finally convinced Sam that Arbogast would not just go on without letting them know. She is convinced that something happened and that they need to go check out the Bates motel themselves. When they check into the motel they pretend to be married. They devise a plan to corner Mrs. Bates. Sam detains Norman in the office while Lila searches the house. Once inside the Bates' home Lila sneaks around carefully. She finds Mrs. Bates bedroom where everything is in perfect order, as if its been a long time since its been used. The audience can almost smell the stale air that envelops the room. Lila then finds her way up to Norman's room. You get the impression from his room that something is not right. The room looks like it belongs to a young boy and not to a grown man. After a careful search of the upstairs Lila still has not located Mrs. Bates. So she heads downstairs to look for her. As she does this she sees Norman running frantically for the house. She steps into the fruit cellar for a place to hide. Instead of finding a sanctuary she is terrified by the skeletal remains of an old woman. With this finding Lila cannot control herself and she screams aloud. With this a woman with long white hair runs down the cellar steps towards Lila with a huge knife. Sam screams right before the woman has a chance to harm Lila. A battle of strength between Sam and the woman then takes place. During the struggle a wig is knocked off of the woman's head revealing Norman. The audience is in disbelief at this point. The next scene takes place at the police station. Where a psychiatrist is busy talking to Norman. When he is done examining Norman he goes into the room where Lila and Sam are anxiously waiting. He then describes in detail what is going on in Norman's mind. After his explanation the movie goes into the room where Norman/Mother is sitting alone. There is a fly in the room with her and she knows that people are watching her. Her last thought that the audience hears is her saying "Why she wouldn't even harm a fly" (Hitchcock).

856.          Psycho Essay

Psycho

Alfred Hitchcock is renown as a master cinematographer (and editor), notwithstanding his overall brilliance in the craft of film. His choice of black and white film for 1960 was regarded within the film industry as unconventional since color was perhaps at least five years the new standard. But this worked tremendously well. After all, despite the typical filmgoer's dislike for black and white film, Psycho is popularly heralded among film buffs as his finest cinematic achievement; so much so, that the man, a big name in himself, is associated with the film, almost abovehis formidable stature. Imagining it in color, Psycho would not appear as horrific, and maybe it would also not be, as a whole, as unified as it now stands, nor memorable. Black and white has a quality of painting things starkly, showing plainly truths about character, the emotional determination or mood, as in vulnerability, and other inexplicable, purely artistic elements. Regular among his works, Hitchcock opens the film with a hovering crane shot coasting over the setting of Phoenix, Arizona. Even without the mysterious, chilling soundtrack, the shot itself watched in silence evokes a timid passage into danger. In a long take it sweeps across the cityscape to build initial curiosity in the viewer, and then surpasses a curtain-drawn window into the presence of a hotel room's trysting occupants. Immediately the viewer is called into confronting his/her discretion regarding those things we are not customarily meant to see, in such ideas as privacy and good taste. How far should the law step into a man's world before he is discovered with reasonable certitude for engaging in illegal activities? This question can still come to mind about Norman Bates when he's interrogated by Arbigast, even though it follows his murder of Marion Crane. Norman obviously growing in tension, the camera sadistically watches him from a low angle, bearing its aim on his throat as he feverishly chews and swallows candy corn bits. He's suggested as a victim in a way, despite the viewer's (probably, (in moral optimism)) routine support of the law. One can feel sorry for him. And how much do we question Norman's character as he spies Marion undressing through the parlor wall peephole? Particularly today the viewer would likely question it less than one watching Psycho during its first, theatrical release, what with modern films' overwashing of the senses in gore, mechanical sex and violence to program unconscious indifference in viewers. Maybe it doesn't come to mind as readily because right after seeing the profile shot of Norman hiding in the peephole light and shadows, there's a cut to the camera's -- or the viewer's -- voyeuristic assault on Marion's privacy. This lessens Norman's culpability. But noticing him in the act brings wonder to uncovering peoples' secrets. Maybe these examples suggest engrossment of passive violence or wrong to such a modest intensity that the horror of the murder scenes still shock today's viewer. Of course those scenes are further dramatized by Hitchcock's fast editing; indicative of how wild and dangerous events occur within a trice of time in real life. And the awe is preserved by not mulling over the active violence in any indulgence, or further screen time. Mastery of just a few core elements in film apparently intensify its experience; of all, a compelling synergism for even an ordinary story.

857.          Psycho

In 1960 Alfred Hitchcock created a film so daring and different it is still remembered even today. Other famous films of the time being "My Fair Lady" and "The Sound Of Music", although popular these films were idealistic and picturesque. Psycho brought in the first clips of violence and nudity into cinematography. To compare Alfred Hitchcock's version of psycho to Gus Van Sant's version in 1998 is beyond doubt a problematic deed when the original was such a masterpiece.

Since psycho was released in 1960, thrillers similar to it, such as 'Silence of The Lambs', and 'American Psycho' have advanced dramatically in technology, however, they have still followed the trend set by Psycho.

When the opening credits begin, the audience is instantly seized by a strong sense of mystery and a chilling atmosphere. The music brings a sense of urgency to the credits. The atonal and screeching violins set a menacing repetitive tune, which replays throughout the film.

With most films of that era, and even with films today, along with the credits pictures are shown which begin to tell the story behind the film. Hitchcock however, uses a new and creative tactic, the opening credits begin with a black screen, which Hitchcock uses to symbolise evil and mystery. Furthermore, grey and white lines strike across the screen this is used to symbolise the schizophrenic personality of Norman, and also a criminal mind. The striking lines are representative of the plot, as they are like the slicing knife shown in the famous shower scene and the murder of the private detective.

The credits in both the 1960 version and the 1998 version follow an identical pattern with lines cutting across the screen and the same accompanying music. The only differences between the two versions is the obvious difference in cast but more significantly the colour of the lines which are no longer grey and white, instead a solid green. In my opinion the green lines do not have the same visual impact upon the audience, the black and white effect in the original version give a far greater sense of mystery and atmosphere to the film.

Hitchcock further gave the film a sense of drama and mystery, by insisting that the audience must watch the film from the very beginning. The cinemas were issued with a statement from Hitchcock, ordering them not to let any one in after the film had started; as was usually the case, and posters advertising the film warned audiences that they most watch the film from the start and that they would not be allowed in once the film had begun. This dramatic effect was abandoned on the later version and consequently the film lost its initial impact on the audience. Another reason that affected the later versions impact as a horror film, was the fact that audience expectations of what was a 'scary' film had risen dramatically since the 1960's, and Psycho had been replaced by much more frightening films that had the benefit of high tech editing and special effects.

One of the most dramatic scenes of psycho is when Marion first meets Norman. This is set on an evening of heavy rain. As Marion sees the hotel she goes out to the office to see if anyone is in when realising no one is there she returns to her car and sees a shadow in the window of Normans house, and so she beeps her car horn, Norman appears from the house, come down to the office. He hesitates when giving her a room despite all the rooms being vacant he seems to take time in choosing one for her, this only is truly effective when seen the second time as the audience don't tend to notice this as being abnormal. The music is quiet throughout this scene though the as well as the rain symbolising a "cleansing of" or "to wash away something" and that whatever Norman had been previously doing may have been prejudicial.

When Norman offers her dinner she accepts as the nearest diner is over 10 mile away just outside Fairvale. When Norman goes off to prepare the dinner you hear for the first time Norman and his "mother" having a conversation, well in this case an argument about Marion significantly loud. Norman then brings some food down for her to eat. One unusual thing about this clip is where they are deciding to eat. Marion suggests the room, then Norman says "the office would be warmer" then when they are at the office desk, Norman says how nice the parlour is. This can be related to the proverb "Come in to my parlour said the spider to the fly."

The most striking thing about the parlour is the amount of birds he has stuffed and mounted to the walls. Several of these birds are significant of the sinister atmosphere; the eagle- known to be a killer, the raven- which is often associated with death, and of course the owl- a bird of the night and darkness. The lighting is also carefully considered in this scene. Hitchcock places the lights to make it appear the birds are larger than they really are, as well as having extended shadows.

After some light conversation Marion starts asking Norman about his mother, and when she is told she is an invalid. Marion suggests whether it would be wise to put her in "some place", obviously meaning a care home. At this very point the entire tone of the conversation completely changes, Norman becomes stressed and very angry toward Marion. As the argument starts to die down Marion starts to apologise. I think this scene would have shocked audiences of the time, as thrillers were new then and had no idea what to expect. When Marion stands up to leave the conversation, the actress Janet Leigh is positioned perfectly, so the raven appeared to sit directly on her shoulder, symbolising death being close to her. After making an excuse to leave, Marion proceeds to her room.

This scene leads directly to probably the most famous scene in the history of the thriller/horror category. The "shower scene" is rated one of the scariest scenes in film history, it was also the first graphically violent and bloody murder, holding no boundaries. This scene could have made or broken Hitchcock as it so easily could have been rejected and classed as unnecessary. But this scene made Hitchcock one of the most celebrated directors of the 20th century, as both the film and himself are still well known today, 40 years later.

When Marion is in the shower, it is emphasised how white and clean the bathroom is, compared to any other clip or scene previewed throughout the film. It symbolises a purity and goodness within Marion and it is as if her sins, of taking the money are forgiven. When she begins to wash herself, a lot of emphasis is based upon the shower head and running water flowing from it, as if something will appear from it, again the water symbolises a purity and goodness and washing away of sins. No music whatsoever is played in this part of the scene, only the noises from the shower and plughole can be heard. This again gives a greater effect to the build up of the murder. As she continues to wash, in the corner you see somebody enter the room, although Marion does not. Suddenly the shower curtain is drawn back and the silhouette of a woman, as it seems, baring a huge kitchen knife appears. Simultaneously the atonal violins kick in once again, screeching repetitively maximising the disturbing brutal and sinister atmosphere. The camera locks on to Marion's face as she screams and is mercilessly stabbed. Then, stumbling forward pulls the shower curtain and falls to the floor.

By now the music has calmed down and the camera is focused on Marion lying dead on the bathroom floor. For one moment the screen becomes black and all music stops, I believe this to be very effective. As the camera spirals out of her dilated pupils, all you can hear is the running water from the shower, again the camera keeps focusing upon the showerhead and plughole as the blood drains away, symbolising the fact that murder can be washed away physically but not mentally.

After hearing Norman shout "Blood mother, not blood!" .He rushes down from the house to Marion's cabin. He sees her lying dead on the floor. In shock he stands back against the wall, smashing the picture of a raven, this symbolises that death has arrived, a short but dignified time is spent on the picture, which has smashed into many pieces, all over the floor.

One disturbing effect used in the murder in the shower scene is the sound used to get the sound of the stabbing. It was produced by a specific melon, as it imitated the sound of human flesh being stabbed.

After Norman has cleared away the blood and all the evidence of Marion's stay there he dumps her possessions into the car and drives it into the swamp. In the 1960 version Norman looks shocked and appalled at this moment, however in the '98 version Norman is smiling and eating some chocolate. The original is more convincing as it still makes Norman look innocent, yet the '98 version does quite the opposite.

After experiencing both versions of the film psycho, Hitchcock's 1960 version, and the modern 1998 version directed by Gus Van Sant, I personally noticed very few differences; apart from the obvious difference that the later version was shot in colour. Although using clashing colours such as blue and orange, to try and imitate the uncertainty about the film, the 1960's black and white version had a far superior effect, which gave the film a gothic eminence and a more dramatic feel. I also found the actors staring in the Hitchcock version a cut above those staring in the modern version. This was because their acting skills added a better element of fear and effect in the film. These characters could not be played better by any other actor or actress as they became synonymous with the film and were very hard to counter parted by Ann Heche, and Vince Vaughen.

Psycho as quoted by Gus Van Sant's, " is perfect to refashion as a modern piece." I believe that this quote is inaccurate, due to the fact that the scripting is the same and therefore even if refashioned it is not likely to appeal to modern audiences. Today's audience expects to be scared and spooked by a horror/thriller genre, and psycho just doesn't match up with current expectations. Modern audiences are used to such films as Scream, and Halloween H20, which not only differ in styles of scripting but also have a lot more violence, sex, drugs and gore, which is enhanced by modern technology such as computer aided graphics.

Despite the dreams of Gus Van Sant, I believe, his version cannot be compared to the quality and skill used by Hitchcock in the 1960 version of psycho.

858.          Pulp Fiction 5

Ian Burke9-23-96

JOURNEY AND REDEMPTION

Pulp Fiction Style

Pulp Fiction is like boot camp for the Marines.  You come into it from your civilized life, they subject you to violent language until you're numb, they abuse you verbally and physically until all of your normal feelings and values are reduced to dust.  Leaving you aware that you have changed, and  able to describe the change, you find yourself questioning the person you were previously.  First thing you know you're saluting.  This story is a cleverly disorienting journey through a landscape of danger, shock, hilarity, and vibrant local color.  Nothing is predictable or familiar within this irresistibly bizarre world.  You do not merely enter a theater to see Pulp Fiction: you go down a rabbit hole.

Theater is an actor moving through time and space, telling a story.   In Quentin Terintenio's, Pulp Fiction, the actors portray savvy modern-day gangsters and the story is three stories told in backwards order.   To say the least this not your average story.  The theme of the story is redemption, and the journey to achieve that redemption.  The characters are colorfully multidimensional and most importantly they are believable.

The language of the story is street-smart and confident, like the characters.  There is no main plot, only mirror plots that are reflections of each other.

The theme of redemption is portrayed by two of the main characters of the story.  These characters seek redemption and a new way of life, they each desire a more virtuous life.  Butch (Bruce Willis) wants to pull off one last scam and then run away with the woman he loves.  He seeks forgiveness and redemption through the future birth of his child.  He wants his child to have a healthy childhood so that he will have the opportunity to hand down his precious gold watch, which was handed down to him.  Jules (Samuel Jackson) has a near death experience and sees it as divine intervention that he is alive.  Now he simply wants to leave his criminal lifestyle to ³walk the earth², and find his true self.  Our story starts with the journey of the characters.

The characters in this story are not simply black and white, from the moment you meet them you are drawn in and want to know more about them.  The story's intrigue, that element that makes the viewer curious, draws the audience in.  And the story's credibility, the consistency of the characters, holds the audience there, inside the movie.  These characters appeal to the viewer because of the street-smart and logical thinking.  The characters do not live in a nine to five world of average Joe's, but they still maintain complete believability.  Most importantly each character preserves absolute independence of intention throughout the story.  Each character has there own set of values and goals which only adds to the credibility of the characters.  Also the characters can be seen as symbolic of the times, which is a credit to the actors.  The actors in this story correctly articulate the values of today.

The language of this story compliments its credibility because the language matches the characters.  A basic strategy in the film is to use the language as humorous dialogue and to delay the suspense of a moment of violence.  While the Uma Thurman character is dying on the floor, for example, Vincint (John Travolta) and Neil (Eric Stoltz) have a hysterical debate over how to use the hypodermic needle.  The dialogue increases the suspense before the action.

This strategy is set up in the opening shot, where Jules and Vincent have a long, funny discussion about foot massage while walking down a long hotel corridor.  The shot is done in one unbroken take.  They arrive in front of the door to the fatal apartment, decide it is not yet time to enter, and walk further down the hall to continue their discussion.  But now the camera no longer joins them; it stays planted in front of the door, and pans to look at them, walking away.  The visual language says that the apartment is the first priority; the camera seems almost impatient as the discussion continues, and the tension builds.

No one can say for sure whether this story is driven by its plot or by its characters.  Although there is great depth of character this story lends itself to be directed more by its plot.  Because after several viewings the audience can start to see that is is not the characters that make the movie it is the odd situations that these vibrant characters are placed in that give real life to the story.  The more you watch the movie, the more you're convinced that there is a hidden spiritual level in the plot.  Much has to do with the famous briefcase which belongs to Marcellus Wallace, and which Jules and Vincent capture in the apartment.  We never see its contents, which emit a golden glow.  What we can notice is that the combination to its lock is '666', the sign of Satan.  These only tempts the audience to speculate that the Band-Aid on the back of Marcellus' neck conceals the number '666.' Is Marcellus the devil?  That's unknowable, but reflect that Jules, who believes he and Vincint have been saved by God, lives while Vincent, who views it as chance, dies.

The moral force of the play resides inside because there are well defined lessons that can be taken away from this story.   The character of Butch goes against the odds to literally fight for what he believes in.   He does not carry out his bribed orders to take a fall in the fifth round of his final career bought, and he lives happily ever after.   The hit-man heroin addict character of Vincent Vega is killed.   The hit-man character of Jules has a near death experience and gives up the life of crime for one of virtue, and lives happily ever after.

This story has been criticized for being to violent while actually much of the violence is off-screen.  When the guys in the apartment are shot, the camera is on Jules or Vincent, not on the victims.  When the hypodermic needle goes into Mia's chest, the camera cuts away at the last instant to a reaction shot.  The gunshot in the backseat of the car is off screen.

One particularly neat bit of continuity happens in the pawn shop, where there is a neon sign for Killian's Red beer.  Some of the letters are burnt out, so the sign says only 'Kill Ed.' Later, when Butch escapes on Zed's motorcycle, he looks at the key-ring, which has a big metal 'Z.' Add the Z to the sign and you get 'Kill Zed,' which is what happened.  The motorcycle has the word 'Grace' painted on its gas tank, and Butch escapes, but for the grace of God.

One of the unique characteristics of Pulp Fiction is that it celebrates life and does not depict, analyze, or critique it.  Suspending the viewers' moral judgments makes it that much easier for the story to sustain its startling tone.  The violent events are offset with unexpected laughter, the contrast of moods becomes liberating, calling attention to the real choices the characters make.  In these choices the audience cheers for the good guys, who are the stereotypical bad guys, and celebrates life by questioning their own at the end of the story.

859.          Pulp Fiction Essay

Pulp Fiction

Charles Chaponis

WRT 101

Bruce Johnson

Final Copy

2/12/97

Throughout the movie Pulp Fiction, directed by Quentin Tarantino, there are

many hidden references to religion and the Bible.  The movie starts off,

introducing our two main characters, Vincent Vega and Jules Winnfield, as two

cheap hitmen in search of a package belonging to their boss, Marcellus Wallace.

The package is retrieved, and they then began their job of returning it to their

boss.  Along the way, they ran into difficulties, such as Vega's so-called

"date" with his boss' wife, Mia, during which she overdosed on heroin, and Vega

was forced to take her to the drug dealer's house to save her life, as well as

the robbers in the restaurant, who try to take the suitcase from Winnfield, but

were unsuccessful.  The whole movie serves as a warning to all mankind to avoid

the temptations of the Devil, as well as a warning to not try to play God,

because the two boys who stole the suitcase play the role of the Devil, as do

the drugs, and they were almost the downfall of the whole attempt.

The movie wasted no time in introducing the first biblical reference

when the two men try to retrieve the suitcase containing Wallace's belongings.

When Vega opened the suitcase, he used the combination "666" to open the

suitcase, and when he opened it, the contents glowed a golden-orange color.

This was obviously an introductory attempt to show the audience that the

suitcase held Marcellus' soul.  Perhaps Tarantino was trying to show that the

people that stole the suitcase were the devils pawns, and these two hitmen were

angels trying to retrieve stolen property.

After Vega and Winnfield had obtained their "treasure," Winnfield quoted

the Bible, specifically Ezekiel 25:17, the passage about destroying the evil

members of the society that try to harm others for no reason.  Part of that

passage was "..and you will know my name is the Lord, when I lay my vengeance

upon thee."  This quote shows that Winnfield sees what he is doing as heroic, or

maybe angelic, and by carrying out his duties, he is following the word of the

Lord.  As Winnfield shot the boy, Brett, an orange-golden glow enveloped the

screen, representing Brett's soul leaving his body.  This whole part of the

movie is to warn the evil-doers of the world to cease their wrongdoings, because

there are people out there who will stop them.

The next main scene of the movie took place in a bar, where Marcellus

Wallace sat, conversing with Butch, a boxer, whose career, Wallace said, is near

an end.  He convinced Butch to throw a fight, for a cash reward.  As the camera

pans around, we see that Wallace had a bandage on the back of his neck.  The

Bible states when the Devil takes your soul, he takes it out of the back of your

neck.  This is where Tarantino really hinted to us about what was taking place,

and this further suggests that Wallace's soul was in the suitcase.  This scene

also suggests that Wallace was possibly trying to play God by trying to make

Butch throw the fight.  These signs show us that if we try to play God, we will

be punished severely.

Now we saw Vincent Vega visiting a drug dealer who looked astonishingly

like classic descriptions of Jesus Christ.  This uncanny resemblance can only be

here to show us one thing: that He is the creator of all, and can be the

destroyer of all as well, just as drugs can destroy all.  This is a very hidden,

but well understood sign, for those of us who take the time to notice it. As it

turns out, later in the film, we see the drugs that Vega bought from the dealer

cause Mia to OD and she narrowly escaped death with an adrenaline shot to the

heart.  The adrenaline shot was administered by Vega, however it was at the

dealer's house, once again showing us that He has supreme control over us, for

without the dealer, Mia would never have been in this situation, nor would she

have made it out if it alive.

Jumping back a bit, at the beginning of the date between Vincent and Mia,

as Vincent entered Mia's house, he was greeted by a voice over the intercom.  As

he looked up, it was as he was looking toward the heavens for guidance from God.

The voice over the intercom was like God speaking down to his angel, giving him

directions.  This image is further strengthened when we see Mia looking down on

Vega through a system of security cameras.  This, yet again, gives us the image

that since Mia is Marcellus' wife, she was also in a way trying to play God by

watching her "angel" and telling him what to do without him actually seeing her.

Throughout the whole scene, "Son of a Preacher Man" was playing in the

background.  This was seen as a strengthening sign, to demonstrate to us even

further the likenesses of the Wallaces to God and their attempt to control

others.

At this point, the movie jumped ahead to another job that Vincent Vega must

perform after he has completed his task of returning Wallace's soul to him.

Vega was hiding out in Butch's house.  As it turned out, he didn't throw the

fight he was paid to, and in fact beat the other fighter so badly that he killed

him.  As Butch returned to his home to pick up a watch left behind by his

girlfriend in the frenzied exit, he encountered Vega who was hiding out waiting

for him, and promptly shot him repeatedly, killing him.

As the movie progressed, we saw Vega falling into the traps of society,

such as drugs, alcohol, blasphemy, and doubting of miracles.  At the very end of

the movie, which is actually the middle of the story, Vega was ridiculing Jules

because he planned on retiring after witnessing what he believes to be a miracle,

or divine intervention, when in the apartment at the beginning of the movie, a

boy appeared out of the bathroom, firing a gun five times directly at the two

hitmen, but missing with all five shots.  This shows us further that Vega is

straying from loyalty and belief in God and his ways, and this is why he is shot

and killed in the boxer's house.  This is a strong and effective way to tell us

that non-believers will be eliminated, and that God is all powerful.

Again, jumping back a bit, the angels (Jules and Vincent) came across a

serious dilemma when Vega accidently shot a boy in a car in broad daylight.  The

two end up calling Wallace, who in this sense was God, to help them.  He sent to

their rescue the man they call The Wolf.  He was the lifesaver to the two

partially fallen angels.  They committed a sin that was not a retribution for

anything done to them, and for this they were stuck between a rock and a hard

place, and needed the help of their "God" to save them.  This is a cleverly

hidden sign that shows us that He can forgive in the "Do unto others..." sense,

but if there is something done which is not in response to something done

previously, there is a price to pay.

At the end of the movie, which is actually the same scene as the very

beginning of the movie, both of which are the middle of the story, in the

restaurant in which Jules and Vincent are in is being robbed, the robber tried

to get the suitcase from Jules.  A shuffle ensued, and Jules ended up with the

upper hand.  He did, however open the suitcase for the robber, and the robber

thought it was the most beautiful thing he had ever seen, which the soul is said

to be.  Jules did not kill the robber; instead he let him go, with the money

from the restaurant.  He did, however, recite Ezekiel 25:17 to the robber, but

this time he did not shoot his listener.  This time he contemplated the meaning

of the passage as he was saying it.  He develoed several intriguing explanations

of the passage, but his last is his best.  He says that the robber is the weak

in society, and that he, Jules, is the tyranny, but he is trying to be the

shepherd.  This interpretation of the passage suggests that Jules realizes that,

even though he is doing the work of God, sometimes what he does is not right,

and he is trying to be the one that always does the right thing: the shepherd.

This is another reason why Jules is not killed off.  He realized that he cannot

play God, and therefore he is forgiven.  Vincent, however, never fully realized

this, and he is punished at the end of the story by being killed by Butch.

Although cleverly hidden, the signs of biblical inference and the power

of God are extremely prevalent in the film.  Elements of the plot such as the

realization of wrongdoing by Jules, the general feeling that the Wallaces are

trying to be all knowing and all powerful, the drug dealer being the downfall as

well as the savior for Mia, and the way that Jules and Vincent try to control

others lives and are punished for it all show us something.  These signs show us

that we must do as we think we should, and not try to control anyone but

yourself, because if you are busy trying to control others, you may not be

tending to yourself, leaving yourself wide open to manipulation by others like

yourself.  If we mind our own business and take care of ourselves, the world

would go a lot smoother, and have many fewer conflicts.

860.          Pulp Fiction

Charles Chaponis

WRT 101

Bruce Johnson

Final Copy

2/12/97

Throughout the movie Pulp Fiction, directed by Quentin Tarantino, there are many hidden references to religion and the Bible.  The movie starts off, introducing our two main characters, Vincent Vega and Jules Winnfield, as two cheap hitmen in search of a package belonging to their boss, Marcellus Wallace.  The package is retrieved, and they then began their job of returning it to their boss.  Along the way, they ran into difficulties, such as Vega's so-called "date" with his boss' wife, Mia, during which she overdosed on heroin, and Vega was forced to take her to the drug dealer's house to save her life, as well as the robbers in the restaurant, who try to take the suitcase from Winnfield, but were unsuccessful.  The whole movie serves as a warning to all mankind to avoid the temptations of the Devil, as well as a warning to not try to play God, because the two boys who stole the suitcase play the role of the Devil, as do the drugs, and they were almost the downfall of the whole attempt.

The movie wasted no time in introducing the first biblical reference when the two men try to retrieve the suitcase containing Wallace's belongings.  When Vega opened the suitcase, he used the combination "666" to open the suitcase, and when he opened it, the contents glowed a golden-orange color.  This was obviously an introductory attempt to show the audience that the suitcase held Marcellus' soul.  Perhaps Tarantino was trying to show that the people that stole the suitcase were the devils pawns, and these two hitmen were angels trying to retrieve stolen property.

After Vega and Winnfield had obtained their "treasure," Winnfield quoted the Bible, specifically Ezekiel 25:17, the passage about destroying the evil members of the society that try to harm others for no reason.  Part of that passage was "..and you will know my name is the Lord, when I lay my vengeance upon thee."  This quote shows that Winnfield sees what he is doing as heroic, or maybe angelic, and by carrying out his duties, he is following the word of the Lord.  As Winnfield shot the boy, Brett, an orange-golden glow enveloped the screen, representing Brett's soul leaving his body.  This whole part of the movie is to warn the evil-doers of the world to cease their wrongdoings, because there are people out there who will stop them.

The next main scene of the movie took place in a bar, where Marcellus Wallace sat, conversing with Butch, a boxer, whose career, Wallace said, is near an end.  He convinced Butch to throw a fight, for a cash reward.  As the camera pans around, we see that Wallace had a bandage on the back of his neck.  The Bible states when the Devil takes your soul, he takes it out of the back of your neck.  This is where Tarantino really hinted to us about what was taking place, and this further suggests that Wallace's soul was in the suitcase.  This scene also suggests that Wallace was possibly trying to play God by trying to make Butch throw the fight.  These signs show us that if we try to play God, we will be punished severely.

Now we saw Vincent Vega visiting a drug dealer who looked astonishingly like classic descriptions of Jesus Christ.  This uncanny resemblance can only be here to show us one thing: that He is the creator of all, and can be the destroyer of all as well, just as drugs can destroy all.  This is a very hidden, but well understood sign, for those of us who take the time to notice it. As it turns out, later in the film, we see the drugs that Vega bought from the dealer cause Mia to OD and she narrowly escaped death with an adrenaline shot to the heart.  The adrenaline shot was administered by Vega, however it was at the dealer's house, once again showing us that He has supreme control over us, for without the dealer, Mia would never have been in this situation, nor would she have made it out if it alive.

Jumping back a bit, at the beginning of the date between Vincent and Mia, as Vincent entered Mia's house, he was greeted by a voice over the intercom.  As he looked up, it was as he was looking toward the heavens for guidance from God.  The voice over the intercom was like God speaking down to his angel, giving him directions.  This image is further strengthened when we see Mia looking down on Vega through a system of security cameras.  This, yet again, gives us the image that since Mia is Marcellus' wife, she was also in a way trying to play God by watching her "angel" and telling him what to do without him actually seeing her.  Throughout the whole scene, "Son of a Preacher Man" was playing in the background.  This was seen as a strengthening sign, to demonstrate to us even further the likenesses of the Wallaces to God and their attempt to control others.

At this point, the movie jumped ahead to another job that Vincent Vega must perform after he has completed his task of returning Wallace's soul to him.  Vega was hiding out in Butch's house.  As it turned out, he didn't throw the fight he was paid to, and in fact beat the other fighter so badly that he killed him.  As Butch returned to his home to pick up a watch left behind by his girlfriend in the frenzied exit, he encountered Vega who was hiding out waiting for him, and promptly shot him repeatedly, killing him.

As the movie progressed, we saw Vega falling into the traps of society, such as drugs, alcohol, blasphemy, and doubting of miracles.  At the very end of the movie, which is actually the middle of the story, Vega was ridiculing Jules because he planned on retiring after witnessing what he believes to be a miracle, or divine intervention, when in the apartment at the beginning of the movie, a boy appeared out of the bathroom, firing a gun five times directly at the two hitmen, but missing with all five shots.  This shows us further that Vega is straying from loyalty and belief in God and his ways, and this is why he is shot and killed in the boxer's house.  This is a strong and effective way to tell us that non-believers will be eliminated, and that God is all powerful.

Again, jumping back a bit, the angels (Jules and Vincent) came across a serious dilemma when Vega accidently shot a boy in a car in broad daylight.  The two end up calling Wallace, who in this sense was God, to help them.  He sent to their rescue the man they call The Wolf.  He was the lifesaver to the two partially fallen angels.  They committed a sin that was not a retribution for anything done to them, and for this they were stuck between a rock and a hard place, and needed the help of their "God" to save them.  This is a cleverly hidden sign that shows us that He can forgive in the "Do unto others..." sense, but if there is something done which is not in response to something done previously, there is a price to pay.

At the end of the movie, which is actually the same scene as the very beginning of the movie, both of which are the middle of the story, in the restaurant in which Jules and Vincent are in is being robbed, the robber tried to get the suitcase from Jules.  A shuffle ensued, and Jules ended up with the upper hand.  He did, however open the suitcase for the robber, and the robber thought it was the most beautiful thing he had ever seen, which the soul is said to be.  Jules did not kill the robber; instead he let him go, with the money from the restaurant.  He did, however, recite Ezekiel 25:17 to the robber, but this time he did not shoot his listener.  This time he contemplated the meaning of the passage as he was saying it.  He develoed several intriguing explanations of the passage, but his last is his best.  He says that the robber is the weak in society, and that he, Jules, is the tyranny, but he is trying to be the shepherd.  This interpretation of the passage suggests that Jules realizes that, even though he is doing the work of God, sometimes what he does is not right, and he is trying to be the one that always does the right thing: the shepherd.  This is another reason why Jules is not killed off.  He realized that he cannot play God, and therefore he is forgiven.  Vincent, however, never fully realized this, and he is punished at the end of the story by being killed by Butch.

Although cleverly hidden, the signs of biblical inference and the power of God are extremely prevalent in the film.  Elements of the plot such as the realization of wrongdoing by Jules, the general feeling that the Wallaces are trying to be all knowing and all powerful, the drug dealer being the downfall as well as the savior for Mia, and the way that Jules and Vincent try to control others lives and are punished for it all show us something.  These signs show us that we must do as we think we should, and not try to control anyone but yourself, because if you are busy trying to control others, you may not be tending to yourself, leaving yourself wide open to manipulation by others like yourself.  If we mind our own business and take care of ourselves, the world would go a lot smoother, and have many fewer conflicts.

861.          Pygmalion

PYGMALION

The title of this play is called Pygmalion by George Bernard Shaw.  This is a play

about a man who picks  a poor person off the street who sells flowers named Eliza Doolittle.

The man's name is Henry Higgins.  Henry makes a bet with another man named Pickering.  The

bet was to see if Henry could make Eliza, the poor girl from the streets, into a elegant, beautiful

girl with good manners.  But I think that Henry gets too attached to Eliza so when she overhears

Henry and Pickering talking about how they thank God it's over, she gets really mad, Henry

and her get into a fight, and she leaves.

Henry Higgins was a gentleman.  He dressed appropriately  for different occasions and

always tried to look his best.  Henry was could be called eccentric aswell because he looked

and acted a little odd at times.  He looked to be among the high by the way he dressed and

spoke but at the same time he didn't seem to be in the high class because of his lack of

manners.

Henry Higgins' main trait was that he was sometimes coarse, rude at times.  Being

coarse means that he could be rude or obscene on occasion.  He shows this on a number of

different occasions.  For example, when Eliza first makes an appearance at Henry's mother's

house, Henry was jumping all over the tables and screaming like a maniac.  He also shows this

character trait when he is talking to Eliza at the end of the play, when he shows that he actually

does have feelings for her, she tells him that she loves Freddy and he loves her very much in

return.  He then makes fun of Freddy saying that he is a pathetic loser and that he will never be

able to support a now high class woman like Eliza.

Although Henry is best described as coarse, he also possesses other traits aswell.

Henry Higgins is a well spoken gentleman, but in a different way.  He speaks perfect English

and never makes a mistake in his pronunciation, he is actually not supposed to because he

himself teaches people to speak properly.  He is very boisterous which means loud.  He shows

this trait when he makes fun of Eliza when she does her expression, "Ahhaaaooo"!  He tries to

imitate it and sounds very annoying while doing so.  He is also very energetic.  He shows us this

when he teaching Eliza how to become a lady, he's jumping all over the room and screams at

her to get it right.  He will not take advice from anybody and when he is arguing with somebody,

he always has to be right.  He is also a very stubborn but yet determined person.  He shows this

trait when his mother trys to give him advise but he won't take it.  He doesn't show his emotions

well atall.  When his mother tells him to tell Eliza how he feels about her, he doesn't do anything

because he's scared about what she'll say.

Although Henry possessed many positive and negative traits, above all, Henry was a

coarse, rude man.

862.          Quentin Tarantino

Quentin Tarantino

Quentin Tarantino was born in 1963 in Knoxville, Tennessee, the son of a 16 year old nursing student Connie and a 21 year old law student and aspiring actor Tony. He was named after Burt Reynolds' character, Quint in 'Gunsmoke'. When Quentin was 2, they moved to South Los Angeles, which is where Quentin grew up. His mother took him to the cinema from an early age, he saw 'Carnal Knowledge' at the age of 8 and Deliverance' at the age of 9. From this early introduction Tarantino fell in love with the cinema and went at every opportunity.

At the age of 22, he got a job in Video Archives, a video store in Manhattan Beach, California where he and Rogerx Avery spent all day watching and discussing and recommending videos. He made his first (unfinished) film in 1986, 'My Best Friend's Birthday' and followed this up by writing his first script, 'True Romance' a year later. During this period, he was attending acting classes and put together a CV of his (non-existent) acting experience which included a role in Jean Luc Goddard's 'King Lear' because nobody in Hollywood would have heard of the film or director and 'Dawn of the Dead' by George Romero because he resembled a biker in one of the scenes. His role in 'King Lear' is actually listed in Leonard Maltin's video guide.

By 1988, Tarantino had written his second script, 'Natural Born Killers' and in 1990 he sold the script for 'True Romance' for $50,000. He decided to use this money to make his third script, 'Reservoir Dogs' on 16mm and in black and white with his friends in the leading roles. It was around this point that Tarantino left the video store to do rewrites for CineTel, a small Hollywood production company - this is where he met Lawrence Bender and struck lucky; Bender was attending acting classes given by a friend of Harvey Keitel's wife. Keitel saw the script and was impressed enough to raise some more finance, act in the film and help Tarantino cast the main roles. At this point, producers Monte Hellman and Richard Gladstein also joined the project.

In 1991, Tarantino filmed some scenes at Sundance with him playing the role of Mr White and Steve Buscemi playing Mr Pink. These scenes were shown to various film people to comment on and the group containing Terry Gilliam were particularly impressed.

'Reservoir Dogs' finally premiered at Sundance '92 before appearing at various film festivals around the World. Miramax picked the film up for distribution after Sundance and it was released in the US later in 1992 and in the UK on January 8 1993. Tarantino travelled around the various festivals in 1992 promoting his film and writing his next script, 'Pulp Fiction' which went on to win the Palme D'Or at Cannes in 1994. It finally opened amidst incredible hype and critical acclaim on October 14 in the US and October 21 in the UK.

'Pulp Fiction' went on to become one of the most highly acclaimed movies of 1994, grossing over 100 million dollars worldwide and picking up several Academy Award nominations for Best Picture, Best Director, Best Actor, Best Supporting Actor and Actress, and winning an Oscar for Best Original Screenplay

Riding on the success of Pulp Fiction, Tarantino has gone on to be a major Hollywood player, Producing, Distributing films through Miramax with an arm of the company called 'Rolling Thunder', Co-Directing and Co-Writing 'Four Rooms', an anthology-type feature film, Directing an episode of 'ER', a popular TV show, and making many appearance in movies and TV.

His latest film, 'Jackie Brown', has opened to great success, making more cash in the opening weekend that it cost to make the film & showing up on numerous critics top ten lists. Also, it's been nominated for 2 Golden Globe Awards for Best Actress (Pam Grier) Best Actor (Samuel L. Jackson). Tarantino's new film "Jackie Brown" is by some a disappointment compared to his earlier films.

This is maybe because it isn't so violent as the earlier films. "Jackie Brown" is based upon Elmor Leonard's novel Rum Punch.

Also in 1997, Tarantino appeared in Full Tilt Boogie, a documentary about the making of From Dusk Til Dawn. His film work the following year was essentially confined to a role in Julia Sweeney's God Said, Ha!, and in 1999, he was back behind the camera as the producer for From Dusk Til Dawn 2: Texas Blood Money

Tarantino is now working on a yet to be titled project and has recently appeared along with Adam Sandler in the comedy movie, Little Nicky, along with Adam Sandler.

Aco

863.          Quest for Love

"The Quest For Love"

In many novels in J.D. Salinger's library of books, there is a recurring theme of the loss of innocence of children, the falling and the confusions of childhood, and many other ideas that apply to the ideas of adolescence and the life of the average teenager growing up. Many of his themes occur in a short period of time in a child's life that affects him/her in a very profound and significant way. The idea of love is also a major theme that arises in many of his characters and that indicates the character of the individual. He uses love in the context of being a device that is used to protect and to care for people who need protecting and caring. In the novel, Catcher in the Rye, by J. D. Salinger, love is used by a character, Holden Caulfield, who struggles desperately to find a certain somebody or anyone to allocate his love to, but realizes finally, that this love is not necessarily expressed through saving "the children in the rye" from the time of trial, but actually caring for them and being their friends, during the time of trial.

The quest of finding the true love of people is an ongoing dilemma in the lives of many people all throughout the world. The constant need for love is overwhelming, and the tragedy of this great world is the fact that some people do not find the proper love that they deserve. Holden Caulfield is a perfect example of the striving to acquire a love sought all throughout his life. According to this quote, "He is simply expressing an innocence incapable of genuine hatred. Holden does not suffer from the inability to love, but does despair of finding a place to bestow his love" (Heiserman and Miller 30), Holden Caulfield has the need for allocating his cornucopia of love for people. His quest is very simple. He wants to do good. As compared to tragic heroes in the past,

"Holden seeks Virtue second to Love. He wants to be good. When                                                 the little children are playing in the rye-field on the cliff top, Holden                                     wants to be the one who catches them before they fall off the cliff.                                          He is not driven toward honor or courage. He is not driven toward                                     the love of woman. Holden is driven toward love of his fellowman...."                                (Heiserman and Miller 25).

In other words, he is not a tragic hero, but rather a misfortuned hero that struggles to find a person to give his love to. There is nothing tragic about his life.

Holden also seeks circularity in his life. According to this quote,

"I felt so damn happy all of a sudden, the way old Phoebe kept going                                 around and around. I was damn near bawling, I felt so damn happy, if                           you want to know the truth. I don't know why. It was just that she looked                                 so damn nice, the way she kept going around and around, in her blue coat                                  and all. God, I wish you could've been there" (Salinger 213),

Holden revels in the virtues of softness of the edges, a roundness that can't hurt anyone. He finds a comfort in the circular motions of the carousel.

"All the kids kept trying to grab for the gold ring, and so was old Phoebe,                          and I was sort of afraid she might fall off the goddam horse, but I didn't say                          anything or do anything. The thing with kids is, if they want to grab for the                            gold ring, you have to let them do it, and not say anything. If they fall off, they                                fall off, but it's bad if you say anything to them" (Salinger 211).

This illustrates the pure innocence of children, and the gold rings portray a sort of round goal that children seek and reach for. This quote is later on in the story and the true symbolism is realized toward the end of the novel.

Holden also seeks the truth from people in general, reaching for the one theme left in the world, innocence. One kind of bitter truth he does not seek is phoniness. In this, he means the people losing innocence or people who already lost innocence, or has "fallen from the cliff". He is led to believe from his early years that adulthood is a form of fake maturity. That is why he seeks to find adolescents, to catch them from falling into the kind of fake maturity that they are destined for. He seeks children, free of impurities. At Phoebe's school,

"....I saw something that drove me crazy. Somebody'd written

'Fuck You' on the wall. It drove me damn near crazy. I thought                                           how Phoebe and all the other kids would see it, and how they'd                                              wonder what the hell it meant, and then finally some dirt kid would                            tell them-all cockeyed, naturally-what it meant, and how they'd all think                            about it and maybe even worry about it for a couple of days" (Salinger 201).

He realizes then, that innocence is a very hard part of one's soul to save. This eventually leads him to his final realizations.

Holden has a few aspects and thoughts that help him to appease him slightly of the thirst for love. "In childhood he had what he is now seeking- non-phoniness, truth, innocence. He can find it now only in Phoebe and in his dead brother Allie's baseball mitt, in a red hunting cap and the tender little nuns" (Heiserman and Miller 26). Phoebe is a hope that Holden holds in his heart. Her childish innocence gives him a true and pure outlook that lets him feel secure in her presence. Also, the memories of his long dead brother, Allie, remain in his mind, giving him comfort in the thoughts of the totally innocent nature of his little brother who was so wrongly murdered by the unfair deadliness of cancer. The only material remaining to remind Holden of him, apparently, is a baseball mitt. He cherishes this glove and even makes a whole composition on it. It is the only true memory of his brother. A red hunting cap is very symbolic in Holden's life in the novel. According to this quote, "I got pretty soaking wet, especially my neck and my pants. My hunting hat really gave me quite a lot of protection, in a way, but I got soaked anyway. I didn't care, though" (Salinger 213), it is his only protection from the weather. It is symbolic of a constant in his constantly changing life. It is something definite that cannot be stripped of him. The tender nuns who Holden encounters are symbolic of true naïveté and helplessness. They always appear to be outside, collecting money. They are the quintessence of love, being sent forth by God to love, and chosen to guide the stray and to help the hopeless. These various aspects of Holden's life give him a comfort immeasurable to him. They somehow give him a reason to live, literally.

Holden's quest of finding a pure and innocent adolescence to give his love drives him to dreaming of being a "catcher in the rye". This dream is of saving children who are falling off a cliff of a rye field. This symbolizes the need for Holden to care for children and to save them from the loss of innocence. In his narratives, Holden reveals many individuals who need catching, and many that have already fallen. He went to the house of an old teacher, Mr. Spencer,

"....But I just couldn't hang around there any longer, the way we were                                on opposite sides of the pole, and the way he kept missing the bed whenever                          he chucked something at it, and his sad old bathrobe with his chest showing,                                     and that grippy smell of Vicks Nose Drops all over the place" (Salinger 15),

and he was sickened by his appearance. The depressing ambiance of the room, along with the sheer rotting-outlook of the room just plain disgusts Holden. This is the first realization of the fact that adulthood made Mr. Spencer the way he is today.   Holden wonders how it would be different for these various people if someone had loved them through their innocence.  These thoughts eventually lead him to the yearning to be a catcher in the rye.

Another child that has fallen, and still is falling is a neighbor of Holden's, Old Robert Ackley. He has horrible hygiene and an annoying curiosity, in that

"He started walking around the room, very slow and all, the way he

always did, picking up your personal stuff off your desk and chiffonier.

He always picked up our personal stuff and looked at it. Boy, could that

get on your nerves sometimes" (Salinger 20).

This is the first symbolism of an elder having supremacy over him. It is just another depressing sight of adulthood.  Holden believes that if there had been someone to catch such stray children from the rye, their lives would be somewhat different.

Another character in Holden's life that has fallen from the cliff, Ward Stradlater, is his own roommate. Stradlater is an older individual than Holden and is more mature in certain aspects. Holden constantly describes him as "sexy". "I kept thinking of Jane, and about Stradlater having a date with her and all. It made me so nervous I nearly went crazy. I already told you what a sexy bastard Stradlater was" (Salinger 34). This illustrates the sexual maturity of Stradlater. Later, Holden tries to experience his own heightening of sexual maturity with a prostitute, but he realizes that he is not ready for it. He is not ready to fall off of that specific cliff just yet. Stradlater is also a very conceited individual. In a conversation, Holden addresses a thought of Jane, "'....If she'd known (about Stradlater's "sexiness"), she probably would've signed out for nine thirty in the morning.' 'Goddam right,' Stradlater said. You couldn't rile him too easily. He was too conceited." (Salinger 34). This is still another example of an adult's egotism and a possible success if he was caught at an earlier age.

There is, finally, another example that personifies the sheer existence of a troubled soul, who has fallen way past a cliff, but into the deep, engulfing abyss!! This character is Old Maurice, a pimp, ready to con anyone, manipulate anyone, and do any impure act possible to anyone. Holden, with his ignorant foolishness, accepts a con for him to sleep with one of Old Maurice's prostitutes. Later, Holden realizes that he is being conned out of an extra five dollars. When he argues about the money, Old Maurice, with his own sense of superiority beats up on poor, innocent, little Holden. Holden retaliates,

"I was so damn mad and nervous and all. 'You're a dirty moron,'

I said. 'You're a stupid chiseling moron, and in about two years you'll

be one of those scraggy guys that come up to you on the street and ask

for a dime for coffee" (Salinger 103).

This is when Old Maurice's ego starts to bleed and he beats up on Holden much more. Old Maurice is the quintessence of a bully, having fallen off a cliff at an early age, probably having been beaten at home, having lost his innocence too early, and many other phony adult symptoms. Holden realizes that Old Maurice is not too different from Stradlater, who also beat him senseless in another meeting.  These are examples of a lack of love through their adolescent years.

Finally, there is one aspect in Holden's life that pushes him over the cliff of realization, giving him a new light of seeing the many contours of his life.  This theme was suggested in an earlier passage in Phoebe's school, Holden's old school, where there is a certain profanity that is unacceptible to younger children.  Holden tries desperately to rub off the word, and eventually succeeds in doing so.  However, this leads him to an insignificant realization of the futility of trying to rub off all the curses in the world, or "catching children in the rye".  Later, at a museum, he experiences a double dose of disgusting nausea.  "That's the whole trouble.  You can't ever find a place that's nice and peaceful, because there isn't any.  You may think there is but once you get there, when you're not looking, somebody'll sneak up and write 'Fuck You' right under your nose"  (Salinger 203).  He catches a glimpse of this phrase carved into a monument inside the museum.  The museum that he depends on to be sacred and always pure, turns out to have such a  horrid word!!  Also, the word is carved into the stone, so it is actually impossible for Holden to actually rub it out.  This scene, with Holden nearly fainting and nauseated, is the turning point of Holden's life, bringing an end to the dream of being the "catcher in the rye".  It gives him a sharp and bitter realization that everyone in the world can not be caught, and it is futile to try to catch a child from the cliff of adult maturity.

Holden Caulfield is a very concerned and caring individual, thrust into a world of "phoniness" and "adult immaturity".  This world gives him a pressure so great that he does not know how to react to the various aspects of his life.  He feels an overwhelming urge to love people, seek others' love, and to care for people that do not have the love that he has.  This leads to his dream of being a "catcher in the rye".  However, as his life progresses, many occurences drive him to a state of confusion and mental turmoil.  He does not know how to handle the radical changes in his life.  The harsh realizations in theses few days of his life give him a new perspective in his once secure world.  He realizes that caring, not catching, is needed in the preservation of innocence.  Catching some children in the rye merely saves a select number of individuals, for a little period of time.  It is Holden's realization that children are destined to fall from innocence and it is futile for him to try to change it otherwise.

864.          Racing Along Walls

"Hey Joe, hand me the 3/16" socket," I mumbled into the underside of my car. I felt a nudge in my ribs as my friend, Joe, handed me the socket I asked for.  Matching the ends of the hexagonal shaped socket with the stub on my wrench, I pushed the two together. A loud click signaled the two ends of the socket and wrench fit perfectly. Reluctantly, I went to work tightening the chassis of my car. I felt overwhelmed by the number of lugs I would have to check and tighten. It took me almost a half an hour to completely tighten each bolt and there were still eight more to go. To add to my frustration, the sun was starting to set which forced me to use an inadequate electrical lamp to illuminate my garage at home.

Joe, was working on his own car in the garage space next to mine. He was inspecting and cleaning the outside of his white 1993 Honda Civic SI. He had a soft cloth in one hand and a spray bottle of wax in the other. The hand with the soft cloth would wipe for ten seconds followed by the "sqshhh sqshhh" of the spray bottle. Always being the meticulous one, he continued his wipe and spray cycle for many hours to make sure his car was immaculate.

As I turned one of the bolts clockwise to tighten it, I felt a sharp, searing pain on the upper portion of my hand. Instinctively, I swore, forgetting all the lessons on good manners my parents had taught me. I brought my hand up to inspect the wound but the darkness of the garage, the setting sun, and the little remaining light my car blocked made it so I couldn't see my hand at all. As I climbed out from underneath the car, I noticed that I was leaving a trail of thick, dark, drops with my movements.  I carelessly wiped off the dripping blood on my shirt and looked at the length and depth of the cut in my hand. "Oh man! Joe check out this cut. I'm going to love this scar! It will make my hand look more manly. Oh yeah! But my hand hurts really bad." I happily exclaimed. The cut ran the whole length of my hand. Luckily, it was the top of my hand that was cut and not the palm side of it, so I knew I didn't get any important veins that would make me bleed to death.  It was another scar I could add to my body giving me more of a masculine look which was always a plus with the ladies. Grabbing the towel I had used earlier to wipe off my sweat, I wrapped my hand to stop the bleeding and continued on my work not knowing that this first injury would foreshadow future events.

"Hey, I just checked your roll cage, and it's a lot more solid than mine. Is the roll cage on my car tight enough or do we have to take it to a welding shop before they close?" asked Joe.

"It'll be fine. Plus I seriously doubt you'll need it. If you're really worried about it, I think the roll cage bolts use a 22 mm. socket so go tighten it." I replied in the middle of tightening another chassis bolt.

It was July and we were preparing our cars for the Battle of the Imports the next day. "Battle", as most people that attended the event preferred to call it, was the largest import drag racing event in the country. The event was scheduled four times every year at the Los Angeles Raceway. Although the event was meant for all import cars, Japanese cars dominated the race. My car, a black 1994 Acura Integra GSR was a common site there along with some other Japanese sport compacts, such as Joe's Honda Civic.

Many people have the impression that a racing event full of small engine, Japanese, compacts would be a race full of slow cars, that is not the case. Most cars at Battle, including mine, have modifications that make them extremely quick cars putting the large displacement American cars to shame. Take, for example, my modified Acura Integra GSR with Turbo VTEC makes around 325 horsepower with a small 1.8 liter engine while a modified Ford Mustang makes 400 horsepower with a large 5.0 liter engine. Even though the Ford Mustang makes more horsepower, it is also much heavier because of its thicker steel and larger engine, so in a race, my car would win by quite a distance. My car and most Japanese imports weigh less because they have smaller engines and thinner metal. In some areas, the metal is so thin that what should be small accidents often end up more severe. It was not to my knowledge that the thin metal that Honda, Acura, Nissan, and Toyota use in their cars would affect Joe and I the next day.

I finished tightening the last of the chassis bolts and started checking the exhaust hookups while I was still underneath the car. The bolt connection from the exhaust pipe to the muffler was a bit loose, but a quick flick of the wrist with my wrench fixed the problem.

I climbed out from underneath the car and got into the passenger seat to check the roll cage. The roll cage is a series of light, durable, metal bars that bolted on to the chassis of the car. If my car flipped or if I hit a wall while racing, I would be able to walk away from the wreck unscathed because of the bars strengthening the body of the car. However,  the chances of such a catastrophe were small and I was very confident and at times arrogant about my excellent driving skills. Joe was even more arrogant and confident than I was at his driving skills, and it was true that Joe was probably a better driver than I was. We both reluctantly installed roll cages because of regulations set by the race directors for all cars that could run a quarter mile in 11.99 seconds or less which was the category our cars would be in.

After checking the connections of the roll cage bars, I did a final inspection of the car to make sure I did not forget anything. My friend had also just finished taking care of his car so we decided to take our cars out for some practice on gear shifting and clutching. We took our cars to a large deserted parking lot we always went to to practice and did a couple runs against each other to make sure both cars were running in top condition.

We then returned to my house to finish preparing for the race. I took my plastic racing helmet adorned with many racing stickers and emblems and placed it in my trunk. I fished out my torque wrench and hydraulic lift from the spider webbed corner of  the garage. The lift and wrench would be needed later to change the tires there. Two sets of drag slicks went into my trunk. We would mount the slicks at the track replacing the two front tires. They offered much better grip than normal street tires on a dry track and would improve our racing times and speed significantly. We brought along a pair of fire suits because of their flame retarding capabilities. They would make up our "race suits." The directors of the race required a fire suit for quick cars in case they catch fire so that injuries from fires would not cause any fatalities.

"Dude, I'm hecka nervous," Joe complained. "What if I break my axle tomorrow? What if my car catches fire? What if I screw up my starts in front of 16,000 people? And of those 16,000 I know there's a pretty girl in the stands for me. How can I be a studly pimp when I make a total fool of myself? Just think, pretty girls all coming in groups to watch guys race. I mean I'm nervous enough with the 16,000 people watching me make a complete fool of myself but all those chicks too! And to add to it, those aren't any plain old fine chicks, they're Irvine girls! Did you hear me? They are Irvine..."

"Look shut up!" I replied in frustration at my friends sudden outburst of hormones as if the Hoover Dam that blocked his testosterone broke. "You're not going to screw up badly if you screw up at all. Who cares about the girls up there. Save them for later. When you're done racing than you go up into the stands and get your groove on. When you're on the track only five things exist: you, the track, the starting lights, the finish line, and you're opponent. The 16,000 people in the stands don't exist. There are no fine Irvine girls waiting to meet a cute guy. If you just chill I'm sure you'll do fine. If you get distracted and don't pay attention than you're screwed. Got it?"

"Yeah you're right," Joe replied reluctantly. Although he had stated his acquiescence with what I had said, his voice did not resemble the voice of someone in agreement. It sounded more like Joe was still thinking with his hormones and not his brain. His mind was still replaying scenes with girls scantily clad in tight summer clothing four sizes too small to reveal their feminine shapes. He only agreed with me to humor my impatience.

"It's eight o'clock. Let's go upstairs and get some sleep." I said.

"I can't sleep now. It's too early and I'm still nervous. I can't sleep when I'm nervous."

"Well just lay down and eventually you'll fall asleep. Remember, we need to get up at 3 A.M. tomorrow morning so we can make it to LA on time."

We went up to my room that was reminiscent of a junkyard with garbage, dirty and clean clothing, underwear, car magazines, and CD's strewn across what was once a nice, plush, tan colored carpet. It's amazing how worn out carpet could get in my room after only two years. All the other rooms still had the fresh-out-of-the-factory smell that we incorporate with new carpet. The walls were a barren desert of off-white. I never really believed in hanging up posters; or to put it frankly I was always too lazy to hang any posters up. Besides the mess on the floor, there were only five things in my room: my stereo, computer, bed, desk, and closet. Of course my closet remained empty because the ground had taken over its job making it hard for me to find a nice clear place where Joe could sleep. I cleared a small area of my floor to accommodate my friend. I felt lucky that I could sleep on my bed because the insects had found the "jungle" on my ground to be a favorable environment to their survival. Joe would be their full course meal for the night.

It surprised me that I was able to fall asleep so easily. My friend on the other hand, claimed that he fell asleep at twelve o'clock in the morning. Unfortunately, we were taking two cars and not one so he could not have taken a nap while I drove. I had a feeling that morning that Joe would be too exhausted to race and make good decisions but dismissed them as just my wild imagination.

We had two choices of routes to take to LA We could either take 101 South the whole way or take Highway Five. Highway Five was an unanimous decision because of its four lanes and long, straight, stretches to accelerate on. Being that we were practically the only ones on the freeway, both of us took our cars up to 160 miles per hour without the fear of running into other traffic. The trip to the Los Angeles Raceway was pretty uneventful.

We arrived early so my friend proposed that we wait in the parking lot so he could take a nap. The doors to the track opened at nine. The track was setup in an arena like fashion with the seats surrounding the oval shaped track. Whenever there was a straight stretch of at least a half mile, there would be lights setup at the beginning of the stretch and large, scoreboard-like, towers with digital numbers at the end of the stretch. These two landmarks indicated where the quarter mile drags would be. In all, there were five areas of the track set up for the event.

Since the track was still virtually empty at nine thirty, I took advantage of my time by stripping out my rear seat and passenger seat to save weight. The hood, trunk, and rear bumper came off next. Every pound made a difference so every racer attempted to lighten their cars as much as possible. Some go so far that they replace the windshield and windows with lighter plexiglass. I raised up the car with the hydraulic lifts I brought and swapped out the rims I had on my car with the racing slicks I had brought. With the car still raised, I went underneath the car and disconnected my exhaust pipes after the downpipe from the motor. This would allow a better flowing exhaust with less restriction, a must for turbo cars and good for another 20 extra horsepower. I also decided to take a little risk by raising the compression of the turbo from 1 bar to 1.5 bar which would give me an additional 90 horses. I crossed my fingers and prayed that my car would be able to handle the extra boost. When a car is boosted beyond its limit, the engine usually detonates leaving it unusable. By this time, Joe had also started preparing his car in much the same fashion that I had done. I decided to wait for him to finish so we could go check in.

By ten, both of us started racing on the track. My first run was against Joe since both of us signed up together at the same time. We lined up at the starting lights and staged our cars flush with each other. The starting lights went yellow, yellow, yellow, green with a 0.500 second interval between each light. By the third yellow, the squeal of our slicks filled the air as both of us revved our engines and side stepped the clutch. By the time the green light lighted, we were both off in a streak of a black blur next to a white blur. My left hand fought the steering wheel, my right hand went through the gears, my right foot was standing on the gas pedal, and my left foot was modulating the clutch between a gear shift. Racing required the whole body to coordinate with each other. The coordination and the intense slam-you-back-into-your-seat pull of the turbos are probably the factors that give racing its appeal. I lost the race by three hundredths of a second. The time it took him to speed down the quarter mile was 11.64 seconds at 123 miles per hour, while my time was 11.67 seconds at 129 miles per hour. I should have had a much faster time because my speed was higher than his, but he probably shifted gears better than I did.

By 10:30 the stands were nearly filled. It looked like there were more than the projected 16,000 people attending. Most of the people there were young like ourselves and enthusiastic about cars.

The first run was the only time we would race against each other that day. We each had different schedules of people we would race against. After my fourth run, I decided to take a break, mainly to eat, but also to meet new people. I bought a hamburger and drink to satiate my developing hunger. There was a girl that caught my eye. Her dark, tan, skin and wide, puppy dog like, eyes gave her the Filipino look. Unlike the other women that looked trashy, her clothing was modest and in good taste. I was thinking of ways to approach her and what to say without sounding stupid when I heard a loud crunch of metal hitting concrete that caught my attention. I looked down at the race tracks and saw a white Civic crushed against the wall. Crowds of people had started gathering around the car as if a car crash was good entertainment to them. In fact, the crowd was so thick that I could not get to my friend and pull him out of the wreck. Luckily, Joe crawled out of his car unassisted and the medics were able to force their way through. They lightly rolled him onto a stretcher, taking special care to keep his back unmoved. An ambulance arrived and took Joe to the hospital. Joe broke his right clavicle, right knee, and right elbow. He also broke the tendon in his right ankle. As for his car, he no longer has that one. Insurance declared it a complete wreck and bought him another Civic. The whole right side of his wrecked car was gone.

Joe and I frequently discuss the events that led up to his accident now that he has fully recovered. I told Joe that I thought he was not paying attention when he was racing and probably checking out some girl in the stands. Joe disagrees and says his tires overspun and his hand slipped on the steering wheel. However, we both agree that the roll cage fell apart because of his loose bolts and that if the roll cage had been tightened, Joe probably could have walked away from the accident. We both agree that the weak body of Japanese cars also had some play in his injuries. I believe his helmet saved his life because his head had hit the windshield and caused it to shatter. His high level of testosterone and ego makes him think that his head was hard enough that he did not need the helmet.

Despite the accident, we both still yearn to return to the track. There is no point in dwelling in fear and stop doing what we both found to be the most enjoyable activity in our lives. Next time, we will be more careful and hopefully we will also pay better attention when racing.

865.          Raisin in the SunWalter Younger

From day one Walter had one thing on his mind and one thing only; himself.

But things started to change once many variables started coming into effect.

Walter starts to change and chagnes for the good of the family.

Walter is an ambitious man.  He has always wanted to be a rich man, but his

dreams have been shot down by his family.  No one believes in him.  Only he does.

This is wny he is the way

he is.  He is selfish.  Always me me me.  He lost all the money his family

and his mother had intrusted him with.  He was always thinking about himself

and he lost all his money by giving it to a man who he trusted.  But the man

ran off with the money.

But Walter finally changes.  Luckily his mother and saved enough money

for a house.  But they were going to live in a white neighborhood and the

whites did not like that.  They offered him a great deal of money not to

move there.  But Walter, who finally thought about his family's happiness

turned down the money and finally became a man.

866.          Ralph Vaughan Williams Symphony No 5

Ralph Vaughan Williams - Symphony Number Five

Ralph Vaughan Williams, descended from the famous Wedgwood and Darwin families, was born at Down Ampney, Gloucestershire in 1872. In 1890 he entered the Royal College of Music, and in 1892 he entered Trinity College, Cambridge. One of the greatest of the British composers, a prolific writer of music, folksong collector, and champion of British cultural heritage, he died aged 85 in 1958. His ashes are interred in Westminster Abbey alongside the nation's greatest artists and poets.

Symphony No. 5 in D

Introduction

The symphony contains a lot of material from RVW's then unfinished opera, The Pilgrim's Progress. When he began the Fifth Symphony, RVW thought he may never finish the opera, and didn't want to waste any good ideas. The symphony does not have a programme, it is absolute music. It is in four movements: a "Preludio" first movement, a Scherzo, a "Romanza" slow movement, and a "Passacaglia" finale.

First Movement : Preludio

From the very beginning, RVW puts the key signature of this movement into doubt. The movement opens with a horn call in D, set against a firm base (or bass?) of octave C's. Could it be that in the great traditions of British musical 'amateurism', RVW got his transposition wrong? Or is this a deliberate feature of the music, intended to blur the tonality? Musicologists prefer the latter explanation. This is by no means an unusual feature of his music, when he was asked what the 4th symphony was about, RVW replied "It is about F-minor", alluding to his sometimes hazy tonalities, often augmented by his use of modal, mainly pentatonic melodies, which, with no leading note, often help to 'fudge' the tonality. Apart from the horn call, the brass is seldom used, and the texture is light and airy. The first violins then enter, high on the E string, doubled at the octave below by the seconds in an introduction, before their main theme at (1), doubled by flutes. The triplets add rhythmic variety, as well as providing a distinctly 'folkie' feel. During the course of the movement, the distinctive dotted rhythm of the horns hardly ever leaves us. There are some rather abrupt key changes. i.e. Eb to E at (5). We are taken into the Allegro by a sudden change in mood.  The music darkens with a slightly sinister version of the horn call in the bassoons. We then enter the Allegro, with a scurrying in the strings, whilst the wind begins a downward progression of notes, which builds to a climax, with strings in semiquavers, until we reach the original tempo once more, as the music winds down, back to the horn call. Some development of ideas takes place, before the music once again winds down. The horn calls are answered by single notes in woodwind, and the movement ends as mysteriously as it began - the horns fade into the distance, in the key of D, but we are left, somewhat perturbed by the pianissimo cello C against the viola D.

The movement is plainly 20th century, with many dissonances, yet the movement, for the most part, sounds serene, with a sinister undertone that barely breaks the surface. Much of this softening comes from RVW's orchestration: he tends to work in distinct "chunks" of sound. In the opening measures, for example, the low cellos and basses are separated from the higher horns in range and sound colour.

Second Movement : Scherzo

The movement starts with rising string fourths, which seem to come from nowhere. This time, it is the time signature of the movement that we must look out for. The piece starts in dotted minims, but then the note values become minims, before the seventh bar, in which a rather jaunty tune begins, and continues through a rather melancholy unison entry by flute and bassoon., which is continued in woodwind, until we reach a short staccato section, just before (2), where there is a rather absurd quaver dialogue between woodwind and strings. More staccato work from strings leads to a rather fat sounding appoggiated dotted minim passage for oboe and cor anglais. Here we get passages of two against three, in the tune. After the double bar after (14), we get that nimble staccato passage back, this time pianissimo, it all has a rather tongue - in - cheek feel to it, accentuated by the slightly heavy bass. The strings endure another scurrying passage, then after (17), a new, almost fatalistic downwards theme is introduced, which gradually gains in intensity, until it is eventually played tutti. The first theme, with its rising fourths re - enters pp, and this movement ends suddenly, with a cheeky downwards run, from the 'top' of the strings, to the 'bottom'.

Strings play largely at the unison or octave throughout this movement, and winds are usually reduced to solos or duets. When there is a lot of woodwind, the strings drop out, fitting in with the contrasting planes of sound discussed in the first movement.

Third Movement : Romanza

An almost ethereal chord progression in (heavily) divisi strings announces a melody, which begins with the almost obligatory triplet rhythm in the cor anglais. Rising 4ths then lead to a broad tune in the strings, which subsides into the flute, oboe, cor anglais, and clarinet playing the rising 4ths once more. This leads to a repeat of the opening section, but scored the opposite way round, with  woodwind playing the chords, and the melody , still pp, in the strings. It is scored very low fr the violins - in fact, the first four Gs must be played open, with no vibrato to soften them. Very agricultural. We then get a bigger statement of the broad tune, followed by some birdsong - like passages from woodwind, which develop thematically until we reach the Poco Meno Mosso at (7), where rustling strings accompany the first theme on horns, then trumpets. Brass chords lead us back to the main string tune, which leads on to the 'big tune', and the climax of this movement. A solo violin reminds us of the woodwind's birdsong theme. The ethereal string chords reappear, with a horn melody over the top, and muted  strings finally send this movement to sleep.

Fourth Movement : Passacaglia

The passacaglia theme begins, as usual, in the bass -- a descending line. A bit in, a rising counter-melody sneaks in through the upper parts. This reaches a small climax after 5 repetitions, at which point the bass fragments into pizzicato. Three more repetitions follow, rising to a 'fanfare' section. This plays against the passacaglia's counter-melody.

At this point, RVW gives up the passacaglia We get an imitative section on the passacaglia, which again leads to the fanfare. The fanfare combines with the passacaglia and the counter-melody, with shimmering strings.

The fanfare reaches a climax which quickly leads to an agitated version of the passacaglia on clarinet and other woodwind, against tremelando strings (pp). The rumblings grow to three 'outcries' of this version. We then hear a disturbed version of the counter-melody, leading to a large climax on the original passacaglia theme.

This breaks into music from the first movement, the Preludio, signifying that we have come full circle, and the end is near. Various themes from the first movement float make special guest appearances, which leads to a quiet extended fantasia on the counter-melody, fanfare, and  passacaglia. The movement ends with the violins playing extremely high minims - a very serene ending.

867.          Ralph Vaughan Williams

Ralph Vaughan Williams: Symphony Number Five

Ralph Vaughan Williams, descended from the famous Wedgwood and Darwin families,

was born at Down Ampney, Gloucestershire in 1872. In 1890 he entered the Royal

College of Music, and in 1892 he entered Trinity College, Cambridge. One of the

greatest of the British composers, a prolific writer of music, folksong

collector, and champion of British cultural heritage, he died aged 85 in 1958.

His ashes are interred in Westminster Abbey alongside the nation's greatest

artists and poets. Symphony No. 5 in D

Introduction

The symphony contains a lot of material from RVW's then unfinished opera, The

Pilgrim's Progress. When he began the Fifth Symphony, RVW thought he may never

finish the opera, and didn't want to waste any good ideas. The symphony does not

have a programme, it is absolute music. It is in four movements: a "Preludio"

first movement, a Scherzo, a "Romanza" slow movement, and a "Passacaglia" finale.

First Movement : Preludio

From the very beginning, RVW puts the key signature of this movement into doubt.

The movement opens with a horn call in D, set against a firm base (or bass?) of

octave C's. Could it be that in the great traditions of British musical

'amateurism', RVW got his transposition wrong? Or is this a deliberate feature

of the music, intended to blur the tonality? Musicologists prefer the latter

explanation. This is by no means an unusual feature of his music, when he was

asked what the 4th symphony was about, RVW replied "It is about F-minor",

alluding to his sometimes hazy tonalities, often augmented by his use of modal,

mainly pentatonic melodies, which, with no leading note, often help to 'fudge'

the tonality. Apart from the horn call, the brass is seldom used, and the

texture is light and airy. The first violins then enter, high on the E string,

doubled at the octave below by the seconds in an introduction, before their main

theme at (1), doubled by flutes. The triplets add rhythmic variety, as well as

providing a distinctly 'folkie' feel. During the course of the movement, the

distinctive dotted rhythm of the horns hardly ever leaves us. There are some

rather abrupt key changes. i.e. Eb to E at (5). We are taken into the Allegro by

a sudden change in mood.  The music darkens with a slightly sinister version of

the horn call in the bassoons. We then enter the Allegro, with a scurrying in

the strings, whilst the wind begins a downward progression of notes, which

builds to a climax, with strings in semiquavers, until we reach the original

tempo once more, as the music winds down, back to the horn call. Some

development of ideas takes place, before the music once again winds down. The

horn calls are answered by single notes in woodwind, and the movement ends as

mysteriously as it began - the horns fade into the distance, in the key of D,

but we are left, somewhat perturbed by the pianissimo cello C against the viola

D.

The movement is plainly 20th century, with many dissonances, yet the movement,

for the most part, sounds serene, with a sinister undertone that barely breaks

the surface. Much of this softening comes from RVW's orchestration: he tends to

work in distinct "chunks" of sound. In the opening measures, for example, the

low cellos and basses are separated from the higher horns in range and sound

colour.

Second Movement : Scherzo

The movement starts with rising string fourths, which seem to come from nowhere.

This time, it is the time signature of the movement that we must look out for.

The piece starts in dotted minims, but then the note values become minims,

before the seventh bar, in which a rather jaunty tune begins, and continues

through a rather melancholy unison entry by flute and bassoon., which is

continued in woodwind, until we reach a short staccato section, just before (2),

where there is a rather absurd quaver dialogue between woodwind and strings.

More staccato work from strings leads to a rather fat sounding appoggiated

dotted minim passage for oboe and cor anglais. Here we get passages of two

against three, in the tune. After the double bar after (14), we get that nimble

staccato passage back, this time pianissimo, it all has a rather tongue - in -

cheek feel to it, accentuated by the slightly heavy bass. The strings endure

another scurrying passage, then after (17), a new, almost fatalistic downwards

theme is introduced, which gradually gains in intensity, until it is eventually

played tutti. The first theme, with its rising fourths re - enters pp, and this

movement ends suddenly, with a cheeky downwards run, from the 'top' of the

strings, to the 'bottom'.

Strings play largely at the unison or octave throughout this movement, and winds

are usually reduced to solos or duets. When there is a lot of woodwind, the

strings drop out, fitting in with the contrasting planes of sound discussed in

the first movement.

Third Movement : Romanza

An almost ethereal chord progression in (heavily) divisi strings announces a

melody, which begins with the almost obligatory triplet rhythm in the cor

anglais. Rising 4ths then lead to a broad tune in the strings, which subsides

into the flute, oboe, cor anglais, and clarinet playing the rising 4ths once

more. This leads to a repeat of the opening section, but scored the opposite way

round, with  woodwind playing the chords, and the melody , still pp, in the

strings. It is scored very low fr the violins - in fact, the first four Gs must

be played open, with no vibrato to soften them. Very agricultural. We then get a

bigger statement of the broad tune, followed by some birdsong - like passages

from woodwind, which develop thematically until we reach the Poco Meno Mosso at

(7), where rustling strings accompany the first theme on horns, then trumpets.

Brass chords lead us back to the main string tune, which leads on to the 'big

tune', and the climax of this movement. A solo violin reminds us of the

woodwind's birdsong theme. The ethereal string chords reappear, with a horn

melody over the top, and muted  strings finally send this movement to sleep.

Fourth Movement : Passacaglia

The passacaglia theme begins, as usual, in the bass -- a descending line. A bit

in, a rising counter-melody sneaks in through the upper parts. This reaches a

small climax after 5 repetitions, at which point the bass fragments into

pizzicato. Three more repetitions follow, rising to a 'fanfare' section. This

plays against the passacaglia's counter-melody.

At this point, RVW gives up the passacaglia We get an imitative section on the

passacaglia, which again leads to the fanfare. The fanfare combines with the

passacaglia and the counter-melody, with shimmering strings.

The fanfare reaches a climax which quickly leads to an agitated version of the

passacaglia on clarinet and other woodwind, against tremelando strings (pp). The

rumblings grow to three 'outcries' of this version. We then hear a disturbed

version of the counter-melody, leading to a large climax on the original

passacaglia theme.

This breaks into music from the first movement, the Preludio, signifying that we

have come full circle, and the end is near. Various themes from the first

movement float make special guest appearances, which leads to a quiet extended

fantasia on the counter-melody, fanfare, and  passacaglia. The movement ends

with the violins playing extremely high minims - a very serene ending.

868.          Rashomon and Blowup

Rashomon and Blowup: A Study of Truth

In a story, things are often not quite what they seem to be. Akira Kurosawa's Rashomon and Michaelangelo Antonioni's Blow-Up are good examples of stories that are not what they first appear to be. Through the medium of film, these stories unfold in different and exiting ways that give us interesting arguments on the nature of truth and reality.

Akira Kurosawa's Rashomon tells the story of a murder. It flashes back to the event four times, each time as told by a different person. The present-time section of the plot occurs at a gate under which some characters take shelter from the rain. Three men can be found there - a woodcutter who repeatedly proclaims his misunderstanding, a priest who says that what has occurred is worse than anything else, and a third man who runs in from the rain for shelter and merely seems interested in a good story, as long as it's not a "sermon" from the priest. At the prompting of the third man, the woodcutter tells the story - providing the interesting story device of stories (the murder from 4 perspectives) within a story (the trial) within a story (the men at the gate). The tale he tells revolves around a bandit, Tajomaru, who has attacked a couple wandering through the woods, tying the husband up and forcing himself on the wife. The woodcutter found the husband dead in the forest, but what actually happened between these people is inconclusive. Tajomaru, the wife, the husband (through a medium), and the woodcutter all present different and irreconcilable versions of the events in question to the authorities. The first version, as told by Tajomaru, portrays him in a brave light. It has him taking the woman and falling in love with her. He fights a duel with the husband, displaying dazzling swordsmanship, and kills him. Tajomaru's story seems plausible until the wife tells her story. In her version, she is violated and then rejected by her husband because of her violation. The film is not terribly clear on how the husband dies in this version. The husband is next to tell his version of the story, and it is again wildly divergent. His version has the woman begging Tajomaru to take her with him and to kill the husband. This causes Tajomaru to reject the woman and free the husband. The husband claims that he took his own life and that someone stole an expensive dagger from his breast after he killed himself. It is after these three tales that we return to the men at the gate. The third man sees through the woodcutter and deduces that the man actually saw the event and did not tell this to the court. He forces the woodcutter's story out of him. The woodcutter's version is perhaps the most believable of all, and perhaps that's because it portrays everyone at their lowest common denominator. Yet his story could also be completely fictional, as if he had merely combined various parts from the previous tales. Perhaps by telling this lie and believing it, he is attempting to resolve his confusion over the issue. The woodcutter's rendition begins with Tajomaru trying to persuade the woman to go away with him. She wants the men to fight for her, but the husband is disgusted with her and refuses. However, the wife quickly turns her tears into laughter and attacks the men's pride until they reluctantly begin their combat. The blundering sword fight that results contrasts sharply with the bravery and skill Tajomaru described earlier. It's interesting that the earlier fight seemed perfectly plausible within the framework of the story until the woodcutter's more realistic version makes it seem unlikely.

Rashomon plays with what we can perceive as truth. It paints a picture for us, and then tears it down when presenting another possibility which is equally likely. The film leaves us with myriad questions. What, here, is truth? Which tale, if any, is what truly happened? Do any of these stories have any truth in them? The image of the crumbling, rotted structure of the gate that the three men huddle under is a powerful metaphor suggesting the decayed notion of an absolute truth. Could it that each story contains its own grain of truth, which is expanded in each character's mind so that it blots out the details of the greater story, leaving only the image of that fragment and erasing the overall fabric of truth? Kurosawa's overall film seems to be suggesting that facts cannot be seen in black-and-white absolutes but rather should be viewed in more questionable, gray uncertainties where truth and fiction are side by side and perhaps mated. As the third man under the gate says, "we all want to forget something so we create stories. It's easier that way." "I don't mind a lie, if it's interesting."

Michaelangelo Antonioni's Blowup also plays with truth and reality in intriguing and different ways. Its main character is Thomas, a hot young photographer with a Beatles haircut, a Rolls convertible and girls hammering on his studio door for a chance to pose and put out for him. Thomas is bored and isolated in his everyday life, trapped in his job as a fashion photographer. He is working on a book of photos, which seems to be one of the few things that will arouse any passion in him. To close his book, he feels he needs something lighter than the dark material he already has, something with a little joie de vivre. He takes pictures of a couple frolicking in a park. However, the woman notices him taking these pictures and she chases after him trying to get the film from him. Later she shows up at his apartment, trying to retrieve the film. Not wanting to give up the end piece to his book, he gives her the wrong roll of film, and develops what he took in the park. Blowing up the photos, he notices something strange about them. In a fascinating scene where the detached and aloof Thomas sinks himself into his craft, he slowly analyzes and blows up further his pictures, until he discovers what may be a murder in progress.

With his camera, a device designed to capture the image of reality, he has taken what appear to be perfectly innocent pictures. But through the developing technology, Thomas is able to focus in further and further into the minor details of the photos. He blows up the image of reality, and seemingly achieves a clearer image of what truly took place. But is the image really clearer? Blowing the scene up further and further, he achieves a closer and closer look at what seems to be a man in the trees holding a gun. The woman in the park is looking at this gunman. Thomas also seems to have an "after" shot of what appears to be a body lying in the bushes, dead. But by blowing up the images, he brings them into less and less focus, creating more abstract images than a true picture of reality. Do these pixels really create the shape of a gunman, or is he simply seeing the play of shadows in the trees? Is that really a body, or a bushy outgrowth? Burrowing further and further after the truth, analyzing deeper into the picture the blowups seem to in fact be removing themselves further from a concrete reality and into a blurry abstraction of what may or may not be the truth.

Thomas goes back to the park to find the body, and he does, which seems to lend credence to the blurry images in his photographs. But when he returns to his studio, he finds that his pictures are gone, stolen. All he is left with is a close blowup, really a pixilated abstraction. He tries to convince others of what he has found, and chases after phantom images of the woman in the street. In one memorable scene, he fights with a crowd over a piece of broken guitar thrown off the stage by a band. And yet, when he leaves the club the band is playing in, he throws the guitar piece away. As was suggested in class, this seems to be suggesting that anything brought out of context becomes meaningless, as could be argued with the blowups as well. So concentrated does his blowups of small little details of the pictures become that he loses the bigger picture, he loses the reality.

Early the next morning, Thomas returns to the park to take a picture of the body, to make this unreality real, to prove that a murder had really taken place. But there is no body to be found, and the place where he saw it before looks like nothing had ever lain there. In the end, no reality has been found, no facts have been established. All he is left with is a grainy, blurry blowup of what could be a body or just as easily could be a bush. The film ends with Thomas watching some white faced students mime at playing imaginary tennis. Interested, he watches and even begins to participate with them, throwing back the imaginary ball when it bounces out of the court. And in the last scene, we see that he has disappeared from where he was standing. This is Antonioni's final thought, that everything shown is unreal, that there is no truth to be established here. The harder we seek for truth, the less there is to discover.

Both films give us intriguing insights into the nature of truth. From Rashomon we see the argument that absolute truth cannot be discovered, that the notion of truth itself is a decaying thing. Kurosawa seems to argue that truth may in fact be a relative thing and that a whole truth, a pure truth can never be discovered. Antonioni's Blowup seems to argue that truth is like Thomas's blow up - to fix upon and blow up a piece of reality, serves only to bring it into greater abstraction, and perhaps further from the truth. In both of these stories, things are not what they first appear to be, and when they are examined to discover the truth, it escapes us, perhaps because of the very attempt.

869.          Ray Bradburys Something Wicked This Way Comes

David Glasgo

Modules 15-16

Dec 20, 1996

Someone knows your secret dream, that one great wish that you would pay

anything for.  That person suddenly makes your dream come true - before you learn the

price you have to pay.  Ray Bradbury's, Something Wicked This Way Comes, is a chilling

and suspenseful thriller, making a boy's secret dream come true right before his own eyes

and that of his friend's too.  The story in this book continually jumps back and forth

between three characters; two which are always together and the other the library janitor

and father of the one.  Bradbury's style keeps the book flowing smoothly throughout all of

his hopping and skipping around.   He seems to be a mastermind of writing as the story

develops before your eyes and you get drawn in never wanting to leave, until the book is

over and you know the ending.  I felt like I was sitting right there on the clouds watching

all of this take place.  Bradbury pulls you into the book and makes it "our place, too."

All of this starts off quite interesting.  It is October, the month of Halloween, and

in this strange year Halloween came early.  A lightning rod salesman, come to the town

predicting a humongous storm that is coming this way.  The clouds speak their own

words, telling the same.  Jim Nightshade and William Halloway, neighbors and best

friends, one born a minute before October thirtieth and one born a minute after October

thirtieth, both lay there in Jim's front yard.  The salesman stopped and told them that the

storm was coming and it was coming for them.  One of their houses would get struck by

lightning and who was to say which one.  "This," said the salesman, "is the one."  He had

been talking about Jim's house, his was the one to get struck.

Will's father, a janitor for the town library, knew the storm was coming too.  He

had never sensed one quite like this, so fierce and strong.  As the kids arrived to get their

books, he smiled and whispered, "Just a storm, nothing but a storm."  He helped Will and

Jim get their books then sent them home quickly and then followed soon after.

Both Jim and Will, and Will's father had seen the signs of the carnival to come, but

in the month of October.   Either way the boys were excited.  That night the train came at

three in the morning.  Jim and will both heard it and both sat up at the same time.  They

opened their windows looked at each other and then looked at the train out of town.

They asked themselves why three in the morning and why that strange music knowing the

other was doing the same.  They both got dressed and raced out to the hilltop above the

field to watch them set up and see what they both sensed was wrong.  The clouds of the

sky dropped in low so that they couldn't see.  When they rose again the skeleton frame

was already set up.  They could only see one person, the rest were on the train.  As they

watched, poles of the tent started pulling the clouds onto them and spinning them into

canvas to form the top and sides of the tent.  This just couldn't be.  They got up and ran as

fast as they could home.  As they were running the finally realized what was wrong with

the music.  It was being played backwards, but there was no one playing the calliope that

was putting forth the music.  Will's father saw the two shadows running back towards the

houses as he walked home.  He had heard the music too through the open window of the

library.  "Three in the morning, thought Charles Halloway, seated on the edge of his bed.

Why did the train come at that hour?"

This book is a very good one even if you don't like adventure or fantasies.  It keeps

you interested in the book at all times and it reads very smoothly.  I suggest this to all

kinds of people to read.  Every girl should try at least one of Ray Bradbury's books to see

if you like his style.

870.          raymond carver

Have you ever had that eerie feeling in the back of your mind that something just is not right?  It is as if there is some unknown reason that a situation has a different meaning then what is obvious.  This feeling is the disguised backbone of Raymond Carver's story, "Boxes".  In this story the son seems to be experiencing this feeling as his mother decides to move again.  There are gaps in the story line which shows that the son's dialog does not match up with his thoughts throughout the situation.  These gaps highlight a hidden theme that associates the son's feelings about his mother moving with her death.

One of the reasons the son unconsciously believes he will never see his mother again, is because his mother mentions more than once in the story that she would like to die.  These gaps in the story where the mother mentions dying in the same scenes that have to do with her moving associates her moving with her death.  One instance that she mentions dying is where she is complaining about the weather in Longview:  "I mean it, honey.  I don't want to see this place again except from my coffin.  I hate this g.d. place.  I don't know why I moved here.  I wish I could just die and get it over with" (p. 413).  I do not think the son believes she really wants to die but she puts the idea of her dying in his subconscious.  There is a gap at that point that is up to the reader to figure out.

The gap is widened farther in that same scene.  The son remembers thinking about a man working on a power line.  The man leaned out supported only by a safety belt and the son thought about if the man fell.  The son is still on the phone with his mother:  "I didn't have any idea what I was going to say next.  I had to say something.  But I was filled with unworthy feelings, thoughts no son should admit to.  'You're my mother,'  I said finally.  'What can I do to help?'" (p. 413).  What were these thoughts?  Why doesn't the narrator tell us?  The son cannot help being affected by these powerful words of his mother.  This gap in the story is important because the son is thinking about how that man working on the pole could easily die if his safety belt does not hold.  At this point he also has unmentionable thoughts about his mother.  Because of this gap, the reader can assume that these thoughts concern his mother dying.  Because his mother mentions death, he starts thinking about her dying which continues through the rest of the story.

There were apparent gaps again later in the story when her son becomes upset when discussing her moving and his mother says: "I wish I could die and get out of everyone's way". (p. 421)  Again she brings up the topic of her dying.  We do not know why he was upset or exactly why she wants to die but we find it is connected to her moving back to California.  What is also important is that she says this in response to him getting upset.  If for some reason he never saw her again, it would stay with his conscious that she had felt this way because of his actions.

At the last dinner that the son eats with his mother, it really hits him that she is leaving.  He realizes he cannot stop her and that this may be the last time he sees her:  "I understand that after she leaves I'm probably never going to see her again"  (p. 421).  This passage opens up the son's mind to us because if he believed that she was just moving then he would not be convinced that he would never see her again.  The gap caused by this passage shows that the son thinks he will never see her again even though she is supposedly just moving.

The son is convinced by the scene where his mother leaves:  "Two days later, early in the morning.  I say good-bye to mother for what may be the last time"  (p. 422).  For the son, this is a very powerful moment.  It is like watching someone die, without being able to do anything about it.  His mother has made up her mind and he cannot do anything to change it.  It is not as if he consciously knows he will never see her again; in that case he could tell her why she can not leave.  It is just an awful gut feeling.

This gut feeling is less obvious in other scenes of the story which make it more important.  As the mother leaves that morning for her trip back to California, the son notices her appearance:

My mother holds my arm as I walk her down the steps to the driveway and open the car door for her.  She is wearing white slacks and a white blouse and white sandals.  Her hair is pulled back and tied with a scarf.  That's white, too.

The white color the mother is wearing signifies heaven.  Angels and God are always known to wear white and so it is associated with heaven.  The narrator includes this because it associates her leaving with going to heaven.  Still, the son does not know for sure that he will never see her again, it is just an eerie feeling which we are aware of because of the gaps in the story.

These hidden meanings in the story which come from the gaps, make up the true meaning of "Boxes".  The character's dialog indirectly tells us what they are thinking.  The part of the story when Jill, the son's wife, supports the mother's decision, clearly shows the relation between the mother's moving with her death: "I hope you have a safe trip back and you find the place you're looking for at the end of the road" (p. 418)  We, as readers, are supposed to believe that Jill meant at the end of her road trip but, we are also supposed to recognize this as a reference to the mother's death from Carver.

These gaps in the story are not careless errors by the author.  Raymond Carver placed these in the story on purpose to give the reader a sense of seeing what is not there.  By leaving gaps we get a similar feeling to the son in the story.  We realize that the reason he will probably never see her again after she moves is because Carver leads us to know that her moving is associated with her death.  Without the narrator ever saying "The son will never see his mother again because she is going to die", we still get that from the text.  This fits with Carver's style of writing because the reader can never tell until the end of the story what the meaning is.  In the case of "Boxes", the reader must read through the story and pick up on these gaps and what they mean before piecing together what Carver is trying to accomplish.

871.          Reader Response to Canterbury Tales

In his prologue, Geoffrey Chaucer introduces all of the characters who are involved in this fictional journey and who will tell the tales.  One of the more interesting of the characters included in this introductory section is the Knight.  Chaucer initially refers to the Knight as "a most distinguished man" and, indeed, his sketch of the Knight is highly complimentary.  In this essay, I will contrast Chaucer's ideal Knight with its modern equivalent.

The Knight, Chaucer tells us, possessed good horses, "but he was not gaily dressed".  Indeed, the Knight is dressed in a common shirt "much stained" by where his armor had left its mark. In other words, Chaucer is telling us that the Knight has just arrived home from service and is in such a hurry to go on his pilgrimage that he has not even paused before embarking on it to change his clothes.

Additionally, the Knight has led a very busy life as his fighting career has taken him to a great many places.  He has seen military service in Egypt, Lithuania, Prussia, Russia, Spain, North Africa, and Asia Minor where he always "won the highest honor".  Amazingly, even though he has had a very successful and busy career, he remains an extremely humble man: indeed, Chaucer maintains that he is meek "as a maiden".  Moreover, Chaucer claims the Knight has never said a rude remark to anyone in his entire life.

Clearly, the Knight possesses an outstanding character, and Chaucer gives to the Knight perhaps one of the most flattering descriptions in the General Prologue than any other character.  His Knight can do no wrong: he is an outstanding warrior who has fought for the 'true faith' (according to Chaucer) on three continents.  In the midst of all this, however, Chaucer's Knight remains modest and polite.  Thus we see him as the embodiment of the traditional chivalric code: bold and fearless on the battlefield, devout and courteous off it.

Apart from the moral message contained in the story, perhaps this tale of Chaucer's is of even further interest to modern-day readers.  In our twentieth-century America, we would like to think that we simply don't have enough people in our society who we can liken to Chaucer's Knight.  Perhaps we are under the impression that our modern society does not breed such virtuous people as existed in Chaucer's time.

We remember that Chaucer's work represented one of the few sources of literature available to the people of England in the latter half of the fourteenth century; The Canturbury Tales was indeed a precursory form of mass media during its time.  I pose that the essence of Chaucer's Knight was no more real in his day than it is today, and he was simply giving the people an ideal character to admire.  He never intended his fictional star to be interpreted as a reality, and he was only giving his readers what they wanted.  Today, our mass media delivers the same package and on a grander and even more fictional scale than ever before.  Through television, movies, and books, we are constantly exposed to fabricated personas of what we should be, and how we should act.

As a further example, during America's altercation with Iraq in 1991, the concept of the modest but effective soldier captured the imagination of the country.  Indeed, this nation's journalists in many ways attempted to make General H. Norman Schwarzkopf a sort of latter-day Knight.  He was made to appear as a fearless leader who really was just a regular guy under the uniform.

It would be pleasant to think that a person with the traits of Chaucer's Knight could really exist in the twentieth-century.  However, I argue that it is unlikely that people such as Chacucer's Knight lived and breathed even during Chaucer's time.  As he does with all of his characters, Chaucer is producing a stereotype in creating the persona of such an ideal man.  Chaucer, in describing the Knight, is depicting a chivalric ideal when, in fact, the history books that speak of the Middle Ages demonstrate that this model was rarely ever manifested in actual conduct.

872.          Realism In The Great Gatsby

F. Scott Fitzgerald's The Great Gatsby has been labelled a masterpiece, and perhaps even one of the greatest novels of all time. In order to be revered as a classic, a novel must have one or more qualities that place it above the rest. One of The Great Gatsby's best qualities is Fitzgerald's incredible use of realism. This realism is evident in the development of plot, setting, and characters throughout the novel.

The Great Gatsby is well known for its deeply entangled plots and sub-plots. At first Fitzgerald used realism to develop these plots by choosing plots that would be beleivable to readers. For example, the main plot of  "The American Dream" (Jay Gatsby's dream of becoming rich and succesfull in order to impress Daisy) is easily believable and is still a quite common dream today. Smaller plots, such as Tom Buchanans affair with Myrtle, are also very realistic and are a common occurrence in every day life. From here Fitzerald deepened the story by using realism to entangle these plots. Fitzgerald then grew apon these plots by making them all have realistic outcomes (such as Gatsby's demise), rather than your typical story book endings. It is mostly thanks to Fitzgerald's descriptive, poetic style of writing that allows him to realistically portray the many plots of The Great Gatsby. Fitzgerald's realistic construction and development of plot is extremely dependant apon the setting of the novel in which it take place.

F. Scott Fitzgerald uses realism to clearly depict the setting of the Great Gatsby. This incredible use of realism could be mostly due to the fact that Fitzgerald lived during the time of the novel, and by using great detail, he was able to reproduce his interpretation of the 1920's. At this time the Great War (WW1) had just ended and the United States was becoming as dominant world power. The novel takes place during the summer in New York as Nick Carraway has just moved to persue a career in the bond business. This is a very realistic setting because just after World War 1 the eastern United States were flourishing with people and business. As depicted in The Great Gatsby, during the 1920's jazz music was all the rage. Large, fancy homes and big parties (such as Gatsby's) were also quite popular. Fitzgerald realistically demonstrates the inexistence of the middle class at that time. For example the contrast between Tom Buchanan and Mr. Wilson shows vast difference between the upper and lower classes. The exact geographical location of the novel does not exist, but Fitzgerald does a great job in using realism to convince the reader of the setting. No matter how significant realism is to the setting of The Great Gatsby, perhaps the most important use of realism comes through Fitzgerald's development of characters throughout the novel.

In the Great Gatsby, as in any novel, the characters are the basis of the novel from which the plots revolve around. Fitzgerald uses realism to ensure that all the characters in the novel are belivable in both their history and interactions with each other. An prime example of this would be Daisy. Her history of having a succesful family, and being the center of attention deeply influences her character into being self-centered and dependant on wealth, making her character belivable to readers. From here Fitzgerald was able to manipulate the characters

This convinces the the reader of genuinity of each individual and therefore makes the whole story seem more realistic.

Throughout the novel plot was deepened through the entangling of many realistic sub-plots, setting was clearly illustrated using plenty of detail, and the characters were develloped to be as beleivable and genuine as possible. In the end it is the realistic recognition of life's imperfections that give The Great Gatsby its continuing appeal.

873.          Rebbecca Essay

Texts show us how experience often changes people. 'Rebecca', a novel written by

Daphne Du Maurier illustrates this point. Throughout the engrossing story, the characters

experience much and as a result, the characters undergo both temporary and life-altering

changes to their thoughts, beliefs and behaviour.

In the beginning of the novel, the narrator is the insecure, shy and inexperienced

paid companion of Mrs. Van Hopper. However, when she marries Maxim De Winter her

life totally changes. She enters a new and unknown world as she becomes part of the elite

class of society. She also has to cope with the many responsibilities and expectations

imposed on her as the wife of the famous Maxim De Winter. This experience changes

her into a worldly, more confident woman, but however this is a gradual development.

For example, early in the novel, the narrator has unrealistic romantic fantasies of her and

Maxim. However, after Maxim's blasé marriage proposal the reality of the situation

begins to dawn on her :

'And he went on eating his marmalade as though everything were natural. In

books men knelt to women, and it was moonlight. Not at breakfast, not like this.'

Here Mrs. De Winter changes with this experience. Her ideas of love which are

based on works of fiction, are quashed when her romantic expectations remain

unfulfilled. Although her unblemished perception of love begins to crumble in this

instance, later it is rebuilt by the love that she and Maxim share.

On the other hand, Maxim's experience with the narrator is somewhat different.

In the beginning of the novel, he seeks no romantic involvement but seeks

companionship. The experience of close communication with another human being, after

his self-imposed isolation after Rebecca's death, changes Maxim. When Maxim takes the

narrator for a drive in his car, he tells her of Manderley, the sun setting and the nearby

sea. At this moment, Manderley is the most precious thing to him in the entire world, and

he chooses to share this with the narrator. This time spent with the Mrs. De Winter

changes him. He realises that he needed companionship and perhaps unconditional love,

both of which could be attained by marrying the narrator.

In 'Rebecca', these two characters share a major life-altering experience. Maxim

confesses to Mrs. De Winter that he had murdered Rebecca, and that Rebecca had not

died accidentally in a boating accident as she was led to believe. She learns that Maxim

did not idolise Rebecca but despised her. These facts initially send Mrs. De Winter into

shock,  but afterwards she feels relieved. This wave of relief overrides the fact that

Maxim is a murderer. She now feels free of Rebecca's legacy; Maxim loves her and

no-one else. After his confession, Mrs. De Winter says : 'It would not be I, I, I any longer;

it would be we, it would be us.' The change in thought and behaviour because of this

experience has been great.

Maxim's reaction to his own confession differs slightly from his wife's. After he

tells the narrator his darkest secret, he begins to express his feelings and overall he

communicates more intimately with his wife. With his biggest vulnerability now

exposed, Maxim now feels free to love her. After telling Mrs. De Winter that he is a

murderer, Maxim's change in behaviour is definitely noticeable :

'I love you so much,' he whispered. 'So much.'

This is what I have wanted him to say every day and every night ... now he is

saying it at last.'

Here Maxim has changed for the better. His dark and brooding nature is now

balanced by the love which he has for his wife.

The novel 'Rebecca' shows us how experience often changes people. The reader

follows the narrator's evolvement from an insecure, shy girl to one who is confident,

strong and loving. The author also shows Maxim's internal struggle against 'darkness'

and his overcoming of it through finding love. By the end of the novel, Maxim is a caring

and loving person, a contrast to the moody, brooding character portrayed in the first half

of the novel. These developments have only occurred because of the harsh experiences

that both characters have encountered. Now they appear to be stronger people for it.

In conclusion, texts do show us that experience often changes people. This is so

because literature reflects reality. Conditioning is inescapable as our experiences mould

us into the people that we are today.

(725 words)

874.          Relations between the Kingdoms of Gondor and Arnor

The Realms-In-Exile were founded by the Faithful Numenoreans who survived the fall of Numenor in 3320 Second Age (SA). After the War of the Last Alliance (3434-41 SA) the relative standing of each throne changed, with Gondor growing to become a mighty power, whereas Arnor split into three seperate kingdoms, Cardolan, Rhudaur and Arthedain and declined in strength until it was destroyed in war with Angmar.

In the Second Age Gondor was ruled cojointly by Elendil's sons Isildur and Anarion. Elendil ruled in the northern realm of Arnor and was High-King of Gondor and Arnor. The institution of the high-kingship is no where defined. It does not appear to have provided any authority in the affairs of the other kingdom(s). However, it conferred on a ruler a superior stature in dealings between the kingdoms, notably in wars involving the associated kingdoms. Hence, the leaders of the Last Alliance were Gil-Galad and Elendil, the High-Kings of their respective folk.

The ruling Dunedain of Arnor and Gondor were bound not only by the High-Kingship, but by kinship and a common foe, Sauron. Therefore, when Sauron attacked Gondor, Elendil formed the Last Alliance with Gil-Galad (3430 SA) and marched south with the Men of Arnor.

The war witnessed the overthrow of Sauron's power and large loss of life, including the death of Elendil and Anarion, and soon after, the death of Isildur at the Gladden Fields (2 TA). Menedil, born 3318 SA the fouth child of Anarion, became King of Gondor; Valandil, Isildur's surviving son, born c. 3431 SA, assumed the kingship of Arnor in 10 TA when he was around nineteen. The seniority of Menedil over Valandil and the gap of 8 years before Valandil assumed the throne probably contributed to a change in political relations. Though it is unstated, I think Isildur's death resulted, de facto, in the ending of the High-Kingship. The reasons may be found in comments by Tolkien on Isildur and Menedil:

"After the fall of Sauron, Isildur, the son and heir of Elendil, returned to Gondor. There he assumed the Elendilmir as King of Arnor, and proclaimed his sovreign lordship over all the Dunedain in the North and in the South; for he was a man of great pride and vigour."

(Unf. Part 3, I, p.271)

"Isildur had established Menedil as King of Gondor...He was in factwell-pleased by the departure of Isildur and his sons, and hoped affairs in the North would keep them long occupied."

(Unf. Part 3, I, p.279)

From these lines it seems that the High-kingship required an individual of strength to wield it and that the rulers of Gondor did not desire the involvement of the ruler of Arnor in their affairs. I would argue that after Isildur, Arnor's kings either lacked the power or the personal will to assert the High-Kingship in the face of Gondor's desire to have sovereign power exercised solely by the heir's of Anarion (see also the reply by the Council of Gondor to Arvedui's claim in LOTR App. A (iv) p.1086). Although the next ten rulers of Arnor after Isildur were called High-Kings, it is unknown if they exercised any superior authority in their relations with their southern kin.

After the overthrow of Sauron, the Two Kingdoms had no apparent common foe. Combined with the ending of the High-Kingship, this meant that neither kingdom provided military aid to the other in their wars until too late. Arnor battled Angmar from the 1300s; Gondor fought or conquered threats from Rhun and Harad. Both Arnor and Gondor had closer ties with neighbouring folk who were allies in their deadliest conflicts: Arnor with Rivendell and Lindon; Gondor with the Northmen of Rhovanion.

Close ties did exist between the Two Kingdoms, nonetheless.Tolkien, referring to the movement of Hobbits into Eriador having been communicated to Gondor, stated that

"The kingdoms of the North and the South remained in close communication at that time [the Elventh Century Third Age], and indeed until much later, and each was well informed of all events in the other region..."

(Unf. part 3, section I, p.287).

Trade was conducted between Gondor and the North, based on the port of Tharbad (Unf. Part 2 section II, p.264). There were doubtless other undocumented contacts such as attendance at royal coronations in both regions, and merchant and scholars from both realms trading/studying in the other's cities. Such links were made possible by the North-South Road, sea-travel and, for royal purposes, the Palintiri.

There were may have been occasional tensions between the kingdoms: for instance, if Gondor showed favouritism towards one of Earendur's three sons in the succession dispute of 861 TA, or if Arnor gave recogniton during Gondor's civil-war (1432-48 TA) to the rebel usurper Castimir only to find the lawful king restored a decade later. And there was definitely tensions caused over the succession dispute in 1944 TA. However there was never any armed conflict between Arnor and Gondor.

Relations between the kingdoms changed however as a result of the Great Plague. Up till now they had shared a common border at the River Gwathlo (see LOTR App. A (iv) p.1082 for the expansion of Gondor's borders). Afterwards Arnor's borders withdrew from the Gwathlo to the Baranduin and East-West Road and the two kingdoms were seperated by a large stretch of depopulated lands (Cardolan, Enedwaith and Calenardhon). There is a description of the impact of the disaster on one area of close co-operation, the port-town of Tharbad:

"...until the coming of the Great Plague in Third Age 1636, both kingdoms shared an interest in this region [Enedwaith], and together built and maintained the Bridge of Tharbad...A considerable garrison of soldiers, mariners and engineers had been kept there until the seventeenth century of the Third age. But from then onwards the region fell quickly into decay;"

(Unf. Part 2, II, p.264).

This is most likely indicative of a general decline in trade and contacts between the two realms. Further factors in declining relations were the focus of royal attention in Gondor on the threat from the Wainrider's from the mid-eighteenth century TA and the reduced importance to Gondor's rulers and people of the surviving region of Arnor:

"..to most men in Gondor, the realm in Arthedain seemed a small thing, for all the lineage of its lords."

(LOTR App.A (iv) p.1087)

The two royal thrones are described as becoming estranged until around 1940 TA when they again started to take counsel together.

"It was in the reign of Araphant in the North [1891-1969] and of Ondoher..in the South [1936-1944] that the two kingdoms again took counsel together after long silence and estrangement."

(LOTR App.A (iv) p.1086)

Subsequent events are described in detail in Appendix A (iv) to the Lord of the Rings: the perception by the Araphant and Ondoher that they had a common enemy who was directing apparently separate assaults against the survivors of Numenor, the marriage of Arvedui, heir to the Northern throne, to the daughter of the King of Gondor, and the agreement for the kingdoms to aid each other as soon as was possible. This new co-operation, though borne out of the danger facing each kingdom, was a good omen. Events take an unexpected twist in 1944 with the death of the Ondoher and his three sons: Arvedui claims the throne of Gondor, but his right is rejected by the Council of Gondor (because of pride, and fear perhaps of another Kin-Strife). Arvedui as King of Gondor and heir to the throne of Arthedain, would have restored the High-Kingship and this may have prevented later evils (see the words of Malbeth the Seer, LOTR App. A (iv) p. 1087).

War prevented either kingdom from aiding the other until in 1973 Arthedain sent urgent pleas for aid; the King of Gondor prepared a force and dispatched it under his son. Angmar meanwhile conquered Arthedain. But the Gondorian army with the aid of Lindon and the surviving people of Arnor destroyed Angmar. Though it failed to save its allie and sister kingdom, Gondor's action did prevent a victorious Angmar from ravaging Eriador and eventually posing a threat to Gondor's western border.

My work contains an amount of speculation mapped onto the known facts, but the overall pattern of relations is clear: Relations were closest under the High-King Elendil, and were still strong in the Third Age, until the Great Plague of 1636, after which contacts declined for three centuries. Contacts were renewed by the royal marriage of 1940 TA but then terminated by the fall of Arthedain. There the matter ends until the Fourth Age and the return of the King. The Northern Realm is gradually restored and Elessar rules both Gondor and Arnor as High-King of the Reunited Kingdom, suggesting a single throne for both realms and a return to the close ties that existed under Elendil.

(Warren Lawless 1996)

875.          Released From the Grip of What He Carried Freedom From His C

"They dreamed of freedom birds.  At night, on guard, staring into the dark, they were carried away by jumbo jets.  They felt the rush of takeoff.  Gone! They yelled. (286).  "Freedom bird" an appropriate term for the jumbo jets that take the soldiers from their tour because it gives them the freedom from what has been holding them back.  Throughout the story, First Lieutenant Jimmy Cross has his mind everywhere but on his infantry he is supposed to be leading on the tour.  The story shows how even the smallest memory, letter, or picture can draw anyone from reality.  It shows several men's struggle to overcome their predisposed conscience and deal with reality.

It has become one of the most common occurrences in any war.  Grandfathers, uncles, and  even brothers have told how they would recall as they were fighting, they themselves carried the unnecessary on a tour.  The seemingly innocent picture, the numerous letters sent, and even thoughts of what it was like to be home, all of a loved one is now shown to have an impact.  As seen with Jimmy Cross, some men even went to a profound obsession.  As mentioned early in the work, Jimmy Cross carries letters and two pictures from a friend named Martha.  The story tells how "he would dig his foxhole, wash his hands under a canteen, unwrap the letters and photos, hold them with the tips of his fingers, and spend the last hour of light pretending, he would imagine romantic camping trips..." (275). One picture is a black and white picture of Martha standing against a brick wall.  It is told how Martha has an apparent neutral look to her, and Cross can't help but notice the shadow of the person taking the picture.  Cross knows she has boyfriends, knows she is closer to men other than himself.  The other picture that Cross has is one of Martha clipped from a yearbook.  It is a shot of Martha playing volleyball for her school.  In the picture, Martha is "bent horizontal to the floor, reaching, the palms of her hands in sharp focus...the expression on her face taut and competitive" (276). The usual glance at a picture isn't enough for this man.  It becomes an obsession for him to do this every night, sometimes he "licks the envelopes knowing that her tongue touched the paper" (275).

O'Brien gives the impression that Cross has the deepest thoughts for Martha throughout the story.   He mentions on numerous occasions that  Cross is thinking about her, and imagining being with her. Cross remembers back to when he touched her knee in a theater, but pulling it away when he felt uncomfortable when Martha gives m a certain look.  When Cross receives the stone that Martha picked up on the Jersey shore, he daydreams that he "wondered how...the Jersey shore line was when Martha saw the pebble and bent down to pick it up...imagining her bare feet" (278).  In the letter that accompanied the pebble, Martha mentions that she picked up the pebble from where the water and the land meet where it has a "separate but together quality" (278).

Cross is not the only man who carries strange objects to deal with the war and the absence of home.  One guy in the infantry carries not only his normal gear and necessities is Ted Lavender. He carries "six or seven ounces of premium dope...and tranquilizers" (276).  The story depicts Lavender as the type of person who is always taking some form of drug in order to deal with the war.  Lavender's fate is met when he "pops off a tranquilizer and goes off to pee" then he "was shot in the head on the way back of the head on his way back from peeing" (280).  Kiowa, another member of the infantry, carries not only hatchet with which he cuts off a thumb of an enemy.  Harry Dobbins carried his girlfriend's panties around his neck, and Dave Jansen carried ear plugs.

Throughout the story, Cross' thoughts switch back and forth between real life, daydreams, and thoughts of Martha.  The story starts out telling of who Martha is, how he feels for her, and what he would do for her.  Next, the tone moves to what soldiers carry on tour.  O'Brien tells how much certain items weigh and what they are used for..  It is as if Cross can't help but to think of this woman when he gets bored of the war.  Cross even believes that it is his fault for the death of one of his men.  Cross felt that it was because of his daydreaming that Ted Lavender died.  After Lavender died, Cross began to think about his actions.  He realized that throughout the war, he spent his time dreaming of a woman he hardly  knew.  How she herself had no special feelings for Cross and she was just writing to him because she felt a responsibility to.  Although seemingly reaching out to him, she in fact had no deep feeling for him.

Lieutenant Jimmy Cross, in the end, realized the mistakes he's made.  He sees that he has unknowingly threatened the lives of the men he is responsible for, and has been lead on by Martha.  He realizes that he has held on the his memories of her, and her letters only to have memories of home with him while he is so from form it.  He realizes that this notion  of  having Martha to think about is

slowing him down, and he needs to get on with his job.  Cross "crouched at the bottom of his foxhole and burned Martha's letters.  Then he burned the two photographs" (287). By burning his material memories of Martha, Cross "frees" himself of what has holding him down from working to his full potential.  He has nothing to stop and look at or read, but he does have his thoughts of Martha.  "Briefly in the rain, Lieutenant Cross saw Martha's gray eyes gazing back at him...It was very sad...The things men carried inside...he almost nodded at her, but he didn't" (287).  This is the turning point in the story.   This is where Cross gets on with his tour.  This is where Lieutenant Cross started to "remind himself that his job is to lead" and he will "dispense of all love: it was not now a factor" (288).

O'Brien's use of the term "freedom birds" is appropriate when referring to the jets that take troops away because it carries them away, far away from where they don't want to be.  Late in the story, Cross realizes what his affixation  to Martha has cost him and his men.  He want's to rid himself of the burden, but can't.  When Cross finally rids himself of the burden, he is ready to march on, he is ready to do his job.  Cross "feels the rush of takeoff.  Gone!" (286).

876.          Religion in Jane Eyre

Religion in Jane Eyre

Charlotte Bronte addresses the theme of Religion in the novel Jane Eyre using many

characters as symbols. Bronte states, "Conventionality is not morality. Self-righteousness

is not religion"(preface v). In Jane Eyre, Bronte supports the theme that customary actions

are not always moral through the conventional personalities of Mrs. Reed, Mr.

Brocklehurst, and St. John Rivers.

The novel begins in Gateshead Hall when Jane must stay away from her aunt and

cousins because she does not know how to speak pleasantly to them.  Mrs. Reed,

possesses a higher standing in society. Due to Jane's lower class standing, Mrs. Reed

treats Jane as an outcast. As Bessie and Miss Abbot drag Jane to the "red room" a most

scary room for a child, she is told by Miss Abbot: "No; you are less than a servant for you

do nothing for your keep"(14).She must stay in the red room after she retaliates to the

attack John Reed makes upon her, her obnoxious cousin. John tells Jane "mamma says;

you have no money; your father left you none; you ought to beg, and not live here with

gentlemen's children like us and eat the same meals that we do, and wear clothes at our

mama's expense"(12).

She receives no love or approval from her family. The only form of love that she does

have is the doll she clings to at night when she sleeps. Mrs. Reed is a conventional woman

who believes that her class standing sets her to be superior, and therefore better than a

member of her own family. As a result of Jane's tantrums, quick temper, and lack of self-

control, society classifies her as an immoral person.  She speaks up for her herself when

she knows she is not supposed to, and her family believes that she acts more like a "rebel"

than a young woman. Her spontaneous and violent actions go against conventionality and

she must suffer for being so free-spirited.  Miss Abbot believes: "God will punish her: He

might strike her in the midst of her tantrums"; (15). Jane's tantrums are not customary or

acceptable, so during those precise moments of her tantrums, she is especially susceptible

to God's punishment.  Miss Abbot constantly reminds Jane that she is wicked, she needs to

repent, and she is especially dependent on prayer. The Reed children, in contrast, are

treated completely opposite. Although John Reed is cruel and vicious to Jane, he receives

no type of warning that God will punish him.

The novel proceeds to Lowood, a school designed to educate and care for orphaned

children. Mrs. Reed decides to send Jane there after the doctor, Mr. Lloyd, advises her

that Jane should attend school. Mrs. Reed is glad to be rid of Jane and asks Jane not to

wake the family the day of her departure.  Jane arrives at Lowood and observes the

behavior of the students.  They are "all with plain locks combed from their faces, not a

curl visible; in brown dresses, made high, and surrounded by a narrow tucker about the

throat"(49). The day is long and all students must wake up at dawn and read the Bible for

hours at a time.  One day, Miss Temple serves the children cheese in order to compensate

for their burnt porridge. Mr. Brocklehurst, the self-righteous leader of Lowood, tells Miss

Temple: "You are aware that my plan in bringing up these girls, is not to accustom them

to luxury and indulgence, but to render them, hardy, patient, and self-denying"(65). Mr.

Brocklehurst stresses the importance of plain clothing and humility.  The acts performed

by Mr. Brocklehurst are even more hypocritical when one compares them to the acts of

Helen Burns. She serves as a role model to Jane and states: "Love your enemies; bless

them that curse you; do good to them that hate you and despite fullly use you"(60).

Bronte uses Helen's beliefs as a contrast to the conventional and self-righteous actions of

Mr. Brocklehurst.

Life continues at Lowood and the children trudge to Brocklebridge Church daily in the

freezing cold without proper clothing. The long walks coupled with the lack of food at

Lowood lead to an outbreak of typhus.  During this outbreak, Helen dies and she states "I

count the hours till that eventful one arrives which shall restore me to him, reveal him to

me"(114).  Here, Bronte emphasizes the point that Helen dies happy and clings to her

religious beliefs. The outbreak of typhus leads authorities to examine the school. They

discover the awful conditions the students of Lowood live in. "And the discovery

produced a result mortifying to Mr. Brocklehurst, but beneficial to the institution"(116).

Mr. Brocklehurst is punished for his actions. He no longer may run the institution on his

own. He is a self-righteous man who confused the ideals of Religion with suffering.  Jane

blossoms at Lowood and acquires many new skills.  Mr. Brocklehurst was not able to

fulfill his desires to change his students at Lowood into servants and sufferers because

others gained authority over him. Bronte's views that "self-righteousness is not religion"

are supported through the actions of Mr. Brocklehurst.

The novel then proceeds to Thornfield, where Jane meets Mr. Rochester.  She falls in

love with him after some time, but she leaves him when she finds out that he would

commit an act of bigamy if he marries her.  Jane ends up with the Rivers family. Jane

meets a very enthusiastic religious man, St. John, who devotes his life to performing

religious acts. Jane states, "He was comparatively seldom at home: a large proportion of

his time appeared devoted to visiting the sick and poor among the scattered population of

his parish"(353).  As a clergyman, St. John Rivers performs all of the duties that society

expects of him, he visits the poor, he takes care of the sick, and he plans to take mission

trips.  If St. John believes that the society will perceive a mission trip to India as a

beneficial thing, then he will go to India. All of his actions are planned and traditional and

as a result, St. John takes no personal satisfaction in the work that he does. As Jane learns

about St. John, she realizes that he is similar to Mr. Brocklehurst, she seems to get a hint

of distrust in him. St. John Rivers is also a hypocrite. He preaches the news of  God, as a

missionary, but he simultaneously commits a very sacrilegious act. He tries to force Jane

to marry him when he states: "and do not forget if you reject it, (the proposal) it is not me

you deny, but God"(411). St. John focuses his life on the acts of Religion and is not a

happy person and is not easily able to lead a satisfactory life. Like Mr. Brocklehurst, he

confuses the idea of conventionality with morality.

The novel ends when Jane marries Mr. Rochester, who establishes a firmer grasp on

religion. He has overcome many handicaps throughout the novel.  He once believed that

he had to lavish individuals with gifts in order to show his love for them.  When the novel

ends, Rochester has changed his value system and no longer places an extreme emphasis

on physical things, he confesses his sins to God.  He does not confuse morality with

conventionality as St. John and Mr. Brocklehurst have. He knows that in order to maintain

a relationship with God, he does not have to travel to church in the freezing cold.  Bronte

uses Mr.Rochester as a contrast to Mrs. Reed, Mr. Brocklehurst, and St. John Rivers. Mr.

Rochester changes his conventional ways, and then is able to live a more moral and happy

life. The characters Mrs. Reed, Mr. Brocklehurst, and St. John lead their lives in

conventional and self-righteous ways and Bronte portrays them to be corrupt. This idea

supports the main theme in JaneEyre, "Conventionality is not morality.  Self-righteousness

is not religion".

877.          Religion is the Opiate of the Masses

Religion is the Opiate of the Masses

There was once a great philosopher who stated that religion is the opiate

of the masses.  i believe that this holds true even today.  Except what keeps

people in a daze is television.  Television is rarely used for any good today,

for example, do you really think that full house is an intellectual stimulus?

hell no.  TV is designed to be brain candy for the weak-minded and ignorant.

The internet is more useful and I might add, stimulating. This is a medium in

which you can interact and communicate with others instead of sitting on your

ass drooling watching itchy and scratchy.  There are honestly interesting sites

available on this medium.

I have heard people call television the "one-eyed monster", this simply

suggests to me that this person is obviously poor-bred or simply ignorant.

Television can be used to convey pornography, religion, drug use, love, or any

other possible subject to be dealt with.  The actual machine itself is not bad,

it is the people who provide the programming for it that are the cause of the

problem.  Do people really think I give a rat's ass if Uncle Joey makes it or

not?

I do not want to come across as saying that televison should be abolsihed

altogether, not at all.  I personally love seinfeld and the occasional Beavis

and Butthead, but everything in moderation and nothing to excess, so to put it

simply, do not overdo it, or you will end up a moron who needs Tom Brokaw to

tell them what is right and wrong.

878.          Rembrandt and Bernini 2852

Rembrandt Harmenszoon van Rijn was born July 15, 1606 in Leiden, the Netherlands. His father worked at a mill, as did many Dutchmen, but wanted his son to work in an academic profession. However, Rembrandt left his studies at the University of Leiden in order to study painting.

His work had become well known by 1631 and so he left his successful Leiden studio for Amsterdam. After this he became Holland's premier painter. As a well-known painter, many of his commissions involved portraits. He was an upper class citizen, unlike many artists, and married Saskia van Uylenburgh, who would become one of the main subjects of his works. He known for his landscape paintings as well, and he was one of the more prominent etchers of the time. In fact, one source says that he ranks "among the foremost of all time" for his etchings. When he had no other subjects to paint, he created self-portraits, the number of which is estimated at between 50 and 60.

In his early days in Leiden many of his works showed the lines, light and shade, and color of everyday people. By 1634 his works were starting to show strong lighting effects. But in 1636, his works displayed quieter, more reflective scenes, with warmer colors. After his wife's death in 1642 and the deaths of three children in infancy, he painted his most famous work, The Night Watch. In it, a group of city guardsmen await the command to fall in line. Unlike most paintings, he shows each guardsmen the care and detail that he would put into a single portrait, but it seems that the figures of the men are not as interesting as the whole painting, which shows brilliant color, much movement, and bright light.

Rembrandt, as an upper class citizen, enjoyed a comfortable lifestyle. He bought many paintings from other artists. However, by the 1650s he was living beyond his means and thus his house and goods had to be auctioned off in order to pay his debts. He had fewer commissions by that time, but his financial status was far from intolerable. He died October 4, 1669, in Amsterdam.

While no one is quite sure how many works he made, the current estimate is 2,300. This breaks down into 600 paintings, 300 etchings, and 1,400 drawings. As Dutch painter Jozef Israels said, Rembrandt was truly "the true type of artist, free, untrammeled, by traditions."

In Leyden, Holland, the year of 1606, the renowned artist known as Rembrandt van Rign was born. At age seven he began attending grammar school where he studied the classics, Latin, possibly Hebrew, and the Bible. Seven years later Rembrandt's father made plans for sending him to a university. Rembrandt, whose only desire was to paint, refused. From the years 1620 to 1623, Rembrandt studied in Amsterdam under Pieter Lastman. It his Lastman who probably first exposed Rembrandt to Renaissance painting and Christianity as a major theme. This style of painting Christian topics though, was more one of expressing fantastic stories, than teaching the Bible. By age nineteen, Rembrandt began to search for his own style. For the next seven years he painted in a grandiose and lucid technique, painting the stories of Samson, David and Goliath, Judas, and Saint Paul. These works would soon bring him much fame and wealth, but only for as long as he was willing to refrain from the avant-garde.

Throughout his career, Rembrandt van Rign went from Amsterdam's famous painter--enjoying great wealth, to the impecunious, prodigal son--awaiting forgiveness. Rembrandt's life was a tragic one full of misfortune, loss and grief, leading him to rely greatly on religious solace. No matter what his social status, fortune or demeanor, Rembrandt always stayed near to his faith in the Bible and its teachings. Though he was never much a man of chastity or religious practice, his faith in Christianity was unwavering. The purpose of this paper is to study Rembrandt the artist, how he was affected by social life and, more pointedly, his religious beliefs. It is not certain whether Rembrandt ever belonged to any particular church, though many believe he may have been a Mennonite for a short period. What is known for certain though, is that just prior to his death in 1669, the only possession of a then destitute Rembrandt consisted of a single book: the Holy Bible.

In 1632, at age 26, Rembrandt left Leyden to live in Amsterdam, the center of intellectual life in Holland. Two years later he married Saskia van Uylenburch who was from a prestigious family. The Rembrandt of this time was a man of pleasure and passion, whose artwork had made him a very popular painter and quite rich. His great joy over his wealth and popularity can be seen in paintings such as Rembrandt & Saskia. Rembrandt's style at this point combined a fluid, naturalist technique with baroque gesturing. During this period in his life, Rembrandt became a very large spender, placing large bets and buying most any piece of art he saw. The method he used in buying a painting was to make his first bid so outrageously high that the other bidders would not even bother to compete for the piece.

While other artists in Holland were painting landscapes and social life, Rembrandt continued to focus on the stories of the Bible. Even though much of his subject matter dealt with the Bible though, Rembrandt was not a true Biblical painter. Paintings like The Raising of Lazarus (1632) depicted Christ as if he were more a sorcerer than the Son of God. The influences of Jan Sanders van Hemessen (1500-1566) and Michelangelo Merisi da Caravaggio (1573-1610) are most evident in Rembrandt's The Calling of St. Matthew, which uses the method of making biblical scenes worldly and common. The influence of Peter Paul Rubens (1577-1640) can be seen in Supper at Emmaus (1629). The use of light to create depth and shadow gives the painting a theatrical aspect common in Rembrandt's work at this time.

His early years in Amsterdam were ones of fame and fortune, but Rembrandt was a man who kept to himself, staying at home with his wife Saskia and constantly developing his work. In 1641, after several miscarriages, Saskia gave birth to their son Titus. Despite Rembrandt's rather esteemed social stature, he remained the recluse, often using Saskia and Titus as models for his paintings. At this time Rembrandt's work caught the interest of Prince Henry Frederick, who commissioned Rembrandt to produce a series of paintings, but Rembrandt was not a man to paint as others told him and soon his style would change.

In 1642, after less than eight years of marriage and only a year after the birth of their son, Saskia died, marking the beginning of Rembrandt's years of grief and loneliness. That same year he hired a widowed housemaid, Geertghe Dircx, who would soon become very close to him. At this time in his life, it is believed that Rembrandt may have joined the Mennonite church, but he was probably later kicked out for his then degrading status, if not for his relationship with Geertghe. In 1649 Rembrandt dismissed Geertghe; she died a year later in a mad house.

During the years of 1642 through 1648, Rembrandt slowly changed his artwork to a style devoted entirely to inducing spirituality. When comparing Supper at Emmaus (1648) to its 1629 counterpart, the drastic change in technique is quite evident. Rembrandt dropped the theatrical quality in his use of layout and lighting; depicting Christ head on, under normal lighting. Christ is placed in the center beneath an arch, giving the painting a symmetrical layout. As Rembrandt became more dejected in life, he worked harder at striving to depict biblical scenes that were pure and of the utmost holiness. His painting Night Watch is noted for its excellent use of chiaroscuro. The eyes are deep and sorrowful and the expression seems to be that of triumph over great inner-struggle. It is believed that during this time Rembrandt may have been subject to the Copernican revolution, and surely this art piece seems to show that Rembrandt was reclaiming his solitude. Unfortunately, his drastic change in style cost him his popularity, which of course also meant his income.

In the early Renaissance, art was a way to teach the Bible to those who could not read. Since Christianity spread most quickly among the lower class, who were illiterate, this was especially important. As the years past though, literacy increased and art became less biblical. Calvinism had some effect on this because there was a fear of idol worship and much art was destroyed as a result. The Protestant Reformation did not condemn artwork, but instead placed its emphasis on Bible study. The year 1648 was one of victory over Spain and so many artists in Holland based their artwork on this subject. Rembrandt was still focusing on biblical scenes, becoming truer to the spiritual aspects to be found. His artwork was no longer based on the Renaissance idea of humanism and the glory of man, but instead depicted man as humble before God.

Many believe that Rembrandt may have been the most influenced of all artist by the Protestant Reformation. The Reformation was undoubtedly compatible to Rembrandt's newly found homage to God's grace and his rejection of human glory and beauty. Rembrandt was also very fond of the Bible. His mother read the Bible to him every day, and it's believed that many of Rembrandt's paintings depicting a woman reading the Bible are probably of his mother. Rembrandt himself, unlike most artist of the time, actually read the whole Bible and painted many different stories as compared to the same four to five repeated by artists such as Albrecht Dürer (1471-1528) and Peter Paul Rubens. Unfortunately, Rembrandt's prestige continued to decline despite his spiritual enlightenment.

In 1651 Rembrandt met Hendrickje Stoffles, but was unable to marry her because of Saskia's will. He had already spent the inherited money, which was only his if he never remarried, and by this point Rembrandt was very poor due to his prior life of frivolous spending. A year later Hendrickje gave birth to their daughter Cornelia. This combined with Hendickje's four appearances before the church council for living in sin, completely ravished any esteem society had once held for him.

Four years later Rembrandt was forced into bankruptcy and had to sell all of his acquired paintings. During these last years in his life, Rembrandt seemed to focus on themes dealing with the mercies of God. From 1656 to 1561 he produced eight paintings of Christ as Gethsemene, as compared to one in the years prior. Rembrandt never painted a single Last Judgment, but instead painted stories dealing with the themes of having a second chance such as Raising of Lazarus and Prodigal Son. It seemed as if these topics of humanity and forgiveness were ones Rembrandt hoped to have for himself. In 1662 Hendrickje died. Titus died in 1668, less than a year after being married. During this time Rembrandt lived in virtual seclusion, rarely leaving his home. The last piece Rembrandt would paint before his death in 1669 was The Return of the Prodigal Son. Rembrandt died in the service of a moneylender; his only procession was a Bible. Holland's greatest painter was ironically given the modest burial of a peasant.

Rembrandt van Rign evolved from paintings of his merry self wearing a red velvet hat - thrusting forth a glass of wine, to the stoic Bible scenes reminiscent of Michelangelo's later work. Though not a man of religious practice, he was a man of great faith. Rembrandt was willing to put his beliefs before material goods, social status, and wealth. The influence of religious reformation and his tragic social life sent Rembrandt's work in a direction that, like many great artists, caused him to be scorned by his own generation, but would later be appreciated and studied forever.

A contemporary of Frans Hals named Rembrandt Van Rijn was the most innovative, prolific and famous of the Dutch Baroque artists. Known simply as "Rembrandt", the artists is considered to be one of the greatest painters in the history of Western art. Rembrandt was greatly influenced by the ideals of the Protestant Reformation as well as the style of the great masters of Catholic Italy and Flanders. He studied the work of the Venetians, Caravaggio and Rubens. He is regarded as one of the greatest artists in the history of Western art not only for his extraordinary painting technique, but also for his innovative ability to capture the private individual and to humanize religion. Rembrandt painted many subjects including genre scenes and biblical stories.

However, he is perhaps best remembered as a master portraitist and his greatest contribution to the medium of painting was his innovations in representing light. Rembrandt's mature painting style can be characterized as: refining light and shade into he finer nuances until they become one. Although definitely influenced by tenebrism, Rembrandt's lighting technique is less exact and theatrical than Caravaggio's. His is a more gradual, natural approach to representing light, taking into consideration the way our eye views light and shadow. Rembrandt captures the way light responds to an object naturally.

We will end our discussion of Rembrandt by looking at an example of a biblical subject done in the graphic medium of etching. Rembrandt was not only a talented painter, but a gifted graphic artist as well. Prints by Rembrandt such as "Christ with the Sick around Him, Receiving the Children" from 1649 often commanded high sums and were very popular with the Dutch. In fact this work was nicknamed the "Hundred Guilder Print" after it fetched that sum, which was an extremely extravagant price to pay in 1649. Rembrandt's biblical scene depicts Christ ministering to the sick and orphaned. The simple, meditative presentation of calm figures in diffused light couldn't be more different from the emotionally charged, sharply lit, theatrical scenes of saints by the masters of the Italian and Flemish Baroque. The stillness of the scene encourages the viewer meditate and look inward, formulating their own relationship with the work and its message. This image is less about the power of the church and more about the humanity and humility of Christ.

Rembrandt demonstrates his ability to render subtle contrasts of light and shade, even in the delicate medium of etching. He also demonstrates a unique sensitivity to the symbolic nature of light. Rembrandt's ability to convey emotion or mood through light is a hallmark trait of his style, and a technique adapted by future artists, and filmmakers.

One of Bernini's greatest works can be found at the Cornaro Chapel, inside the church of Santa Maria della Vittoria in Rome. Bernini worked on this private religious commission between 1645 and 1652. The Cornaros were a wealthy family who asked Bernini to create a sculpture for their private family chapel in their local parish church. The work of art that Bernini gave them was much more than a mere sculpture, rather, it was a multi-media piece that included sculpture, architecture, painting and stained glass, the focal point of which was the dramatic representation of the "Ecstasy of St. Theresa." The German term for a "total work of art" that employs more than one medium such as this is known as a "Gesamtkunstwerk." Bernini created a total environment and setting for the subject matter.

On either side of the sculpture the artist carved relief sculptures in polychromatic marble depicting the male members of the Cornaro family gazing down at the figure of St. Theresa above the altar. The main sculptural group of St. Theresa and an angel is presented within an architectural setting reminiscent of a stage. Above the figures is a hidden light source that enhances the glimmering gilded rays of light that rain down on the pair.

"Bernini was a sculptor, painter and architect and a formative influence as an outstanding exponent of the Italian Baroque. He was an exceptional portrait artist and owes to his father his accomplished techniques in the handling of marble and also an impressive list of patrons that included the Borghese and the Barbarini families. Bernini originally worked in the Late Mannerist tradition but rejected the contrived tendencies of this style. By 1624 he had adopted an expression that was passionate and full of emotional and psychological energy. His figures are caught in a transient moment from a single viewpoint, bursting into the spectator's space. In 1644 such interpretation reaches maturity in his rendition of the vision and Ecstasy of Saint Teresa. The Spanish nun swoons in heavenly rapture at the point of an angel's arrow. The work is a prime example of Bernini's vision of a decorative whole combining different materials and colours within an architectural space. A succession of powerful patrons in Rome and in Paris assured his reputation as an entrepreneurial artist who captured the spirit of the Counter-Reformation. His extreme and intense characterizations have fallen in and out of favor but his Baroque legacy remains intact."

879.          Rembrandt van Rign 1864

Rembrandt van Rign

In Leyden, Holland, the year of 1606, the renowned artist known as Rembrandt van Rign was born. At age seven he began attending grammar school where he studied the classics, Latin, possibly Hebrew, and the Bible. Seven years later Rembrandt's father made plans for sending him to a university. Rembrandt, whose only desire was to paint, refused.  From the years 1620 to 1623, Rembrandt studied in Amsterdam under Pieter Lastman. It his Lastman who probably first exposed Rembrandt to Renaissance painting and Christianity as a major theme. This style of painting Christian topics though, was more one of expressing fantastic stories, than teaching the Bible.  By age nineteen, Rembrandt began to search for his own style. For the next seven years he painted in a grandiose and lucid technique, painting the stories of Samson, David and Goliath, Judas, and Saint Paul.  These works would soon bring him much fame and wealth, but only for as long as he was willing to refrain from the avant-garde.

Throughout his career, Rembrandt van Rign went from Amsterdam's famous painter--enjoying great wealth, to the impecunious, prodigal son--awaiting forgiveness. Rembrandt's life was a tragic one full of misfortune, loss and grief, leading him to rely greatly on religious solace. No matter what his social status, fortune or demeanor, Rembrandt always stayed near to his faith in the Bible and its teachings. Though he was never much a man of chastity or religious practice, his faith in Christianity was unwavering. The purpose of this paper is to study Rembrandt the artist, how he was affected by social life and, more pointedly, his religious beliefs. It is not certain whether Rembrandt ever belonged to any particular church, though many believe he may have been a Mennonite for a short period.  What is known for certain though, is that just prior to his death in 1669, the only possession of a then destitute Rembrandt consisted of a single book: the Holy Bible.

In 1632, at age 26, Rembrandt left Leyden to live in Amsterdam, the center of intellectual life in Holland. Two years later he married Saskia van Uylenburch who was from a prestigious family. The Rembrandt of this time was a man of pleasure and passion, whose artwork had made him a very popular painter and quite rich. His great joy over his wealth and popularity can be seen in paintings such as Rembrandt & Saskia. Rembrandt's style at this point combined a fluid, naturalist technique with baroque gesturing.  During this period in his life, Rembrandt became a very large spender, placing large bets and buying most any piece of art he saw. The method he used in buying a painting was to make his first bid so outrageously high that the other bidders would not even bother to compete for the piece.

While other artists in Holland were painting landscapes and social life, Rembrandt continued to focus on the stories of the Bible.  Even though much of his subject matter dealt with the Bible though, Rembrandt was not a true Biblical painter. Paintings like The Raising of Lazarus (1632) depicted Christ as if he were more a sorcerer than the Son of God. The influences of Jan Sanders van Hemessen (1500-1566) and Michelangelo Merisi da Caravaggio (1573-1610) are most evident in Rembrandt's The Calling of St. Matthew, which uses the method of making biblical scenes worldly and common.  The influence of Peter Paul Rubens (1577-1640) can be seen in Supper at Emmaus (1629). The use of light to create depth and shadow gives the painting a theatrical aspect common in Rembrandt's work at this time.

His early years in Amsterdam were ones of fame and fortune, but Rembrandt was a man who kept to himself, staying at home with his wife Saskia and constantly developing his work. In 1641, after several miscarriages, Saskia gave birth to their son Titus. Despite Rembrandt's rather esteemed social stature, he remained the recluse, often using Saskia and Titus as models for his paintings.  At this time Rembrandt's work caught the interest of Prince Henry Frederick, who commissioned Rembrandt to produce a series of paintings, but Rembrandt was not a man to paint as others told him and soon his style would change.

In 1642, after less than eight years of marriage and only a year after the birth of their son, Saskia died, marking the beginning of Rembrandt's years of grief and loneliness. That same year he hired a widowed housemaid, Geertghe Dircx, who would soon become very close to him. At this time in his life, it is believed that Rembrandt may have joined the Mennonite church, but he was probably later kicked out for his then degrading status, if not for his relationship with Geertghe. In 1649 Rembrandt dismissed Geertghe; she died a year later in a mad house.

During the years of 1642 through 1648, Rembrandt slowly changed his artwork to a style devoted entirely to inducing spirituality. When comparing Supper at Emmaus (1648) to its 1629 counterpart, the drastic change in technique is quite evident. Rembrandt dropped the theatrical quality in his use of layout and lighting; depicting Christ head on, under normal lighting. Christ is placed in the center beneath an arch, giving the painting a symmetrical layout. As Rembrandt became more dejected in life, he worked harder at striving to depict biblical scenes that were pure and of the utmost holiness. His painting Night Watch is noted for its excellent use of chiaroscuro. The eyes are deep and sorrowful and the expression seems to be that of triumph over great inner-struggle. It is believed that during this time Rembrandt may have been subject to the Copernican revolution, and surely this art piece seems to show that Rembrandt was reclaiming his solitude. Unfortunately, his drastic change in style cost him his popularity, which of course also meant his income.

In the early Renaissance, art was a way to teach the Bible to those who could not read. Since Christianity spread most quickly among the lower class, who were illiterate, this was especially important. As the years past though, literacy increased and art became less biblical. Calvinism had some effect on this because there was a fear of idol worship and much art was destroyed as a result. The Protestant Reformation did not condemn artwork, but instead placed its emphasis on Bible study.  The year 1648 was one of victory over Spain and so many artists in Holland based their artwork on this subject. Rembrandt was still focusing on biblical scenes, becoming truer to the spiritual aspects to be found. His artwork was no longer based on the Renaissance idea of humanism and the glory of man, but instead depicted man as humble before God.

Many believe that Rembrandt may have been the most influenced of all artist by the Protestant Reformation. The Reformation was undoubtedly compatible to Rembrandt's newly found homage to God's grace and his rejection of human glory and beauty.  Rembrandt was also very fond of the Bible. His mother read the Bible to him every day, and it's believed that many of Rembrandt's paintings depicting a woman reading the Bible are probably of his mother. Rembrandt himself, unlike most artist of the time, actually read the whole Bible and painted many different stories as compared to the same four to five repeated by artists such as Albrecht Dürer (1471-1528) and Peter Paul Rubens.  Unfortunately, Rembrandt's prestige continued to decline despite his spiritual enlightenment.

In 1651 Rembrandt met Hendrickje Stoffles, but was unable to marry her because of Saskia's will. He had already spent the inherited money, which was only his if he never remarried, and by this point Rembrandt was very poor due to his prior life of frivolous spending. A year later Hendrickje gave birth to their daughter Cornelia.  This combined with Hendickje's four appearances before the church council for living in sin, completely ravished any esteem society had once held for him.

Four years later Rembrandt was forced into bankruptcy and had to sell all of his acquired paintings. During these last years in his life, Rembrandt seemed to focus on themes dealing with the mercies of God. From 1656 to 1561 he produced eight paintings of Christ as Gethsemene, as compared to one in the years prior.  Rembrandt never painted a single Last Judgment, but instead painted stories dealing with the themes of having a second chance such as Raising of Lazarus and Prodigal Son.  It seemed as if these topics of humanity and forgiveness were ones Rembrandt hoped to have for himself. In 1662 Hendrickje died. Titus died in 1668, less than a year after being married. During this time Rembrandt lived in virtual seclusion, rarely leaving his home. The last piece Rembrandt would paint before his death in 1669 was The Return of the Prodigal Son. Rembrandt died in the service of a moneylender; his only procession was a Bible.  Holland's greatest painter was ironically given the modest burial of a peasant.

Rembrandt van Rign evolved from paintings of his merry self wearing a red velvet hat - thrusting forth a glass of wine, to the stoic Bible scenes reminiscent of Michelangelo's later work. Though not a man of religious practice, he was a man of great faith. Rembrandt was willing to put his beliefs before material goods, social status, and wealth. The influence of religious reformation and his tragic social life sent Rembrandt's work in a direction that, like many great artists, caused him to be scorned by his own generation, but would later be appreciated and studied forever.

References:

W. A. Visser 'T Hooft, Rembrandt and The Gospel (London, 1957), 9.

Franz Landsberger, Rembrandt, The Jews and The Bible (Philadelphia, 1946), 5.

W. A. Visser 'T Hooft, Rembrandt and The Gospel (London, 1957), 9.

W. A. Visser 'T Hooft, Rembrandt and The Gospel (London, 1957), 60.

Franz Landsberger, Rembrandt, The Jews and The Bible (Philadelphia, 1946), 174-75.

W. A. Visser 'T Hooft, Rembrandt and The Gospel (London, 1957), 10.

Franz Landsberger, Rembrandt, The Jews and The Bible (Philadelphia, 1946), 9-10.

Arthur M. Hind, Rembrandt (Cambridge, MA, 1932), 1.

William H. Halewood, Six Subjects of Reformation Art (Toronto, 1982), 23, 25, 44-45.

W. A. Visser 'T Hooft, Rembrandt and The Gospel (London, 1957), 11.

Arthur M. Hind, Rembrandt (Cambridge, MA, 1932), 1,3.

Franz Landsberger, Rembrandt, The Jews and The Bible (Philadelphia, 1946), 7.

Arthur M. Hind, Rembrandt (Cambridge, MA, 1932), 14.

W. A. Visser 'T Hooft, Rembrandt and The Gospel (London, 1957), 12-13, 66.

Franz Landsberger, Rembrandt, The Jews and The Bible (Philadelphia, 1946), 92-93.

W. A. Visser 'T Hooft, Rembrandt and The Gospel (London, 1957), 13-14.

William H. Halewood, Six Subjects of Reformation Art (Toronto, 1982), 4-5, 19.

W. A. Visser 'T Hooft, Rembrandt and The Gospel (London, 1957), 9, 21-22.

W. A. Visser 'T Hooft, Rembrandt and The Gospel (London, 1957), 15.

Arthur M. Hind, Rembrandt (Cambridge, MA, 1932), 7.

W. A. Visser 'T Hooft, Rembrandt and The Gospel (London, 1957), 16.

Arthur M. Hind, Rembrandt (Cambridge, MA, 1932), 7.

W. A. Visser 'T Hooft, Rembrandt and The Gospel (London, 1957), 17.

Franz Landsberger, Rembrandt, The Jews and The Bible (Philadelphia, 1946), 11.

880.          Rembrandt Van Rijn 874

An Artist of the Dutch Baroque period, Rembrandt Van Rijn was born on July 15th, 1606. His father, Herman Gerritszoon who was a miller, his mother Neeltje or Cornelia Willemsdochter van Zuytbrouck, and his brothers lived in the town of Leiden next to the northern branch of the Rhine River and about 25 miles south of Amsterdam. Rembrandt was the 8th of 9 children born. His family was somewhat poor until his mother's death in 1640 left them well off with a 10,000 florins estate.

From the time of his birth, Rembrandt's parents had directed him towards the study of law, which is unlike his brothers who were directed towards the manual trades. He spent seven years at Latin School where he learned a great deal about religion that later influenced his paintings and portraits.

He enrolled at the University of Leiden. After a few months he discovered that it did not interest him and then decided to leave to pursue art. At the workshop of Jacob Isaacxszoon van Swanenburch he acquired the basic technical knowledge of art such as perspective. Because Rembrandt had shown such dedication, his father sent him to Amsterdam to apprentice under a very well known painter of that time, Peiter Lastmann.  There he learned to love dramatic effects such as facial expressions, hands, and learned to pay close attention to painting all the little details.  He mastered the chiaroscuro effect of using light, as well as the bold impasto, and with those effects, he surpassed many artists of that time. Lastmann inspired him to paint historical events, which was not a very fashionable thing to do at that time, and he was also inspired to use bright, glossy, colors to paint pictures on a small scale. He was only in Lastmann's studio for six months and in the mid - 1620's he opened his own studio in Leiden with his friend, another artist under Lastmann, Jan Lievens.

An art dealer in Amsterdam, Hendrick van Uylenburgh, started to send Rembrandt commissions for portraits. In the 1630's, at the age of 24, he not only painted portraits, but started making small etching's as well. Because the commissions became so numerous over time and very important to the young artist, he moved to Amsterdam.

Rembrandt married Saskia van Uylenburgh, the cousin to Hendrick and who was an orphan with a very large estate, in 1634. The well-known painter became extremely successful and overflowing with commissions.

By the early 1630's he had totally abandoned the typical Dutch smoothness. Rembrandt built his paintings starting from the back and working his way to the front with layers of paint to create illusions and evolved the most revolutionary techniques. In 1636, Paul Peter Rubens, a Flemish master of Baroque, inspired Rembrandt to paint using biblical themes. Instead of portraying the typical laid back Baroque paintings, he chose to surpass Ruben by injecting incredible horror into the piece of art. These vulgar themes were not very popular at the time, but luckily his income from commissions was unaltered.

In 1639 he and his wife purchased a huge house to show off their wealth. He filled it with antique art objects of all kinds such as jewelry, fabrics, and china - all were collected for his historical interest in antiques, as well as models and inspiration for his historical paintings.

During his marriage he lost three sons. After giving birth to his fourth son, Titus, in September 1641 Saskia became bedridden and died the summer of the following year. At the birth of Titus a widow, Geertghe Dircx, came in to nurse him, and eventually became Rembrandt's mistress.

In 1645 Hendrickje Stoffels, a young girl, moved into the Rembrandt household and became his second mistress, replacing the first. 1654 she bore him a daughter named Cornelia. She also became a main focus of many of his portrait paintings. Rembrandt could not marry Hendrickje because of the clause in his first wife's will, that if remarried he would forfeit her estate. He never legalized his union with Hendrickje, despite all the difficulty caused by the Reformed Church of Amsterdam.

Rembrandt's commissions declined and so did his income. His desire for collecting antiques was not altered by this, but eventually it caused him great deal of debt. To salvage Saskia's estate, he put the ownership of his house in Titus' name and then filed for bankruptcy to the court in July 1656. Auctions were held to sell his possessions, but the money from that did not satisfy the creditors. With what little he had left, Rembrandt started an art business with Hendrickje and Titus where he served as their advisor. This kept income out of the hands of creditors and enabled him to lead a comfortable life. When Hendrickje died in 1663, Titus took over the house and baby Cornelia.

Titus died in 1668, which devastated his father. On October 4, 1669, Rembrandt died at the age of 63 and was buried October 8 in the Westerkerk.

Rembrandt exploited the etching process for its unique potential. He was the first artist to practice self-portraiture as an area of expertise. He created a medium for self-fashioning that has inspired numerous artists. He produced around 600 paintings, 300 etchings, and 1,400 drawings.

881.          Remember the Titans

The true story of the forced integration of a 1971 Virginia high school football team shows how we can all get along if race and background are put aside for the sake of the common goal.  T. C. Williams is named for a former superintendent of schools who served from the mid-1930s until the mid-1960s.  Virginia, like many other Southern states had a history of segregated schools.   "Jim Crow Laws" which was the basic term for legal segregation took long to up by federal courts, had effectively created two separate societies.  The two societies were "separate," but they were barely "equal."  T. C. Williams High school had the goal, to not have segregation as apart of there school system.  Black and white members of competing football teams were now part of the same school. If there was only one high school, there would be only one football team. The questions that were frequently asked was "Who would be on the team?" And, more importantly, "Who would be its coach?"

The school opened in 1965 and has served the Alexandria community and tens of thousands of students well for the past thirty-three years.  The school has grown into one of the most respected, comprehensive public High Schools in the country.  Eighty percent of the students go on to post-secondary education. T. C. has one of the most diverse student bodies in America with students from over eighty-four countries, speaking over fifty-six languages in its' halls and classrooms.

In 1959, five years after the Brown vs. Board of Education Supreme Court ruling that separated but equal schooling is inherently unequal and unconstitutional, Alexandria formally desegregated its' public school system.  But, unfairness in the diversity of neighborhood populations caused the school system to slowly migrate toward racial imbalance.  In 1971 the Supreme Court ruling on the Swann vs. Charlotte-Mecklenburg Board of Education case legitimized busing as a method to achieve desegregation.

Alexandria adopted the K6-2-2-2 Plan (Kindergarten through sixth grade at one school, two years in middle school, two years in Junior High School and two years in Senior High School) to bring racial and economic balance to its' school system.  Two High Schools, George Washington (GW) and Francis Hammond (FH) were changed to Junior High Schools and T. C. Williams High School (TCW) became the Senior High School. All the city's freshman and sophomores were divided between GW and FH, all the juniors and seniors attended TCW. This dramatic, sudden change caused a lot of tension and fear. The only three High Schools in the City there had been strong rivalries and competition between the schools for the City and District Championships at all levels of academic and athletic competition. One of the strongest most bitter competitions was in football. The football team did not know that they would set the tone for the entire community in a time of tension, conflict, and mistrust.

Going under rough, uncompromising leadership the players developed a strong bond as a team through anything that came between them.  This took away the  prejudices based on race, economic status, or cultural beliefs.  Their success and dominance on the field began to influence the rest of the school and the community.  The community began to feel a bond on to itself, by seeing that segregation is not the way to go.  The success of that team and the sense of community helped within the city today with so many diverse people in Alexandria and in T. C. Williams.

While on the surface, high school football may seem like an innocent game played by the young, for the young, it is, in fact, much more.  For millions, including many fans who are well removed from their high school years but who love to sit in those creaky bleachers every Friday night / Saturday morning, it is something similar to a religion.  Director Boaz Yakin's Remember the Titans captures the heart of high school football while undertake the sins of its fathers, chronicling the true story of the undefeated 1971 T. C. Williams team of Alexandria, Virginia, which was the first integrated high school team in the state. Denzel Washington brings his ever-powerful presence to the role of the Titans coach Herman Boone, which thunders all the way to the hall of fame of hopes and dreams.  In Virginia of 1971, as the first African-American coach of the first integrated football team, Boone steps up to the seemingly impossible task of overcoming prejudice between the teammates and other coaches.  He gets the guys to work together and forget about the racial issues and play as a team.  Essentially, Boone wants to have a winning team, but in his dilemma, winning is not just an ambition, but a demand of survival.  If he looses even one game, he will be fired and that will show that he could not battle the racial discrimination.

In order to teach his students to win on the football field, he must teach them to be fearless victors over prejudice in their hearts and souls.  Coach Boone decides to gather all the players to go on a trip to Gettysburg.  The next morning he asked all the players to meet in front of the school and ride on the school bus together.  There was two buses outside of the school and the whites get into one bus and the blacks get into the other bus.  Coach Boone's then responded by asking all the players to get off the bus.

His strategy was to get the blacks and whites on the team to sit next to each other on there way to Gettysburg.   The players do not obviously get along with one another and they try to keep there distance from each other.  One of the players named the "Rev" starts singing the song "Aint no Mountain High" by Marvin Gay.  The other African American guys start singing together except for Lewis and Petey.  They were the only White players who got along with the other African American guys.  The next morning Coach Boone wakes the players up at three a.m. and makes them jog as a team through the graveyard at Gettysburg.  It is at this point where he gives the "We are the Titans" speech which metaphors the battle of Gettysburg to the team itself.

He explain to the boys that during the battle of Gettysburg the men worked as one to accomplish on thing, that was to win the war.  He emphasizes that the boys must works as a team, put all colors aside, and strive to win as a team.  As a African-American coach, Boone would be harsh on the African players on the team.  He wouldn't give them any slack and expected them to be as good as any White player on that team.  Though Boone is eventually successful as a coach, the townspeople disapprove of him because he replaces the popular, entrenched former coach, Bill Yoast (Will Patton).

With Will Patton in the role of defensive coordinator and replaced head coach, Yoast  resents being replaced and disagrees with Coach Boone.  He hates the fact that Boone will be taking over his promotion as coach and in no way in the world is Boone going to be successful and overcome the racial discrimination between the team.  During the stay at the camp the guys become closer with one another but Ray still has the abhorrence in him and cannot stand the fact that his best friend Gerry is actually becoming friends with Julius and the team.

In a thematic statement "I was afraid, and all I saw in you was what I was afraid of", Gerry illustrates how far the control of fear of reach, to wash out those fears than that of a high school football team and players who, for the most part, mirror the fears and insecurities of their society.   After the players return back to T. C. Williams, there was a riot between the whites and blacks.  They were protesting against the blacks for attending  T. C. Williams.  Gerry spots his girlfriend Emma and walks up to her with Julius and introduces him to her.  Julius takes out his hand for a handshake and Emma rolls her eyes and walks away.  Julius feels that even if they are a team, in the real world it still had racial discrimination issues.

Sunshine (which was White), "The Rev" and some of the other teammates which were African American went out to a restaurant to celebrate the teams win.   As the guys walk in, the Whites turn around and verbally abused them and told the guys that  they were not wanted there because they were black.   This just brought the guys in reality that segregation was rising.  At another point in the movie, Gerry tells Ray ( he is white)  to block one of his teammates during practice.  Ray does not block  "The Rev" because he is African-American and he gets severely injured.  Gerry notices that Ray did that on spite and informs Coach Boone that he should be dismissed from the team because he was causing problems.

Eventually, Ray is lashed off the team and at this point Coach Boone recognizes that Gerry is looking beyond the color of his teammates and is willing to give the team a chance.  Coach Boone explains to the guys that they are a team that they are brothers and as brothers they will win together and see each other as humans and not as color.  Before any game the players would do a traditional dance that only the "Titans" would do and sing "We are the Titans".  The opposing team would look at them in shock and think that they weird because no team in history would dance before a game.  This truly showed the coming together of brotherhood.  From then on the team has won every game that they have played.

The finals were coming up and the players were practicing enormously so that they would be ready for the championship game.  The high point of the movie is when Gerry goes for a drive to celebrate the fact that they are all the way to the finals but gets in a car accident.  Some other car hits him because he runs a stop sign and Gerry is in critical condition.  Everyone in his team is devastated and goes to see him in the hospital.

Julius finds out that this catastrophic incident  that has happened to his best friend and is in total devastation.   He could not imagine that Gerry would be in a hospital bed and in critical condition.  The doctor comes back and tells the Coach, Gerry's mother and teammates that Gerry is paralyzed from waist down.  This basically breaks Julius in half to see his best friend not walk again nor can he play his dream sport.  Julius made every effort to see his "brother" Gerry in the hospital, but there was a nurse that asked Julius to leave because he was not family but Gerry said  "He is my brother, don't you see the family resemblance?" Essentially, this proved that they loved one another and truly brothers.  Before the championship, Gerry wished Julius the best of luck for the finals and Julius said that the win was for Gerry.

Not only is this heart-warming, inspiring movie based on a true story about overcoming prejudice, but it is also one of the best football films out there where they overcome discrimination and win the championship.  In an admirable emotion packed blend, the ambition of attaining sports glory becomes the path of discovering true human spirit.  Every scene in the movie top with and many scenes explode with either racial conflict, great football plays, emotional breakthroughs, or comic relief of turning a bunch of bullish, distrustful, racially antagonistic guys into a team.

Coach Boone showed his point through their differences, colorful supporting characters fuel the dramatic momentum to the extent of turning every scene to penetrate in the quest for supreme athleticism as much as in the search for greater humanity. That we can ultimately use the game of football and its tribal scrimmage line of tangled bodies as a nursery that transforms the fear of difference into the unconquered strength of understanding, respect, and hope is yet another testament that greatness is often born in simplicity and game.

Source used: http://www.lawbuzz.com/movies/remember_the_titans/the_titans_ch1.htm#preface

http://www.acps.k12.va.us/profiles/tcwilliams.html

The Cast:

Herman Boone:  Denzel Washington

Bill Yoast:  Will Patton

Petey Jones:  Donald Faison

Julius "Big Ju" Campbell:  Wood Harris

Gerry Bertier:  Ryan Hurst

Lewis Lastik:  Ethan Suplee

Carol Boone:  Nicole Ari Parker

Sheryl Yoast:  Hayden Panettiere

Ronnie "Sunshine" Bass:  Kip Pardue

Jerry "The Rev" Harris:  Craig Kirkwood

Emma Hoyt:  Kate Bosworth

Ray Budds:  Burgess Jenkins

Darryl "Blue" Stanton:  Earl C. Poitier

Alan Bosley:  Ryan Gosling

882.          Renaissance Artists 1306

Renaissance artists were people of ideas who discovered them in nature herself and from the work of the living model.  A new secular framework in the search for languages, literature, history, and philosophy supported the move into humanism. The awakening of the human intellect and individualism paralleled the great development in the fine arts.  With newfound inspiration and execution styles, the fine arts of the Renaissance questioned the traditional beliefs and stiff representation of the Middle Ages.  The Roman Catholic Church and the Crusades set the standards of the truth in the Middle Ages.  In contrast, human achievements in the arts and sciences stimulated the Renaissance.  As the first period in history to be aware of its own existence, the Renaissance broke down old rules and launched a revival of the classics.

The Renaissance period was divided into Early Renaissance and High Renaissance.  Fra Filippo Lippi's Madonna and Child Enthroned with Two Angels (c. 1434) was created in the Early Renaissance period and Andrea del Sarto's The Holy Family with The Infant St. John the Baptist (c. 1530) was created in the High Renaissance period.  The Early Renaissance followed centuries of religiously dominated eras - Byzantine to Gothic.  As Gothic art continued into the 1400's, Early Renaissance painting did not appear until the early 1420s.  Masaccio, the first genius painter of the time, combined the methods of Giotto of Gothic art and Brunelleschi's scientific perspective - created "clothed nudes" as the body and its drapery were to be like one, scientific perspective of space dimensions, and the relation between figure and space.  Masaccio's influence would be seen about 10-15 years later in Fra Filippo Lippi's Madonna and Child Enthroned with Two Angels.  A century later, the High Renaissance introduced perfection in art through the work of Leonardo, Raphael, and Michelangelo.  During the High Renaissance, artists tended to reduce their subjects to the bare essentials.  Details were excluded to ensure that the spectator would focus on the theme rather than visual appearance.  Linear perspective was replaced by modifying colors, and the transitions between figures and landscapes became fluid. Space was not conveyed primarily by scientific perspective, but by lightening the colour and softening the outlines of figures.  The Early and High Renaissance together was birth of new styles and notions of the anatomy.

The initial impression of the two pieces is that The Holy Family with The Infant St. John the Baptist is much more darker and gloomier than Madonna and Child Enthroned with Two Angels.  The overall color scheme is the same, only differing in shade.  The child in both paintings is draped similarly - a violet to blue cloth that reflects with the light source from the left.  On the Madonna, Lippi's translucent headdress follows the contour of her head and drapes down to her chest.  He paints waves and overlaps to show the natural wrinkles as if the headdress was one with Madonna.  Del Sarto paints hurried brushstrokes in white to indicate a sense of transparency in his Madonna's headdress. Lippi seems more concerned with details.  In Madonna and Child Enthroned with Two Angels, the figures and the background follow a strict line.  Each piece stands on its own, never crossing into another space.  In The Holy Family with The Infant St. John the Baptist, the bodylines and colors blend together smoothly.  There are not sharp, abrupt ends between figures and the background as well.

The Early Renaissance's trend was to use perspective to enhance their art.  Lippi creates a linear perspective where all lines meet at a vanishing point behind the Madonna.  The spectator is shown great depth in the interior space.  The foreground is of Madonna and the child, the angels support the middle ground, and the background is of the apse.  Madonna and the child sit on a three-level grand throne.  Each level of the chair alternates color scheme with quick blending brushstrokes.  In The Holy Family with The Infant St. John the Baptist, the figures dominate the space as based on the style of the High Renaissance.  The background is of a dark green curtain hiding any clues as to where the Holy Family is gathered.  The shadows in the curtain suggest the light source is coming from the left of the painting.  Besides the green curtain, del Sarto fills up space through red and blue drapery on the bottom of the painting, and a white pillow where the child rests his foot.  The red drapery has an object underneath it since angel appears higher than the table.  The table suggests an informal, playful setting for the Holy Family, rather than at a church scene.  They are shown to be more active and interact with each other.  The linking of their arms and hands across the center of the painting emphasizes their connection.  Madonna is the only person not to touch the globe, which exhibits her disapproval in such a toy for her child.  She expresses a downward look only concerned with the care of her child.  Lippi uses the figures and the setting to put forth a religious message, while del Sarto uses only the figures to put forth his message of scholastic and religion.

Lippi and del Sarto employ the use of foreshortening for their figures.  In Madonna and Child Enthroned with Two Angels, the angels are standing behind the throne of the Madonna and there is no indication of legs.  In The Holy Family with The Infant St. John the Baptist, the angel sits atop the red drapery and he is on his knees.  His overall body presentation in stature and muscle is dwarf-life.  St. John the Baptist and the Madonna's legs are not visible to the spectator.  St. John the Baptist plays a spectator in del Sarto's painting.  His figure occupies a small space and no light is directed on his face.  His purpose seems to only bring the cross to the child.

The Madonna and Child Enthroned with Two Angels and The Holy Family with The Infant St. John the Baptist had messages for its spectators.  The Madonna and Child Enthroned with Two Angels was an instrument of religious instructions for the patrons.  The Madonna and the two angels have large gold halos overpowering their heads.  The patrons are not to forget the importance of these icons in their daily lives.  The angels wear cross-like suspenders across their chest.  The patrons are reminded how Jesus died for their salvation.  An angel and the child hold religious texts.  It is plainly visible to the patrons that could read.  Also, In The Holy Family with The Infant St. John the Baptist, the religious message is emphasized less and subtler.  Andrea del Sarto created halos with a quick stroke of gold paint.  Their role as religious icons was toned down to more human form.  Del Sarto made the patrons feel more comfortable so that they could identify better with the Holy Family.   The cross and the globe are portrayed as toys for the child.  The globe's presence represents the humanistic trend of the Renaissance, but the cross on top of it and the gold cross band drawn on it still shows the power of Christianity.

The Madonna and Child Enthroned with Two Angels still had remnants of the Middle Ages - the overpowering and demanding religious tone.  Lippi's painting was strict and guided.  The notion of center and balance was created by the use of scientific perspective.  The High Renaissance brought it down to a more realistic level so that patrons didn't feel burdened as seen in The Holy Family with The Infant St. John the Baptist.  The softer colors and blending lines created a less tense mood and more figure interaction.  Nevertheless, both paintings represented their time period - of the revival of the classics and the starting point of more scholarly achievements and less religious dealings.

883.          Renaissance Man

Renaissance Man

After viewing the over all movie, from an educational point of view, the student were not the only ones to learn from this class. Danny De vito, an unemployed advertising executive, after much seeking, can only find work teaching inferior army recruits. After seeing his students, he becomes somewhat perplexed as to what to teach them. After conversing with his army recruits, he decides to teach them Shakespeare's "Hamlet".

De Vito, playing the part of the teacher, learns just as much from the students as the students learn from him. Those, whom he once thought of as hopeless students, become eager students as teacher learns to interpret the play for them into a language they can understand.

But as a teacher, De vito learns the hard lesson that he cannot always help all his students. As he tries to point out and advance a particularly bright student, he instead ends up picking him out to be arrested as a drug dealer.

As the shadow falls over his class from the loss of one student in a small group, he still manages to motivate them to have his entire student pass his class.

Not only does De Vito challenge his students, but also he simplifies the lesson into terms that his students can understand. The students, now being able to understand the lesson, become eager to learn, changing their previous views of the subject matter.

This movie highlights the point of both teacher's and student's point of view of the subject matter. Both start out wit attitudes, but that changes. The people on either sides of the desk motivate each other, and despite that you may not be able to salvage from everyone of your pupils what you may expect, it doesn't mean that you cannot make a difference, be you teacher, or taught.

884.          Rene Magritte 384

René François-Ghislain Magritte

1898-1967

On November 21, 1898 René François-Ghislain Magritte was born in Lessines, Hainaut (Belgium) to Adeline Magritte. On March 12, 1912, a mere fourteen years later, Adeline's body was fished out of the Sambre River where she

committed suicide. Little did she know that her son would

become one of the most celebrated surrealists of his time.

This unexpected tragedy set the stage for the Magritte

family's move to Charleroi. At age 16, René enrolled at the

Academy of Fine Arts in Brussels. At that time Magritte had

already begun to paint in the style, closely related to

surrealism, that was predominant throughout his extensive

career. Noted as a meticulous, skillful technician, he created works that contain an extraordinary juxtaposition of ordinary objects or an unusual context that gives new meaning to familiar things. This juxtaposition is frequently called "magic realism", of which Magritte was the prime advocate. In addition to fantastic elements, he displayed a trenchant wit, creating surrealist versions of famous paintings, such as Madame Récamier de David in 1949. In this piece, an elaborate coffin is substituted for the reclining woman in the famous portrait by Jacques Louis David. Magritte's work was world reknowned. In 1936, he came to New York City where his work was first exhibited in the United States. Magritte's paintings were all of such marvelous stature that my research has not named just one to be his magnum opus. Unfortunately, in 1965 his health began to decline and from there on he stayed in Italy where he and his wife had resided for many years. Sadly, on August 15, 1967 René Magritte took his last breaths and passed away.

I chose René Magritte because his paintings on the following pages captivate me. The visual appeal is not the

only thing that draws me to them, but also the creativity that encompasses each and every painting. Many questions arose in my mind while researching his style, and to me, in the end if all of the answers are not found that makes it all the more interesting because it leaves you with something to ponder and draw your own conclusions about.

Sources

Nicola Randone. Grandi Artisti. 23 Oct. 2001 <http://www.nicolarandone.com/arte/magritte.htm>

The Magritte Site. 23 Oct. 2001 <http://www.magritte.com>

Paintings by René Magritte. 23 Oct. 2001 <http://www.ween.net/magritte/>

885.          Renoir 573

Pierre Auguste Renoir, a French impressionist painter, was noted for his radiant, intimate paintings, particularly of the female nude. Recognized by critics as one of the greatest and most independent painters of his period, Renoir is noted for the harmony of his lines, the brilliance of his colour, and the intimate charm of his wide variety of subjects. Unlike other impressionists he was as much interested in painting the single human figure or family group portraits as he was in landscapes; unlike them, too, he did not subordinate composition and plasticity of form to attempts at rendering the effect of light.

At the age of 13 Renoir began painting flowers on dishware at a porcelain factory and later painted fans and screens. In 1862 he entered the studio of Charles Gleyre (1808-74) and became friends with Claude Monet and Alfred Sisley, who shared his inclination to take up painting outdoors. By the time (1869) that he and Monet worked together at La Grenouillere, on the Seine, Renoir had developed a delicate touch and vibrant brushwork that were distinctly his own.

In the early 1870s, Renoir and his friends joined with other avant-garde artists to form a loose-knit artistic circle now known as the impressionist movement. He participated in the first impressionist exhibition (1874) and throughout the 1870s remained committed to impressionist ideals. Renoir, however, continued to produce paintings of a more traditional sort, including portraits and scenes of leisure enjoyment, such as Le Moulin de la Galette (1876; Musee d'Orsay, Paris). In his portraits and society paintings, Renoir masterfully rendered the shimmering interplay of light and colour on surfaces, the prime goal of impressionism, but also kept an underlying sensuality. Outstanding examples of his talents as a portraitist are Madame Charpentier and Her Children (1878, The Metropolitan Museum of Art, New York City) and Jeanne Samary (1879, Louvre).

Renoir's growing dissatisfaction with the formal restrictions of pure impressionism intensified during a visit (1881-82) to Algiers and Italy. In response, he made his figures larger and placed them closer to the picture-plane, with a setting treated like a simple backdrop. This frieze like treatment, best exemplified in his Dance at Bougival (1883; Museum of Fine Arts, Boston), led to his so-called "harsh manner" of the mid-1880s, in which he purified his contours and used frozen, static poses.

In 1887 Renoir completed a series of studies of a group of nude female figures known as the Bathers (Philadelphia Museum of Art). These reveal his extraordinary ability to depict the lustrous, pearly colour and texture of skin and to impart lyrical feeling and plasticity to a subject; they are unsurpassed in the history of modern painting in their representation of feminine grace. Many of his later paintings also treat the same theme in an increasingly bold rhythmic style. During the last 20 years of his life Renoir was crippled by arthritis; unable to move his hands freely, he continued to paint, however, by using a brush strapped to his arm. Renoir died at Cagnes-sur-Mer, a village in the south of France, on December 3, 1919.

Other notable paintings by Renoir include La Loge (1874, Courtauld Institute Galleries, London); Woman with Fan (1875) and The Swing (1875), both in the Louvre, Paris; The Luncheon of the Boating Party (1881, Phillips Collection, Washington, D.C.); and Vase of Chrysanthemums (1895, Musée de Beaux-Arts, Rouen)--one of the many still life's of flowers and fruit he painted throughout his life.

886.          RENT Musical

RENT - Musical

There's a scene in the new musical "RENT" that may be the quintessential romantic moment of the '90s. Roger, a struggling rock musician, and Mimi, a junkie who's a dancer at an S/M club, are having a lovers' quarrel when their beepers go off and each takes out a bottle of pills. It's the signal for an "AZT break," and suddenly they realize that they're both HIV-positive. Clinch. Love duet. If you don't think this is romantic, consider that Jonathan Larson's sensational musical is inspired by Puccini's opera "La Boheme," in which the lovers Mimi and Rodolfo are tragically separated by her death from tuberculosis. Different age, different plague. Larson has updated Puccini's end-of-19th-century Left Bank bohemians to end-of-20th-century struggling artists in New York's East Village. His rousing, moving, scathingly funny show, performed by a cast of youthful unknowns with explosive talent and staggering energy, has brought a shocking jolt of creative juice to Broadway. A far greater shock was the sudden death of 35-year-old Larson from an aortic aneurysm just before his show opened. His death just before the breakthrough success is the stuff of both tragedy and tabloids. Such is our culture. Now Larson's work, along with "Bring in 'Da Noise, Bring in 'Da Funk," the tap-dance musical starring the marvelous young dancer Savion Glover, is mounting a commando assault on Broadway from the downtown redoubts of off-Broadway. Both are now encamped amid the revivals ("The King and I") and movie adaptations ("Big") that have made Broadway such a creatively fallow field in recent seasons. And both are oriented to an audience younger than Broadway usually attracts. If both, or either, settle in for a successful run, the door may open for new talent to reinvigorate the once dominant American musical theater. "RENT" so far has the sweet smell of success, marked no only by it's $6 million advance sale (solid, but no guarantee) but also by the swarm of celebrities who have clamored for tickets: Michelle Pfeifer, Sylvester Stallone, Nicole Kidman and Tom Cruise, Mel Gibson, Ralph Fiennes...name your own biggie. Last week, on opening night, 21 TV crews, many from overseas, swarmed the Nederlander Theatre to shoot the 15 youthful cast members in euphoric shock under salvos of cheers. Supermogul David Geffen of the new DreamWorks team paid just under a million dollars to record the original-cast album. Pop artitsts who've expressed interest in recording songs from the 33-number score include Whitney Houston, Toni Braxton and Boyz II Men. A bidding scrimmage has started for the movie rights among such Hollywood heavies as Warner Brothers, Danny DeVito's Jersey Films, Fox 2000 and Columbia. The asking price is $3 million, but bonuses for length of run, the Pulitzer Prize (which "RENT" has already won), various Tony and critics' awards could jack the price up to $3.75 million. Despite these stupefying numbers, the young producers, Jeffrey Seller, 31, and Kevin McCollum, 34, and their associate, moneyman Allan S. Gordon, know that they're not home free. "There's no such thing in New York," says Seller. "Our company has mostly done tours. If you sell 8,000 seats a week in Cleveland, you did a great job. Never having done a Broadway show, the idea that you have to sell 450,000 seats a year is daunting." Major Broadway players like the Shubert Organization and Jujamcyn Theaters, which lost out to the Nederlander in the feverish grab for "RENT," would love to be daunted like these Broadway tyros. Rocco Landesman, Jujamcyn's president, says he's "crushed" at not getting "RENT." He predicts the show will be a "crossover success; it will attract an ethnically diverse audience, people who are not normally theatergoers." "RENT" has a $67.50 top ticket price, but the producers have reserved the first two rows at $20 and are tagging mezzanine seats at a "bargain" $30. "'RENT' has a lot riding on its shoulders," says producer Jim Freydberg, whose "Big" has just opened. "I desperately hope it works. If it's successful, we're going to get more daring shows on Broadway. If it's not, we're going to get more revivals." This is interesting, coming from a competitior whose own show, based on the popular Tom Hanks movie about a 13-year-old boy who wakes up on day in the body of a 30-year-old man, could be said to represent the less daring sector of Broadway. "If I really wanted to make money I'd go to Wall Street and invent money," says Seller. "I came to Broadway because I was excited by the question 'Can you challenge the mainstream? Can you reinvent the mainstream from inside the mainstream?'" Says McCollum: "It would be disingenuous to say we don't hope to make money with 'RENT.' But I'm here because I love the living theater." As Gordon puts it, "We're trying to reinvent how you spend money on Broadway. We have no limos. They don't want us at any glitzy restaurants." The weird thing is that when these hyped-up, fresh-faced guys say these things, you find yourself believing them. "RENT" completes a fortuitous trilogy begun by "Hair" in 1967 and continued by "A Chorus Line" in 1975. These breakthrough musicals deal with "marginal" Americans - '60s flower children, the blue-collar gypsy dancers of Broadway, and now in "RENT" the young people who follow a dream of art in a cold time for spirit and body. Larson, who was a denizen of New York's down under, evokes in swirling detail the downtown scene that is a paradoxical mix of wasteland and community. The homeless, the addicts and alkies move like oracular nomads among the "artistes" (as a homeless woman scornfully calls them), who don't know where their next rent check is coming from, or their next inspiration for a song or a picture, or the next lethal raid by the specter of AIDS. Yet "RENT" is a thrilling, positive show. In a rich stream of memorable songs, Larson makes true theater music from the eclectic energies of today's pop-rock, gospel, reggae, salsa, even a tango. The "RENT" story began in the summer of 1992, when Larson, riding his bike down Fourth Street in the East Village, passed the New York Theatre Workshop, which was in a mess with a major renovation. "He stuck his head in the door," says James Nicola, the artistic director of NYTW. "He looked in and thought, 'This is perfect.'" What was perfect was the extraordinary NYTW stage, 40 feet wide and 30 feet deep in a house that had 150 seats. It's actually a larger stage than the Nederlander's. "Jonathan always wanted to walk a fine line between being the iconoclast and the person that descends from the tradition and reinvents it," says Nicola. "Our space brought together all these things. It was a great physical expression of what he wanted." The next day Larson cycled back and dropped off a tape of songs he had written for "RENT," all sung by him. "I listened to a couple of songs and immediately knew this was a rare and gifted songwriter," says Nicola. The four-year process of creating "RENT" had begun. A director, Michael Greif, was brought in, a crucial step in the shaping of what was more of a collage than a play. "I was anxious to neutralize Jonathan's emotionalism and bring in some irony," says Greif, a 36 year-old who is now the artistic director of the La Jolla Playhouse in California. "Jonathan was such a wet guy emotionally," says Greif with a laugh. "He was exuberant, childish in all the good and bad ways. He had this enormous capacity for joy. He'd write a song and say 'I love it!' And I'd say, 'Guess what? I don't.'" The process continued, helped by a Richard Rogers Award of $50,000 (for which Stephen Sondheim, Larson's idol and inspiration, was a judge). At a workshop production seen by Broadway producers, Seller and McCollum were blown away by what they saw and heard. It was a work that took Larson's "wet" emotionalism and turned it into a fountain of unchecked melody and rhythm. Although he called "RENT" a rock opera, it has a much wider range than rock, and the score is not a series of discrete bursts of music. From the title number, a fierce outcry is a world where "Strangers, landlords, lovers/Your own bloodcells betray," the music sweeps Larson's characters - the principals and a wonderful ensemble of shifting figures - into a living tapestry of hope, loss, striving, death and a climactic resurrection. Larson takes Puccini's young bohemians and refashions them into Roger (Adam Pascal), a pretty-boy rocker desperate to write one great song before AIDS kills him; Mimi (Daphne Rubin-Vega), a dancer doomed by drugs; Maureen, a performance artist (Idina Menzel), and her lesbian lover Joanne (Fredi Walker); Angel (Wilson Jermaine Heredia), a drag queen also doomed by AIDS, and his lover Tom (Jesse L. Martin), a computer genius who fears the cyberfuture; Ben (Taye Diggs), the landlord in a world where lords shouldn't land; and Mark (Anthony Rapp), a nerdy video artist (and Larson's surrogate) who narrates all the interweaving stories to the audience. In songs like Angel and Tom's "I'll Cover You," and Mimi and Roger's "Without You," Larson exalts love as the force that binds his characters into an extended family who care for each other with all the many varieties of love, from sex to friendship to compassion. "Take Me or Leave Me" is a fiery and funny duet for Maureen and Joanne, each insisting on her fierce individuality. The onstage band led by Tim Weill drives not only the irresistibly singable score but the explosively witty choreography of Marlies Yearby, who makes every move a flesh-riff of the life force itself. Like all the best popular art, "RENT" dares you to feel sentimental, showing how sentimentality can be turned into an exultant sweetness without which life is a grim mechanism. Puccini had his Mimi die. Larson sends his Mimi to the point of extinction and brings her back. There are deaths in "RENT," but Larson needed to balance that with a rebirth. His own death before he could really see how well he had done in an unbearable irony. He left us singing. "RENT" is his song.

887.          Report on New Orleans Jazz Band

Live Jazz Experience Report - Dag

"They have a word down South to describe the way you feel when your packed into a crowded dive at 1:00 AM, where the cigarette smoke is so thick it makes its own weather; and the waitress is slinging bourbon and Fritos while some bad-ass Jazz Funk band rocks the house as hard as Blue Ridge granite, and the sweat flows down from the stage like the cloudy waters of Pamlico Sound.  There's a word for how you feel when you hear live Jazzy-funk music so sweet and hot, you just gotta shout something.  The word is:  DAG!" - Columbia Records

There is only one place on earth where I though I could go to experience the true meaning of Jazz and to try to place myself in the shoes of all of the artists I have studied over the past semester.  New Orleans, Louisiana is just that place.  On April 10, 1996, I boarded a United Airlines plane bound, non-stop, for the "Home of Jazz."

My goal in New Orleans was to try and have a comparable experience to that of one of the popular Jazz artists would have had upon his/her first visit to New Orleans in the early 1900s.  Bourbon Street, the French Quarter, Jimmy Buffet's Maragaritaville, The Flamingo, the Garden District, and Moolate's all helped me to get into the proper frame of mind of experiencing true Jazz.  The focus of this report will be on my life changing experience at a little place known as The House of Blues.  This amazing combination of bar and stage created one of the most conducive atmospheres to music listening that I have ever been involved with.  The stage, similar to the Fox, in Boulder and the bar/restaurant, similar to nothing both had a character and charm unique to itself.  The ceilings in the bar area were covered by sculpted silhouettes of every major Jazz/Blues artist that ever played there.  Images such as Louis Armstrong, Lester Young, Dizzie Gillespie, Buddy Bolden, Horace Silvers, and Jelly Roll Morton adorned the walls and ceilings of the HOB (House of Blues).  Every beer on tap was a Louisiana original and the only kind of cooking done there was absolutely Cajun.

On Thursday, April 11, 1996, I and 5 friends ventured into the legendary house of Blues.  Headlining was a band entitled "Dag."  This up and coming Blues/Jazz/Rock band has been touted as New Orleans newest small success story.  With a label on Columbia Records and an album entitled Righteous, Dag is certainly a force in the Jazz industry.  The tickets cost only 8 bucks and you could have come in mid-way through the show for free.  A far cry from Boulder expense.  The band was comprised of four members:  vocal bassist Bobby Patterson, guitarist Brian Dennis, keyboardist Doug Jervey and drummer Kenny Soule.  The band, originally from Raleigh North Carolina plays a particularly "groovy kind Jazz" using primarily the Bass for a majority of rifts.  The band played to a packed house, consisting primarily of middle 20s ages people, with an occasionally more "wise" audience member.  The theater, again, much like that of the Fox in Boulder had a dancing "pit" right below it, which was full of college aged students who were dancing with a movement comparable to mixing a 90s dance action with a 70s groovy rhythm.

The music was fast paced and full of energy.  Many 32 measure sets were played and I could definitely hear the influence of Bob, Cool Jazz and Hard Bob.  A lower tempo was definitely recognized, as well as a mix of jazz and classical elements.  The lack of a piano was obvious and seemed to follow the trend of 90s Jazz-Blues rhythms. Additionally, the first set had a heavy emphasis on percussion while the second set focused primarily on the drums.  It seems that a lot of their songs are written around a drum rhythm.

Dag played a set that included the songs:  Sweet Little Lass, Lovely Jane, Plow, Do Me Good, and Even So.  They then took a 15 minute break and came back playing:  Righteous, Your Mama's Eyes, You Can Lick It, Candy, and Saturday Morning.  After their second set, they played an encore of a song entitled: Home.  One thing worth mentioning about the song titles is their recognizable simplicity.  It is my belief that this was done intentionally to further illustrate the complex messages being delivered through a very simplistic musical institution.

Reactions to the band were tremendous.  I personally, could not contain myself and was leading the second encore after Home.  Upon the completion of the show, I immediately bolted to the bar and got the name and number of the booking agent for the House of Blues so that I could contact her later regarding a possible show at the Fox.  ( I am an intern for the Fox theater.)  My friends were instrumental in my accurate recollection of the events that night as I was way too excited after the show the think logically.  Reviewers agree that Dag is an incredible band:

Raygun Magazine says, "DAG could stand for 'Dem Are Grooves'... they manage to take it to the bridge and beyond."

Interview Magazine:  "the stunningly spongy debut by four of the funkiest unknown kids ever to come out of North Carolina.  Righteous Grooves."

Pearl Jam's Dave Abbruzzese:  "Laying it down funky... It's about time someone did."

Dag recorded their first album, "Righteous" in 1994 at the famous Muscle Shoals studios in Alabama.  Artists such as Wilson Pickett, Arethra Franklin, and Rolling Stones made the mark there.  "We were making an R&B record, so going down there to record it was like getting the Pope's blessing."  The band claims inspiration from both Jazz and R&B artists.  Patterson unveils most of his inspiration to the song, "What's Goin' On," by Marvin of course, while guitarist Dennis claims allegiance to John Coltrane's Ballads, and Jimi Hendrix and Aretha Franklin.  James Brown and Frank Zappa also had influences on the band.

One of the most amazing things that I noticed about the band was the tremendous depth and quality of the vocals.  Patterson's energy on stage was unsurpassed and definitely came through in the overall performance.  Jervey says of Patterson's intensity, "he's got a lot of raw energy, but he really is a sweet guy.  When he opens his mouth, a lion comes out."   Overall, my experience at the House of Blues was amazing and it is an experience that I will never forget.  I am currently in the process of trying to book Dag to play at the Fox or Boulder Theater.  It is music like theirs that keeps Jazz alive and current to the trends and markets in our modern society.  It is my personal belief, that, because of bands such as Dag, Jazz will never die, only change form to adapt to its environment.  The mold of Jazz, however, will never change.

888.          Representation of Men in Australian Films

Throughout Australian film history, various Australian Male representations have been formulated. The result of this is a variety of Male images from the rough, wholesome and hardworking to the softer, busy, consumer orientated stereotypes. This paper will compare and contrast the representation of men in the Australian films; "Sunday Too Far Away" (1975) and "Priscilla Queen of the Desert"(1994) through the discussion of stereotypes, icons, the film language and how it adds to the themes and issues raised as well as the cultural and institutional factors contributing to the content of the films.

"Sunday Too Far Away" (1975) is a film set in 1955 about the events surrounding sheep shearing. It faces the tedious routine and typical lifestyle of the shearers focusing on Foley, the brawling, hard-drinking Aussie bloke. Facing the crucial issue of the day, the 9-year shearing strike, Foley looses his job to the 'scabs'. The characters portrayed are very typically Australian Males/blokes. Foley's image of Anti-authoritarianism shows when the owner of the ranch is looking over the shearers, in case they cut off their "knackers and pistles". He hates this officiousness and is anything but threatened by authority and so plays a joke on the owner.  Mateship, defined as one who is prepared to make the ultimate sacrifice for his habitual companion, to stick together through thick and thin, (Rees Griffiths September 2002, Kalmund, D 1995 ) is obvious within the film when the group sticks together in the strike, and loose their jobs to the 'scabs'.

...Uses the eclectic character range of the film to demonstrate the masculinity and mateship of Australian culture in the era. (A R Lantzke 1999)

Other images that depict the 'typical Aussie Male' icon of the time is the masculinity of the group- such as the scene where Foley outcasts the man who is writing a letter to his wife, calling him a queer, the competitiveness to shear the fastest and the most, (emphasised in the scene where Foley and his competition are washing their clothes and race each other), the typical hard drinking displayed in the character Garth (the oldest, longest sheep shearer of them all who consequently dies on the station), and the independence. Slang is used to accentuate the representation of the rough, swearing image; "You piss week bugga'", "You rotten bastard", etc. The representation of the harshness and isolation of the station  (constant long shots of the station and the open terrain) depicts the sense of the theme mateship in that the men would bond emotionally, but don't. This is evident in the scene were Garth is crying and Foley pats him on the back and walks out (emphasising Garth's aloneness). Australian film, Shame(1968) represents the theme of mateship to an intense extent. A group of young boys in a small township had such a strong sense of mateship, and as a result, moral codes and ideology were ignored and seen by themselves and others that their transgressions were right.

The shearing industry portrayed in the film depicts the lifestyle of the typical Aussie male. The sense of competitiveness within the industry is apparent in a scene where a shearer puts oil in his shoe that makes his shearer faster. The use of small talk due to the loud noise and work in the station results in their trait of sarcasm. Their need to drink when work is over depicts this because there is nothing else to do. Their follow workers are the only people they have to talk to which is the characteristic of mateship. The stereotypical sense of "providers" shows that the shearers work just for money, not lifestyle. These factors depict the typical Aussie Male through the films institutional factors.

"Priscilla Queen of the Desert "is a road trip movie with three lady-queens, Tick/Mitzi (Hugo Weaving), Adam/Felicia (Guy Pearce) and Bernadette (Terence Stamp) daring the Australian outback as to the security of Sydney. Following the life of Tick/Mitzi, a lady with a wife, son and ABBA dance routine, she challenges the gay stereotypes. The trip encounters the human cultural differences of the close- knit townships of the northern territory, however the three outgoing cross- dressers stick together through "thick and thin" and make it to their gig at Alice Springs.

The traits of the typical Aussie Male are represented in Priscilla Queen of the Desert however are mainly juxtaposed or contradicted with other images. The stereotypes or images of the typical Aussie bloke, drinking hard, swearing, humour, anti- authoritarianism, slang, individuality and mateship (Mayer, Geoff 1991) contradict the images of femininity, emotion and an ignorance of practical skills. A good example of this is the attempt Mitzi made to be masculine for his son with the iconic bush hat and outback clothes juxtaposed by his identity, the way he talks and walks. The ignorance of practical skills is shown when typical Aussie "Bob" (short stubbies, bush hat etc.) takes a trip with them to fix up their pink bus as they journey to Alice Springs. "Well, I've had a look around and I think we can safely assume that I now know less about motors than when I first lifted up that...that bonnety thing" (Mitzi). Their femininity is juxtapose with their drag queen glamorous, elaborate fluoro green dresses, shot against their rugged climbing boots, standing in the middle of the outback. Although the drag Queens hammer down the alcohol, they drink things like 'la la drinks' and spirits compared to that of the typical stubby. It is therefore that the stereotypical Aussie traits in Priscilla are depicted, however they are juxtaposed and contradicted to suit the content of the film.

The time of this film is set at the emerging and need for acceptance of the gay community. Carrying and underlying message about the need for acceptance (racial, sexual, relationship... (Smith, J 1998)

The cultural factor that the three drag queens are excepted by the Aborigines is intriguing in that the larger townships do not accept them as do they accept aborigines.

The two films "Sunday Too Far Away" and Priscilla Queen of the Desert" represent the typical Australian Male. However, in Priscilla Queen of the Desert the male representation is contradicted and juxtaposed to give the illusion to the audience that the queens are not typical men and are women.  There characters are hardly ever these women, merely just men dressed up as women. That is, the femininity vs. the masculinity traits, for example, the elaborate makeup, costume, mannerism, drinking cocktails, friendship, emotion vs. swearing, anger, drinking, sarcasm and fighting elements.  Sunday Too Far Away looks into the typical Australian Male elements and focuses on them to make the film relatable and emblematic of the lifestyle and lives of the shearers.  That is the brawling, hard drinking, competitive, sense of mateship, anti-authoritarianism, and physical prowess. Therefore the two films are comparative in the sense of they both represent the typical Australian Male, however they contrast in a sense that Priscilla Queen of the Desert compares and contrasts the mateship and femininity aspect within it whereas Sunday Too Far Away does not.

889.          Reservoir Dogs

Reservoir Dogs

"I don't give a fuck what you know or don't know, but I'm going to torture you anyway, regardless. Not to get information. It's so amusing for me to torture a cop. All you can do is pray for a quick death, which you aint going to get." Mr. Blonde in Reservoir Dogs, 1992 This guy was the most twisted and sickly perverted guy in the whole movie. He had no reservations about killing people. He was brutal. He loved torture and death. By his own admission he liked to see the peoples' expressions when they died. He was totally ruthless. He had no conscience. I can't really explain why I liked this character so much. I don't EVER want to be like him or do the things he did. There was just something attractive about all his negative personality traits. Before he really starts getting into torturing the cop, he casually turns on the radio as if he needed some music to accompany the grizzly acts he was about to commit. He was a man who insisted on having total control. He liked controlling situations and people. When they were in the jewelry store he advised the employees not to hit the alarm. When they did, he started killing them. This was his way of regaining control of the situation. At the same time he was acting out this concept, he was actually totally out of control. He went fucking crazy in the store. He slaughtered the people lined up in the store like he was shooting clay ducks in a local carnival shooting gallery. I know this is a contradiction, but Mr. Blonde was a contradiction of himself. He had double standards. He hated the cop just because he was a cop. He didn't recognize him as a real person. Mr. Pink and Mr. White confirm this at the warehouse when they discuss him shooting REAL people, which cops are not. They say he just went crazy. They seemed to fear his craziness. His calm facade was a cover for the monstrous things he did to people. When he was in the warehouse with the hostage cop and Mr. Orange he appeared to be very calm. He sat smoking a cigarette while Pink and White argued over the chain of events. He wasn't calm. He couldn't wait to start torturing the hostage cop. You could see it in his face when Pink and White left. He almost looked like a kid left alone to tend a candy store. He was up and going the second they left. He was oh so gruesomely true to his belief that cops weren't people that he begins to prove this through his torture "techniques". He treats the cop like an object as opposed to a human being. He slashes off his ear and speaks into it like it was a play phone. He dances over to the gas can, swirls around the warehouse floor and soaks the guy in gas. He taunts the man by lighting a cigarette and holding it over the puddle of gas. This was a thrilling game to him. He wanted to see this man suffer before he finally died. He was also true to his fellow thugs. When everyone else was panicking, he remained cool. He insisted they stick to their original plan...to the end. He told them he had spoken to Nice Guy Eddie and everything was to be done according to the original plan. Mr. Blonde was a messed up dude. His whole personality was a contradiction. Maybe that's why he was so hypnotizing. His bizarre behavior and calm facade made for a very unique character.

890.          Response to Why I Hate The Celestine Prophecy

The Celestine Prophecy by James Redfield.  More popular than The Bridges of Madison County, more philosophical than Socrates, and it rivals onlu R.L. Stein's Fear Street series in bad writing.  It's a "novel of ideas" says Kenneth Moyle in his very critical essay "Why I Hate the Celestine Prophecy."

"A novel of ideas;" that's a good phrase for this "novel."  I read it twice during this assignment: the first time I thought he had great ideas and themes to live by; the second time I still thought he had great ideas, but a terrible way of presenting them.  Moyle says "...for all intents and purposes, this is not a novel but rather a New-Age manifesto..."  That just about sums it up.  This is a great book for someone looking for direction and conflict resolution.  However, if you're looking for a book with depth and literary merit, you'd be better off with Danielle Steele.

First of all, Redfield's characters are more two-dimentional and unbelieveable than Barbie paper dolls.  "The characters...are featureless mouthpiecesfor the monotone authorial voice," says Moyle.  A major problem I had with reading The Celestine Prophecy was keeping track of who was who;  the characters have little or no distinction between them, and it was a bit confusing because he keeps encountering the same people in different situations.

Another thig is Redfield repeats himself and the insights, and I'm assuming he does it on purpose but it gets monotonous.  Moyle calls it "considerate," but I think it's just plain repetative.  The only way I got complete understanding was to make notes and think about it a LONG TIME.

"This is not a novel to be tossed aside lightly.  It should be thrown aside with great force," says Dorothy Parker.  I don't feel that strongly about The Celestine Prophecy.  "I think there is indeed something to this book," as says Moyle.  I think the insights may actually have something to them. I know that our energies (positive and negative) affect other people, things, and situations.  The insights helped me put it into a clearer perspective.  Another thing that helped me is the insight about control dramas.  Although I don't really see myself in any that Redfield talked about, I now realize that I do have one that I need to get out of.  Despite the poor writing and chracterization, this book helped me to realize all of the love around me, and how to be a more positive person.  I think Redfield's ideas are great, but if he wanted to write an adventure, he should have gotten some help.

891.          Revenge of the nerds movie review

As I finished watching Revenge of the Nerds, it occurred to me that I had no idea where the word nerd came from. According to The Barnhart Dictionary of Etymology, nerd is listed as originating around 1965 in hot-rod and surfing slang, although it was in oral use prior to 1955. It originally meant "a foolish or ineffectual person," and it derives from the similar word nert, which meant a crazy or stupid person.

I bring this up not to turn a review of a mid-'80s gross-out college satire into an exercise in academic pedantry, but to help illuminate some of what is happening in Revenge of the Nerds below its comedic surface. I find it interesting that nerd originally conveyed a sense of stupidity or foolishness, because that seems to be quite the opposite of the meaning used in the movie (and in modern discourse, in general). Rather, the nerds here are intelligent, creative, innovative, and cunning. In short, if there is any "ineffectualness" here, it is simply in the nerds' inability to conform to the mainstream. It is their outsider status that marks them as nerds, and they are outsiders because they have different priorities.

What Revenge of the Nerds makes clear, in both the story and its title, which humorously suggests a horror movie of sorts, is that "beautiful people" (jocks, sorority girls, cheerleaders, etc.) don't truly dislike nerds. Rather, they fear them. This is a key distinction, and it is one that I think often slips through the cracks because being feared is a form of power. Nerds are to be feared because, early in life, they seem weak, ineffective, and outside the social body. Yet, as time passes, the simple fact is that nerds become powerful while beautiful people, whose position in the social stratum is based on physical appearance and athletic prowess, begin to slide. Nerds are smart, and intelligence and knowledge increase with time, leading to professional success and the accumulation of wealth. The athleticism and good looks of jocks and cheerleaders can only go downhill.

Thus, worked into the subtext of the movie is the jocks' latent fear of the nerds based on their repressed knowledge that, someday, the people they mock and torture will overcome them. This, for instance, also comes out in Peggy Sue Got Married (1986), in which the class nerd in the 1950s is a successful and confident businessman at the 25-year high school reunion. In real life, there is no better example than Bill Gates. You can laugh at his hair cut, sloppy clothes, and "nerdish" appearance all you want, but the fact is, he is a multi-billionaire with more power and influence than most of us could ever dream of.

So, the central joke of Revenge of the Nerds is not that nerds get their revenge (that will happen in due time). Instead, the central joke is that the nerds get their revenge prematurely. They defeat the jocks and beautiful people during the time in which they should be superior. Thus, it is a double victory that is that much more humiliating for those defeated.

The two main characters in Revenge of the Nerds are Lewis Skolnick (Robert Carradine) and Gilbert Lowe (Anthony Edwards, now well-known for his role on TV's ER), both of whom are nerds par excellence. They fit every cliche of nerd-dom, from the highwater pants, to the plain haircuts, to the outdated glasses, to the overloaded pocket protectors that are literally spilling over with pens, pencils, and the like. Lewis stands out even more with his awkward overbite and haw-hawing laugh that makes him sound like a braying donkey (apparently it's genetic because his nerd father, played by James Cromwell, has the same laugh).

When the movie opens, Lewis and Gilbert are entering their freshman year at Adams College. Lewis, the more outgoing of the two, is confident that they will have a great year. He is so sure that he and Gilbert have entered manhood and left their tortured high school years behind them that he boldly goes forward, thinking they will be accepted into the powerful Alpha Beta fraternity, which appears to be populated exclusively by the football team.

As one might guess, things do not go as Lewis planned. In fact, the first 45 minutes of the movie play out one humiliation after another. Along with the other freshmen, Lewis and Gilbert are tossed out of their dorm rooms and made to live in the gym when the Alpha Betas burn down their fraternity house during a party and take over the dorms as their place of residence. They are tricked into thinking they will join the fraternity and are then dehumanized in some kind of awful ritual (thankfully left off-screen) involving condoms and a sheep. When they finally gather together with some other nerds and refurbish an old house, the jocks throw a rock through their window. The final insult comes when, during a party meant to impress the leaders of the Lambda Lambda Lambda fraternity, for which they are a probationary chapter, the jocks let loose a dozen pigs in the house.

Thus, it is time for revenge. One of the creative aspects of Revenge of the Nerds is the way the screenplay sets out a broad spectrum of rejected outsiders and shows how each of them contributes a particular knowledge or skill that, when combined, is more than enough to defeat the jocks at their own game. While their technical skills are used during a high-tech panty raid of a sorority house, which incorporates the use of video cameras and a satellite dish, the majority of their skills are employed in the Greek Games at the annual Homecoming Carnival, the winner of which gets to choose the president of the Greek Council.

Gilbert and Lewis contribute natural leadership skills and their knowledge of computers. The various musical skills of the nerds, from Booger's (Curtis Armstrong) ability on guitar to Poindexter's (Timothy Busfield) violin playing, are put into good use in the final skit competition, in which they stage a show that is part Devo and part Michael Jackson. Wormser (Andrew Cassese), a preteen gifted child made to go to college many years before his time, knows aerodynamics, which he uses to design a special javelin for Lamar (Larry B. Scott), the group's flamboyantly gay member.

As the various members make clear, Revenge of the Nerds is not so much about the conventional idea of what a nerd is, but rather it is about the socially downtrodden in general. The group includes not only stereotypical nerds like Lewis and Gilbert, but also minorities (in the form of foreign-exchange student Takashi, played by Brian Tochi) and the homosexual Lamar. Therefore, it is of little surprise (although still funny) that the nerds officially become a chapter of Lambda Lambda Lambda, which is an exclusively African-American fraternity. The conflation of discriminated-against minorities and discriminated-against nerds is something of an uneasy pairing, but it does bring out the fact that predjudice is prejudice, no matter who it's aimed at or for what reason.

Most of the cast members returned three years later for Revenge of the Nerds II: Nerds in Paradise, which is largely a rehash of the first movie. It once again begins with a journey, except this time, instead of heading off to college, the boys are headed down to Fort Lauderdale, Florida, for the United Fraternity Conference. Having conquered the Adams College campus, they once again find themselves discriminated against by members of the Alpha Betas, this time led by Roger (Bradley Whitford, who has one of the most sniveling voices I've ever heard), who happens to be president of the United Fraternity Organization.

No big surprise, then, that the plot follows the intrepid nerd heroes as they suffer a series of humiliations before asserting their superiority in the end. There are a few funny moments to be had, most notably Poindexter asking a cardboard cut-out of a bikini model if she's like a drink and Booger's run-in with a mystical Chinese shaman named Snotty, whose gross-out capabilities far exceed Booger's own.

Overall, though, Revenge of the Nerds II has little to offer that wasn't done better by the first movie. Courtney Thorne-Smith looks uncomfortable and stiff as Sunny, Lewis' new love interest, and Anthony Edwards was wise, after his success as Goose in the megahit Top Gun (1986), to take only a cameo role (his absence is explained by the fact that he broke his leg playing chess--"Hey, don't get down on yourself," Lewis tells him. "That was a difficult move"). Still, it isn't worse than the next two sequels, Revenge of the Nerds III: The Next Generation (1992) and Revenge of the Nerds IV: Nerds in Love (1994), which bypassed theaters altogether and for good reason.

892.          Review of Gyorgi Ligeti

Review of Gyorgi Ligeti's Danse Macarbei

Aaron Warner

This piece is a lesson in polytonality, dissonance, and complexity. The

first thing heard is an imitation of a car horn that seems designed to grab hold

of the listener. If I were inattentive before this piece, I certainly was wide

awake when it was over. Ligeti seems to have sculpted a piece together from bits

and pieces of other musical styles: a sort of modern-art approach to music. The

violins tuning without a care in the first few moments, the slow mock continuo

of the highly dissonant bassoon counterpoint, and the later  high pitch of a

clarinet all seem to be broad, bold strokes on a canvas of sound. Ideas come

floating to the front of the imaginary "stage", and drop back behind newer

themes.

The percussion also adds considerably to the complexity of the piece in

the later minutes, stomping along without any respect for the classical violin

or the clarinet's solo theme. A bird drops in, played by the flute, taking the

focus away from the slowing, stomping band. Perhaps this is a bit of editorial

from the composer himself on big-band music in general? The marching band ushers

in the beginning of the end, gaining speed and volume. The texture of the piece

grows with the addition of another instrument every few measures. After a short

build, the threshold of noise is reached. All of the instruments of the band and

orchestra are playing at their highest volume, playing solos of a mixture of

styles, in a polyrhythmic soup of sound. The peak of this amalgamation is

reached, and the slow, almost drunken marching band pulls us away, towards the

end of the piece.

893.          Review of Gyorgi Ligetis Danse Macarbei

Le Grande Macabre                            Aaron Warner

by Gyorgi Ligeti                                 485-13-5800

written in 1978                                    4/24/95

L.L. #5

This piece is a lesson in polytonality, dissonance, and complexity. The first thing heard is an imitation of a car horn that seems designed to grab hold of the listener. If I were inattentive before this piece, I certainly was wide awake when it was over. Ligeti seems to have sculpted a piece together from bits and pieces of other musical styles: a sort of modern-art approach to music. The violins tuning without a care in the first few moments, the slow mock continuo of the highly dissonant bassoon counterpoint, and the later  high pitch of a clarinet all seem to be broad, bold strokes on a canvas of sound. Ideas come floating to the front of the imaginary "stage", and drop back behind newer themes.

The percussion also adds considerably to the complexity of the piece in the later minutes, stomping along without any respect for the classical violin or the clarinet's solo theme. A bird drops in, played by the flute, taking the focus away from the slowing, stomping band. Perhaps this is a bit of editorial from the composer himself on big-band music in general? The marching band ushers in the beginning of the end, gaining speed and volume. The texture of the piece grows with the addition of another instrument every few measures. After a short build, the threshold of noise is reached. All of the instruments of the band and orchestra are playing at their highest volume, playing solos of a mixture of styles, in a polyrhythmic soup of sound. The peak of this amalgamation is reached, and the slow, almost drunken marching band pulls us away, towards the end of the piece.

894.          Review of Sublime video

Review of Sublime video

The music video that I chose to write my paper on, is called "Date

Rape" and it is performed by Sublime. I've seen the video

plenty of times and I taped it back in 1993 when I first got

their album 40 oz. to Freedom. The song is about a man

that picks up a lady in a bar and rapes her. He winds up

going to court and the judge finds that, "he was full of shit,

and he gave him twenty-five years." Then it talks about the

man going to jail and even getting "butt raped by a large

inmate." The video is much like a movie in the way that it is

displayed. As the song goes on and on the video

accompanies the lyrics by showing what the man looked

like (which in the song was with "a double chin and a

plastic smile"). At the beginning, the video shows the man

go into the bar and getting the attention of the lady. He

convinces her to take a ride in his van and forces her to

succumb to his will by saying, "if it wasn't for date rape I'd

never get laid." After he is finished he lets her out and she

files a police report and then "she took the guy's ass to

court." She goes to court and low and behold, the judge is

the great Ron Jeremy (of porn fame). Ron sentences the

man to twenty-five years of imprisonment and later it shows

a depiction of the guy being raped in prison. The video says

a great deal for women and actually won a couple of

awards for their "anti-rape message." Although Sublime's

lead singer, Brad, claims that it was just a song he wrote

when he was high, it received a rather large acceptance by

many women's groups. The video sends this message out

to the viewer as well. Any man that will rape a woman will

almost definitely hate getting butt slammed in jail by a large

inmate. This is truly a great music video that not only gives

a meaningful message to the audience, but accompanies the

song very well. Unfortunately, there will not be anymore

videos by Sublime because of their lead singer's death three

months ago. Although Bradley may be dead, he and his

band-mates have left behind a brilliant video with a

powerful message: don't rape, or you'll get butt-slammed.

Courtesy of chew (1994) University of Maryland

895.          Review Of Three Movies

Review Of Three Movies: Trainspotting, Ferris Bueller's Day Off and Jurassic Park

English 11

5 December 1996

Trainspotting

Trainspotting is a drop-dead look at a dead-end lifestyle. Set among the junkies

and thugs of Edinburgh's slums and made by (director Danny Boyle, writer John

Hodge, producer Andrew Macdonald) that created "Shallow Grave," "Trainspotting"

caused a sensation in Britain, where it took in more money than any U.K. film

except "Four Weddings and a Funeral" and ignited strong controversy over its

attitude toward heroin. Mark Renton (Ewan McGregor), the film's narrator,

unleashes an overpowering verbal torrent that gets things off to an aggressive

start.

"Choose life," Renton insists in voice-over as store detectives chase after him

for shoplifting. "Choose a job. Choose a career. Choose a family. Choose a

[beep] big television, choose washing machines, cars, compact disc players and

electrical tin openers. Choose good health, low cholesterol and dental insurance.

Choose fixed-income mortgage repayments. Choose a starter home. Choose your

friends. . . . "But why would I want to do a thing like that? I chose not to

choose life: I chose something else. And the reasons? There are no reasons. Who

needs reasons when you've got heroin?" It is very difficult to resist the film's

great energy.

"Trainspotting's" subject matter is raw and raunchy, including AIDS, overdoses

and violence as well as obscene situations described in unprintable language.

This is a film that makes you laugh of things that can in no way be described as

funny. How is this possible? In the film's signature scene, where Renton, in

search of some lost opium suppositories, dives head-first into "the filthiest

toilet in Scotland" and emerges in a sublime and spacious undersea world. And

despite Renton's celebrated saying on the pleasures of heroin, boasting, "Take

the best orgasm you ever had, multiply it by a thousand and you're still nowhere

near it," "Trainspotting" is only interested in drugs because its characters are.

Most feeble of the characters is the glasses-wearing Spud (Ewen Bremner). Most

devious is Sick Boy (Jonny Lee Miller), who knows all there is to know about

Sean Connery. Most innocent is Tommy (Kevin McKidd), whose insistence on telling

the truth no matter what is viewed as a fatal weakness. And most dangerous is

the beer-drinking, heroin-hating psychopath Begbie (Robert Carlyle)..

Some of the funniest parts include Renton's sudden passion for the mysterious

Diane (Kelly Macdonald) and Tommy's attempt to get the boys interested in the

outdoors, which leads to Renton's "I hate being Scottish" tirade, which ends:

"Some people hate the English, but I don't. They're just wankers. We, on the

other hand, are colonized by wankers. We can't even  pick a decent culture to be

colonized by."

Cast: Ewan McGregor, Ewen Bremmer, Robert Carlyle, Jonny Lee Miller

Credits: Directed by Danny Boyle, written by John Hodge, from the novel by

Irvine Welsh.

Ferris Bueller's Day Off

One of the all-time greatest comedies, this movie tells the tale of a smart

Chicago teenager (Matthew Broderick), who ditches school with his girlfriend

(Mia Sara) and his neurotic best friend (Alan Ruck), so they can spend a day in

the windy city. It also turns out that Broderick wants to build his buddy Ruck's

self-esteem, a task that turns out to be a more difficult than he imagined. As

if this wasn't enough, Broderick's sister (Jennifer Grey) and his principal (a

hilariously funny Jeffery Jones), truly believe he's playing hookey and they

both want to nail him in the act. Talk about a dilemma.

This is a fine teenage comedy, with well-rounded, intelligent characters, giving

Broderick a great starring role. Some of the best scenes are formed around

Bueller's ability to gleefully manipulate everybody and everything around him.

Those side-splitting, thigh-slapping scenes have to be seen to be believed. Of

course, he gets a little help from his friends (Sara and Ruck)..

The cinematography is good, with many pans and close ups in tight situation's

making things even more intense and funny. If there was ever a film to put on

your "What-to-rent" list, this is it.

Jurassic Park

An amazing film adaptation of the best-selling novel by Michael Crichton, that

revolutionized special effects in movies the way Star Wars and 2001: A Space

Odyssey did. The story concerns a tropical island, that is the home to living

Dinosaurs, brought back by way of DNA. The billionaire (Richard Attenborugh),

who owns the island, invites two paleontologists (Sam Neill and LauraDern), a

mathematician (Jeff Goldblum) and his grandkids (Ariana Richards and Joseph

Mazzello) to the island, unaware that anything can go wrong. Something does! In

a major way! A power failure allows the dinosaurs to escape from their cages and

roam the park, causing destruction and chaos.

Magnificent direction by the master of film fantasy Steven Spielberg, as well as

amazing digital effects, make this a captivating, roller coaster ride, with

plenty of suspense and astonishment to go along. True, the story isn't really

close to the book version, but why quibble. The actors work well together within

some well set up scenes. Still, someone else should have been chosen for the

part of the mathematician other than Goldblum. He is completely unconvincing in

his role, and doesn't really fit in that well. Other than that, the film is

practically flawless with excellent music, cinematography , and some of the

greatest special effects I have ever seen.

896.          Review Thomas Cahills How the Irish Saved Civilization

Thomas Cahill opens his story describing Rome's fall, "For as the Roman Empire

fell, as all through Europe matted, unwashed barbarians descended on the Roman cities,

looting artifacts and burning books, the Irish who were just learning to read and write,

took up the just labor of copying all of western literature - everything they could get their

hands on.  These scribes then served as conduits through which Greco-Roman and

Judeo-Christian cultures were transmitted to the tribes of  Europe, newly settled amid the

rubble and ruined vineyards of the civilization they had overwhelmed."  (Cahill, p.3)

The theme of this book is that the scribes did something unique, they saved civilization,

not the masses of people, but literature, the content of  "classical civilization."  (Cahill, p.

58)  One reads of the time from Rome's fall to medieval times learning through the

stories of the characters, most notable Augustine and Patrick.

Augustine, his faith based on Roman Chrisitanity, "looked into his own heart and

found the anguish of each individual."  (Cahill, p. 115)  Patrick, the slave turned

Christian, escapes only to return to convert the Irish.  He was the first missionary to the

barbarians beyond Greco-Roman law "who looked into the hearts of others."  (Cahill, p.

115)

Cahill notes Ireland is the only land where Christianity is introduced without

violence - there were no murdered Irish martyrs.  (Cahill, p. 151)  He discusses the

growth of monasteries in Ireland and their eventual spread to Iona and beyond by

Columcille and his "White Martyr" followers.  (Cahill, pp. 171-184)    Growth continues

as Columbanus establishes the first Italo-Irish monastery  where monks continue to pray

and copy.  Between these two men Irish monasteries were established in England,

Scotland, Italy, France and beyond.

Historically the Irish are not credited with a major role in this time period and

Cahill attempts to prove the society/culture of this time has its roots in Ireland.  He states,

"Ireland, at peace and copying, stood in the position to become Europe's publisher."  The

Saxons had blocked routes to the English mainland.  A new, illiterate Europe was rising

from Roman ruins...  Ireland would reconnect Europe with its own past by way of

Ireland's scribal hands.  (Cahill, 183)  These monasteries become centers for learning,

presumable the predecessor of modern universities.

I have two favorite parts to this book, first, the contrast Cahill makes between

Augustine and Patrick.  I am catholic, from birth, and I never really thought of Augustine

in the  manner Cahill portrays him, the dark versus bright side of Chrisitanity.  Augustine

becomes self-conscious, "the man who cried I..."  (Cahill, p/ 39)  He wanted truth.  We

see the classical world through him. Patrick on the otherhand is a Christian convert, an

escaped slave, who returns to Ireland to save it. He brings the Roman alphabet and

Roman literature with him.  He also brings a more personal faith with him that pagan

Ireland eventually accepts.  Hungry for knowledge faith and literacy essentially become

one.

My other favorite part was the stories of the early Irish war heroes that became

possessed by warp-spasm, particularly Cuchulainn.  Cahill uses exerpts form The Tain to

illustrate how they lived in fear of their mythological creatures, lived in fear of dying, and

used alcohol, particularly beer, to drink the fears away,  Patrick became the alternative.

(Cahill, pp. 83-85)

I enjoyed this book immensely, probably because I am three fourths Irish myself.

It probably makes me prejudiced.  I do feel he was biased in his views but I don't think

that there is an author who isn't biased in his or her viewpoint.  Cahill, obviously Irish

himself, is no worse than the others.  Read the Times Picayune, or listen to TV news for

an example.  His bias (and pride) is evidenced when he writes, "Latin literature would

almost surely have been lost without the Irish, and illiterate Europe would hardly have

developed its great national literatures without the example of the Irish, the first

vernacular literature to be written down.  Beyond that, there would have perished in the

west not only literacy but all the habits of mind that encourage thought."  (Cahill, p.193)

Cahill notes that the Hebrew bible would have been saved by the Jewish people and the

Greek literature was preserved by the Byzantines.  He acknowledges that literature may

have survived elsewhere but it is only a momentary aside in his story ... after all, his point

is that THE IRISH saved civilization.

You've got to love the Irish - especially this time of year!

897.          Rhonda Goes Fishing by Pete Putnam

Rhonda Goes Fishing

Uncle Marcus comes rapping on your bedroom door

one Saturday morning.

Says he got a can full of worms

and your cane pole,

just like old times.

Unc, what you better have is some coffee!

He flashes a bright red thermos

from behind his back.

Gotcha, girl!

You're surprised unt Ruby's in the car.

Sick or not, woman love to fish

your uncle says proudly.

In the back of his ol' Cadillac

you sway to gospel on the radio

drinking black coffee like it's Kool-Aid.

You even get your favorite spot on Ford Lake.

Ruby in her lawn chair smoking steady

watching her bobber

like it was her own heart out there

beating in the water.

Marcus has got on his ol' ugly lucky

lucky fishing hat

an unlit cigar dangling from his lips

like a fat worm.

You're still fighting sleep

but like the feel

of that old cool cane pole

in your hands.

Still, nothin but blue gills

til your bobber

disappears

and you feel the hit all the way up your arms.

Marcus bounds over,

and Ruby gets there too somehow.

You all know it's something special.

When that big ol' catfish first flashes

you could almsot kiss

his prickly lips.

Uncle Marchus nets it,

Aunt Ruby's already talkin about

frying it up good,

and for the first time

in about a year

you're not tired

you're not tired one bit.

898.          Richard III Tragedy in Isolation

Richard III - Tragedy in Isolation

"The tragedy of Richard III lies in the progressive isolation of its protagonist". Discuss.

From the very opening of the play when Richard III enters "solus", the protagonist's isolation is made clear. Richard's

isolation progresses as he separates himself from the other characters and breaks the natural bonds between Man and

nature through his efforts to gain power.

The first scene of the play begins with a soliloquy, which emphasizes Richard's physical isolation as he appears alone as

he speaks to the audience. This idea of physical isolation is heightened by his references to his deformity, such as "rudely

stamp'd...Cheated of feature by Dissembling Nature, deformed, unfinished. This deformity would be an outward

indication to the audience of the disharmony from Nature and viciousness of his spirit. As he hates "the idle pleasures of

these days" and speaks of his plots to set one brother against another, Richard seems socially apart from the figures

around him, and perhaps regarded as an outsider or ostracized because of his deformity. His separation from is family is

emphasized when he says "Dive, thought's down to my soul" when he sees his brother approaching. He is unable to share

his thought with his own family as he is plotting against them. Thus, we are given hints of his physical, social and spiritual

isolation which is developed throughout the play. But despite these hints, he still refers to himself as part of the House of

York, shown in the repeated use of "Our".

The concept of Richard's physical isolation is reinforced in his dealings with Anne in Act I scene ii. She calls him "thou

lump of foul deformity" and "fouler toad" during their exchange. Despite these insults, she still makes time to talk to

Richard, and by the end of their exchange, she has taken his ring and been "woo'd" by him. After Richard has successfully

gained the throne, he isolates himself when he asks the crowd to "stand all apart" in Act IV scene ii. And later, when

Richard dreams, he is completely alone. Physical isolation in Richard's deformity wins sympathy from the audience as we

pity his condition. But Richard uses his deformity as a tool against the other characters, to portray them as victimizing

Richard. Thus the sense of tragedy is lessened by his own actions, even though his isolation may become greater as the

play progresses.

Richard's psychological isolation is conveyed through his lack of conscience in his murderous acts. Nowhere does he feel

remorse for his murders, until Act V scene iii when he exclaims "Have mercy Jesu!" and "O coward conscience, how dost

thou afflict me!". In this turning point, Richard's division from his own self is made clear from "I and I", and "Is there a

murderer here? No. Yes, I am!" He has conflicting views of himself and realizes that "no creature" loves him, not even

himself. We also never the "real" mind of Richard, for he is always playing a role, of a loving brother to Clarence, a lover

to Anne or a victim to the others. We feel sympathy for Richard as he awakes in a vulnerable position and for the first

time acknowledges the evil that he has done. But as he only reveals his feelings of guilt in the last act of the play, we do

not see him in internal turmoil and thus the sense of psychological tragedy cannot be built upon.

Socially, Richard is isolated from both the upper and lower classes of society. In Act I scene iii, Richard sarcastically calls

Elizabeth "sister", and she contemptuously calls him "Brother of Gloucester" making a mockery of familial bonds.

Margaret calls him "cacodemon" and "devil", and any unity that the characters have on stage is temporary and superficial.

In act III, the citizens are said to be "mum" and "deadly pale", which gives a sense of quiet opposition to Richard's

activities. Richard is thus separated from all around him. Temporarily, we see Richard and Buckingham share a kind of

bond, as Richard calls him "My other self", "My Oracle" and "My prophet". But they part when Buckingham hesitates to

kill the young princes when Richard says "I wish the bastards dead". This is the only time the audience sees Richard act

with any other man, but we realize that it is for purely political purposes and that the union exists only while Buckingham

remains useful to him. Our sympathy for Richard is limited as we see that he has no true friendships, and does not

genuinely care for his family or friends. Thus even in his increasing isolation the sense of tragedy upon his death is not

really saddening to the audience as there is no real sense of waste at his loss.

Richard isolates himself from God, as he claims to be above God's law and only uses religion as a tool to appear holy

before he is King. But ironically, although he breaks the bonds between man and Nature, he is a tool of Divine Justice as

he kill those who were sinners, for example Clarence who recalls his horrible dream and realizes his guilt early in the play.

As the murders accumulate so does his separation from God, and the need for his death increases. But being closer to his

death brings him closer and closer to being with God. Thus although Richard may not realize it, he is never too far from

God.

But Richard does not increasingly isolate himself from the audience. From our omniscient position, we share in Richard's

wit, sarcasm, and the dramatic irony brought about when other characters are not fully aware of the implication of his

words. Richard also shares his feelings with us, although he is not always truthful. But the fact that he enjoys his villainy to

such a great extent, and feels no remorse for his murders reduces him to a figure of Vice, and is not really seen to be a

tragic figure of great proportions.

In his killing, we see the guilt of Clarence, King Edward, Rivers, Hastings Buckingham and Lady Anne exposed before

their deaths, along with all those who die. Thus their deaths are necessary and the audience remembers that. Also, the

deaths appear off-stage, which lessens the impact of their deaths.

The most poignant part of the play occurs in seeing the young princes talk happily and innocently to their uncle and "Lord

Protector". York says "I shall not sleep quiet in the Tower", and we pity them, as they are young and afraid, and are

forced to go there because, as the Prince says, "My Lord Protector needs will have it so". The children had appeared

happy , and the Prince had shown wit and intelligence in his conversation with his uncle. This appears to be the greatest

tragic loss in the play, which is heightened because of their youth and innocence. The tragedy of the protagonist is felt

because of his attractiveness as a villain and as someone who is not constrained by the rules of society. However, the

audience never forgets that he is wicked and therefore we cannot feel a sense of great loss of potential or waste in his

death.

899.          Richard III

Richard III

1. "The tragedy of Richard III lies in the progressive isolation of its protagonist". Discuss.

From the very opening of the play when Richard III enters "solus", the protagonist's isolation is made clear. Richard's

isolation progresses as he separates himself from the other characters and breaks the natural bonds between Man and

nature through his efforts to gain power.

The first scene of the play begins with a soliloquy, which emphasizes Richard's physical isolation as he appears alone as

he speaks to the audience. This idea of physical isolation is heightened by his references to his deformity, such as "rudely

stamp'd...Cheated of feature by Dissembling Nature, deformed, unfinished. This deformity would be an outward

indication to the audience of the disharmony from Nature and viciousness of his spirit. As he hates "the idle pleasures of

these days" and speaks of his plots to set one brother against another, Richard seems socially apart from the figures

around him, and perhaps regarded as an outsider or ostracized because of his deformity. His separation from is family is

emphasized when he says "Dive, thought's down to my soul" when he sees his brother approaching. He is unable to share

his thought with his own family as he is plotting against them. Thus, we are given hints of his physical, social and spiritual

isolation which is developed throughout the play. But despite these hints, he still refers to himself as part of the House of

York, shown in the repeated use of "Our".

The concept of Richard's physical isolation is reinforced in his dealings with Anne in Act I scene ii. She calls him "thou

lump of foul deformity" and "fouler toad" during their exchange. Despite these insults, she still makes time to talk to

Richard, and by the end of their exchange, she has taken his ring and been "woo'd" by him. After Richard has successfully

gained the throne, he isolates himself when he asks the crowd to "stand all apart" in Act IV scene ii. And later, when

Richard dreams, he is completely alone. Physical isolation in Richard's deformity wins sympathy from the audience as we

pity his condition. But Richard uses his deformity as a tool against the other characters, to portray them as victimizing

Richard. Thus the sense of tragedy is lessened by his own actions, even though his isolation may become greater as the

play progresses.

Richard's psychological isolation is conveyed through his lack of conscience in his murderous acts. Nowhere does he feel

remorse for his murders, until Act V scene iii when he exclaims "Have mercy Jesu!" and "O coward conscience, how dost

thou afflict me!". In this turning point, Richard's division from his own self is made clear from "I and I", and "Is there a

murderer here? No. Yes, I am!" He has conflicting views of himself and realizes that "no creature" loves him, not even

himself. We also never the "real" mind of Richard, for he is always playing a role, of a loving brother to Clarence, a lover

to Anne or a victim to the others. We feel sympathy for Richard as he awakes in a vulnerable position and for the first

time acknowledges the evil that he has done. But as he only reveals his feelings of guilt in the last act of the play, we do

not see him in internal turmoil and thus the sense of psychological tragedy cannot be built upon.

Socially, Richard is isolated from both the upper and lower classes of society. In Act I scene iii, Richard sarcastically calls

Elizabeth "sister", and she contemptuously calls him "Brother of Gloucester" making a mockery of familial bonds.

Margaret calls him "cacodemon" and "devil", and any unity that the characters have on stage is temporary and superficial.

In act III, the citizens are said to be "mum" and "deadly pale", which gives a sense of quiet opposition to Richard's

activities. Richard is thus separated from all around him. Temporarily, we see Richard and Buckingham share a kind of

bond, as Richard calls him "My other self", "My Oracle" and "My prophet". But they part when Buckingham hesitates to

kill the young princes when Richard says "I wish the bastards dead". This is the only time the audience sees Richard act

with any other man, but we realize that it is for purely political purposes and that the union exists only while Buckingham

remains useful to him. Our sympathy for Richard is limited as we see that he has no true friendships, and does not

genuinely care for his family or friends. Thus even in his increasing isolation the sense of tragedy upon his death is not

really saddening to the audience as there is no real sense of waste at his loss.

Richard isolates himself from God, as he claims to be above God's law and only uses religion as a tool to appear holy

before he is King. But ironically, although he breaks the bonds between man and Nature, he is a tool of Divine Justice as

he kill those who were sinners, for example Clarence who recalls his horrible dream and realizes his guilt early in the play.

As the murders accumulate so does his separation from God, and the need for his death increases. But being closer to his

death brings him closer and closer to being with God. Thus although Richard may not realize it, he is never too far from

God.

But Richard does not increasingly isolate himself from the audience. From our omniscient position, we share in Richard's

wit, sarcasm, and the dramatic irony brought about when other characters are not fully aware of the implication of his

words. Richard also shares his feelings with us, although he is not always truthful. But the fact that he enjoys his villainy to

such a great extent, and feels no remorse for his murders reduces him to a figure of Vice, and is not really seen to be a

tragic figure of great proportions.

In his killing, we see the guilt of Clarence, King Edward, Rivers, Hastings Buckingham and Lady Anne exposed before

their deaths, along with all those who die. Thus their deaths are necessary and the audience remembers that. Also, the

deaths appear off-stage, which lessens the impact of their deaths.

The most poignant part of the play occurs in seeing the young princes talk happily and innocently to their uncle and "Lord

Protector". York says "I shall not sleep quiet in the Tower", and we pity them, as they are young and afraid, and are

forced to go there because, as the Prince says, "My Lord Protector needs will have it so". The children had appeared

happy , and the Prince had shown wit and intelligence in his conversation with his uncle. This appears to be the greatest

tragic loss in the play, which is heightened because of their youth and innocence. The tragedy of the protagonist is felt

because of his attractiveness as a villain and as someone who is not constrained by the rules of society. However, the

audience never forgets that he is wicked and therefore we cannot feel a sense of great loss of potential or waste in his

death.

900.          Rime of The Ancient Mariner

Coleridge's poem The Rime of the Ancient Mariner is wrote in a way that the reader is expected to temporarily allow him or herself to believe it to be able to understand it.  The poem itself is about a Mariner who is telling his tale of sin and forgiveness by God to a man referred to as the "Wedding Guest."  The Mariner is supposedly responsible for the death of all of the crew on his ship because of his killing of a creature which was to bring them the wind that they needed to put power into the sails of the ship.  The whole point of the poem is to encourage or convince the reader to believe the tale that Coleridge tells.

Coleridge wrote the poem as a means to induce the reader with what he calls a "willing suspension of disbelief."  The poem is written in such a way that the reader is expected to willingly decide to temporarily believe the almost unbelievable story.  The reason a person is to make sure that he or she believes it temporarily to be true is because the Mariner in the story is trying to get the point of forgiveness from God across to the reader and if the reader chooses not to believe the story behind the poem then they will not understand the effect of the point of the tale.  Coleridge's main point in writing the story was to get people to understand forgiveness by understanding the poem.

The Mariner in the poem is telling his tale to a "Wedding Guest" who has no choice but to listen and to believe.  The "Wedding Guest" in the poem represents "everyman" in the sense that "everyone" is to be at the marriage of the Mariner to life.  That is, the reader is to follow, live, and participate with the idea of the poem.

Coleridge tells of a Mariner on a ship who makes a sin against God and therefore is cursed.  This curse, the killing of an Albatross - one of God's creatures, costs the entire crew on the ship their lives yet he lives so that he can realize what he has done and be given a chance to ask forgiveness for his sin.  The deaths occurred when a ship was sited and on it two women like figures were playing dice and life won the Mariner and death got the crew.  Until he began to pray and ask for forgiveness the crew's souls couldn't enter Heaven but one he did the curse was broken, his life was saved, and Angels came down from Heaven and took the crew's souls with them.  He had become a saved man.

The whole point of the story becomes clear in the following lines.

"Farewell, farewell! but this I tell

To thee, thou Wedding Guest!

He prayeth well, who loveth well

Both man and bird and beast.

"He prayeth best, who loveth best

All things both great and small;

For the dear God who loveth us,

He made and loveth all."

The Mariner, whose eye is bright,

Whose beard with age is hoar,

Is gone: and now the Wedding Guest

Turned from the bridegroom's door.

He went like one that hath been stunned,

And is of sense forlorn:

A sadder and a wiser man,

He rose the morrow morn.  (610-625)

In these closing lines Coleridge basically sums up the whole poem.  Here he is telling the "Wedding Guest" all about how to live a good life with God and to respect all things that God creates (which is everything).  The Mariner is doing his teaching of what he learned on his voyage in these lines.  It tells how the "Wedding Guest" left after hearing the entire Mariner's tale and left a wiser man.  What this meant is that he left understanding the Mariner's words and learned from the Mariner's mistakes.  The Mariner had done his job in retelling his tale.

Coleridge did a good job of writing the poem in a way that the reader would be forced to temporarily believe it without even realizing it.  In a certain sense you could say that through the tale he placed the "fear of God" in people that made them more likely to believe the story.  When people are fearful of something they have more of a tendency to fall prey to something and Coleridge takes advantage of this in getting his point across.  The poem is written in a brilliant way that can curve the reader to think in whatever manner Coleridge wants them to.

The poem was written to try to get people to temporarily believe a story that would not normally be believable and it does just that.  Coleridge wanted people to understand the Mariner and to be able to relate to him and to understand him.  He conveyed his point of religion to the reader by making the reader subconsciously fall prey to the images and thoughts he instilled in their minds.  The poem for the most part does as Coleridge intended and gets the reader to atleast understand and believe the tale that the Mariner has to tell.

901.          Robert Schumann Essay

Robert Schumann

Robert Alexander Schumann was born in the small riverside town of

Zwickau, Saxony, in 1810.The youngest of five children, Robert Schumann was

brought up in comfortable, middle-class respectability. As a child, he

apparently exhibited no remarkable abilities.

At the age of six, Robert was sent to the local preparatory school, run

by Archdeacon Dohner. He had in fact already begun his education, with the young

tutor who gave lessons in exchange for board and lodging at the Schumann home.

At the age of seven Robert received his first piano lessons, from Johann

Gottfried Kuntzsch, organist at St. Mary's Church, and schoolmaster at the

Zwickau Lyceum. Kuntzsch was a kindly, conservative musician of limited

abilities; his knowledge stemmed from leisure-time study. Nevertheless, Robert

was soon improvising, and even composing a set of dances for the piano.

Robert's musical talent was recognized by his father. He bought an

expensive Streicher grand piano for his son, and soon four-handed arrangements

of the classics were heard in the Schumann home. With a friend named Friedrich

Piltzing, another pupil of Kuntzch's, Robert started to explore Haydn, Mozart

and Beethoven.

As a child, Schumann took part in several concerts at the Zwickau Lyceum.

He once played Moscheles' Alexander March variations, which demanded

considerable dexterity.

At the public Lyceum Robert was active as both pianist and public

speaker. When he was fourteen, Kuntzsch decided that his pupil had progressed

beyond the point where he could give further help, and declined to teach him

anymore.

Shortly before leaving the Lyceum, Schumann collaborated with his

brother Karl in preparing a new edition of Forcellini's Latin dictionary,

Lexicon Totius Latinatinis.

Although now very busy as a composer, Robert yearned for affection. He

soon fell for seventeen-year-old Ernestine von Fricken, who came to Leipzig in

April 1834 to live in at the Wiecks', and to study with Clara's father. She had

grown up in the little town of Asch with her father, Baron von Fricken, and was

the illegitimate daughter of Countess Zedtwitz.

At the beginning of September 1835 Robert and Ernestine were secretly

engaged. Within days, Baron von Fricken heard that something was afoot, arrived

in Leipzig, and took Ernestine back to Asch. After secret discussions, the

engagement was broken off by mutual agreement. Possibly Robert had been kept in

the dark about Ernestine's origins.

In any event, the affair had a catalytic effect on Robert's music. He had

the idea of writing a series of piano pieces based on the letters ASCH; these he

later turned into Carnival. He also composed some piano variations on a theme

provided by Baron von Fricken.

But Robert's friend Schunke had fallen seriously ill. Unable to bear the

sight, Robert went back to Zwickau again, only returning to Leipzig in December

to negotiate a change of publisher for the Zeitschrift. From the beginning of

1835 the journal was published by the Leipzig firm of JA Barth.

Late in 1835 Mendelsson arrived in Leipzig to take over as music

director of the Gewandhaus. Still only twenty-six, Mendelsson was the director

of the age, and Schumann felt an immediate attraction when they met at Wieck's

house. Following the newcomer's debut in Leipzig, Schumann wrote praising him in

the "Letters of an Enthusiast" column of his Zeitzcrift. Schumann did however

venture to criticise Mendelssohn's use of the baton; he believed that an

orchestra should function as a "republic" and that ridgity should be avoided.

At about this time, too, Robert met both Chopin and Ignaz Moscheles at the

Wieck's. Throughout the autumn of 1835 Schumann was a regular visitor at the

Wieck's home, seeing much of Clara, who was now sixteen. He had been following

her career as a virtuoso closely since she was nine.when he was depressed, she

cheered him up. Their talent affection was now becoming increasingly evident.

Robert had now finished his first piano sonata, dedicated "The evening Clara

set out on an important concert tour, Robert came to wish her well, and kissed

her good-bye. They saw each other again in Zwickau, and kissed again. In the new

year Robert traveled to Dresden, where he knew Clara was spending a holiday

without her father, and made his declaration of love.

Schumann seems to have thought Clara's father would welcome him as his

son-in-law. He was wrong. Hearing that Robert and Clara had been meeting behind

his back, Wieck was enraged, and wrote to Robert insisting that all relations be

severed. At the same time he distracted Clara's attention by flaunting her a new

singing teacher, Karl Banck.

Clara, only just sixteen, was regarded by her father as a mere child.

Wieck had nurtured her talents, and now saw her on the threshold of an

outstanding career. He was not going to stand by and watch her marry Schumann,

who he knew, to his own irritation, had neglected his training and squandered

his resources.

Naturally Robert was desperate. Extravagant spending sprees led to pleas

to his brothers for money. He started drinking heavily, and his generally

impolite habits led to a noisy argument with his landlady. Finally he wrote to

her.

To understand Wieck's attitude, we need to examine his feelings about

Clara. She represented his special creation, his life's work. He had labored

with her for long years at the keyboard. She had finally emerged as his best

pupil, the star exemplar of his techniques. At the same time she now represented

a valuable commercial asset. She simultaneously fed Wieck's wallet and his ego.

In May 1837, after another long tour, Clara arrived back in Leipzig. Not

long afterwards banck, like Schumann before him, was rejected by Wieck as a

suitor for Clara. At this time Schumann's disappointment seems to have turned to

malice. He declared himself ready to avenge himself on Clara. But this was only

a temporary mood; in a letter to her in August, with words "cold and serious,

yet so beautiful", Robert protested she remained "the dearest in the world". His

feelings were echoed by his beloved. On August 14 they became sacredly engaged.

On Clara's eighteenth birth day, Robert Wrote to Wieck asking for his

consent to their marriage. He argued that his prospects were greatly improved,

and his stability enchanced; "You owe it to my position, my talent and my

character".

The wedding finally took place on 12 September, the day before Clara's

twenty-first birthday. After that she would in any case free of her father's

will. Possibly Robert chose the day as a final signal of defiance to his new

father-in-law.

Very later in their marriage Robert started to have a mental illness. He

heard a solitary note beating in Robert's ears, giving him no peace. On 26

February 1854 Robert begged Clara to have him committed to an asylum, but was

finally persuaded by the doctor to go to bed.

Later Clara discovered that Robert had thrown himself into the River

Rhine, and fisherman had rescued him.

On March 4 Robert was taken to Dr. Richarz's private asylum at Endenich,

near Bonn. At intervals his mind cleared a little.

On June 8 1856, Robert's birthday, Brahams found him thin, oblivious of

every thing outside, picking names out of an atlas and putting them into

alphabetical order. On Thursday 29 July Robert was finally released from his

suffering. At four in the afternoon he fell asleep. He passed away without

anyone noticing. Clara did not see him until half an hour later.

Schumann was buried at seven o'clock on the morning of 31 July 1856 in

Bonn. Brahms and Joachin walked in front of the coffin which was carried by some

of the Dusseldorf choir. Clara asked that a few friends be there.

That was the life and death of Robert Schumann.

902.          Robert Schumann

Robert Schumann

Robert Alexander Schumann was born in the small riverside town of

Zwickau, Saxony, in 1810.The youngest of five children, Robert Schumann

was brought up in comfortable, middle-class respectability. As a child, he

apparently exhibited no remarkable abilities.

At the age of six, Robert was sent to the local preparatory school, run

by Archdeacon Dohner. He had in fact already begun his education, with the

young tutor who gave lessons in exchange for board and lodging at the

Schumann home.

At the age of seven Robert received his first piano lessons, from

Johann Gottfried Kuntzsch, organist at St. Mary's Church, and schoolmaster

at the Zwickau Lyceum. Kuntzsch was a kindly, conservative musician of

limited abilities; his knowledge stemmed from leisure-time study.

Nevertheless, Robert was soon improvising, and even composing a set of

dances for the piano.

Robert's musical talent was recognized by his father. He bought an

expensive Streicher grand piano for his son, and soon four-handed

arrangements of the classics were heard in the Schumann home. With a

friend named Friedrich Piltzing, another pupil of Kuntzch's, Robert started to

explore Haydn, Mozart and Beethoven.

As a child, Schumann took part in several concerts at the Zwickau

Lyceum. He once played Moscheles' Alexander March variations, which

demanded considerable dexterity.

At the public Lyceum Robert was active as both pianist and public

speaker. When he was fourteen, Kuntzsch decided that his pupil had

progressed beyond the point where he could give further help, and declined to

teach him anymore.

Shortly before leaving the Lyceum, Schumann collaborated with his

brother Karl in preparing a new edition of Forcellini's Latin dictionary,

Lexicon Totius Latinatinis.

Although now very busy as a composer, Robert yearned for affection.

He soon fell for seventeen-year-old Ernestine von Fricken, who came to

Leipzig in April 1834 to live in at the Wiecks', and to study with Clara's

father. She had grown up in the little town of Asch with her father, Baron

von Fricken, and was the illegitimate daughter of Countess Zedtwitz.

At the beginning of September 1835 Robert and Ernestine were

secretly engaged. Within days, Baron von Fricken heard that something was

afoot, arrived in Leipzig, and took Ernestine back to Asch. After secret

discussions, the engagement was broken off by mutual agreement. Possibly

Robert had been kept in the dark about Ernestine's origins.

In any event, the affair had a catalytic effect on Robert's music. He had the

idea of writing a series of piano pieces based on the letters ASCH; these he

later turned into Carnival. He also composed some piano variations on a

theme provided by Baron von Fricken.

But Robert's friend Schunke had fallen seriously ill. Unable to bear

the sight, Robert went back to Zwickau again, only returning to Leipzig in

December to negotiate a change of publisher for the Zeitschrift. From the

beginning of 1835 the journal was published by the Leipzig firm of JA Barth.

Late in 1835 Mendelsson arrived in Leipzig to take over as music

director of the Gewandhaus. Still only twenty-six, Mendelsson was the

director of the age, and Schumann felt an immediate attraction when they met

at Wieck's house. Following the newcomer's debut in Leipzig, Schumann

wrote praising him in the "Letters of an Enthusiast" column of his Zeitzcrift.

Schumann did however venture to criticise Mendelssohn's use of the baton;

he believed that an orchestra should function as a "republic" and that ridgity

should be avoided.      At about this time, too, Robert met both Chopin and

Ignaz Moscheles at the Wieck's. Throughout the autumn of 1835 Schumann

was a regular visitor at the Wieck's home, seeing much of Clara, who was

now sixteen. He had been following her career as a virtuoso closely since she

was nine.when he was depressed, she cheered him up. Their talent affection

was now becoming increasingly evident. Robert had

now finished his first piano sonata, dedicated "The evening Clara set out on

an important concert tour, Robert came to wish her well, and kissed her

good-bye. They saw each other again in Zwickau, and kissed again. In the

new year Robert traveled to Dresden, where he knew Clara was spending a

holiday without her father, and made his declaration of love.

Schumann seems to have thought Clara's father would welcome him

as his son-in-law. He was wrong. Hearing that Robert and Clara had been

meeting behind his back, Wieck was enraged, and wrote to Robert insisting

that all relations be

severed. At the same time he distracted Clara's attention by flaunting her a

new singing teacher, Karl Banck.

Clara, only just sixteen, was regarded by her father as a mere child.

Wieck had nurtured her talents, and now saw her on the threshold of an

outstanding career. He was not going to stand by and watch her marry

Schumann, who he knew, to his own irritation, had neglected his training and

squandered his resources.

Naturally Robert was desperate. Extravagant spending sprees led to

pleas to his brothers for money. He started drinking heavily, and his generally

impolite habits led to a noisy argument with his landlady. Finally he wrote to

her.

To understand Wieck's attitude, we need to examine his feelings about

Clara. She represented his special creation, his life's work. He had labored

with her for long years at the keyboard. She had finally emerged as his best

pupil, the star exemplar of his techniques. At the same time she now

represented a valuable commercial asset. She simultaneously fed Wieck's

wallet and his ego.

In May 1837, after another long tour, Clara arrived back in Leipzig.

Not long afterwards banck, like Schumann before him, was rejected by

Wieck as a suitor for Clara. At this time Schumann's disappointment seems to

have turned to malice. He declared himself ready to avenge himself on Clara.

But this was only a temporary mood; in a letter to her in August, with words

"cold and serious, yet so beautiful", Robert protested she remained "the

dearest in the world". His feelings were echoed by his beloved. On August 14

they became sacredly engaged.

On Clara's eighteenth birth day, Robert Wrote to Wieck asking for his

consent to their marriage. He argued that his prospects were greatly

improved, and his stability enchanced; "You owe it to my position, my talent

and my character".

The wedding finally took place on 12 September, the day before

Clara's twenty-first birthday. After that she would in any case free of her

father's will. Possibly Robert chose the day as a final signal of defiance to his

new father-in-law.

Very later in their marriage Robert started to have a mental illness. He

heard a solitary note beating in Robert's ears, giving him no peace. On 26

February 1854 Robert begged Clara to have him committed to an asylum, but

was finally persuaded by the doctor to go to bed.

Later Clara discovered that Robert had thrown himself into the River

Rhine, and fisherman had rescued him.

On March 4 Robert was taken to Dr. Richarz's private asylum at

Endenich, near Bonn. At intervals his mind cleared a little.

On June 8 1856, Robert's birthday, Brahams found him thin,

oblivious of every thing outside, picking names out of an atlas and putting

them into alphabetical order. On Thursday 29 July Robert was finally

released from his suffering. At four in the afternoon he fell asleep. He passed

away without anyone noticing. Clara did not see him until half an hour later.

Schumann was buried at seven o'clock on the morning of 31 July

1856 in Bonn. Brahms and Joachin walked in front of the coffin which was

carried by some of the Dusseldorf choir. Clara asked that a few friends be

there.

That was the life and death of Robert Schumann.

903.          Rock And Roll

Rock And Roll

In this essay, I'm going to introduce to the reader a topic not touched a lot because of its complexity and its avoidance by conservative adults. This topic is, of course, Rock Music. During one week, I looked for information in the library and at my house, and from the information I gathered and my one knowledge about the topic, I'm going to lead the reader to a better understanding of Rock n' Roll. I chose to do Rock music because I can identify myself with it. Rock music is very complex. In fact "It's stylistic scope is to broad to be encompassed by any single definition" ("Rock Music", Groliers, p.1). The nearest definition suggests a kind of music that represents and speaks for the teenage society. This music is characterized by using a heavy beat. In this essay, I'm going to divide Rock music into four sections: Rock of the 50´s, of the 60´s, of the 70´s and of the 80´s. Within these sections I'm also going to discuss several sub-topics such as famous composers and groups, and characteristics of the music. The first section of this essay is Rock n' Roll of the 1950's, when Rock n' Roll was born. It emerged from rhythm and blues, a music similar to jazz played by blacks. This kind of music started to attract white teenagers. Disc jockey Alan Freed was the one who introduced this music and later gave it the name of Rock n' Roll. Record companies distributed records played by whites but composed by blacks. Whites were frustrated because there weren't any white artists and they didn't want the blacks to be the stars until Bill Haley appeared with his "Rock Around the Clock". In this decade, Elvis Presley introduced a music that was sexual suggestive and outraged dull adults. In time he changed the style of the music by adopting a country and western style and became a national hero. By the end of this decade and the start of the next, Rock n' Roll started to decline because it was formula ridden and it was too sentimental. Teenage audiences transferred their allegiance to Folk music. In 1963 the renewal of Rock n' Roll came when The Beatles started to play. The Beatles, for some the best rock group ever, were from Liverpool, England. Through the 60's, The Beatles dominated the record industries and with their dominant instrumentation, which included: electric leads, rhythm, and bass guitar, drums and sometimes an electric organ, changed the name of Rock n' Roll to just Rock. During the 1960's many other styles of music arose from Rock like, Motown, Soul music, Jazz-rock , Folk-rock and others. Folk-Rock the most appreciated of this derivations and was first suggested by Bob Dylan. This kind of music brought to folk music a hard beat and amplification; and to Rock, a new poetic style. California was one of the major centers of rock activity and experimentation during the decade. First it was characterize for its surfing music, a very joyful music that reflected the fun people had while surfing. The Beach Boys were the ones who introduced this kind of music. At the end of the century this happy kind of music changed to a more rebellious style that was designated the name of "hippie music". Groups that played this music were Country Joe and The Mamas and The Papas. Along with this hippie ideas popularity of hallucinogenic drugs produced a psychedelic style of music called Acid Rock. By the end of the 60´s the distinctions between Rock n´ Roll and Rock were evident. The early instruments- saxophone, piano, amplified guitar, and drums- had been changed to electric guitar and bass, amplified drums and other electronic devices. Not only did the instruments change but so did the ideas behind the music. For example, "to the lyrics of teenage love and adolescent concerns were added social commentary, glorification of drugs and free-association poetry"("Rock Music", Groliers, p.1). Groups like The Beach Boys, Crew Cuts and The Everly Brothers were replaced by more imaginative, non-descriptive names groups like The Who, Jefferson Airplane, Big Brother and Holding Company. The Who, the most famous of these groups, were originally from England and were reknowned because of their bizarre stage performances, they would destroy their instruments after their performance finished. The Who was one of the first rock groups. In the 70´s, the common barriers of rock broke into more divisions, like hard rock and mellow rock. Hard Rock was extremely loud and electronically amplified and Mellow Rock was softer and with acoustic instruments. In 1972, in Jamaica, a new style of music was created called Reggae. Reggae is a mixture of rock, soul, calypso and Latin music. The king of Reggae was Bob Marley. Other styles more in rocks borders, since Reggae was more latin than rock, were created in the middle of this century, like: bubble gum rock, a funny playful music directed to the youngest fans, Punk Rock, "a loud, hard rock style derived from acid rock and marked by its extremes of costume and staging" ("Rock Music", Encarta, p.1), and Heavy Metal, which continued the approach to Acid Rock but with a simpler musical dimension but relying upon the power of repetitiveness, loud volume, and electronic distortion.

One famous group of Heavy Metal was Led Zeppelin, a British group that was formed in 1968 by Jimmy Page (lead guitar), Robert Plant (lead singer), John Paul Jones (pianist and bassist) and John Bonham (drummer). Most music of this decade was intended to be listened to, but not to be danced. But this intention wasn't kept by Disco music that arose in 1977 and was especially for dancing. One great group of Disco music were the Bee Gees. Disco music was described by rock fans as mechanical, commercial and unlyrical (which is true). At the end of this decade, rock, again became a dominant cultural force.

The last but not least section of this essay is rock of the 80's. At the start of this last decade, rock groups became more production oriented, mainly because of the sudden explosion of videos. This new sensation was a good way to sell music to the people. Heavy metal bands were greatly pushed by videos, but most helped were the popular performers like Michael Jackson, Prince and Boy George. The influence of British bands of punk, disco, reggae and pop-rock was still big in the U.S. Rock scene. At the same time, there of nostalgia to return to the older pre rock music, like rhythm and blues, which was suggested by played by Elvis Costello. By the middle of the 80's, almost every country had begun to support indigenous music, and at the end of this "a vigorous talk-song style called rap became extremely popular among urban black teenagers" ("Rock Music", Encarta, p.1.).

Rock music taught me to appreciate things in a different way. I've learned this since rock is not an exact science, it can change. In fact Rock music helps me relax ( I would have been able to finish writing this essay with rock music). After writing this essay I have learned the origins of rock and the branches of it, but that wasn't my intention. I wrote this essay to express myself with it because I feel I can show myself with rock music. I think rock has become social phenomenal.

904.          Rock v Pop Music of the 1970 s v Music of the 1990 s

Rock v. Pop: Music of the 1970's v. Music of the 1990's

Music is an outlet to all aspects of life and has a significant way of forming people and the way they live. Although not always seen directly, culture has an overbearing influence on the music that is produced and made popular. The political climate of the early seventies was full of fire with issues such as Vietnam and constant protest throughout the Unites States. Social issues also played a major role in the developing culture of the seventies. Bands often used their popularity to spread their feelings on such topics. They were, and still are, the central of communication between all genres of all people across the world. The music these bands produced, while broadcasting their opinion, also helped shaped our culture. Through twenty years of constant criticism from people who did not believe in rock music, the power of the band's opinions still affects how our country feels about many topics. Some of the things that affects how the public feels include lyrics, image, and sound

Both classic rock music of the seventies and modern rock music of the nineties use music to speak to the public. They always have used their popularity to demonstrate their feelings on wars, depressions, and beliefs. Almost all rock music groups have had at least one point in time where they address war, and the feeling of fighting for what is right was often found in lyrics. Many people believed that the classic rock groups were bad for the soul or included the use of mind-altering substances and promiscuous sex. There was more to rock music than this, much more.

In the musician's lyrics, from the classic rock music era of the seventies to the more modern forms of rock music of the nineties, many good things have been extracted. Although there was the use of drugs and there were some bands that were against authority, the musician's from both eras found their lyrics to be a useful source of output and to let the audience and the public know how they stood on political or social issues.

Sadly enough, however, modern rock music has taken on a different type lyrical content. Many of the lyrics found in modern rock music is extremely vulgar, unlike most of the music from the seventies. Modern rock music has earned a reputation for being high impact, loud, energetic, and intense. People often associate the message of all modern rock music as containing nothing more than violent anti-government statements and messages of alienation, once again stirring up ideas in the public, and having an immense impact on our society, young people, public views on music, and other rock music bands. Often, unlike classic rock bands, which tried to pursue peace in a more relaxed type of lyrical content, modern bands offer nothing more than a continued sentiment of hostility towards the fans. As a result of the belligerence, many blame the decline in morale in young people today on the messages, which are transmitted through lyrics and vulgarity.

The image in which all rock groups convey, including both modern and classic, is one of rebellion and anarchy. Both genres were for the most part, rebellious of the typical traditional way of life. In each musician's personalities, there was a belief in which molded a band's image. Some of the beliefs include Christian and gothic type music. Although there were many bands that fell outside of these two categories of musical and lyrical content, almost all rock groups fell under one of the two stereotypes. Christianity is a more relaxed and non-belligerent form of communication and gothic is hard core and denounces organized government and religion. Whether or not the band actually pushed their beliefs on others, the lyrics were written and did convey certain messages to anyone that listened to the music, whether it be a song by Led Zeppelin or Limp Bizkit.

In our modern world, most people are not afraid to speak out and most people do so. Our society is more open to new ideas and our music reflects this thought. Lyrics in modern rock music are much more vulgar than those of the seventies. Part of the reason may be that because our society is open to new ideas and thoughts, musicians can get away with progressively more vulgarity in lyrical content. The difference in the type of lyrical content used in the seventies compared to that of the nineties goes without question. The musicians today are much more liberal in what they say and what they present to the public. Although both modern and classic rock music have been almost an outcast of society for twenty years, modern rock is more open and expresses a more gothic gesture than most classic rock music.

There has always been a unique sound each band has that attracts certain fans. "From the beginning of time, mankind used it's voice as well as objects such as wood, rock, and sand in order to create harmonious melodies" (Romeu 1). Throughout time, science progressed as well as innovation, and with this came the dawn of new instruments such as drums, pianos, flutes, and guitars (Romeu 1). Both eras of rock used these types of musical instruments in one way or the other. They are the essentials of music. Although there are modified forms of instruments and there are even new types of instruments, music still manages to convey a message of one type or another to all that listen. Music grows with time and as the people change, so does their choice of sound. Music has evolved in so many ways in the past five decades, that there are numerous genres of music, including disco, pop, classical, rap and country. With the spread of ideas between bands, comes the combination of all type of music. "Although music styles have changed throughout the years, musicians remain the same, constantly adapting sounds to evolving technologies" (Romeu 1). Whether or not we want music to change, a musician's preference in which manner he expresses himself will forever be in change. Modern rock and classic rock both evolved in their time period. With the innovation of technology, come new sounds and that is what makes a band unique.

Music has now evolved into a new sound known as Techno. Many of the instruments are electronic and most bands compose the beat via keyboard. Numerous people dislike the new sound and "Techno critics complain that the computer-generated sounds have caused music to lose its soulful existence" (Romeu 1). "Although there may be dissension within elctronica music circles, the sound has united Europe and the U.S. with it's popularity" (Romeu 2). Sure enough the new sound has started to spread rapidly throughout our once guitar-based music culture and the speed and catchy beats amaze almost everybody. Modern rock now utilizes electronics to do the job that a traditional drum and bass guitar would do in a classic music based rock group. The concept of our society accepting new ideas plays a major role in why our music changes so much and techno is probably a direct result of this concept.

Lyrics, image and sounds of modern and classic rock music groups play a major role in how our country feels on political and social issues. The lyrics, images and sounds of both eras have evolved and have shaped our culture. Musicians use their music to express their ideas, to celebrate, to mourn or to simply tell a story (Romeu 1). People will always use music to find answers and the musicians will use their popularity to spread message to the public. This took place in the seventies, the nineties still has power of music and the future is sure to have the power of music. How will the music evolve in the future? Nobody knows, we have to leave that up to our society to figure out how our music's lyrics, image and sounds will change.

Romeu, Jeanette. 13 February. 2001: 2 pages. On-line. Internet. Available WWW: http://www.terra.com/specials/techno/index_lycos.html

905.          Rock

Rock

In this essay, I'm going to introduce to the reader a

topic not touched a lot because of its complexity and its avoidance by

conservative adults. This topic is, of course, Rock Music. During one

week, I looked for information in the library and at my house, and from

the information I gathered and my one knowledge about the topic, I'm

going to lead the reader to a better understanding of Rock n' Roll. I

chose to do Rock music because I can identify myself with it. Rock music

is very complex. In fact   "It's stylistic scope is to broad to be

encompassed by any single definition"  ("Rock Music", Groliers, p.1). The

nearest definition suggests a kind of music that represents and speaks

for the teenage society. This music is characterized by using a heavy

beat. In this essay, I'm going to divide Rock music into four sections:

Rock of the 50´s, of the 60´s, of the 70´s and of the 80´s. Within these

sections I'm also going to discuss several sub-topics such as famous

composers and groups, and characteristics of the music.

The first section of this essay is Rock n' Roll of the

1950's, when Rock n' Roll was born. It emerged from rhythm and blues,

a

music similar to jazz played by blacks. This kind of music started to

attract white teenagers. Disc jockey Alan Freed was the one who

introduced this music and later gave it the name of Rock n' Roll. Record

companies distributed records played by whites but composed by blacks.

Whites were frustrated because there weren't any white artists and they

didn't want the blacks to be the stars until Bill Haley appeared with his

"Rock Around the Clock". In this decade, Elvis Presley introduced a

music

that was sexual suggestive and outraged dull adults. In time he changed

the style of the music by adopting a country and western style and

became

a national hero. By the end of this decade and the start of the next,

Rock n' Roll started to decline because it was formula ridden and it was

too sentimental. Teenage audiences transferred their allegiance to Folk

music.

In 1963 the renewal of Rock n' Roll came when The Beatles

started to play. The Beatles, for some the best rock group ever, were

from Liverpool, England. Through the 60's, The Beatles dominated the

record industries and with their dominant instrumentation, which

included: electric leads, rhythm, and bass guitar, drums and sometimes an

electric organ, changed the name of Rock n' Roll to just Rock. During the

1960's many other styles of music arose from Rock like, Motown, Soul

music, Jazz-rock , Folk-rock and others.

Folk-Rock the most appreciated of this derivations and was

first suggested by Bob Dylan. This kind of music brought to folk music a

hard beat and amplification; and to Rock, a new poetic style. California

was one of the major centers of rock activity and experimentation during

the decade. First it was characterize for its surfing music, a very

joyful music that reflected the fun people had while surfing. The Beach

Boys were the ones who introduced this kind of music.

At the end of the century this happy kind of music changed

to a more rebellious style that was designated the name of "hippie

music". Groups that played this music were Country Joe and The Mamas

and

The Papas. Along with this hippie ideas popularity of hallucinogenic

drugs produced a psychedelic style of music called Acid Rock. By the

end

of the 60´s the distinctions between Rock n´ Roll and Rock were evident.

The early instruments- saxophone, piano, amplified guitar, and drums-

had

been changed to electric guitar and bass, amplified drums and other

electronic devices. Not only did the instruments change but so did the

ideas behind the music. For example, "to the lyrics of teenage love and

adolescent concerns were added social commentary, glorification of

drugs

and free-association poetry"("Rock Music", Groliers, p.1). Groups like

The Beach Boys, Crew Cuts and The Everly Brothers were replaced by

more

imaginative, non-descriptive names groups like The Who, Jefferson

Airplane, Big Brother and Holding Company. The Who, the most famous

of

these groups, were originally from England and were reknowned because

of

their bizarre stage performances, they would destroy their instruments

after their performance finished. The Who was one of the first rock

groups.

In the 70´s, the common barriers of rock broke

into more divisions, like hard rock and mellow rock. Hard Rock was

extremely loud and electronically amplified and Mellow Rock was softer

and with acoustic instruments. In 1972, in Jamaica, a new style of music

was created called Reggae. Reggae is a mixture of rock, soul, calypso

and

Latin music. The king of Reggae was Bob Marley. Other styles more in

rocks borders, since Reggae was more latin than rock, were created in

the

middle of this century, like: bubble gum rock, a funny playful music

directed to the youngest fans, Punk Rock, "a loud, hard rock style

derived from acid rock and marked by its extremes of costume and

staging"

("Rock Music", Encarta, p.1), and Heavy Metal, which continued the

approach to Acid Rock but with a simpler musical dimension but relying

upon the power of repetitiveness, loud volume, and electronic distortion.

One famous group of Heavy Metal was Led Zeppelin, a

British group that was formed in 1968 by Jimmy Page (lead guitar),

Robert

Plant    (lead singer), John Paul Jones (pianist and bassist) and John

Bonham (drummer). Most music of this decade was intended to be

listened

to, but not to be danced. But this intention wasn't kept by Disco music

that arose in 1977 and was especially for dancing. One great group of

Disco music were the Bee Gees. Disco music was described by rock fans

as

mechanical, commercial and unlyrical (which is true). At the end of this

decade, rock,  again became a dominant cultural force.

The last but not least section of this essay is rock of

the 80's. At the start of this last decade, rock groups became more

production oriented, mainly because of the sudden explosion of videos.

This new sensation was a good way to sell music to the people. Heavy

metal bands were greatly pushed by videos, but most helped were the

popular performers like Michael Jackson, Prince and Boy George. The

influence of British bands of punk, disco, reggae and pop-rock was still

big in the U.S. Rock scene. At the same time, there of nostalgia to

return to the older pre rock music, like rhythm and blues, which was

suggested by played by Elvis Costello. By the middle of the 80's, almost

every country had begun to support indigenous music, and at the end of

this "a vigorous talk-song style called rap became extremely popular

among urban black teenagers" ("Rock Music", Encarta, p.1.).

Rock music taught me to appreciate things in a different

way. I've learned this since rock is not an exact science, it can change.

In fact Rock music helps me relax ( I would have been able to finish

writing this essay with rock music). After writing this essay I have

learned the origins of rock and the branches of it, but that wasn't my

intention. I wrote this essay to express myself with it because I feel I

can show myself with rock music. I think rock has become social

phenomenal.

Word Count: 1233

906.          Rocky IV

Rocky IV

In 1985, a movie was made that displayed the attitudes and fears that Americans had of the former Soviet Union. Although the

movie had some flaws, it did closely represent the feelings of the era that was depicted. This paper intends to analyze and give

the proper credit that this movie and its actors deserve.

East meets West when Rocky takes on a vicious Soviet fighter who literally killed his last opponent! Sylvester Stallone writes,

directs, and stars in this war between nations in which the only battle is fought in a boxing ring. Rocky must defend his honor,

his friend, and America itself. Rocky proudly holds the world heavyweight boxing championship, but a new challenger has stepped forward: Drago (Dolph Lundgren), a six-foot four-inch, 261-pound fighter who has the backing of the

Soviet Union. Rocky's friend, Apollo Creed (Carl Weathers) fights Drago in an exhibition match, but after Creed's fatal

defeat, Rocky knows he must avenge his friend and beat the Soviet adversary. Rocky's training regimen takes him to icy

Siberia, where he prepares for a globally-televised match in the heart of Moscow. It's a powerfully-charged event as Rocky

takes on Drago in a heart-pounding fight to the finish. What makes this movie so great is that it captured our fears and hopes all at the same time. In a way, by watching this movie,

we were in our own way fighting against our Russian advisories. As far as the historical accuracy goes, we must remember that

this is just a movie. As with all the ROCKY movies, the boxing matches go on far longer than they would in real life. In this

movie, we saw the Soviet Training system as a finely regimented and scientific endeavor. According to Soviet sports training

books I have read, the kinds of training depicted in the movie may very well be accurate. There are only two things that may be

a stretch: The first is the use of sparring partners by Drago. The movie depicts Drago pummeling every one of his partners,

sending them to the canvas spitting up blood. This, of course, doesn't happen in real life, sparring partners are partners not

punching bags. The second thing about Drago's training that is questionable is his use of steroids in the movie. Contrary to

popular belief, this was not a wide spread practice and, in fact, it was condemned by the government. Any athlete who was

caught doing steroids, or any coach who distributed them, were eliminated from the sports program. Soviet scientists and

trainers knew that the use of steroids only provided a quick boost in strength, and that continued use of them would cause

extensive injuries to the athlete. In short, the athlete would be injured so much that he would have been able to train harder and

achieve maximum performance without the drugs. In the movie's defense though, the scene is relevant in the context that we all

thought the Soviets were taking superior drugs thus adding to our fear of them.

This movie definitely displayed our thoughts and emotions dealing with the Cold War, right up to the very end. Our sentiments

were captured exactly when after the fight Rocky said, "Tonight you had two people killing each other...but I guess that's better

than 20 million. If I can change and if you can change...everyone can change". To be honest, the reason this is my favorite movie is because it of the way to pumps me up. After his friend, Apollo, dies, the

emotions fly. I felt the tension and I saw the look in Rocky's eyes. Every time I watch, the movie I almost cry (the part where

he drives his car around and has flashbacks to him and Apollo being together). I love the part where he is all alone in the

Russian home and I could see him train. I watch this movie (or Rocky V, or Over the Top) before football games and fast

forward to the part when he goes to Russia to train. My favorite part of the movie (of course) is the final fight. Anyone who has

watched boxing knows it's not very realistic, but that don't matter. The fact of the matter is this, Rocky takes a beating. He

focus, and Drago gets checked into the Smackdown Hotel.

In conclusion, the movie served it's purpose with the Cold War, but more importantly, it's a good action movie. It is an older

movie, but some are classics.

907.          Rogers and Hammerstein

Rogers and Hammerstein's South Pacific

In Rogers and Hammerstein's South Pacific, the main theme is racial

prejudices.  The two main characters, Emile de Becque and Nellie Forbush are

faced with these problems as they attempt a relationship.  Two other minor

characters, Lt. Joe Cable and Liat, are faced with the same dilemma.  Both

Nellie and Joe Cable have a hard time copping with their own racial prejudices;

Joe loves Liat, yet cannot marry her because she is Tonkinese ; Nellie loves

Emile, but cannot marry him because of his former Polynesian wife.  It is these

prejudices that set the state for what might be the most significant scene in

the production. In act 2, scene 3, Nellie reveals her prejudices to Emile.

I can't help it.  It isn't as if I could give

you a good reason.  There is no reason.  This

is emotional.  It's something that is born in me.

She looks to Cable for help in describing what she feels, but he offers no help.

Emile tells her that it is not born in her, that it cannot be born in her.

Nellie, who is crying, runs off.  Emile is left with Joe, who is thinking over

his own relationship with Liat.  Emile asks him why he and Nellie think that

these prejudices are born in them.  Joe, giving him the product of his thoughts,

tell him "It's not born in you."

It is at this point that Joe Cable begins singing "Carefully Taught," a

character song in which Joe is able to vent his frustrations and anger about his

own prejudices.  The music is slightly upbeat, which helps to illustrate that by

singing this song, he is beginning to feel better.  The words that Joe sing tell

the audience that he realizes that prejudices aren't born within someone, but

taught to them.

You've got to be taught to be afraid

Of people who's eyes are oddly made,

And people who's skin is a different shade -

You've got to be carefully taught!

...To HATE all the people your relatives hate -

You've got to be carefully taught! (II,iii)

Joe realizes that there would be no prejudices in the world if it nobody

were to teach it to the children.  He sees that if nobody had even spoken

against other races or people that were different, he would have no problem with

marrying Liat.  He realizes that he actually does not feel these things at all

and the ideas that have been planted in his head can be as easily uprooted as

they were planted.  Joe, feeling better, sits down and listens to Emile begin to

speak.

Emile tells Joe that it was prejudice that he had been running away from

and it was prejudice that had found him again.  He finishes "Carefully Taught".

He sings of being cheated in the past and being cheated out of love again.  He

sings that it is the fault of "a MEAN little world of MEAN little men (II,iii)."

He sings that he will hold on to this island "and be free - and alone(II,iii)."

It is this part of the song that offers a perfect segue into Emile's next song,

"This Nearly Was Mine."

Joe alludes to the fact that he will probably marry Liat after all by

saying that all he cares about is on the island and so he plans to stay there.

Emile agrees with him that if all you care about is right there on that spot,

then it is a good place to be, but if what you care about is gone, there is no

place to be.  It is at this point that he adds his voice to the music that has

been going on under the dialogue, singing "This Nearly Was Mine", a love song

that shows how much Nellie's refusing marriage has affected him.

The song he sings is about things lost and giving up hope of ever being

happy again.   He sings of having one love, one girl, one dream, and each of

those things would be in his paradise, which he nearly had.  He poetically sings

of how Nellie flew into his heart, only to fly away.  He remembers things like

kisses, and time spent with her, but realizes that these things will be no more.

The song is very sad and the music magnifies that emotion of sadness to a higher

degree.

After Emile has finished singing, Joe sees the opportunity to take

advantage of the situation.  He asks Emile if he would reconsider going on the

spy mission with him, now that he has nothing to risk losing.  Emile agrees and

they set off to tell Captain Brackett that they will be doing the mission after

all.

Act 2, scene 3, is a very important scene in South Pacific because it

tackles the problem of social prejudices as well as puts Emile into danger by

sending him off on a mission to spy on the Japanese.  The scene puts forth a

social message as well as furthering the plot.  It is because of Emile's

acceptance of the mission that helps Nellie realize that her prejudices are

stupid and that she's giving away everything that is important to her because of

someone else's preconceived notions of people.  By examining some of the social

problems of the time (and even now),  Act 2, scene 3, proves to be one of the

most significant of the production.

908.          Romantic Music

Romantic Music: The Ideals of Instrumental Music

At one point in the study of the Romantic period of music, we come upon

the first of several apparently opposing conditions that plague all attempts to

grasp the meaning of Romantic as applied to the music of the 19th century.  This

opposition involved the relation between music and words.  If instrumental music

is the perfect Romantic art, why is it acknowledged that the great masters of

the symphony, the highest form of instrumental music, were not Romantic

composers, but were the Classical composers, Haydn, Mozart, and Beethoven?

Moreover, one of the most characteristic 19th century genres was the Lied, a

vocal piece in which Shubert, Schumann, Brahams, and Wolf attained a new union

between music and poetry.  Furthermore, a large number of leading composers in

the 19th century were extremely interested and articulate in literary expression,

and leading Romantic novelists and poets wrote about music with deep love and

insight.

The conflict between the ideal of pure instrumental music (absolute

music) as the ultimate Romantic mode of expression, and the strong literary

orientation of the 19th century, was resolved in the conception of program music.

Program music, as Liszt and others in the 19th century used the term, is music

associated with poetic, descriptive, and even narrative subject matter.  This is

done not by means of musical figures imitating natural sounds and movements, but

by imaginative suggestion.  Program music aimed to absorb and transmit the

imagined subject matter in such a way that the resulting work, although

"programmed", does not sound forced, and transcends the subject matter it seeks

to represent. Instrumental music thus became a vehicle for the utterance of

thoughts which, although first hinted in words, may ultimately be beyond the

power of words to fully express.

Practically every composer of the era was, to some degree, writing

program music, weather or not this was publicly acknowledged.  One reason it

was so easy for listeners to connect a scene or a story or a poem with a piece

of Romantic music is that often the composer himself, perhaps unconsciously, was

working from some such ideas.  Writers on music projected their own conceptions

of the expressive functions of music into the past, and read Romantic programs

into the instrumental works not only of Beethoven, but also the likes of Mozart,

Haydn, and Bach!

The diffused scenic effects in the music of such composers as

Mendelssohn and Schumann seem pale when compared to the feverish, and detailed

drama that constitutes the story of Berlioz's Symphonie fantastique (1830).

Because his imagination always seemed to run in parallel literary and musical

channels, Berlioz once subtitled his work "Episode in the life of an artist",

and provided a program for it which was in effect a piece of Romantic

autobiography.  In later years, he conceded that if necessary, when the symphony

was performed by itself in concert, the program would need not be given out for

the music would "of itself, and irrespective of any dramatic aim, offer an

interest in the musical sense alone."  The principle formal departure in the

symphony is the recurrence of the opening theme of the first Allegro, the idee

fixe. This, according to the program, is the obsessive image of the hero's

beloved, that recurs in the other movements. To mention another example: in the

coda of the Adagio there is a passage for solo English horn and four Tympani

intended to suggest "distant thunder".

The foremost composer of program music after Beriloz was Franz Liszt,

twelve of whose symphonic poems were written between 1848 and 1858.  The name

symphonic poem  is significant: these pieces are symphonic, but Liszt did not

call them symphonies, presumably because or their short length, and the fact

that they are not divided up into movements.  Instead, each is a continuos form

with various sections, more or less varied in tempo and character, and a few

themes that are varied, developed, or repeated within the design of the work.

Les Preludes, the only one that is still played much today, is well designed,

melodious, and efficiently scored.  However, its idiom causes it to be

rhetorical in a sense.  It forces today's listeners to here lavishly excessive

emotion on ideas that do not seem sufficiently important for such a display of

feeling.

Liszt's two symphonies were as programmatic as his symphonic poems.

His masterpiece, the Faust Symphony, was dedicated to Berlioz.  It consists of

three movements entitled respectively Faust, Gretchen, and Mephistopheles, with

a finale (added later) which is a setting for tenor soloist and male chorus. The

first three movements correspond to the classic plan of an introduction in

Allegro, Andante, and Scherzo.  Liszt attempted to sum up the ideas of Romantic

music in these words:

"Music embodies feeling without forcing it - as it is forced in its

other manifestations, in most arts and especially in the art of words - to

contend and combine with thought....it is the embodied and intelligent essence

of feeling; capable of being apprehended by our senses, it permeates them like a

dart, like a ray, like a dew, like a spirit, and fills our soul."

909.          Romeo and Juliet An E Ticket Ride

Romeo + Juliet: An E Ticket Ride

11/21/96

The new release of Romeo and Juliet  is fun, fast and exciting to watch.

It is a slick cinematic rendition of Shakespeare's work brought to the screen

for contemporary movie-goers.  There is something for everyone in this movie.  A

timeless story, a dynamic cast, a hip soundtrack, great sets and costumes and

plenty of action.  From the beginning the audience is told," buckle up, this

Romeo and Juliet  ride is going to be like no other Shakespeare you've ever

ridden."  This movie supports the notion that the stage is an actor's medium and

the cinema is the director's.  Romeo and Juliet  is a feast for the eyes and

does a great job of engaging the audience with the story at all times through

various cinematic techniques and tricks which make understanding Shakespeare fun,

interesting, fresh and easy.

Visually dynamic, and edited with a sense of urgency, most movie-goers will

get caught up in the story and forget that they are listening to the Bard.  It

is Shakespeare's words and text, however, the sights and sounds are as clearly,

possibly overshadowing, telling the same parallel story.  One could say that

there are visually emotional subtitles throughout the movie directing the

audience to understand and engage in the most famous love story in an entirely

new way.  One can argue that this version of Romeo and Juliet  would be

understood even without spoken words.  The camera-work tells the story as

clearly as the text.  There are very few moments in this movie when the camera

stops moving.  Like Oliver Stone's Natural Born Killers  the editing is fierce

and in your face.  There is little time to think as the perpetual images flash

across the screen.  And it works.  You become entranced and cannot wait to see

what happens next even if you are already familiar with the story.  It feels new.

Like many contemporary Shakespeare productions, the text has been

slightly edited but this does nothing to dilute the story.  The dialogue, for

the most part, is not delivered by master thespians, rather, we hear

contemporary film actors delivering the Bard's words as though this were present

day English in New York or Los Angeles.  This works very well to keep the

general movie-going audience engaged in the feeling of the words even if the

actual words or their meanings are not heard or understood.    Although

Shakespearean purists might find it appalling that every word is not clearly

audible, this is not the Globe.  This is a movie made to be shown in the malls

of America--not the halls of a theatre.  There is no need to ask your neighbor

for the meaning of the words, for their delivery within the context of the

visual imagery makes all clear.

The contemporary sets and costumes also work well to compliment the

contemporary delivery of lines.  This is a modern day cosmopolitan city  with

beaches, gas stations and helicopters.  There are constant visual metaphors and

recognizable images used to convey meaning where there might be some confusion.

The town square is a gas station, but we understand that this is a public place

in which a private familial rivalry is occurring.  The rapiers are guns, but a

duel is a duel.  The two warring families, the Capulets and the Montagues are

presented as if they are two rival organized crime families.  As a movie-goer,

we have seen this conflict before and do not need to question why it would be so

dangerous and extreme for the children of these families to fall in love.  The

risks and challenges of this romance are obvious.

This Romeo and Juliet  is successful on many levels for many reasons.

But I believe the most successful aspect of this film is that it never forgets

that it is a movie made for movie-goers.  The audience feels very comfortable

with everything going on the screen for it is all familiar and easily

understandable through the interpretations of the film makers.  Unlike other

productions of Romeo and Juliet  which I've seen, I believe the actual meanings

and ideas of Shakespeare's story are more easily digested in this version.  This

movie knows it's audience well and does a great job of delivering the goods.  It

should therefore come as no surprise that the majority of the audience on

opening night was young, excited and applauding at the movie's end.

910.          Romeo Juliet An E Ticket Ride

anonymous

11/21/96

ROMEO + JULIET: AN E TICKET RIDE

The new release of Romeo and Juliet  is fun, fast and exciting to watch.  It is a slick cinematic rendition of Shakespeare's work brought to the screen for contemporary movie-goers.  There is something for everyone in this movie.  A timeless story, a dynamic cast, a hip soundtrack, great sets and costumes and plenty of action.  From the beginning the audience is told," buckle up, this Romeo and Juliet  ride is going to be like no other Shakespeare you've ever ridden."  This movie supports the notion that the stage is an actor's medium and the cinema is the director's.  Romeo and Juliet  is a feast for the eyes and does a great job of engaging the audience with the story at all times through various cinematic techniques and tricks which make understanding Shakespeare fun, interesting, fresh and easy.

Visually dynamic, and edited with a sense of urgency, most movie-goers will get caught up in the story and forget that they are listening to the Bard.  It is Shakespeare's words and text, however, the sights and sounds are as clearly, possibly overshadowing, telling the same parallel story.  One could say that there are visually emotional subtitles throughout the movie directing the audience to understand and engage in the most famous love story in an entirely new way.  One can argue that this version of Romeo and Juliet  would be understood even without spoken words.  The camera-work tells the story as clearly as the text.  There are very few moments in this movie when the camera stops moving.  Like Oliver Stone's Natural Born Killers  the editing is fierce and in your face.  There is little time to think as the perpetual images flash across the screen.  And it works.  You become entranced and cannot wait to see what happens next even if you are already familiar with the story.  It feels new.

Like many contemporary Shakespeare productions, the text has been slightly edited but this does nothing to dilute the story.  The dialogue, for the most part, is not delivered by master thespians, rather, we hear contemporary film actors delivering the Bard's words as though this were present day English in New York or Los Angeles.  This works very well to keep the general movie-going audience engaged in the feeling of the words even if the actual words or their meanings are not heard or understood.    Although Shakespearean purists might find it appalling that every word is not clearly audible, this is not the Globe.  This is a movie made to be shown in the malls of America--not the halls of a theatre.  There is no need to ask your neighbor for the meaning of the words, for their delivery within the context of the visual imagery makes all clear.

The contemporary sets and costumes also work well to compliment the contemporary delivery of lines.  This is a modern day cosmopolitan city  with beaches, gas stations and helicopters.  There are constant visual metaphors and recognizable images used to convey meaning where there might be some confusion.  The town square is a gas station, but we understand that this is a public place in which a private familial rivalry is occurring.  The rapiers are guns, but a duel is a duel.  The two warring families, the Capulets and the Montagues are presented as if they are two rival organized crime families.  As a movie-goer, we have seen this conflict before and do not need to question why it would be so dangerous and extreme for the children of these families to fall in love.  The risks and challenges of this romance are obvious.

This Romeo and Juliet  is successful on many levels for many reasons.  But I believe the most successful aspect of this film is that it never forgets that it is a movie made for movie-goers.  The audience feels very comfortable with everything going on the screen for it is all familiar and easily understandable through the interpretations of the film makers.  Unlike other productions of Romeo and Juliet  which I've seen, I believe the actual meanings and ideas of Shakespeare's story are more easily digested in this version.  This movie knows it's audience well and does a great job of delivering the goods.  It should therefore come as no surprise that the majority of the audience on opening night was young, excited and applauding at the movie's end.

911.          Ronaldo was born on the 22nd of September of 1976 in Bento Ribeiro

Ronaldo was born on the 22nd of September of 1976 in Bento Ribeiro, a suburb of Rio de Janeiro. He is named after Doctor Ronaldo Valente, who assisted his mother, Sonia dos Santos Barata, during her third delivery. His father, Nelio Nazario da Lima, worked for a teleph9one company "Telerj". Ronaldo's full name is Ronaldo Luiz Nazario da Lima. There was evidence of his physical coordination from the start as soon as he learned to walk, play and even dance. Ronaldo didn't start speaking until he was almost three years old, by which time he had became fascinated watching his father play soccer with his friends. From the very beginning school was a bit nuisance for him. He preferred being outdoors, playing barefoot and dreaming the dream. He wanted to become like his idol, Zico.

&lt;Tab/&gt;In 1988, Ronaldo joined his first club team, Tennis Club Valqueire, where he played indoor soccer. He played with a size 2 ball on a basketball court. The ball had very little bounce which meant the ball was always on the ground. This game was designed to encourage foot control and is credited with being the reason why Brazilian players are so skillful. Ronaldo started his first game with this club team on the bench, where they selected him as cover for the goalkeeper. Eventually he played as a forward, where he like it because he loved to score.

&lt;Tab/&gt;When Ronaldo was 13 he still played indoor soccer with the Social Ramos and regular outdoor soccer with Sao Cristovao. He became the leading scorer in both tournaments and had to choose which path he wanted to follow. He decided to focus on outdoor only. He was good and he was getting noticed. His mother preferred him to study, but he preferred to play soccer. Finally he got his big break and signed for a fee. Reinaldo Pitta,  Alexandre Martina and the coach of the Brazilian under 17 team bought him for $7,500. Ronaldo then asked for the Nike shoes he had always dreamed of, and became the leading player in the South American junior tournament in Colombia that year. Following this big success, Reinaldo pitta and Alexandre martins got him a better deal, $50,000 and moved him to Cruzeiro di Belo Horizonte, a reasonably big soccer club in Minas Gerais, in the center of Brazil. By this time Ronaldo was far away from home and missed his parents very much. In December of 1993, he was just 17 years old and his big dream came true when they asked him to join the national team, the green and gold Selecao. He used part of his pay check to buy a Volkswagen Golf even though he couldn't drive and helped his mother move out of Bento Ribeiro so she would be closer to him.

&lt;Tab/&gt;When Ronaldo started playing with Selecao, he was 17 years old, the same age as when Pele started playing too. Another coincidence that links the two players is that they both played their first game for Brazil against Argentina. During the most important match in South America, Ronaldo, the boy from Benito Ribeiro plays for the last 10 minutes replacing another big start Bebeto. At this time Ronaldo still dreamed in becoming the new Zico. They included him in the USA '94 world cup squad. When Parreira, the coach, revealed the final list of the 22 players, which included Ronaldo in the list, it pleased all of the Brazilians that believed in his talent.

&lt;Tab/&gt;After the '94 USA World Cup many teams in South America wanted Ronaldo to play for them. Ronaldo had many options, but at this point it wasn't a matter of what team he like the most but who payed the most. Ronaldo finally made his mind and choose to play for a Italian team the Inter, a very well known team around the world. Since the very first day, Inter falls in love with Ronaldo. 10,000 people waited for him at the team headquarters, and another 10,000 are at the Pineina (the training center), where Ronaldo was training for the first time. Ronaldo had always used number 9, but he had a new shirt number which was number 10, the reason being that number 9 was being used by Zamorano who wasn't very keen on giving it up. But numbers on your back don't count very much when you have good numbers on the field. 50,000 people went to watch Ronaldo the first time he played with Inter, even though he didn't get much playing time.

&lt;Tab/&gt;One evening, during a game against Piacenza, Ronaldo scored 3 times. His fans than gave him his nickname "Phenomeno". He was a showman either on TV or when he was driving his car which he made big progress. Ronaldo had bought a red Ferrari. The number of prizes he received were phenomenal too. He even got to play in a FIFA friendly match, where he won "Golden Shoe" as the best scorer in all European championships of the year, then the "Golden Ball" by the French magazine "France Football", and the "FIFA World Player" of the year. After all this award Ronaldo started his personal website, which he celebrated with a live show. When Ronaldo was playing, his website became as busy as players in the field, some newspapers reported peaks of six million people trying to get on line.

&lt;Tab/&gt;The show had once again started. Cheers from the audience. Ronaldo started playing after Mutu got substituted. Ronaldo started running, he was in the midfield, everything was gong well in his soccer career as well as in his life. Ronaldo was a very dangerous when he was given the space and the opportunity of scoring. The Inter were playing the Lazio when Ronaldo had a good chance of scoring and the crowd were was cheering go Ronaldo go, all of a sudden Fernando Couto from the Lazio kicks him from behind and the goalkeeper worries. The there was a moment of silence, and then a shout. The audience followed all of this live, there was pain and tears falling from Ronaldo's eyes and there was no way to stop them. Millions of people watched as Ronaldo was begin taken off the field and out of the stadium. His childish smile wasn't there anymore. He was a grown man, who, crying, asked himsel.

&lt;Tab/&gt;It was a while until Ronaldo was able to play again. After all his knee problems he went back and played like nothing had ever happened to him. At first you could see that he was kind of scared but after a couple of games ans goals the Phenomeno was back in action. To this day Ronaldo is still the best player playing. He helped the Brazilian National team win there 5th world cup in 2002.

912.          Roseanne and The Kiss

Jodi Terwilliger

2/12/97

Paper #1

Dr.Lawrence

"Roseanne and 'The Kiss"

This past winter break, myself and one of my best friends were driving down one of the main roads in our home town of Elmira, New York.  I happened to look up at a billboard that was on the side of the road, and saw a sign that read something like:  "Be safe, be smart, be protected."  I thought to myself (immediately) "well, that's a big improvement from a few years ago when condom ads weren't even allowed on television."  Then I noticed, it had the gay symbols of the upside down pink triangle, and the symbols of two men and two women together.  My first thought was "why is this necessary"  then I mentioned that to my friend.  He didn't notice, but we both kind of laughed and agreed that why does it have to be gay people that need to protect themselves?  We (straight people) are just as much at risk--what was the point?  The point is, that it has become mainstream and accepted to be gay in this society now, so they can do that.  Only three years ago, however, it was a bit different.

"Roseanne" helped to set a trend in society that has made it more acceptable to be gay in the media.  From the billboard I saw, to Roseanne's now (in)famous kiss with another woman.  Roseanne has contributed to this trend immensely with her television sitcom.

To begin with, the series Roseanne has had gay characters on it for a long time.  Roseanne's boss Leon was gay, and after "the kiss" his role on the show became more outspoken as he got married to his lover in the season after Roseanne kissed another woman.

In  the 1994, Roseanne had a homosexual encounter with another woman played by Mariel Hemingway in a gay bar.  The episode was entitled "Don't ask, Don't tell" seemingly making light of Bill Clinton's policy of gays in the military.  The plot of this episode is, that Roseanne goes into a gay bar with her bisexual friend Nancy, played by outspoken bisexual actress Sandra Bernhard.    Roseanne dances with Nancy's new girlfriend Sharon (Hemmingway).  The situation is uncomfortable to Roseanne's sister Jackie who also went with them, but Roseanne has a great time.  After dancing with Sharon, the two sit down to chat, one thing leads to another and Roseanne makes a joke which is misinterpreted by Sharon, and she kisses Roseanne.  The rest of the episode deals with Roseanne's discomfort with the kiss.

The episode was finally aired, but it went through a lot of trouble to do so.  In fact, it had to have a parental advisory prior to it and was moved from its usual 8:00 slot, to 9:30.

Apparently, some executives at ABC were uncomfortable with this episode and didn't want to air it because of the kiss.  Steve Weiswasser, President of Multi-Media Group and Executive vice President TV Network Group had been quoted as stating that "....it is not a lifestyle most people lead."  What strikes me as odd, is that I remember how much media coverage about this kiss there was.  I even remember that ABC aired commercials that specifically mentioned the kiss.  The strange thing is, that the show included an openly gay man, and an openly  bisexual woman.  If ABC doesn't have a problem with that, then why should they have a problem with a slight kiss.

Since Roseanne, and specifically the time of this kiss, there have been many more  gay characters on mainstream television.  "Melrose Place" has two gay men, and one of the times that I watched the show, I saw them coming extremely close to kissing.  Michael J. Fox's new show, "Spin City" has a gay black man as one of its main characters.  This is extremely new since he represents  two minorities in one.  These shows have followed the trend that Roseanne helped to set.

I feel that this brings a "chicken or the egg"  dilemma.   Is society responsible for the new liberal attitude toward gays, or is it that the media has allowed a more  open attitude in its various forms of programming?  It's both.  I see it as one feeding off of the other.  Another cliché that can be used would be art imitating life, but we can't really tell.  What I am proposing is that the series "Roseanne" has had a lot to do with the fact that gays have become so accepted as of late.   The Gay and Lesbian Alliance Against Defamation/Los Angeles actually gave Roseanne and Tom Arnold  a lot regard in their efforts to show gays as regular, productive and "normal" members of society.

When a mainstream television show which appears on one of the three biggest networks  shows gays in the way in which they do, it may (however subconsciously) get people to lighten up when it comes to homosexuals.    This type of  destereotyping gays is similar to what has happened, in particular,  to blacks   in America.  It used to be that gays were these "swishy" and acted like a woman with too much estrogen.  Billy Crystal played that role on the show "Soap".  Now, as in the show "Spin City" the gay role is the head of public relations on the staff of  the New York City Mayor.  Let alone the fact that he has broken the perverted "gay" barrier, he  has broken the black barrier.  He has stepped out of the role of the thief and the sports star.

There is no doubt that television has a huge effect on the way we see our lives and our words.  In fact (in a slightly unrelated topic) I was watching an interview with Australian actor

Jeffery Rush ,  who was describing how he learned about America.  He stated that he thought that every mother was "Donna Reed" and that everyone lived in this big white house in suburbia.  This impression that people see is profound enough, I feel.  If someone were to have no preconceived ideas about gays, and they were to watch only the series "Roseanne",  they would think no differently about those who were partial to the same sex.  The media is that powerful!

I don't know if it is the media, or more specifically this show that have solely allowed   for the integration of gays into our society, but it has definitely contributed immensely.   If one were to look even further back to classic literature, and classic TV,  you wouldn't see gay roles like this.  It may be insinuated that a character is gay, but it wasn't outwardly stated.  Actually, people in recent years have discovered that many characters in classic media may have actually been gay, but for fear of  persecution of the author, writers and such, it wasn't spoken of or brought "out."

So when we look at the media, and the new attitude, we must consider the factors involved.  We must also remember that it is still not that easy to portray some of  these roles because there is, without a doubt, still a feeling of uneasiness   including gay roles on television programs.  Still, the mainstream media has gotten much more liberal in its depiction's of gays.  Roseanne has definitely played a major role in this, and I don't think that the gay community will forget that, given the fact that the articles by GLAAD that I read praised them immensely for their efforts.  The attitude of the media has changed so much in recent years, and I believe that more groundbreaking shows in all genres and for all attitudes  and communities will continue to show up in the mainstream because of shows like "Roseanne."

913.          Roswell Incident

Roswell Incident

Almost fifty years ago, an incident occurred in the southwestern desert of

the United States that could have significant implications for all mankind.  The

incident was announced by the U.S. military, and denied by the U.S. military,

and has remained covered-up in the government for the past fifty and hopefully

not another fifty years.  It is not a hoax or false claim, but rather a known

event that is thoroughly documented.  It is the objective here is to summarize

the details of the events and interviews of that event, affirm the right of all

people throughout the world to know the truth about what occurred, and propose

a course of action that will allow the truth to emerge.

It was July 1947, the day started out just like any other day.  People

of Roswell were going off to work, going downtown shopping, and the little ones

were at playgrounds with their mothers.  Day in and day out  townspeople would

drive by the military without giving it much thought.  However, this day, in

Roswell, New Mexico would change the course of history, and how the public

thinks of themselves, God and the outer limits of space!

Roswell New Mexico was in the middle of the desert.  Here was a vast

open land where one could see miles around.  On this afternoon something very

strange was about to happen.  In the clear skies of Roswell a very large craft

ended its flight.  Was this a weather balloon or an Unidentified Flying Object?

There were many eye-witness reports of alien creatures lying next to

their destroyed crafts.  One or two may have survived for a few days.  The

military quickly cornered off this area, removing the particles and the bodies.

A local funeral director got a call for numerous child size coffins.  He was to

deliver them to the rear of the military base.  Major Marcel was an officer on

the scene who took part of the ship home.  He spoke to the press about the

crash, but soon told never to discuss it again.  What he saw was a weather

balloon.  The press received a news release saying that a few officers had

jumped to conclusions.

To this day the government denies the fact that spaceships exists.  Is

this a massive cover up or science fiction?  My I-Search will delve into these

questions.  I will try to obtain the truth and allow my classmates to decide if

we are being visited from other planets or not?

I chose this topic because of my interest in space and whether life

exists on other planets.  Is Their technology is far more superior to ours?  Why

can't we work together to solve the mysteries of the planets?  I believe these

aliens do exist and I will try to prove it!

This will affect my life, because I've always wanted to know if anything

or anyone else exists in the universe.  What if the government uncovered the

truth?  Would there be total chaos or would we want to meet other space beings?

I hope to find out why the government is continuing to cover up the

Roswell incident.  Why haven't the Presidents told us the truth since 1947?  I

will write to Washington and demand an answer.

Happenings in 1947

On July 2, 1947, during the evening, a flying saucer crashed to the

ground at the Foster Ranch near, Corona, New Mexico.  The crash occurred during

a severe thunderstorm.  ( The military base nearest to the crash site is in

Roswell, New Mexico.) Roswell is more closely associated with this event than

Corona, even though Corona is closer to the crash site.

On July 3, 1947, William "Mac" Brazel and his 7 year-old neighbor Dee

Proctor found the remains of the crashed flying saucer.  Brazel was foreman of

the Foster Ranch. The pieces were spread out over a large area, more than half

a mile long.  When Brazel drove Dee back home, he showed a piece of the

wreckage to Dee's parents, Floyd and Loretta Proctor, they all agreed the piece

was unlike anything they had ever seen.

On July 6, 1947, Brazel showed pieces of the wreckage to Chaves County

Sheriff George Wilcox.  He called Roswell Army Air Field (AAF) and talked to

Major Marcel, the intelligence officer.  Marcel drove to the sheriff's office

and inspected the wreckage. Marcel reported to his commanding officer, Colonel

William "Butch" Blanchard.  Butch ordered Marcel to get someone from the

Counter Intelligence Corps, proceed to the ranch with Brazel, and to collect as

much of the wreckage as they could load into their two vehicles.

Soon after this, military police arrived at the sheriff's office,

collected the wreckage at Blanchard's office.  The wreckage was then flown to

Eighth Air Force headquarters in Fort Worth, and then to Washington.

Meanwhile, Marcel and Sheridan Cavitt of the Counter Intelligence Corps

drove to the ranch with Mac Brazel.  They arrived late in the evening.  They

spent the night in sleeping bags in a small out-building on the ranch.  The

next morning proceeded to the crash site.

On July, 7, 1947, Marcel and Cavitt collected wreckage from the crash

site.  After filling Cavitt's vehicle with wreckage Marcel told Cavitt to go on

ahead, that Marcel would collect  more wreckage, and they would meet later back

at Roswell AAF.  Marcel filled his vehicle with wreckage.  On the way back to

the air field, Marcel stopped home to show his wife and son the strange

materials he had found.

Soon after,  at about 4:00 p.m., Lyndia Sleppy at Roswell; radio station

KSWS began transmitting a story on the teletype machine regarding a crashed

flying saucer out on the Foster Ranch.  Transmission was interrupted,

presumably by the FBI.

The next day, July, 8, 1947, in the morning, Marcel and Cavitt arrived

back at Roswell AAF with two carloads of wreckage.  Marcel accompanied this

wreckage, or most of it, on a flight to Fort Worth AAF.

Later that day, around noon, Colonel Blanchard at Roswell AAF ordered

Second Lieutenant Walter Haut to issue a press release telling the country that

the Army had found the remains of a crashed flying saucer.  Haut was the public

information officer for the 509th Bomb Group at Roswell AAF.  Haut delivered

the press release to Frank Joyce at radio station KGFL.  Joyce waited long

enough for Haut to return to base, then called Haut there to confirm the story.

Joyce then sent the story on the Western Union wire to the United Press bureau.

July 8, 1947, in the afternoon, General Clemence McMullen spoke by

telephone from Washington with Colonel DuBose in Fort Worth.  DuBose was Chief-

of-staff  to Eighth Air Force Commander General Roger Ramey.  McMullen ordered

DuBose to tell Ramey to squash the flying saucer story by creating a cover story,

and to send some of the crash material immediately to Washington.

On July 8, 1947, in the afternoon, General Roger Ramey held a press

conference at the Eighth Air Force headquarters in Fort Worth.  He announced

that what had crashed at Corona was a weather balloon, not a flying saucer.  To

make this story convincing, he showed the press the remains of a damaged

weather balloon that he claimed was the actual wreckage from the crash site.  (

The obliging press did not ask why the Army hurriedly transported weather

balloon wreckage to Fort Worth, Texas, from the remote area of New

Mexico.[Jaworski interview])

The only newspapers that carried the initial flying saucer version of

the story were evening papers from the Midwest to the West, including the

Chicago Daily News , The Los Angeles Herald Express, the San Francisco

Examiner, and the Roswell Daily Record. The New York Times, the Washington Post,

and the Chicago Tribune were morning papers and so carried only the cover-up

story the next morning.

At some point, an ample amount of soldiers were sent to the debris field

on the Foster Ranch, including a lot of MPs whose job was to limit access to

the field.  A wide search was launched well beyond the limits of the debris

field.  Within a day or two, a few miles from the debris field, the main body

of the flying saucer was found, and a mile or two from that several bodies of

small humanoids were found.

The military took Mac Brazel into custody for about a week, during which

time he was seen on the streets of Roswell with a military escort.  His

behavior aroused the curiosity of friends when he passed them without any sign

of recognition.  Following this period of detention, Brazel discarded his

initial story [Internet UFO.COM].

The Civilians

Loetta Proctor (Interview held in 1990)

Loretta Proctor, Mac Brazel's nearest neighbor, was one of the first people

to see pieces of the wreckage Brazel had found. She was interviewed in 1990.

"Mac had this piece of material that he picked up.  He wanted to show it

to us and wanted us to go down and see the rest of the debris or whatever, but

we didn't on account of the transportation and everything wasn't  too good.  He

didn't get anybody to come out who was interested in it.  The piece he brought

looked like a kind of tan, lightbrown plastic.  It was very lightweight, like

balsa wood.  It wasn't a large piece, maybe about four inches long, maybe just

a little longer than a pencil.

We cut on it with a knife and would hold a match on it and it wouldn't

burn.  We knew it wasn't wood.  It was smooth like plastic, it didn't have a

real sharp corners, kind of like a dowel stick.  Kind of dark tan. It didn't

have any grain, just smooth.  I hadn't seen anything like it before in my life."

Loretta said.

The following statement by Loretta Procyor suggests that Mac Brazel was

bribed to keep quiet.  [UFO.COM]

"I think within that year, he had moved off the ranch and moved to

Alamagordo or to Tularosa and he put something in a locker there.  That was

before people had home freezers, and it was a large refrigerator building.  You

would buy beef and cut it up and put it into those lockers and you had a key to

it and you could get your beef out when you wanted it.  I think it would have

been pretty expensive, and kind of wonder how he could pay on rancher's wages."

Marian Strickland (Interview held in 1990)

Marian Strickland was a neighbor of Mac Brazel.

"Mac made it plain he was not supposed to tell that there was any

excitement about the material he found on the ranch.  He was a man who had

integrity.  He definitely felt insulted and mis-used, disrespected.  He was

worse than annoyed.  He was definitely under some stress, and felt that he had

been kicked around.  He was threatened that if he opened his mouth he may get

thrown into the back side of the jail.  He gave that impression, definitely,"

Strickland insisted.

Bessie Brazel Schreiber

Bessie Brazel Schreiber is Mac Brazel's daughter. This is her description of the

crash site.

"The material resembled a sort of aluminum-like foil.  Some of these pieces

had sort of tape stuck to them.  She also said, "it was unable to be peeled off

or removed at all." Some of the pieces had something like lettering and numbers

on them, but, were unable to be made out. "The figures were written out like

you would write numbers in columns, but they didn't look like the numbers we

use at all." she exclaimed. Also she said there was something that looked like

heavy waxed paper [Randle 31].

William Brazel Jr.

William Brazel Jr. is Mac Brazels son.  Here is his description of the wreckage

from the crash site.

"One of the pieces looked like something on the order of tinfoil, except

that it would not tear... You could wrinkle it and lay it back down and it

immediately resumed its original shape.. quite pliable, but you couldn't crease

or bend it like ordinary metal. Almost like a plastic, but definitely metallic.

His dad once said that the Army had once told him it was not anything made by

us."

"There was also some threadlike material.  It looked like silk, but was not

silk, a very strong material without strands or fibers like silk would have.

This was more like a wire, all one piece or substance.

There were also some wooden-like particles like balsa wood in weight,

but a bit darker in color and much harder... It was pliable but would not break.

Weighed nothing, but you could not scratch it with your fingernail.  All he

had was a few small bits. There was no writing or markings on the pieces he had,

but his dad did say one time that there were what he called  "figures" on some

of the pieces he found.  He often referred to the petroglyphs the ancient

Indians drew on the rocks around here as "figures", too, and I think that's

what he meant to compare them with.

His dad found this thing and he told him a little bit about it, but not

too much, because the Air Force asked him to take an oath that he would not

tell anybody in detail about it.  He went to his grave and he never told

anybody."

At the time of the crash, William Brazel Jr. had been living and working

in Albuquerque, but returned when his father was taken into custody to run the

ranch.

Glenn Dennis

Glenn Dennis was a mortician in Roswell in 1947. His boss provided

mortuary services for Roswell Army Air Field.  Dennis drove a combination

hearse and ambulance for both civilian and military assignments.  On July 9 or

10, 1947, Dennis got several phone calls from Roswell AAF mortuary officer, who

was more of an administrator than a mortuary officer.  The officer wanted to

know about hermticall sealed caskets ("What was the smallest one they could get"

[Randle 11] ), and about chemical solutions.  Dennis was interviewed in August

1989 by Stanton Friedman.

"This is what was so interesting.  See, this is why I feel like there was

really something involved in this, because they didn't want to do anything that

was going to make an imbalance.  They kept saying, "OK, what's this going to do

the blood system, what's this going to do to the tissue [Alien.Com]?"  Then

when they informed me that these bodies had laid out in the middle of July, in

the middle of the prairie, I mean that body's going to be as dark as your blue

blazer, and it's going to be in bad shape.  He was the one who suggested dry

ice.  He'd done that a time or two before."

He talked to them four or five times in the afternoon.  They would keep

calling back and asking him different questions involving the body.  What they

were really after was how to move those bodies.  They didn't give me any

indication they even had the bodies, or where they were.  All I knew was one of

the bodies was in pretty good shape.

When he went to the AAF there were two MPs standing right there and

started to go in.  He would have gotten as far as he did if he didn't park in

the handicap parking space.  He saw all the wreckage.  He didn't know what it

was, but he knew there was something going on.  "It looked like stainless steel

when it is put on heat," he said.

[UFO Technology "Sightings"]

When he got inside, he noticed there was quite a bit of activity.  When

he went back into the lounge, there was high ranking officers that he didn't

recognize.  He wanted to know "who the heck I was? and how the heck I got in?"

Any way he got past that and met a nurse.  She was involved in this thing, she

was on duty.  She told him "How the heck did you get in here?"  He said "I just

walked in."  "My god you're going to get, yourself killed."  she said "They

didn't stop me" he said.  He was going to the Coke machine to get a Coke, and

this big red-headed colonel said "What's this son of a gun doing here?" [Randle

72-73]

He hollered at the MPs and they came running over and grabbed him by the

arms and carried him clear outside.  And they told him to get my butt out of

there.  (They followed him back to the funeral home.)

About three hours later they called me and said, "if you open your mouth

you'll be so far back in the jug they'll have to shoot pinto beans into you with

a bean shooter."  He just laughed and said, "Go to heck."

The nurse told Dennis the next day that there were three little bodies,

two of them were dead, and the third was in pretty good condition.

The Police

Barbara Dugger- is the grand daughter of George and Inez Wilcox.  George was the

sheriff who Mac Brazel contacted after discovering the crashed flying saucer.

Barbara's grandmother said, "Don't tell anybody.  When the incident

happened, the military came to the jailhouse and told George and I that if we

ever told anything about the incident, not only would we be killed, but our

entire family would be killed [Randle 72]."

They called her grandfather and someone came to the house and told him

about the incident.  He went out to the site and he saw a large burned area

with lots of debris and three small bodies of space beings.  Their heads were

large and wore silk like suits. One of the little space beings were still alive.

After the death threat she never talked about the incident to anybody ever.

The Press

Frank Joyce- worked at the radio station KGFL.  He got a phone call from Mac

Brazel, who reported the wreckage on his ranch.

Mac called Joyce and asked him, "What to do about it" He recommended

that he go to the Roswell Air Base [Randle 55].

The next thing he found out was that PIO, Walter Haut, came into the

station some time after he got the call.  He handed him a news release printed

on onionskin stationary and left immediately.  He called him back at the base

and said, "I suggest that you not release this type of story that says you have

a flying disk or flying saucer."  He said, "No it's OK."

He sent the release to the Western Union wire to the United press

bureau.  After he returned to the station, there was a flash on the wire with

the story: "The U.S. Army Air Corps says it has a flying disk." They typed a

paragraph or two, and then other people got the wire and asked for more

information.  Then the phones started going berserk, He referred them to the

airfield

The wire just stopped and just hummed.  Then a phone call came in for him

and \ the caller identified himself as an officer at the Pentagon, this man said

some very bad things about what would happen to him.  He was really pretty

nasty.  Finally, Frank got through to him.  Frank said, "You're talking about a

release from the U.S. Army Air Corps [UFO.Com]."  Bang, the phone went dead,

and the man from the Pentagon was gone.

The next significant thing that happened in the evening was that he got

a call from Mac Brazel.  He said, "we haven't got the story right."  Frank

invited him down to the radio station.  Mac arrived not long after sunset.  He

was not alone, but he had a feeling that they were being watched. He said

something about a weather balloon. Frank said "Look, this is completely

different than what you told me on the phone the other day about little green

men," and that's when Mac said "No, they weren't green."  Frank had a feeling

that Mac was under a lot of pressure.  Mac Brazel said, "Our lives will never be

the same again. [Sightings]"

Lyndia Sleppy- was a teletype operator at Roswell radio station KSWS.  The event

about to be described took place around 4:OO p.m. on July 7, 1947.

"If they had anything newsworthy, we would put it on the teletype

machine, to Mutual Broadcasting and ABC."  She was the one who did the

teletyping.

"Mr. Tucker (the station owner) called for Lyndia and said "I have a

huge story for you, I will send it via teletype."  But right after he started

sending, it got disconnected and intercepted.  The message read, "This is the

FBI, you will cease transmitting."  She knew whatever it was, it was a huge

story.  She was upset and didn't get all the way through transmission.

The Military

Jesse Marcel- Major Jesse Marcel was one of the first two military people to

visit the Corona crash site.  The other was Sheridan Cavitt, who to this day

has refused to even acknowledge that he was there on the ranch with Marcel.

Jesse Marcel died in 1982.

When they arrived at the crash site, it was amazing to see the vast

amount of area it covered.  It was nothing that hit the ground or exploded on

the ground. It's something that hit that must have exploded above ground,

traveling above at a high rate of speed, they didn't know.  But it scattered

over an area of about three quarters of a mile long, he said and several

hundred feet wide.  So he proceeded to pick up fragments that they could fit in

their Jeep Carry-All.  It was quite obvious to him, familiar with air activities,

that it was not a weather balloon, nor was it a missile or an airplane.  It was

something he had never seen before.  They loaded the Jeep Carry-All  but he

wasn't satisfied.  He told Cavitt, "You drive this vehicle back to the base and

I'll go back out there to pick up as much as could put in the car," which he

did. But he only picked up a small portion.

One thing that impressed him about the debris was that it looked like

parchment. A lot of it had a lot of little members with symbols that they had

to call hieroglyphics because he could not interpret them, they could not be

read, they were just symbols, something that meant something but they were all

not the same.  The segments that this were painted on had symbols that were

pink and purple.  Actually the color was lavender. These little segments could

not  be broken, and could not be burned.  He even tried to burn it, and it

wouldn't burn.

But something that is more astounding is that a piece of metal they

brought back was so thin, just like tinfoil in a cigarette paper.  He didn't

pay too much attention to that at first, until one of the GIs came to me and

said, "You know the metal that was in there? I tried to bend that stuff, it

wouldn't bend.  I even tried it with a sledge hammer. You can't even make a

dent on it."  All of the material that they found they weighed almost nothing.

This particular piece of metal was about two feet long and perhaps two

feet wide. That stuff weighed nothing, so thin it wasn't any thicker than

tinfoil from the bottom of a cigarette box.  So Jesse Marcel tried to hit it

with a 16-pound sledgehammer, and still there was not any dent on it. He knew

much about the U.S. military materials that were used in weather balloons and

this stuff was not even close to it.  Jesse Marcel he died and still had no

idea of what it was.  So that's how it stands!

Jesse Marcel Jr.- is Major Jesse Marcel's son. major Marcel after he collected

the debris he came back to his house to show his 11 year old son and his wife

what he had found. Jesse Marcel Jr. is now a doctor and a reserve helicopter

pilot who served in Vietnam.

"The crash and remnants of the device that I happened to see have left

an imprint on my memory that can never be forgotten."  Jesse Marcel Jr. stated.

When his dad came back to the house he had a bunch of wreckage with him

at the time, and brought the wreckage into the house.  Actually wakened my

mother and myself out so they could view this, because it was so unusual.  This

was about two o'clock in the morning as he recalled, and he spread it out so we

could get some basic idea what it looked like.

They were all amazed by this debris that was there, primarily because we

didn't know what it was, you know, it was the unknown.  Years after this

incident we would talk privately among themselves about what the possibilities

of this, what this thing was.  And they feel that it was not of earthly origin.

Walter Haut- was the public information officer at Roswell AAF in 1947.

Colonial Blanchard ordered Haut to issue a press release to tell the country

what the Army had found a flying saucer.  Here is the text of Haut's press

release [UFO.Com].

["The many rumors regarding the flying disc became a reality yesterday

when the intelligence officer of the 509th Bomb Group of the Eighth Air Force,

Roswell Army Air Field, was fortunate enough to gain possession of a disc

through the cooperation of one of the local ranchers and the sheriff 's office

of Chaves County.

The Flying object landed on a ranch near Roswell sometime last week.

Not having phone facilities, the rancher stored the disc until such time as he

was able to contact the sheriff's office, who in turn notified Major Jesse

Marcel of the 509th Bomb Group intelligence Office."]

F.B.- was an Army Air Force photographer stationed at Anacostia Navel Air

Station in Washington DC when he and fellow photographer A.K. were flown abroad

a B-25 bomber to Roswell Air Field sometime during the second week of July 1947.

One morning his superior said, "Pack you bags and we'll have the cameras

there, ready for you."  They didn't know where they were going.

After a few hours flight they got to Roswell and got in a staff car with

some gear they had brought along in the trucks, and they headed out.  After

about a hour and a half we got there and there were a lot of people out there.

They said "Set you cameras up to take a picture fifteen feet away."  They were

telling them what to do.  Shoot this shoot that.

They told them to go into the tent to take some more pictures. What they

saw were alien bodies.  All he remembered was that they had a dark complexion

and that they were thin and had big heads.  He took about thirty pictures of

the aliens and he said, "It smelled funny in the tent [Alien.com]"

A.K. came back in a truck that was loaded with debris.  On the way back

to Washington DC the Lieutenant Commander made it clear to them that what they

had seen in Roswell, New Mexico, they hadn't seen.

Earthly Explanations

Weather Balloon

*   If what had crashed was a weather balloon, there would have been no need of

secrecy. According to the testimony, military officers admonished subordinates

and civilians not talk about what they saw.

*  If what crashed was weather balloon, Major Marcel would have recognized the

material Mac Brazel showed him as weather balloon material, and would hove

journeyed far out on a remote sheep ranch with an officer from Counter

Intelligence Corps to examine the crash site.

*   The wreckage described by Marcel and others was too voluminous, and spread

out over too large of an area, to have been the wreckage of a weather balloon.

*  There is no reason the Army would transport the wreckage of a weather balloon

from the remote desert outside Cornona first to Roswell and then to Fort worth.

*  Most of the witnesses who saw or handled the wreckage would have recognized

the remains of a crashed weather balloon.

Secret Rocket or Airplane

*  If what crashed was any kind of secret military apparatus, one would expect

at least some of the pieces to have recognizable letters or numbers on the them.

Many of the witnesses say that some of the wreckage bore a very strange kind of

writing, but not one witness has said that any of the wreckage bore any

recognizable symbols.

*  If what crashed was any kind of secret military apparatus, the Army would

have said simply, "This is secret, and no more questions will be answered,

period."  The Army would not have concocted the flying saucer and weather

balloon stories. In 1947, Americans were less skeptical about the motives of

their government, and the people of New Mexico, including journalists and other

civilians, were dependent for their livelihood on secret military projects.

*  If what crashed was any kind of secret military apparatus, the Army would not

have waited for a rancher to inform  them of the crash before sending military

personnel to examine the wreckage, five days after the crash.

*  Rockets and airplanes that were secret in 1947 are not secret now. If what

crashed was a secret rocket or airplane, it would have been revealed as such

years ago. (Incredibly, the Army is sticking to its weather balloon story, even

though nobody believes it anymore.)

*   By July 1994, rockets launched from White Sands were fitted with self-

destruct mechanisms so that an errant rocket could be destroyed before leaving

the test range. The Corona crash site is about 75 miles from the nearest border

of the test range.

*   They did not fly secret airplanes in New Mexico in 1947.  There was plenty

of room for that in California, where all the secret airplane projects were

carried on.

*  There is no reason the Army would transport the wreckage of a crashed

rocket or airplane to Fort Worth AAF, then to Wright AAF in Ohio. The wreckage

of a secret rocket would stay in New Mexico, and the wreckage of a secret

airplane would be sent back to California, if anywhere.

* Most of the witnesses who saw or handled the wreckage would have recognized

the remains of a crashed rocket or airplane.

MY CONCLUSION OF THE ROSWELL INCIDENT

As I embarked on this project I was not sure what I would find.  I have

always had an interest in U.F.O'S sin

914.          Roswell

Almost fifty years ago, an incident occurred in the southwestern desert of

the United States that could have significant implications for all mankind.  The incident

was announced by the U.S. military, and denied by the U.S. military, and has remained

covered-up in the government for the past fifty and hopefully not another fifty years.  It is

not a hoax or false claim, but rather a known event that is thoroughly documented.  It is

the objective here is to summarize the details of the events and interviews of that event,

affirm the right of all people throughout the world to know the truth about what occurred,

and propose a course of action that will allow the truth to emerge.

It was July 1947, the day started out just like any other day.  People of Roswell

were going off to work, going downtown shopping, and the little ones were at

playgrounds with their mothers.  Day in and day out  townspeople would drive by the

military without giving it much thought.  However, this day, in Roswell, New Mexico

would change the course of history, and how the public thinks of themselves, God

and the outer limits of space!

Roswell New Mexico was in the middle of the desert.  Here was a vast open land

where one could see miles around.  On this afternoon something very strange was about to

happen.  In the clear skies of Roswell a very large craft ended its flight.  Was this a

weather balloon or an Unidentified Flying Object?

There were many eye-witness reports of alien creatures lying next to their

destroyed crafts.  One or two may have survived for a few days.  The military quickly

cornered off this area, removing the particles and the bodies.  A local funeral director got

a call for numerous child size coffins.  He was to deliver them to the rear of the military

base.  Major Marcel was an officer on the scene who took part of the ship home.  He

spoke to the press about the crash, but soon told never to discuss it again.  What he saw

was a weather balloon.  The press received a news release saying that a few officers had

jumped to conclusions.

To this day the government denies the fact that spaceships exists.  Is this a massive

cover up or science fiction?  My I-Search will delve into these questions.  I will try to

obtain the truth and allow my classmates to decide if we are being visited from other

planets or not?

I chose this topic because of my interest in space and whether life exists on other

planets.  Is Their technology is far more superior to ours?  Why can't we work together to

solve the mysteries of the planets?  I believe these aliens do exist and I will try to prove it!

This will affect my life, because I've always wanted to know if anything or anyone

else exists in the universe.  What if the government uncovered the truth?  Would there be

total chaos or would we want to meet other space beings?

I hope to find out why the government is continuing to cover up the Roswell

incident.  Why haven't the Presidents told us the truth since 1947?  I will write to

Washington and demand an answer.

Happenings in 1947

On July 2, 1947, during the evening, a flying saucer crashed to the ground at the

Foster Ranch near, Corona, New Mexico.  The crash occurred during a severe

thunderstorm.  ( The military base nearest to the crash site is in Roswell, New Mexico.)

Roswell is more closely associated with this event than Corona, even though Corona is

closer to the crash site.

On July 3, 1947, William "Mac" Brazel and his 7 year-old neighbor Dee Proctor

found the remains of the crashed flying saucer.  Brazel was foreman of the Foster Ranch.

The pieces were spread out over a large area, more than half a mile long.  When

Brazel drove Dee back home, he showed a piece of the wreckage to Dee's parents, Floyd

and Loretta Proctor, they all agreed the piece was unlike anything they had ever seen.

On July 6, 1947, Brazel showed pieces of the wreckage to Chaves County Sheriff

George Wilcox.  He called Roswell Army Air Field (AAF) and talked to Major Marcel,

the intelligence officer.  Marcel drove to the sheriff's office and inspected the wreckage.

Marcel reported to his commanding officer, Colonel William "Butch" Blanchard.  Butch

ordered Marcel to get someone from the Counter Intelligence Corps, proceed to the ranch

with Brazel, and to collect as much of the wreckage as they could load into their

two vehicles.

Soon after this, military police arrived at the sheriff's office, collected the

wreckage at Blanchard's office.  The wreckage was then flown to

Eighth Air Force headquarters in Fort Worth, and then to Washington.

Meanwhile, Marcel and Sheridan Cavitt of the Counter Intelligence Corps drove to

the ranch with Mac Brazel.  They arrived late in the evening.  They spent the night in

sleeping bags in a small out-building on the ranch.  The next morning proceeded to the

crash site.

On July, 7, 1947, Marcel and Cavitt collected wreckage from the crash site.  After

filling Cavitt's vehicle with wreckage Marcel told Cavitt to go on ahead, that Marcel

would collect  more wreckage, and they would meet later back at Roswell AAF.  Marcel

filled his vehicle with wreckage.  On the way back to the air field, Marcel stopped home to

show his wife and son the strange materials he had found.

Soon after,  at about 4:00 p.m., Lyndia Sleppy at Roswell; radio station KSWS

began transmitting a story on the teletype machine regarding a crashed flying saucer out

on the Foster Ranch.  Transmission was interrupted, presumably by the FBI.

The next day, July, 8, 1947, in the morning, Marcel and Cavitt arrived back at

Roswell AAF with two carloads of wreckage.  Marcel accompanied this wreckage, or

most of it, on a flight to Fort Worth AAF.

Later that day, around noon, Colonel Blanchard at Roswell AAF ordered Second

Lieutenant Walter Haut to issue a press release telling the country that the Army had

found the remains of a crashed flying saucer.  Haut was the public information officer for

the 509th Bomb Group at Roswell AAF.  Haut delivered the press release to Frank Joyce

at radio station KGFL.  Joyce waited long enough for Haut to return to base, then called

Haut there to confirm the story.  Joyce then sent the story on the Western Union wire to

the United Press bureau.

July 8, 1947, in the afternoon, General Clemence McMullen spoke

by telephone from Washington with Colonel DuBose in Fort Worth.  DuBose was

Chief-of-staff  to Eighth Air Force Commander General Roger Ramey.  McMullen

ordered DuBose to tell Ramey to squash the flying saucer story by creating a cover story,

and to send some of the crash material immediately to Washington.

On July 8, 1947, in the afternoon, General Roger Ramey held a press conference at

the Eighth Air Force headquarters in Fort Worth.  He announced that what had crashed at

Corona was a weather balloon, not a flying saucer.  To make this story convincing, he

showed the press the remains of a damaged weather balloon that he claimed was the actual

wreckage from the crash site.  ( The obliging press did not ask why the Army hurriedly

transported weather balloon wreckage to Fort Worth, Texas, from the remote area of

New Mexico.[Jaworski interview])

The only newspapers that carried the initial flying saucer version of the story were

evening papers from the Midwest to the West, including the Chicago Daily News , The

Los Angeles Herald Express, the San Francisco Examiner, and the Roswell Daily Record.

The New York Times, the Washington Post, and the Chicago Tribune were morning

papers and so carried only the cover-up story the next morning.

At some point, an ample amount of soldiers were sent to the debris field on the

Foster Ranch, including a lot of MPs whose job was to limit access to the field.  A wide

search was launched well beyond the limits of the debris field.  Within a day or two, a few

miles from the debris field, the main body of the flying saucer was found, and a mile or

two from that several bodies of small humanoids were found.

The military took Mac Brazel into custody for about a week, during which time he

was seen on the streets of Roswell with a military escort.  His behavior aroused the

curiosity of friends when he passed them without any sign of recognition.  Following this

period of detention, Brazel discarded his initial story [Internet UFO.COM].

The Civilians

Loetta Proctor (Interview held in 1990)

Loretta Proctor, Mac Brazel's nearest neighbor, was one of the first people to see

pieces of the wreckage Brazel had found. She was interviewed in 1990.

"Mac had this piece of material that he picked up.  He wanted to show it to us and

wanted us to go down and see the rest of the debris or whatever, but we didn't on account

of the transportation and everything wasn't  too good.  He didn't get anybody to come out

who was interested in it.  The piece he brought looked like a kind of tan, lightbrown

plastic.  It was very lightweight, like balsa wood.  It wasn't a large piece, maybe about

four inches long, maybe just a little longer than a pencil.

We cut on it with a knife and would hold a match on it and it wouldn't burn.  We

knew it wasn't wood.  It was smooth like plastic, it didn't have a real sharp corners, kind

of like a dowel stick.  Kind of dark tan. It didn't have any grain, just smooth.  I hadn't

seen anything like it before in my life." Loretta said.

The following statement by Loretta Procyor

suggests that Mac Brazel was bribed to keep quiet.  [UFO.COM]

"I think within that year, he had moved off the ranch and moved to Alamagordo or

to Tularosa and he put something in a locker there.  That was before people had home

freezers, and it was a large refrigerator building.  You would buy beef and cut it up and

put it into those lockers and you had a key to it and you could get your beef out when you

wanted it.  I think it would have been pretty expensive, and kind of wonder how he could

pay on rancher's wages."

Marian Strickland (Interview held in 1990)

Marian Strickland was a neighbor of Mac Brazel.

"Mac made it plain he was not supposed to tell that there was any excitement

about the material he found on the ranch.  He was a man who had integrity.  He definitely

felt insulted and mis-used, disrespected.  He was worse than annoyed.  He was definitely

under some stress, and felt that he had been kicked around.  He was threatened that if he

opened his mouth he may get thrown into the back side of the jail.  He gave that

impression, definitely," Strickland insisted.

Bessie Brazel Schreiber

Bessie Brazel Schreiber is Mac Brazel's daughter. This is her description of the crash site.

"The material resembled a sort of aluminum-like foil.  Some of these pieces had

sort of tape stuck to them.  She also said, "it was unable to be peeled off or removed at

all." Some of the pieces had something like lettering and numbers on them, but, were

unable to be made out. "The figures were written out like you would write numbers in

columns, but they didn't look like the numbers we use at all." she exclaimed. Also she said

there was something that looked like heavy waxed paper [Randle 31].

William Brazel Jr.

William Brazel Jr. is Mac Brazels son.  Here is his description of the wreckage from the

crash site.

"One of the pieces looked like something on the order of tinfoil, except that it

would not tear... You could wrinkle it and lay it back down and it immediately resumed

its original shape.. quite pliable, but you couldn't crease or bend it like ordinary metal.

Almost like a plastic, but definitely metallic.  His dad once said that the Army had once

told him it was not anything made by us."

"There was also some threadlike material.  It looked like silk, but was not silk, a

very strong material without strands or fibers like silk would have.  This was more like a

wire, all one piece or substance.

There were also some wooden-like particles like balsa wood in weight, but a

bit darker in color and much harder... It was pliable but would not break.  Weighed

nothing, but you could not scratch it with your fingernail.  All he had was a few small bits.

There was no writing or markings on the pieces he had, but his dad did say one time that

there were what he called  "figures" on some of the pieces he found.  He often referred to

the petroglyphs the ancient Indians drew on the rocks around here as "figures", too, and I

think that's what he meant to compare them with.

His dad found this thing and he told him a little bit about it, but not too much,

because the Air Force asked him to take an oath that he would not tell anybody in detail

about it.  He went to his grave and he never told anybody."

At the time of the crash, William Brazel Jr. had been living and working in

Albuquerque, but returned when his father was taken into custody to run the ranch.

Glenn Dennis

Glenn Dennis was a mortician in Roswell in 1947. His boss provided mortuary

services for Roswell Army Air Field.  Dennis drove a combination hearse and ambulance

for both civilian and military assignments.  On July 9 or 10, 1947, Dennis got several

phone calls from Roswell AAF mortuary officer, who was more of an administrator than a

mortuary officer.  The officer wanted to know about hermticall sealed caskets ("What was

the smallest one they could get" [Randle 11] ), and about chemical solutions.  Dennis was

interviewed in August 1989 by Stanton Friedman.

"This is what was so interesting.  See, this is why I feel like there was really

something involved in this, because they didn't want to do anything that was going to

make an imbalance.  They kept saying, "OK, what's this going to do the blood system,

what's this going to do to the tissue [Alien.Com]?"  Then when they informed me that

these bodies had laid out in the middle of July, in the middle of the prairie, I mean that

body's going to be as dark as your blue blazer, and it's going to be in bad shape.  He

was the one who suggested dry ice.  He'd done that a time or two before.

He talked to them four or five times in the afternoon.  They would keep calling

back and asking him different questions involving the body.  What they were really after

was how to move those bodies.  They didn't give me any indication they even had the

bodies, or where they were.  All I knew was one of the bodies was in pretty good shape.

When he went to the AAF there were two MPs standing right there and started to

go in.  He would have gotten as far as he did if he didn't park in the handicap parking

space.  He saw all the wreckage.  He didn't know what it was, but he knew there was

something going on.  "It looked like stainless steel  when it is put on heat," he said.

[UFO Technology "Sightings"]

When he got inside, he noticed there was quite a bit of activity.  When he went

back into the lounge, there was high ranking officers that he didn't recognize.  He wanted

to know "who the heck I was? and how the heck I got in?"   Any way he got past that and

met a nurse.  She was involved in this thing, she was on duty.  She told him "How the

heck did you get in here?"  He said "I just walked in."  "My god you're going to get,

yourself killed."  she said "They didn't stop me" he said.  He was going to the Coke

machine to get a Coke, and this big red-headed colonel said "What's this son of a gun

doing here?" [Randle 72-73]

He hollered at the MPs and they came running over and grabbed him by the arms

and carried him clear outside.  And they told him to get my butt out of there.  (They

followed him back to the funeral home.)

About three hours later they called me and said, "if you open your mouth

you'll be so far back in the jug they'll have to shoot pinto beans into you with a bean

shooter."  He just laughed and said, "Go to heck."

The nurse told Dennis the next day that there were three little bodies, two of

them were dead, and the third was in pretty good condition.

The Police

Barbara Dugger- is the grand daughter of George and Inez Wilcox.  George was the

sheriff who Mac Brazel contacted after discovering the crashed flying saucer.

Barbara's grandmother said, "Don't tell anybody.  When the incident happened,

the military came to the jailhouse and told George and I that if we ever told anything

about the incident, not only would we be killed, but our entire family would be killed

[Randle 72]."

They called her grandfather and someone came to the house and told him about

the incident.  He went out to the site and he saw a large burned area with lots of debris

and three small bodies of space beings.  Their heads were large and wore silk like suits.

One of the little space beings were still alive.  After the death threat she never talked about

the incident to anybody ever.

The Press

Frank Joyce- worked at the radio station KGFL.  He got a phone call from Mac Brazel,

who reported the wreckage on his ranch.

Mac called Joyce and asked him, "What to do about it" He recommended that he

go to the Roswell Air Base [Randle 55].

The next thing he found out was that PIO, Walter Haut, came into the station

some time after he got the call.  He handed him a news release printed on onionskin

stationary and left immediately.  He called him back at the base and said, "I suggest that

you not release this type of story that says you have a flying disk or flying saucer."  He

said, "No it's OK."

He sent the release to the Western Union wire to the United press bureau.  After

he returned to the station, there was a flash on the wire with the story: "The U.S. Army

Air Corps says it has a flying disk." They typed a paragraph or two, and then other people

got the wire and asked for more information.  Then the phones started going berserk, He

referred them to the airfield

The wire just stopped and just hummed.  Then a phone call came in for him and \

the caller identified himself as an officer at the Pentagon, this man said some very bad

things about what would happen to him.  He was really pretty nasty.  Finally, Frank got

through to him.  Frank said, "You're talking about a release from the U.S. Army Air

Corps [UFO.Com]."  Bang, the phone went dead, and the man from the Pentagon was

gone.

The next significant thing that happened in the evening was that he got a call from

Mac Brazel.  He said, "we haven't got the story right."  Frank invited him down to the

radio station.  Mac arrived not long after sunset.  He was not alone, but he had a feeling

that they were being watched. He said something about a weather balloon. Frank said

"Look, this is completely different than what you told me on the phone the other day

about little green men," and that's when Mac said "No, they weren't green."  Frank had a

feeling that Mac was under a lot of pressure.  Mac Brazel said, "Our lives will never be

the same again. [Sightings]"

Lyndia Sleppy- was a teletype operator at Roswell radio station KSWS.  The event about

to be described took place around 4:OO p.m. on July 7, 1947.

"If they had anything newsworthy, we would put it on the teletype machine, to

Mutual Broadcasting and ABC."  She was the one who did the teletyping.

"Mr. Tucker (the station owner) called for Lyndia and said "I have a huge story for

you, I will send it via teletype."  But right after he started sending, it got disconnected and

intercepted.  The message read, "This is the FBI, you will cease transmitting."  She knew

whatever it was, it was a huge story.  She was upset and didn't get all the way through

transmission.

The Military

Jesse Marcel- Major Jesse Marcel was one of the first two military people to visit the

Corona crash site.  The other was Sheridan Cavitt, who to this day has refused to even

acknowledge that he was there on the ranch with Marcel. Jesse Marcel died in 1982.

When they arrived at the crash site, it was amazing to see the vast amount of area

it covered.  It was nothing that hit the ground or exploded on the ground. It's something

that hit that must have exploded above ground, traveling above at a high rate of speed,

they didn't know.  But it scattered over an area of about three quarters of a mile long, he

said and several hundred feet wide.  So he proceeded to pick up fragments that they could

fit in their Jeep Carry-All.  It was quite obvious to him, familiar with air activities, that it

was not a weather balloon, nor was it a missile or an airplane.  It was something he had

never seen before.  They loaded the Jeep Carry-All  but he wasn't satisfied.  He told

Cavitt, "You drive this vehicle back to the base and I'll go back out there to pick up as

much as could put in the car," which he did. But he only picked up a small portion.

One thing that impressed him about the debris was that it looked like parchment.

A lot of it had a lot of little members with symbols that they had to call hieroglyphics

because he could not interpret them, they could not be read, they were just symbols,

something that meant something but they were all not the same.  The segments that this

were painted on had symbols that were pink and purple.  Actually the color was lavender.

These little segments could not  be broken, and could not be burned.  He even

tried to burn it, and it wouldn't burn.

But something that is more astounding is that a piece of metal they brought back

was so thin, just like tinfoil in a cigarette paper.  He didn't pay too much attention to that

at first, until one of the GIs came to me and said, "You know the metal that was in there?

I tried to bend that stuff, it wouldn't bend.  I even tried it with a sledge hammer.

You can't even make a dent on it."  All of the material that they found they weighed

almost nothing.

This particular piece of metal was about two feet long and perhaps two feet wide.

That stuff weighed nothing, so thin it wasn't any thicker than tinfoil from the bottom of a

cigarette box.  So Jesse Marcel tried to hit it with a 16-pound sledgehammer, and still

there was not any dent on it. He knew much about the U.S. military materials that were

used in weather balloons and this stuff was not even close to it.  Jesse Marcel he

died and still had no idea of what it was.  So that's how it stands!

Jesse Marcel Jr.- is Major Jesse Marcel's son. major Marcel after he collected the debris

he came back to his house to show his 11 year old son and his wife what he had found.

Jesse Marcel Jr. is now a doctor and a reserve helicopter pilot who served in Vietnam.

"The crash and remnants of the device that I happened to see have left an imprint

on my memory that can never be forgotten."  Jesse Marcel Jr. stated.

When his dad came back to the house he had a bunch of wreckage with him at the

time, and brought the wreckage into the house.  Actually wakened my mother and myself

out so they could view this, because it was so unusual.  This was about two o'clock in the

morning as he recalled, and he spread it out so we could get some basic idea what it

looked like.

They were all amazed by this debris that was there, primarily because we didn't

know what it was, you know, it was the unknown.  Years after this incident we would talk

privately among themselves about what the possibilities of this, what this thing was.  And

they feel that it was not of earthly origin.

Walter Haut- was the public information officer at Roswell AAF in 1947.  Colonial

Blanchard ordered Haut to issue a press release to tell the country what the Army had

found a flying saucer.  Here is the text of Haut's press release [UFO.Com].

["The many rumors regarding the flying disc became a reality yesterday when the

intelligence officer of the 509th Bomb Group of the Eighth Air Force, Roswell Army Air

Field, was fortunate enough to gain possession of a disc through the cooperation of one of

the local ranchers and the sheriff 's office of Chaves County.

The Flying object landed on a ranch near Roswell sometime last week.  Not having

phone facilities, the rancher stored the disc until such time as he was able to contact the

sheriff's office, who in turn notified Major Jesse Marcel of the 509th Bomb Group

Intelligence Office."]

F.B.- was an Army Air Force photographer stationed at Anacostia Navel Air Station in

Washington DC when he and fellow photographer A.K. were flown abroad a B-25

bomber to Roswell Air Field sometime during the second week of July 1947.

One morning his superior said, "Pack you bags and we'll have the cameras there,

ready for you."  They didn't know where they were going.

After a few hours flight they got to Roswell and got in a staff car with some gear

they had brought along in the trucks, and they headed out.  After about a hour and

a half we got there and there were a lot of people out there.  They said "Set you cameras

up to take a picture fifteen feet away."  They were telling them what to do.  Shoot this

shoot that.

They told them to go into the tent to take some more pictures. What they saw

were alien bodies.  All he remembered was that they had a dark complexion and that they

were thin and had big heads.  He took about thirty pictures of the aliens and he said, "It

smelled funny in the tent [Alien.com]"

A.K. came back in a truck that was loaded with debris.  On the way back to

Washington DC the Lieutenant Commander made it clear to them that what they had seen

in Roswell, New Mexico, they hadn't seen.

Earthly Explanations

Weather Balloon

*   If what had crashed was a weather balloon, there would have been no need of secrecy.

According to the testimony, military officers admonished subordinates and civilians not

talk about what they saw.

*  If what crashed was weather balloon, Major Marcel would have recognized the material

Mac Brazel showed him as weather balloon material, and would hove journeyed far out on

a remote sheep ranch with an officer from Counter Intelligence Corps to examine the

crash site.

*   The wreckage described by Marcel and others was too voluminous, and spread out

over too large of an area, to have been the wreckage of a weather balloon.

*  There is no reason the Army would transport the wreckage of a weather balloon from

the remote desert outside Cornona first to Roswell and then to Fort worth.

*  Most of the witnesses who saw or handled the wreckage would have recognized the

remains of a crashed weather balloon.

Secret Rocket or Airplane

*  If what crashed was any kind of secret military apparatus, one would expect

at least some of the pieces to have recognizable letters or numbers on the them.

Many of the witnesses say that some of the wreckage bore a very strange kind of

writing, but not one witness has said that any of the wreckage bore any recognizable

symbols.

*  If what crashed was any kind of secret military apparatus, the Army would have said

simply, "This is secret, and no more questions will be answered, period."  The Army

would not have concocted the flying saucer and weather balloon stories. In 1947,

Americans were less skeptical about the motives of their government, and the people of

New Mexico, including journalists and other civilians, were dependent for their livelihood

on secret military projects.

*  If what crashed was any kind of secret military apparatus, the Army would not have

waited for a rancher to inform  them of the crash before sending military personnel

to examine the wreckage, five days after the crash.

*  Rockets and airplanes that were secret in 1947 are not secret now. If what crashed

was a secret rocket or airplane, it would have been revealed as such years ago.

(Incredibly, the Army is sticking to its weather balloon story, even though nobody

believes it anymore.)

*   By July 1994, rockets launched from White Sands were fitted with self-destruct

mechanisms so that an errant rocket could be destroyed before leaving the test range.

The Corona crash site is about 75 miles from the nearest border of the test range.

* They did not fly secret airplanes in New Mexico in 1947.  There was plenty of room

for that in California, where all the secret airplane projects were carried on.

*  There is no reason the Army would transport the wreckage of a crashed rocket

or airplane to Fort Worth AAF, then to Wright AAF in Ohio. The wreckage of a

secret rocket would stay in New Mexico, and the wreckage of a secret airplane

would be sent back to California, if anywhere.

* Most of the witnesses who saw or handled the wreckage would have recognized

the remains of a crashed rocket or airplane.

MY CONCLUSION OF

THE ROSWELL INCIDENT

As I embarked on this project I was not sure what I would find.  I have always had

an interest in U.F.O'S sin

915.          Rush Hour 2

Staring JACKIE CHAN, CHRIS TUCKER, JOHN LONE, ZHANG ZIYI, ALAN KING, and ROSELYN SANCHEZ the movie "Rush Hour 2" could be considered to be one of the funniest movies of the year; even though, critics think that it is not as "fresh or funny as the first one", and "it lack some of the intricacy normally seen in Chan's films".

LAPD detective James Carter arrives in Hong Kong to spend his vacation with his friend Chief Inspector Lee of the Royal Hong Kong Police. While carter is looking forward to relax and enjoy the exotic delights, inspector Lee continues his obligations of a policeman. Without telling Carter the true where and why, Lee is dragging him around the city in search of Ricky Tan who is the suspect of the bomb that exploded in U.S embassy, killing two U.S. Customs agents who had been inspecting a "money smuggling ring" that is printing and transporting millions in "superbills", high-grade counterfeit U.S $100 bills. After visiting a karaoke bar, the Heaven on Earth massage parlor, and a party on Tan's yacht. Carter and Lee fly to Los Angeles to continue the chase. Being caught by Tan's people they are kidnapped to Las Vegas, and on the opening night of a casino Red Dragon the main action begins.

If you saw the first "Rush Hour", expect to see the same thing just with "Scary Movie" kind of humor. It is a good, funny movie that is worth watching.

916.          safe place for kids

Writing                                                                         Todd Turner

Composition                                                    10/15/96

Outdoors Or TV?

I think that if kids spent their time outside rather than watching TV there would be less kids in gangs and less kids causing crimes.  I've noticed lately that alot of kids are in gangs and have been burglarizing houses and stores.  One reason why I think kids are becoming more violent and committing crimes is because, they sit in front of the stupid TV all day long.  They don't spend enough time outdoors, hunting, fishing, surfing, and doing all those fun exciting things.

The outdoors offers so much to do and takes your mind off reality and into the fun world.  When you are outdoors you are free as a bird and there aren't too many rules.  The one rule I go by is; "have fun."  When you're outdoors you don't have to think about being robbed or hurt by crazy people because, they stay in the city.

If you are outdoors you can't watch TV.  That means that there would be fewer kids wanting to join gangs and probably less violence.  That would stop allot of killing and stealing in this world if every body went outdoors instead of watching TV.

Just think, what if kids spent their time outside rather than watching TV and learning how to steal and kill.  Maybe our world would become a safer place.  Instead of watching TV, I spend my time outside.  It is allot more fun then learning how to fight and kill each other.

917.          Salvador Dali 558

Detailed, Indepth Portrate

The Extraordinary Life of Salvador Dali

Salvador Felipe Jacinto Dali i Domenech was born on May 11, 1904, in the small  town of Figueres, Spain, in the foothills of the Pyrenees, only sixteen miles from the French border in the principality of Catalonia. The son of a notary, he spent his childhood in Figueres and at the family's summer home in the coastal fishing village of Cadaques. His parents built his first studio in Cadaques and for most of his adult life he lived in a villa in nearby Port Lligat.

The young Dali attended the San Fernando Academy of Fine Arts in Madrid. Early recognition of Dali's talent came with his first one-man show, held in Barcelona in 1925. He became internationally known when three of his paintings, including the Basket of Bread (now in the Salvador Dali Museum Collection) were shown in the third annual Carnegie International Exhibition in Pittsburgh in 1928. The following year Dali went to Paris where he also held a one-man show. He also joined the Paris Surrealist Group. That same year Dali met Gala Eluard when she visited him in Cadaques with her husband, the French poet Paul Eluard. She became Dali's lover, muse, business manager, and chief inspiration. In 1934 Dali and Gala were married in a civil ceremony and made their first trip to America.

Dali emerged as a leader of the Surrealist movement and his painting, Persistence of Memory (1931) is still one of the best known surrealist works. But, as war approached, the apolitical Dali clashed with the Surrealists and he was expelled during a trial conducted by the group in 1934. Although he did exhibit works in international surrealist exhibitions throughout the decade, asserting that: "le Surrealisme c'est moi," by 1940 he moved into a new era, one that he termed "classic."

Just before World War II, Dali and Gala fled from Europe, spending 1940-48 in the United States. The subsequent decades were very important years for the artist. The Museum of Modern Art in New York gave Dali his major retrospective in 1941.  In the years after 1949 Dali produced his 18 large canvases, many concerning scientific, historical or religious themes.  Among the best-known of these works are Christ of St. John of the Cross, in Glasgow, Scotland; The Hallucinogenic Toreador and The Discovery of America by Christopher Columbus in the Museum's collection; and The Sacrament of

the Last Supper in the collection of the National Gallery in Washington D.C. Also at this time, Dali returned to the Catholic faith of his youth and he and Gala were married in a second ceremony in 1958, this time in a chapel near Girona, Spain.

In 1974 Dali opened the Teatro Museo Dali in Figueres. This was followed by retrospectives in Paris and London at the end of the decade. After Gala's death in 1982, Dali's health began to fail. It deteriorated further after he was severely burned in a fire in Gala's castle in Pubol, Spain, in 1984. Two years later, a pacemaker was implanted. Much of the years 1980-89 were spent in almost total seclusion, first in Pubol and later in his private room in the Torre Galatea, adjacent to the Teatro Museo Dali.

On January 23, 1989, Salvador Dali died in a hospital in Figueres from heart failure and respiratory complications.

918.          Salvador Dalis Life 642

Salvador Dali

Salvador Dali is known as one of the great surrealist painters of the 20th century.  Salvador was born May 11, 1904, in the Catalan town of Figueras, near Barcelona, Spain.  Dali first began painting at the age of 10 and at the age of 12 he went on a vacation with an artistic family, the Pichots.  Ramon Pichot was Dali's first role model when it came to painting, he greatly influenced Dali with his artwork.  Dali later attended the Municipal Drawing School, where he received his first formal training in art, drafting, painting, and engraving.  Dali's first exhibition was his charcoal drawing organized by his father in 1917 in his home.  In 1918, Salvador's first drawing was purchased by a Catalan newspaper, the Patufet.

&lt;Tab/&gt;Dali was greatly exposed to many types of art movements such as; Impressionism, Post-Impressionism, and Futurism.  Salvador was accepted to the Academia de San Fernando in Madrid, which he was expelled from in 1926.  After Dali was expelled he explored Cubism, Neo-Classicism, and Realism in his paintings.  The year 1929 was Dali's most important year, during this time he made his first Surrealist film, Un Chien Andalou (An Adualusian Dog) with former classmate Luis Bunuel. Dali joined the Surrealist group, and he met Gala Eluard, the wife of Paul Eluard, a Surrealist poet. She eventually became his wife, his muse, and an influence behind many of his paintings.  Dali had many other inspirational people in his life, Picasso, Miro, the architect Guadi, and especially the landscape of Catalonia.

&lt;Tab/&gt;Salvador's surrealist ideas came from Freudian psychology.  Many of Dali's work during the 1930's were intaglio prints that accompanied Surrealist books and periodicals.  These prints included "L' Immaculee Conception," and "La Femme Visible."  Eventually, in 1934 Dali separated from the Surrealist group, because of his conflicting view toward their commitment to Marxist politics and development of rituals, and dogmas. He demanded absolute freedom, and he felt their censorship and political motivations were holding back his ingenuity.

&lt;Tab/&gt;Dali and Gala fled the German invasion of France in 1940 and headed to the United States, where they stayed until 1948. During much of his time, Dali gained international fame by using self-advertisement through television, advertisements, and publications. As one of the most diverse artists of the twentieth century, Dali worked in many mediums, designing state settings, jewelry, clothing, and perfume. Dali also worked on animation for Walt Disney movies, which were never finished. He refers to this period as the time he desired to become "classic."

&lt;Tab/&gt;The bombing of Nagasaki and Hiroshima made a great impression on Salvador Dali, he entered what is called his Nuclear and Atomic period. By the 1950's he had begun to focus on religious themes and in the 1960's Dali experimented with Pop and Op Art, as well as Abstract Expressionism, which eventually culminated in the stereoscopic paintings and holographs of the 1970's. The early 1950's he developed his principals of Nuclear Mysticism, in which he concluded "the very basis of life would prove to be spiral."  In 1970, Dali and Gala divorced and he gave her the Castle at Pubol and only visited her with written invitations. In 1982, Gala died at the Castle. With his muse gone, he no longer had the desire to create and only did a handful of paintings and prints. Before he died of heart failure in 1989, he lived as a recluse in a room adjacent to his Teatro-Museum. He is now buried in his museum, surrounded by his art, which was his life.

Works Cited

Finkelstein, Haim. Salvador Dali's art and writing, 1927-1942 : the metamorphoses of Narcissus. Cambridge ; New York : Cambridge University Press, 1996.

Ades, Dawn. Dali and Surrealism. New York : Harper &amp; Row, 1982.

Morse, Albert Reynolds. Dali: A study of his life and work. Greenwich, Conn., New York Graphic Society [1958]

919.          Salvador Felipe Jacinto Dali 848

Salvador Felipe Jacinto Dali was born 11 May, 1904 in the small town of Figueras in the Province, Catalunya. His first name had previously been given to a boy who had died in infancy. He was often aware that he was the second Salvador. Three years later, a sister was born named Ana Maria. He was a difficult child and refused to conform to family or community customs.

Dali received private art lessons in Figueras, and later attended the Escuela Especial de Pintura, Escultura y Grabado de Bellas Artes de San Fernando in Madrid. He lived in the Residencia de Estudiantes, where he met other art students. He was expelled and reinstated, but never took the final examinations. Dali felt, with good reason, that he did not need the type of education the school offered.

Disowned by his father, Dali moved into a fisherman's shack in the small village of Port Lligat, two miles from Cadaques on the coast where the Pyrenees come down to the Mediterranean Sea, not far from the French border. The most important person in his life was a Russian emigree living in Paris and married to the French poet, Paul Eluard, Dlena Diakonova, known as "Gala". She left Eluard for Dali, whom she married after the death of her husband. She saved Dali from a serious nervous disorientation and took charge of every aspect of his life: financial, artistic, and sexual. With her help, he became established in Paris as a notable painter. Dali joined the Dada and Surrealist group led by Andre Breton, but left the group a few years later to become a serious surrealist. As he became better known and more successful financially, he bought a number of fishermen's shacks adjacent to his original one and made them into an extensive house, now the property of the government of Spain. His house has been declared a national heritage, and no changes are permitted.

Later paintings show his respect for great classical painters, and are often on religious or historic subjects. For many years, Dali spent the winter in New York City, always at the St. Regis Hotel. On the way to and from Spain, he often stopped for a while in Paris. In Figueras, a burned out opera house was transformed into a museum, and Dali took great pleasure in creating a monument to his artistic life. It includes a number of important paintings and drawings, and several humorous items. In early 1980 while in New York City, he and Gala both suffered from a viral pneumonia, which lingered for several months. They returned to Spain, Dali very depressed. Improper medication by Gala caused a permanent palsy, and his hand did not stop shaking as long as he lived.

After the death of Gala, he moved into his villa in Pubol, where he was seriously burned in a fire caused by a short circuit. When he reached the hospital, it was found that he had nearly stopped eating, and he was so weak that it was necessary to feed him intravenously to prepare him for skin grafting. This was successful but his health continued to be poor. He died in 1989 in Figueras, Spain.

My view on Salvador Dali are mixed. I think that Dali was a very extract painter and he learned how to perfect his work. He makes it seem like he is writing down his thoughts and his own imaginary world. This is also a very rare characteristic that a painter can have, and it is something that I would like to achieve in my class word with Mr. Tommolino, who is my hero. On the other hand, Dali seems like he is a little bit crazy, and someone that can severely hurt you. He seems like he doesn't care what other people think of him and is even a little bit selfish. When I traveled to Paris, France, I saw Dali's painting on the ceiling. Since I was very little, the first thing that came to my mind was "How did that guy get the paint on the ceiling?" and "Does he think that is heaven?" Dali painted that for his own self and dedicated a museum to himself. To me that makes me think him as a lower person because normally people would dedicate a museum to somebody close to them, such as a family member, or wife, but he just decided to be original and dedicate it to his own life. I think that Salvador Dali is a very good painter that doesn't really know he is. He seems to me like he just loves to paint and doesn't care whether he is good or not. I think that is very admirable and something I would like to achieve because I am always worrying about if it is good or not but I should just be enjoying myself and expressing my feelings. In conclusion, in the future I think I would like to try to paint like Salvador Dali, because I would like to paint the way I think, which is crazy and bizarre.

920.          Salvatore Ferragamo and Vivienne Westwood 1427

When the shoe was invented it's purpose was to protect the foot but it is now more of a fashion  accessory. It has evolved and changed with the help of the designers. On analysing the work of the contemporary post-modernism designer Vivienne Westwood ( 1941 - ) and the more traditional art deco designer Salvatore Ferragamo  ( 1898 - 1960 ) I have found that they have both influenced shoe designs in their own particular ways. I have focused on a variety of Westwood's designs from late 1980's to early 90's and Ferragamo's designs from 1935 - 1947. Both designers have made eccentric and notable impacts by the style , use of materials , shape and colour used in the making of their shoes.

Vivienne Westwood was born in Derbyshire , England in 1941. She began an immense career in fashion by designing and selling jewellery from a street market in London. By 1971 she had opened a clothes shop with Malcolm Mc Laren which originally sold second-hand clothes from the 1950's but soon started selling 'punk' clothes. Influenced mainly by the punk movement Westwood and Mc Laren began managing the famous punk band the 'Sex Pistols' in the seventies. Inspired by the rebellion of youths and street fashion her designs have a unique perspective. In 1992 Westwood was honoured with an OBE and even to this day she continues to create outrageous designs.

One of Westwood's most outrageous designs is her 'Spiked Platform Heels' ( 1993 - 94 ). It has been designed using the theme of bondage. The shoe is made with green and white velvet which connects in elegant wavy lines. There is a long slim green velvet strip which wraps around the leg. With an elegant golden glow the heel shines up and down the narrow metal four inches. The toe end of the shoe is big and chunky while it works into becoming small and slim at the heel. This shoe mixes extravagance in its height with the elegance of the green and white velvet. I like how Westwood has mixed the shock factor of bondage with elegance resulting in such a fabulously extreme shoe leaving behind the cheap and tacky looks normally associated with bondage. This shoe is suited for young middle-class women as it would be expensive from the materials used and the time taken to craft this master piece.

The 'Mock-croc Platform' ( 1993 - 94 ) has a very similar shape to the 'Spiked Platform Heels' though they do differ on many levels. Made from bright blue punched leather this design has a jazzy crocodile print on it.  Westwood decided to go with artificial crocodile skin as in the 1980's there was a revulsion against the use of animal skin and furs in fashion. The use of artificial animal skin is an advance in materials. This design is more subtle than the previous as it has a chunkier heel. Unfortunately I feel that this shoe cannot pull off elegance with it only managing to look tacky. The chunky heel adds to the horrid look of the shoe. The thin long laces clash with the style of the chunky shape of the shoe. It is targeted at the rich women in their twenties but to be honest I feel it is only fit for a rich stripper. In my opinion the crocodile print looks cheap while the eccentric shade of blue does not add any sophistication at all. I feel that this time Westwood has taken extremes a bit too far.

Unlike the over eccentric 'Mock croc Platforms' Westwood has found out how to tap into subtle beauty with the 'Rocking Horse Platform' ( 1987 ). These shoes were inspired by the fashion trends in the 1940's. The platform is inspired by rocking horses. It is made from wood with the heel section being mostly cut off apart from a small ledge. Made from black leather this shoe also contains a ballet theme. Black ribbon is used for the strap which wraps around the leg. I think that these shoes are a sexed up version of traditional ballet shoes. These shoes would be expensive as it would take a lot of time and materials to perfect them in this way. I feel they would be marketed at older teens or young women in their twenties as the ballet theme has youthful vibes. I like how Westwood has seamlessly combined old and new ideas together to make an elegant and yet child-like design.

Salvatore Ferragamo was an eccentric designer like Westwood. Born into a poor family in South Italy in 1898 he became an apprentice shoe-maker at the age of eleven. At sixteen he emigrated to America as a qualified shoemaker. He settled in Santa Barbara and began creating shoes for the American Film Company. By 1923 he was creating shoes for biblical films in Hollywood. He decided to return to Italy in 1929 but soon after his company went bankrupt. Through hard work and persistence his business was soon thriving again. He was inspired by cubist art , nature and animals. In 1947 he won the Neiman Marcus award for his Invisible Shoe. Salvatore Ferragamo died of natural causes in 1960.

Raised shoes have been around for centuries. Their original purpose was to protect the feet from mud and dirt but by the twentieth century their only purpose was to look good. The 'Platform Sole' and 'Heel Sandal' ( 1938 ) is similar to Westwood's platforms in height and extravagance. These interpretations of the Venetian Chopine literally reached extravagant new heights. The heel is made from cork layers which are covered in suede. The heel consists of a variety of bright and extreme colours. The straps are a shiny golden colour with vibrant red stitching. These shoes would have been aimed at young women going out partying. They would have been expensive as it uses a lot of materials and would take a long time to make. Like Westwood's designs these are bold taking height and colour to extremes. It's eye-catching colours certainly gave it a funky style which would have influenced the platforms of the 1970's.

The 'Sandal' from 1935 is in deep contrast to the previous design. Inspired by nature it has been made using natural materials. The heel is made using four corks. Raffia and straw have been used in the shoe as well as the straps being made from woven , polychrome raffia. At the time the way in which he used these materials was very innovative. This shoe would suit any woman. It should have been inexpensive as it is made from cheap materials but it probably wasn't as it is a Ferragamo design. This shoe is very 'back to nature' with the organic materials , simplistic design and floral pattern. This shoe was certainly a very practical solution to the wartime shortage of materials and it also encouraged less adventurous designers to try out these materials.

From simplistic to fabulously adventurous. The 'Invisible shoe' ( 1947 ) is Ferragmo's most successful design. Looking at the oddly shaped curved heel you can tell that this shoe has been strongly influenced by Cubist art and shifting perspectives. In certain angles the heel looks like it is suspended in mid-air. The gleaming golden sheen of the shoe shows off the expensive elegance of this shoe. The straps are made from the new material of the day nylon as it is transparent and adds to the stylish futuristic look of the shoe. Suited for the older more elegant woman this shoe was criticised for being so expensive but you are paying for quality of the highest kind. With an unusual shape , thin subtle straps , use of new materials of the day and precious colour this shoe merges together magnificently to create one of the most beautiful shoes to ever have been created.

Both designers have been out-going and adventurous to make changes but in different ways. Westwood set new standards for the out-going  designers. She almost single-handedly kick started the post- modernism movement. This movement even managed to start a new relationship between art and fashion. Ferragamo on the other hand introduced new materials to the fashion world. He was one of the first great eccentrics who encouraged other designers to be more out-going. I prefer Ferragamo's Invisible Shoe as it contains sheer beauty. This is something that Westwood cannot convey through her designs. Both designers have inspired different kinds of people from different periods. Without both today's fashion would not be up to scratch.

921.          salvidor dali the greatest artist 1110

For my artist report I chose Salvador Dali, the Spanish surrealist painter. Salvador Felipe Jacinto Dali was born in the small town of Figueras, Spain on May 11, 1904. He came from a middle-class family and seemed to express a great interest in art from the very beginning. He read many books about art as a young child and had a completed his first oil paintings at the age of eight. At this point he was sent by his parents to live with the Pitchots, an artistically gifted family who lived in the country not far from Dali's hometown of Figueras.

As Dali went into his teen years he began to paint constantly. Most of his works were of the local landscapes and scenes of Spanish domestic life. In 1921 Dali enrolled in the School of Fine Arts in Madrid hoping to expand on the base of Impressionism that he had gained as a young man living with the Pitchots. At the school Dali toiled in the newest styles including Cubism, Futurism, and Purism. It was while he was at the school that Dali would establish a reputation for eccentricity that would define him for the rest of his life. In 1923 Dali was suspended for one year due to insubordination, and subsequently expelled not long after he returned to the school.

In 1925 Dali had his first public show, at the Daulmau Gallery in Barcelona, displaying paintings done in traditional as well as Cubist and Purist styles. The next spring Dali made his first trip to Paris where he met Picasso and was given a private tour of his studio. It was a year or so later when Dali would make his first contact with Surrealism. A major influence in Dali's exploration of Surrealism was his friendship with filmmaker Luis Bunuel and poet Federico Garcia Lorca. Another critical influence to all of Surrealism was Freud's The Interpretation of Dreams.

The main goal of Surrealism was to tap into the artistic capabilities of the unconscious mind, to realize all of the possibilities that exist deep within. The "technique" that Surrealists used to conjure up these images was to induce a sort of trance-like state as to fully expel all of the creativity in all parts of the mind. Dali became a master at this and his paintings rapidly matured into the form that would make him the world's best -known Surrealistic artist.

In the period from 1929 to 1937 Dali produced his best-known purely Surrealistic paintings. The most famous of these was "The Persistence of Memory" (1931) that depicted melting clocks distributed throughout a calm beach-like scene. Dali's trademark background was an eerily calm, bleak desert-like landscape that resembled the landscape of his home in Spain.

Dali's work never seemed to be affected by the events going on in the world at the time. For example World War 2 was raging as Dali was coming into prominence as a painter, yet we never see any paintings reflecting these events. Perhaps this is because the style calls for a trip deep into the painter's mind where the problems of society would not lurk. After he painted the most famous of his Surrealistic pieces he was in essence "kicked out" of the movement as he favored less purely artistic and more self-promotion based projects.

Dali moved to the United States in 1939 and stayed in the states until 1948. Here he exhibited his eccentric behavior freely and dabbled in theatre set and costume design. His paintings at the time that he was living in the U.S. were a kind of a renewal of old concepts with a Surrealistic, abstract twist.

Dali moved back to Spain in 1949 where he would start a series of religious paintings that had been, "modified", per say, by him, to express a certain vision, or just a modernization of an old subject. In 1958 Dali married Gala, who would become a frequent subject in his works from that point onwards.

In 1965 Dali began to move into sculpture, recreating scenes from his paintings, most of them recurring subjects, such as elephants with spiders legs and the famous melting clocks. Dali crafted these works, for the most part, out of bronze or crystal. Dali also worked in lithographs in reproducing images from his previous paintings. The motive for this move was financial, as the unlimited print runs and "authentic" signatures greatly boosted sales in the art market of the 1960's.

In 1974 Dali performed the most self-promoting act of his life when he himself opened the Salvador Dali Museum in his hometown of Figueras, Spain. This was rather unusual, considering that Dali was still alive and painting. The museum was very successful and to this day remains a major part of Dali history and lore.

Dali continued to paint into the late 70's and 80's, although his later works, while technically sound, still are not as highly regarded as the paintings he did in the 30's and 40's. His later works included his wife Gala in many different lights and "roles" in the painting. Some were simply portraits of her and others had her as an onlooker to some significant event. When Gala passed away in 1982, much of Dali's inspiration disappeared. By 1984 when Dali was rescued from a fire in his home weighing a mere 100 pounds his production of paintings had stopped. Dali died January 23, 1989 in his hometown of Figueras.

In my opinion Dali was a very, very talented artist. His works are very interesting to look at, as you will see new things each time. The vast creativity that Dali displays is rivaled by no one in the 20th century. Some times Dali repeated themes (such as the clocks and the elephants) but for the shear number of paintings that he did a few repetitions should be allowed.

The titles of Dali's paintings often had long names (ex: "Skull with it's Lyric Appendage Leaning on a Night Table Which Should Have the Exact Temperature of a Cardinal Bird's Nest"). These titles, in my opinion have absolutely no meaning at all other than to provoke thought. Freud, I think, would agree when I say that I don't understand the titles of many of these paintings, simply because the title is either just a wordy description of the painting or an unrelated rambling.

Overall I like Salvador Dali's work because I enjoy the kind of fantastic images that he paints. I'm sure there are metaphors in his paintings, but they are not as easily noticed because of the amount going on in the painting. That is my opinion of the work of Salvador Dali.

922.          Sam Shepards Fool For Love

Title: Fool For Love

Author:  Sam Shepard

Nationality: American

Period and Setting:  1980's, Low rent motel room on the edge of the Mojave Desert

Synopsis: At the top, Eddie is trying to reassure a very stricken May that he isn't going to leave.  She accuses him of cheating and he leaves.  May freaks out and then he comes back in.  They fight some more.  May threatens to kill both Eddie and his lover.  He tries to calm her down by telling her how far he came for her and his plans for the future.  May says she doesn't want that and that she is sick of him sucking her into his wonderful fantasy plans and then dropping her again.  He says he plans to at least stay the night.  They embrace and kiss and then she knees him in the crotch and runs to the bathroom.  The old man explains to Eddie the difference between being a fantasist and a realist.  May comes out and changes into a sexy dress while telling Eddie she can't forgive him because she can't forget the picture she has of him with The Countess and that he should leave because she has someone coming over to take her out.  He gets upset and leaves.  May frantically throws some things into a suitcase, but hears him coming back and stops.  Eddie enters with a shotgun and some tequila.  He pours a glass and begins to clean the shotgun while telling May she can't be serious about this other guy because she called him a "man" not a "guy" so she should let Eddie stay and meet him and then she can judge.  She argues that whatever the two of them had, it is stupid and it is over and tells him to leave.  He picks up the pieces of his gun and leaves calling her a traitor.  May is thrown into instant and complete grief.  As she mourns, the old man tells her a story about a time he, May and May's mother were on a trip and May was a baby and started crying and he took her out of the car to calm her and walked into a field in the dark and they were surrounded by cows and that got her to stop.  Eddie returns and May is at the table with the tequila.  He tells her he doesn't believe that there is a guy so he is going to wait to see.  He starts lassoing the bed posts for practice and says when the guy gets there, he is going to nail his ass to the floor.  May gets up and leaves, but Eddie carries her back inside.  He says that May can just introduce him as her cousin and he will meet him and then just leave.  Headlights flash and May goes to the door and stands there looking out.  She says there is a woman in a black Benz staring at the room.  Eddie shoves May out of the way and slams the door just as a gun shot is heard.  He flips the lights off, all the while claiming not to know who it is.  May figures out that it is the Countess following Eddie and gets angry.  Eddie retaliates saying she obviously means nothing if he left her to go hunt down May.  The old man says how he can't see himself in them, but he can see their mothers.  Eddie says that no matter what May says or does he isn't going to leave her alone. May says that she can never believe him anymore because he always does this and then leaves while she has either loved him or not loved him and now she doesn't love him.  Headlights flash again and Eddie turns the lights off and tells May to hide, but May wants to confront her.  They struggle and then the door opens and Martin tackles Eddie because he thought May was being attacked but is stopped before he punches Eddie.  Then Martin is caught in a weird crossfire between May acting as though nothing is wrong and trying to make him comfortable, and Eddie's obvious hostility and contradictions of May.  May goes into the bathroom to get ready for the date and Eddie talks with Martin making him more and more uncomfortable until Martin decides to leave, but Eddie physically stops him.  Martin asks if he is her husband and Eddie tells him he is her half brother which kind of freaks Martin out and he asks how that came to be.  Eddie tells how his father had two women and spent time living with Eddie and Eddie's mother and then disappearing for months, only to reappear and do it all over again.  Then he says it stopped and his father just stayed for a while and would take long walks, and one night Eddie asked to walk with him.  His father took him and they walked for a long, long time and then came to a house where a woman appeared and threw herself into the old man's arms and there Eddie saw May and they fell in love then and there and never stopped.  May comes out and says that isn't true at all and he tells the same story all the time, but always lies.  Martin tries to leave, but Eddie tells him to stay to hear the rest of the story.  May says she wants to go to the movies, but Martin says he wants to stay, so May says she will finish the story and it will be the truth.  She says that her mother was desperately in love with the old man and hunted him down for years and finally found where he lived, but he disappeared soon afterward.  Her mother was in agony, but May was ecstatic because she and Eddie were so desperately in love that they would get violently ill when separated.  Her mother recognized what was wrong and begged them not to see each other but they wouldn't listen.  So she went to Eddie's mother to ask her to stop it and Eddie's mother blew her head off.  The old man protests this and orders Eddie to correct her, but Eddie tells him it was true.  The old man says that someone should have told him.  He blames May's mother for her relentless pursuit and says that the way she kept opening her heart to him eventually made him fall in love with her and he couldn't help it.  Throughout the speech, Eddie and May have drawn closer and closer until they meet and kiss.  Then headlights flash, there is the sound of broken glass and flames rise up.  Martin goes to the window and says Eddie's horse trailer is on fire and the horses are loose.  Eddie backs away from May and tells her he has to go check on it and The Countess can't get away with it, but that he will be back in a second and he leaves.  May pulls out a suitcase and throws stuff in it.  Martin asks if she needs help or a ride or if she is going to leave with Eddie.  May tells him that Eddie is gone and walks out the door.  The old man points to a space and says the picture there is the woman of his dreams.  The space is opposite the space he indicated when telling Eddie the picture there was a picture of his wife.

Unique Elements of Playwright's Style:

--Western themes

--violence

--isolation

--metaphoric statements

--people emotionally on the edge

--monologues

Production Challenges/Problems:

--Learning how to work a lasso for Eddie

--The extreme physicality it requires

--Making the doors boom as indicated by the script

923.          Santiago as a Hemmingway Code Hero in The Old Man and The Sea

Mueller 1

Ross Mueller

Mr. Harocopos

AP. English 11

29 September 1996

An Anylization of Santiago as a Hemmingway Code Hero in The Old Man                                                                               and the Sea

Ernest Hemingway had a specific type of character in each and every one of his works of literature. These characters were called the Hemingway Code Heroes. Hemingway Code Heros followed a strict code of behaviors which allowed them to live their life to the fullest. These Heros lived simple lives without all the luxuries that others had. They concentrate on the problem at hand and do not get swayed by outside events. Avoiding intense personal relationships allows the Hero to stay focused. In The Old Man And The Sea, Santiago is considered the Hemingway Code Hero for many reasons.

Santiago lived an extremely simple life, the life of a fisherman. Although sometimes he wished for some of the modern conveniences others had, he was able to do without them. Other fishermen had radios to pass the time while all Santiago had were his thoughts and sometimes the boy. The old man asked for the help of no one, for he did fine without the others. Santiago learned how to make due with the supplies that he had. On the boat while he is battling the mighty fish,

he is able to deal with limited food and drink. He realizes he may be out at sea for a long time, so he rationalizes his supplies. Santiago copes with what he has. The sail on his boat is torn and tattered, consisting of countless rags stitched together.

Mueller 2

Although a nicer sail would have been nice he knew that he could get by with the one he has.

Santiago displayed a great deal of grace while under the pressure of catching his great adversary. While battling the marlin he always keeps his eye on the goal, and figures out new ways to get through the tight spots. Even when it seem that all hope is lost, he continues to persevere, so he may achieve his goal. When he is out at sea his hands cramp, and it looks as if he has to give up the fish, but he decides to stick with it in a hope that he may strive through the area of difficulty. His hands finally free up and he continues on his mission, just glad that he did not give up. Sharks attack the marlin on his voyage back to his small town, he works his hardest to keep them away. Santiago finds unique ways to keep them away. He makes a spear out of his knife, a paddle, and some cloth. When that breaks, he then uses the other paddle as a club to beat the sharks away. When food is low, the old

man figures out ways to get more without losing his marlin. He sets up another rig while still concentrating on the task at hand.

Santiago's relationships with others never go into deep personal information, they always stay friendly and never get intimate. His relationship with the boy is one of great importance in The Old Man And The Sea. Their relationship is a great friendship which has grown over years. The old man was the first person to ever go fishing with the boy. He was a teacher to Manolin, and showed him everything he knew. The boy would occasionally bring the old man food when he returned if he had not caught anything that day. Santiago read to the boy about baseball. Manolin enjoyed this immensely. He enjoyed being in the old man's company for he cared for this man because he was always kind to him. The boy prepared the old man's bait some of the time. They both offered each other the best of company. While out at sea Santiago is constantlywishing the boy was there to talk to or to help with the mighty fish. Santiago does not have relationships with any of the other fishermen,

Mueller 3

outside of polite conversation. His perseverence to catch his prey implicates the importance of his relationship with it.

Santiago's humility in The Old Man And The Sea should be an example for all to follow. He fishes to be a fisherman. His goal was not to catch a huge fish. It was to fish and try to catch a fish of any size. He did not pride himself on catching the fish. He did not go running to tell the other fishermen of the town about it, he just went home and fell asleep. Landing the fish did not matter to the old man only to get it as far as the side of the boat.

The Old Man And The Sea portrays Hemingway Code Heros to their fullest potential. As Heros they try their hardest to persevere under pressure and achieve the goal in front of them. They show the characteristics of a stoic, working hard in the hardest of situations. Hemingway Code Heros are very rare in real life, but in fiction they survive, setting good examples for all.

924.          SASA SOUTH ASIAN STUDENT ASSOCIATION

SASA SOUTH ASIAN STUDENT ASSOCIATION. of CCBC.

MY NAME IS HARNISHA AND I AM THE CURRENT PRESIDENT OF

SASA. I HAVE HAD MANY SUCCESFULL EVENT THIS SEMESTER

AND I KNOW THIS CLUB IS GOING TO HAVE A BIG SUCCESS IN

FUTURE. I AM A FRESHMEN AT CATONSVILLE COMMUNITY

COLLEGE AND I AM MAJORING IN COMPUTER INFORMATION

SYSTEM. I AM 18 AND I GOING TO TRANSFER TO UMBC AS SOON

AS POSSIBLE. http://WWW.INDIAMUSIC.COM/ http://WWW.CHANNELOK.COM/

MY HOBBIES ARE TO SWIM, DANCE READ, AND JOKE AROUND.

I KNOW I MIGHT SOMETIMES GET IN SERIOUS TROUBLE BUT I

REALLY DON'T CARE. AND SO DOES THIS CLUB. THIS IS CLUB WHERE YOU GET YOUR SELF ENGAGED AND HAVE FUN AND NOT THINK ABOUT WHAT OTHERS ARE

THINKING ABOUT YOU. WE OFTEN TIMES HAVE EVENTS GOING AROUND ATLEAST TWICE A MONTH AND

THAT IS A GOOD WAY TO RELAX YOUR MIND AND FIND OUT SOMETHING NEW

ABOUT THE INDIAN CULTURE. THE MOST IMPIRTANT THING IN MY LIFE IS TO BE HAPPY AND MAKE GOOD

FRIENDS AND AS SOEMONE MUST HAVE SAID : " ENJOY ALL THE MOMENTS OF THE

LIFE THAT YOU HAVE GOT" AND THAZ WHAT I AM TRYIGN TO DO. SO JOIN ME AND MY OTHER MENBERS IN OUR ASSOCIATION AND HAVE FUN. GET IN TOUCH RIGHT HERE:

DESIGI7@AOL.COM.

HARNISHA DALWADI

43 F TAHOE CIRCLE

OWINGSMILLS MD 21117.

SASA SOUTH ASIAN STUDENT ASSOCIATION. of CCBC.

MY NAME IS HARNISHA AND I AM THE CURRENT PRESIDENT OF

SASA. I HAVE HAD MANY SUCCESFULL EVENT THIS SEMESTER

AND I KNOW THIS CLUB IS GOING TO HAVE A BIG SUCCESS IN

FUTURE. I AM A FRESHMEN AT CATONSVILLE COMMUNITY

COLLEGE AND I AM MAJORING IN COMPUTER INFORMATION

SYSTEM. I AM 18 AND I GOING TO TRANSFER TO UMBC AS SOON

AS POSSIBLE. http://WWW.INDIAMUSIC.COM/ http://WWW.CHANNELOK.COM/

MY HOBBIES ARE TO SWIM, DANCE READ, AND JOKE AROUND.

I KNOW I MIGHT SOMETIMES GET IN SERIOUS TROUBLE BUT I

REALLY DON'T CARE. AND SO DOES THIS CLUB. THIS IS CLUB WHERE YOU GET YOUR SELF ENGAGED AND HAVE FUN AND NOT THINK ABOUT WHAT OTHERS ARE

THINKING ABOUT YOU. WE OFTEN TIMES HAVE EVENTS GOING AROUND ATLEAST TWICE A MONTH AND

THAT IS A GOOD WAY TO RELAX YOUR MIND AND FIND OUT SOMETHING NEW

ABOUT THE INDIAN CULTURE. THE MOST IMPIRTANT THING IN MY LIFE IS TO BE HAPPY AND MAKE GOOD

FRIENDS AND AS SOEMONE MUST HAVE SAID : " ENJOY ALL THE MOMENTS OF THE

LIFE THAT YOU HAVE GOT" AND THAZ WHAT I AM TRYIGN TO DO. SO JOIN ME AND MY OTHER MENBERS IN OUR ASSOCIATION AND HAVE FUN.

925.          Satie Erik

Satie, Erik

The French composer Erik Satie was born on May 17, 1866, and died on

July 1, 1925, was the son of an English mother and a Parisian music publisher.

He entered the Paris Conservatory in 1879 but failed to benefit from

academic education, which he embarked on again only in his 40th year, when he

enrolled as a pupil of Vincent d'Indy  and Albert Roussel at the Schola Cantorum.

Long before that, however, he had composed a number of short piano pieces, whose

eccentric titles and unfashionable and yet convincing simplicity of melody were

matched by an individual sense of harmony. It is still a moot point whether

Satie got his harmonic ideas from his fellow student and friend Claude Debussy,

or whether the debt was on Debussy's side. It is quite clear, however, that

Satie's tasteful principles influenced Debussy in the composition of his opera

Pelleas et Melisande and that Satie was the main influence in helping Debussy to

free himself from the musical domination of Richard Wagner. Satie became

interested in plainsong through his association with a so-called Rosicrucian

group, while he earned his living as a cafe pianist in Montmartre.

Satie was a conscious eccentric and a determined enemy of all

establishments, including the musical.  The comical titles that he attached to

his small piano pieces are characteristic of the Bohemian wit in the Paris of

his day.  Irony and a deceptively childlike attitude, a dislike for pomposity of

all kinds, and an instinctive secretiveness were hallmarks of both the man and

his music.  In 1916, Satie was befriended by Jean Cocteau and wrote the music

for a ballet, Parade, on which Pablo Picasso and Leonid Massine also

collaborated.  By far the most important of Satie's works is Socrate , an harsh

setting for four sopranos and chamber orchestra of Plato's account of the death

of Socrates.  The young composers who formed the essentially Parisian group

known as Les Six regarded Satie as a kind of tutelary genius, and in 1923 one of

them, Darius Milhaud, tried to found an "Ecole d'Arcueil," named for the obscure

Paris suburb where Satie lived in extreme poverty.

926.          Saving Private Ryan Movie Critique

Saving Private Ryan Movie Critique

Saving Private Ryan is a fairly new World War 2 movie, which is a blockbuster hit. It's about a private named Ryan who lost three of his brothers in action. Being the only brother left in the family he gets the ticket home. He was dropped on D-Day in German occupied territories. Unfortunately no one knows where he is because of misdrops so a team of eight rangers are sent out o find him. During the mission they go through many hard tasks of war. They also lose two of their men and at one point the team almost falls apart. It is truly a heart breaking moment. At the end of the movie they finally find Private Ryan. Surprisingly he decided not to leave his post (protect a key bridge) and fight until reinforcement comes. The captain than decides to stay and help them fight until help comes. They prepare for the German attack and await them. Once the Germans do come, a big battle brakes out and the fight starts. After a feirc fighting only two out of eight rangers and private Ryan survive, the captain dies. The reinforcements came at the last minute and the bridge was saved, but left Ryan with horrible memories of war.

There were many conflicts in the movie and it's very hard to find the main one. One of the conflicts could be man vs. himself (soldiers vs. feelings about the mission). None of the soldiers saw soldier saw real importance of the mission. It seemed too dangerous to put eight of their life for one of private Ryans. The conflict wasn't really resolved because they felt the same way about it until the end. There was also no winner in the conflict or lose. Even the captain showed no importance in the mission but his loyalty for the assignment was stronger. If I was put in the same spot I would feel exactly the same way. Even though his mother lost three of her sons already, how would my mother feel if she lost her only son.

Once again this movie has a lot of messages for the viewers. The strongest message would probably be how devistating and brutal World War 2 was or any war is. this is a very strong message. The viewers are shown the extreme of war brutality. There hasn't been a movie like that in a long time. It's description is greatest ever. "thirty five dead, time two wounded" these were casualties for just one mission to take a beach. This was only for one regiment. It shows how brutal and deadly it was. After seeing that, one should learn that war and violence is totally unnecessary. After all that there was no winner or loser of World War 2, but only the death of young men.

Acting in Saving Private Ryan was unbelievable. The actors such as Tom Hanks and Tom Sizemore gave their best and it's probably best ever. The acting made you feel as if you were there. it brought out the emotions out in an ordinary person as myself. even the extras performed an excellent acting that moved the viewers. The actors showed the pain, the anger their emotions as if it was real. Tom Hanks showed pain so real that one could feel it. Watching them going through the hardships shook a tear out in the most feeling less people.

The extras such as setting, customs and make up were also excellent. the whole movie looked like it was filmed during world War 2. The costumes and make up made the movie go to the extreme realism. Every single stain, burn, hole was there as if it was taken off a soldier. Even the unshaved faces or dirt under the nails was what made this movie great and one oft the kind. The time period was during World War 2 and it was filmed during World War 2 or it seemed.

The camera movement in Saving Private Ryan made you feel as if you were a soldier running and fighting in the center of the action. For instance, when the soldiers jumped out of the landing duck so did the camera. The camera jumped in and out of the water as a soldier gasping for air. As the camera moved onto the land out of the water it shook and ran with the rest of the soldiers. It made you realize how it really was. Angel shots were also excellent. It showed soldiers running and screaming with fear in their faces and grief after the battle. The lighting wasn't too colorful for a reason.. Colorful movies usually represent an action movie or a love story. Some kind of movie that has little point or just to make money. Saving Private Ryan colors weren't as sharp because there's nothing happy about World War 2. This lighting is used the strongest way at the end of the movie. As the camera looks up at the American Flag the colors were light and weak. The special effects were also great. The explosions and shots were timed perfectly bringing the reality onto the screen. These effects were really good. Right in the beginning as the soldiers landed on the beach and all hell broke lose with the great sounds of war. The ripped bodies flying in the air and peirced with bullets. Armless or legless soldiers crawling around dazed and confused layed and screamed with pain. It was truly a horrific scene.

The sounds effects as everything else were outstanding and captured thr attention of every viewer. the sounds were perfect. Every sound was extremely realistic. Everything from a gunshot to a rain drop was fit in with persition. One of the moments was when the Rangers ran into their first fight after D-Day. The camera was looking at leafs and it slowly it started to rain. As the rain started falling faster and faster, shots of machine guns started. The guns mixed right in with the gun fire. slowly the camera moved to a puddle and soldiers started running through it. All a viewer could see was the feet, but the sound was perfect. The mixture of rain, gun shots and than the footsteps in the puddle was amazing.

The whole movie was a flashback. It started with private Ryan walking through the cemetery in Washington D.C. for World War 2 soldiers. he than collapsed on his knees, the camera closed in on his face and faded out into the Omaha beach 1944(D-day)

Saving Private Ryan was directed by the greatest Steven Spielberg. This was one of his greatest movies ever, up with Shinler's List. he seems to feel strong about World War 2. All his war related movies seem to be outstanding, topping others by a handful. With this movie he wanted to show the viewers how world Was 2 was damaging to the whole world. I also think he was tying to show the loyolty and the strong brotherhood between soldiers, no matter the different religion or ethnic background. i strongly recommend this movie for all. It describes WW2 and the hardships extremely well.

927.          Schindlers List Essay

"The unconditional surrender of Germany has just been announced.  At midnight tonight, the war is over.  Tomorrow you will begin the process of looking for survivors of your families.  In most cases...you will not find them.  After six long years of murder, victims are being mourned throughout the world.  We have survived.  Many of you have come up to me and thanked me.  Thank yourselves.  Thank your fearless Stern, and others among you who worried about you and faced death at every moment.  I am a member of the Nazi Party.  I am a munitions manufacturer.  I am a profiteer of slave labor.  I am...a criminal.  At midnight, you will be free and I will be hunted.  I shall remain with you until five minutes after midnight, after which time--and I hope you will forgive me--I have to flee.  (to the factory's SS guards)  I know you have received orders from our commandant, which he has received from his superiors, to dispose of the population of this camp.  Now would be the time to do it.  Here they are; they are all here.  This is your opportunity.  Or, you could leave, and return to your families as men instead of murderers.  (The guards solemnly  exit; he addresses the workers.)  In memory of the countless victims among your people, I ask us to observe three minutes of silence." - Oskar Schindler (Schindler's List)

Why would a man from the most notorious, murderous, political party ever to hold a major office in any modern society want to save the sworn enemy of the party, the Jews?  Why would he want to save one Jew, let alone 1,100?  Who is this mysterious, intelligent, resourceful, businessman?  Oskar Schindler....A Nazi.

Oskar Schindler's story was first brought to the attention of the public eye in 1982.  Thomas Keneally had just published his novel Schindler's Ark based on the extravagant, flamboyant, and compassionate life of Oskar Schindler during World War II.  As the book hit the shelves, a famous Jewish film director happened to pick it up and read it.  The director was Steven Spielberg.  He immediately wanted to do a film on the book, but he wanted the film to be historically accurate and perfect.  So Spielberg began to research.  He researched for ten years and through eight of his own major motion pictures.  Then he finally came back to the Schindler script, which he named Schindler's List.  When asked why he didn't start on the movie sooner he said, "I wanted to give this film the attention it deserved."  And attention it received.

The movie Schindler's List is one of the most critically acclaimed movies of all time.  In 1998 Schindler's List was chosen as number nine on the American Film Institutes One- Hundred Best American Films in the One- Hundred Year History of Cinema.  Schindler's List has the most memorable images of any movie.  It provokes thoughts, feelings, and opinions of great magnitude and importance.  When watching the film you notice the beautiful artistic quality of the docudrama.  It is one of the few superior movies were you see new things and deeper underlying meanings each time you watch it.  Schindler's List prods the mind to understand the complexities of Oskar Schindler.  After watching the film it leaves you wondering what became of Schindler?  It baffles the mind to understand such a complex person.  Schindler's List triggers a progression of questions in every mind regarding World War II and The Holocaust.  How could this have happened?  How could "good" people let it happen?  Why wasn't it stopped?  Could it happen again?

Under Spielberg's direction Schindler's List pays explicit attention to detail in every way.  Spielberg intended it to be an emotional and moving piece, and it was.  The entire motion picture was shot in black and white, except for a few scenes of color (used to show special meaning).  The most memorable of these color scenes is that of a little girl in a red coat.  Schindler first sees the girl being marched from her home.  She is alone in red, surrounded by a sea of drabness.  As she walks aimlessly, scared, and afraid, death and destruction are wrought around her.  A women is gunned down behind her.  A single-file line of men is executed as to be Germanly efficient with only one bullet.  Finally Schindler witness' her wandering into an empty tenant building and he loses sight of her.  Then Spielberg picks up where Schindler cannot see.  He shows the little girl trying to find a hiding spot among the mass of chaos going around her.  She finds her "safe-haven" under a bed.

Spielberg next brings us to night and darkness.  SS Troops are preparing to storm the ghetto and rout out any concealed Jews.  They un-mercilessly shoot every Jew they see.  Man, woman, and child, no one is spared.  Spielberg lets us all but see that our little friend in the red coat has been murdered.

Later in the picture Schindler is shown outside of Cracow watching a mass incineration of all of the graves from the ghetto murders.  Ashes are cluttering the sky as if it were snowing, and it reeks of dead corpses.  Schindler happens to glance to his side and he sees the little girls body strewn about the other deceased in a cart headed for incineration.  This stuns and mortifies Schindler.  It shows him the unrelenting murderous tactics of the Nazis in full force.  It is a turning point in the movie, and in Schindler's life for it shows us how Schindler has completed his cycle of turning into a Semitic person instead of his former anti-Semitic self.

Oskar Schindler's cycle began when he first got the brilliant idea of transforming cheap Jewish "slave" labor into his employees for his factory.  He was greedy and ruthless.  His goal was to make millions.  First he enlisted the most competent Jew he could find as his accountant and business manager.  This Jew had control of all parts of production, he could hire and fire whomever he pleased.  His name was Itzhak Stern.  At first their relationship was cold and bitter.  Schindler was Stern's boss and that was the extent of their association.  As Schindler gained more and more money because of Stern's shrewd business sense, they started to become better acquainted.  Schindler took a great liking to Stern.  He was starting to realize that Jews were humans just like anyone else.

Schindler's relationship with the entire Jewish population grew and grew.  He started demanding increasingly more Jewish workers.  He also started increasing his bribes to German officials.  When Schindler learned that his Schindlerjuden (Schindler's Jews) were being moved to Auschwitz (a notorious extermination camp), he stepped his actions into high gear.  He cared so dearly about these people that he had the entire populace of his factory work force, plus hundreds more moved to another factory in his hometown of Zwittau- Brinnlitz, Czechoslovakia.  He paid the way for every one of the 1,100 Jews he saved.  Once in Czechoslovakia, his Jews were put to work making artillery shells for the quickly losing German Blitzkrieg.  No shell was ever produced from his factory!  Schindler needed to clarify this to Stern, so they talked about it, they said:

Stern: "We've received an angry complaint from the Armaments Board.  The artillery shells, tank shells, rocket casings, apparently all of them have failed quality-control tests."

Schindler: "Well, that's to be expected - start-up problems.  This isn't pots and pans.  This is a precise business.  I'll write them a letter."

Stern: "They're withholding payment."

Schindler: "Sure.  So would I.  So would you.  I wouldn't worry about it.  We'll get it right one of these days."

Stern: "There's a rumor you've been going around mis-calibrating the machines.  They could shut us down, send us back to Auschwitz."

Schindler: "I'll call around, find out where we can buy shells, pass them off as ours."

Stern: "I don't see the difference.  Whether they're made here or somewhere else."

Schindler: "You don't see a difference?  I see a difference."

Stern: "You'll lose a lot of money, that's the difference."

Schindler: "Fewer shells will be made.  Stern, if this factory ever produces a shell that can actually be fired, I'll be very unhappy."

So instead of making shells and saving his money.  He instead went bankrupt to keep his Jews alive until the unconditional surrender of Germany.

Oskar Schindler and his Jews were great people who lived through a disastrous time.  Without Schindler's help those original Krakow Jews, all 1,100 of them, would almost surely have been dead.  But why were they being persecuted in the first place?  How could the German masses allow this to happen?

During the 1920's and 1930's Germany was in a deep depression.  Germany had to pay huge war reparations to the Allied countries of Britain and France.  They had lots of problems.  The only people that were making a somewhat respectable living in Germany were the Jews.  These people were well educated and very skilled in the professions of banking, entrepreneurship, and business.  Once Adolph Hitler seized power of Germany, his anger of the Jews was spread to others who readily accepted a scapegoat for their problems.  The Jews were mostly well off.  Poverty stricken Germans loathed their wealth.  The Nazi's assembled on September 10, 1935 to discuss their problems with the Jews.  Their agenda consisted of three things:

1)  To clarify the requirements of citizenship in the Third Reich.

2)  To assure the purity of German blood and German honor.

3)To clarify the position of Jews in the Third Reich.

On September 15, 1935 the assemblage convened.  It unveiled a series of laws named the Nuremberg Laws.  This spelled the beginning of the end for Jews in Europe.  Jewish stores and businesses were ransacked and ruined.  The Jews no longer had any protection.  Eventually every Jew in Germany and its occupied territories was rounded up and sent to concentration camps.  Over six million people were slaughtered by the Nazi Machine.  All because angry, poor Germans needed a way to get out of their pain and strife.

After all of this pain and suffering, all the death and destruction, and all of the atrocious effects of war, we can look in hindsight.  Was The Holocaust inevitable?  Or, Was it preventable?

Historically there was no more ideal time for a crazed lunatic to snatch office and order the genocide of an entire people.  Germans needed a strong and willful leader.  They found these qualities in Adolph Hitler.  When Hitler seized office he immediately ordered everyone to work.  Every factory became a German War Machine producing tanks, airplanes, trucks, guns, boats, and other supplies in preparation of war.  Hitler wanted to avenge the Treaty of Versailles which prevented Germany of having a military of any kind.  Hitler guessed right that the weak League of Nations would do nothing.  Every country soon developed a policy of appeasement,  meaning that they would stay out of Hitler's affairs and let him do enough to keep them out of war.  Appeasement started a chain of events that led to the eventual German invasion of Poland on September 1st, 1939, and the start of WWII.

By the time Germany invaded Poland in 1939, Hitler was well established as the Fuhrer of the German people, Commander-in-Chief of the German Army, Navy and Air Force, and Chancellor of the Third Reich.  He had complete control.  Hitler also had the answer to the Jewish question.  He would eliminate every Jew from Europe, then the rest of the world as it was conquered by the Reich.  There was only one way this fanatical barbarian could be stopped.  The Allies had to conquer and not be conquered.  Once this was accomplished all of the atrocities were revealed.  Hitler and his command were held accountable.

Today there are precautions set up throughout the world to prevent another genocide of this extent.  We now have a powerful United Nations with a strong ruling hand on the world.  No leader as uncontrolled as Hitler could ever rule again.  The possible inklings of another global war sends shivers up every human's spine.

There is no way a genocide could go unnoticed.  Today's spy techniques and technologies are vastly improved.  The eye in the sky is always there.  Any average Joe could post a message on the Internet telling of atrocities or war crimes committed in their own nation.  The world has no stomach for crimes of that magnitude.  It would be impossible to accomplish another Holocaust.

Schindler's List appeals to every person in some way.  There is much to be learned from this blockbuster movie.  It was meant to teach a generation far removed from The Holocaust to feel feelings it could never know.  Schindler's List was also meant to incite the World War II generation to remember what happened.  Schindler's List was most importantly produced to make sure the human race never forgets the stories of its greatest heroes.  It was meant to teach humans to learn from their mistakes, and never let them happen again.  It is a record for future generations so no one, no matter how far removed from its tragic losses, can ever forget.

928.          Sean Penn

Though he did not write or direct it, the directorial fingerprints of lead actor Sean Penn can be seen all over the psychological thriller 21 Grams.  The films he writes and directs are melancholy and highly stylized--and while it's obvious that someone with a lot more cinematic skill than Penn has supervised the editing process, his choice of this script over the dozens of others he was undoubtedly offered last year can likely be attributed to the similarities in both tone and content that 21 Grams has to Penn's own work as a filmmaker.

It's a wonder that no critic ever made the connection between this film and The Crossing Guard, which Penn wrote and directed. In 21 Grams, Penn plays the main character (if one had to be so designated), Paul Rivers, whose life is changed when a driver mows down a man and his two children. The story bounces around in time, giving attention to the wife/mother of those slain, the driver/killer himself and Penn, who is the eventual recipient of the man's heart when he dies and his wife donates the organs.

Reminiscent of Return to Me, except good, 21 Grams is at its center the story of a relationship that develops between Rivers and Christina Peck (the character portrayed by Academy Award nominee Naomi Watts), the wife of the man whose heart Penn has. Other than the one bad pun--"You can trust me, I have a good heart."--the relationship is actually reasonably believable (taking for granted that her psyche is destroyed by grief and shock). She kisses him, kicks him out, invites him back, sleeps with him, hates herself, blames him, asks for his help in killing the man who killed her family. She's passionate and volatile and that's why she got the Best Actress nomination.

In Penn's The Crossing Guard, which is actually DIRECTED by Penn, the main character of the film is the father of a young girl killed when a drunk driver ran her down at a crosswalk. After the man's release from jail, the father stakes out his trailer and plans to kill him.  In the film, he goes so far as to stake out the route between the prison and the home where the killer's parents live (and where he will live upon his leave from jail).

Aside from the fact that these two individuals engage in behavior patterns that are almost identical, one who has a working knowledge of Penn's other film work (both as an actor and a writer/director) would see an emergent pattern of loyalty to family above all else.  "A man turns his back on his family, well, he just ain't no good," opines narrator Joe Roberts in Penn's debut film The Indian Runner (though to give credit where credit's due: Joe Roberts, that quote and indeed virtually the entire plot for The Indian Runner was lifted from a 1983 Bruce Springsteen song called Highway Patrolman).

Loyalty to family reaches Mafia-like levels in Penn's work. and he has strayed into that area himself when acting in others' films.  Of particular interest with regard to family dynamics is Mystic River, for which Penn won an Oscar earlier this month for portraying the grieving father of a murdered girl who kills the man he believes to be her murderer even though he admits openly to liking the man.

The family's importance challenges even that of the God that many of these characters believe in.  You can see this in the character of Marianne Jordan, the wife of Jack Jordan (Benicio Del Toro's character and the man who inadvertently kills Christina Peck's familiy), who upon hearing that nobody saw the accident, tells her fundamentalist Christian husband to just put it out of his mind, to think of himself above all others and not to turn himself in to the police.  While his conscience and his beliefs tell him to turn himself in and accept the consequences of his mistake, Del Toro's Jordan struggles with such inner turmoil that his face is, for most of the film, twisted into a mask of grief, guilt and confusion.  It's a staring contest between his spiritual life and the well-being of his family and Jordan feels that he's less of a participant than a pawn, waiting to move until someone or something has told him what's right.  Like the drunk driver in The Crossing Guard, Jordan is so consumed with guilt that he's willing to plead guilty to the law, the victims--anyone who will judge him and let him either die or move on.

929.          Seinfel1

Seinfeld

Seinfeld ranks among the best situational comedies of all time.  It has

been compared to I Love Lucy and The Honeymooners, both of whom received praise

for there pioneering works in comedy.  But I believe that Seinfeld takes the

term sitcom to another level.  This is accomplished by exhibiting the many

attributes of the show.  Seinfeld contains many characteristics of a great

situational comedy.

The reason why Seinfeld is a unique show is because of its coherence.

This show has a variety of plots in one episode.  Seinfeld takes these plots and

relates them in some odd, but funny way.  The other thing that is coherent in

this show is the cast. I have not seen a cast that relate to each other so well

since I Love Lucy.  This shows cast resembles the cast of I Love Lucy because

both casts have conflicting personalities.  In Seinfeld for example, George and

Jerry's personalities are the exact opposite.  George is a total neurotic, while

Jerry has a take it easy personality.  Same for I Love Lucy, Lucy is always  the

leader and Ethel is always the follower. Without coherence Seinfeld would never

be where it is today.

Seinfeld is very original in the ideas they use for there shows. This is

where the show starts to resemble The Honeymooners and there unique ideas.  The

Honeymooners' ideas were very unique for their time.  Like the episode when

Ralph had a fight with Alice.  It was a ground breaking idea for the time,

having a couple arguing and yelling at each other.  Seinfeld, whose ideas are

unique for its time, had its most famous episode dealing with a Soup Nazi.  They

called him the Soup Nazi because he ran his soup stand with a Hitler type

dictatorship.  I have never seen a sitcom deal with such a stupid issue, yet it

was nominated for an Emmy for the best scene in a sitcom.  Another original idea

used in Seinfeld is that each character has their own prerogative.  They are not

afraid to show the audience how they feel towards each other.  Just like when

Elaine picks at George about his baldness and George returns the favor by

insulting  her about her figure in a certain dress.  These little details and

ideas make Seinfeld one of the greatest sitcoms of all time.

Many people can relate to Seinfeld's everyday life situations.  Again

Seinfeld takes it another step and pokes fun at these situations.  People

usually look for jokes in a sitcom;  Seinfeld has jokes, but it also describes

some peculiar situations.  People relate to these situations and when Seinfeld

adds a punchline, people look at everyday life in a totally different way.  Just

like when Jerry goes to the dry cleaners and finds that his clothes are being

worn by the dry cleaner himself.  He finds this out while attending a movie with

Elaine.  He sees the dry cleaner with what he thinks is his sports coat and

later on in the week he finds the movie stub in the pocket of the coat.  This is

the type of situation people have thought about, but never really confronted.

By using everyday life situations Seinfeld appeals to a larger audience.  All of

these examples prove that Seinfeld has many characteristics of a great

situational comedy.

930.          Seinfel2

Seinfeld

Television has become a mirror to the cultural aspects of daily life. It influences everyone in some way. The media's images tell us where to shop, what shampoo to use, and what brand of soda to drink. Sitcoms have become increasingly popular through the 90's. Sitcoms have such a large audience because they are easy to relate to, and they help us laugh at the stress of everyday life. Seinfeld is unique because its a show with odd characters who have a life of their own, and it displays its comedy in a new way. Lets look at what Seinfeld has shown us about our society, the influence it has had in shaping American culture and the cultural significance it has had as a television show.

In order to be able to look at Seinfeld for its cultural impact, we need to first get acquainted with the characters. First lets look at Jerry Seinfeld the main character of the show. Jerry is portrayed as a neat freak, and he dresses nice. Jerry to a lot of men is a hero. He has a cool job as a comedian making appearances on shows such as Jay Leno, and the Tonight Show. He dates younger girls, and lives in New York City, some people think of as the city. In our society I believe most men want to be like Jerry but feel closer to George, his good friend. George is a short, balding, neurotic, fat man, who is always losing his job, and is the butt of a joke. Richard Sandomir of the New York Times "describes the George syndrome, in which hip viewers identify with a downtrodden neurotic who never gets things right."(1) Elaine is the most normal character of the bunch. She is loud, opinionated and intelligent. Elaine resembles the role of the woman in America. Kramer is by far the most outrageous. He is nervous, impulsive and he never goes to work. Whatever he tries to do, it always ends in a disaster. Like the time he went to the ocean to hit golf balls into the surf. One of the balls landed in the blowhole of a whale. George happened to be walking by with a girl who Jerry he had led to believe that George was a marine biologist. He pulled the ball out of the whales' windpipe. Kramer meets famous people, and is always in outrageous places with a story to tell. He is a friend we would all like to have.

The plot of the show is to pull humor out of the little details in everyday life. Like Seinfeld's reason for not eating fruit in cereal: "trying to decide which spoonful to take the last slice of banana in is just too much aggravation."(0) I have felt the frustration myself but would have never given it much attention. The situations are normal, but the characters are extraordinary. Seinfeld is a good conversation between "people I want to be --I am -- friends with, living in a world I wish to live in, but never will."(3) Money is never really a problem, and the players are always equal and the dangers and triumphs are unimportant and fleeting. It gives people over the age of 25 the feeling they can still have a life.

The show exploits the experience of living in New York City. The traffic problems, crime and variety of people one might encounter while in New York. It also shows how a group of white middle class can live. The show begins to show how Jewish people are looked at in America. I believe it is an easier topic to joke about than ethnics are. The show displays Jewish people as middle or upper middle class, funny, and smart. The show also displays the troubles people have communicating with each other. Jerry parents always hear other things or just have their own opinions about what's really going on. George's parents are constantly yelling at each other. They can not agree on anything, similar to parents today. The show has only minorities that have very ethnic background like Babu, and the Asian delivery boy. They all have a very thick accent and are wearing some article from their native country. According to Sotirtiou "Comedies pick up threads of the established pattern of white superiority and black servitude."(2) Seinfeld incorporates other figures such as Steinbrener the owner of the New York Yankees as a reference to realism.

Seinfeld has been compared to other sitcom greats such as Cheers and The George and Gracie Burns Show. This show is the first of its kind in the way it uses its humor. In most other shows and sitcoms the experiences are action packed, and the one liner jokes are slipped into the dialogue. With Seinfeld they take every day experiences and make the situation funny. They look at some topics, which are not commonly discussed. One episode they had a contest to see who could go the longest without masturbating. The show is a study of urban anxiety without having to shoot up a gas station to prove it. It displays lives little interactions, and problems under a microscope. The show's oddball, yet possible incidents add to the realism of the show. One episode was about losing their car in the mall parking lot, and why you should not urinate in the parking garage.

Seinfeld is one of the great sitcoms of all times. Its oddball characters seem to give the show a life of its own. The show has provided many laughs for all different types of people. Seinfeld will be remembered as one of the best comedians of all time, due to the life of the characters.

Works Cited

0. O'Conner, John J. "'Seinfeld,' A Comic As a Comic." The New York Times. June 7, 1990.

1. Sandomir, Richard. "Here's One Loser People Really Look Up To." New York Times. May 24, 1992.

2. Sotiriou, Peter Elias. Critical Thinking and Popular Cultural. Belmont, CA: Wadsworth Publishing Company, 1998.

3. Zoglin, Richard. "The Secret's Out: 'Seinfeld' is Terrific." Dallas Morning News. April 13, 1993.

931.          Seinfeld 2

Seinfeld ranks among the best situational comedies of all time.  It has been compared to I Love Lucy and The Honeymooners, both of whom received praise for there pioneering works in comedy.  But I believe that Seinfeld takes the term sitcom to another level.  This is accomplished by exhibiting the many attributes of the show.  Seinfeld contains many characteristics of a great situational comedy.

The reason why Seinfeld is a unique show is because of its coherence.  This show has a variety of plots in one episode.  Seinfeld takes these plots and relates them in some odd, but funny way.  The other thing that is coherent in this show is the cast. I have not seen a cast that relate to each other so well since I Love Lucy.  This shows cast resembles the cast of I Love Lucy because both casts have conflicting personalities.  In Seinfeld for example, George and Jerry's personalities are the exact opposite.  George is a total neurotic, while Jerry has a take it easy personality.  Same for I Love Lucy, Lucy is always  the leader and Ethel is always the follower. Without coherence Seinfeld would never be where it is today.

Seinfeld is very original in the ideas they use for there shows. This is where the show starts to resemble The Honeymooners and there unique ideas.  The Honeymooners' ideas were very unique for their time.  Like the episode when Ralph had a fight with Alice.  It was a ground breaking idea for the time, having a couple arguing and yelling at each other.  Seinfeld, whose ideas are unique for its time, had its most famous episode dealing with a Soup Nazi.  They called him the Soup Nazi because he ran his soup stand with a Hitler type dictatorship.  I have never seen a sitcom deal with such a stupid issue, yet it was nominated for an Emmy for the best scene in a sitcom.  Another original idea used in Seinfeld is that each character has their own prerogative.  They are not afraid to show the audience how they feel towards each other.  Just like when Elaine picks at George about his baldness and George returns the favor by insulting  her about her figure in a certain dress.  These little details and ideas make Seinfeld one of the greatest sitcoms of all time.

Many people can relate to Seinfeld's everyday life situations.  Again Seinfeld takes it another step and pokes fun at these situations.  People usually look for jokes in a sitcom;  Seinfeld has jokes, but it also describes some peculiar situations.  People relate to these situations and when Seinfeld adds a punchline, people look at everyday life in a totally different way.  Just like when Jerry goes to the dry cleaners and finds that his clothes are being worn by the dry cleaner himself.  He finds this out while attending a movie with Elaine.  He sees the dry cleaner with what he thinks is his sports coat and later on in the week he finds the movie stub in the pocket of the coat.  This is the type of situation people have thought about, but never really confronted.  By using everyday life situations Seinfeld appeals to a larger audience.  All of these examples prove that Seinfeld has many characteristics of a great situational comedy.

932.          Seinfeld 5

Seinfeld

It was a warm September Thursday night in 1991. I was engaged in my favorite past time of 'channel surfing' when a light appeared at the end of the tunnel. Displayed on my favorite, '20 inch friend', (also known as my usual Saturday night date), appeared a remarkable treasure. There before my eyes was a sitcom called Seinfeld.  From that moment on I was astounded to find that not even great sitcom's such as my beloved  Mash and I Love Lucy were as captivating or enthralling.  There is only one show that could have started  Must See TV, only one show that could be the anchor for new sitcoms year after year while continuing to hold it's position of  number one in the rating wars, only one sitcom is this grand, this superior, and this notable, Seinfeld.  The zenith of television sitcoms.  Season after season, Seinfeld has provided non-stop laughing, excellent acting and original scripts mirroring real life.

One of the major factors contributing to the overwhelming success of the show is its cast of unstererotypical characters. The main characters  refereed to as the 'Fab Four',  consist of Jerry Seinfeld, Elaine Benes, George Costanza and Cosmo Kramer. Jerry Seinfeld, known by his own name on the program, is the central figure of the sitcom and the catalyst for almost everything that happens. He is involved in the antics revolving around Kramer, George and Elaine. On one episode George, Kramer and Jerry are spying on the naked lady across the street all day to see who can win a bet. The twist at the end of the show is when we see George and Jerry peering through the window and gasping, ' Is that Kramer in her apartment? Wow he is naked!' Another episode involves Jerry  who is mistaken for a Nazi leader arriving in town to speak at a meeting. He continues the charade in order to secure a limousine  ride home after the frustration of his own ride not being there to pick him up. As the main character, he is most often the straight man allowing the other characters to play off of him.  One of his common lines is, 'wait a minute here, you mean to tell me-----', then recapping the situation, action or blunder the other character was involved in. This in turn allows the supporting actor or actress to verbally and almost always physically respond with exaggerated gestures and eye movements. Jerry reflects the single male, quasi yuppie, New Yorker, with the bicycle hanging in the apartment, the security system to 'buzz' guests in, and the 12 boxes of cereal always present and visible on his kitchen shelf. He becomes so easy to relate to because he seems very typical of his socio-economic and age group, while still being on the eccentric side.

Elaine Benes, the only leading female,  is Jerry's mildly neurotic ex-girlfriend and current platonic pal. She often appears venerable to the pitfalls single females encounter in their relationships, while never giving an inch to the male dominance on the show. She has an exaggerated character but manages to maintain a sense of feminine strength. Elaine has taken the idea of the smart, sassy single women and updated it to a 90's outlook. The most enduring part of Elaine is her often gross habits of a personal nature, such as pulling down her underwear in an exaggerated manner, which every female has tried to do gracefully while walking down the street. The female audience can relate while she gets to indulge in the very behavior females wish they had the nerve to do. Her critical perspective of the females who enter into Jerry, George, and Kramers' life put each of the male characters in a comical defense of his current 'fling'. Once again the characters have the opportunity to describe the 'victim' using the exaggerate gestures and facial expressions we often think and feel but probably wouldn't express.

George Costanza portrays  the character on the show who is always busy finding excuses and 'way out' explanations for why he has to weasel out of situations, or explain why he failed his attempt to accomplish something. He was ultimately responsible for the death of his fiancee because of narrow focus on saving money even when it becomes detrimental to the very thing he is attempting to do. He is so easy for the audience to relate to because we would all really like to be able to choose the path we want without a conscience.  We all love George and his inflated ego, whining, penny pinching personality.  George off and on is forced to live with his parents, depending on his current job and financial situation. The smothering, overwhelming New York Jewish parents, who add a depth to the show because of their bazaar behavior. They speak with the New York accent, whining to new heights, expressing the last conservative generations values. These very values that seem to be bigger than life and clash with everything George thinks and does. George always seems to be in the wrong place at the wrong time. Who couldn't relate to that feeling? He never seems to have things go his way but by the end of the show he has fixed everything in some backward method and is well on his way to creating yet another problem.

Cosmo Kramer,  my favorite character, is Jerry's eccentric next-door neighbor. Kramer is famous for his ritual entrance of barging through Jerry's door and moving his body in wild gyrations. This has become a trademark for not only the character but the actor as well. He has been seen in commercials imitating this famous 'move', which is so unique in sitcom, it should have a special name. Kramer is a crazy version of a renaissance man who seems to be informed about everything going on around him. He is the character who usually incorporates the introduction of  current concerns. These issues range from the mundane and irrelevant to serious social concerns. A wide diversified range such as taxes and health care to current basketball stories. Kramer is the character we all wish we could be. His strength of personality and enormous sense of self is reflected by his choice of extreme clothing he wears with absolutely no care or concern to others opinion. He has the ability to comment with a depth and understanding usually reserved for the character on the show wearing a three piece suit and carrying a briefcase.

While we find it easy to relate to various pieces and parts of the characters, we can not help but recognize the abilities of the actors/actresses are what make it all work. The superb acting of Jerry Seinfeld, Michael Richards, Jason Alexander and Julia Louis-Dreyfus provide the spark for the show. The show has won many honors including the prestigious Peabody, Emmy, and Golden Globe Awards as well as the Screen Actors Guild Award. Each individual actor/actress has won numerous awards as well. The casting for this show was a grand success. The personalities mesh with each other in a special way, like Archie, Edith and the Meathead of All In the Family. This 'meshing' is  rarely achieved. When watching a Seinfeld episode you can immediately get the sense of the on screen charisma. This charisma emulating from the actors/actresses and characters is what truly makes the show special.

I am sad to say that the 1998 season will be the final season for the 'Fab Four'. They will not soon be forgotten for they have granted us with hours of entertainment. Seinfeld will always be remebered as the superior of all other television shows. Year after year Seinfeld has provided laughing, along with good acting and superb scripts. Now that you have been enlightened on the superiority of the Seinfeld sitcom you can now truly enjoy your Thursday night as I do, watching Seinfeld

933.          Seinfeld Essay

Seinfeld

It was a warm September Thursday night in 1991. I was engaged in my

favorite past time of "channel surfing" when a light appeared at the end of the

tunnel. Displayed on my favorite, "20 inch friend", (also known as my usual

Saturday night date), appeared a remarkable treasure. There before my eyes was a

sitcom called Seinfeld.  From that moment on I was astounded to find that not

even great sitcom's such as my beloved  Mash and I Love Lucy were as captivating

or enthralling.  There is only one show that could have started  Must See TV,

only one show that could be the anchor for new sitcoms year after year while

continuing to hold it's position of  number one in the rating wars, only one

sitcom is this grand, this superior, and this notable, Seinfeld.  The zenith of

television sitcoms.  Season after season, Seinfeld has provided non-stop

laughing, excellent acting and original scripts mirroring real life.

One of the major factors contributing to the overwhelming success of the

show is its cast of unstererotypical characters. The main characters  refereed

to as the "Fab Four",  consist of Jerry Seinfeld, Elaine Benes, George Costanza

and Cosmo Kramer. Jerry Seinfeld, known by his own name on the program, is the

central figure of the sitcom and the catalyst for almost everything that happens.

He is involved in the antics revolving around Kramer, George and Elaine. On one

episode George, Kramer and Jerry are spying on the naked lady across the street

all day to see who can win a bet. The twist at the end of the show is when we

see George and Jerry peering through the window and gasping, " Is that Kramer in

her apartment? Wow he is naked!" Another episode involves Jerry  who is mistaken

for a Nazi leader arriving in town to speak at a meeting. He continues the

charade in order to secure a limousine  ride home after the frustration of his

own ride not being there to pick him up. As the main character, he is most often

the straight man allowing the other characters to play off of him.  One of his

common lines is, "wait a minute here, you mean to tell me-----", then recapping

the situation, action or blunder the other character was involved in. This in

turn allows the supporting actor or actress to verbally and almost always

physically respond with exaggerated gestures and eye movements. Jerry reflects

the single male, quasi yuppie, New Yorker, with the bicycle hanging in the

apartment, the security system to "buzz" guests in, and the 12 boxes of cereal

always present and visible on his kitchen shelf. He becomes so easy to relate to

because he seems very typical of his socio-economic and age group, while still

being on the eccentric side.

Elaine Benes, the only leading female,  is Jerry's mildly neurotic ex-

girlfriend and current platonic pal. She often appears venerable to the pitfalls

single females encounter in their relationships, while never giving an inch to

the male dominance on the show. She has an exaggerated character but manages to

maintain a sense of feminine strength. Elaine has taken the idea of the smart,

sassy single women and updated it to a 90's outlook. The most enduring part of

Elaine is her often gross habits of a personal nature, such as pulling down her

underwear in an exaggerated manner, which every female has tried to do

gracefully while walking down the street. The female audience can relate while

she gets to indulge in the very behavior females wish they had the nerve to do.

Her critical perspective of the females who enter into Jerry, George, and

Kramers' life put each of the male characters in a comical defense of his

current "fling". Once again the characters have the opportunity to describe the

"victim " using the exaggerate gestures and facial expressions we often think

and feel but probably wouldn't express.

George Costanza portrays  the character on the show who is always busy

finding excuses and "way out" explanations for why he has to weasel out of

situations, or explain why he failed his attempt to accomplish something. He was

ultimately responsible for the death of his fiancee because of narrow focus on

saving money even when it becomes detrimental to the very thing he is attempting

to do. He is so easy for the audience to relate to because we would all really

like to be able to choose the path we want without a conscience.  We all love

George and his inflated ego, whining, penny pinching personality.  George off

and on is forced to live with his parents, depending on his current job and

financial situation. The smothering, overwhelming New York Jewish parents, who

add a depth to the show because of their bazaar behavior. They speak with the

New York accent, whining to new heights, expressing the last conservative

generations values. These very values that seem to be bigger than life and clash

wit h everything George thinks and does. George always seems to be in the wrong

place at the wrong time. Who couldn't relate to that feeling? He never seems to

have things go his way but by the end of the show he has fixed everything in

some backward method and is well on his way to creating yet another problem.

Cosmo Kramer,  my favorite character, is Jerry's eccentric next-door

neighbor. Kramer is famous for his ritual entrance of barging through Jerry's

door and moving his body in wild gyrations. This has become a trademark for not

only the character but the actor as well. He has been seen in commercials

imitating this famous "move", which is so unique in sitcom, it should have a

special name. Kramer is a crazy version of a renaissance man who seems to be

informed about everything going on around him. He is the character who usually

incorporates the introduction of  current concerns. These issues range from the

mundane and irrelevant to serious social concerns. A wide diversified range such

as taxes and health care to current basketball stories. Kramer is the character

we all wish we could be. His strength of personality and enormous sense of self

is reflected by his choice of extreme clothing he wears with absolutely no care

or concern to others opinion. He has the ability to comment with a depth and u

nderstanding usually reserved for the character on the show wearing a three

piece suit and carrying a briefcase.

While we find it easy to relate to various pieces and parts of the

characters, we can not help but recognize the abilities of the actors/actresses

are what make it all work. The superb acting of Jerry Seinfeld, Michael Richards,

Jason Alexander and Julia Louis-Dreyfus provide the spark for the show. The show

has won many honors including the prestigious Peabody, Emmy, and Golden Globe

Awards as well as the Screen Actors Guild Award. Each individual actor/actress

has won numerous awards as well. The casting for this show was a grand success.

The personalities mesh with each other in a special way, like Archie, Edith and

the Meathead of All In the Family. This "meshing" is  rarely achieved. When

watching a Seinfeld episode you can immediately get the sense of the on screen

charisma. This charisma emulating from the actors/actresses and characters is

what truly makes the show special.

I am sad to say that the 1998 season will be the final season for the

"Fab Four". They will not soon be forgotten for they have granted us with hours

of entertainment. Seinfeld will always be remebered as the superior of all other

television shows. Year after year Seinfeld has provided laughing, along with

good acting and superb scripts. Now that you have been enlightened on the

superiority of the Seinfeld sitcom you can now truly enjoy your Thursday night

as I do, watching Seinfeld

934.          Seinfeld

Seinfeld

It was a warm September Thursday night in 1991. I was engaged in my favorite past time of "channel surfing" when a light appeared at the end of the tunnel. Displayed on my favorite, "20 inch friend", (also known as my usual Saturday night date), appeared a remarkable treasure. There before my eyes was a sitcom called Seinfeld.  From that moment on I was astounded to find that not even great sitcom's such as my beloved  Mash and I Love Lucy were as captivating or enthralling.  There is only one show that could have started  Must See TV, only one show that could be the anchor for new sitcoms year after year while continuing to hold it's position of  number one in the rating wars, only one sitcom is this grand, this superior, and this notable, Seinfeld.  The zenith of television sitcoms.  Season after season, Seinfeld has provided non-stop laughing, excellent acting and original scripts mirroring real life.

One of the major factors contributing to the overwhelming success of the show is its cast of unstererotypical characters. The main characters  refereed to as the "Fab Four",  consist of Jerry Seinfeld, Elaine Benes, George Costanza and Cosmo Kramer. Jerry Seinfeld, known by his own name on the program, is the central figure of the sitcom and the catalyst for almost everything that happens. He is involved in the antics revolving around Kramer, George and Elaine. On one episode George, Kramer and Jerry are spying on the naked lady across the street all day to see who can win a bet. The twist at the end of the show is when we see George and Jerry peering through the window and gasping, " Is that Kramer in her apartment? Wow he is naked!" Another episode involves Jerry  who is mistaken for a Nazi leader arriving in town to speak at a meeting. He continues the charade in order to secure a limousine  ride home after the frustration of his own ride not being there to pick him up. As the main character, he is most often the straight man allowing the other characters to play off of him.  One of his common lines is, "wait a minute here, you mean to tell me-----", then recapping the situation, action or blunder the other character was involved in. This in turn allows the supporting actor or actress to verbally and almost always physically respond with exaggerated gestures and eye movements. Jerry reflects the single male, quasi yuppie, New Yorker, with the bicycle hanging in the apartment, the security system to "buzz" guests in, and the 12 boxes of cereal always present and visible on his kitchen shelf. He becomes so easy to relate to because he seems very typical of his socio-economic and age group, while still being on the eccentric side.

Elaine Benes, the only leading female,  is Jerry's mildly neurotic ex-girlfriend and current platonic pal. She often appears venerable to the pitfalls single females encounter in their relationships, while never giving an inch to the male dominance on the show. She has an exaggerated character but manages to maintain a sense of feminine strength. Elaine has taken the idea of the smart, sassy single women and updated it to a 90's outlook. The most enduring part of Elaine is her often gross habits of a personal nature, such as pulling down her underwear in an exaggerated manner, which every female has tried to do gracefully while walking down the street. The female audience can relate while she gets to indulge in the very behavior females wish they had the nerve to do. Her critical perspective of the females who enter into Jerry, George, and Kramers' life put each of the male characters in a comical defense of his current "fling". Once again the characters have the opportunity to describe the "victim" using the exaggerate gestures and facial expressions we often think and feel but probably wouldn't express.

George Costanza portrays  the character on the show who is always busy finding excuses and "way out" explanations for why he has to weasel out of situations, or explain why he failed his attempt to accomplish something. He was ultimately responsible for the death of his fiancee because of narrow focus on saving money even when it becomes detrimental to the very thing he is attempting to do. He is so easy for the audience to relate to because we would all really like to be able to choose the path we want without a conscience.  We all love George and his inflated ego, whining, penny pinching personality.  George off and on is forced to live with his parents, depending on his current job and financial situation. The smothering, overwhelming New York Jewish parents, who add a depth to the show because of their bazaar behavior. They speak with the New York accent, whining to new heights, expressing the last conservative generations values. These very values that seem to be bigger than life and clash with everything George thinks and does. George always seems to be in the wrong place at the wrong time. Who couldn't relate to that feeling? He never seems to have things go his way but by the end of the show he has fixed everything in some backward method and is well on his way to creating yet another problem.

Cosmo Kramer,  my favorite character, is Jerry's eccentric next-door neighbor. Kramer is famous for his ritual entrance of barging through Jerry's door and moving his body in wild gyrations. This has become a trademark for not only the character but the actor as well. He has been seen in commercials imitating this famous "move", which is so unique in sitcom, it should have a special name. Kramer is a crazy version of a renaissance man who seems to be informed about everything going on around him. He is the character who usually incorporates the introduction of  current concerns. These issues range from the mundane and irrelevant to serious social concerns. A wide diversified range such as taxes and health care to current basketball stories. Kramer is the character we all wish we could be. His strength of personality and enormous sense of self is reflected by his choice of extreme clothing he wears with absolutely no care or concern to others opinion. He has the ability to comment with a depth and understanding usually reserved for the character on the show wearing a three piece suit and carrying a briefcase.

While we find it easy to relate to various pieces and parts of the characters, we can not help but recognize the abilities of the actors/actresses are what make it all work. The superb acting of Jerry Seinfeld, Michael Richards, Jason Alexander and Julia Louis-Dreyfus provide the spark for the show. The show has won many honors including the prestigious Peabody, Emmy, and Golden Globe Awards as well as the Screen Actors Guild Award. Each individual actor/actress has won numerous awards as well. The casting for this show was a grand success. The personalities mesh with each other in a special way, like Archie, Edith and the Meathead of All In the Family. This "meshing" is  rarely achieved. When watching a Seinfeld episode you can immediately get the sense of the on screen charisma. This charisma emulating from the actors/actresses and characters is what truly makes the show special.

I am sad to say that the 1998 season will be the final season for the "Fab Four". They will not soon be forgotten for they have granted us with hours of entertainment. Seinfeld will always be remebered as the superior of all other television shows. Year after year Seinfeld has provided laughing, along with good acting and superb scripts. Now that you have been enlightened on the superiority of the Seinfeld sitcom you can now truly enjoy your Thursday night as I do, watching Seinfeld

935.          Sense and Sensibility Movie review

Ang Lee, who directed, and Emma Thompson, who adapted the screenplay, have done an excellent job of bringing Jane Austen's Victorian novel, Sense and Sensibility, to the movie screen.  The movie's collection of actors are a joy to watch as they bring out the emotions of an otherwise polite and reserved era in time.  The production work is top notch with bright, cascading photography that sets a romantic "I wish I was there" setting.  The purpose of the Sense and Sensibility is to bring out the romance in all of us and show us that Austen's philosophy of love exists today as  much as it did two centuries ago.

Sense and Sensibility could rightly be classified as a love story, but that would just scratch the surface of what this movie has to offer.  It is also a period piece, giving us a chance to visit English society in the nineteenth century.  Director Ang Lee brought us to this historic time with beautifully constructed sets and sites that drop us right into the country cottage of our heroines. This natural scenery, with its wide sweeping camerawork warps us back to a time without the loud annoyances of TV and machinery.  By this example Lee sets the stage for the story to begin..

If there is one thing that keeps this movie constantly going is the work of the superb actors.  The talent of the actors suited  the roles they played, and their mastering of the characters bring personality and feeling to the screen.  The story of the movie bases around two of these such characters who happen to be undergoing the same feelings of love but in strikingly different ways.  Kate Winslet plays the wild, fatally romantic Marianne who cannot control her feelings.  Opposite her is the experienced Emma Thompson  who plays the reserved, intelligent Eleanor  who is far more sensitive than she ever lets on.  These two sisters embark on a romantic adventure that finds them searching for the right man.  The two actors compliment each other with their opposite nature which balances the story perfectly.

Yet, as wonderful as these two characters are, Alan Rickman's Brandon is the core of Sense and Sensibility. His performance is eloquent and beautifully controlled but you can tell the torment he fights inside.  His voice may be confident and steady, but his eyes alert you to his true emotions.  Brandon's heartache touches you at the core but this heartache makes him more regal because of his perseverance.

Hugh Grant compliments this array of actors by giving the film some classical slapstick comedy.  He fits perfectly against the reserved Emma Thompson who will occasionally bring out that wide smile after one of Grant's humorous anecdotes.  Grant brings just enough charisma to his character of Edward to bring a little excitement to the movie.

Although the film did not need use the blockbuster special effects of more recent movies, they satisfy the needs of the movie and there are no errors to distract the moviegoer.  By doing this Ang Lee forced the watcher to envelop themselves into the emotions of the actors and not glitzy special effects.  The story sweeps you away, and the added quality production work was just bonus to an already outstanding film.  All the pieces of the film all seemed to fit in place and this is thanks to the work of the director.  Ang Lee made sure that everything was perfect, from the historic costumes to the accents of the actors.  This is also a compliment to Emma Thompson who had the trouble of constructing a screenplay that would honor the book, but would also move at a fast enough pace to entertain the reader.

Sense and Sensibility shows us exactly what a movie should be.  The movie's witty romanticism helps illustrate the Victorian era whose love is not so different from our own. This success is due to the actors who brought the story to a personal level.  Without them we would not have felt the emotions of the characters, which made us long to love as they did.

936.          Seperate Peace essay

Thesis: The five main characters in John Knowles' A Separate

Peace represent social stereotypes, according to some

people.

In his book A Separate Peace, John Knowles represents jocks

with Phineas, a character who believes that sports are the key to

life. Phineas is more of a sportsman than a jock. Real jocks only

care about winning, Phineas makes sure it's not possible for

anyone to win or lose.

Chet Douglas is an exaggerated prep, just like Phineas is an

exaggerated jock. He is obsessed with learning just for the sake

of learning. No real hardcore prep thinks that way!  Chet Douglas

lives in his own educational world. He's so absorbed in this

alternate reality in which Calculus has a justified existence that

he forgets what the school is trying to teach him, and actually

goes out and seeks more academia than what the school is already

shoving down his and everyone else's throat. The standard prep is

only concerned with being on the top of the Honor Roll, so that

everybody's parents can marvel at how smart (s)he is.

There is one character that fits into no stereotype. "Leper"

Lepillier is an individualist. Individualists are people who don't

conform to social norms just for the sake of being accepted by

others.  Real individualists are not those

people with blue and green hair you see on talk shows. Those

people conform to a subculture, something that was less common

during World War II. The real individualists of the world are

quickly disappearing, as conformity becomes more popular. I

haven't met any real individualists, so I can't say whether or not

Knowles exaggerates Lepillier's lack of stereotype.

In modern society, there is pressure on individualists to

conform to the most prominent subculture in the local area (I

think). Those who fail to conform become outcasts, like the

character Quackenbush.  Outcasts are ridiculed so that they see

themselves as inferior to everyone. In the book, Quackenbush tries

desperately to find someone who he is not inferior to, and starts

a fight with Gene. While outcasts are created in the same way as

Quackenbush, he reacts much differently to being an outcast than

most outcasts do. To the standard outcast, everyone is the target,

eventually, not just a few inferior people.

Some people are self-obsessed. Gene would be a good example

if he was real. Gene is overly obsessed with his own emotions,

this is why we have to put up with all his garbage throughout the

book. He is the type who would step over his own mother (or shake

his best friend off of a tree) to get what he wants.

Since the time when this book takes place, new groups of people

called subcultures have formed. Each subculture has its own social

norms. They are like a society within a society, and segregate the

people even more than these five basic types of people did back in

Knowles' time.

937.          Settings of Jane Eyre

The Settings of Jane Eyre

Throughout Jane Eyre, as Jane herself moves from one physical location to

another, the settings in which she finds herself vary considerably.  Bronte makes the most

of this necessity by carefully arranging those settings to match the differing

circumstances Jane finds herself in at each.  As Jane grows older and her hopes and

dreams change, the settings she finds herself in are perfectly attuned to her state of mind,

but her circumstances are always defined by the walls, real and figurative, around her.

As a young girl, she is essentially trapped in Gateshead.  This sprawling house is

almost her whole world.  Jane has been here for most of her ten years.  Her life as a child

is sharply defined by the walls of the house.  She is not made to feel wanted within them

and continues throughout the novel to associate Gateshead with the emotional trauma of

growing up under its "hostile roof with a desperate and embittered heart."  Gateshead, the

first setting is a very nice house, though not much of a home.  As she is constantly

reminded by John Reed, Jane is merely a dependent here.

When she finally leaves for Lowood, as she remembers later, it is with a "sense of

outlawry and almost of reprobation."  Lowood is after all an institution where the orphan

inmates or students go to learn. Whereas at Gateshead her physical needs were more than

adequately met, while her emotional needs were ignored.  Here Jane finds people who

will love her and treat her with respect.  Miss Temple and Helen Burns are quite probably

the first people to make Jane feel important since Mr. Reed died.  Except for Sunday

services, the girls of Lowood never leave the confines of those walls.  At Lowood, Jane

learns that knowledge is the key to power.  By learning, Jane earns greater respect and

eventually, she becomes a teacher there, a position of relative power, all the more so

compared to what she left behind at Gateshead.  Jane stays inside the walls of Lowood

for eight years.  She has learned a great deal but all she finds for herself, when she does

finally decide to leave, is "a new servitude."  The idea that she might be free in an

unbounded world is not yet part of her experience -- in a sense, it never will be.

Once again, Jane changes setting and circumstance and into a world that is

completely new to her experience.  Thornfield is in the open country and Jane is free

from restrictions on her movements.  Jane has always lived within confining walls and

even as a teacher at Lowood had to get permission to leave.  She is still confined, in a

sense, but now she is living with relative freedom, but as she will discover later, Jane is

not equipped to live utterly free.  Jane is an adult but to live she must be employed.  .

After Mr. Rochester arrives, Jane feels it is finally time to have a family of her own, but

unwittingly, Jane becomes Mr. Rochester's mistress, not his wife.  With that in mind

Jane decides to leave Thornfield even though Rochester tries desperately to convince

Jane to stay.  At her stay at Thornfield, Jane learns what it feels like to be needed, by

both Adele and Edward Rochester.

What she finds next is that, in the free world which she often only could dream

of, she is incapable of surviving totally independent.  At Thornfield, or even Gateshead,

she had the financial support to make mistakes as forgetting money without to much a

consequence.  The world outside those walls is not so forgiving.  She resolves to live

with Nature, but the next day she is found "pale and bare".  She quickly ends up a

common beggar, eating food given to her because "t' pig doesn't want it."

Guided by a unknown forces, she stumbles upon Moor House and is taken in.

Soon she regains her health and is allowed to stay.  The companionship of Mary and

Diana is perhaps the best suited to her intellect and temperament than any she has had

before and the walls that she finds herself within are attractive. At Moor House, Jane is

exposed to a way of living she had never quite seen before and, having seen the reality of

the world she had previously only imagined.  She then takes a job as a teacher -- the only

skill she truly has.  She finds another home, and again it suits her prospects. The cottage

is "a little room with white-washed walls and a sanded floor" and a bed to sleep in.  Here

at Moor house is where Jane learns what it is to be an independent woman.  Of course the

twenty thousand pounds from John Eyre's inheritance doesn't hurt.

In the final setting of the book at Ferndean, this is the place at where Jane will

settle down.  At the ends she concludes at Ferndean where she has now been cast into the

role of a mother and from here so concludes the book.

938.          Seurat 597

Mention George's Seurat's name and the first thing that comes to mind

is his "pointillism" his painted pictures of divided color. His Applying paint in

regular small strokes giving a picture a look of national order and a new Neo-

Impressionism style.

Seurat had been born on December 2, 1859  to Ernestine Faivre, and

Antoine Seurat. Seurat was the third child in the family. While attending

school, Seurat took a course from a sculptor Justin Lequin.  In November

1879, Seurat went to Brest to do his military service. While there he drew

beaches, seas, and boats. In 1883, Seurat began Une baignade, Asnieres or a

s its called now "The Bathers". Seurat did  many study paintings for the

peace, including "the Riverbanks", "Rainbow", "The Black Horse", "Bathers

in The Water", "Seated Bather" ,and finally "the Study for "the Bathing

Place, Asnieres". When he submitted his painting to the official Salon in early

spring 1884, it was rejected for reasons unknown.

In 1884 Seurat issued another painting Une dimanche a la Grande

Jatte or translated "A Sunday Afternoon on the Island of La Grande Jatte".

Seurat made twenty-seven drawings, twenty-seven panels, and three canvases

relating to the final product. When a viewer gets close to La Grande Jatte the

brushwork appears quite varied and animated. The strokes vary from small

dots.  On the tree trunk the marks change direction and move outward on the

branches. The strokes follow the imagined reality of the figures, flowing

outward for curves and hips, vertically for upright torsos, and follow the

direction of legs. When the painting is viewed from affair the brushwork

appears in uniform. Seurat found out that when he put dots of blue beside

dots of yellow they looked green from far away. Seurat also found out that

when he added the complementary color the object became alive with color

that shimmered, glistened, and glowed.

In 1885 Seurat spent several weeks painting sea scapes along the

Channel coast staying in Grandcamp. Seurat  only made six paintings and

only considered one of them finished "boats corner of a harbor".

In 1886 Seurat finished Poseuses. This painting was Seurat's nudes.

This was Seurat's last composition on the grand scale of the Baignade and La

Grande Jette. The figures in the piece are said to be of the same person, since

the proportion is the same. Seurat again made many sketches and painting

relating to the final piece.

In 1886 Seurat's work became focused on the night scene. Seurat

painted cafes, concerts, fairgrounds, and circuses.  On February of 16, 1890

his mistress Madeleine Knobloch who was 21, presented him a son, whom he

named Pierre-Georges Seurat. During that year Seurat completed Le Chahut

which was of a night club scene with men and woman dancing. Seurat's

second to last painting was the Jeune  Femme se poudrant which was a

portrait of his mistress. The portrait gave his mistress a Goddesses like

appearance in which made her look huge. Seurat had a second child with

Madeleine but shortly died after birth.

Seurat's final work was Le Cirque which was a painting of a circus

scene. the picture shared the same elements as of the Chahut in that both had

an audience and performers. Seurat used a grid technique in order to blow up

the smaller compositions in which he had drawn.

On Easter Sunday 1891, Seurat died of infectious angina. Shortly after

Seurat's son , Pierre-Georges Seurat contracted his father's illness and died

on April 13, 1891. Seurat was once asked If his work was done

mechanically? Seurat replied  "No, Monsieur, by hand".

939.          Shakespeare In Love

Shakespeare In Love

Shakespeare in Love is a fictional story about the writing of William Shakespeare's Romeo and Juliet. Shakespeare, played by Joseph Fiennes, is in the middle of what could be a disastrous writer's block. His idea for the play, which should be completed, is a pirate comedy entitled Romeo and Ethel, the Pirate's Daughter. But Will is stuck, his shrink asks him how long it has been since he has been with a woman and advises him that that is what he needs. Auditions are held since the players' troup is out on tour. All the not so actors are pitiful. Except for Thomas Kent, the alias given by Viola, played by Gwyneth Paltrow. Women at this time are not allowed on stage in public. After Shakespeare shows interest, this character runs away to her estate where a party is being held. He follows Thomas into this party to later find love at first sight in Viola. Thomas once again shows up to receive her part in the play as Romeo. While Will and Thomas are talking, Shakespeare pours his heart out, telling about this wonderfully beautiful woman, Thomas's cousin. Somehow, they end up kissing. Now that Will has this woman, his writers block is cured, he goes on to write Romeo and Juliet through his true-life actions in his affair with Viola. At the end of the movie they put on the play through all the hardships, in the company of Queen Elizabeth. I greatly enjoyed this movie, even though it is not a typical movie of my preference. The truth is that I would have never gone to see this movie if extra credit was not given. I was delighted to see an extremely entertaining movie. I was also amazed at all the references that I would not have not caught if it weren't for English Literature and history covered this year and by reading Romeo and Juliet two years ago. Freshmen year, while reading the play, I repeatedly caught myself thinking, "I don't understand a thing they are saying... What is the point of reading this?" Now I come to find it entertaining. I also enjoyed seeing the humor and wickedness of Elizabeth I. The movie displayed the point that people were in desperate need of entertainment at that time. I found it interesting to see the difference between the classes of people at that time; the Aristocrats were cruel and heartless while the commoners were truly disgusting. I walked out of the theatre with a different opinion on Shakespearean works and movies about the English.

940.          Shakespeare plays Twelfth night Romeo & Juliet 615

William Shakespeare was born in Stratford-upon-Avon, England in1564 He has enduring fame because he dared to be different, though he is known mainly through his plays. One of the most famous plays he wrote is Romeo and Juliet,  a well-known love story. Also, he wrote Hamlet   and Macbeth,  two other well known plays. He is famous because of his creativty and giftedness with writing plays as well as his acting abilities    .  Althought  his play " twelfth night "  is a romantic comedy while "  Romeo &amp; Juliet "  is romatic tragedy , they both  show that love can cause pain ; Many of the characters claim to suffer painfully from beying in love ..                                                                                   In the " twelfth night " we have more than one love story , Olivia describes love as a plague from which she suffers terribly ; Viola also seems unhappy  " My state is desperate for my master's love " ; Viola falls in love with Orsino but can not tell him , because he thinks she is a man , while Olivia , the object of Orsino's affection , love Viola ' Cesario ' , Olivia wants to let Cesario know that she loves him by sending him a ring by way of  Malvolio , it was her way of expressing her love .                                                       Love  in this play is coming out of apure hearted people , who , loves for love . the characters in this play have a very deep sense of love , that they love each other spirtualy away from any phisical impact on their passion .            In Romeo &amp; Juliet passion and love spring up at the first sight between Romeo &amp; Juliet , we can see the powerful nature of love in the way they described it from the first time they met " A like bewitched by the charm of looks " ( II.prologue ) Juliet ,  perhaps , most perfectly describes her love for Romeo by refusing to describe it : " But my true love is grown to such excess / i can not sum up some of half my wealth ( III.i.33-34 ) the events in this love story are always connected to passion , whether that passion is love or hate .       The blind passion of love leads the lover to struggle against public and social institutions that either explicitly or implicitly oppose the existence of their love , the famelies of the lovers are enemies , which make their dream hard to come true                      Althought Romeo &amp; Juliet is the most famous love story in english literary tradition , which end with a very tragedy  ending when the couple sicide , theire suicides can be understood as the ultimate night , the ultimate privcy where thy don't have to fac a new day and a new  social struggle .                                                                                                 From my own prespective i think love in the Twelfth night is strongr and deeper while in Romeo &amp; Juliet we have eye love which is baced on the physical appearance  , what makes the story look so passionate is th impossibility of their marriage , As every body knows , human nature desired to struggle and face difficalties , such love will end as soon as they satisfy their desires , but love in the Twelfth night wont end easily because it was not easily given ... the emotions which can be easily given , they will disappear easily .      These two plays are great to study and analyse , although they have different dramatic style of writing , but still have the same spirit that presents human emotions and feelings in agreat smooth way to understand .

941.          Shape and Form

The story of The Metamorphosis is one that is very subtle and very delicate.  Kafka wrote in a

fashion that would allow a reader to interpret the story in a way that may be different each time it

is read.  From the beginning, we see that a young, hard working, man, Gregor, has turned into

a bug, and  as the story continues, one can see that he was much more than an insect.  What else

could he be?  Even after his death, it is obvious that Gregor was there for a cause.  His family

depended on him for their happiness.  The purpose for his existence was to serve his family.  His

mother and father created him and were the driving force behind his physical change.   There was a

lack of communication that existed throughout the story that revealed how unappreciated they were

of Gregor and his sister, who was on her way towards becoming like her brother.

Gregor was very important to the family's welfare.  At first he was the only working

member of the family, and his job was very important; the whole future of Gregor and his family

depended on it (p.84).  For so long he wanted to quit his work, because he wasn't happy with it.

But he said to himself, " Besides, I have to provide for my parents and my sister. (pp.

82-83)."  He felt that his family was too dependent of him.  When Gregor wouldnt let anyone in his

room in fear that they would be horrified by his condition, he thought that his family was harassing

him because he was in danger of losing his job, and because the chief would begin harassing his

parents again for the old debts" (p. 76).  At this point, everyone was angry and wanted him to get

up for work.

All that mattered to the family was what Gregor was able to provide.  After his secret of

change to an insect was discovered, they realized that he was no longer of any use to the family,

and he was unappreciated in every way.  He didn't have his job and no longer had anything to offer.

"The house soon started to fall apart; the household was reduced more and more "(p. 113).  Gregor

was now a problem for he had no function in the family. They locked him up, imprisoning him by

not allowing him out of his room. Slowly, his possessions were removed, and for some time no one

bothered to clean his room, the cleaning of his room could not have been more hastily

done.  "Streaks of dirt stretched along the walls, here and there lay balls of dust and filth." (pp.

114-115).  Anything that was not needed for the moment was simply thrown into Gregors room.

They couldn't see beyond the obvious.  To them he was only a bug and not Gregor.  For this

reason, they simply did not show him the respect that he deserved.

Understanding Gregor was something that his parents failed to do. Even before his

metamorphosis, there was a communication problem within the family.  When Gregor first speaks

to answer his mother, he didn't recognize his own voice.  Kafka explains: "Gregor had a shock as

he heard his own voice answering hers, unmistakably his own voice, it was true, but with a

persistent horrible twittering squeak behind it like an undertone, that left the words in their clear

shape only for the first moment and then rose up reverberating round them to destroy their sense,

so that one could not be sure one had heard them rightly" (p. 70).  As awful as he sounded,

his mother did not recognize the difference in his voice, suggesting that they didn't speak often.

Nothing changed after his metamorphosis, however, and the family continued to

misunderstand Gregor.  They failed to realize that, even as a bug, Gregor was still there and that he

could understand everything they had to say.  Many times he tried to show his loyalty, "but the

more humbly he bent his head his father only stamped on the floor the more loudly (p.

86)."  His sister, whom Gregor trusted most, even tried to convince his parents that Gregor is no

longer with them.  "My dear parents, she said, things cant go on like this.  I wont utter my brothers

same in the presence of this creature, and so all I say is: we must try to get rid of it (p. 124)."

Gregor was not to be accepted for who he was.  After some time, his family still hadn't got used to

him.  "He realized how repulsive the sight of him still was to her, and that it was bound to go on

being repulsive (p. 99)."

Gregor's condition resulted from the abuse that he took from his family, and he was much

more wise because of it.  He had gotten used to his change and actually enjoyed being a bug. " He

especially liked hanging from the ceiling" (p. 100).  And all the talk of him made him think more.

He came to the conclusion that he was better off as a bug and did not want things to  go back to the

way they were.  He was often haunted by the idea that the next time the door opened "he would

take the family's affairs in hand again just as he used to do" (p. 114).  He thought more logically as

a bug and was tired of everyone depending on him.

Gregor was not the only person affected in this story.  His parents started to abuse his

sister in the same way.  Their son's unemployment forced her to get a job.  She was then helping to

support the family as Gregor once did.  After he died, her mother and father both noticed

something at almost the same time.  They saw how grown up she had become and that it was time

for her to find a husband and, in a way, marry another Gregor.  He was the hindrance of the

family's happiness, even after he died.  "With the new jobs they had found, Gregor's death was

likely to lead to better things later on (p. 132)," because they no longer deal with the problem of

keeping him and hiding him from strangers.

Each time the subject of Gregor came up, they would mention how useless he was.  He

was only good when he could provide for the family and so was never really appreciated for who

he was.  The fact that they didn't communicate well before Gregor's metamorphosis made it even

harder to find him behind the mask of a giant insect in which they had created.  His

sister was making a change of her own also.  Early in his metamorphosis "Gregor would stretch his

legs and try to get comfortable"  (p. 71).  The same stretch is duplicated by his sister when she,

too, sprang to her feet and stretched her body.  She would be going through a similar change.  The

parents were the reason why the both of them turned out the way they did. Their total interest

towards living a comfortable life made them unable to see what was happening with Gregor.

Despite all his effort,  they failed to realize that part of that insect that they had treated so cruelly

was actually their son.

942.          Shasta Mcnasty

Shasta Mcnasty

Shasta McNasty, a politically incorrect comedy that premiered on Tuesday, October 5th, at seven thirty; on channel nine. The only thing you will need to enjoy this comedy is an IQ two notches below that of a carrot. If comedy is even the right word to describe this brainless screenplay. The shows main viewers cannot even read so for them this review is worthless. The show has the acting ability of my dead grandfather, the plot of a lima bean on a kitchen counter and creativity worse then the smell of sweaty gym socks.

The actors, if they are even worthy of that title, are so bad that the great actors and actresses of the past are left rolling in their graves. The range of personality types include: a midget, conjoined twins, bouncing bikini babes, three no-life college life guys, a playboy bunny and Gary Coleman. Need I say more? The acting ability resembles the talent I recently saw in the third grade production of "The Little Red Hen." The appearance of the over all cast was not much better. Although, with a screenplay like this one has, I can see how many professionals wouldn't waste their time.

I think that the detestable plot is partly to blame for the obscene turn out in the acting ability. The humor is distasteful, degrading and racist towards handicaps, women, and minorities. In the opening scene a little person contains the job was walking around a Mexican restaurant wearing ethnic outfit and a sombrero that has salsa in the middle and chips resting in the curves around edges. This program contains romance that is unhealthy, controlling and contains quick turn over when sex is involved. The conflict and resolutions are for the feeble minded only. The plot is based upon three college age guys who wander aimlessly through their days without a single economic contribution. They do how ever contribute to the unemployment rate. To sum it up the sitcom lacks any sort of common sense or usable knowledge.

The creativity of this obnoxious screenplay is that of a drunk persons mental capacity.

In conclusion, The screenplay of this sitcom is one in which you will either love, or you will hate. If you are one in which you loved the program please for the nations sake don't discontinue the multiplication of your species.

943.          she is dead

She is dead.  She does not appear physically but haunts mentally.  She is Codi and Hallie's mother Alice, the late wife of

Homero Noline.  Throughout the novel Animal Dreams by Barbara Kingsolver Alice impacted the characters, action,

and theme(s).

When Alice passed away she took part of Homer with her.  What she left was a misfit of time and circumstance;

an emotionally distraught and distant man who attempted to resemble a father but veered more towards the tin man.

Homero existed beyond his wife as only a page out of an instruction manual, the one with the caution statement.

Homero's delicate heart decided that the only way to endure Alice's death was to flush any remembrance or

resemblance of her out of his fortified technical realm which throughout the novel becomes increasingly skewed.

Kingsolver pushes home this idea by omitting Alice from any of Homer's frequent flashbacks which are usually mishaps

from the past involving his daughters.  These incidents are his only recollection of his daughters' estranged childhood  in

which he strained to create slippery and unmothered women.

Homer's fear of becoming attached to anything which reminded him of Alice resulted in an unorthodox childhood

for Hallie and Codi.  Homero was more of a child mechanic than a father.  Retaining only  his technical aptitude after

Alice died all he could do was provide his kids with orthopedic shoes and the correct medicine.  When not fixing Codi

or Hallie's present or future ailments Homero took photographs of natural objects and slyly transformed them into man-

made devices by doing what he seemed to be best at, distorting images.

Codi, similar to her father mentally blocked out her past.  Her childhood remained within her as only a series of

stained and misplaced memories.  Codi attempted to follow in her father's emulsion lined footprints, fixing every one of

life's problems with an internal wrench.    By approaching life from behind this falsified image Codi managed to distance

herself from everything and everyone who could have hurt her.  One aspect of life and time in which Codi was bred to

be distanced from is the past.  As Codi grew older she began wondering about her family's past.  Homer basically told

her they had no past.  So with no past and no identity, Codi lived, searching for security and stability through a mother

figure.   Everywhere Codi went she managed to find a mother figure.  Whether it be a man or a woman friend or even

Hallie, Codi hid herself in other's security.  This search for stability is catalyzed by the lack of a mother in Codi's

childhood.  The lack of maternal instinct in Codi left her with no sense of direction, therefore; she searched aimlessly for

years, for herself.

When Codi returns to her childhood home in Grace, Arizona she discovers she does have a past, both in her

lifetime and prior to it.  Contrary to what Homero told her, her original family was from Grace, her roots were there.

The absence of Alice lays down a theme for the novel: you must return to your roots to find your identity.  This is feasible

because Codi had to come back to her family's origin and her mother's resting place to finally find her self.

Throughout the novel Animal Dreams there is an invisible presence which effects the characters, action, and

theme.  The reason why this presence is so dramatic and forceful is the fact that it is a spiritual presence, one which we

will never meet.

944.          Ship s Main Engine Lube Oil System

Ship's Main Engine Lube Oil System

Cleanliness of the lube oil is very vital in the Main Diesel Engine Lube

Oil System.  A strainer is a device that is usually made up of a single layer of

course gauze, and a very course wire mesh.  This setup is used to filter out

large objects that could cause blockage or damage to the lube oil system.  A

filter is used to filter out much smaller particals.  The filtering elements in

a lube oil filter has a more complex make-up.  Aboard our ship, we have self

cleaning lube oil filters along with the standard lube oil filters.

The size of the cartridges in these filters usually range from 3-12 mm.

Our ship has two full flow filters per engine.  The plates inside of a strainer

corrode and erode very easily.  Special attention must be given to these plates

when cleaning them.  Make sure that a gap has not formed at the end of the plate.

If there is a gap, rags and other particles may pass right by.  If in doubt of

the condition of the plate, it should be renewed.  The cost of a single plate is

much cheaper than the cost of cleaning out an entire clogged system.

All gasket surfaces must be checked closely to ensure a proper seal.  Our

ship has a high pressure lube oil system.  Because of this, basket type

strainers are used.  Lube oil systems are equipped with a wide variety of

strainers.  It is important to operate these strainers at all times to prevent

clogging.  Aboard our ship, we have Hayward Plug-type Duplex Basket Strainers.

All of these types of strainers are one way.  The liquid to be strained enters

to the top and filters through the bottom.

Both strainers and filters clean lube oil using a similar process.  The

components of the strainer element, also known as a basket, consists of a spring,

a pleated perforated screen, and a handle.  There is a metal to metal seal

between the basket and the inlet port.  The cover of the strainer applies a

downward pressure on the basket which allows for a tight seal on the top of the

basket.  The strainer element must be cleaned periodically to avoid high

pressures accross the strainer.

945.          Shirley Temple Black Hollywood s Youngest Star

Shirley Temple: Black Hollywood's Youngest Star

Did you ever know that a little girl could be a famous movie star?

It happened to Shirley Temple, she became Hollywood's youngest star.

On April 23, 1928 Shirley Temple was born.  One day, when Shirley

was three and a half years old, about two hundred children gathered at her dance

school to audition for a movie.  Shirley raced out onto the brightly lit stage

and got the part in the movie series Baby Burlesks.  For the next two years,

Shirley sang her songs and danced in this movie.  Her mother didn't like that

Shirley was always doing the same thing.  A big movie company called Fox, hired

Shirley and started making movies just for her.

Shirley became the most popular star in the movies.  Everyone liked

her movies because the movies made them feel really good inside.  Shirley made

alot of money making movies and she loved acting.

When Shirley started getting older, the movies became more serious.

The audiences didn't like Shirley in these kinds of movies and she became less

popular.

Shirley liked to be competitive in everything.  She decided to be

the first person in her class to become engaged.  On September 19, 1945 Shirley

married John Black and 12,000 people waited outside the church to see her.

When Shirley stopped making movies, she got busy with politics.

President Nixon chose Shirley to become the U.S. Representative of the United

Nations.

Shirley is a kind and gentle girl to other people.  She is special

to me because she is a good friend to people if they are sad or feeling bad.

She enjoys everything she does and always wants to do it well.  That's what's

special to me.

I enjoyed half of the book.  The beginning was wonderful, but the

end was a little bit boring.  I would recommend this book to other children

because it is fun and interesting to read about famous people.  Also, many of

her movies we can rent and it is interesting to know about actors.

946.          shirley temple

Shirley Temple Black Hollywood's Youngest Star

Did you ever know that a little girl could be a famous movie star?  It

happened to Shirley Temple, she became Hollywood's youngest star.

On April 23, 1928 Shirley Temple was born.  One day, when Shirley

was three and a half years old, about two hundred children gathered at her

dance school to audition for a movie.  Shirley raced out onto the brightly lit

stage and got the part in the movie series Baby Burlesks.  For the next two

years, Shirley sang her songs and danced in this movie.  Her mother didn't

like that Shirley was always doing the same thing.  A big movie company

called Fox, hired Shirley and started making movies just for her.

Shirley became the most popular star in the movies.  Everyone liked

her movies because the movies made them feel really good inside.  Shirley

made alot of money making movies and she loved acting.

When Shirley started getting older, the movies became more serious.

The audiences didn't like Shirley in these kinds of movies and she became

less popular.

Shirley liked to be competitive in everything.  She decided to be the

first person in her class to become engaged.  On September 19, 1945 Shirley

married John Black and 12,000 people waited outside the church to see her.

When Shirley stopped making movies, she got busy with politics.

President Nixon chose Shirley to become the U.S. Representative of the

United Nations.

Shirley is a kind and gentle girl to other people.  She is special to me

because she is a good friend to people if they are sad or feeling bad.  She

enjoys everything she does and always wants to do it well.  That's what's

special to me.

I enjoyed half of the book.  The beginning was wonderful, but the

end was a little bit boring.  I would recommend this book to other children

because it is fun and interesting to read about famous people.  Also, many of

her movies we can rent and it is interesting to know about actors.

947.          Shoot the teacher

SHOOT THE TEACHER

By: David Belbin

During the couple of days that pass in this book, lots of

things happen. A boy in his mid teens becomes to heavy a

burden for his mother to carry. She kicks him out. Her

divorced husband gets to take care of Adam. Adam and his

father, who Adam calles Simon, move to  a new place with a

new school where Simon is a teacher. The very first day

they're involved in a shooting. But there is more to come!

Three people are shot and killed in only a few days. There

are many theories of hwo comitted the killings. Simon is the

main suspect, however he's found innocent. Instead the find

that the murderer is Adam's only friend Naomi, who was the

stepdaughter of the first victim.

Adam is in the beginning of the book a rebellious young

man. The typical teenager in revolt. He's growing his hair

long, refusing to go to school and talking back to his

mother. He seemes to calm down quite a bit though in just a

few days. As a matter of fact, as soon they arrive at the new

school, Adam seemes to be more mature and calm. Maybe

that's because he doesn't have any friends in the new school,

maybe because he feels inferior being the new kid and

outsider that he is.

Adam's relationship to his father seemes to vary a lot. At

first Adam looks at his father as if he was a perfect

stranger.And he has all rights to do that since they practicly

hadn't seen each other att all since Adam was born. Then

some kind of a father-son friendship evolves, but I get the

feeling that it's only because they feel they have to. When

Simon is accused of murder, Adam starts to hate him.

Perhaps stop caring about it, is a better way of describing

Adam's feelings towards his dad.

The author used a technique with many enviromental

descriptions. He didn't use a lot of fancy words, probably

because it is a youth book. I am amazed by the number of

times the author used the verb shrug. At least once every

other page. The plot is well written so that you can't tell

who the murderer is until the very last page, or at least the

last chapter.

I usually don't like this kind of books. Actually I don't like

books at all. I enyojed this one though. Once I got started

reading it, I could hardly put it down.

948.          Short essay on Marilyn Monroe

~***Marilyn Monroe***~

Marilyn Monroe was a goddess of the silver screen. She held the glamour and celebrity of the golden age of Hollywood. She mesmerized the captive audience. Most of her movies were a number one box office hit. All women wanted to be like her and many men's mouth dropped when they saw her.

Norma Jean Baker was born to unwed parents. She spent a very inhappy childhood bouncing around among different orphanages and foster care homes. She found a neighbor to take her in at age six but yet was let down again. She was literaly dragged from home to home. then she was finally able to find a long lost aunt to care for her at age eleven.

At age sixteen, Norma Jean married Jim Doughtery. It was an arranged marriage, then she soon filed for divorce. She began to model, and her dream of being an actress was finally born. She changed her name to Marlilyn Monroe and a star emerged.

She acted until she was thirty-six. She then died for a unknown reason still to this day. Mariyln Monroe was and still known as the greatest actress to have ever lived.

949.          Short paper on George Lucas

George Lucas born and grew up on a walnut ranch in Modesto, California.  When Lucas was in his late teens he developed an interest in drag racing.  However, a severe car accident changed what he had wanted to be when he grew up.  Originally he had wanted to be a race car driver.  Lucas had gone to Modesto Junior college before attending the University of Southern California film school.  While he was attending film school he made several short films such as THX-1138:4EB, which had one first prize at the national student film festival.  In 1967 he was granted a scholarship to watch the making of the movie Finian's Rainbow, which was directed by Francis Ford Coppola, who had also directed the movie The Godfather.  In 1969 Coppola and Lucas created a company called American Zoetrope.  The first undertaking of the company was a full length version of Lucas's THX-1138.  In 1971, when Coppola started directing The Godfather Lucas had set out and created his own company called Lucasfilm Ltd.  In 1973 he had written and directed the film American Graffiti.  American Graffiti had won the Golden Globe and had been nominated for five Academy Awards.  In 1973 he had started writing the screen play for the movie Star Wars, which he was inspired to write by Flash Gordon and Planet of the Apes.  He established ILM (Industrial Light and Magic) for the special effects for the movie.  Sprocket Systems was established to edit and mix it and it later became know as Skywalker Sounds.  His movie was turned down by a few different companies until Twentieth Century Fox had liked the idea.  The film had broken all box office records and had received seven Academy Awards.  Lucas along with Steven Spielberg had created the Indiana Jones which the PG-13 rating had been created for.  From 1980 to 1985 George Lucas had been creating Skywalker Ranch, which was built to accommodate the different needs of LucasFilm.  He had later created THX movie systems, which revolutionized the way people watch movies.

The film American Graffiti was influenced by George Lucas's own life.  The film was about four teenagers having fun the last summer night before they go off to college.  One of Lucas's particular interests when he was in his teens was drag racing.  This movie has to do with drag racing, too.  I think that the television show Happy Days was influenced by this movie.  This movie reminded me a lot about the show, and I don't think that the reason it reminded me of the show was Ron Howard, but the way everything was shot and the setting was basically the same.  The soundtrack was also very similar to what kind of music is in the show, fifty's rock and roll.  Two artists who wrote two songs in that movie were Chuck Berry and Buddy Holly, which were two famous songwriters/artists.  Some movies that I think were influenced by American Graffiti are Grease and Detroit Rock City.  I think that Grease was influenced by this movie because of the drag racing and also the similar setting.  I think that Grease is also a coming of age film for the T-Birds.  Detroit Rock City was about four teenagers growing up in the 1970's and hating disco, but loving the rock band KISS.  They do anything and everything so that they could get into the concert.

The movie Star Wars was a monumental movie for the movie industry.  Breaking all of the box office records and receiving seven Academy Awards.  So far there have been five different movies in the series and Lucas is coming out with a sixth and he claims to be the last Star Wars movie he will make.  For the original movie George Lucas had wanted the exact cameras from the film North by Northwest which is directed by Alfred Hitchcock.  George Lucas had liked the look of those cameras and had wanted it for Star Wars.  One movie that was very obviously influenced by Star Wars was Spaceballs, which parodied the film.  There are many books that have been written that were influenced by this film and authors have sort of continued the story through these books.  There are now a countless number of characters in this story and also a number of plots, too.  There are Star Wars fan clubs and tons of different memorabilia from this movie.  I personally think that the newer films haven't been as well made as the older ones because of various reasons.  I personally think that the special effects in the newer movies sort of overpower the plot.  I think that special effects should compliment a scene or plot but not overpower it.

Another film that George Lucas had written is Indiana Jones: Raiders of the Lost Ark.  This film is about an archaeologist being hired by the United States to find the Ark of the Covenant before the Nazis do.  According to the Internet Movie Database (http://www.imdb.org) Lucas is currently working on an Indiana Jones 4.  One film that directly influenced this film is Casablanca.  There is a scene where the main character travels and there is also a map showing the route, this scene is almost the same in Raiders of the Lost Ark.  Also the setting is in Africa and the feel of the setting is very similar to Casablanca.

George Lucas is a very accomplished film writer and director.  He has done things that most people haven't or can't do in their entire lifetimes.  He is influenced by many movies and also influenced many movies.  He also is influenced by his own life and hobbies/interests.

950.          Short Story Essay

Short Story Essay

I noticed that i enjoyed most of the storys  not only for the obvious

reasons such as good charactors, mood, and imagery but also because of

writing style and fluency. I noticed some storys I enjoyed reading even

thought nothing in it really interested me too much, while other storys that

were about topics I usally enjoy reading about I had to put down because I

would end up going over every sentence two or three times each. So on that

note I belive the most important part of writing is making it fluent and easy

to read. The three storys I will compare and contrast are: "The Jade Peony",

"Horses of the Night", and "The Masqe of the Red Death." I intend to fine

wether o not the author of these storys was sucessful in making it readable

in the sence of comprehanceability and fluency.

The first story i will be discussing is called "The Jade Peony" by

Wayson Choy. I did not enjoy what this story was about nor did I enjoy

reading it. Luckly it was short, If It wasnt I doubt i would have made it

throught the whole thing. The main problem with this story was the

inconsistance of the sentences, some sentences were too long while others

were very short. The only way to truly fix this story would be to re-write it.

The second story I chose to write about is called "Horses of the Night"

by Margaret Laurence. I did enjoy reading this short story dipite the fact it

seem to jump around alot; it would talk about somthing fairly in-depth then

just suddenly jump to a different subject or time-era of the story. The author

seem to show very good writing ability however so I think perhaps she did

this on purpose either just for somthing different or maybe to give you a

break from what she was currently writing about.

And finally the third and personal favourite story i chose to include in

this paper is called "The Masqe of the Red Death." This story is nice and

easy to read even though it uses fairly large words and complex sentences.

This story just happens to be writen by one of my favourite writers aswell:

Edgar Allen Poe. I enjoyed this story mainly because like i said it was easy

to read and it was actually challenging to figure out, like much of Poe's

work. The fluency of the story gave you time to just think of what he ment

by it.

As you can probibly see the short storys seem to very when it comes

to writing fluency and writing structure when it comes to this paticular short

story book. One may dissagree with some of my opinions toward these

storys but i think to the average novice reader like myself these opinions will

stay fairly consistant.

This Has Been Spawned

To You From The Head

951.                                                                                                                                          OShort Story

Lang. Arts                                                           Rich Goldman

Short Story                                                   per.7

³  You have entered the United States government mainframe. Please enter your password,²  says the computer.

³  Thank you, Mr. Smith.²

³  The file of Henry O¹Brien is being loaded.  Please stand by.²

³  File loaded, and deleted Mr. Smith.²

For Henry O¹Brien, breaking into other computers is his hobby and life.  Ever since the computer age (the twenty-first century), Henry O¹Brien has been a computer artist.  There isn¹t a computer he can¹t break into, even government mainframes.  The only problem for him is that in his society if he is found hacking, he¹ll be  banished.  This is why Henry and other hackers like him must be very careful.  The man they fear most is a federal agent named Mr.Smith who was known for catching hackers like Henry.

Henry¹s society is run by computers and robots.  Computers do everything from ordering out food to being a thinking, personal secretary.  Robots do everything else the computer can¹t do from cooking dinner to helping kids with homework.  The only flaw to this society is that people like Henry can tap into and control the computers, robots and other electronics.

³  Thank you, Mr. Smith,² replies the computer.  ³  The file of Henry O¹Brien has been deleted. Please enter another file.²

³  Computer, how and when was this file deleted?² asks Mr. Smith.

³  The file was deleted at 11:58 pm today by an outside computer. Would you like me to trace the command?²  asks the computer.

³  Hey maybe this new program will actually work,² says Mr. Smith

³  The command came from 8546 Macintosh Road.²

³  At last, I think we caught ourselves a hacker!²

Shortly after, Henry was breaking into a television¹s circuits for fun and was switching the channels which probably caused confusion among the viewers.  Suddenly, the door slams open, and fifteen men come in with assault rifles pointed at him.

³  Put your hands in the air, now!²  screams one of the men.

³  So Henry, what are you up to, breaking into the CIA?² asks Mr.Smith jokingly.  ³  Either way, you won¹t be hacking for a while because you won¹t have a computer after you¹re banished!²

After being taken to the government building by the soldiers, Henry is questioned by officers and sentenced without trial to be banished from society.  All records of his life are to be deleted.

³  How can you do this?  I didn¹t even have a trial,²  shouts Henry.

³  We don¹t want this thing blown up anymore than it already is,²  says Mr.Smith.

³  You will be exiled tomorrow at 1:00 pm.  Have a nice day Henry.²

³  I swear if its the last thing I do, I¹m going to destroy all the technology, so you¹ll wish you never messed with Henry O¹ Brien!²

³  Put him in his cell.  I want five guards there around the clock!²

The next day at 1:00 pm, Henry is taken by five soldiers with guns into a van.  Henry has no idea where they were taking him.  He has no idea whether he is to be murdered or g-d knows what.  Then the van stops, and the doors open.

³  Put your hands where I can see them!²  shouts a soldier.

Henry got out of the van with his hands over his head and is  ordered to kneel.  He does so knowing his life was probably about to end.  He heard the cocking of the gun and closes his eyes.  Just then gun shots fly.  When he opens his eyes, he sees the soldiers lying on the ground.  He looks up and can¹t believe it.  On a nearby hill, stands Henry¹s old friend Joe McDonald.

³  How did you know they were taking me here?²  yells Henry.

³  The stupid government made a file of what they were doing with you.  It was a good thing I found it.  They were about to put it on disc, and then I would have never known,²  replies Joe.

³  Well I¹m glad you did, but now I got some business to attend to.²

³  First come back to my place.  After all, I did save your life.²

³  Okay, maybe I can do my business on your computer.²

At Joe¹s place, Henry and Joe enjoy some drinks and talk about old memories.

³  So what¹s this business you¹re talking about?²  asks Joe

³  I know you may not agree with what I want to do, but I don¹t care.  I vowed to destroy the society¹s technology.  There would be no more robots, computers, and other electronic things.  Society needs to put more responsibility on humans.

³  Now that you mention it, I have to agree with you. I remember when humans had responsibilities.²  ³  Let me in on what your doing. I¹m sure I could help,²  says Joe.

³  Okay, but its my mission,²  warns Henry.

³  All right,²  responds Joe.

After drinks, Henry and Joe go to Joe¹s computer and open the Peco Energy mainframe and into their electricity controls.  This was the hard part.  To get in to the controls they had to know ten, ten digit passwords.  Fortunately, Joe has a new code cracker which finds the code in two minutes.  They are in!  Now they can control the electricity in the society and shut down the computers.

³  Once we punch in the command, people will have responsibilities and hacking will be over.² said Henry.  ³  There will be no more machines to do their work.²

³  Are you sure you want to sacrifice hacking?² asks Joe.

³  Yes,² Henry

says emphatically.

Then Henry punched in the command and hits enter.  A few seconds later the lights go out.  The computer shuts off, and there is silence.

³  It is over.²

952.          Shot Change creates a new perspective

Joe Chamas

Avant Garde Film Midterm

11\3\95

Question #4

Man with The  Movie Camera

Shot Change constructs a New Perspective

The traditional rules for editing from shot to shot had always tried to give the impression of a continuous action taking place in front of the camera.   Dziga Vertov, the director, contested this old-fashioned filming style in the movie Man with a Movie Camera.  Using multiple shot changes and variations Vertov strayed away from the norm and created a novel technique.  He strongly thought that, as a whole, the general public was stuck in a rut and they were lost in the commonalities and banalities of the habitual world.   The camera man, the main character in the movie, was used as the vehicle to show the globe a new perspective on life.  Vertov decided on making the movie encompass a full day in Russia.  This interesting idea allows the audience to take in the director's new concepts and reflect upon the many visual themes, also.  Time and space play a key role in the film as images and events are both skewed throughout the duration of the movie.

Time was used by Vertov as an important factor in editing as well as in the daily lives of humans.

With editing he utilized the essence of time to his advantage.  Vertov wanted a certain rhythm of cuts to exist in the movie.  He desired a choppy effect.  The cameras, themselves, were supposed to produce a rithym in movements, too.   The point was he wanted to make as many cuts and rigid motions as possible to make the film appear as hark jerky as possible to the audience.  One reason was that he did not at all want the continuous motion of normative movies to be present.  He desired the ebb and flow which daily life really is.  He perceived that life was not one smooth ride without any bumps or collisions, but rather it was kind of unpredictable filled with jarring incidents at every corner.  The other reason for the director's use of cuts and camera movements was he wanted to make sure people remembered that they were watching a movie and that they were not in some fantasy land.  At one point in the middle of the film there was a scene with Vertov's wife clipping and editing the movie in a studio.  Then there was a still-frame before the movie continues.   This was done so viewers would again realize they were watching a movie, because too often people take things for granted.

Other uses of time were implemented by Vertov to ensure the viewers understood they were watching a movie.   There were a multitude of different sequences involved in this film.

One intriguing occurrence was how Vertov showed the movie goers going in and out of movie houses.  This was the first time in a movie that people were actually seen going to and from these theaters.  Vertov made sure he got in all the features of daily life.  He was not filming actors, what he was doing was filming real lives  and real alive people playing the roles.

Another interesting sequence was when the camera man was shot by another camera.  The camera man was on one carriage and he was being filmed from another carriage.  There was a lot emphasis put on the work place.  Heavy labor was the common bond between the workers in Russia.  There were scenes of laborers in factories, outside, and in mines.  Vertov made sure he showed all aspects of Russian life and he pointed out the balance which should exist.  In doing so there was a large portion of leisure scenes.  Although the Russians were hard workers, they did need time to relax.  The movie showed a lot of sporting events and the fascinating concept in these activities there was a an equal proportion of women and men.  Vertov showed the film with an equality of the sexes.  Both the work scenes and leisure ones got longer throughout the movie.  The sequences keep getting longer and this is the case with another sequence - the life cycle.  The order of the cycle is messed up with birth, marriage, and death all represented.  As the progress of the day progressed the sequences generally got longer.

Along with the idea of time being important, space represented a key element in Man with the Movie Camera.  The director Vertov utilized the camera to view both vertical and horizontal motion.  He also developed the idea of close-ups and long shots to give the audience more of a perspective on life.  It was used as another method for making the experience more realistic.

Space was also related to some visual themes in the film.  Vertov tried to show all the little minute details of life on film.  Even going back to the working motif, the camera zeroed in on the busy hands moving and working in the factory.  The camera gave a view of mechanical objects which open and close and turn - life moving gears and machinery.  There were some other shots of things which start to move, are at rest, and come to a stop.   This movement of gears and inanimate objects were closely related to human conduct.  Human lives in Russia seemed to have a mechanical nature to them as everything was structured and rough.  That is why Vertov demonstrated how work should not be the only important activity in daily life.  Leisure has to be included along with the work to ensure that balance.

Man with the Movie Camera had three effects which Dziga Vertov created.   Firstly, the film gave an excellent view of daily life in Russia.  It was a documentary with a the camera man as the constant figure.  Secondly, he showed the world new techniques on editing and especially camera work.  One huge development was the creation of trick photography.  The third reason for this movie surrounded a more global idea.  Vertov designed the movie to try to jump start film as a means of communication.  He wanted film to become the universal language binding all nations, ethnicities, and languages.  The camera would become "a cinema-eye more perfect than the human eye for exploring the chaos of visual phenomena filling the universe."

953.          Should Section 28 Be Repealed

Should Section 28 Be Repealed?

Recently, I noticed a petition in my local church that was to be sent to Donald Dewar opposing the repeal of section 28, which bans the promotion of homosexuality in schools. Many people did not want their children and grandchildren to know anything about homosexuality. This made me think, should homosexuality be taught in Scottish schools?

The response to section 28 has been very different in different parts of the country. Section 28 has never been used in court to stop a local authority doing anything. Although some local authorities have gone ahead and produced documents in partnership with organisations such as Stonewall youth project to support young lesbian, gay, bisexual and transgender pupils, others have taken the opposite view. Perth and Kinross council refused to give a grant to Dundee Lesbian, Gay and Bisexual Switchboard, specifically citing section 28 as a reason for not giving a grant. Authorities' responses have been different because section 28 is badly worded and, legally, does not mean anything at all; its only effect is to act as a disincentive. Section 28 does not directly affect schools or teachers, just local authorities. Nevertheless, according to the "Playing it Safe" survey by the University of London, 56% of teachers surveyed said that they felt that section 28 prevented them from giving such good advice and support to young lesbian, gay and bisexual pupils as they might otherwise be able to give. Young LGBT people do not have equal opportunities in education at the moment, neither in schools nor in college environments. The biggest single problem for young people, if you ask them, is that of bullying and harassment. It is something that affects LGBT pupils directly, but other people too. Anybody can be homophobically bullied - they do not have to be gay to be a victim of that. Bullying and harassment also affects people who have not come out as being gay. The effect on someone who has not come out in an environment where homophobic bullying is going on all the time is to make him or her terrified about telling anyone that they are gay. One of the particular LGBT equality issues most often mentioned is an understanding of the importance of coming out. Coming out is a life-changing event for a young person, and it is very important that school staff understands the implications and can give support to people who are doing it or thinking about doing it. Bullying and harassment has a very bad effect on those peoples self-esteem, as well as on that of people who are directly bullied. The bullying of pupils by pupils is the most common kind, but pupils are still harassed by staff and staff can also be harassed by pupils or by other staff. Harassment also affects people's educational attainment, because they stop learning if they are being bullied at school. Often they leave school as early as possible to get out of that environment. However, bullying and harassment are not the only problems. There is a lack of awareness among staff about what it means to be gay. A lot of staff focus purely on the issue of sex and think that being gay is all about sex, whereas, of course, it is not, especially for young people. Emotional and relationship issues will be much more important. Confidentiality policies are not clear, so young people do not feel confident enough to approach staff and discuss concerns about their sexual orientation. Also homosexuality tends to be invisible, for example in curriculum and library materials. There is no recognition that not only may pupils be gay, but so may other members of their families.

On the other hand, there is a growing fear that teaching children about homosexuality is the same as teaching them how to be gay, which is impossible, but parents are panicking. There is a lot of fear about what section 28 means, and that is the real problem. Many parents are alarmed at the prospect of homosexuality being promoted in our schools. Ms Wendy Alexander, Community Minister, says " They can rest assured that it is not the intention of the Executive actively to promote homosexuality. Removing the prohibition is not the same as active promotion." It is reasonable for any parent to be concerned about exactly what their children are being told at school, of course many people are homophobic and believe that homosexuality is blasphemous. The most commonly heard argument against homosexuality is a quote from the bible: "And God proceeded to create the man in his image, male and female he created them. Further God blessed them, and God said to them, be fruitful and become many, and fill the earth and subdue it (Genesis 1:27-28)." (Often shortened to, "God created Adam and Eve, not Adam and Steve.") The passage does not say that God created man and man. Teaching homosexuality in schools could go against many people's religions and beliefs. However, not everyone is Christian and there is the added conflict between religion and science. Clearly it is not possible to agree with my local community's petition. I hope to have given a reasonable argument to why I believe that section 28 should be repealed and children, at a sensible age, should be properly informed about homosexuality, in order to raise awareness and lessen homophobic bullying in schools.

954.          sidome

Kira Vilanova

FR 301/Pendergrass

Composition 4

14 novembre 1996

"SIDONIE"

"Sidonie" est un intéréssant mélange de l'amour et de l'infidelité.  Cette histoire, écrite par Myriam Warner-Vieyra, rend compte de la courte et inquiète vie de Sidonie, une femme qui est originaire de la Guadeloupe mais qui habite en France.  Au début de l'histoire, Septime est présenté, qui peut être le protagoniste de l'histoire si Sidonie n'avait pas une vie si compliqueé.  Septime est le frère de Sidonie, notre femme, et ils sont venus de la Guadeloupe, une petite ile dans les Caraïbes, près de la cote  du Vénézuéla.

Dans les premiers paragraphes de cette histoire, Septime pense à son anfance, à la Guadeloupe, et nous nous rendons compte à quel style de vie lui et sa soeur appartennaient.  Quand Sidonie avait près de quinze ans, leur mère est morte et elle choisit de quitter l'école pour permettre à Septime de continuer ses études.  Après quelques années, Septime a pu mettre assez d'argent de coté pour aller en France avec sa soeur et chercher une meilleur vie.  C'est ici où le calvaire de Sidonie a commencé.

En arrivant en France, Sidonie a eu un accident de voiture qui lui a laissé les deux jambes paralysées.  Le conducteur de la voiture, Bernard, a decidé un peu après de se marier avec Sidonie.  L'action de se marier avec une handicappée a posé une question pour la famille: Est-ce que le fait que Bernard se sente coupable l'ait decidé à se marier?

L'histoire n'approfondit pas beaucoup ce thème et, pour moi, c'est la clé pour dèchiffrer la cause de la souffrance qui a tourmentée Sidonie.

Pour analyser la situation de Sidonie, il faut comprendre que, du moins à mon avis, elle était une femme qui a decidé de se conformer à sa vie.  Après avoir eu un accident si terrible qui a vraiment changé sa vie complètement, peut être qu'elle a pensé que sa vie était terminée.  Je crois que parce qu'elle était paralysée, elle avait decidé qu'il serait impossible de trouver, par exemple, un autre mari, un homme qui l'aime vraiment.  J'ai basé mon argument sur le comportement de Bernard.  Bernard était un homme qui avait une vie en dehors de sa maison.  Il avait une famille établie (sa femme) et sa cousine Yolène qui s'occupait de la maison pour aider Sidonie.  C'était une vie parfaite!  Il ne devait se préoccuper de rien, mais ici se présente le problème: Yolène était enceinte de Bernard et bizarrement ils ne trouvent pa ça mal.  Par moi, c'est terrible!  Cet evénèment a beaucoup affecté Sidonie -évidemment- et a été le début de sa fin.

Sidonie était furieuse avec Bernard, et pensait que Yolène, qu'elle cosiderait son amie, l'avait trahit.  A ce moment, Septime et sa femme Nicaise entrent pour essayer d'améliorer la situation.  On peut se rendre compte de l'importance que Sidonie avait dans la vie de son frère.

Bien que Sidonie ne se soit pas calmée, son frère lui a donné des conseils: Il lui a dit qu'il serait mieux d'accepter l'enfant, que l'enfant lui donnerait joie, spécialement parce que Sidonie ne pouvait pas avoir des enfants propres.  Encore, nous rencontrons l'attitude de conformité.  Mon impression est que tous ceux qui entourent Sidonie voulent l'aider, mais ils prennent le mauvais chemin pour faire sans doute le bien.

A la fin de l'histoire, Sidonie, hystèrique, a sectionné le pénis de son mari avec un couteau de cuisine et puis, s'est suicidée.  Après avoir analysée la vie de Sidonie, on réalise qu'elle vivait sur son nuage, coupée de la réalité jusqu'au jour où tout a basculé et qu'elle a decidé de mettre fin à sa vie.

609 mots.

955.          Similarities of Two Famous Tales of Love Essay

Similarities of Two Famous Tales of Love

In one of the most famous love stories of this century, many elements

from anotherfamous tale of love were borrowed. In many instances, Westside Story

mirrored Shakespeare'sRomeo And Juliet.  Many similarities were noted from the

characterization to the plot structure.However, they differed as well.

In Westside Story, some characters shared personalities with those of

Romeo And Juliet.The families of the Capulets and Montagues were well

represented by two gangs, the Sharks andthe Jets.  Both being ineffective rulers,

officer Krumpke and the Prince struggle to keep peace if their cities both to no

avail and warned," If you disturb our streets again, your lives shall pay

theforfeit of peace."(               ) .  Due to their differing backgrounds,

Tony being affiliated with the Jets and Maria with the Sharks, Tony and Maria

partook in forbidden love much like Romeo and Juliet.  Much like Tybalt, Bernado

disapproved of their love and was quick to fight with anymember of the Jets or

Tony.  However, Anita, Bernardo's girlfriend, approved of their love because she

just wanted to see Maria happy like the Nurse.  Overwhelmed by all the fighting,

Baby John was much like Tybalt's peace keeping foil character, Mercutio.  Lastly,

Doc tried to help Tony and stop all the insanity around him like Friar Laurence.

In both stories, comic relief occurred to keep the audience interested,

but the two plays usually differed in their approaches to comedy.  In Romeo And

Juliet, Mercutio amused the audience with his actions and soliloquies.  Westside

Story didn't have a character like Mercutio, so it used a combination of their

dance and characters for comic relief.  The Jets performed a humorous song that

mocked Officer Krumpke.  Also, to enliven the audience, The Jets always picked

on Anybodys, a scruffy looking girl who always tried to get in the gang.

Depsite those different approaches for comedy,  Westside Story immitated

Mercutio and other Montagues' scene with the Nurse, taunting her and exclaimimg,

" ...hide her face; for her fan's the fairer of the two " (             ), when

Anita went to Doc's,and they mocked her saying so this what a P.R. woman looks

like and tossing her around.

The settings from these plays did not differ much at all.  Tony and

Maria had to hide their love from their families to avoid being separated.

Bernardo and Anita already arranged a marriage between Maria and Chino like that

of Juliet and Paris's arranged marriage. The Jets and Sharks frequently rumbled

to prove who was the best gang in the Westside like the Capulets and Montagues

fought to prove who was the best family in Verona, as expressed by the opening

prologue," Two housesolds, both alike in dignity... from ancient grudge to break

to new mutiny" (                 ) .  At the conclusion, both delivered the same

message that the tragedy was everyone's fault not just one person.

The plots and scenes for these two plays were uncannily alike.  Like

Romeo and Juliet, Tony and Maria met at a dance and it was love a first sight

for both.  Their love lifes were a secret because of the warring between the

gangs like that of the hostile Montagues and Capulets.  Romeo And Juliet's

famous balcony scene was mimed by Tony and Maria's fire escape scene.  After the

loss of their dearest friends, Romeo and Tony both killed someone from their

lover's family.  After hearing of her brother Bernardo's death, Maria still

wanted to stay with Tony like Juliet, even if  it meant leaving her whole life

behind and fleeing with him.  However, the endings differed a bit.  First, Chino,

the Paris character, murdered Tony to avenge Bernardo's death. Rather than

killing herself, Maria wept and gave a lecture much like the Prince's "All are

punished !"(             ), saying it wasn't Chino who killed Tony it was

everyone because everyone was filled with hate.

Thus, the characters, plot, humor, and setting of Westside Story

originated from one Shakespeare's most prolific plays, Romeo And Juliet . The

similarities of these two famous tales of love made Westside Story showed that a

love story from ages ago could reappear and be successful in the 20th century.

956.          Similarities of Two Famous Tales of Love

Similarities of Two Famous Tales of Love

In one of the most famous love stories of this century, many elements from anotherfamous tale of love were borrowed. In many instances, Westside Story mirrored Shakespeare'sRomeo And Juliet.  Many similarities were noted from the characterization to the plot structure.However, they differed as well.

In Westside Story, some characters shared personalities with those of Romeo And Juliet.The families of the Capulets and Montagues were well represented by two gangs, the Sharks andthe Jets.  Both being ineffective rulers, officer Krumpke and the Prince struggle to keep peace if their cities both to no avail and warned," If you disturb our streets again, your lives shall pay theforfeit of peace."(               ) .  Due to their differing backgrounds, Tony being affiliated with the Jets and Maria with the Sharks, Tony and Maria partook in forbidden love much like Romeo and

Juliet.  Much like Tybalt, Bernado disapproved of their love and was quick to fight with anymember of the Jets or Tony.  However, Anita, Bernardo's girlfriend, approved of their love because she just wanted to see Maria happy like the Nurse.  Overwhelmed by all the fighting, Baby John was much like Tybalt's peace keeping foil character, Mercutio.  Lastly, Doc tried to help Tony and stop all the insanity around him like Friar Laurence.

In both stories, comic relief occurred to keep the audience interested, but the two plays usually differed in their approaches to comedy.  In Romeo And Juliet, Mercutio amused the audience with his actions and soliloquies.  Westside Story didn't have a character like Mercutio, so it used a combination of their dance and characters for comic relief.  The Jets performed a humorous song that mocked Officer Krumpke.  Also, to enliven the audience, The Jets always picked on Anybodys, a scruffy looking girl who always tried to get in the gang.  Depsite those different approaches for comedy,  Westside Story immitated Mercutio and other Montagues' scene with the Nurse, taunting her and exclaimimg, " ...hide her face; for her fan's the fairer of

the two " (             ), when Anita went to Doc's,and they mocked her saying so this what a P.R. woman looks like and tossing her around.

The settings from these plays did not differ much at all.  Tony and Maria had to hide their love from their families to avoid being separated.  Bernardo and Anita already arranged a marriage between Maria and Chino like that of Juliet and Paris's arranged marriage. The Jets and Sharks frequently rumbled to prove who was the best gang in the Westside like the Capulets and Montagues fought to prove who was the best family in Verona, as expressed by the opening prologue," Two housesolds, both alike in dignity... from ancient grudge to break to new mutiny"

(                 ) .  At the conclusion, both delivered the same message that the tragedy was everyone's fault not just one person.

The plots and scenes for these two plays were uncannily alike.  Like Romeo and Juliet, Tony and Maria met at a dance and it was love a first sight for both.  Their love lifes were a secret because of the warring between the gangs like that of the hostile Montagues and Capulets.  Romeo And Juliet's famous balcony scene was mimed by Tony and Maria's fire escape scene.  After the loss of their dearest friends, Romeo and Tony both killed someone from their lover's family.  After hearing of her brother Bernardo's death, Maria still wanted to stay with Tony like Juliet, even if  it meant leaving her whole life behind and fleeing with him.  However, the endings differed a bit.  First, Chino, the Paris character, murdered Tony to avenge Bernardo's death. Rather than killing herself, Maria wept and gave a lecture much like the Prince's "All are punished !"(             ), saying it wasn't Chino who killed Tony it was everyone

because everyone was filled with hate.

Thus, the characters, plot, humor, and setting of Westside Story originated from one Shakespeare's most prolific plays, Romeo And Juliet . The similarities of these two famous tales of love made Westside Story showed that a love story from ages ago could reappear and be successful in the 20th century.

957.          Singing in the Rain

Singing in the Rain

The hit musical "Singin' in the Rain" may possibly be one of if not the greatest musicals of all time. With it's tale of the film world of the mid 1920's and its creative underlining love story between Don Lockwood (Gene Kelly) and Kathy Selden (Debbie Reynolds), it provokes the interest of someone who would not generally be attracted to a musical. It is a classic masterpiece that set the standards that musical films of today will be judged by. It is a classic performance by the great Gene Kelly and displays outstanding performances by Debbie Reynolds and Donald O'Connor. As well as starring in this brilliant movie, Gene Kelly teams up with Stanley Donen to make their mark in film history. In my opinion, what set the stage for the level of entertainment that this movie contains is the opening scene. The opening scene set the role of sarcasm in the movie and gave the movie an immediate sense of humor. Four individual parts of movie making come together in this film to create a dynamic opening sequence. The basic principles of sound, editing, mise en scene, and cinematography collectively give this opening sequence a memorable quality that is without match. The opening of Singin' in the Rain takes place at the opening of the new movie "The Royal Rascal" starring Don Lockwood and Lena Lamont. There are famous people all around and their fans are loving every second of it. The fans' faces are full of joy and awe as their favorite actors and actresses enter the large building that will soon be showing the new movie. Soon, the two people that everyone in Hollywood is dying to see, appear in their stretched Rolls Royce and bring the crowd to its feet. As Lockwood and Lamont exit their luxurious ride they are received lovingly by everyone. They walk to the front of the building and are introduced to the crowd. Then the question is posed to Mr. Lockwood, "How did it all begin?" The answering of this question is what my paper will explain. I will attempt to break down the opening scene and show how it all started. By using tools of film such as sound, editing, mise en scene, and cinematography, this paper will show how the scene was made as well. Mise en scene played an important role in this movie as with any other movie. The properties of mise en scene were fully effective in the beginning flashback scene. At the beginning of Don Lockwood's flashback he states that he learned everything from his mother and father and that they sent him to the best dancing schools. He flashes back to show that he actually just danced in dirty pool halls as a little kid with his friend Cosmo. The flashback is precise in terms of mise en scene. The clothes that Don wears are that of the early 1900's. The setting is a dingy pool hall with old men playing and drinking which gives the feeling that the area was poor. That gives more credit to Don because it shows he really wasn't trained in dancing schools and actually learned on his own. The room was extremely dim and Don and Cosmo were centered in the foreground of the shot. Another example of mise en scene is the second segment of the flashback. A young Don and Cosmo sneak into the movie theater to see a horror movie that they would normally not be able to see. The setting is outside an early 20th century theater. In front of the theater are large cut-outs of the movies that are playing there. They are obviously of that time because they are painted, they are not pictures as the ones of today are. The youngsters are also dressed in early 1900's style clothing. The third segment of the flashback is inside a tavern of most likely the 1920's. The place looks very low class and there are men of all ages drinking and playing cards in the background. The costuming in this segment is very well done as well. Don and Cosmo, who now appear to be in their early twenties are wearing suspenders and playing instruments in the right side of the shot. The fourth segment shows exactly how diverse Don and Cosmo really are. In this segment they are on stage dressed as clowns and putting on a show for an unknown audience. They use props such as canes that spray water and wind up hosing each other down with there Super-Soaker like canes. They appear on center stage but the viewer can still see props that belong to the stage in the background. The final stage of the flashback before they reach Hollywood is an interesting scene. In this scene the mise en scene is constantly changing. Cosmo and Don are performing but the background is constantly changing. The background shows different cities and towns to express the fact that the two of them have traveled far and wide doing their acts. They are superimposed over this background wearing checkered suits that show up very well over the constantly changing background. Another very important part of this movie is the sound. Throughout the flashback the shots keep returning to Don Lockwood and he sets up the next scene by telling the complete opposite. For instance he says that his motto is "Dignity, always dignity." Immediately following this statement the flashback shows his actual childhood and shows him being embarrassed in numerous ways. He also talks over parts of the flashback to give details of how things were (or weren't for that matter). He also says that his parents brought him up on the "classics" (films) but in actuality he was sneaking into horror movies at a young age. He also exaggerates the truth when he says that Cosmo and himself did the best show halls when they were really dancing in bars. The musical segment of the flashback was also a wonderful addition. Don and Cosmo are shown giving a fabulous dance routine but unfortunately the fans didn't feel it was all that great. The cinematography in this classic was another plus although it there was not too much of it. In some movies it seems that the camera movements don't flow through the film while this one did. Throughout the flashback there were basically only long and medium shots. For instance, during the second segment of the flashback where Don and Cosmo sneak into the theater, there is some significant camera work. The shot begins with a medium shot of the billboard that is advertising the horror movie and then zooms out to welcome the entrance of the boys. Then the camera slowly pans to the right to show the kids duck under the ticket clerk's window and then into the theater. There is little to the cinematography in the third segment as well. The camera starts out with a long shot on the left side of the screen and then pans over to the right to see an older Don and Cosmo playing their instruments. The most significant part of the cinematography in this scene is that in only the scene before, Don and Cosmo were a good ten to fifteen years younger. The way the camera moves added somewhat of a surprise and welcomed the fact that the two boys had finally grown up. In the fourth scene the camera does not move at all the camera being stationary would lead one to believe that the view is of an audience member. The fifth scene has the camera staying focused on the center of the screen as a superimposed Don and Cosmo dance in front of a constantly changing background. After the background has dissolved into its final setting the camera stays in a long focus constantly. The camera now follows Cosmo and Don as they do their dance scene. The camera pans left and right to follow their every movement and to keep them centered in the middle of the screen. Editing has an enormous effect on this classic musical. The flashback scene consists mostly of cuts and dissolves. There must not have been much film on the cutting room floor because many scenes look as if they were shot in one take. The majority of editing is done with dissolving one picture into another. Too much cutting can ruin a film but there was so little in this segment that it makes the movie flow a lot better. if the flashback scene had used cuts instead of the method of dissolve, this scene could not have been as effective as it was. The first scene starts the flashback. There is a dissolve of a close-up of Gene Kelly's face in front of the theater and into a memory of his youth at a pool hall. There is a moment of action where Don and Cosmo get escorted out and then the scene dissolves into scene two (the kids trying to sneak into the theater). The previous scene dissolves into a poster that is advertising a horror movie. We see the two boys sneak into the theater and the camera again dissolves, this time back to Gene Kelly. There is a close-up of him speaking and then another dissolve into the bar scene. The camera pans over to see Don playing a violin and Cosmo playing the piano. They play for a short time and then the camera dissolves into a sign that says "Amateur Night." This is the beginning of the fourth scene. The picture is now cut and the next shot is of Don and Cosmo dancing and performing one of their routines as clowns. After a brief time of viewing this the camera dissolves into a superimposed Cosmo and Don dancing in front of a changing background. The changing background is a series of shots of different cities. Each shot is separated by a cut. Finally the camera dissolves into the original background that the superimposed duo were taken from. They proceed to dance for a couple of minutes and when they are finished there is no reaction. There is a cut and we see a point-of-view shot in terms of Don and Cosmo to see that the audience is booing. This is the last scene before they actually get to Hollywood. Singin' in the Rain is the musical that all other musicals should be judged by. It tells a story that only others had dreamed of telling. Donald O'Connor, Debbie Reynolds and the great Gene Kelly help give one of the greatest performances of all times in a musical. With the help of superb editing, sound, mise en scene, and cinematography, this film cannot be topped. The fist scene of the movie creates an atmosphere that helps the viewer know that he/she will enjoy this wonderful classic. Throughout the movie there are surprises and fun that makes this a movie that people will want to watch again and again. Gene Kelly said it best when he said, "Dignity, always dignity." That is what this movie has from beginning to end, dignity. The best thing we could possibly do is forget about our worries and just start Singin' in the Rain. Courtesy of Chew (1995) U. of Maryland

958.          Sir Baldric and thhe Evil Threshmit

Sir. Baldric and The Evil

Threshmit

It was a frigid night at Rockland Palace. The wind

blew hard, and howled out of the night, as the rain beat

down on Sir. Morgan as he stood outside the castle walls.

He had just returned with the news from King Crenshaw.

Suddenly from the dark of the night came Threshmite, the

great enemy of man. The description of the beast given by

the churl , who stood  witness            to Sir Morgan's

dismemberment, was that of a giant, man eating firs

snorting, three headed savage warthog gargoyle. As the

lightening flashed, and the thunder clapped, the it reared it's

center head up, and gave a fell  glare into the eyes of the

helpless peasant, who was frozen in a horrified Position.

It took nearly five hours, and the help of the resident

magician to get that out of him. He is as skittish as a hind ,

afraid to venture out of the castle walls, or even let down the

drawbridge, for fear of becoming Threashmis' next meal.

King Lenson grieved deeply over his departed friend. He

then asked for volunteers to hunt down the scatheful beast.

The reaction to his request was pathetic, not a man stood. It

seemed as though King Lenson's valiant knights were

nothing more than a flock of recreants. At last Sir. Baldric

stepped forward, he had risen to the occasion, proving true

to his troth. He was truly a stalwart  knight.

Early the next morning Baldric awakened, in

preparation for his endeavor. He dressed himself with care,

methodically arranging his raiment. As he pulled his

hauberk over his head, and sweeping shoulders the lady of

the castle mad her way gently into the room. She helped

him finish dressing, and when he went to leave the room

she made a tryst  between herself and Sir Baldric. They

would meet in the church before he left. She softly kissed his

cheek, and departed. He went to the arms room, and took

down his sword from it's place on the wall. It shone bright

in the morning bask. It was whet after every use and now

ready for action. He saddled his horse, and went to go meet

with lady Lenson in the church. He found her in the last

pew, dolorous and weeping. She begged him not to go, so

he pledged his mission in her honor. He was bound by

heart, and soul to seek and destroy Threshmiter. The king

sent him out on his way, and told Sir Baldric he would

return victorious. So he rode across the grassy knolls  into

the black forest.

He crossed the deep crags of Keystone, and the red

river of evil. Through the valley of death, and beyond. All

the way braving the wolves, trolls, bears, and all of the

other savage creatures across the countryside. Alas in mid

January he came across some fewments, (Droppings of the

beast pursued), and knew he was near Treshmit. He began

to set up camp, and while doing this he began to think

about home. He thought how he missed his warm feather

bed, the merry evensongs he sang around the fire with his

friends, and most of all he missed Lady Lenson. He was

tired of stetting up camp every night in a new place,

building the palisade, and waking with the sun covered

with hoarfrost. He was nearing the end of his journey, an

would be home soon, but for now he must rest.

He slept lightly, and awoke early, broke down camp,

and headed out. He came across a great cave, and upon

hearing the snorting, and smacking he knew it was in the

middle of a meal. Sir. Baldric sunk up from behind the

monster, and out on a slight overhang above Threshmit. He

gathered his thoughts, grasped the helve of his sword, and

came down in the center of the beast's neck, severing it's

spinal column. He then took the haft  of his dagger and

ripped open the leathery skin of the beast's throat, sending a

bath of blood through the cave. He had fell  Threshmit, and

completed his mission, never sundering from the task at

hand. Baldric took out the beast's heart as proof of his

success, and headed for home.

His journey home took nearly three weeks, but upon

his arrival at Rockland he was greeted warmly by all. They

all gave boon  to him, and there was a gathering of the

citizens of Rockland in Sir. Baldric's honor. The King, and

his knights were seated on the dais, Baldric in the seat of

honor. He was declared by the King as the noblest knight of

the court, and given a red silk girdle  as a symbol of his

courage. He thanked them all, and while the men made

merry, and drank, he slipped away with Lady Lenson into

his feather bed.

959.          Six Hours of Television Essay

Six Hours of Television

In looking at modern television programming there are hundreds of shows

to choose from.  Picking six hours of television to analyze from the prospective

of an anthropologist is by no means easy.  It is easy however, to talk about

what our nation looks like to others who have never been here.  Everyone is

gorgeous, lives happily, and overcomes all problems, but more on that later.

Four hours of the programming I chose is perhaps the most popular programming

this year, consistently topping the Nielsen ratings.  For the remaining two

hours of programming I decided to look at two police drama shows, one that was

brand new this season and one not brand new, but still going strong.

For the two hours of police dramas, I looked at programs with different

angles.  NYPD BLUE is the story of police detectives, and HIGH INCIDENT was a

new show that looked at the view of policing from the Œbeat.'  HIGH INCIDENT

represented one of the first t.v. shows to come from the SKG works of Steven

Spielberg.  However, just like Spielberg's previous AMAZING STORIES, HIGH

INCIDENT has already ceased to air.  This could still change though, with the

next season.  Of the remaining four hours, three are on television every

Thursday night, and include the tremendously popular FRIENDS, the SINGLE GUY,

the hits SEINFELD and CAROLINE IN THE CITY, and the most popular show this year,

ER.  For the remaining hour I choose to look at THE TONIGHT SHOW, with Jay Leno.

Between these shows there are many similarities and many differences.  All of

these shows can be directly compared with each other, having some of the same

qualities.  Looking at these shows in the perspective of an anthropologist some

disquieting trends emerge.  I will present the information as if an outsider,

from another nation, were watching American shows, and believed what he/she was

seeing to be true of what goes on in America.

Perhaps more realistic than the other shows, NYPD BLUE, and HIGH INCIDENT

represent the closest what life is really like.  To a foreigner seeing these

shows, they would probably believe that America is a blood bath of crime and ill

will towards other people.  While this isn't true the whole nation over, there

are many cities like those portrayed in these two shows.  Like the other shows I

will discuss, these two have casts made up of predominately Caucasian males and

females.  Other nationalities, such as Asian, Afro-American, and Latino are

sprinkled in just enough to make sure the shows are politically correct.  To an

outsider this would show that white males dominate society and life in America.

While this is certainly true in some respects, it is unfair to portray it as

such on television.  Television influences the minds of too many people to show

one class or people dominating over another, even when it isn't obvious to

everyone.

NBC's Thursday night line up begins with the block-buster show FRIENDS, and

ends with the number one show, ER.  In between are sandwiched more shows that

have been hits.  Every Thursday begins with two hours of comedy.  First on the

list is FRIENDS.  To an outsider FRIENDS shows the perfect male dominates female

role of our society.  The girls are ditsy, the blond especially so.  Of the

three guy friends, only one seems to not have all his brains.  Two of the three

guys have steady, secure jobs.  For the girls it's three steady, but perhaps

unsecure jobs, and poor paying.  The character Rachel works at a coffee shop and

Phoebe drives a cab, not exactly something to build careers on.  The guys make

more money, even the character Joey, who's job as an actor isn't steady.  Of

course each girl is drop-dead gorgeous.  To those watching in other countries,

America is chalk full of pretty women waiting for a man to come sweep them off

their feet.  The next show, SINGLE GUY, has a slightly different message.

America is also full of very happy married couples.  The Single Guy himself is

on a mission of marriage.  That's what the entire show is based on.  So far an

outsider comes to America, is gorgeous if you're a woman, and a hunk if you're a

guy, has lots of friends, and is searching for a soul mate.  Not quite America,

but if you're watching t.v. it is.  Moving on there is SEINFELD.  The characters

in this show again have many friends.  The twist to SEINFELD is that there all a

little off the wall.  A new angle, come to America, and still have lots of

friends if you're not completely sane.  Again the show is composed mostly of

Caucasian males and females, with even fewer minority appearances than NYPD BLUE.

The last show of the two hour comedy stretch is CAROLINE IN THE CITY.  Here

there is a difference, but only a little.  This time the women have power over

the guys.  But, we still have a Caucasian male/female cast.  Not a total

transformation, but it's a start.

Okay, so now an outsider wants to come to America.  After watching two

hours of comedy and police drama shows he/she can make several conclusions about

what America has to offer, and what he/she will find when stepping onto American

soil.  The cities of America are boiling with violence and aggression.  There is

hope though.  It's very easy to make lots of friends, a few of whom are the off

the wall type.  After making friends one should get married and then it depends

on what gender you are.  If you're a guy you have a well paying, steady, secure

job.  If you're a woman, more than likely you work in a job that pays much less

than your husband's.  If you want to be an independent woman it's possible, but

harder to attain.  One of the above mentioned six shows has a woman in a

position higher than a man.  That still leaves the number one show to deal with,

and don't forget the late night talk show.

ER, the number one show in the nation, and probably the most diverse of

these six hours of television.  What does ER show to an outsider.  Well, for

starters the men still dominate the women.  There are more men doctor's, and

they seem to have more decision making power.  Minorities are represented here,

but for the most part they still hold lesser positions.  There only nurses and

physician's assistant's, instead of doctor's or surgeons.  There is however, the

character doctor Benton, who is a surgeon, and is Afro-American.  This program

also shows some of the violence that an outsider can count on when coming to

America.  The biggest myth that ER shows is the level of treatment an outsider

can expect to receive in any Emergency Department.  While it is true that one

can walk into any ER and receive prompt care for their health problem, about

one-third the cases represented on the show are not treated in most Emergency

Department's in the nation.  Knowing someone who works in an ER, I know this to

be true.  So now an outsider could come to America and expect to have anything

wrong with them fixed at there local ER.  Now after the seriousness of ER an

outsider would need to see the lighter side of America.  Enter Jay Leno.

The TONIGHT SHOW has been around for more than 30 years.  If any show was

to represent America this is it.  Again the same old trend emerges, America is

dominated by white males.  The other late night talk shows are hosted by David

Letterman, Tom Snyder, Conan O'Brian, and Greg Keener.  It doesn't take a nerd

to figure it out.  The difference between these guys and the actors/actresses

from the other shows, is that they have more power, and what they say impact's

people more.  David Letterman likes to say that he is the most powerful man in

broadcasting.  What applies to Jay Leno and his show applies to all the late

night shows.  An outsider watches Jay Leno, or any late night talk show, and

believes that America is an easy going place, full of good-natured, humorous

people.  Bob Dole and Bill Clinton are good only for jokes, so why listen when

they say something important?  Someone who has lived in America for most, or all

of their life understands what Bill Clinton and Bob Dole represents, and the

jokes are just for fun.  For an outsider Jay Leno is the guy to listen to, and

Bill Clinton and Bob Dole are only good for jokes.  The result is that watching

a late night show could throw an outsider into a quandary, is America full of

violence, good friends, or people who go around with little respect for

authority figures?  The debate is endless.

An anthropologist comes to America and watches six hours of t.v. and then

goes back home and makes a report.  An outsider watches six hours of t.v. before

coming here to find out what really goes on in America.  They would expect

America to be full of beautiful men and women who are either married and happy,

or looking for a mate and happy.  They have lots of friends, and some of them

are off the wall, the better to balance life.  Men dominate women, and

Caucasians dominate everyone else.  A woman who wants to be independent needs to

work hard, and even then it doesn't happen a lot.  Men have high-paying, secure

and steady jobs.  Women make less, have to usually do more of the grunt work

(waitressing, etc.), and aren't guaranteed a career.  If you have a health

problem, visit your local ER, and they'll fix it in no time, no matter how

serious that problem is.  Lastly, life wouldn't be complete without making fun

of Bob Dole or Bill Clinton, who could be brother for all any outsider knows.

Television is a powerful medium, and it needs to be used with care.  As long as

there are people who want to come to America they will watch American shows and

conclude that America really is like FRIENDS, or ER, or NYPD BLUE.  The sum of

these shows does not equal what America really is.  Added up, these six hours of

television barely scratch the surface.

960.          Six Hours of Television

Six Hours of Television

In looking at modern television programming there are hundreds of shows to choose from.  Picking six hours of television to analyze from the prospective of an anthropologist is by no means easy.  It is easy however, to talk about what our nation looks like to others who have never been here.  Everyone is gorgeous, lives happily, and overcomes all problems, but more on that later.  Four hours of the programming I chose is perhaps the most popular programming this year, consistently topping the Nielsen ratings.  For the remaining two hours of programming I decided to look at two police drama shows, one that was brand new this season and one not brand new, but still going strong.

For the two hours of police dramas, I looked at programs with different angles.  NYPD BLUE is the story of police detectives, and HIGH INCIDENT was a new show that looked at the view of policing from the Œbeat.¹  HIGH INCIDENT represented one of the first t.v. shows to come from the SKG works of Steven Spielberg.  However, just like Spielberg¹s previous AMAZING STORIES, HIGH INCIDENT has already ceased to air.  This could still change though, with the next season.  Of the remaining four hours, three are on television every Thursday night, and include the tremendously popular FRIENDS, the SINGLE GUY, the hits SEINFELD and CAROLINE IN THE CITY, and the most popular show this year, ER.  For the remaining hour I choose to look at THE TONIGHT SHOW, with Jay Leno.  Between these shows there are many similarities and many differences.  All of these shows can be directly compared with each other, having some of the same qualities.  Looking at these shows in the perspective of an anthropologist some disquieting trends emerge.  I will present the information as if an outsider, from another nation, were watching American shows, and believed what he/she was seeing to be true of what goes on in America.

Perhaps more realistic than the other shows, NYPD BLUE, and HIGH INCIDENT represent the closest what life is really like.  To a foreigner seeing these shows, they would probably believe that America is a blood bath of crime and ill will towards other people.  While this isn¹t true the whole nation over, there are many cities like those portrayed in these two shows.  Like the other shows I will discuss, these two have casts made up of predominately Caucasian males and females.  Other nationalities, such as Asian, Afro-American, and Latino are sprinkled in just enough to make sure the shows are politically correct.  To an outsider this would show that white males dominate society and life in America.  While this is certainly true in some respects, it is unfair to portray it as such on television.  Television influences the minds of too many people to show one class or people dominating over another, even when it isn¹t obvious to everyone.

NBC¹s Thursday night line up begins with the block-buster show FRIENDS, and ends with the number one show, ER.  In between are sandwiched more shows that have been hits.  Every Thursday begins with two hours of comedy.  First on the list is FRIENDS.  To an outsider FRIENDS shows the perfect male dominates female role of our society.  The girls are ditsy, the blond especially so.  Of the three guy friends, only one seems to not have all his brains.  Two of the three guys have steady, secure jobs.  For the girls it¹s three steady, but perhaps unsecure jobs, and poor paying.  The character Rachel works at a coffee shop and Phoebe drives a cab, not exactly something to build careers on.  The guys make more money, even the character Joey, who¹s job as an actor isn¹t steady.  Of course each girl is drop-dead gorgeous.  To those watching in other countries, America is chalk full of pretty women waiting for a man to come sweep them off their feet.  The next show, SINGLE GUY, has a slightly different message.  America is also full of very happy married couples.  The Single Guy himself is on a mission of marriage.  That¹s what the entire show is based on.  So far an outsider comes to America, is gorgeous if you¹re a woman, and a hunk if you¹re a guy, has lots of friends, and is searching for a soul mate.  Not quite America, but if you¹re watching t.v. it is.  Moving on there is SEINFELD.  The characters in this show again have many friends.  The twist to SEINFELD is that there all a little off the wall.  A new angle, come to America, and still have lots of friends if you¹re not completely sane.  Again the show is composed mostly of Caucasian males and females, with even fewer minority appearances than NYPD BLUE.  The last show of the two hour comedy stretch is CAROLINE IN THE CITY.  Here there is a difference, but only a little.  This time the women have power over the guys.  But, we still have a Caucasian male/female cast.  Not a total transformation, but it¹s a start.

Okay, so now an outsider wants to come to America.  After watching two hours of comedy and police drama shows he/she can make several conclusions about what America has to offer, and what he/she will find when stepping onto American soil.  The cities of America are boiling with violence and aggression.  There is hope though.  It¹s very easy to make lots of friends, a few of whom are the off the wall type.  After making friends one should get married and then it depends on what gender you are.  If you¹re a guy you have a well paying, steady, secure job.  If you¹re a woman, more than likely you work in a job that pays much less than your husband¹s.  If you want to be an independent woman it¹s possible, but harder to attain.  One of the above mentioned six shows has a woman in a position higher than a man.  That still leaves the number one show to deal with, and don¹t forget the late night talk show.

ER, the number one show in the nation, and probably the most diverse of these six hours of television.  What does ER show to an outsider.  Well, for starters the men still dominate the women.  There are more men doctor¹s, and they seem to have more decision making power.  Minorities are represented here, but for the most part they still hold lesser positions.  There only nurses and physician¹s assistant¹s, instead of doctor¹s or surgeons.  There is however, the character doctor Benton, who is a surgeon, and is Afro-American.  This program also shows some of the violence that an outsider can count on when coming to America.  The biggest myth that ER shows is the level of treatment an outsider can expect to receive in any Emergency Department.  While it is true that one can walk into any ER and receive prompt care for their health problem, about one-third the cases represented on the show are not treated in most Emergency Department¹s in the nation.  Knowing someone who works in an ER, I know this to be true.  So now an outsider could come to America and expect to have anything wrong with them fixed at there local ER.  Now after the seriousness of ER an outsider would need to see the lighter side of America.  Enter Jay Leno.

The TONIGHT SHOW has been around for more than 30 years.  If any show was to represent America this is it.  Again the same old trend emerges, America is dominated by white males.  The other late night talk shows are hosted by David Letterman, Tom Snyder, Conan O¹Brian, and Greg Keener.  It doesn¹t take a nerd to figure it out.  The difference between these guys and the actors/actresses from the other shows, is that they have more power, and what they say impact¹s people more.  David Letterman likes to say that he is the most powerful man in broadcasting.  What applies to Jay Leno and his show applies to all the late night shows.  An outsider watches Jay Leno, or any late night talk show, and believes that America is an easy going place, full of good-natured, humorous people.  Bob Dole and Bill Clinton are good only for jokes, so why listen when they say something important?  Someone who has lived in America for most, or all of their life understands what Bill Clinton and Bob Dole represents, and the jokes are just for fun.  For an outsider Jay Leno is the guy to listen to, and Bill Clinton and Bob Dole are only good for jokes.  The result is that watching a late night show could throw an outsider into a quandary, is America full of violence, good friends, or people who go around with little respect for authority figures?  The debate is endless.

An anthropologist comes to America and watches six hours of t.v. and then goes back home and makes a report.  An outsider watches six hours of t.v. before coming here to find out what really goes on in America.  They would expect America to be full of beautiful men and women who are either married and happy, or looking for a mate and happy.  They have lots of friends, and some of them are off the wall, the better to balance life.  Men dominate women, and Caucasians dominate everyone else.  A woman who wants to be independent needs to work hard, and even then it doesn¹t happen a lot.  Men have high-paying, secure and steady jobs.  Women make less, have to usually do more of the grunt work (waitressing, etc.), and aren¹t guaranteed a career.  If you have a health problem, visit your local ER, and they¹ll fix it in no time, no matter how serious that problem is.  Lastly, life wouldn¹t be complete without making fun of Bob Dole or Bill Clinton, who could be brother for all any outsider knows.  Television is a powerful medium, and it needs to be used with care.  As long as there are people who want to come to America they will watch American shows and conclude that America really is like FRIENDS, or ER, or NYPD BLUE.  The sum of these shows does not equal what America really is.  Added up, these six hours of television barely scratch the surface.

961.          Ska Music

Imagine this: spring break 1962, Jamaica.  You are strolling down the streets of Kingston, enjoying the cool sea breeze and the delightful Caribbean climate.  The streets are filled with many sounds.  Cars' horns honking, children playing, and people shuffling by.  There is one sound, however, that rises above all the hustle and bustle. Horns, guitars, organs, drums, emanating from smoke-filled clubs and bar rooms, fill you ears with a lush sound.  This is the sound of ska.

Ska is an old Jamaican form of music that blossomed when Jamaica won its independence from England in 1962. At this time, a man named Clement Dodd decided to create a uniquely Jamaican danceable sound.  Ska is a potpourri of different musical styles; and draws influence from many countries.  It takes swing, jazz, big band, soul, and rhythm and blues from the U.S., and couples it with calypso, ya-ya, and mento (a form of calypso) from the islands to create the Jamaican ska.  The sound of ska is unique to Jamaica and is the original "music of Jamaica." Its accented upbeat, bouncy rhythms, and colorful horn lines made it perfect for dancing.  Ska got its name from the sound made by the guitar as it played on the off beats.  This music served as the basis for the slower rocksteady music style which later spawned the ever-popular reggae genre.  Ska music finally made its world debut in New York at the 1964 world's fair at the Jamaican exhibition.  By this time ska was an established musical genre.  Ska later emigrated to England where the English began to develop their own style ska, which is seen in the second wave of ska.

Ska music can be divided into three waves, or periods.  Each wave has a characteristic style and sound distinguishing it from the others.  Each wave also has bands that represent them respectively. The first wave began in the 1950's and ended in or around 1968.  The first wave sound was defined by the keyboard, guitar, or horns playing on the offbeat, and the bands usually had vocals, guitars, bass, drums, piano, and a horn section.  This music was dance music; its up tempo and bouncy feel allowed people to skank (ska dance) to it easily.  It was during this wave that rocksteady and reggae were also born.  These two slower, less instrumental versions of ska were brought about by two reasons: the hot weather made it uncomfortable for people to dance to the fast tempo of the ska music, and the social and political changes going on in Jamaica made people less happy and more subdued.  The first wave of ska has many groups that made it famous.  These bands are the "founding fathers" of ska.  Bands such as the Skatalites, Prince Buster, Toots and the Maytals, Desmond Dekker, Don Drummond, and Bob Marley and the Wailers served as the basis for future ska bands.

Second wave ska flourished in England in the late 1970's and early 80's.  It yielded many popular bands like The Specials, Madness, The Selecter, and The Beat.  Second-wave ska had its roots in England and later spread to the US with the formation of the band "Her Majesty's Secret Service."  Second wave ska was characterized by its distinctly different sound and was referred to as two-tone ska.  Two-tone ska is faster, tighter and uses more horns than most first-wave Jamaican ska.  Black and white checkers are usually associated with the two-tone period.  Through the first and second waves, ska was music for the man-in-street, in other words, the working people.

Third wave ska is the ska of the late 80's and 90's.  This ska is a sort of revival of ska.  Bands of this period show influences from other music styles as well as other waves of ska.  Typical third wave bands are Bim Skala Bim, the Allstonians, and The Toasters. Other styles of third wave ska exist.  These subgenres of ska are mixes of two ore more other types of music.  Some examples are ska-core (ska-hardcore, The Mighty, Mighty Bosstones), salska (latin-ska mix), and skakacore (ska, rap, hardcore mix) as well as others.  There are some third wave bands, however, that choose to keep a more traditional sound.  Bands such as Hepcat, Engine 54, Stubborn All Stars, and Cucumber Now.  These bands sound much like bands of the first wave, but with a slightly "fresher" sound and feel.

We can trace ska from its roots in Jamaica, then to England, and then to the US.  Today, the center of ska in the US is probably New York City.  New York ska is known. all throughout the country.  New York is where many major record labels are based, Moon Records (owned by the famed Toasters), for example, has dozens of bands on its label. In addition, New York is where most of the ska style can be seen.  Stores like 99X sell clothes typically worn by rudies (people who follow ska). Ska music has its own lingo and jargon Rude is the 1962 Jamaican version of the word cool, scooters and bowling are also often associated with ska.  Rude boys/girls were troublemakers who dressed to impress (gangster-like [show picture]). There is much more to be said for ska, as far as the many small details that explain every aspect of the music, as well as the culture.  As a generalization; ska is not just a word describing a type of music, as you may have thought, if you even knew what ska was in the first place; in essence, it is a lifestyle.  Ska has its own little niche in society. It has many aspects to it that are more than just the music itself.

Clearly, ska is alive and well in modern society.  Hopefully, ska will keep growing and sewing its rude seed throughout the music world.  Possibly, the forever asked question, "Ska?  What's ska?" will be stricken from the record.  Moreover, more and more people will actually know what that short, choppy, awkward sounding word, SKA, really means.

962.          SKA!

Imagine this: spring break 1962, Jamaica.  You are strolling down the streets of Kingston, enjoying the cool sea breeze and the delightful Caribbean climate.  The streets are filled with many sounds.  Cars' horns honking, children playing, and people shuffling by.  There is one sound, however, that rises above all the hustle and bustle. Horns, guitars, organs, drums, emanating from smoke-filled clubs and bar rooms, fill you ears with a lush sound.  This is the sound of ska.

Ska is an old Jamaican form of music that blossomed when Jamaica won its independence from England in 1962. At this time, a man named Clement Dodd decided to create a uniquely Jamaican danceable sound.  Ska is a potpourri of different musical styles; and draws influence from many countries.  It takes swing, jazz, big band, soul, and rhythm and blues from the U.S., and couples it with calypso, ya-ya, and mento (a form of calypso) from the islands to create the Jamaican ska.  The sound of ska is unique to Jamaica and is the original "music of Jamaica." Its accented upbeat, bouncy rhythms, and colorful horn lines made it perfect for dancing.  Ska got its name from the sound made by the guitar as it played on the off beats.  This music served as the basis for the slower rocksteady music style which later spawned the ever-popular reggae genre.  Ska music finally made its world debut in New York at the 1964 world's fair at the Jamaican exhibition.  By this time ska was an established musical genre.  Ska later emigrated to England where the English began to develop their own style ska, which is seen in the second wave of ska.

Ska music can be divided into three waves, or periods.  Each wave has a characteristic style and sound distinguishing it from the others.  Each wave also has bands that represent them respectively. The first wave began in the 1950's and ended in or around 1968.  The first wave sound was defined by the keyboard, guitar, or horns playing on the offbeat, and the bands usually had vocals, guitars, bass, drums, piano, and a horn section.  This music was dance music; its up tempo and bouncy feel allowed people to skank (ska dance) to it easily.  It was during this wave that rocksteady and reggae were also born.  These two slower, less instrumental versions of ska were brought about by two reasons: the hot weather made it uncomfortable for people to dance to the fast tempo of the ska music, and the social and political changes going on in Jamaica made people less happy and more subdued.  The first wave of ska has many groups that made it famous.  These bands are the "founding fathers" of ska.  Bands such as the Skatalites, Prince Buster, Toots and the Maytals, Desmond Dekker, Don Drummond, and Bob Marley and the Wailers served as the basis for future ska bands.

Second wave ska flourished in England in the late 1970's and early 80's.  It yielded many popular bands like The Specials, Madness, The Selecter, and The Beat.  Second-wave ska had its roots in England and later spread to the US with the formation of the band "Her Majesty's Secret Service."  Second wave ska was characterized by its distinctly different sound and was referred to as two-tone ska.  Two-tone ska is faster, tighter and uses more horns than most first-wave Jamaican ska.  Black and white checkers are usually associated with the two-tone period.  Through the first and second waves, ska was music for the man-in-street, in other words, the working people.

Third wave ska is the ska of the late 80's and 90's.  This ska is a sort of revival of ska.  Bands of this period show influences from other music styles as well as other waves of ska.  Typical third wave bands are Bim Skala Bim, the Allstonians, and The Toasters. Other styles of third wave ska exist.  These subgenres of ska are mixes of two ore more other types of music.  Some examples are ska-core (ska-hardcore, The Mighty, Mighty Bosstones), salska (latin-ska mix), and skakacore (ska, rap, hardcore mix) as well as others.  There are some third wave bands, however, that choose to keep a more traditional sound.  Bands such as Hepcat, Engine 54, Stubborn All Stars, and Cucumber Now.  These bands sound much like bands of the first wave, but with a slightly "fresher" sound and feel.

We can trace ska from its roots in Jamaica, then to England, and then to the US.  Today, the center of ska in the US is probably New York City.  New York ska is known. all throughout the country.  New York is where many major record labels are based, Moon Records (owned by the famed Toasters), for example, has dozens of bands on its label. In addition, New York is where most of the ska style can be seen.  Stores like 99X sell clothes typically worn by rudies (people who follow ska). Ska music has its own lingo and jargon Rude is the 1962 Jamaican version of the word cool, scooters and bowling are also often associated with ska.  Rude boys/girls were troublemakers who dressed to impress (gangster-like [show picture]). There is much more to be said for ska, as far as the many small details that explain every aspect of the music, as well as the culture.  As a generalization; ska is not just a word describing a type of music, as you may have thought, if you even knew what ska was in the first place; in essence, it is a lifestyle.  Ska has its own little niche in society. It has many aspects to it that are more than just the music itself.

Clearly, ska is alive and well in modern society.  Hopefully, ska will keep growing and sewing its rude seed throughout the music world.  Possibly, the forever asked question, "Ska?  What's ska?" will be stricken from the record.  Moreover, more and more people will actually know what that short, choppy, awkward sounding word, SKA, really means.

963.          SKA

SKA!

Imagine this: spring break 1962, Jamaica.  You are strolling down the streets of

Kingston, enjoying the cool sea breeze and the delightful Caribbean climate.

The streets are filled with many sounds.  Cars' horns honking, children playing,

and people shuffling by.  There is one sound, however, that rises above all the

hustle and bustle. Horns, guitars, organs, drums, emanating from smoke-filled

clubs and bar rooms, fill you ears with a lush sound.  This is the sound of ska.

Ska is an old Jamaican form of music that blossomed when Jamaica won its

independence from England in 1962. At this time, a man named Clement Dodd

decided to create a uniquely Jamaican danceable sound.  Ska is a potpourri of

different musical styles; and draws influence from many countries.  It takes

swing, jazz, big band, soul, and rhythm and blues from the U.S., and couples it

with calypso, ya-ya, and mento (a form of calypso) from the islands to create

the Jamaican ska.  The sound of ska is unique to Jamaica and is the original

"music of Jamaica." Its accented upbeat, bouncy rhythms, and colorful horn lines

made it perfect for dancing.  Ska got its name from the sound made by the guitar

as it played on the off beats.  This music served as the basis for the slower

rocksteady music style which later spawned the ever-popular reggae genre.  Ska

music finally made its world debut in New York at the 1964 world's fair at the

Jamaican exhibition.  By this time ska was an established musical genre.  Ska

later emigrated to England where the English began to develop their own style

ska, which is seen in the second wave of ska.

Ska music can be divided into three waves, or periods.  Each wave has a

characteristic style and sound distinguishing it from the others.  Each wave

also has bands that represent them respectively. The first wave began in the

1950's and ended in or around 1968.  The first wave sound was defined by the

keyboard, guitar, or horns playing on the offbeat, and the bands usually had

vocals, guitars, bass, drums, piano, and a horn section.  This music was dance

music; its up tempo and bouncy feel allowed people to skank (ska dance) to it

easily.  It was during this wave that rocksteady and reggae were also born.

These two slower, less instrumental versions of ska were brought about by two

reasons: the hot weather made it uncomfortable for people to dance to the fast

tempo of the ska music, and the social and political changes going on in Jamaica

made people less happy and more subdued.  The first wave of ska has many groups

that made it famous.  These bands are the "founding fathers" of ska.  Bands such

as the Skatalites, Prince Buster, Toots and the Maytals, Desmond Dekker, Don

Drummond, and Bob Marley and the Wailers served as the basis for future ska

bands.

Second wave ska flourished in England in the late 1970's and early 80's.  It

yielded many popular bands like The Specials, Madness, The Selecter, and The

Beat.  Second-wave ska had its roots in England and later spread to the US with

the formation of the band "Her Majesty's Secret Service."  Second wave ska was

characterized by its distinctly different sound and was referred to as two-tone

ska.  Two-tone ska is faster, tighter and uses more horns than most first-wave

Jamaican ska.  Black and white checkers are usually associated with the two-tone

period.  Through the first and second waves, ska was music for the man-in-street,

in other words, the working people.

Third wave ska is the ska of the late 80's and 90's.  This ska is a sort of

revival of ska.  Bands of this period show influences from other music styles as

well as other waves of ska.  Typical third wave bands are Bim Skala Bim, the

Allstonians, and The Toasters. Other styles of third wave ska exist.  These

subgenres of ska are mixes of two ore more other types of music.  Some examples

are ska-core (ska-hardcore, The Mighty, Mighty Bosstones), salska (latin-ska

mix), and skakacore (ska, rap, hardcore mix) as well as others.  There are some

third wave bands, however, that choose to keep a more traditional sound.  Bands

such as Hepcat, Engine 54, Stubborn All Stars, and Cucumber Now.  These bands

sound much like bands of the first wave, but with a slightly "fresher" sound and

feel.

We can trace ska from its roots in Jamaica, then to England, and then to the US.

Today, the center of ska in the US is probably New York City.  New York ska is

known. all throughout the country.  New York is where many major record labels

are based, Moon Records (owned by the famed Toasters), for example, has dozens

of bands on its label. In addition, New York is where most of the ska style can

be seen.  Stores like 99X sell clothes typically worn by rudies (people who

follow ska). Ska music has its own lingo and jargon Rude is the 1962 Jamaican

version of the word cool, scooters and bowling are also often associated with

ska.  Rude boys/girls were troublemakers who dressed to impress (gangster-like

[show picture]). There is much more to be said for ska, as far as the many small

details that explain every aspect of the music, as well as the culture.  As a

generalization; ska is not just a word describing a type of music, as you may

have thought, if you even knew what ska was in the first place; in essence, it

is a lifestyle.  Ska has its own little niche in society. It has many aspects to

it that are more than just the music itself.

Clearly, ska is alive and well in modern society.  Hopefully, ska will keep

growing and sewing its rude seed throughout the music world.  Possibly, the

forever asked question, "Ska?  What's ska?" will be stricken from the record.

Moreover, more and more people will actually know what that short, choppy,

awkward sounding word, SKA, really means.

964.          Sleepless in Seattle Essay

Sleepless in Seattle

It is difficult to say at times, what exactly makes a movie great. I

have found that the good movies are felt as you are leaving the theater. The

audience should be able to feel and belive, to some degree. When exiting a movie,

I hope that I feel this way. Today, paying large sums of money for each visit to

the theater is tough to keep up. The audience expects an extra special

performance each and every visit. I want to feel good as I leave. This satisfies

my willingness to put out a large expence for  this type of entertainment.

When I left "Sleepless in Seattle", I was in heaven. I had the feeling I

wanted. They movie brought me that "believer" feeling. I feel that the purpose

of this movie was to show the audience that fate is alive and well. I was shown

that there is someone out there for each and every one of us. I went to the

movies with family. This was important. I saw that I had nobody to lean on-but

family. This upset me. The movie showed me that it is not necessary to get

discouraged. Tom Hanks was meant for Meg Ryan. The proved fate. This alone made

me a believer.

I also think that Meg Ryan is adorable. I hope my fate leads to another

Meg Ryan. I don't think there can be two. I am forced to hope so. The movie

helps me to convince myself. When I convince myself, fate sets itself up. I now

feel that fate is working hard. I hope it is not just hardly working.

I hope to dicover fate soon. Thanks for a great movie-"Sleepless in

Seattle".

965.          Sleepless in Seattle

It is difficult to say at times, what exactly makes a movie great. I have found that the good movies are felt as you are leaving the theater. The audience should be able to feel and belive, to some degree. When exiting a movie, I hope that I feel this way. Today, paying large sums of money for each visit to the theater is tough to keep up. The audience expects an extra special performance each and every visit. I want to feel good as I leave. This satisfies my willingness to put out a large expence for  this type of entertainment.

When I left "Sleepless in Seattle", I was in heaven. I had the feeling I wanted. They movie brought me that "believer" feeling. I feel that the purpose of this movie was to show the audience that fate is alive and well. I was shown that there is someone out there for each and every one of us. I went to the movies with family. This was important. I saw that I had nobody to lean on-but family. This upset me. The movie showed me that it is not necessary to get discouraged. Tom Hanks was meant for Meg Ryan. The proved fate. This alone made me a believer.

I also think that Meg Ryan is adorable. I hope my fate leads to another Meg Ryan. I don't think there can be two. I am forced to hope so. The movie helps me to convince myself. When I convince myself, fate sets itself up. I now feel that fate is working hard. I hope it is not just hardly working.

I hope to dicover fate soon. Thanks for a great movie-"Sleepless in Seattle".

966.          Slingblade

Slingblade

In reviewing the movie "Slingblade" many moral issues arose. "Slingblade" revolves totally around Karl, a retarded man who has spent almost all of his life in a psychiatric hospital. Upon the day of his release, Karl told his horrific story to a student newspaper reporter. While discussing his story, the viewers find that Karl was treated almost like an animal by his parents, picked on by almost everyone in town, including his father's boss's son. At the age of 11, Karl saw his father's boss's son having his way with his mother and assumes the worst. He then proceeds to attack the man with a Slingblade and kills him. When Karl learned his mother was enjoying the event, he kills her to.

About 25 years later, the psychiatric hospital feels Karl is cured and they release him into the world on his own. When the student newspaper reporter asked Karl if he would kill again, Karl stated, "I reckon I got no reason to kill nobody."

While Karl was staying in the hospital he discovers his own faith. It took Karl four years to read the bible but then goes on state, "it wasn't what I expected in some places."

After his release from the hospital the hospital director gets Karl a job fixing small machinery (lawn mowers) for his friend from his church. Karl was like a genius working on these machines.

I feel one of "Slingblades" main themes is the tragedy of lost childhood which Karl explores through his friendship with Frank. Later on, Frank's mother allows Karl to live in her garage and gives Karl a place at her table. However, Frank's mother has an abusive boyfriend Doyle, who makes Karl continually relive his past pain through the violent treatment Doyle expresses to Frank and his mother.

John Ritter plays a homosexual male in the movie who is like a father figure to Frank and a best friend to Frank's mother. He expresses several times in the movie to Karl how scared he is of Doyle and how he thinks that one-day Doyle will hurt them.

In the movie, Karl puts on the front to be a Christian like figure. His only possessions are a Bible and a few other books on Christmas and Carpentry. In the final scenes of the movie, Karl calls out to three of the main characters before he goes to confront Doyle.

Billy Bob Thorton uses the inversion of Peter's betrayal of Jesus to create a moral ambivalence over Karl's actions. "Slingblade" has no secret ever leading to his final confrontation, which I believe is a strange mix of Christ-like self-sacrifice and Old Testament Law.

In the movie "Slingblade" Karl expresses types of repulsion that show inner fear of brokeness and fragility. I believe the main theme of this movie was the tragedy of a lost childhood. The moral issues of the movie question the concepts of what we believe in to be right and wrong, sin and benevolence. In Karl's position did he even know what was right and what was wrong? From a social standpoint can we blame society allowing a child to live in an abusive home, not providing proper training for handicap individuals? Should his town have had obligations to him and his well being that they just turned there back on?

I also feel that Karl believed in his childlike way that what he did was morally the correct thing to do and the best way to handle the situation. Karl loved that little boy and wanted to protect him from danger the best way he know how and obviously the twenty-five years the state should have been treating Karl it was ineffective because Karl could not grasp the concept that killing someone is morally wrong. Society fell far short for preparing this man for any type of existence out the institution.

As for the movie going public, I feel that a better-written film, which leans more to the darker side of Karl, would have left the public feeling better about movie. The movie leaves you questioning good and evil. Asking yourself was Karl aware of what he has done. The movie had to many unanswered questions and the movie going public would be questionable because of the film. In a small town, how does not one person respond to Karl's actions? I felt the film was not too believable and had more fiction than fact. The movie public would be more involved when serious wrongs were being committed and being ignored under any religion that all people are good.

967.          Societies Scapegoat Essay

Societies Scapegoat

Youth crimes are on a continual rise. It seems that everyday violent

offenders keep getting younger and more aggressive.  We turn on the news only to

hear that a ten year old mugged,shot,stabbed,beat or blew up one of his peers.

With crimes on the rise involving children, people begin to look for a cause.

Society, when looking for a scapegoat, becomes worse than a blood thirsty lynch

mob at a witch trial. Usually the most obvious source of violence within a home

is the television. However, in most cases it is not the true cause.  With the TV

in the forefront of virtually every home in the civilized world, it's no wonder

that it's the easiest target for criticism. It's elementary to blame the tube

for a child's behavior; it's a quick and easily identified source of violence

within a youths confined world.  The TV many times is identified as the cause of

aggressive acts to avoid dealing with other underlying issues.  Society today

has an entire array of different afflictions that plague us from day to day.

The television is of very little significance alongside the landfill of troubles

that influence children today.  Besides, trying to get networks to cut out

violence and aggression entirely would be like trying to get Jesus Christ to

write a top ten list of reasons why Christianity sucks. (It's not going to

happen.)

TV is not the reason that our youth courts are filled to capacity with

court dockets so hideous you would swear that you were looking at the start of

the apocalypse.  Television programs are not the reason for the apparent

increase in adolescent crime.  If you find yourself picking up your kids from

the police station all the time, it's not the TV's fault!!! There are no

significant consequences for youth crime in our justice system. Maybe we should

impose stiffer penalties on violent offenders, instead of more censorship on TV.

Kids would not have such a tendency to mug, beat, strangle or shoot their peers

if there were tougher consequences for doing so.

The Japanese are responsible for some of the most violent cartoons ever

created to date. I mean these things make our R rated movies look like a walk in

the park.  Japanese cartoons display bloodshed and drug induced murdering sprees

as if they were nothing. Even with all this vicious behavior on Japanese

televisions, the youth crime and aggressive behavior is one tenth of ours.  How

can this be?  Because the Japanese have adopted a  zero tolerance policy for

criminal behavior and reprimand criminals with a vengeance.  Japanese society

realized that blaming things like TV for violent behavior is unacceptable.

Instead, the Japanese have taught their public that aggression in reality and on

TV do not go hand in hand. (Or as I would say, "it's not the TV's fault!!!")

A healthy amount of violence within children's programs in my mind is

perfectly acceptable and necessary.  Violence in moderation teaches children

about situations that may be encountered outside of their home, and helps them

to deal with such incidents.  Kids are aggressive in nature, and a child who

grows up on Barney, the Purple Dinosaur, and Mary Poppins is likely to have a

difficult time dealing with other kids.  Face it, children need a certain amount

of bellicosity to balance out all the bubbly behavior that some of these idiotic

child role models portray: like Barney, who should be committed to an asylum.

(I know if I was forced to watch Barney at an early age I probably would have

blown up the house.) You may ask, "why do children need a balance of violence

and aggression at all, why don't we just program happy shows all the time?"

Because human kind has always been an aggressive species and probably will

continue to be. By not preparing your children for acts of rabidity you are

preparing them to be future victims.  And if your child is beat up at school,

it's not the TV's  fault!!! (Maybe it's time to let little Jack or Jill watch

the Power Rangers, or a Rocky episode or two.)

I do, however, agree with one of the points people are trying to

make against children viewing violence.  A five year old child should not be

witnessing Freddy hack off human extremities with chain saws and axes.  This is

where the parents should be stepping in to filter out what their little bambino

is taking in.  Certain programs are oriented to different age groups and viewing

should be controlled, not removed through censorship.  Parents want strict

censorship because they don't think it's possible for them to control what their

children watch.  After all there are TV's at friends houses and probably at

least two within your own.  So what's the point?  Even if you forbid your child

to view certain material they can watch it somewhere else.  The point is, once

you have told the child not to watch something it becomes taboo or wrong to

watch it in their minds.  Sure it will probably prompt him/her into viewing it

some time or another; but now watching the program is, "wrong" and they know it.

As a result little Jr. will be less likely to chase his sister around the house

with an axe and blame it on Freddy Crouger.  After all, blaming Freddy would get

him busted for watching Mr. Crouger in the first place.  And if your child does

turn into Freddy later in life, it's not the TV's fault!!!  (It's probably

because of all the times they fell on their heads.)

It's ridiculous that cartoons like the Road Runner were taken off the

tube in certain parts of north America, because of their vile illustrations.

This is preposterous. Wily Coyote illustrated to children that dropping anvils

off cliffs, using explosives, guns, and running things over with trucks didn't

help him catch that annoying Road Runner.  As a matter of fact Wily Coyote

showed kids that his aggressive manner never paid off.  Everything Wily Coyote

tried literally backfired in his face.  And in Bugs Bunny, I don't believe Elmer

Fudd ever managed to blow away, "that waskily wabbit".  But I guarantee that

some parent with an over active imagination saw the Bugs Bunny show as a

promotion for their kids to join the N.R.A..  Or how about Bambi, another

violent film. Bambi's mother is shot by a gun toting maniac, and is forced to

live with his dysfunctional father. (Let me guess, this is a subliminal message

to shoot wildlife or your mother)  Films like this in my mind can act as a

buffer for the detection of warped children.  If your offspring expresses any

interest in wanting to be Wily Coyote, Elmer Fudd or the hunter that killed

Bambie's mother, you should have him\her committed to a mental hospital.  If

your child does however pick up a gun and proceeds to blast the family rabbit or

kill a deer in the backyard, it's not the TV's fault!!!  Fault lays in your lap

again for not keeping your firearm locked up.

Guns in children's programming is a big issue today.  Society is so

upset over the surge of gun related incidents among our youth.  Once again some

individuals blame it on the TV for instigating these ideas within a child's mind.

This is not true.  Maybe one in every million kids that watch violence on the

television will actually use a gun because of the program.  In these isolated

incidents people would probably find that the child had easy access to a firearm

and no education as to what could happen if misused.  Children that do pick up

guns and massacre family members usually do so with complete ignorance of the

consequences.  And of course when confronted the youngster will probably say he

saw someone on TV do the same thing.  In fact the correct response should have

been: My parents were idiots for leaving a shiny and loaded Smith and Wesson

hand gun on the coffee table for me to play with.  In these incidents firearm

education and proper storage is the real underlying issue.  Because it's not the

TV's fault people can be so stupid.

In certain cases there have been instances where children have re-

enacted scenes from programs they have seen, and been badly injured.  Without

sounding sadistic, I believe in these few isolated incidents it probably worked

out best for the child.  Having a bad incident occur at an early age opens up

parents eyes to whatever field they have neglected to teach the child about; at

the same time it also gives the youth an eye opening experience to their own

stupidity. After all children learn best from trial and error, and it's better

for them to figure out what not to do early in life.  And if Jr. jumps off the

roof of the family home to be like a super hero, it's not the TV's fault!!!

(Your kid probably has less common sense than a lemming.)

Violence on TV is both unavoidable and necessary for children to learn

about their ever changing hostile world.  The only question to be asked is,

"when is a child mature enough to watch certain programs?"  A change in

children's programming is not likely to occur any time soon. It's up to the

parents to regulate and censor what they deem appropriate. Through better

education of violence, children will be better equipped to realize what is

intended for entertainment and what actions are not acceptable in day to day

life.  Censorship is not the answer.  It's way too easy to blame TV for dirty

deeds that may have been caused by other unseen sources.  What it all comes down

to is, if  your little Jack or Jill wants to be Wily Coyote or Elmer Fudd,

chances are they have a real problem that has to be addressed because, IT'S NOT

THE TV'S FAULT YOUR CHILD IS DERANGED!!!

968.          Societies Scapegoat

80

SOCIETIES SCAPEGOAT

Youth crimes are on a continual rise. It seems

that everyday violent offenders keep getting younger

and more aggressive.  We turn on the news only to hear

that a ten year old mugged,shot,stabbed,beat or blew

up one of his peers.  With crimes on the rise

involving children, people begin to look for a cause.

Society, when looking for a scapegoat, becomes worse

than a blood thirsty lynch mob at a witch trial.

Usually the most obvious source of violence within a

home is the television. However, in most cases it is

not the true cause.  With the TV  in the forefront of

virtually every home in the civilized world, it's no

wonder that it's the easiest target for criticism.

It's elementary to blame the tube for a child's

behavior; it's a quick and easily identified source of

violence within a youths confined world.  The TV many

times is identified as the cause of aggressive acts to

avoid dealing with other underlying issues.  Society

today has an entire array of different afflictions

that plague us from day to day.  The television is of

very little significance alongside the landfill of

troubles that influence children today.  Besides,

trying to get networks to cut out violence and

aggression entirely would be like trying to get Jesus

Christ to write a top ten list of reasons why

Christianity sucks. (It's not going to happen.)

TV is not the reason that our youth courts are

filled to capacity with court dockets so hideous you

would swear that you were looking at the start of the

apocalypse.  Television programs are not the reason

for the apparent increase in adolescent crime.  If you

find yourself picking up your kids from the police

station all the time, it's not the TV's fault!!!

There are no significant consequences for youth crime

in our justice system. Maybe we should impose stiffer

penalties on violent offenders, instead of more

censorship on TV.  Kids would not have such a tendency

to mug, beat, strangle or shoot their peers if there

were tougher consequences for doing so.

The Japanese are responsible for some of the most

violent cartoons ever created to date. I mean these

things make our R rated movies look like a walk in the

park.  Japanese cartoons display bloodshed and drug

induced murdering sprees as if they were nothing.

Even with all this vicious behavior on Japanese

televisions, the youth crime and aggressive behavior

is one tenth of ours.  How can this be?  Because the

Japanese have adopted a  zero tolerance policy for

criminal behavior and reprimand criminals with a

vengeance.  Japanese society realized that blaming

things like TV for violent behavior is unacceptable.

Instead, the Japanese have taught their public that

aggression in reality and on TV do not go hand in

hand. (Or as I would say, "it's not the TV's

fault!!!")

A healthy amount of violence within children's

programs in my mind is perfectly acceptable and

necessary.  Violence in moderation teaches children

about situations that may be encountered outside of

their home, and helps them to deal with such

incidents.  Kids are aggressive in nature, and a child

who grows up on Barney, the Purple Dinosaur, and Mary

Poppins is likely to have a difficult time dealing

with other kids.  Face it, children need a certain

amount of bellicosity to balance out all the bubbly

behavior that some of these idiotic child role models

portray: like Barney, who should be committed to an

asylum.  (I know if I was forced to watch Barney at an

early age I probably would have blown up the house.)

You may ask, "why do children need a balance of

violence and aggression at all, why don't we just

program happy shows all the time?"  Because human kind

has always been an aggressive species and probably

will continue to be. By not preparing your children

for acts of rabidity you are preparing them to be

future victims.  And if your child is beat up at

school, it's not the TV's  fault!!! (Maybe it's time

to let little Jack or Jill watch the Power Rangers, or

a Rocky episode or two.)

I do, however, agree with one of the points

people are trying to make against children viewing

violence.  A five year old child should not be

witnessing Freddy hack off human extremities with

chain saws and axes.  This is where the parents should

be stepping in to filter out what their little bambino

is taking in.  Certain programs are oriented to

different age groups and viewing should be controlled,

not removed through censorship.  Parents want strict

censorship because they don't think it's possible for

them to control what their children watch.  After all

there are TV's at friends houses and probably at least

two within your own.  So what's the point?  Even if

you forbid your child to view certain material they

can watch it somewhere else.  The point is, once you

have told the child not to watch something it becomes

taboo or wrong to watch it in their minds.  Sure it

will probably prompt him/her into viewing it some time

or another; but now watching the program is, "wrong"

and they know it.  As a result little Jr. will be less

likely to chase his sister around the house with an

axe and blame it on Freddy Crouger.  After all,

blaming Freddy would get him busted for watching Mr.

Crouger in the first place.  And if your child does

turn into Freddy later in life, it's not the TV's

fault!!!  (It's probably because of all the times they

fell on their heads.)

It's ridiculous that cartoons like the Road

Runner were taken off the tube in certain parts of

north America, because of their vile illustrations.

This is preposterous. Wily Coyote illustrated to

children that dropping anvils off cliffs, using

explosives, guns, and running things over with trucks

didn't help him catch that annoying Road Runner.  As a

matter of fact Wily Coyote showed kids that his

aggressive manner never paid off.  Everything Wily

Coyote tried literally backfired in his face.  And in

Bugs Bunny, I don't believe Elmer Fudd ever managed to

blow away, "that waskily wabbit".  But I guarantee

that some parent with an over active imagination saw

the Bugs Bunny show as a promotion for their kids to

join the N.R.A..  Or how about Bambi, another violent

film. Bambi's mother is shot by a gun toting maniac,

and is forced to live with his dysfunctional father.

(Let me guess, this is a subliminal message to shoot

wildlife or your mother)  Films like this in my mind

can act as a buffer for the detection of warped

children.  If your offspring expresses any interest in

wanting to be Wily Coyote, Elmer Fudd or the hunter

that killed Bambie's mother, you should have him\her

committed to a mental hospital.  If your child does

however pick up a gun and proceeds to blast the family

rabbit or kill a deer in the backyard, it's not the

TV's fault!!!  Fault lays in your lap again for not

keeping your firearm locked up.

Guns in children's programming is a big issue

today.  Society is so upset over the surge of gun

related incidents among our youth.  Once again some

individuals blame it on the TV for instigating these

ideas within a child's mind.  This is not true.  Maybe

one in every million kids that watch violence on the

television will actually use a gun because of the

program.  In these isolated incidents people would

probably find that the child had easy access to a

firearm and no education as to what could happen if

misused.  Children that do pick up  guns and massacre

family members usually do so with complete ignorance

of the consequences.  And of course when confronted

the youngster will probably say he saw someone on TV

do the same thing.  In fact the correct response

should have been: My parents were idiots for leaving a

shiny and loaded Smith and Wesson hand gun on the

coffee table for me to play with.  In these incidents

firearm education and proper storage is the real

underlying issue.  Because it's not the TV's fault

people can be so stupid.

In certain cases there have been instances where

children have re-enacted scenes from programs they

have seen, and been badly injured.  Without sounding

sadistic, I believe in these few isolated incidents it

probably worked out best for the child.  Having a bad

incident occur at an early age opens up parents eyes

to whatever field they have neglected to teach the

child about; at the same time it also gives the youth

an eye opening experience to their own stupidity.

After all children learn best from trial and error,

and it's better for them to figure out what not to do

early in life.  And if Jr. jumps off the roof of the

family home to be like a super hero, it's not the TV's

fault!!!  (Your kid probably has less common sense

than a lemming.)

Violence on TV is both unavoidable and necessary

for children to learn about their ever changing

hostile world.  The only question to be asked is,

"when is a child mature enough to watch certain

programs?"  A change in children's programming is not

likely to occur any time soon. It's up to the parents

to regulate and censor what they deem appropriate.

Through better education of violence, children will be

better equipped to realize what is intended for

entertainment and what actions are not acceptable in

day to day life.  Censorship is not the answer.  It's

way too easy to blame TV for dirty deeds that may have

been caused by other unseen sources.  What it all

comes down to is, if  your little Jack or Jill wants

to be Wily Coyote or Elmer Fudd, chances are they have

a real problem that has to be addressed because, IT'S

NOT THE TV'S FAULT YOUR CHILD IS DERANGED!!!

969.          South African Directors Manie van Rensburg Katinka Heyns Jans Rautenbach Ross Devenish Bibliography

INTRODUCTION

This year The South African Film Industry celebrates its 108th Birthday!  It sure has come a long way, since South Africa was one of the first countries in the world to see (and hear) sound motion picture.  From the Kinetoscope to the new millenium, here follows a brief discussion on the history of...

THE SOUTH AFRICAN FILM INDUSTRY

The origins of Documentary Filmmaking dates back to the Anglo-Boer War, when W.K.L. Dickson (who had perfected the motion picture camera and had worked for Thomas A. Edison) set out for South Africa in 1899 to record this war on film.  The use of film, as a new medium for propaganda, was discovered and exploited during this time.

By 1908 the topical film was the most popular. Trick and comic film popularity shifted to dramatic films.  "The Great Kimberly Diamond Robbery" (1910) was the first South African full-length feature drama film produced entirely in the country.

During the 1930's Afrikaans nationalism was emerging as a force and reached new levels of intensity during the 1940's.  "Sarie Marais" (1931) portrayed the English/British cultural and economic imperialism negatively (the desire to spread the British language, culture and influence even where they were unwelcome).  The National Censorship Act of 1931 was passed by Parliament, followed by the Entertainment Act, which demanded that all cinematic material be cleared before exhibition.  This Afrikaans nationalism found expression in a number of Afrikaans-language films.

South Africa's first political thriller, Jans Rautenbach's "Die Kandidaat" was released in 1967, questioning the boundaries of Afrikaans identity.  Rautenbach and Emil Nofal's "Wild Season" was a milestone work dealing with the generation gap between a forbidding fisherman and his learned son.

By 1969 Afrikaner capital was a significant factor in the industry:  This year also saw the successful release of Rautenbach's "Katrina" (also produced by Emil Nofal, who died in 1986).  "Katrina"(1968) is about love across the colour line, and tells the story of a coloured doctor and white woman who fall in love. Filmed in Paarl and Cape Town, "Katrina" also features the invisible people of Apartheid South Africa (blacks and coloureds) in the background, the sixties slum neighbourhoods tidied up and sanitized for the sake of the film.

With the fragmentation of the industry in the 1980's there was a blossoming of independent cinema, much of it highly critical of apartheid. Films of this sort include Katinka Heyns' "Die Storie van Klara Viljee", Manie van Rensburg's "The Fourth Reich", and the Darrell Roodt trilogy:  "Place Of Weeping", "The Stick" (1987) and "Jobman".  The anti-Apartheid independent films such as "Place of Weeping", were seen by only a few South Africans.  Even if they were not banned, the big distribution companies (Ster-Kinekor and Nu Metro) would not touch them. Instead, they were distributed through a small number of independent venues.  In fact, these films were more widely screened overseas than they were in South Africa.

Since then Ster-Kinekor, Nu Metro and United International Pictures have owned the majority of cinemas in South Africa.  These companies controlled the distribution of films here.  They almost exclusively showed films made in Hollywood (or in Europe) because films made overseas were generally accompanied by slick and well funded marketing campaigns that got consumers into the cinema and ensured a good profit for the cinema-chain.  As a consequence most South African cinemagoers were only exposed to foreign films, and rarely got to see serious South African (or African) films.  By 1985 there were many subsidy scandals involving unscrupulous individuals and companies who produced "visual diarrhea" (SAHistory : 2003) in order to benefit financially from the scheme.

At the beginning of the 1990's there were several co-productions, including Darrell Roodt's "Cry, the Beloved Country".  The following is a discussion on five of South Africa's most influencial directors:  Manie van Rensburg, Katinka Heyns, Jans Rautenbach, Ross Devenish and Darrell Roodt.

MANIE VAN RENSBURG

Manie Van Rensburg began as the cameraman in "Hoor My Lied" (1967).  He directed and financed his first film "Freddy's in Love" at the age of 22.  He started with R140 in the bank and a large section of the film was made in black-and-white, because he couldn't afford colour film stock.  He didn't have any money for lights, so his production assistant who worked as a stage manager at Johannesburg's Civic Theatre would borrow what the film team needed. The film was eventually a character study of loneliness in cold, bleak Hillbrow.

Van Rensburg formed his own independent film company, Visio Films, in 1969.  In the 1980's he received an International Film Festival of New York award for his historical TV drama series, "Heroes", and a Merit Award from the London Film Festival was given to him for his filmed play, "The Native who Caused all the Trouble".  His mammoth production "The Fourth Reich" was screened at Cannes, however, in a version not acceptable to Van Rensburg.

He received an Honourary Prize from the South African Academy of Science and Art for Cultural achievements in cinema.  The Star newspaper's Tonight Award was given to him four times.  The South African Broadcasting Corporation's Artes Award was presented to him twice, and he also received awards from the Afrikaanse Taal en kultuurvereniging, the M-Net Vita Award for Best Director, and the Idem Award for direction of "Die Vuurtoring".

In Cape Town he met Johan van Jaarsveld, a writer who became his partner, and under the umbrella of Visio Films, his best television work followed.  This relationship with the SABC, however, was cut after Van Rensburg decided to travel to Dakar, Senegal, in 1987.  The 52 South Africans he accompanied mainly included Afrikaans speaking people, like Van Rensburg's friend, Van Zyl Slabbert, a prominent oppositional political figure of the time.  The conference in Dakar was a joint undertaking between the Institute for Democratic Alternatives in South Africa (Idasa) and the ANC.  When Van Rensburg returned to South Africa, he found himself out of work at the SABC.

For two years he couldn't work.  With the establishment of FAWO he hoped to find a sympathetic, progressive group to support him in his work.  "From Today No More" was his contribution to the new critical cinema about apartheid, and it established him as part of the new movement.  Originally titled "The Native Who Caused All the Trouble" (1988), this feature film tells of a cheeky black African who challenges the 1913 Land Act that reserves 87 percent of South Africa for white ownership.  "Taxi to Soweto" (1992) quite clearly illustrates his critical thoughts on white racial attitudes and experiences.  Historical origins and effects of apartheid are found in "The Fourth Reich" (1990) and reveals the inner turmoil of white South Africans of various races.

Van Rensburg's cinema career can be divided into three periods:  his Afrikaans films (1971 to 1975), Television work (1976 to 1987) and International films (1988 onwards).  "Doktor Con Viljee se Overberg" (1981) earned him the Tonight Award in 1982.

Manie van Rensburg essentially deals with three periods of Afrikaner people:

The 1930's Trauma of Urbanisation and the Struggle for Land

(1983's "Verspeelde Lente"),

The Rise of Afrikaner Nationalism

(1985's "Heroes") and

The Urban Afrikaner of the 1970's and 1980's

(1984's "Die Vuurtoring" and 1991's "Taxi to Soweto").

KATINKA HEYNS

"Katinka Heyns is die laaste groot Afrikaanse regisseur."  (Crous : LitNet FilmFundi : 2003)

This acclaimed actress, director and producer first won the collective heart of South Africa as an actress in films such as Jans Rautenbach's "Katrina" (1969) and in the television series "Willem".  She then, in conjunction with her husband Afrikaans novelist and critic Chris Barnard, went on to create Sonneblom Films.  This production company primarilly makes movies for television such as "De Dood van Elmien Alder" (1945).  She is highly honoured for her first feature film "Fiela se Kind" (1988), based on Dalene Mathee's pivotal novel, which made a strong anti-apartheid statement, as well as "Die storie van Klara Viljee", a feminist film supporting the rights of female individuals.

"Fiela se Kind" gained notoriety for it's critical reversal of racial stereotypes.  It is set in the 1880's and tells the story of a white orphan found and raised within a successful colored farming community who is "taken away by other whites and forced to live with an utterly destitute family in a terrible forest because colonialists believed that it was better for a white to be raised in a white home, no matter how miserable the living conditions".  (Sandra Brennan : All Movie Guide : Entertainment)

Her feature film "Paljas" (1998) was the first South African film to be accepted as an entry in the Oscar Awards category for Best Foreign Film. Paljas is about the relationship between a circus clown and a young boy, and the miraculous way in which this relationship manages to heal the lives of a troubled family.  Anant Singh was the producer on Paljas, and the film marked the first collaboration between Heyns and himself.  The film is a truly South African one, shot by local crew and cast, in an indigenous language.  What is interesting, is that it was filmed simultaneously in an English version as well.

JANS RAUTENBACH

"Wat het geword van die dae van Jans Rautenbach?"  (Crous : LitNet FilmFundi : 2003)

&lt;Tab/&gt;Between 1956 and 1978 genre films (especially in Afrikaans) earned higher returns than imported fare.  Exceptions which interrogated apartheid exposed white South Africans to new critical styles.  Amongst these were the expressionism of Jans Rautenbach's "Jannie Totsiens" (1970).&lt;Tab/&gt;

He was an active figure in the South African film industry during the 1970's.  He was not pro-Apartheid at all.  Indeed, with films such as "Die kandidaat" and "Katrina" (1969) he questioned the Apartheid-regime thoroughly.  Especially with "Katrina", Rautenbach took on issues of race at a time when it was not easy to do so, given his terribly conservative constituency.

Although his theme changed slightly with "No One Cries Forever" (1984), he is still set on voicing his views on politics, crime and even religion.  "In this gripping Swedish drama, a South African girl is captured and forced to become a hooker.  It's a horrible life, but eventually the girl escapes and finds santuary and love on a remote game reserve.  Unfortunately, her former employer finds her and carves up the girl's face, causing her lover to head off for bloody revenge."  (Brennen : All Movie Guide : 2003)

ROSS DEVENISH

&lt;Tab/&gt;We undoubtedly find neo-realism in Athol Fugard and Ross Devenish's "Boesman and Lena" (1973), "The Guest" (1978) and "Marigolds in August" (1980).

"Boesman en Lena" was the first feature film to portray the poverty and enforced removals of people classified as black.  This remains unfortunately theatrical and wordy but nevertheless an extremely moving tale of a cape coloured couple on the road after their shanty is destroyed by government action.  It won a gold and silver medal at the 6th Atlanta Film Festival in the United States.  "The Guest" (also known as "Die Besoeker") won at the Locarno Film Festival, becoming one of the most acclaimed South African films.  The film, based on a play, concerns the last days of one of South Africa's most unique minds - the writer Eugene N. Marais.  "The Guest" describes his anguish, addiction to morphine and eventual suicide and stars Athol Fugard and Marius Weyers.  "Marigolds in August" was based on an Athol Fugard play, and starred Fugard himself as well as John Kani.  It won a special award at the 1980 Film Festival in Uzbek, Russia, as well as two awards at the Berlin Film festival.  It also won a Rapport Oscar for the best local film of the year.  Devenish left the country soon after making the film, and spent the next 23 years in England, returning to South Africa only in 2002.

DARRELL ROODT

Probably one of this local filmmaker's biggest achievements is his highly acclaimed "Cry, the Beloved Country" (1995).  But Darrell Roodt had as much difficulty with making movies in South Africa, as the other directors mentioned.  In 1986, "Place of Weeping", produced by Anant Singh, became a landmark film both for the anti-apartheid movement, and for alternative cinema in South Africa.  Singh personally financed the film, and it was the first anti-apartheid motion picture to be made entirely in South Africa and released for general distribution to both black and multiracial cinemas.  Receiving worldwide acclaim, it was released theatrically in the United States and most global territories. It was also the only South African film to play on US TV channel HBO (Home Box Office).

In 1987, Anant Singh and Darrell Roodt released the introspective war movie "The Stick".  Banned for many years, "this film argued that being at war for something you do not believe in is madness itself."  (Titles : Blackstar : 2003)

Roodt directed "Sarafina!".  It tells the story of the 1976 Soweto uprisings and was shot on location in Soweto.  Based on the stage production by actor-musician Mbongeni Ngema, the film boasts stars such as Leleti Khumalo, Miriam Makeba and Whoopi Goldberg.  "Sarafina!" grossed $8 million in the United States.  Along with Leleti Khumalo, Darrell Roodt made another attempt at socio-political filmmaking with the remake of the abovementioned "Cry, the Beloved Country", also produced by Singh.  The first version was directed by Zoltan Korda in 1951, based on the book by Alan Paton.

CONCLUSION

Approximately 944 features were made in South Africa from 1971 to 1991, as well as nearly 998 documentaries and several hundred short films and videos.  With outstanding achievements from the discussed directors, we have no other option as to honour them in their remarkable filmmaking.  With influences like those, we can and will build the South African Film Industry for the next 108 years!

BIBLIOGRAPHY

-  and other websites visited -

Giannetti, L&lt;Tab/&gt;Understanding Movies&lt;Tab/&gt;&lt;Tab/&gt;&lt;Tab/&gt;Prentice-Hall &lt;Tab/&gt;8th Edition 1999

Monaco, J           &lt;Tab/&gt;How to read a film&lt;Tab/&gt;&lt;Tab/&gt;&lt;Tab/&gt;&lt;Tab/&gt;Oxford &lt;Tab/&gt;3rd Edition 2000

Nowell-Smith, G. &lt;Tab/&gt;The Oxford History of World Cinema &lt;Tab/&gt;&lt;Tab/&gt;Oxford University Press  1996

Botha, M.P.&lt;Tab/&gt;Study Guide:  FAP100

www.kinema.uwaterloo.ca

&lt;Tab/&gt;&lt;Tab/&gt;&lt;Tab/&gt;&lt;Tab/&gt;&lt;Tab/&gt;&lt;Tab/&gt;&lt;Tab/&gt;www.geocities.com&lt;Tab/&gt;&lt;Tab/&gt;&lt;Tab/&gt;&lt;Tab/&gt;&lt;Tab/&gt;&lt;Tab/&gt;&lt;Tab/&gt;&lt;Tab/&gt;&lt;Tab/&gt;www.dmoz.org

&lt;Tab/&gt;&lt;Tab/&gt;&lt;Tab/&gt;&lt;Tab/&gt;&lt;Tab/&gt;&lt;Tab/&gt;&lt;Tab/&gt;www.ntva.org.za

&lt;Tab/&gt;&lt;Tab/&gt;&lt;Tab/&gt;&lt;Tab/&gt;&lt;Tab/&gt;&lt;Tab/&gt;&lt;Tab/&gt;www.und.ac.za

&lt;Tab/&gt;&lt;Tab/&gt;&lt;Tab/&gt;&lt;Tab/&gt;&lt;Tab/&gt;&lt;Tab/&gt;&lt;Tab/&gt;www.members.aol.com

&lt;Tab/&gt;&lt;Tab/&gt;&lt;Tab/&gt;&lt;Tab/&gt;&lt;Tab/&gt;&lt;Tab/&gt;&lt;Tab/&gt;www.sahistory.org.za

&lt;Tab/&gt;&lt;Tab/&gt;&lt;Tab/&gt;&lt;Tab/&gt;&lt;Tab/&gt;&lt;Tab/&gt;&lt;Tab/&gt;www.entertainment.msn.com

&lt;Tab/&gt;&lt;Tab/&gt;&lt;Tab/&gt;&lt;Tab/&gt;&lt;Tab/&gt;&lt;Tab/&gt;&lt;Tab/&gt;www.blackstar.co.uk

970.          South African Directors

To fully understand the legacy of the great South African directors, it is necessary to consider the socio-political climate that has influenced the evolution of film in our country. The acknowledged directorial masters: Manie van Rensberg, Jans Rautenbach, Ross Devenish, Katinka Heyns and Darrell Roodt; were obliged to confront the numerous challenges and obstacles strewn in their path in order to achieve the fame they enjoy today. Before we examine their careers and works, let us conduct a brief overview of the history of South African film.

The story of the South African film industry begins some 108 years ago at the conclusion of the nineteenth century. It was the time of the Anglo-Boer War. American and British film pioneers, armed with this new technology, were conducting a private campaign consisting of mobile theatres for viewing in the mining industry and (while the war raged) in the military. Some of the earliest examples of film in South Africa were newsreels recorded on the front lines.

The first true motion picture created in South Africa was The Great Kimberely Diamond Robbery of 1910. The film standard from this point out shifted from simple visual chicanery to the dramatic full-length picture. The first Afrikaans film to follow this motion picture drive was De Voortrekkers of 1916. Over 1300 movies have been made in this country since that time!

It was in the early 1930s, however, that a major paradigm-shift began to unfold that would have far-reaching consequences for the burgeoning SA film industry. Afrikaner nationalism was taking root, affecting the subject matter and imposing stylistic frameworks for decades to come. With the release of Sarie Marais in 1931, the first SA film created with integral sound, popular public interest began to take hold and the nationalists took note. Independent nationalist-run industries such as RARO (Reddingsdaadbond-Amateur-Rolprent-Organisasie) were created in direct response to the perceived American and British cultural imperialism dominating South African film. The co-operation of the pro-Nationalist government with the passing of the National Censorship Act and the Entertainment Act promoted these ideals and assisted Afrikaner filmmakers in the creation of politicised films.

By the 1960s, Apartheid was entrenched in South Africa and the nationalist system had spread to include all aspects of the entertainment industries, including film. It is interesting to note that it was in this era that some of the most controversial (for the time) films were made. 1968 saw the release of Jans Rautenbach's Die Kandidaat and Katrina which examined the institution of Apartheid and questioned those established ideals. Rautenbach and his colleague, Emil Nofal, also collaborated on the film Wild Season, a treatise on the issue of Afrikaner indentity.

The 1980s saw the fragmentation of the film industry and a marked decrease in cinema popularity due to the rise of television and a growth in anti-Apartheid ideology. Out of this seemingly chaotic structure came a great deal of independent films, many dealing with socio-political themes spawned by the national turbulence of that decade. Some of the better known of these films were Manie van Rensberg's The Fourth Reich, Darrell Roodt's Place of Weeping and Katinka Heyns' Die Storie van Klara Viljee. Few of these movies are well known to the average South African due to censorship wrangling and the fact that the major internationally owned distribution companies (Nu-Metro, Ster-Kinekor, et al) distanced themselves from such unprofitable productions in favour of American or British blockbusters. As no effective government subsidies or support structures existed at this time, circulation was relatively low.

With the dawn of the New South Africa in the early 90s and a marked decrease in restriction imposed from Parliament; South African filmmakers now have the opportunity to begin forging a new industry. Let us now discuss those directors who have already blazed the trail for us.....

The Directors:

Manie van Rensberg:

Manie van Rensberg's career in film began in the 1960s as a camera operator

in the motion picture Hoor My Lied. From there, he branched out of cinematography and was able to direct and finance his first film (Freddy's in Love) at the tender age of 22. He had little over R100 to work with and was forced to use several sections of black and white film because he could not afford colour. Equipment was almost non-existent; accept for that which he could borrow through the auspices of the Johannesburg Civic Theatre.In 1969, Van Rensberg founded his own production company, Visio Films.

The 1980s saw the upsurge of Van Rensberg' creative genius. As mentioned before, his great anti-Apartheid piece The Fourth Reich was screened at the famed Cannes Film Festival, although the version edited for the screening was not to Van Rensberg's liking. He was particularly adept at political/historical commentary, essentially concerning the Afrikaner outlook. His 1983 movie Verspeelde Lente dealt with the Afrikaner difficulties with urbanisation; 1985s Heroes was concerned with the rise of Afrikaner nationalism; and his acclaimed 1991 film Taxi to Soweto deals with the modern Afrikaner and the struggle for a post-Apartheid mindset.

During the 80s he collaborated with many like-minded individuals through his production company. His penchant for political reality eventually led him to crisis. In 1987 Van Rensberg travelled to Dakar, Senegal, with 52 fellow South Africans to attend a conference hosted by the Institute for Democratic Alternatives in South Africa (Idasa) and the ANC. Upon his return, he found himself out of work with the SABC.

The following two years saw him completely out of circulation within the film industry. It was only after the establishment of FAWO that he was welcomed into a more progressively minded atmosphere.

Manie van Rensberg has received several accolades over the years. He was awarded a New York International Film Festival award for the series Heroes; and a London Film Festival Merit Award for his filmed play The Native Who Caused All the Trouble. The Star Newspaper's Tonight Award was given to him 4 times; he has received an Artes Award twice; and he was chosen Best Director for the M-Net Vita Awards. Several other honours have been presented to him.

Van Rensberg's work has been without peer within the SA film industry and he is certainly a great inspiration for young filmmakers today.

Jans Rautenbach:

The stylised thematic films of the period between 1955 and 1980 earned substantially higher returns than those of the imported varieties. This was especially true of Afrikaans films. However, there were those films (and filmmakers) that examined the status quo of the period and exposed internalised South Africans to ideology that did not attempt to vindicate apartheid.

One of those filmmakers was Jans Rautenbach. With his film Jannie Totsiens (1970) Rautenbach created an "expressionistic psychodrama"  that tried to offer new ways of looking at the system in power. Rautenbach's work showed, quite obviously, that he was not a supporter of the system. The constant interrogation he subjected Apartheid to in such films as Die Kandidaat and Katrina (1968) was an example of his pushing for a re-evaluation of the race-policy.

Apart from his one deviation with the film No One Cries Forever (1984), Rautenbach has shown his determination to voice his concerns and views on all manner of socio-political topics for years to come.

Ross Devenish:

Ross Devenish is known for three praised films: Boesman and Lena (1973), The Guest (1978) and Marigolds in August (1980). On these productions, Devenish enjoyed a collaboration with one of South Africa's most celebrated playwrights, Athol Fugard.

Boesman and Lena was the earliest example of a film that actively portrayed the misery and humiliation of poverty and forced removals that so marks our society. The plight of a coloured couple from Cape Town was a moving tale that was marred only by the overly theatrical aspects of the script. Nonetheless, it received both a gold and silver medal at the 6th Atlanta Film Festival in the United States.

The Guest was a film, based on a play, which portrayed the last remaining days of one of South Africa's leading writer - Eugene Marais. The film, which starred Athol Fugard himself alongside Marius Weyers, displays the character's anguish and his perpetual struggle with a morphine addiction until Marais' eventual suicide. The Guest won at the Locarno Film Festival and has since become one of South Africa's most acclaimed motion pictures.

Marigolds in August was another film based on a Fugard creation, starring (once again) the playwright himself. It won two accolades at the Berlin Film Festival, as well as at the 1980 Film Festival in Russia. It also won a Rapport Oscar for the best locally produced film of the year.

Devenish struggled to continue making movies in South Africa, before leaving for the United Kingdom for 23 years. He only returned to South Africa in 2002.

Katinka Heyns:

"Katinka Heyns is die laaste groot Afrikaanse regisseur"

(Crous: LitNet FilmFundi: 2003)

Heyns started out her entertainment career in front of the camera, acting in films like the acclaimed Rautenbach motion picture Katrina and in the television series Willem. She later founded Sonneblom Films with her husband, novelist Chris Barnard.

Heyns is perhaps best remembered for her feature film debut: Fiela se Kind (1988). This picture, based on the novel by Dalene Mathee, is famous for its strong anti-apartheid statements. It is characterised by its unusual reversal of racial stereotypes. Set in the nineteenth century, the story centres on a white orphan who is raised in a prosperous coloured community before being forcibly removed to a destitute white family because the colonial authorities of the period believed that a white child should be raised by whites, whatever their economic or social position. This placing of the poor, ignorant white family over that of a loving, successful coloured community highlighted the absurdity of the racist outlook.

A more recent motion picture success for Heyns was the film Paljas (1998). This movie was the first South African offering of its kind to be accepted for entry into the American Oscar Awards category for Best Foreign Film. Paljas centres around the relationship that develops between a vagabond clown and a young boy of a rural family, and how the clown manages to heal the lives of that family, despite condemnation by the local community. What is so notable about Paljas is the fact that this motion picture was created, produced and characterised by local talent alone.

After her success with Paljas, the South African audience eagerly awaits another Heyns creation.

Darrell Roodt:

Darrell Roodt first found wide acclaim with his work on the movie Place of Weeping (1986). Produced by the ubiquitous Anant Singh, this film made landmark history as the first anti-apartheid movie to be created solely in South Africa and released to a fully multiracial SA audience. It was also aired overseas in countries such as the United States.

Then, in 1987, Anant Singh and Roodt collaborated once more on the highly controversial war movie The Stick. Although it was banned for many years: "this film argued that being at war for something you do not believe in is madness itself" (Titles, Blackstar:2003)

Roodt is also noted for his direction of the popular motion picture Sarafina!, which chronicled the story of the 1976 Soweto uprisings. Based on the stage production by Mbongeni Ngema, the films cast boasted such names as Miriam Makeba, Leleti Khumalo and American star Whoopi Goldberg.

But, it is for the 1995 remake of Zoltan Korda's Cry, the Beloved Country that Roodt is best known. Another collaboration with Anant Singh, this moving human rights masterpiece featured the veteran American actor James Earl Jones.

Conclusion:

While the story of South African filmmaking has been marred by socio-political repression, unrest and bigotry, the fact remains that this country has created some insightful, caring and extremely talented directors of whom we should be very proud. If such individuals could produce such motion pictures during times of oppression, it certainly tells those of us that aspire to a film career, and live in this newly freed land, that we should be inspired to create even greater motion picture masterpieces.

Bibliography:

1. Nowell-Smith, G. The Oxford History of World Cinema. Oxford University Press, 1996

2. Botha, M. P. & Adri van Aswegen. Images of South Africa: The Rise of the Alternative Film. HSRC Publishers, 1992

3. Botha, M. P. Study Guide: FAP100

4. Assorted World Wide Web Sources:

www.kinema.uwaterloo.ca

www.nfvf.co.za

www.dmoz.org

www.ntva.org.za

www.blackstar.co.uk

www.africafilmtv.com

971.          SPAWN

Creative Writing

The spawn knelt in the shadows of the corner. His iridescent eyes searching the dark for his prey. A prey he knew very well, almost too well.

From the end of the stone corridor the spawn's ear picked out a single disturbance. From behind the mask a man's mouth twisted in a smile and a thought of satisfaction crossed his mind.

Rising to his feet the spawn walked defiantly down the corridor. His armoured boots making no sound on the cold floor. A heart that beat no blood, pounded within the unnatural armour of the spawn. At last his mission was drawing to a close and so too would this endless torture. The one being responsible for his spawning would now ultimately reach its death.

The door was close now, and the spawn's soulless eyes peered into the room from the doors barred window. Standing over a bench stood a man. An old man, gnarled with age and working on an intricate machine. To a mortal man the sight would appear ludicrous. An old, befuddled man could hardly attract the attention of such a powerful warrior. But to the spawns eyes, he only saw the truth.

He didn't see the lines of age which covered the man's face. Nor did he see the disfigured spine which pushed the man's back into a painful composure. But he did see the beast within.

To the spawn, what stood in the other room had no dimensions, it glittered with a warrior's sweat and had an evil which protruded off its hide like poisonous spines. This creature had roamed the aeons sending multitudes of innocent 'children' to nothingness before their time.

In ages past it was known as Ra, god of the sun, then it was known as Xeues. Only a thousand years ago they called him a Dragon, and now, he was known as a scientist. Figure heads for the world, able to control the elements to their wishes.

But today, it was time for the creature to end its cultivation of evil on earth. One man who the beast had killed had refused to die. By sheer power of will he had re-spawned to become the 'Spawn', and now, after centuries of silent following had finally decided that enough was enough!

Kicking open the barred door the Spawn raised his hell blade in a warriors salute and cried, "Your time is up beast! Never again will you commit crimes against humanity! With this sword I commit your body to the flames!" The spawn's sword glowed with a magical flare and the spawn leapt forward, raising the mighty weapon above his head.

The old man turned his head, his eyes grew dark, quickly turning black to match the colour of his soul. The beast within was anxious to react. However, the old man's body was too slow, years had aged his weary muscles. The spawn's weapon dug deep into the silken cloth on the old mans chest and struck the heart, the soul and the beast.

At once a huge gaping hole appeared in the fabric of space, and the 'stuff' which holds all things together grabbed the beast and ripped it into the mouth of the porthole. With a whining scream the gateway to the other side slammed shut and the Spawn stood quietly over the empty husk of the old scientist.

His life goal and mission over, the spawn's soul began it's transmutation to the heavens. Within a matter of minutes all that remained in the room, was an old man lying beside a pile of rusty old armour and a blackened, silver sword.

972.          Speaks of Marilyn Monroe

Schools and Churches are institutions in society where priests and teachers act as spokespersons to spread a certain set of  attitudes, beliefs and values.  Similarly, Hollywood is also a very powerful modern day institution, where a star's image can reappropriate, shape and circulate societal myths and ideologies.  The construction of a star's image as a commodity of their societal myths and ideologies, has the extraordinary power to exert messages so that even the smallest details become significant yet not overtly obvious.  How a star's image is produced and then consumed can justify a society's relationship with that image and therefore aid in explaining the social construction of what society deems as their 'reality'.  A star's image is created through a range of representations churned out by Hollywood.  Capitalism from the commercialisation of these images has made Hollywood the domineering force it is today.  A re-emerging image in Hollywood is that of the sex symbol, epitomised by Marilyn Monroe in the 1950's.  Monroe is Hollywood's archetypical sex symbol, where the cultural phenomena she creates, instigates her immortal and legendary status.  The first ever issue of Playboy magazine features Marilyn Monroe as the covergirl.  By decoding meaning from this magazine cover, the visual and written text becomes a communicator for both obvious and subtle meaning conveyed through her image.

Marilyn Monroe's image is communicated through signs and their codes.  The paradigm (her facial expression, gesture, body language, positioning, written text, background, dress, colours, lighting  and camera angle) carries meaning and can be considered signifiers.  In the second order semiological system, the signifiers become signs which then signify 'preferred meanings' with signification that draws from metasigns and ideologies.

The slogan 'Entertainment for Men' is a signifier for the down classing of females as nothing more then sexual objects in our society.  As a sign, the written text can be categorised as an icon as it directly connotes Marilyn Monroe as being 'Entertainment for Men', a playmate valued only for her body.  This sign heavily draws on the inferior position that women held in the 1950's.  The slogan only reinforces the 1950's discourse of a male dominated world where women were considered the 'lesser' sex.  This cultural myth relies on the belief that men are the breadwinners who have the supposed right to monopolise and dominate females.  Media industries were controlled by males, therefore Marilyn Monroe's image served the interests of men by legitimising their power.  This creates a marketable image aimed at a well defined audience that is male.  Classing Marilyn Monroe as merely 'Entertainment for Men' contributes to behavioural ideologies in society for women to act as objects for male desires. The myths drawn from such slogans creates for females a sense of inferiority, where in Monroe's case, her body and sexual allure were her only resources. The ideologies circulating in society naturalised Monroe's image as being the cultural norm and something which women should aspire to be for the benefit of males.

Marilyn Monroe established her temptress image through multiples of publicity shots.  An important element contributing to this image, which is clearly displayed in this magazine cover, is her facial expression.  Marilyn Monroe established a universally familiar expression, her face raised, mouth open and bared teeth, which became vital to her image.  These idiosyncrasies of her facial expression are signifiers which help to create her marketable and sexual image.  The open mouth and bared teeth become overt signs of sexual allure, playfulness and seductiveness.  This contributes to the ideologies that females have to appear as a sexual object to remain a marketable image in society.  Marilyn looking upwards, together with the photograph taken from a camera below her(angled upwards), becomes a sign of a male's superiority over a female.  Marilyn Monroe's way of tilting her head, implies she is looking upwards seductively at a male reader.  This is significant as it becomes a super-real embodiment of a male's desire, where the reader is made to feel superior over her.  Her expression plays on the text that she is 'Entertainment for Men' reinforcing the ideological discourse of females as being subversive in the 1950's.

Body language such as that displayed on the Playboy magazine cover is a key signifier to Marilyn Monroe's cult status.  Her gesture as if waving to an audience is a connotation that she was constantly on show.  Such gestures as waving, places her on as high a pedestal to which royalty is also placed.  This is significant as it indicates she is public property open for consumption or as the slogan denotes 'Entertainment for Men'.  Marilyn Monroes's celebrity image is naturalised through her body language as it suggests she is fond of the limelight endorsing the ideology that males are superior to females.  Monroe's naturalised image of being a male's plaything contributes to the acceptance of male dominance in the 1950's.  This therefore leads to the rejection of the myth that Hollywood means success.  Marilyn's commercialisation where she was constantly on show for the benefit of the public led to her exploitation.  In this particular photograph she is also seen to be leaning into the camera which places focus on her exposed cleavage.  This signifier becomes a sign of how her image was marketed for such magazines as Playboy, where she appears to be playing on the desires of men.  Body language such as appearing to lean into a man has a direct sexual connotation.  It displays her playful screen image of the naive airhead, free of woes and cares.  The reality was that many young actresses at that time were thought of as male prey.

Marilyn Monroe's positioning in the centre of the magazine cover signifies she is the 'one and only', loved by the camera and everybody else.  By leaving the background blank (excluding the written text), nothing rivals or detracts the focus from her body.  The photograph is a cut out of Marilyn Monroe's figure sending a message to the viewer that she is an object and a commercial package where her only worth is her body.  The way in which her photographed image has been cut and pasted onto the magazine cover depersonalises her image and drains her of beauty.  Always the centre of attention, her commercialisation and exploitation rebuffs the myth that popularity, beauty and material wealth in Hollywood means happiness and success.

The extremely lowcut and revealing dress Marilyn Monroe wears in this photograph is a sign which can be categorised as a symbol as its relationship to its referent is arbitrary.  The signs (her dress and gold earrings) refer to glamour and an unequivocally sexual image.  Her slinky evening dress, the fur wrap she is sitting on and the revealing of bare skin, all combine to create an invitation for male readers to view her solely as a sex object.  This once again draws on a society's social construction which underpins the worth of females.

The key colouring of white is a signifier of innocence, virginity and goodness.  As a sign, colour can be classed as a symbol as it is merely a conventional and traditional link in society that white signifies purity.  The myth of girlishness and innocence can be rejected, as the magazine specifically known for sexual exploitation obviously features Marilyn Monroe as a sex symbol.  However, viewed diachronically that fact she was exploited as a star only reinforces the myth of innocence.  The black dress in contrast to the overall whiteness of the magazine cover repudiates her image of purity.  The black dress places focus on her body as a sexual asset which defies innocence.  Lighting placed on Marilyn's face and emphasis on her white colouring and blonde hair, becomes a sign of the ultimate American female icon.  This sign relies on the ideologies of the Aryan race where white people epitomised goodness and purity while black people were considered the dirty and inferior race.  The lighting placed on Marilyn Monroe's face also becomes a signifier of a perfect life which bares no dark side.

The syntagm for the visual text being Playboy magazine, is known controversially for its portrayal of females as sexual objects.  In terms of Marilyn Monroe's popularity, the representation of her image in magazines such as Playboy, worked in her favour.  She satisfied the social reality of women being classed as inferior and brainless objects, thus providing meaning as to why she was such a cultural sensation and a universally adored icon.  Her image does not reflect today's role of women in society however it does provide significant meaning and cultural understanding of the social construction in society.  Marilyn Monroe as the prototypal sex symbol of the 1950s does illustrate social construction and ideologies upheld in that period.  Society was encouraged by Hollywood as an institution to approve of and accept values associated with the Marilyn Monroe persona.  Her image which served the interests of men, supported cultural ideologies endorsing her as the embodiment of the utopian American dream (ie. white, subversive, blonde haired female).  Monroe's image naturalises the dominating discourse in the 1950's of females as sex objects where for a woman to be successful she had to be beautiful.  The myth that utilitarianism and Hollywood equates to success and happiness can be rejected by deconstructing Marilyn Monroe's image to justify that a star is merely a commercial package.  As more people challenged ideologies and rejected a dominant discourse of females as sexual objects, an image has emerged which portrays women as more powerful and independent, thus reflecting the changing role of women in society.

973.          Special Effects Essay

Special Effects

Written by:  Brett Amato

Special effects in motion pictures has evolved over the years into an

involved science of illusion and visual magic.  The following is a comprehensive

perspective depicting the rapidly expanding realm of cinematography.

In times of old, special effects in movies was limited to an individual's

creativity and the constrictive limits of the tools available.  However the

results of early special effects masters astounded audiences in their age in the

same manner that modern artists do today.  The ability to create an effect that

was brand new was, and still is, the key to the industry.

Techniques range from the expected to the bizarre in order to achieve a

certain image or illusion.  Cinematographers in the early fifties would use a

black cloth backdrop with white paint splattered off of toothpicks to simulate a

space scene in the many science-fiction movies made in that era.  There is also

stories of a common plate being thrown across a "space" backdrop to emulate a

flying saucer in mid-flight.

Although the special effects persons of old were strapped with limits, one

of these was not make-up.  They relied heavily on this prop to portray the many

monsters and aliens in their films.  "Nosferatu" a German film about the vampire

with the same name was a huge success even in America, where thousands marveled

at the intricate detailing of the blood-sucker's razor-like teeth, bulging eyes

and a pointed nose and ears.  "The Creature from the Black Lagoon" used a

somewhat new technique of a body suit that the actor wore along with a mask made

of latex rubber and foam.  Using cooking oil or butter spread on the body and

mask gave an enhancement of sliminess added to the monster image.  A fairly

recent film using heavy make-up effects is "An American Werewolf in London" done

by the master make-up artist Rick Baker who shows what can be done with a steady

hand and a lot of patience.

Another popular trick used was strings to manipulate miniature objects.

Often used in the science fiction era to show spacecraft or other objects in

flight was thin strings attached to miniatures.  Audiences did notice the

obvious strings but it did not matter at the time because it was state of the

art.

The next major breakthrough in the effects world was stop-motion animation.

A process by which objects were filmed for a very short period (3 or 4 frames)

being altered or moved very slightly at each interval of "cuts".  "King Kong"

and "I was a teenage werewolf" popularized this time-consuming process but was

worth the results.  The teenage werewolf program used it to show the unfortunate

boy transforming into a raging beast.  At each cut interval the special effects

"crew" (usually the producer and a make-up specialist) would add a little bit

more hair to the actor's face.  When finished, the illusion of growing hair was

achieved, although it was choppy.  The reason for the choppy result is that when

using stop-motion the actor and camera must be kept as still as possible.  If

not, when recording resumes the actor is not in the same place as when recording

was halted earlier.  The result when viewing are "jumps" where the actor or

object moves instantly taking away from the image attempted.  "King Kong" the

story of the giant ape in the Big Apple  was revolutionary in that it used an

early form of stop-motion animation using clay models (claymation) as well as a

new procedure called super imposing which would change special effects forever.

Super imposing in King Kong was created with two physical tapes that were

cut apart under magnification.  One half (the bottom) containing real actors and

actresses while the other top half contained Kong and the stop-motion animation.

When specially glued together their was an entire audience gasping at the huge

ape on stage.  This was only done in a brief segment of the movie due to the

difficulty.  All later films incorporating super imposure used the more common

blue-screen that can take two filmstrips and set one as a background while the

other containing the person/object is filmed in front of a blue-screen that is

the canvas for editing the background film over it using a simple computer

program.  "Star Trek" the popular sci-fi television show of the 60's and 70's

used mostly super imposure in it's special effects.

George Lucas' "Star Wars" trilogy of motion pictures was a cinematic

masterpiece that set the benchmark for special effects in movies.  About ten

years ahead of it's time, "Star Wars" did not introduce anything new to

cinematography and was uncanny at how popular it became as a visual effects film.

Industrial Light & Magic led and owned by Lucas took existing techniques,

analyzed them thoroughly and fine-tuned them in any way possible.  His films use

stop-motion, super imposing, masks, make-up, intricately detailed model

miniatures, animatronics and lighting/pyrotechnic effects.  Lucas works have

gone down in history and said to be the best special effects movies ever.

Gaining huge popularity worldwide for it's visual effects, it has attracted a

huge cult following largely due to this.

An unorthodox method of visual imagery is a method called animatronics

where steel and plastic "skeletons" are made to imitate animals, usually.  Tiny

motors or "servos" are then attached to imitate the animals muscles to move the

skeleton and make it walk.  Next, many hollow rubber tubes are attached to

different parts of the skeleton.  At the ends of these tubes are either hinges

or pegs that respond to pressure.  When the operator squeezes the bulb, the pegs

or hinges respond by opening or extending.  When attached to certain parts of

the skeleton, the face for instance, many variations in motion can be achieved

depending on how many their are.  Finally the skeleton is covered with fur and

padding to attempt at the shape of a particular animal.  Although the results

are quite impressive, the drawbacks of this method are that it is outrageously

expensive, and two skilled operators are needed to function it to capacity.  One

does body motion while the other focuses on facial expressions.   The movies

"Jaws", "Babe" and "Jumanji" used animatronics.

The final revolution in special effects has come.  The computer age has

touched the movie world and made a huge impact.  Literally anything is possible

with the assistance of computers.  Using software and hardware costing in the

hundreds of thousands of dollars, 3D mesh object renderings are leaving all

other techniques in the past.  CGI, which stands for Computer Generated Imaging,

is the latest way to get exactly what movie companies want in their films.

Flawless in appearance and challenging actual objects the viewer is often left

flustered as to if what they are seeing is real or computer generated.  Industry

giants in this latest technique include Lucas' ILM as well as Pacific Data

Images.  Movies using mainly CGI include, "Independence Day", "Terminator 2" and,

of course, "Jurassic Park".

Special effects have played an essential role in the motion picture

experience for over 70 years and with good reason.  Whether it be a plate being

thrown across the screen or a computer generated Star Destroyer, a clay ape on a

cardboard Empire State Building or a T-Rex smacking his head on the side of your

jeep, the art of movie illusion will only cease to grow when our minds do.

974.          Special Effects

Special EFFECTS

Special effects in motion pictures has evolved over the years into an involved science of illusion and visual magic.  The following is a comprehensive perspective depicting the rapidly expanding realm of cinematography.

In times of old, special effects in movies was limited to an individual's creativity and the constrictive limits of the tools available.  However the results of early special effects masters astounded audiences in their age in the same manner that modern artists do today.  The ability to create an effect that was brand new was, and still is, the key to the industry.

Techniques range from the expected to the bizarre in order to achieve a certain image or illusion.  Cinematographers in the early fifties would use a black cloth backdrop with white paint splattered off of toothpicks to simulate a space scene in the many science-fiction movies made in that era.  There is also stories of a common plate being thrown across a "space" backdrop to emulate a flying saucer in mid-flight.

Although the special effects persons of old were strapped with limits, one of these was not make-up.  They relied heavily on this prop to portray the many monsters and aliens in their films.  "Nosferatu" a German film about the vampire with the same name was a huge success even in America, where thousands marveled at the intricate detailing of the blood-sucker's razor-like teeth, bulging eyes and a pointed nose and ears.  "The Creature from the Black Lagoon" used a somewhat new technique of a body suit that the actor wore along with a mask made of latex rubber and foam.  Using cooking oil or butter spread on the body and mask gave an enhancement of sliminess added to the monster image.  A fairly recent film using heavy make-up effects is "An American Werewolf in London" done by the master make-up artist Rick Baker who shows what can be done with a steady hand and a lot of patience.

Another popular trick used was strings to manipulate miniature objects.  Often used in the science fiction era to show spacecraft or other objects in flight was thin strings attached to miniatures.  Audiences did notice the obvious strings but it did not matter at the time because it was state of the art.

The next major breakthrough in the effects world was stop-motion animation.  A process by which objects were filmed for a very short period (3 or 4 frames) being altered or moved very slightly at each interval of "cuts".  "King Kong" and "I was a teenage werewolf" popularized this time-consuming process but was worth the results.  The teenage werewolf program used it to show the unfortunate boy transforming into a raging beast.  At each cut interval the special effects "crew" (usually the producer and a make-up specialist) would add a little bit more hair to the actor's face.  When finished, the illusion of growing hair was achieved, although it was choppy.  The reason for the choppy result is that when using stop-motion the actor and camera must be kept as still as possible.  If not, when recording resumes the actor is not in the same place as when recording was halted earlier.  The result when viewing are "jumps" where the actor or object moves instantly taking away from the image attempted.  "King Kong" the story of the giant ape in the Big Apple  was revolutionary in that it used an early form of stop-motion animation using clay models (claymation) as well as a new procedure called super imposing which would change special effects forever.

Super imposing in King Kong was created with two physical tapes that were cut apart under magnification.  One half (the bottom) containing real actors and actresses while the other top half contained Kong and the stop-motion animation. When specially glued together their was an entire audience gasping at the huge ape on stage.  This was only done in a brief segment of the movie due to the difficulty.  All later films incorporating super imposure used the more common blue-screen that can take two filmstrips and set one as a background while the other containing the person/object is filmed in front of a blue-screen that is the canvas for editing the background film over it using a simple computer program.  "Star Trek" the popular sci-fi television show of the 60's and 70's used mostly super imposure in it's special effects.

George Lucas' "Star Wars" trilogy of motion pictures was a cinematic masterpiece that set the benchmark for special effects in movies.  About ten years ahead of it's time, "Star Wars" did not introduce anything new to cinematography and was uncanny at how popular it became as a visual effects film.  Industrial Light & Magic led and owned by Lucas took existing techniques, analyzed them thoroughly and fine-tuned them in any way possible.  His films use stop-motion, super imposing, masks, make-up, intricately detailed model miniatures, animatronics and lighting/pyrotechnic effects.  Lucas works have gone down in history and said to be the best special effects movies ever.  Gaining huge popularity worldwide for it's visual effects, it has attracted a huge cult following largely due to this.

An unorthodox method of visual imagery is a method called animatronics where steel and plastic "skeletons" are made to imitate animals, usually.  Tiny motors or "servos" are then attached to imitate the animals muscles to move the skeleton and make it walk.  Next, many hollow rubber tubes are attached to different parts of the skeleton.  At the ends of these tubes are either hinges or pegs that respond to pressure.  When the operator squeezes the bulb, the pegs or hinges respond by opening or extending.  When attached to certain parts of the skeleton, the face for instance, many variations in motion can be achieved depending on how many their are.  Finally the skeleton is covered with fur and padding to attempt at the shape of a particular animal.  Although the results are quite impressive, the drawbacks of this method are that it is outrageously expensive, and two skilled operators are needed to function it to capacity.  One does body motion while the other focuses on facial expressions.   The movies "Jaws", "Babe" and "Jumanji" used animatronics.

The final revolution in special effects has come.  The computer age has touched the movie world and made a huge impact.  Literally anything is possible with the assistance of computers.  Using software and hardware costing in the hundreds of thousands of dollars, 3D mesh object renderings are leaving all other techniques in the past.  CGI, which stands for Computer Generated Imaging, is the latest way to get exactly what movie companies want in their films.  Flawless in appearance and challenging actual objects the viewer is often left flustered as to if what they are seeing is real or computer generated.  Industry giants in this latest technique include Lucas' ILM as well as Pacific Data Images.  Movies using mainly CGI include, "Independence Day", "Terminator 2" and, of course, "Jurassic Park".

Special effects have played an essential role in the motion picture experience for over 70 years and with good reason.  Whether it be a plate being thrown across the screen or a computer generated Star Destroyer, a clay ape on a cardboard Empire State Building or a T-Rex smacking his head on the side of your jeep, the art of movie illusion will only cease to grow when our minds do.

Fine¢

Written by:  ªBrett Amatoª

975.          Spellbound By Alfred Hitchcock

Spellbound By Alfred Hitchcock

Ingrid Bergman and Gregory Peck star in this mystery/thriller that dabbles in psycho-analysis and the troubles of the mind. Constance Peterson is a renowned psycho-analyst, whose ability to analyze data is unquestionable, but who has no life outside of her work. This all changes the day the new Chief of Staff, Dr. Edwardes (Peck) arrives. It is love at first site, and Constance's barriers break down in a flash. Critics have noted that Alfred Hitchcock always had trouble with women. His films are known for having blond women portraying troubled, morally challenged women. This holds true in Spellbound, with Constance's initial emotional frigidity, which later gives way to intellectual stupidity. In Spellbound, Hitchcock's treatment of women is at an all time low. Constance is dismissed repeatedly throughout the film, as not being capable of clear, intellectual thought because she is in love. Before she falls in love, she is dismissed as a cold fish, incapable of feeling, and her femininity is challenged. There is therefore no middle ground left. Despite the inherent sexism of the film, the story is captivating. We soon find out that Edwardes is not who he claims to be. He is in fact an imposter, who has no idea who he really is. Suffering from amnesia, he is impersonating the real Edwardes, who is assumed to be dead. The intrigue is kept high, and we are never certain whether the man, called J.B. after initials found on a cigarette case he found on himself, is a killer or not. Constance, going against reason, decides to help him. Despite evidence to the contrary she will not believe that a man she loves is capable of murder. Spellbound is a good mystery, with entertaining characters, which keeps you guessing until the end. What I found surprising in this film is that everyone in it is so refreshingly smart. Unlike in other mystery/suspenses, the audience never knows more than the characters, and we are kept on a level playing field. While far from Hitchcock's best, Spellbound is much too overlooked. The film has a dazzling dream sequence crafter by surrealist Salvador Dali, good story, but more importantly it shows greater insight into the man behind the camera, Hitchcock himself.

976.          Spellbound

Spellbound

In the film Spellbound Dr. Murchison, the head of Green Manors mental asylum, is retiring to be replaced by Dr. Edwards, a famous psychiatrist. Dr. Edwards arrives and is immediately attracted to Dr. Constance Peterson. Nevertheless, it soon becomes apparent that Dr. Edwards is a paranoid amnesic fraud. He runs from the police and Dr. Peterson is compelled to find and help him remember what happened to the real Dr. Edwards. Spellbound was not a film noir. Crime and detection wasn't viewed in a dark and urban environment. The only part that was dark was when Dr. Peterson and the fraud Dr. Edwards where on the train to Rome, Georgia. Dr Peterson was trying to pry memories out of him. I admit that John Ballantine was a bit cynical, but only when he was trying to remember what had happened to him. Otherwise, he was very friendly and sociable.

High contrast lighting was used once, that I noticed. It was used when Dr. Peterson and Dr. Brulov where analyzing "Dr. Edwards" dream. They figured out why he was scared of white with black lines. Then they showed a picture of the outside where it was snowing and there were sled marks in the snow. Even though I don't recall any low camera angles, I do know that they had deep focus on that same shot.

The hero in this film was Dr. Constance Peterson. She was not ruthless and greedy and neither was the assumed criminal. Dr. Peterson was disillusioned because of her love for John Ballantine, but it destructed her sight of logic not her sight to see that John was a criminal. She was but wasn't alienated from society. The society that she knows is the people she works with, but since she works in a mental asylum she is alienated from "normal" society. Dr. Peterson works against the police only to find out what actually happened to the real Dr. Edwards, but she is not a suspect to the crime. Personally, I wouldn't call her psychologically wounded or morally ambiguous, just hard headed. Since she is a woman, I don't think she could be destroyed by a femme fatale. Some of ideas of a film noir are in Spellbound, but not enough to make it a film noir. There was only one death throughout the entire film and the viewer never even got to know him. It was not as dark or as mysterious as the other films our class has watched. The film was very bright considering its plot, but the plot wasn't harsh enough to call it film noir.

977.          Spielberg as a contemporary director

With a classic hit like E.T the Extra- Terrestrial (1982), Jaws (1975) and other box office smashes like the series Indian Jones with Harrison Ford (1981-1989), there is no doubt in my mind that Steven Spielberg is one of the most influential persons of today, and in Hollywood one of the most wealthiest and best know filmmakers in the world.(St. James Press)

Steven Allan Spielberg was born in Cincinnati to a Jewish family on December 18, 1946.  Arnold his father and Leah his mother were anxiously awaiting his arrival.  His father was an electrical engineer and his mother a classical pianist, due to his father's job they often moved around from Ohio to New Jersey and then to Scottsdale Arizona were they spent the next seven years.  Spielberg attended college at Long Beach University, but soon dropped out to pursue his dream of making movies.  He started work as an assistant on the classic western "Wagon Train", and soon directed "The Last Gun" (1959), "Battle Squad" (1961), and then "Escape From Nowhere," staring his sister Anne Spielberg (1961).  Through the next few years Spielberg directed a couple of movies that would be foretelling of his future career in filmmaking.  A movie called "Firelight," came out in 1964 and it was aliens invading a small town, which some critics say is very similar to "Close Encounters of the Third Kind" (1977).  There was also an unfinished movie entitled "Slipstream," but it was never completed.  Many of Spielberg's early films take place in a desert or at least feature one at some point during the film.(Yevlar)  A production company named Amblin hired Spielberg and he soon produced "Duel," (1971) a unique and classic TV series with Dennis Weaver.  Today the series is still baffling many critics and that is why it's considered a classic.  In the early 1970s Spielberg was directing TV shows like "Marcus Welby, MD". (1969), Rod Serling's "Night Gallery" (1970), and Columbo, and that's just a few.  All of Spielberg's early productions and TV shows were just the beginning, he was just getting started and would soon release his chart topping movies such as "Jaws" (1975), "Indian Jones: Raiders of the Lost Ark" (1981), and "E.T. the Extra Terrestrial".  With three groundbreaking special effect movies back to back he led the way for uprising entertainment.(St. James Press)   Spielberg was the first director to use product advertising, for example a name brand company or food product would appear in his movies and he would receive funding in return.  This type of advertising or "placement," as they call it in his movies, would help to earn a little extra, in E.T. he used and promoted Rieces Pieces.(Matlin)   Now in almost every movie you will see "placement" is a big part, perhaps even a few times.  Today it's accepted but back in the 1970s it was unheard of.  Major companies like Cocoa Cola and Pepsi spend big money to have their products in Spielberg's movies now.(Matlin)&lt;Tab/&gt;

Steven Spielberg has a very impressive line up of movies, he wrote the book, "The Sugarland Express," and later turned the story into a picture film.  The script was based on a true story that took place in Texas of 1969, however, the book and following movie made the story line seem to unrealistic.  The  story is about a couple Lou Jean and Clovis Poplin and their race with the law.  Lou Jean convinces her husband Clovis to break out of jail and find their son that was put into a foster home after he was convicted.  Spielberg makes the Poplin couple out to be a regular Bonnie and Clyde that people crowd into the street to cheer them to victory.  It was no surprise that the movie did

poorly in the box offices because of the lack of integrity is sustained.  Spielberg went for cheap jokes to get a laugh from his audience and in turn sacrificed what could have been a great story line.  At the end of the movie Clovis is made to look like a fool when he listens to his wife and gives into the police, which in turn shoot him.  The joke is on Clovis because Lou Jean spends a little over a year in jail and then continues her life raising her son.(Farber)   The movie just lacked good content and if I wanted to see a movie like that I would have rented "Dumb and Dumber."

&lt;Tab/&gt;The story line for "Jaws" was originally a novel written by Peter Benchley, which he later turned into a screenplay.  In filming the actual movie the film went way over budget due to the expensive constructions of numerous mechanical sharks.  When one of the sharks sank to the bottom of the Atlantic off the shore of Martha's Vinyard the possibility of the movie almost sank with it.  The movie's original budget of $3.5 million ended up costing six million dollars when everything was said and done.(Meachum)  Spielberg took a natural human fear and put it into the minds of everyone who watched the film.  Suddenly it seemed like your chances of getting attacked by a shark were great if you set foot in the ocean.  However Spielberg had to have done something right because the movies grossed over one hundred million in it's initial run. Spielberg set a record for the highest grossed film in history until George Lucas broke the record with his film, "Star Wars."(Mott p.53)

One of Spielberg's most successful accomplishments are a film called E.T. "Spielberg wanted space" A creature that only a mother could love.  I didn't want him to be sublime or beatific-or there'd be no place to go in the relationship.  The story is the beauty of E.T.'s character." (Meachum p.64)  The story is about E.T. the extra terrestrial who is abandoned by his spaceship on earth and befriended a young boy named Elliot.  Elliot needed a friend that he had things in common with and E.T. could give that to him.  When Elliot was scared, E.T. was scared with him and when E.T. got sick Elliot became ill as well.  Some critics believe that E.T. resembles  the Christian story, "A Visitor From Another Realm," that was sent to save humanity.  There are at least 33 similarities between E.T. and "A Visitor From Another Realm."  Some similarities that E.T. remained hidden throughout the story and also bonded with little children.  At the end of the movie E.T. returns to the sky his home as does Christ according to the Bible.  This movie is one of Spielberg's more slowly, natural flowing movies because it moves at the same pace as the characters emotions.  "Spielberg&#8230;merely makes the assumption that we are not alone in the universe and whatever is out there in space is not necessarily hostile to human kind."(Mott p.126)

&lt;Tab/&gt;    Spielberg also started a series, "The Adventures of Indiana Jones" with the first installment being titled, "Raiders of The Lost Ark."(1981)  It was about a hero archeologist on the quest for another good find that would land him Pandora's box.  The Ark is the major goal of the adventure and it's not until the end that he finally gets his hands on it.  Spielberg likes to give the characters in his movies some type of prize or goal to go after, but they don't achieve it until the end of the movie.  Spielberg likes to leave the underlying message of the film to be revealed at the very end of the movie.  "Raiders of the Lost Ark," took place in 1941 and Jones is racing Nazi Germany for the lost ark to keep them from being able to control the world.  The next installment of Indiana Jones was, "The Temple of Doom" in 1984.  Some critics say that it didn't live up to its predecessor because of its controversial violence.  "The Temple of Doom" was a Paramount picture and unlike "The Raiders of The Lost Ark," it was more dynamic and fast pace as if Spielberg was trying to keep the audience from becoming bored.  A Newsweek reviewer, Jack Kroll claims, "Spielberg has gone to such lengths to avoid boredom that he has leaped squarely into the opposite trap: this movie has such unrelated action that it jackhammers you into a punch-drunk stupor."(Mott p.102)  Temple of Doom changed Spielberg's light, family movie image to a more violent, action packed one.

&lt;Tab/&gt;Through imagination and hard work Spielberg has brought forth some of the most exciting and popular movies of all time.  I chose Steven Spielberg because of his influential movies.  There are a few movies I did not get to mention like "Saving Private Ryan" and "Band of Brothers" both of these films are about soldiers in World War 2 and have had a great impact on my life.  My grandfather was in WWII and now that I have seen some of what the men had to go through by the realism of his work, I am proud of my family and the fact that I serve in the military today.  Most of Spielberg's work, keeps you by the hip till the very end were there an introduction to the antagonist awaits.  In "Raiders" the Ark is not opened to the end, In "Jaws" you never see the jaws of the shark till the end.  I think Spielberg chooses this approach because you know the audience will stay for the whole show.  Spielberg has inspired us all with his children movies and action films, showing us he is capable of producing and directing anything.

978.          St Marks vs Notre Dame

St. Marks vs. Notre Dame

St. Mark's Cathedral, built in 829AD, contains a plethora of different architectural and sculptural influences from throughout the centuries.  Although it was built in the Byzantine era its style is rooted in the traditions of the Roman Empire (Demus). St. Mark's giant vaulted ceiling contains five large timber frame domes which each rest on a group of four piers. One large central dome is surrounded by four smaller domes in the pattern of a Greek cross (photo).

In order to support the base of the largest dome, four pendentives, or spherical triangles spring out from the corners and are locked into a square formed by four huge arches.  These pendentives are used to create a smooth transition between the spherical shape of the dome and the square layout of its base.  This architectural solution was perfected during the Byzantine era and can be seen in many churches (Demus). Each of the domed regions forms its own, separate Greek cross, yet each of the smaller areas is interconnected with the entire building.  Arched openings bring the viewer's eye evenly and smoothly throughout the interior of the church as no area is compartmentalized from the rest. The ceiling of the church is dome in a style which gives it the illusion that it is floating in the air due to the use of giant archways resting on smaller piers (Demus).  The lightened visual effect is typical during the Byzantine era and is still an awe-inspiring artistic feat today.

This style of "hanging" architecture is amplified by the sheets of polished marble and mosaics that decorate the inside of the church.  The decorations are a collection of art throughout the ages, brought in from the world by trading ships (Yarwood).  The mosaics and inlaid marble on the floor have a rolling, wave-like pattern which recedes over them due to the constant settling and flooding in piazza San Marco.  These beautiful decorations personify the image of the Catholic Church and its use of godly décor.

Notre Dame Cathedral in Paris was built in the High Gothic era and uses a ribbed vault to create its magnificent vertical style (Yarwood).  The exterior of the cathedral has large towering buttresses which are the ribs (hence, ribbed vault) that create support for the vaults and keep the church from collapsing.   Instead of harnessing the force of the Church wanting to collapse inwardly, such as in St. Marks, Notre Dame Architects needed to control the outward thrust of the Church walls which wanted to collapse outward.  Since the outward thrust of the vaults created much pressure of the areas where the ribs begin and adds to the downward force of the pointed arches, flying buttresses were used on the outside of the building to counteract this pressure.

Notre Dame Cathedral varies greatly from that of St. Marks not only in it's architectural style, but in it's presence as well.  While both have a towering magnificence while viewed from the front where the main entrance is present, it is Notre Dame which can be viewed from 360 degrees and completely appreciated in its Gothic style.  St. Marks on the other hand is only meant to be viewed from the piazza or the Basilica, which can only give you a frontal or aerial view.  Unfortunately this makes it impossible to view the powerful shape of the building from the exterior.  Perhaps this is why the interior and entrance are so heavily decorated with trinkets from around the world, such as the four bronze horsemen brought from ancient Greece which tower over the public from the tops of the entrance archways.

St. Mark's large cross shape creates a different atmosphere from the interior than in the Notre Dame.  While the former has a variety of intricate spaces from which the eye can move through, the latter is mainly one large open area and does not follow the Romanesque 'Greek cross' style (photo).  The interior though, does not lack character in its use of space.  The openness of the cathedral and patterns of its vaulted ceiling exemplify the feeling of an upward presence. Each of the churches manages to captivate its audience through different architectural tactics, yet both still serve one purpose as a place to give praise and warship. Notre Dame towers over its views with forbidding towers, while St. Marks uses an intricate myriad of features to pull one in from the outside. While each is unique in its own way, they both still stand today with all the elegance and splendor of the time they were built.

1) http://www.greatbuildings.com/buildings/St_Marks.html

2) Otto Demus. The Church of San Marco in Venice. Washington, D.C.: The Dumbarton Oaks Research Library and Collection Trustees for Harvard University, 1960. NA5621.V5D4

3) Doreen Yarwood. The Architecture of Europe. New York: Hastings House, 1974. ISBN 0-8038-0364-8. LC 73-11105. NA950.Y37. aerial perspective drawing, f208, p102

979.          Stairway To Heaven

Stairway To Heaven

In the first verse the writer talks about a lady who is buying him a present. If she gets the right thing than he will be happy and it would be heaven. If she doesn't get the right gift, than all she has to say is one thing and he will forgive her. The second verse says that he wasn't clear about what he wants for the gift so she gos to a store by a brook. The store sells sculptures of the forest and she finds a singing bird clock, (cookoo clock). In the third verse he writes about his neighbour having a fire in the bush and he sees the smoke rise from the trees. He thinks about leaving to go see what his neighbour is doing when he hears the guy call out to him. In the fourth verse he says that his neighbour is a member of his band he thinks about them singing back there and the tune singing through the forest and then they laugh about it. In the fifth verse he talks about himself having trouble in the band. The "spring cleaning" means that he is just getting himself organised and finding what it is he is supposed to be doing with his life. If he has any trouble he can either quit the band and find a new one or just fix the problems in the one he has now. I think the sixth verse talks about his struggle with drugs. The "whispering wind" means that talking to someone about it will solve the problem. The last verse says that you will always find your soul mate and everything will turn out even in the worst of times. This is your stairway to heaven.

980.          Stand By Me

Stand By Me

The movie Stand By Me is based upon a novel by Steven King. It doesn't have the same eerie feel as some of his other books and is generally a more serious movie. It takes place in the small town of Castle Rock, Oregon. It is the middle of the summer in approximately the early 1960's. The kids are bored and that is the setup for their adventure to go find a dead body in the woods.

The main role of Gordie LaChance is played by Wil Wheaton. He is having trouble in his life at this time because he just lost his brother and his parents are having a very difficult time dealing with it. Chris Chambers was played by River Phoenix. Chris is considered a loser because of his family and everybody thinks he will do nothing in life. Through it all, the group of kids looks up to Chris and he is admired by them. The role of Teddy Duchamp is played by Corey Feldman. Teddy has a difficult time in life largely because his father was very mean to him before getting thrown in an insane asylum. The lack of discipline shows in that Teddy has a serious problem staying in control. He is always going crazy and his behavior presents a problem more than once to the group. Vern Tessio is played by Jerry O'Connel. He is the short little fat kid that remains a constant pest throughout the movie. Together the for kids embark on a trip through the woods that will be a challenging adventure for them all. Over the course of the movie the group has problems with individual group members, they have to work as a team, and leadership roles emerge.

In any group, dealing with difficult group members is vital to the group's success. Stand By Me has three different types of difficult group members that cause problems in their own way.

Vern is probably the most difficult member to deal with. He would be characterized as a blocker. He thwarts the progress of the group, opposes much of what the group attempts to accomplish (Rothwell 145). Throughout the movie he tries to get the group to do other things. Though he usually goes along with the group after some convincing, it definitely slows the group down. Right when they take off on the trip he begins to voice his opposition starting by complaining about why they are bringing the pistol. His character is further developed when he complains about having to walk the entire trip and says they should hitchhike. When they stop to get food and they flip a coin, they get all tails. Vern whines that it means they are all doomed and should go back. Vern also slows the group when he refuses to go into the woods away from the tracks towards the trail. He then plays the role of backseat driver (class notes) when they reach the swamp saying, "I told you we should have kept following the train tracks". Vern hindered the development of the group. While they could have been devoting time to the task at hand, they had to spend time helping him with trivial things like dealing with him being scared when they are in the woods. While Vern slowed the group by challenging many of the group's ideas, Teddy presented a much different challenge to the group.

Teddy is described in the beginning as being reckless and wild. He holds to that description right in the beginning with two crazy incidents. When they leave in the beginning and are walking on the train tracks, Teddy goes a little bit nuts and says he is going to dodge the train. It takes the entire group to pull him away from the train tracks before the train comes. Teddy also becomes difficult when the run away from the old man in the junkyard. When the old man calls his father "looney" Teddy flips out. He starts kicking and punching even though he's on the other side of the fence. This remains a problem with the group because they have to spend time comforting him before they get back on the road again. On more then one occasion Teddy got in small fights with almost all of the different group members. For that reason he might be called a Fighter-Controller by Rothwell (145). Teddy hinders group development by forcing the group to devote time and effort to control his behavior.

Chris remains one of the leaders, but even at times presents a problem to the group. He has a very tough attitude and almost gets his eye burned out in the beginning trying to stand up against bigger, tougher kids. At the end of the movie he almost get attacked with a knife for mouthing off to a the same group of kids, but Gordie bailed him out. By standing up against difficult group members Gordie really showed his leadership skills.

Successful groups almost always have leaders whether it is the President of the United States or John Elway of the Broncos. In the beginning Gordie said how Chris Chambers was the leader of the group. Whether he realized it or not; he himself was the actual leader. Gordie provides strong leadership for a group that needs it. Through the movie it is demonstrated that he is a competent, respected leader in the group of four boys.

In the beginning Gordie starts out by planning how they are going on the trip. He devises a way for them to go without getting in trouble and the group immediately endorses him as their leader. The group will reinforce the bid of that member perceived to be the most skilled (Rothwell 145). The group shows that they look up to Gordie when they are sleeping in the woods. They are all scared and ask Gordie to tell them a story. Chris confides in Gordie when he tells him the truth behind what happened to the milk money. It is a typical characteristic of leaders to have other group members to confide in them. A good example of this is when people have a problem, they often go to their parents or boss to seek resolution. In perhaps the most dramatic scene in the movie, Gordie shows his leadership for the group by pulling out the handgun and firing a shot in the air. He makes Chris's attacker back down when he finally realizes that he means business. A good leader stands up for his group. Gordie stood up for his group in the toughest of circumstances, and risked having to kill a person. Gordie helped exemplify exceptional teamwork.

One thing that keeps the group on track is the way the work together in times of peril. Cooperative intergroup relations (teamwork) will increase the level of task satisfaction and performance (Van Oostrum 272). At first glance, the kids do not appear to be much of a team. The hit each other and often pick on the fat kid. But when it gets down to crunch time they are there for each other. When Gordie gets the hat his brother gave him taken away, Chris jumps up, ready to protect his group member. The most important demonstration of teamwork comes at the end, when rather than back down to the big guys they stand their ground together. Another good example of teamwork occurs when they are crossing the bridge and the train comes. There is nowhere to go so they have to try to outrun the train to the other side. Vern falls, and it would have been easy for the others to keep going, but Gordie stops to help him get up and together they make it across the bridge in time.

Overall the group's teamwork contributed to the overall success of the group. Had they not worked together they probably wouldn't have made it all the way to the dead body and surely would have had problems dealing with the gang of older kids.

As you can see the four kids in this movie matured a lot through such a complicated circumstance at the end of the movie. You can ask anyone who has ever pulled a gun or had a gun pulled on them; it changes your life and everyone around you. No matter what anyone says, you are a lot different after your life (or another's) has been placed in the hands of others. The boys not only matured a lot, but leadership roles emerged. It became obvious that Gordie was a leader in the group less than halfway through. And as groups tend to do, they relied on his leadership more and more until the end. The group was faced with the additional challenge of dealing with difficult group members. But the group discovered the concept of synergy when they found if they stuck together and used teamwork, they are a lot stronger unified than individually.

The leadership in this movie was provided primarily by Gordie. He didn't melt in times of pressure. The group liked him and looked up to him. In the movie Gordie had to deal mainly with two types of difficult group members. Vern was a backseat driver and Teddy had trouble controlling his behavior. Gordie would be considered a leader because he is more likely to direct other group members (de Souza). Gordie's efforts were combined with the group's to show that when working cooperatively, they achieve goals more often, and more effectively (de Souza).

981.          STAR TREK THE NEXT GENERATION

Star date: 41176.8 Captain's log.

This is my (Captain Jean-Luc Picard of the U.S.S. Enterprise #NCC-17O1 D) account of the events leading up to and beyond the Federation and Romulan war (2380-2385 AD).

Star date: 32851.2:  The Enterprise received a distressed call from a fleeing scout ship.

SOS... I am ... under ... attack!!  request ... asylum ... Federation ... Space!!..

The ship was pushing the limits of its engines as it hurtled out of the neutral zone -- the volume of space that serves as a no-ones-land separating the United Federation of Planets and the Romulan Empire.  A powerful Romulan warbird was mercilessly firing wave after wave of disrupter blasts at the small defenseless scout ship.  Once the scout was in Federation space,  the warbird broke off the attack and quickly retreated back to Romulan space.

We hailed the ship and found out from her captain that he was alone.  His name was Shaq,   captain of the Check Mate. He claimed to be a Romulan captain in search of Federation asylum.  I had never heard of such a thing; in Romulan society,  loyalty to the Romulan Empire is more sacred than life itself.  In any event,  I was certain that we would learn a lot more during the next few days.

Star date: 32851.5:  Captain Shaq claimed that he was defecting in order to prevent intergalactic war.  He told us that the Romulan Empire has plans for an abominable new weapon for use against the Federation and any others who might dare to resist total domination of the Romulans.  The weapon,  called the Metagenic Device,  would be launched from orbit to any planet and release a deadly virus throughout the planet's atmosphere.  The virus would then quickly infect all forms of life and cause fatal mutations in the DNA of its victims.  Within twenty-four hours,  all life would cease.  Within thirty-six hours,  the virus itself would break down  becoming inviolable, leaving the planet's resources free for plunder.

At this time we did not know if we should trust Captain Shaq,  so I decided to send an away team to investigate his ship and its computer record.  As I was ordering my number 1 officer, Commander Riker,  with the away team over to the Checkmate,  Shaq warned me against such action claiming that he had initiated a self-destruct sequence before leaving his vessel.  Seconds later,  the scout ship exploded.  We immediately questioned Captain Shaq as to why he  initiated the self-destruct.  He replied,  that though he wanted to prevent the war,  he was no traitor and would not willingly give up the secrets of his people.

Star date: 32854.5:  After two days of deliberations,  we are heading for Romulus -- the home planet of the Romulan Empire.  According to Shaq, the Metagenic weapon was being

created there.  We have no choice but to start a war to save the federation.  I have convinced captain Shaq that he is a defector and now a prisoner of war as well.

Star date: 32855.5:  We are at Wolf System 9 on the border where we joined a Federation battle fleet.  We are going to Romulus in hopes of destroying the Metagenic Device.  Regrettably history showed us as being the aggressor of this war.

Star date: 32857.5:  After a two-day campaign,  we where victorious at Romulus.  With a loss of only 1 ship out of 6, that's not too bad.  But we lost over 1,000 lives,  the Yorktown, and even with the victory all is not well.  We where not able to find the Metagenic Device that Captain Shaq had so desperately wanted us to find and destroy.  I had so many lingering questions in my head that only Captain Shaq could answer for me,  so I sent for him at the Federation P.O.W. camp on Elpsolon 9.  Soon after I sent for Captain Shaq the Federation sent new orders with 5 more ships to add to the fleet.

Star date: 32858.0:  With the new orders we now know that the Federation wants us to launch an extended large scale assault against the Romulans.  The Federation needs this mission to be a success,  because eventually when the time is right they want to establish a starbase deep in Romulan space.  That would greatly shift the power in the quadrant,  towards the Federations way.

Star date 32917.4:  It's been 6 months since my initial encounter with Captain Shaq.  We now have the controlling power in the quadrant, and we are able to keep control of the quadrant  with the help of our new starbase D.R.S.6--DEEP IN ROMULAN SPACE IN 6 MONTHS.  With an up and running starbase that has a fleet of 10 ships,  if the Romulans want us out of here they are going to need some help.  But according to Federation Intelligence they may just have that.

Star date 32920.8:  Federation Intelligence has told us that the Romulans are trying to form an alliance with the Cardasens-another powerful revile race.  The Cardasens are know for their powerful armies.  If the alliance does go through, the Federation will be destroyed in a matter of time.  So we thought it was time we get some help from the our good friends the Klingons.

Star date 32918.9:  The Federation has sent new orders.  We are to separate the Enterprise,  and the drive section is to stay here and lead the war under the command of Commander Riker.  In the mean time  the saucer section and I are to go the Klingon's home planet-City Alpha 5 to formally ask the Klingon High Console-a party that controls the government-for any help it can provide.

Star date 32963.0:  Just as I was headed out for City Alpha 5,  I received word from Federation Intelligence that our operatives are hearing repeated rumors about Captain Shaq.  That he was used as a pawn in a plot to get the Federation to start a intergalactic war.  One more disturbing rumor is that Captain Shaq was ill, and his illness caused him to become insane.  His insanity would first turn him into a habitual lire, and then he would start believing himself, and

then symptoms would get worse, and he would become paranoid.  Then the last symptoms of his rumored illness called marit,  would force him to kill himself.  Regrettably sense the illness is incurable, if Captain Shaq has it, he will die, and the only way to be absolutely sure if he has it is to test his body after his death.

Star date 32919.7:  We had arrived at City Alpha 5.  I had to go work to ameeditly, and time was running out quickly.  I asked to talk to the leader of High Console-Gallron.  The ship ride was the easiest part of the trip by far.  I should have known that they would not give help for free.  After 8 hours of negotiating, we hammered out a deal.  Once the our alliance wins the war,  the Klingons have all rights to the Cardasens and to the Cardasen space.  All I ask for is full military support,  and when we win that, they don't kill their Cardasen P.O.W.s.  They agreed to just enslave them all and kill the Cardasen military leaders.  I had no choice but to live with that deal the Federation will need help.

Star date 32922.4:  The Enterprise is now together, and we have learned that Gallron wasted no time.  He launched a full scale assault on the Cardasens.  He hit them hard, and he hit fast.  Within hours of our negotiating he launched assault using 90% of the Klingon military.  We are not yet sure if he will win.  The Federation ordered us to hold off on all assaults until they send word to D.R.S.6 on how Gallrons forces are doing,  and if they need help or if they will be joining us soon.

Star date 32933.7:  We have received word from the Federation that Gallrons Klingon forces won.  With an 85% win rate,  and with some loss.  From the report that Gallron gave the Federation, he won in just a few days.  I guess he caught the Cardasens with their pants down.  Gallron will meet us at D.R.S.6 in 3 days with a fleet of 25 Klingon warbirds.

Star date 32936.1:  Gallron and the Klingons arrived 3 hours ago,  and we have planed out hopefully our first and last assault together agents the Romulans.  I was given the honor of devising are military strategy.  It is really simple plan, we are going to brake the Klingon and Federation battle fleets into two, so we will have in total 4 small scale battle fleets.  We named the 4 fleets. The Klingon fleets are called the Gallron and the Alpha Flight, and the two Federation fleets are called the Democracy and the Evolution.  If all goes well all we need to do is box the Romulans in.  We launched what I call the Picard Jack-In-Box Strategy in less then 23 hours.

Star date 32937.1:  All is not well we hit a snag with my Strategy.  The Cardasens made a surprise attack on the Gallron fleet and destroyed all 13 ships,  including Gallron's ship.  With the death of Gallron the Klingon leader, it will be near impossible to control the last remaining Kilngon battle fleet,  Alpha Flight.  I now have even a bigger problem than the loss of the fleet.  The box had collapsed, and when there was an opening,  the Romulans and the Cardasens escaped

through it and now they are headed for earth ( the heart of the Federation ) with the Metagenic Device.  I can't help but be afraid for all those life forms, over 20 trillion life forms that live in the Earth's Solar System.  There are 9 trillion life forms on Earth alone.  If the Romulans and the Cardasens launch the Metagenic Device, it will be a disaster, and there is not a thing I can do about it.

Star date 32939.1:  We are in pursuit of the Romulan and the Cardasen battle fleet.  At worp 9.9,  we are pushing our engine to it's limits. Their fleet has a 3 hour jump on us.  After the loss of the Gallron fleet I ordered all the remaining battle fleets to regroup and restrategize.  While we were doing that, they headed for Earth .  I hope the planetary defense systems in Earth's Solar System can stop or hold them off,  just In tell we can get there.  But realistically,  I don't think they can do it.  If there is a God, I hope and pray that he will be with them on this day.

Star date 33030:2:  We arrived just in time Earth's planetary defense systems where able to hold the Romulan and the Cardasen battle fleet.  It looks like they were only able to launch the Metagenic Device at two planets: Jupiter and Saturn.  After a gruesome battle and war it is all over.  The Federation now has the controlling power in the quadrant, but at what cost?  At the last battle we lost a few ships with a lot of good people on them.  It will take some time to find out how many life forms were killed on Jupiter and Saturn.

Star date 33045:8  It's 12 months later, and the 1st anniversary since the end of the Federation and Romulan war, and it's getting harder to get use to the quadrant.  Two months ago the Federation released a statement saying about 4 trillion life forms died on Jupiter and Saturn, and the Federation would start to recognize the planets and their moons.  I have a special interest in Saturn's moon Elpsolon 9.  Captain Shaq was still on the moon when the Metagenic Device was launched.  He died due to a war he tried to prevent,  but in turn he started it.  It is just as well that he is dead.  I do not know what I would say to him if I saw him.

It became official two days ago the Klingons closed their neutral zone to all Federation ships and Federation people.  Due to the death of Gallron the Klingon leader,  Klingons have developed hostile attitude.  Soon after the war, we honored our deal by turning over the Cardasens, and the Cardasen space over to the Klingons.  We know that they will not honor the deal, and they will kill lots of Cardasen people.  The Federation will not enforce any of the terms of the deal.  I can't help but feel that I have doomed a race of people to the living hell of enslavement.  I keep telling myself that at the time of negotiating the deal I had no choice.  The Federation needed the help of the Klingons.  But they helped us win the war, and without them we would not have won.  I guess we will have no choice but to live the deal.  And I guess the Cardasens will have to live with the deal for the rest of their life.

As for the Romulans we ceased all of their military and have control of  65% of their land.  The Federation worked out a deal with them saying that we will keep them safe from any race that may try to get a foothold on their land and that they can have free use of our Romulan land.  That part of the deal lets us keep a eye on them.  Now that the Federation has most of the Romulan land, and the Klingons have most of the Cardasen land, that makes us the Federation

and the Klingons the only two Super Powers left in the quadrant.  But for now at last all is well, and I can only pray that it stays that way.

982.          Star Trek

Star Trek - The Next Generation

Star date: 41176.8 Captain's log.

This is my (Captain Jean-Luc Picard of the U.S.S. Enterprise #NCC-17O1 D)

account of the events leading up to and beyond the Federation and Romulan war

(2380-2385 AD).

Star date: 32851.2:  The Enterprise received a distressed call from a

fleeing scout ship.

SOS... I am ... under ... attack!!  request ... asylum ... Federation ...

Space!!..

The ship was pushing the limits of its engines as it hurtled out of the

neutral zone -- the volume of space that serves as a no-ones-land separating the

United Federation of Planets and the Romulan Empire.  A powerful Romulan warbird

was mercilessly firing wave after wave of disrupter blasts at the small

defenseless scout ship.  Once the scout was in Federation space,  the warbird

broke off the attack and quickly retreated back to Romulan space.

We hailed the ship and found out from her captain that he was alone.

His name was Shaq,   captain of the Check Mate. He claimed to be a Romulan

captain in search of Federation asylum.  I had never heard of such a thing; in

Romulan society,  loyalty to the Romulan Empire is more sacred than life itself.

In any event,  I was certain that we would learn a lot more during the next few

days.

Star date: 32851.5:  Captain Shaq claimed that he was defecting in order

to prevent intergalactic war.  He told us that the Romulan Empire has plans for

an abominable new weapon for use against the Federation and any others who might

dare to resist total domination of the Romulans.  The weapon,  called the

Metagenic Device,  would be launched from orbit to any planet and release a

deadly virus throughout the planet's atmosphere.  The virus would then quickly

infect all forms of life and cause fatal mutations in the DNA of its victims.

Within twenty-four hours,  all life would cease.  Within thirty-six hours,  the

virus itself would break down  becoming inviolable, leaving the planet's

resources free for plunder.

At this time we did not know if we should trust Captain Shaq,  so I

decided to send an away team to investigate his ship and its computer record.

As I was ordering my number 1 officer, Commander Riker,  with the away team over

to the Checkmate,  Shaq warned me against such action claiming that he had

initiated a self-destruct sequence before leaving his vessel.  Seconds later,

the scout ship exploded.  We immediately questioned Captain Shaq as to why he

initiated the self-destruct.  He replied,  that though he wanted to prevent the

war,  he was no traitor and would not willingly give up the secrets of his

people.

Star date: 32854.5:  After two days of deliberations,  we are heading

for Romulus -- the home planet of the Romulan Empire.  According to Shaq, the

Metagenic weapon was being created there.  We have no choice but to start a war

to save the federation.  I have convinced captain Shaq that he is a defector and

now a prisoner of war as well.

Star date: 32855.5:  We are at Wolf System 9 on the border where we

joined a Federation battle fleet.  We are going to Romulus in hopes of

destroying the Metagenic Device.  Regrettably history showed us as being the

aggressor of this war.

Star date: 32857.5:  After a two-day campaign,  we where victorious at

Romulus.  With a loss of only 1 ship out of 6, that's not too bad.  But we lost

over 1,000 lives,  the Yorktown, and even with the victory all is not well.  We

where not able to find the Metagenic Device that Captain Shaq had so desperately

wanted us to find and destroy.  I had so many lingering questions in my head

that only Captain Shaq could answer for me,  so I sent for him at the Federation

P.O.W. camp on Elpsolon 9.  Soon after I sent for Captain Shaq the Federation

sent new orders with 5 more ships to add to the fleet.

Star date: 32858.0:  With the new orders we now know that the Federation

wants us to launch an extended large scale assault against the Romulans.  The

Federation needs this mission to be a success,  because eventually when the time

is right they want to establish a starbase deep in Romulan space.  That would

greatly shift the power in the quadrant,  towards the Federations way.

Star date 32917.4:  It's been 6 months since my initial encounter with

Captain Shaq.  We now have the controlling power in the quadrant, and we are

able to keep control of the quadrant  with the help of our new starbase D.R.S.6-

-DEEP IN ROMULAN SPACE IN 6 MONTHS.  With an up and running starbase that has a

fleet of 10 ships,  if the Romulans want us out of here they are going to need

some help.  But according to Federation Intelligence they may just have that.

Star date 32920.8:  Federation Intelligence has told us that the

Romulans are trying to form an alliance with the Cardasens-another powerful

revile race.  The Cardasens are know for their powerful armies.  If the alliance

does go through, the Federation will be destroyed in a matter of time.  So we

thought it was time we get some help from the our good friends the Klingons.

Star date 32918.9:  The Federation has sent new orders.  We are to

separate the Enterprise,  and the drive section is to stay here and lead the war

under the command of Commander Riker.  In the mean time  the saucer section and

I are to go the Klingon's home planet-City Alpha 5 to formally ask the Klingon

High Console-a party that controls the government-for any help it can provide.

Star date 32963.0:  Just as I was headed out for City Alpha 5,  I

received word from Federation Intelligence that our operatives are hearing

repeated rumors about Captain Shaq.  That he was used as a pawn in a plot to get

the Federation to start a intergalactic war.  One more disturbing rumor is that

Captain Shaq was ill, and his illness caused him to become insane.  His insanity

would first turn him into a habitual lire, and then he would start believing

himself, and then symptoms would get worse, and he would become paranoid.  Then

the last symptoms of his rumored illness called marit,  would force him to kill

himself.  Regrettably sense the illness is incurable, if Captain Shaq has it, he

will die, and the only way to be absolutely sure if he has it is to test his

body after his death.

Star date 32919.7:  We had arrived at City Alpha 5.  I had to go work to

ameeditly, and time was running out quickly.  I asked to talk to the leader of

High Console-Gallron.  The ship ride was the easiest part of the trip by far.  I

should have known that they would not give help for free.  After 8 hours of

negotiating, we hammered out a deal.  Once the our alliance wins the war,  the

Klingons have all rights to the Cardasens and to the Cardasen space.  All I ask

for is full military support,  and when we win that, they don't kill their

Cardasen P.O.W.s.  They agreed to just enslave them all and kill the Cardasen

military leaders.  I had no choice but to live with that deal the Federation

will need help.

Star date 32922.4:  The Enterprise is now together, and we have learned

that Gallron wasted no time.  He launched a full scale assault on the Cardasens.

He hit them hard, and he hit fast.  Within hours of our negotiating he launched

assault using 90% of the Klingon military.  We are not yet sure if he will win.

The Federation ordered us to hold off on all assaults until they send word to

D.R.S.6 on how Gallrons forces are doing,  and if they need help or if they will

be joining us soon.

Star date 32933.7:  We have received word from the Federation that

Gallrons Klingon forces won.  With an 85% win rate,  and with some loss.  From

the report that Gallron gave the Federation, he won in just a few days.  I guess

he caught the Cardasens with their pants down.  Gallron will meet us at D.R.S.6

in 3 days with a fleet of 25 Klingon warbirds.

Star date 32936.1:  Gallron and the Klingons arrived 3 hours ago,  and

we have planed out hopefully our first and last assault together agents the

Romulans.  I was given the honor of devising are military strategy.  It is

really simple plan, we are going to brake the Klingon and Federation battle

fleets into two, so we will have in total 4 small scale battle fleets.  We named

the 4 fleets. The Klingon fleets are called the Gallron and the Alpha Flight,

and the two Federation fleets are called the Democracy and the Evolution.  If

all goes well all we need to do is box the Romulans in.  We launched what I call

the Picard Jack-In-Box Strategy in less then 23 hours.

Star date 32937.1:  All is not well we hit a snag with my Strategy.  The

Cardasens made a surprise attack on the Gallron fleet and destroyed all 13 ships,

including Gallron's ship.  With the death of Gallron the Klingon leader, it

will be near impossible to control the last remaining Kilngon battle fleet,

Alpha Flight.  I now have even a bigger problem than the loss of the fleet.  The

box had collapsed, and when there was an opening,  the Romulans and the

Cardasens escaped through it and now they are headed for earth ( the heart of

the Federation ) with the Metagenic Device.  I can't help but be afraid for all

those life forms, over 20 trillion life forms that live in the Earth's Solar

System.  There are 9 trillion life forms on Earth alone.  If the Romulans and

the Cardasens launch the Metagenic Device, it will be a disaster, and there is

not a thing I can do about it.

Star date 32939.1:  We are in pursuit of the Romulan and the Cardasen

battle fleet.  At worp 9.9,  we are pushing our engine to it's limits. Their

fleet has a 3 hour jump on us.  After the loss of the Gallron fleet I ordered

all the remaining battle fleets to regroup and restrategize.  While we were

doing that, they headed for Earth .  I hope the planetary defense systems in

Earth's Solar System can stop or hold them off,  just In tell we can get there.

But realistically,  I don't think they can do it.  If there is a God, I hope and

pray that he will be with them on this day.

Star date 33030:2:  We arrived just in time Earth's planetary defense

systems where able to hold the Romulan and the Cardasen battle fleet.  It looks

like they were only able to launch the Metagenic Device at two planets: Jupiter

and Saturn.  After a gruesome battle and war it is all over.  The Federation now

has the controlling power in the quadrant, but at what cost?  At the last battle

we lost a few ships with a lot of good people on them.  It will take some time

to find out how many life forms were killed on Jupiter and Saturn.

Star date 33045:8  It's 12 months later, and the 1st anniversary since

the end of the Federation and Romulan war, and it's getting harder to get use to

the quadrant.  Two months ago the Federation released a statement saying about 4

trillion life forms died on Jupiter and Saturn, and the Federation would start

to recognize the planets and their moons.  I have a special interest in Saturn's

moon Elpsolon 9.  Captain Shaq was still on the moon when the Metagenic Device

was launched.  He died due to a war he tried to prevent,  but in turn he started

it.  It is just as well that he is dead.  I do not know what I would say to him

if I saw him.

It became official two days ago the Klingons closed their neutral zone

to all Federation ships and Federation people.  Due to the death of Gallron the

Klingon leader,  Klingons have developed hostile attitude.  Soon after the war,

we honored our deal by turning over the Cardasens, and the Cardasen space over

to the Klingons.  We know that they will not honor the deal, and they will kill

lots of Cardasen people.  The Federation will not enforce any of the terms of

the deal.  I can't help but feel that I have doomed a race of people to the

living hell of enslavement.  I keep telling myself that at the time of

negotiating the deal I had no choice.  The Federation needed the help of the

Klingons.  But they helped us win the war, and without them we would not have

won.  I guess we will have no choice but to live the deal.  And I guess the

Cardasens will have to live with the deal for the rest of their life.

As for the Romulans we ceased all of their military and have control of

65% of their land.  The Federation worked out a deal with them saying that we

will keep them safe from any race that may try to get a foothold on their land

and that they can have free use of our Romulan land.  That part of the deal lets

us keep a eye on them.  Now that the Federation has most of the Romulan land,

and the Klingons have most of the Cardasen land, that makes us the Federation

and the Klingons the only two Super Powers left in the quadrant.  But for now at

last all is well, and I can only pray that it stays that way.

983.          Star Wars and The Matrix in relation to the Heros Quest

"Nobody can be told exactly what the Matrix is; you have to see it for yourself."-Morpheus

"You must learn the ways of the Force, if you are to come with me to Alderaan."-Obi-Wan Kenobi

One character is played by one of Hollywood's strongest black actors; the other, by one of the elder statesmen of film. But Morpheus and Obi-Wan Kenobi have a lot in common.

Those similarities take place in the larger context of two hit films, both of which have been huge commercial successes that readily assume their places in popular culture. The Matrix and Star Wars both resonate with audiences for specific reasons, in ways that similarly-themed movies with less universal appeal do not.

The Matrix is not especially revolutionary in terms of presentation or storytelling, although the special effects are great, but it is well written, slickly produced, and often devilishly clever. It also has the same core element going for it that Star Wars did in 1977, it's a classic hero tale, the kind that appeals to the aspiring adventurer in all of us.

The hero tale generally follows a very linear path, one whose route was handily traced by Joseph Campbell in his classic book, The Hero with a Thousand Faces. Although Campbell is somewhat outdated, his outlook was highly influenced by Freud, and his work tended to ignore rather than discuss cultural distinctions in mythology His book is still valuable, both because it can tell us about hero tales and because it has influenced their twentieth century retellings. Campbell, heavily influenced George Lucas. Lucas apparently went through two drafts of the original Star Wars, before revisiting Campbell's book for inspiration and guidance.  It's likely that the makers of The Matrix borrowed from him as well.

The Hero's Call and Departure

Both stories begin with calls to adventure for their heroes into situations those heroes never expected; in fact, at the outset, neither Neo in The Matrix, nor Luke in Star Wars, has any idea what's going on. Neo, wakes up to a message on his computer that says "follow the white rabbit". Following the "white rabbit" leads him to a night club were he is approached by a mysterious, PVC-clad woman who hints that the world is stranger and more dangerous than he knows. Luke buys a couple of androids, one of which has a message that leads to the beginning of his adventure. This device of the potential hero being either sought out or roped into peculiar circumstances is a common one in heroic tales; frequently, the would-be hero is swept up into something that he initially appears to have nothing to do with.

Almost every time, the hero initially resists, even though what's coming to him is what he's waited for all his life. The Matrix even makes this explicit, in that, several times, Neo is told that he's right to think that the world is not what it seems. However, something always happens to convince the hero to change his mind. In The Matrix, Neo goes back to work and later finds himself edging around a window ledge at the direction of a mysterious voice on a cell phone. Unable to take the risk of plunging to his death, he instead allows himself to be taken into custody-where he finds a powerful incentive to believe what Trinity and Morpheus have been telling him all along. Similarly, Luke Skywalker initially refuses to go to Alderaan (and, it's implied, learn to be a Jedi) until he has no choice, because his family has been killed and there's nothing left for him on Tatooine.

The Initiation

A hero can't be a hero without an initiator. This is where the characters Trinity and Princess Leia come in. The fact that both of these characters are female is not entirely coincidence. Since the hero is almost always male and almost always young, the initiator is usually a damsel in distress scenario. Leia is sending a distress message to Ben Kenobi that says, "Help me Obi-wan, you are my only hope." This message intrigues young Luke. Likewise, Trinity approaches Neo with a puzzling notion that the world isn't real. Shortly, we find that she is in of Neo's help.

Nor can a hero be a hero without a mentor. Morpheus in The Matrix and Kenobi in Star Wars serve as teachers and guides, those who assist the hero in realizing their potential. Both movies contain many references to vision, potential, and an expanded point of view. Luke takes his "first step into a larger world," says Kenobi.  Neo goes through a dramatic "re-birth" process. At the end of having his atrophied body reconditioned, he wonders why his eyes hurt. "Because you've never used them," Morpheus explains. This comment has several meanings, for Neo's first use of his physical eyes comes with his understanding of the way the world really is. This sort of thing happens often in mythology, and wisdom is often related to eyes or vision. In Norse myth, Odin gives up one of his eyes in exchange for knowledge.

At the same time, the naive hero is cautioned not to accept everything he sees at face value. "What is real?" Morpheus asks, while Kenobi warns, "Your eyes can deceive you; don't trust them." The hero does well to take note of such cautions, for they are typically not bound by the same rules everyone else is bound by. Neo learns to hack the Matrix, bending its enforced reality to his will, and eventually comes to do it better than anyone else. By the end of the film, as Morpheus predicts, he doesn't need to dodge bullets...because he can simply stop them. Likewise, Luke is able to accomplish a task at which others have failed; after two veteran pilots attempt to blow up the Death Star and are shot down, Luke succeeds.

Now that the hero has acquired a quest and the knowledge, he needs to fulfill it. However, the lesson of the hero-tale is that these things are useless if the hero doesn't believe in himself. In The Matrix, the Oracle tells Neo that he isn't "The One," meaning the guy who's going to save humanity from an existence as a bunch of deluded batteries. It's implied, though, that this is because despite all evidence to the contrary, Neo doesn't believe it himself. As soon as he believes he's "The One" . . . he is. This occurs when suddenly confronted by a seemingly undefeatable agent, Neo takes a leap of faith and single handedly fights the agent rather than running. Similarly, it takes Luke awhile to believe that the Force actually works, and initially he still uses his targeting computer to aim at the Death Star's weak spot. Ultimately, though, he makes the same leap of faith. And since this is a hero-tale, not a tragedy, they both succeed.

The Return

Neither of the heroes is without need of help though. In both stories they are aided by different and distinct characters at critical and life threatening moments. Luke is on the verge of being shot down by Darth Vader, just before he destroys the Death Star, when he is saved by a shot from Han Solo in his Millennium Falcon. Neo is keep from being killed by an agent, when Trinity shots the agent in the head.

At the end of both movies we are presented with events that signify the victory of the heroes. Luke is given a medal at a grand ceremony for his help in defeating the Empire. Neo makes a phone call to the machines with a threat that seemingly gives the machine a moment of pause.

Elements of Distinction

Of course, the two movies aren't identical. Although they share a theme regarding the dangers of technology, The Matrix is by design much closer to our own world. Although Morpheus, Trinity, Neo and the others are waging a war against A.I. run rampant, the creators of that AI were their own ancestors. Star Wars is decidedly less complex, and doesn't bother to give us much back-story; the Rebels are good and the Empire's bad, and that's just the way it is.

Also, while Star Wars has arguably influenced the way an entire generation thinks about morality, ethics, and religion, The Matrix is far more explicit in terms of the kind of worldview it advocates. The first thing anyone says to Neo in The Matrix is in a message that comes to him via his computer: "Wake up, Neo." It so happens that the character is sleeping at the time, but this can also be interpreted as a reference to the fact that Neo, like most people in the Matrix, is unaware of the virtual reality that surrounds him. He needs to "wake up" to the real world and lose his illusions. This idea is very similar in nature to Plato's allegory The Cave. In this allegory humans are trapped in a cave and can see no light. They are unaware of the outside world and that there is a better place for them than inside the cave. A few do escape and come in to the light. When they do, they realize how much they have missed and cannot and will not return to the cave. Plenty of similar references are sprinkled throughout the film, particularly during Morpheus's lectures on the nature of the Matrix and of reality.

The Matrix is full of symbolic names like Neo, Trinity, and Cipher. For that matter, names in Star Wars have meaning as well; "Skywalker" is an epithet for Loki, though Luke isn't nearly as malicious as Loki is in Norse myth. The resemblance between "Darth Vader" and "Dark Father" has been noted on several occasions as well. But these symbols are, by and large, less specific in Star Wars than in The Matrix. Star Wars is a derivative of everything from Flash Gordon to the films of Akira Kurosawa, The Matrix is influenced by sources as diverse as the Neuromancer to Jean Baudrillard's Simulacra and Simulation to Buddhism and the Bible. Also, there is one more important difference between the two films: Star Wars looks back, while The Matrix looks to the future.

984.          Star Wars Essay

Star Wars: An Intergalactic Joyride

"Star Wars" is the highest grossing movie of all time.  It is also one of

my favorites.  It was released in May 1977 and re-released in a restored and

enhanced Special Edition just last month. There are many different criteria that

can be used to describe ŒStar Wars' appeal.  Gary Arnold and Edward Rothstein,

two movie critics who had the opportunity to review this great movie, explain

its appeal in very much the same way.  There is a difference though. Arnold

reviewed the original ŒStar Wars' twenty years ago and Rothstein reviewed the

recent Special Edition.  While they reviewed slightly different versions, they

both came to the conclusion that Star Wars is a great movie based on similar

criteria.  They judged ŒStar Wars' on its ability to draw on classic styles and

timeless stories to create something new and absolutely original.

The main factor in both of their positive reviews is the skill of writer

and director George Lucas to blend the old with the new.  They were both

impressed with his miraculously fresh configuration of many different themes

from classic film and mythic origin into a cohesive and entertaining movie. He

has achieved a witty and exhilarating synthesis of themes and cliches from the

Flash Gordon and Buck Rogers comics and serials, plus such related but less

expected sources as the western, the pirate melodrama, the aerial combat

melodrama and the samurai epic.  The movie's irresistible stylistic charm

derives from the fact that Lucas can draw upon a variety  of action-movie

sources with unfailing deftness and humor. He is in superlative command of his

own movie-nurtured fantasy life. Gary Arnold, Washington Post Staff Writer

Mr. Rothstein along the same lines as Mr. Arnold, mentions that Œthe plot line

of Star Wars follows the mythic archetechture outlined by Joseph Campbell in his

study of myth, "The Hero with a Thousand Faces," which has influenced Mr.

Lucas.'

Another aspect, unique to Rothstein's review of the new Special Edition but

not quite different from Arnold's assessment, is the way in which the movie

celebrates the past and not the future.  This aspect of ŒStar Wars', Rothstein

says, is what Œscreams out in opposition to the high-budget, high-tech, special-

effect spectaculars that it (Star Wars) spawned.'  This is where, Rothstein says,

that ŒStar Wars' gets its authenticity. The whimsical ramshackleness is actually

meant to be a sign of the heroes' authenticity: what is older is more powerful...

technology, when it appears in ŒStar Wars,' is evil, ghastly, massive and

brutish..."advanced" invention is most evident in the space ships of the evil

Empire. Edward Rothstein, Movie Critic, New York Times

This "ramshakleness" that Rothstein speaks of keeps the movie afloat by not

sacrificing the story for special effects.  The special effects complement the

movie, but do not carry it.  This is where Rothstein says that so many recent

movies have failed.  Arnold, unable to see into the future, was unable to

evaluate the movie in this way.  He hadn't the chance to see how badly Hollywood

would try to imitate ŒStar Wars', thinking its appeal lay more in its Œeffects

and quick jolts, rather than from the mythic significance with which they were

injected.'

Hollywood never grasped fully the lesson taught by ŒStar Wars'.  Both

Rothstein and Arnold believe that this lesson is what makes ŒStar Wars' so great.

They used the same criteria (the convincing story, admirable characters, and

the writer/director Lucas's skill as a storyteller) to come to a positive review

of the movie. Arnold summed it up in his closing "Lucas' use of old time

conventions and stories add to the movie in such a way as to create the unique

and fresh fantasy world that is ŒStar Wars'."

Works Cited:

Arnold, Gary.  "Star Wars: A Spectacular Intergalactic Joyride."

The Washington Post.  25 May 1977.

Rothstein, Edward.  "'Star Wars' Salutes a Brave Old World."

The New York Times.  31 January 1997.

985.          Star Wars Trilogy

The Star Wars Trilogy

The First of the three part series, Star Wars, is the tale of a band of heros who team together for the good of the universe and the money. The story begins as Princess Leia is held hostage by the Galactic empire in order to crush the rebellion against them. During the attack on Leia's ship two droids, R2-D2 and C-P30, escape through an escape pod. They landed on a foreign planet and were captured and sold to their new master Luke Skywalker. The Empire chases the droids because they have a secret map detailing the whereabouts of the rebel base.

As the empire searches for the map they destroy Luke's home. With no where to go R2-D2 leads Luke to Old Ben. One of the last Jedi Nights Ben takes Luke and the droids across the universe to The planet Orion on search of help. They meet Han Solo and Chewbacca who have a ship to get them there.

At this time in an attempt to get the co- ordinates for the Rebel base from the Princess Darth Vader, A  leader of the Empire, Destroy Orion with there new space station the Death Star. As Luke and Han Aboard the Falcon get near the old planet they are caught by the Death Star. Once in side they escape there captors and seek to escape the Death star. While doing this they find Leia and free her. Ben also find his long time student turned evil, Darth Vader, and fights to the death. Vader wins but Ben spirit remains with Luke. The others escape but the Empire has already found the location of the rebel base and are on their way to destroy it.

The heros flee to the rebel base to warn them and a last ditch attempt to destroy the Death Star is made. Luke is chased by Vader and Solo comes to the rescue. Luke destroys the Death star and wins.

The Second movie, The Empire Strikes Back, sees the return of all the characters from the previous movie. The rebel base is now on an ice planet. The Empire again attacks and the rebels flee. Leia, Solo, Chewie and the Droids find them selves stranded in the Falcon from the others and Luke heads out to find Yoda, Bens Master, and learn the force. The Falcon lands in a mining colony run by Lando Calrision. There they are caught by the Empire in an Attempt to catch Luke and turn him to the Dark Side. Luke has found Yoda and has a vision that his friends are in danger. He goes to save them against Yoda's warning and not knowing of the trap.

Solo is frozen and sent to Jabba the hut who he owes money. The others escape. Luke and Vader fight. Vader frustrated that Luke won't change cuts off his arm and jumps out to the waste shoot. There he hangs on to his life as he waits for the others to rescue him. While heading back to the rebel fleet Vader telepathically contacts Luke And tells him he is his Father.

The Third Part, The Return Of the Jedi, starts as Leia,, Luke, Chewie, Lando and the droids head of to rescue Han. After a Battle they kill Jabber and rescue Han. During this time Luke shows us his new skills. The others return to the fleet but Luke and R2-D2 go to Yoda. Once there luke sees Yoda die and is told that his father is Darth Vader and he has a sister, Leia. He then returns to the fleet who have dicovered the Empire has a new Death Star and the rebel will attempt to destroy it. To destroy the Death Star first they must destroys its shelds from the Endor Moon. Luke, Leia, Han Chewie and the Droids laed a team to do this. Lando takes the Falcon for the asult on the Death Star. While on the endor moon They are caputred by ewoks. They make friends with them and help them to fight the Empire. Luke tells Leia they are related and about Vader and surrenders himself to fight his dad and become a Jedi.

Luke goes up to the Death str and is confronted by the Emperor. Luke fights Vader but this tme he wins and cuts off his arm. Now knowing that he has lost the Emperor starts to kill Luke but Vader kills him to save his son. The other destroy the shield then the death star and Luke escapes leaving his father behind to finish dieing on the Death Star. The final scence shows all the main characters together with The Ghost of Yoda, Ben and Anikin Skywalker (Vader before he turned to evil)

986.          Star Wars

Star Wars: An Intergalactic Joyride

ŒStar Wars¹ is the highest grossing movie of all time.  It is also one of my favorites.  It was released in May 1977 and re-released in a restored and enhanced Special Edition just last month. There are many different criteria that can be used to describe ŒStar Wars¹ appeal.  Gary Arnold and Edward Rothstein, two movie critics who had the opportunity to review this great movie, explain its appeal in very much the same way.  There is a difference though. Arnold reviewed the original ŒStar Wars¹ twenty years ago and Rothstein reviewed the recent Special Edition.  While they reviewed slightly different versions, they both came to the conclusion that Star Wars is a great movie based on similar criteria.  They judged ŒStar Wars¹ on its ability to draw on classic styles and timeless stories to create something new and absolutely original.

The main factor in both of their positive reviews is the skill of writer and director George Lucas to blend the old with the new.  They were both impressed with his miraculously fresh configuration of many different themes from classic film and mythic origin into a cohesive and entertaining movie.

He has achieved a witty and exhilarating synthesis of themes and cliches from the Flash Gordon and Buck Rogers comics and serials, plus such related but less expected sources as the western, the pirate melodrama, the aerial combat melodrama and the samurai epic.  The movie¹s irresistible stylistic charm derives from the fact that Lucas can draw upon a variety  of action-movie sources with unfailing deftness and humor. He is in superlative command of his own movie-nurtured fantasy life.

Gary Arnold, Washington Post Staff Writer

Mr. Rothstein along the same lines as Mr. Arnold, mentions that Œthe plot line of Star Wars follows the mythic archetechture outlined by Joseph Campbell in his study of myth, ³The Hero with a Thousand Faces,² which has influenced Mr. Lucas.¹

Another aspect, unique to Rothstein¹s review of the new Special Edition but not quite different from Arnold¹s assessment, is the way in which the movie celebrates the past and not the future.  This aspect of ŒStar Wars¹, Rothstein says, is what Œscreams out in opposition to the high-budget, high-tech, special-effect spectaculars that it (Star Wars) spawned.¹  This is where, Rothstein says, that ŒStar Wars¹ gets its authenticity.

The whimsical ramshackleness is actually meant to be a sign of the heroes¹ authenticity: what is older is more powerful... technology, when it appears in ŒStar Wars,¹ is evil, ghastly, massive and brutish...²advanced² invention is most evident in the space ships of the evil Empire.

Edward Rothstein, Movie Critic, New York Times

This Œramshakleness¹ that Rothstein speaks of keeps the movie afloat by not sacrificing the story for special effects.  The special effects complement the movie, but do not carry it.  This is where Rothstein says that so many recent movies have failed.  Arnold, unable to see into the future, was unable to evaluate the movie in this way.  He hadn¹t the chance to see how badly Hollywood would try to imitate ŒStar Wars¹, thinking its appeal lay more in its Œeffects and quick jolts, rather than from the mythic significance with which they were injected.¹

Hollywood never grasped fully the lesson taught by ŒStar Wars¹.  Both Rothstein and Arnold believe that this lesson is what makes ŒStar Wars¹ so great.  They used the same criteria (the convincing story, admirable characters, and the writer/director Lucas¹s skill as a storyteller) to come to a positive review of the movie. Arnold summed it up in his closing ³Lucas¹ use of old time conventions and stories add to the movie in such a way as to create the unique and fresh fantasy world that is ŒStar Wars¹.²

Works Cited:

Arnold, Gary.  ³Star Wars: A Spectacular Intergalactic Joyride.²

The Washington Post.  25 May 1977.

Rothstein, Edward.  ³¹Star Wars¹ Salutes a Brave Old World.²

The New York Times.  31 January 1997.

987.          Steve Madden

The comically enlarged head on the woman draws the viewer's attention to this ad. She dares someone to take a closer look at what is going on. The large head could signify anything from "having a big head" about her appearance and herself to her being very intelligent. Having a "big head", she wants to be seen as assured and confident, maybe even a bit conceited. She knows that she looks good, especially with her Steve Madden boots on, which are also larger than her body but not as large as her head.

Her small frame rests upon a motorcycle in the middle of an urban scene. Centered in the page is the license plate of this confident woman's ride. The advertisers played with "Madden" phonemically, creating a personalized New York license plate for this woman. Placed to the left of "MAD.N.1" is the Statue of Liberty. One purpose in focusing on the license plate is to date this ad. Madden is not a designer that will be a "has been". The plate doesn't expire until 2001. Madden, is a true "All American" innovator. This is supported with the association of New York and its ever-current fashion scene.

The angle of the building in the background forces the viewer to look to the top of the ad. Placed at yet another angle, is the Steve Madden logo in the top right. The clear sky is promising a beautiful day. With the logo partially embedded in the building and partially in the sky, Steve Madden wants you to see that he knows where you're coming from. The "sky is the limit" with Steve Madden shoes, clothing and accessories. The only thing to stop you from accomplishing the look you have in mind is the limit you set upon yourself. Steve Madden products will help you attain the appearance you have always envisioned.

The woman in this ad does not look like she belongs in this setting. She is alone in a provocative Steve Madden outfit in a seemingly "bad" part of town. She is accompanied only by two of her dogs. The fact that the woman brings her dogs along with her on the motorcycle shows that she is unconventional and maybe even a bit eccentric. Despite all of this, she still looks comfortable in her surroundings. Steve Madden products look good anywhere all the time and so will the person who buys them.

The woman has a set of goggles on her head. The large dog to the right of her motorcycle is wearing goggles. The point in the goggles is to prevent things from irritating your eyes, which could prevent you from seeing clearly. The two of them are looking straight at you and seem to know what is going on. The smaller dog, on the other hand, seems completely clueless. Unlike the others, he does not have the advantage of accessorizing well. He is looking off to the side with "sad puppy dog eyes". Without accessorizing, you may not see or be seen the way you want. This is why you need to accessorize with Steve Madden products.

The beauty of metaphors is the flexibility of their interpretation. There is not necessarily one "right" way of looking at this ad. Yet, I look at this ad and see "Steve Madden shoes, clothes and accessories of the times are perfect for any occasion."

We see them in the subways, bus stops, magazines, and television, but what do they mean? How do they manage to catch our attention? Advertisements often find ways to sell their products by psychologically manipulating people. The advertising industry makes us envious of others and convinces us to be unhappy with what we have (Valko). Steve Madden ads usually feature women with absurdly large heads and hourglass bodies which try to force the audience to wonder what the ad is about. One of these odd ads appears in the March/April 2001 issue of Twist Magazine. It features a young woman with a big head helplessly running, as an airplane zooms over her at an abandoned airport. There are three characteristics within the ad that contribute the whole idea that Steve Madden shoes, clothes and accessories will improve your self image. The main purpose of Steve Madden ads is to suggest to its viewers that they will feel good about themselves by wearing his products. The model's big head conveys self-esteem and self-pride and she challenges the consumer to look as good as she does. The young woman wears a face of apprehension and is running away from her old self to start her new confident life with Steve Madden products. The sleek black leather jacket on top of a sexy white shirt, short enough to reveal her stomach and curvaceous hips together with her tight low rider blue jeans, black pointy high boots, and trendy black bag complete her fashionable outfit. The embellished woman's physique is aimed to appeal to women and girls between the ages of 16 through 25 in search of funky, hip, sexy clothes. Steve Madden likes to think of his clothes of as being distinctive and he illustrates his idea by setting an abandoned airport as the background for the ad. There is not a body in sight as the model runs across the old gum stained pavement. This calls attention to the idea that by wearing Steve Madden buyers isolate themselves from everyone else. She is too proud and conceited and cannot imagine being compared to anyone else. The Steve Madden logo in the ad also contributes to the main idea of the ad. It could have been anywhere on the page, why the sky? . Steve Madden ads always have their logos imprinted on the sky to imply that the "sky is the limit" with Steve madden products (Liza). Steve Madden's use of the airplane flying across the model's head are to let his consumers know that the only thing to stop them from accomplishing the look they have in mind is the limit the set upon themselves. Steve Madden will help its buyers attain the appearance they have always envisioned. Furthermore, it can be said, in Bertrand Russell's words that "Good advertisements will either make the audience envious of the lifestyle being advertised, or will generate within the audience the desire to be envied by others" (Harris). Many advertisers aren't as successful but Steve Madden manages to persuade his buyers to buy his products through his eccentric ads.

988.          Steven Spielberg 2

Steven Spielberg

As  a kid in Phoenix, Steven Spielberg charged admission to his home movies while his sister sold popcorn.  Although Spielberg excelled at making movies he was not a good student.  He hated school and was one of the most unathletic students there.  His movie making career began at the age of twelve when his father bought a movie camera that Spielberg used all the time.  Instead of doing his school work he was using the camera.  While he was working with his mom and sister on his projects, his father helped him make miniature sets out of paper mache.He turned out his first production, with script and actors, when he was thirteen, and a year later he won a prize for a forty minute war movie titled Escape to Nowhere. At the age of sixteen, his 140-minute production, Firelight, was shown in a local  movie theater. In college, his short film, Amblin was shown at the Atlanta Film Festival and led to the boy genius's Universal Studios directing contract at the age of twenty.

Spielberg learned his craft doing television work, which included an episode of the Rod Serling series Night Gallery and the classic cult movie Duel. His first feature, The Sugarland Express, was released in 1974, and he was soon offered the chance to direct a thriller about a great white shark terrorizing a small New England beach town. Jaws cost $8.5 million and grossed $260 million. Spielberg followed it up two years later with Close Encounters of the Third Kind, earning a Best Director Oscar nomination and proved to the world that he was one of the best directors of the time.

However, he followed Close Encounters with the disastrous Movie, 1941, which was his first attempt at comedy and his first true failure. He didn't take long to regain his form, both commercially and artistically. Teaming up with his pal George Lucas (whose Star Wars came out the same year as Close Encounters, and made even more money), Spielberg created an action-adventure picture based on the old continuing stories, better known as serials, that they both loved as kids. Called Raiders of the Lost Ark and detailing the adventures of an archaeologist named Indiana Jones, it earned him another Best Director nomination and made a ton of money at the box office.

A year later, Spielberg surpassed not only himself but Lucas's Star Wars--his E.T. The Extra-Terrestrial was one of the biggest domestic moneymakers of all time. Further profiting as a producer of other directors' hits (including Poltergeist and Back to the Future), Spielberg became one of the richest men in Hollywood. In 1984, he created his own independent company, Amblin Entertainment, and the following year, reacting to criticism that he couldn't make an adult picture, he attempted The Color Purple. Criticized for sentimentalizing the material, he was publicly embarrassed when the film pulled down eleven Oscar nominations, but not one for its direction. In a goodwill gesture, though, the Academy came through for Spielberg with the honorary Irving G. Thalberg Award in 1987.

Over the next few years, with Always, Empire of the Sun, and Hook, Spielberg's golden touch seemed to be failing him. His personal life was also in turmoil: he and actress Amy Irving divorced, and he married his Indiana Jones and the Temple of Doom leading lady Kate Capshaw. Professionally, he came back with two huge movies in 1993, Jurassic Park and Schindler's List. Jurassic Park grossed $100 million in nine days and went on its way to breaking  E.T. 's box-office record.  Spielberg's Schindler's List  looked at the good-hearted Nazi Party member Oskar Schindler and the terrible times Jews went through during the Holocaust. Even though Spielberg never expected it to be a box office smash he chose to make this movie because he felt that given his gifts, he could make a movie to help people understand the holocaust.  This finally earned Spielberg his long-awaited Oscars for Best Director and Best Picture. Lifted even further by this unprecedented success, he joined forces in 1994 with record mogul David Geffen and movie mogul Jeffrey Katzenberg to form Dreamworks, a multimedia entertainment studio.  Spielberg is currently in production with the sequel to Jurassic Park, Jurassic Park 2.  Clearly we have not heard the last of Steven Spielberg.

989.          Steven Spielberg 5

Steven Spielberg

As  a kid in Phoenix, Steven Spielberg charged admission to his home movies while his sister sold popcorn.  Although Spielberg excelled at making movies he was not a good student.  He hated school and was one of the most unathletic students there.  His movie making career began at the age of twelve when his father bought a movie camera that Spielberg used all the time.  Instead of doing his school work he was using the camera.  While he was working with his mom and sister on his projects, his father helped him make miniature sets out of paper mache.He turned out his first production, with script and actors, when he was thirteen, and a year later he won a prize for a forty minute war movie titled Escape to Nowhere. At the age of sixteen, his 140-minute production, Firelight, was shown in a local  movie theater. In college, his short film, Amblin was shown at the Atlanta Film Festival and led to the boy genius's Universal Studios directing contract at the age of twenty.

Spielberg learned his craft doing television work, which included an episode of the Rod Serling series Night Gallery and the classic cult movie Duel. His first feature, The Sugarland Express, was released in 1974, and he was soon offered the chance to direct a thriller about a great white shark terrorizing a small New England beach town. Jaws cost $8.5 million and grossed $260 million. Spielberg followed it up two years later with Close Encounters of the Third Kind, earning a Best Director Oscar nomination and proved to the world that he was one of the best directors of the time.

However, he followed Close Encounters with the disastrous Movie, 1941, which was his first attempt at comedy and his first true failure. He didn't take long to regain his form, both commercially and artistically. Teaming up with his pal George Lucas (whose Star Wars came out the same year as Close Encounters, and made even more money), Spielberg created an action-adventure picture based on the old continuing stories, better known as serials, that they both loved as kids. Called Raiders of the Lost Ark and detailing the adventures of an archaeologist named Indiana Jones, it earned him another Best Director nomination and made a ton of money at the box office.

A year later, Spielberg surpassed not only himself but Lucas's Star Wars--his E.T. The Extra-Terrestrial was one of the biggest domestic moneymakers of all time. Further profiting as a producer of other directors' hits (including Poltergeist and Back to the Future), Spielberg became one of the richest men in Hollywood. In 1984, he created his own independent company, Amblin Entertainment, and the following year, reacting to criticism that he couldn't make an adult picture, he attempted The Color Purple. Criticized for sentimentalizing the material, he was publicly embarrassed when the film pulled down eleven Oscar nominations, but not one for its direction. In a goodwill gesture, though, the Academy came through for Spielberg with the honorary Irving G. Thalberg Award in 1987.

Over the next few years, with Always, Empire of the Sun, and Hook, Spielberg's golden touch seemed to be failing him. His personal life was also in turmoil: he and actress Amy Irving divorced, and he married his Indiana Jones and the Temple of Doom leading lady Kate Capshaw. Professionally, he came back with two huge movies in 1993, Jurassic Park and Schindler's List. Jurassic Park grossed $100 million in nine days and went on its way to breaking  E.T. 's box-office record.  Spielberg's Schindler's List  looked at the good-hearted Nazi Party member Oskar Schindler and the terrible times Jews went through during the Holocaust. Even though Spielberg never expected it to be a box office smash he chose to make this movie because he felt that given his gifts, he could make a movie to help people understand the holocaust.  This finally earned Spielberg his long-awaited Oscars for Best Director and Best Picture. Lifted even further by this unprecedented success, he joined forces in 1994 with record mogul David Geffen and movie mogul Jeffrey Katzenberg to form Dreamworks, a multimedia entertainment studio.  Spielberg is currently in production with the sequel to Jurassic Park, Jurassic Park 2.  Clearly we have not heard the last of Steven Spielberg.

990.          Steven Spielberg Essay

Steven Spielberg

As  a kid in Phoenix, Steven Spielberg charged admission to his home

movies while his sister sold popcorn.  Although Spielberg excelled at making

movies he was not a good student.  He hated school and was one of the most

unathletic students there.  His movie making career began at the age of twelve

when his father bought a movie camera that Spielberg used all the time.  Instead

of doing his school work he was using the camera.  While he was working with his

mom and sister on his projects, his father helped him make miniature sets out of

paper mache.He turned out his first production, with script and actors, when he

was thirteen, and a year later he won a prize for a forty minute war movie

titled Escape to Nowhere. At the age of sixteen, his 140-minute production,

Firelight, was shown in a local  movie theater. In college, his short film,

Amblin was shown at the Atlanta Film Festival and led to the boy genius's

Universal Studios directing contract at the age of twenty.

Spielberg learned his craft doing television work, which included an

episode of the Rod Serling series Night Gallery and the classic cult movie Duel.

His first feature, The Sugarland Express, was released in 1974, and he was soon

offered the chance to direct a thriller about a great white shark terrorizing a

small New England beach town. Jaws cost $8.5 million and grossed $260 million.

Spielberg followed it up two years later with Close Encounters of the Third Kind,

earning a Best Director Oscar nomination and proved to the world that he was one

of the best directors of the time.

However, he followed Close Encounters with the disastrous Movie, 1941,

which was his first attempt at comedy and his first true failure. He didn't take

long to regain his form, both commercially and artistically. Teaming up with his

pal George Lucas (whose Star Wars came out the same year as Close Encounters,

and made even more money), Spielberg created an action-adventure picture based

on the old continuing stories, better known as serials, that they both loved as

kids. Called Raiders of the Lost Ark and detailing the adventures of an

archaeologist named Indiana Jones, it earned him another Best Director

nomination and made a ton of money at the box office.

A year later, Spielberg surpassed not only himself but Lucas's Star

Wars--his E.T. The Extra-Terrestrial was one of the biggest domestic moneymakers

of all time. Further profiting as a producer of other directors' hits (including

Poltergeist and Back to the Future), Spielberg became one of the richest men in

Hollywood. In 1984, he created his own independent company, Amblin Entertainment,

and the following year, reacting to criticism that he couldn't make an adult

picture, he attempted The Color Purple. Criticized for sentimentalizing the

material, he was publicly embarrassed when the film pulled down eleven Oscar

nominations, but not one for its direction. In a goodwill gesture, though, the

Academy came through for Spielberg with the honorary Irving G. Thalberg Award in

1987.

Over the next few years, with Always, Empire of the Sun, and Hook,

Spielberg's golden touch seemed to be failing him. His personal life was also in

turmoil: he and actress Amy Irving divorced, and he married his Indiana Jones

and the Temple of Doom leading lady Kate Capshaw. Professionally, he came back

with two huge movies in 1993, Jurassic Park and Schindler's List. Jurassic Park

grossed $100 million in nine days and went on its way to breaking  E.T. 's box-

office record.  Spielberg's Schindler's List  looked at the good-hearted Nazi

Party member Oskar Schindler and the terrible times Jews went through during the

Holocaust. Even though Spielberg never expected it to be a box office smash he

chose to make this movie because he felt that given his gifts, he could make a

movie to help people understand the holocaust.  This finally earned Spielberg

his long-awaited Oscars for Best Director and Best Picture. Lifted even further

by this unprecedented success, he joined forces in 1994 with record mogul David

Geffen and movie mogul Jeffrey Katzenberg to form Dreamworks, a multimedia

entertainment studio.  Spielberg is currently in production with the sequel to

Jurassic Park, Jurassic Park 2.  Clearly we have not heard the last of Steven

Spielberg.

991.          Steven spielberg life

I chose Steven Spielberg for my report, I chose him for many reasons: one he still alive and you most likely all did your project on people that are dead and all you learned is about the best thing they did in life. But with Steven you really know what is going on in his life.

Facts In Brief

Born: December of 1947

Education: Steven has a B.A. degree for California State

Died: Not Dead Yet

Steven Spielberg was born and December 1947 in Cincinnati. Steven Spielberg was the oldest of the family of four. His parents were divorced at a young age, Steven took the divorced very well.

Steven, by the age of 13 he had learned may things about cameras, camera angles, and film making. When Steven was 13 he had made a forty minute film "Escape From Nowhere", This film, even as only forty minutes long won him a great prize in a small contest. Even know his film was a good film he still called himself a "nerd" in school. Steven in his younger years he took a lot of being made fun from other students. Steven told people that when he made films at a young age it was a way to express his emotional stress. Even though his grades were low he still managed to make films. He had the most trouble in Math. Because of this he could not get into any good film making schools, so he went to California State College at Long Beach California. Steven got his B.A. degree in 1970.

After college he teamed up with Walt Disney Studios Chair person Jeffrey Kalgeny, and David Geffen. The all teamed up to create Dream works. SKG Dream works was a movie animation, Television, and music company. After they created Dreamworks Steven started to create movies, Steven made lots of successful movies. Here's a small list of movies Steven made: The Flintstones in Viva Rock Vegas, The Last Days, The Universal Story, Jumanji, Indiana Jones and the Last Crusade, Hook, Gladiator, Saving Private Ryan, Men in Black, Sugar Land Express, New York, Jaws, Close encounters Of The Third Kind, Raiders Of the Last Ark, and ET.

Steven Spielberg made a great film in 1993 named Shindlers List, It was produced in 1993 His movie caught him Seven Oscars, including best picture.

Steven Spielberg is still making films that make people come back and back again. Steven is a really good film maker and I hope he still will make movies.

I think Steven Spielberg had a big impacted on or world today, if he didn't make such good films nobody would want to go to the movies, and if there are no good movies out the theaters would go out of business. That is the impact I think Steven Spielberg had and still has on the world today.

992.          Steven Spielberg

Steven Spielberg

As  a kid in Phoenix, Steven Spielberg charged admission to his home movies while his sister sold popcorn.  Although Spielberg excelled at making movies he was not a good student.  He hated school and was one of the most unathletic students there.  His movie making career began at the age of twelve when his father bought a movie camera that Spielberg used all the time.  Instead of doing his school work he was using the camera.  While he was working with his mom and sister on his projects, his father helped him make miniature sets out of paper mache.He turned out his first production, with script and actors, when he was thirteen, and a year later he won a prize for a forty minute war movie titled Escape to Nowhere. At the age of sixteen, his 140-minute production, Firelight, was shown in a local  movie theater. In college, his short film, Amblin was shown at the Atlanta Film Festival and led to the boy genius's Universal Studios directing contract at the age of twenty.

Spielberg learned his craft doing television work, which included an episode of the Rod Serling series Night Gallery and the classic cult movie Duel. His first feature, The Sugarland Express, was released in 1974, and he was soon offered the chance to direct a thriller about a great white shark terrorizing a small New England beach town. Jaws cost $8.5 million and grossed $260 million. Spielberg followed it up two years later with Close Encounters of the Third Kind, earning a Best Director Oscar nomination and proved to the world that he was one of the best directors of the time.

However, he followed Close Encounters with the disastrous Movie, 1941, which was his first attempt at comedy and his first true failure. He didn't take long to regain his form, both commercially and artistically. Teaming up with his pal George Lucas (whose Star Wars came out the same year as Close Encounters, and made even more money), Spielberg created an action-adventure picture based on the old continuing stories, better known as serials, that they both loved as kids. Called Raiders of the Lost Ark and detailing the adventures of an archaeologist named Indiana Jones, it earned him another Best Director nomination and made a ton of money at the box office.

A year later, Spielberg surpassed not only himself but Lucas's Star Wars--his E.T. The Extra-Terrestrial was one of the biggest domestic moneymakers of all time. Further profiting as a producer of other directors' hits (including Poltergeist and Back to the Future), Spielberg became one of the richest men in Hollywood. In 1984, he created his own independent company, Amblin Entertainment, and the following year, reacting to criticism that he couldn't make an adult picture, he attempted The Color Purple. Criticized for sentimentalizing the material, he was publicly embarrassed when the film pulled down eleven Oscar nominations, but not one for its direction. In a goodwill gesture, though, the Academy came through for Spielberg with the honorary Irving G. Thalberg Award in 1987.

Over the next few years, with Always, Empire of the Sun, and Hook, Spielberg's golden touch seemed to be failing him. His personal life was also in turmoil: he and actress Amy Irving divorced, and he married his Indiana Jones and the Temple of Doom leading lady Kate Capshaw. Professionally, he came back with two huge movies in 1993, Jurassic Park and Schindler's List. Jurassic Park grossed $100 million in nine days and went on its way to breaking  E.T. 's box-office record.  Spielberg's Schindler's List  looked at the good-hearted Nazi Party member Oskar Schindler and the terrible times Jews went through during the Holocaust. Even though Spielberg never expected it to be a box office smash he chose to make this movie because he felt that given his gifts, he could make a movie to help people understand the holocaust.  This finally earned Spielberg his long-awaited Oscars for Best Director and Best Picture. Lifted even further by this unprecedented success, he joined forces in 1994 with record mogul David Geffen and movie mogul Jeffrey Katzenberg to form Dreamworks, a multimedia entertainment studio.  Spielberg is currently in production with the sequel to Jurassic Park, Jurassic Park 2.  Clearly we have not heard the last of Steven Spielberg.

993.          Stone Temple Pilots Essay

Stone Temple Pilots

Alright, so here is what I know about STP. The Stone Temple Pilots are a

band that was formed in San Diego in 1988. Weiland hooked up with Robert Deleo

at a show in California and then picked up Eric Kretz. and then after finally

convincing Dean Deleo to come to California They were officially known as Mighty

Joe Young. They recieved their first gig in 1990 in a place in L.A. After a

couple of years they got a big show in L.A. They hired agent Don Muller and he

told atlantic about Mighty Joe Young. After a while the band signed with

Atlantic. Unfortunately during recording Mighty Joe Young was told that a singer

had already taken the name Mighty Joe Young. After about a month the band came

up with Stone Temple Pilots. Finally The band finished their album CORE in

september 1992 and it went platinum. it was followed by a second release PURPLE

two years later which also was a big hit and with the Herion addictions aside,

Stone Temple Pilots is one of the best bandson the planet- or any planet..Early

labels of Pearl Jam Wannabees or Nirvana soundalikes have long since disspated,

and Weiland and the boys have created a wall of sound all their own..Sometimes

an all outfrenzy of driving energy- (Sex Type Thing, Meatplow, Trippin on a

Holein a Paper Heart), to the more subdued tracks of Creep, Pretty Penny, and

Big Empty.  The STP trademark sound can be best heard on Plush, and Interstate

Love Song..Classic Rock and Roll for the new generation.. This band has it all-

variety, talent, harmony, lyrics and a great overall concept for each album

released.. It would be hard for me to say whichalbum is the "best" as each

carries with it its own style andflavor.  Core is STP's forray into "pop"

culture carving out an immmediate presence in the "alternative" arena..Next,

came Purple- although sales were not quite as impressive as their first, this

album dives into new territory for the band..Best tracks include Insterstate

Love Song, Vasoline, Big Empty, and Pretty Penny. Their newest- Tiny Music has

almost an "80's feel to it with a more mellow, more raw sound.  Big Bang Baby,

Trippin on a Hole in a Paper Heart, and Lady Picture Show shine on this eclectic

offering..What more can be said about the world's best band..

October 22 my friend Arash came over my house and showed me three tickes

to Stone temple pilots concert at Irvine he asked me if I wanted to go ?  I said

sure I always was a STP fan not a huge fan but I bought there records and I

needed to go see a concert for the class anyways . Nov. 8 came and Arash and

sonny came picked me up around 5:oo pm . Sonny is a girl who I have Known for 4

years and she is very hot ,sonny has brown hair, beutiful green eyes and a  body

of a goddes, frist place we stoped at was the liquer store we got 2 12pack of

bud . By the time we got to the IRV. MDWS it was 6:30 pm we sat in our car and

started drinking the alcohal and talking about the concert and how much fun we

were going to have that night we decieded to go in late to avoid the big lines

and that way it is easer to sneak in the bong! by the time we got out of our car

it was 8:30 and I was hammerd . when we got in we walk down to the fleid the

place was packed and every body had a bong or a pipe and they were all smoking

bud so my friend arash took out his 12'inch grafx bong and we strated toking

away . there was so many beutiful grils there and every body was dancing jumping

, and yelling STP I was having such a fun time I lost the track of time to tell

you the trurth I was gone out of my mine I don't even remeber who opened the

show for them I didn't care . Scott was up there dancing and he is a good dancer

and I was dancing right with him but I was dancing with sonny.

At the end of the show scott said have a good night but every one was

yelling STP STP STP STP STP STP STP STP STP then STP came out and play a song

from there new album the  song is called big bang baby and that is my favorite

song by them . I don't remeber a lot of things about that night but what I do

remeber is I had a blast and I definnitly want to go see them again,

994.          Stone Temple Pilots

STP

Alright, so here is what I know about STP. The Stone Temple Pilots are a band that was formed in San Diego in 1988. Weiland hooked up with Robert Deleo at a show in California and then picked up Eric Kretz. and then after finally convincing Dean Deleo to come to California They were officially known as Mighty Joe Young. They recieved their first gig in 1990 in a place in L.A. After a couple of years they got a big show in L.A. They hired agent Don Muller and he told atlantic about Mighty Joe Young. After a while the band signed with Atlantic. Unfortunately during recording Mighty Joe Young was told that a singer had already taken the name Mighty Joe Young. After about a month the band came up with Stone Temple Pilots. Finally The band finished their album CORE in september 1992 and it went platinum. it was followed by a second release PURPLE two years later which also was a big hit and with the Herion addictions aside, Stone Temple Pilots is one of the best bandson the planet- or any planet..Early labels of Pearl Jam Wannabees or Nirvana soundalikes have long since disspated, and Weiland and the boys have created a wall of sound all their own..Sometimes an all outfrenzy of driving energy- (Sex Type Thing, Meatplow, Trippin on a Holein a Paper Heart), to the more subdued tracks of Creep, Pretty Penny, and Big Empty.  The STP trademark sound can be best heard on Plush, and Interstate Love Song..Classic Rock and Roll for the new generation.. This band has it all- variety, talent, harmony, lyrics and a great overall concept for each album released.. It would be hard for me to say whichalbum is the "best" as each carries with it its own style andflavor.  Core is STP's forray into "pop" culture carving out an immmediate presence in the "alternative" arena..Next, came Purple- although sales were not quite as impressive as their first, this album dives into new territory for the band..Best tracks include Insterstate Love Song, Vasoline, Big Empty, and Pretty Penny. Their newest- Tiny Music has almost an "80's feel to it with a more mellow, more raw sound.  Big Bang Baby, Trippin on a Hole in a Paper Heart, and Lady Picture Show shine on this eclectic offering..What more can be said about the world's best band..

October 22 my friend Arash came over my house and showed me three tickes to Stone temple pilots concert at Irvine he asked me if I wanted to go ?  I said sure I always was a STP fan not a huge fan but I bought there records and I needed to go see a concert for the class anyways . Nov. 8 came and Arash and sonny came picked me up around 5:oo pm . Sonny is a girl who I have Known for 4 years and she is very hot ,sonny has brown hair, beutiful green eyes and a  body of a goddes, frist place we stoped at was the liquer store we got 2 12pack of bud . By the time we got to the IRV. MDWS it was 6:30 pm we sat in our car and started drinking the alcohal and talking about the concert and how much fun we were going to have that night we decieded to go in late to avoid the big lines and that way it is easer to sneak in the bong! by the time we got out of our car it was 8:30 and I was hammerd . when we got in we walk down to the fleid the place was packed and every body had a bong or a pipe and they were all smoking bud so my friend arash took out his 12'inch grafx bong and we strated toking away . there was so many beutiful grils there and every body was dancing jumping , and yelling STP I was having such a fun time I lost the track of time to tell you the trurth I was gone out of my mine I don't even remeber who opened the show for them I didn't care . Scott was up there dancing and he is a good dancer and I was dancing right with him but I was dancing with sonny.

At the end of the show scott said have a good night but every one was yelling STP STP STP STP STP STP STP STP STP then STP came out and play a song from there new album the  song is called big bang baby and that is my favorite song by them . I don't remeber a lot of things about that night but what I do remeber is I had a blast and I definnitly want to go see them again,

Nov.8 1996 Irvine Meadows Irvine, CA Played

995.          Story Manifest Function

In a land far far away and long ago there was an abundance on game animals until

hunters came and slaughtered animal after animal to sell to near by restaurants for profit.

Time passed and many became rich but the once abundant forests were now some how

empty and game-less. Something had to be done! That's when mayor, John Enviro Mental

the II of New Brunswick decided he would ban the listing of game animals on the menus

at near by restaurants to stop the pilfering of the land. He chose the menu ban because he

still wanted for there to be hunting but not hunting for profit. He brought his proposal

before the city council where it met resistance, but being the accomplish politician he was,

he knew a bribe would get them into a passing the law kinda mood.

Some of the Manifest functions John saw was the preservation of game that would

be brought about if he could stop hunting for profit by taking the game off the menus at

the near by restaurants. However latent functions occurred with the passing of the law, the

amount of people who suffered food poisoning from the meat cooked at the restaurants

went down.

However latent dysfunction's occurred, somewhere ville, their neighbor to the

east, who's economy was propelled by their firearms and ammunition industry suddenly

had no customers, and promptly went bankrupt. A wave of unemployment and bitterness

swept through the town, and the people became angry at what the foolish mayor of New

Brunswick had done to their city!

Back in New Brunswick things weren't so good either, people who once made

their living by hunting, were now living in squalor. They were forced to turn to a life of

crime and mug people on the street to get money so they could eat !

With the recent crime wave that struck the city the mayor was losing popularity

and the town began to turn against him. People in desperation for a solution began to get

crazy ideas like burning down city hall or hanging the mayor. Well when the people of

Somewhere ville moved to New Brunswick looking for a job they also brought their ideas

of revolution.

3 Months after the bill was passed the mayors house was burned in the middle of

the night. He came out of his burning house to a angry mob. The angry mob promptly

hung him from the tree in his front yard.

Overall manifest functions: To reduce the taking of game from depleted forests.

Overall latent functions: Reduced food poisoning from under cooked meat.

Overall latent dysfunction's: Crime, unemployment, the mayors unfortunate death.

996.          Stranger On A Train Essay

Stranger On A Train

According to me, the model of "the classic cinema" is respected in the movie

Strangers On a Train. The movie starts on a train, where we are introduced to

the two main characters, having a conversation. The subject of the conversation

is basically the most important part of the setup. By listening to them, we

could predict the direction that the story was going towards. Throughout the

rest of the introduction, we are introduced to the rest of the important

characters.

The first plot point, as expected, takes place when Bruno murders the

protagonist's wife. After doing so, he expects the protagonist to do his part of

the plan, who refuses Bruno's offer because they never had planned it. The

protagonist's identity is threatened because he's accused of a crime which he

never committed. We could also see the presence of oedipus complex: Bruno's

hatred towards his father since his childhood.

According to me, the model of "the classic cinema" is respected in the movie

Strangers On a Train. The movie starts on a train, where we are introduced to

the two main characters, having a conversation. The subject of the conversation

is basically the most important part of the setup. By listening to them, we

could predict the direction that the story was going towards. Throughout the

rest of the introduction, we are introduced to the rest of the important

characters.

The first plot point, as expected, takes place when Bruno murders the

protagonist's wife. After doing so, he expects the protagonist to do his part of

the plan, who refuses Bruno's offer because they never had planned it. The

protagonist's identity is threatened because he's accused of a crime which he

never committed. We could also see the presence of oedipus complex: Bruno's

hatred towards his father since his childhood.

The object of the protagonist's and the camera's look was usually women.

When Bruno was committing the murder, we could see only her (the victim) and the

reflecting light on her glasses. Also by the time when Bruno was demonstrating

how to strangle by remembering his murder, the eyes of the camera were on

another woman who looked exactly like his victim. After the second plot point

took place, the events that occurred led the story back to normal.

997.              The questions that I asked to myselStranger on a Train

According to me, the model of "the classic cinema" is respected in the movie Strangers On a Train. The movie starts on a train, where we are introduced to the two main characters, having a conversation. The subject of the conversation is basically the most important part of the setup. By listening to them, we could predict the direction that the story was going towards. Throughout the rest of the introduction, we are introduced to the rest of the important characters.

The first plot point, as expected, takes place when Bruno murders the protagonist's wife. After doing so, he expects the protagonist to do his part of the plan, who refuses Bruno's offer because they never had planned it. The protagonist's identity is threatened because he's accused of a crime which he never committed. We could also see the presence of oedipus complex: Bruno's hatred towards his father since his childhood.

According to me, the model of "the classic cinema" is respected in the movie Strangers On a Train. The movie starts on a train, where we are introduced to the two main characters, having a conversation. The subject of the conversation is basically the most important part of the setup. By listening to them, we could predict the direction that the story was going towards. Throughout the rest of the introduction, we are introduced to the rest of the important characters.

The first plot point, as expected, takes place when Bruno murders the protagonist's wife. After doing so, he expects the protagonist to do his part of the plan, who refuses Bruno's offer because they never had planned it. The protagonist's identity is threatened because he's accused of a crime which he never committed. We could also see the presence of oedipus complex: Bruno's hatred towards his father since his childhood.

The object of the protagonist's and the camera's look was usually women. When Bruno was committing the murder, we could see only her (the victim) and the reflecting light on her glasses. Also by the time when Bruno was demonstrating how to strangle by remembering his murder, the eyes of the camera were on another woman who looked exactly like his victim. After the second plot point took place, the events that occurred led the story back to normal.

998.                      The questions that I asked to myselStranger

copyright, by Pierre Palmer

I. Biographical Insights

A. Albert Camus' cultures consist of being a novelist, literature and short story writer of many books.  He wrote an essay on the state of Muslims in Algeria, causing him to lose his job and he moved to Paris.  Albert Camus also joined the French resistance against the Nazis and became an editor of "Combat", an underground newspaper.  He was dissatisfied with the editorial of the Board and left the underground newspaper.

B. Albert Camus, son of a working-class family, was born in Algeria in 1913, in an extreme poverty area.  He spent the early years of his life in North Africa, where he worked at various jobs in the weather bureau, in an automobile-accessory firm, in a shipping company to help pay for his courses at the University of Algiers.  Albert Camus then started journalism as a career.  He finished early schooling, majoring in philosophy with a goal to teach. He was married to Simone in 1934 and divorced in 1936.

C. The factor that influenced Albert Camus was  his parents, who  were a working class family. He was determined to make a better life for himself  by getting an education and preparing himself to go to college.  The fact that he lived in North Africa,  he wrote lots of fiction books, dealing with moral problems of universal importance.

1. I think Albert's prospective in life was to just be able to write books for people that actually  would deal  with  the reality and  difficulty of  people facing everyday life.  Also, the difficulty of  people facing life without the comfort of believing in God or just having moral standards.

2. He most likely to weave into his writing the ideal of setting moral standards and placing the comfort that an individual would need to have in  facing difficulty in his life. He would also set a goal by facing any  problems that may exist in every day living  and by placing God into your life, no matter what the situation might look like, bad or good, you will always come through it.

II. Characters

A. The plot concerns a man, an apparently ordinary man, who, without any real compelling reason, commits a murder, and his apparently insensitive reaction to it. This isn't because he is without feelings, but because he is beginning to realize that life isn't everything that he had previously thought it to be. This series of events starts with he death of his mother, and although he loved her, he finds he does not experience much genuine regret at her death, and refuses to pretend he does, just for the sake of appearances. So one thing leads to another, and this man, Meursault, reaches the point where he only seems truly content when he is close to nature. The irony is that the actual act of murder was apparently brought on by the oppressive, irresistible force of another of nature's forces and it caused him to be executed.

B. The changes that takes place in Meursault personality is when his mother dies and he realizes that he has no one that is close to him that he could talk to, even though his mother was in a senior citizen home.  When his mother died, everyone asked him how did he feel.  He said that he felt the same way like the other day. Inside of him, he  really  felt like crying, but he just didn't show it.  I think that was one of  the many things he had to face in his life and the fact that he had other problems that made him frustrated that he had to deal with.

C. The two characters that played a  part in Meursault life are  Marie and Raymond. Marie played the role as being Meursault's  girlfriend. She was a  positive influenced in Meursault's life. She comforted him when he was going through hard times when his mother died. She was there for him and gave him support.  Raymond was Meursault's best friend.  Raymond lived up  the hall from Meursault's apartment. Raymond was a considerate person and I  believed the character he played was positive. Although, his downfall was that he was always causing some type of  trouble, which could have made in character to also be negative in a way. He was nice to Meursault.

D. The  conflicts that Meursault experience was he dislike Arabs and  he was faced with the problem. He  expressed resentment and anger against the Arab. The problem was so strong and  forceful in him that the only way he felt that he could deal with it was by taking this  person life. He felt that this was the way he could resolved the situation of hatred  that he had for this  person. Also, the fact that he was   faced  with a murder charge and imprisonment.

III. Representative Passage on Imagery and Figurative Language

" When I went outside, the sun was up.  Above the hills that separate Marengo from the sea, the sky was streaked with red.  And wind coming over the hills that brought the smell of salt with it."

A. The sensory details that the author uses that makes us feel like we are actually at the beach.  The sensory is called the seance of smell because the author said the wind coming over the hills that brought the smell of the salt with it.

B. The simile that the author use in this paragraph was when he is talking about the sky was streaked with red, but I think the author is trying to say that the white clouds with the blue sky looks like the sky is  red like blood.

IV. Symbolism / Allusions

" That's all for today, Monsieur Antichrist."

" Specking very quickly and passionately, he told me that he believed in God, that it was his conviction that no man was so guilty that God would not forgive him, but in order for that to happened a man must repent and in so doing become like a child whose heart is open and ready to embrace all".

A. The people in this short quote is Monsieur as the judge is talking to him.  The judge don't think Monsieur believe in Jesus because Monsieur is always talking about how he does not care about anything and he rather just be in jail where he belongs.

B. The quote that I think the author is trying to carry out through the story is the second quote I wrote down, because the author is saying that you need to repent and ask for forgiveness to God.  Monsieur lawyer keeps telling him about Jesus and telling Monsieur that he needs to forget about the wrong things that he did in life and repent to God, but Monsieur being big headed is not going to listen because he think what he did is wrong and he should pay the price for what he did.

C. The allusion that Albert Camus is trying to get at, is that people believed in antichrist and Albert is trying to say that if you do something wrong in life you can always repent and ask God for forgiveness.

V. Representative Passage on Tone and Author's Philosophy

" After a short time silence, he stood up and told me that he wanted to help me, that I interested him, and that, with God's help, he would do something for me."

A. I think this passage tell us about the author prospective because he is telling us that if you ask for help and if you want the help it will happened.  So what I am trying to say is that I if you are not a Christian and you have a friend that believe in Jesus and if you don't believe in Jesus  you have to listen to your friend to understand what is going on so you can accept Jesus.

B. The aspects of  his philosophy that I can pick out is that Albert Camus had to believe in Jesus because I don't think he would write a book talking about killing and Jesus at the same time, getting some moral purpose from this book.  The thing that I can infer from this passage is that he is telling Meursault that he needs to listen to what every God has planned for him in prison or out of prison.

VI. Evaluation

A. The influence this book had on my attitude and belief is that you should never feel that you have to kill anyone because you do not like them for what ever reason it might be.  I feel that you should talk through things before coming up with a conclusion of causing a fight or killing.  This book really did not have a big impact on my belief because I believe in Jesus as my Lord and Savor.

B. I  think the author goals in this book was to try to seek through to the  non-believers and to seek the people that is having a hard time in life.  The reason why I say this is because the way he went to jail and got caught and by his lawyer telling him he need to ask for forgiveness and repent to God.  To me, it sounds like Albert is trying to get people's attention.

C. Albert Camus did successfully achieve his goal because I know for a fact that I would never do anything like killing somebody because what every you do wrong in the sight of the law you are always going to get caught and also God  knows everything  you do. The author achieve his goal in this book by reaching the readers and to overcome the evil that society might cause a person to do and to face up the difficult situation  no matter what it is.

D. This book is very significant with it topics because it talks about every thing a  person would go through  in  life.  Like one thing that is really important in life is God and it talk about God in this book that I read.  It make a person think that you cannot do wrong and get away with it. It make you realize that you have to face up to the situation that is wrong and deal with it. The book make you think that anger is not the way that a person should hold in him. Although, a person might look all right on the outside, it is what on the inside of that person that may cause him to have a  difficult time in life.  This book is not much different  what I  feel people today experience in society.  There are a  lot of violent in the world today and lots of people with resentment and anger towards one another.

"The Stranger"

Author: Albert Camus

Pierre Palmer

English II.

Period #5

Date: 10/4/9

I. Biographical Insights

A. Albert Camus' cultures consist of being a novelist, literature and short story writer of many books.  He wrote an essay on the state of Muslims in Algeria, causing him to lose his job and he moved to Paris.  Albert Camus also joined the French resistance against the Nazis and became an editor of "Combat", an underground newspaper.  He was dissatisfied with the editorial of the Board and left the underground newspaper.

B. Albert Camus, son of a working-class family, was born in Algeria in 1913, in an extreme poverty area.  He spent the early years of his life in North Africa, where he worked at various jobs in the weather bureau, in an automobile-accessory firm, in a shipping company to help pay for his courses at the University of Algiers.  Albert Camus then started journalism as a career.  He finished early schooling, majoring in philosophy with a goal to teach. He was married to Simone in 1934 and divorced in 1936.

C. The factor that influenced Albert Camus was  his parents, who  were a working class family. He was determined to make a better life for himself  by getting an education and preparing himself to go to college.  The fact that he lived in North Africa,  he wrote lots of fiction books, dealing with moral problems of universal importance.

1. I think Albert's prospective in life was to just be able to write books for people that actually  would deal  with  the reality and  difficulty of  people facing everyday life.  Also, the difficulty of  people facing life without the comfort of believing in God or just having moral standards.

2. He most likely to weave into his writing the ideal of setting moral standards and placing the comfort that an individual would need to have in  facing difficulty in his life. He would also set a goal by facing any  problems that may exist in every day living  and by placing God into your life, no matter what the situation might look like, bad or good, you will always come through it.

II. Characters

A. The plot concerns a man, an apparently ordinary man, who, without any real compelling reason, commits a murder, and his apparently insensitive reaction to it. This isn't because he is without feelings, but because he is beginning to realize that life isn't everything that he had previously thought it to be. This series of events starts with he death of his mother, and although he loved her, he finds he does not experience much genuine regret at her death, and refuses to pretend he does, just for the sake of appearances. So one thing leads to another, and this man, Meursault, reaches the point where he only seems truly content when he is close to nature. The irony is that the actual act of murder was apparently brought on by the oppressive, irresistible force of another of nature's forces and it caused him to be executed.

B. The changes that takes place in Meursault personality is when his mother dies and he realizes that he has no one that is close to him that he could talk to, even though his mother was in a senior citizen home.  When his mother died, everyone asked him how did he feel.  He said that he felt the same way like the other day. Inside of him, he  really  felt like crying, but he just didn't show it.  I think that was one of  the many things he had to face in his life and the fact that he had other problems that made him frustrated that he had to deal with.

C. The two characters that played a  part in Meursault life are  Marie and Raymond. Marie played the role as being Meursault's  girlfriend. She was a  positive influenced in Meursault's life. She comforted him when he was going through hard times when his mother died. She was there for him and gave him support.  Raymond was Meursault's best friend.  Raymond lived up  the hall from Meursault's apartment. Raymond was a considerate person and I  believed the character he played was positive. Although, his downfall was that he was always causing some type of  trouble, which could have made in character to also be negative in a way. He was nice to Meursault.

D. The  conflicts that Meursault experience was he dislike Arabs and  he was faced with the problem. He  expressed resentment and anger against the Arab. The problem was so strong and  forceful in him that the only way he felt that he could deal with it was by taking this  person life. He felt that this was the way he could resolved the situation of hatred  that he had for this  person. Also, the fact that he was   faced  with a murder charge and imprisonment.

III. Representative Passage on Imagery and Figurative Language

" When I went outside, the sun was up.  Above the hills that separate Marengo from the sea, the sky was streaked with red.  And wind coming over the hills that brought the smell of salt with it."

A. The sensory details that the author uses that makes us feel like we are actually at the beach.  The sensory is called the seance of smell because the author said the wind coming over the hills that brought the smell of the salt with it.

B. The simile that the author use in this paragraph was when he is talking about the sky was streaked with red, but I think the author is trying to say that the white clouds with the blue sky looks like the sky is  red like blood.

IV. Symbolism / Allusions

" That's all for today, Monsieur Antichrist."

" Specking very quickly and passionately, he told me that he believed in God, that it was his conviction that no man was so guilty that God would not forgive him, but in order for that to happened a man must repent and in so doing become like a child whose heart is open and ready to embrace all".

A. The people in this short quote is Monsieur as the judge is talking to him.  The judge don't think Monsieur believe in Jesus because Monsieur is always talking about how he does not care about anything and he rather just be in jail where he belongs.

B. The quote that I think the author is trying to carry out through the story is the second quote I wrote down, because the author is saying that you need to repent and ask for forgiveness to God.  Monsieur lawyer keeps telling him about Jesus and telling Monsieur that he needs to forget about the wrong things that he did in life and repent to God, but Monsieur being big headed is not going to listen because he think what he did is wrong and he should pay the price for what he did.

C. The allusion that Albert Camus is trying to get at, is that people believed in antichrist and Albert is trying to say that if you do something wrong in life you can always repent and ask God for forgiveness.

V. Representative Passage on Tone and Author's Philosophy

" After a short time silence, he stood up and told me that he wanted to help me, that I interested him, and that, with God's help, he would do something for me."

A. I think this passage tell us about the author prospective because he is telling us that if you ask for help and if you want the help it will happened.  So what I am trying to say is that I if you are not a Christian and you have a friend that believe in Jesus and if you don't believe in Jesus  you have to listen to your friend to understand what is going on so you can accept Jesus.

B. The aspects of  his philosophy that I can pick out is that Albert Camus had to believe in Jesus because I don't think he would write a book talking about killing and Jesus at the same time, getting some moral purpose from this book.  The thing that I can infer from this passage is that he is telling Meursault that he needs to listen to what every God has planned for him in prison or out of prison.

VI. Evaluation

A. The influence this book had on my attitude and belief is that you should never feel that you have to kill anyone because you do not like them for what ever reason it might be.  I feel that you should talk through things before coming up with a conclusion of causing a fight or killing.  This book really did not have a big impact on my belief because I believe in Jesus as my Lord and Savor.

B. I  think the author goals in this book was to try to seek through to the  non-believers and to seek the people that is having a hard time in life.  The reason why I say this is because the way he went to jail and got caught and by his lawyer telling him he need to ask for forgiveness and repent to God.  To me, it sounds like Albert is trying to get people's attention.

C. Albert Camus did successfully achieve his goal because I know for a fact that I would never do anything like killing somebody because what every you do wrong in the sight of the law you are always going to get caught and also God  knows everything  you do. The author achieve his goal in this book by reaching the readers and to overcome the evil that society might cause a person to do and to face up the difficult situation  no matter what it is.

D. This book is very significant with it topics because it talks about every thing a  person would go through  in  life.  Like one thing that is really important in life is God and it talk about God in this book that I read.  It make a person think that you cannot do wrong and get away with it. It make you realize that you have to face up to the situation that is wrong and deal with it. The book make you think that anger is not the way that a person should hold in him. Although, a person might look all right on the outside, it is what on the inside of that person that may cause him to have a  difficult time in life.  This book is not much different  what I  feel people today experience in society.  There are a  lot of violent in the world today and lots of people with resentment and anger towards one another.

"The Stranger"

Author: Albert Camus

Pierre Palmer

English II.

Period #5

Date: 10/4/9

999.          Streamline Design in America

By the late 1920s the rapid increase in North American consumer spending seen after the First World War was in decline.1 Recognizing that they were potentially facing impending financial ruin, manufacturers of commercial goods responded by relegating the task of revamping their selling tactics to their marketing departments, which quickly ascertained that for the goods they were promoting to succeed in the marketplace they must first appeal to the taste of the consumer.

Women of the era were experiencing unprecedented enhanced consumer power with fewer children to look after, increased mobility due to the automobile, and more free time in which to shop as a result of the introduction of labor-saving, domestic electrical appliances.  They were quite logically identified as a likely target market to which business should direct its attention.  An advertisement of the period in Printer's Ink Magazine reflects this awareness by stating that, "the proper study of mankind is man... but the proper study of markets is woman."2

The challenge was therefore identified as that of feminizing mass-produced material culture by emphasizing those aspects of visual culture which were more traditionally linked with feminine, rather than masculine cultural values; or to render as feminine an object usually perceived of as masculine.3  Whereas previous emphasis had been placed on the utilitarian, as opposed to aesthetic characteristics of household appliances, there was now an acknowledged need to introduce an element of fashion or style in these goods where style is defined as the particular inflection of an object that best communicates the taste values of the consumer.4

Raymond Loewy was one of several young industrial designers to take up the challenge.  Drawing from his background in the fast-developing field of advertising, he set out to bring his Depression-era market face-to-face with modernity by utilizing an aesthetic that pointed to the future and prosperity at a time when the economic situation was less than optimistic.5  In accomplishing this Loewy took direct inspiration from the larger forms of mechanized society, the very transportation machines that defined modern experience such as the locomotive.6

"[Women] must, like men, marry machinery."7

- Henry Adams

By as early as the year 1865 efforts had been undertaken by American inventor S. R. Calthrop to diminish the atmospheric resistance of locomotives by eliminating as far as possible all projections, unifying the many components into one articulated entity of smooth, unbroken steel.8  Locomotives thereafter became characterized by their sleek profiles and low, rounded forms.

This concept was rediscovered by Loewy and his contemporaries and employed as a selling-tool to every manner of consumer product available.  Disguising the separateness of individual component parts by laying a level plane over disjointed elements and creating an impression of visual unity was determined to be a successful solution to the problem of introducing beauty and style into a hitherto standardized utility object.  Automobiles, domestic appliances such as the suction sweeper (vacuum), and even pencil sharpeners thus found their own feminized popular aesthetic in the style that came to be known simply as "streamlining", providing a significant means through which women could encounter modernity.9

On the practice of employing streamlining as a way of marketing items which were never designed with speed or motion of any kind in mind, Walter Dorwin Teague wrote in 1939,

"...one reason why we are streamlining... things that will never move and

have no excuse for being streamlined in the sense that they need to be

adapted to the flow of air currents is simply because of the dynamic quality

of the line which occurs in streamline forms, and it is characteristic of our age."10

These typically monochromatic, seamless, organically-shaped objects with their chrome steel highlights evoked simultaneously a world of advanced technology and of aesthetic minimalism and sensuousness which was as much about fantasy as it was about the realities of living in the first half of the twentieth century.11

The demand for inexpensive goods in the years of the Great Depression inspired a frenzy of research into the application of new materials such as plastics which had been developed during the First World War in response to a shortage of natural resources.  The production process and structural limitations of these materials dictated an emphasis on rounded contours and had a major influence on the finished forms of goods produced.12  Plastic housings conveniently also performed the dual functions of concealing the potentially hazardous and unappealing inner workings of a mechanized product from the eye and of providing a new and recognizable visual identity for the object.  Goods like the toaster could now be instantly recognized for what they were rather than deciphered from a jumble of parts.  The transition to plastics thus facilitated the emergence of the streamlined shape.13

Streamlined style was widely accepted by the public and became extremely popular with designers and manufacturers nation-wide.  The previously fashionable surface decoration of the international styles of Art Nouveau and Art Deco were efficiently replaced by the dominant aesthetic of streamlining which in turn became increasingly simplistic and stark as designers strived to strip bare all extraneous detail and embellishment in favor of a form as attractive to the hand as to the eye.14

"Beauty, like truth, is never so glorious as when it goes

its plainest."15

- Laurence Sterne

It became so popular and commercially viable in fact that by the late 1930s articles began to appear on the evils inherent in applying streamlining in the design (or redesign) of a product as a style purported to be superior to all others.

For all their rationale and good intention however, the decisions which served to define and validate the role of female consumerism and that played a fundamental role in contemporary product design were predominantly economic in nature.  Streamlining came to be as a solution to the problem of how to sell the same goods to a saturated market.

Initiated as an effort to bring unity and logic to the production of machine-made objects, manufacturers soon realized that any redesign of a product had sales appeal; the market would simply accept whatever it was offered.16  As a new design had the effect of making older versions appear inferior, the periodic redesign of products began as an effective way to stimulate sales whether or not changes in physical function had been implemented.  The concept of planned obsolescence came into being.

To maximize the productive capacity of industry and thereby increase profit margins, consumers were encouraged to use and discard still useful goods as rapidly as possible to make way for newer models.  At the expense of thoughtful design and ultimately the environment, industrial designers redefined their role as that of designing for profit.

Endnotes

1  Penny Sparke. As Long As It's Pink, London: Harper Collins Pub., 1995, p.131

2  Ibid., p.129

3  Ibid., p.129

4  Wendy Kaplan, ed. Designing Modernity, New York: Thames & Hudson, 1995, p.165

5  Ibid., p.162

6  Ibid., p.165

7  Ibid., p.165

8  Herwin Schaefer. Nineteenth Century Modern, New York: Praeger Pub., 1970, p.42

9  Penny Sparke. As Long As Its Pink, London: Harper Collins Pub., 1995, p.136

10 Martin Greif. Depression Modern, New York: Universe Books, 1975, p.36

11 Penny Sparke. As Long As Its Pink, London: Harper Collins Pub., 1995, p.125

12 Penny Sparke. An Intro. To Design & Culture in the 20th Century, New York: Harper     Row, 1986, p.129

13 Ibid., p.135

14 Wendy Kaplan, ed. Designing Modernity, New York: Thames & Hudson, 1995,     p.165

15 Martin Greif. Depression Modern, New York: Universe Books, 1975, p.19

16 Edmund Feldman. Varieties of Visual Experience, New York: Harry N. Abrams,     1987, p.111

Bibliography

1. Conway, Hazel, ed. Design History: A student's Handbook. London: Unwin Hyman  Ltd., 1987.

2. Feldman, Edmund. Varieties of Visual Experience. New York: Harry N. Abrams, Inc., 1987.

3. Greif, Martin. Depression Modern: The 30s Style in America. New York: Universe Books, 1975.

4. Kaplan, Wendy, ed. Designing Modernity. New York: Thames & Hudson Inc., 1995.

5. Plummer, K. "The Streamline Moderne", in Art In America, LXII (Jan.-Feb. 1874)

6. Schaefer, Herwin. Nineteenth Century Modern. New York: Praeger Publishers, 1970.

7. Sembach, K.-J. Into the Thirties. London: Harper Collins Publishers, 1995.

8. Sparke, Penny. As Long As It's Pink. London: Harper Collins Publishers, 1995.

9. Sparke, Penny. An Intro. to Design and Culture in the 20th Century. New York: Harper and Row, 1986.

1000.      Streinbeck & Characterization

What is depth, and what does it mean? Depth is the extent, the intensity, depth is a distinct level of detail. When someone talks about depth of characterization, they are talking about the level of intensity that someone is using in order to describe a character. John Ernst Steinbeck, in The Pearl, Of Mice and Men, and The Grapes of Wrath describes many of his main characters in great depth.

Steinbeck and Characterization

What is depth, and what does it mean? Depth is the extent, the intensity, depth is a distinct level of detail. When someone talks about depth of characterization, they are talking about the level of intensity that someone is using in order to describe a character. John Ernst Steinbeck, in The Pearl, Of Mice and Men, and The Grapes of Wrath describes many of his main characters in great depth.

In Steinbeck's Of Mice and Men, a story of two traveling laborers who are on their way to a job loading barley at a California ranch. The two most important characters in the novel are George Milton and Lennie Small. They are ordinary workmen, moving from town to town and job to job, but they symbolize much more than that. Their names give us our first hints about them. One of Steinbeck's favorite books when he was growing up was Paradise Lost by John Milton. In this long poem, Milton describes the beginnings of evil in the world. He tells of Lucifer's fall from heaven and the creation of hell. He also describes Adam and Eve's fall from grace in the Garden of Eden. By giving George the last name of Milton, Steinbeck seems to be showing that he is an example of fallen man, someone who is doomed to loneliness and who wants to return to the Garden of Eden. Perhaps this is why George is always talking about having his own place and living "off the fat of the land," as Adam and Eve did before their fall.

Lennie is anything but small physically. He is a big man who is often described with animal images. In the opening scene of the book his hands are called paws and he snorts like a horse (Steinbeck, Mice 3). Yet Lennie is small on brains and on responsibility. Someone has always taken care of Lennie and done his thinking and talking for him. First his Aunt Clara looked after him, and now George does. He is like a child, a term George uses several times in describing Lennie to Slim. Lennie has a child's short attention span and tendency to hang onto one idea stubbornly--the rabbits he will get to tend. He is innocent and "has no meanness in him."

In a sense, Lennie and George are both small men. They will never be famous or amount to anything great. Even their dream is a modest one. The ranch George is thinking about costs only $600. They will have just a few chickens and pigs and, of course, rabbits(Steinbeck, Mice 56). They will not have to work real hard.

George and Lennie are practically opposites in the way they look and in their personalities. George is described as small and quick with sharp features. Lennie is described as big, slow witted, and shapeless of face. George can comfortably fit into the

ranch hands' world. He plays horseshoes with the others and goes along to the whorehouse on Saturday night. Lennie plays instead with his puppy in the barn and spends Saturday night in Crooks' room with the other outcasts - Crooks, Candy, and Curley's wife. Yet it is very difficult to look at George and Lennie separately. Over and over, under Lennie's prompting, George explains that their uniqueness lies in the fact that they are together. As Lennie says (repeating George's words): "But not us! An' why? Because... because I got you to look after me, and you got me to look after you, and that's why."

It is said  that Sigmund Freud, the famous psychoanalyst, has written that each person has two sides - the ego and the id. The ego is the person's thinking side, the leader figure within him or her. The id is the physical side of the person, the body and senses. George is obviously the leader of the two men; he does all of their thinking. He remembers the things that must be remembered and instructs Lennie about them. Lennie, on the other hand, is all body. He "thinks" with his senses. The most important parts of Lennie's body are his hands. He likes to touch soft things, and he does so without thinking. That's why he keeps getting into trouble. Lennie crushes Curley's hand with his hand, and breaks the necks of his puppy and Curley's wife when his hands get the better of him. It is interesting to note that Lennie gets in trouble only when George is not around. Steinbeck seems to be saying that a body without a mind controlling it can easily get carried away. A person must be a balance of ego and id.

Another way to look at George and Lennie is scientifically. Remember that Steinbeck was also a marine biologist. An important biological relationship is symbiosis.

Many times in nature two different kinds of plants or animals live in what is called a symbiotic relationship. That means each one needs the other in order to live. George and Lennie need each other in the same way. It is obvious why Lennie needs George. George does his thinking for him and tries to keep him out of trouble. But why does George need Lennie? Lennie is more than just George's companion who keeps him from being lonely. Lennie makes George special. As George says to Slim in Chapter 3, "Lennie made me seem God damn smart alongside of him...." He adds, "I ain't got no people. I seen the guys that go around on ranches alone. That ain't no good. They don't have no fun. After a long time they get mean." George tells Lennie that he could have so much fun without him, going into town and maybe spending his money in a whorehouse. But if he did these things he would be just like all the other nobodies on the ranch. Lennie forces George to keep repeating the vision of the future farm. George seems bored or annoyed each time he begins to tell the story, but soon he gets more excited himself. Lennie's enthusiasm keeps the vision fresh and alive. When George spots Curley's wife's body in the barn, he says, "I'll work my month an' I'll take my fifty bucks an' I'll stay all night in some lousy cat house...." George knows he will be just another ranch hand without Lennie. One other way that Steinbeck hints at George's need for Lennie is that whenever George is in the bunk house without Lennie around, he plays solitaire. George is basically a loner without Lennie. So Lennie is right then when he says that George takes care of him, and he takes care of George.

There is a third way to look at the relationship of the two men - a biblical way. Remember that the Bible was also a very important influence on Steinbeck's writing. George and Lennie's story has some strong echoes of the story of Cain and Abel in Genesis. Do you remember that story? Cain draws Abel into a field and kills him. When God asks where Abel is, Cain replies, "Am I my brother's keeper?" George is not really Lennie's brother, but he is the closest thing to family that Lennie has. George is clearly Lennie's keeper. He also is Lennie's killer. According to the Bible, after Cain kills Abel, he is forced to wander the earth alone as a fugitive, longing for Eden but never getting

there. George too will be a lonely wanderer who no longer has his vision of a garden and paradise without Lennie.

In The Pearl, a story about a poor Indian fisherman, Kino who lives on the Gulf of California with his wife, Juana and his infant son, Coyotito. They live in a simple hut and depend on nature for survival. Despite the poverty, Kino is happy, honest, and hardworking.He is a dignified pearl diver who works hard to support his family (Steinbeck, Pearl 21). He is a simple and natural being who functions well in the traditional ways of the village. Kino is conscious of his poverty and knows that money could buy things that he lacks. He hopes to find a pearl that will guarantee him future peace. Like most human beings, he wants to get ahead.

Kino depends on nature for his income. When the waters are rough, he cannot go diving. When the sun sets, his workday ends. The discovery of a great pearl changes Kino's life. The man who usually hears the "Song of the Family" - the harmonious, soothing message that all is well in life - begins to hear the voice of suspicion, the sounds of danger - the "Song of Evil." This song is really a powerful internal voice that he hears when danger arises, which links him to his ancestors as a sort of built - in protection against death. It is Steinbeck's poetic way of referring to Kino's survival instinct.

On the other hand, Kino's intelligence and growth in social awareness help him realize that he and other Indians have been exploited by the rich and powerful. At first, instinctively, he senses the danger with the doctor and pearl buyers, but it is only after his brutal encounter with the trackers that he becomes aware of the extent of this exploitation. He comes to realize that human beings will kill in order to gain money and power.

As Kino moves away from his natural habitat, he becomes isolated. With the pearl in hand, he marches toward the city - a symbolic move toward a more complex civilization - in his belief that he can deal with "civilized" people. He lays claim to the benefits of civilization - power, money, an education for Coyotito - but soon realizes, when pursued by the trackers, that he is a victim of the very society in which he hopes to earn a profit. Some readers believe that Kino brings about his own downfall by going

against the forces of nature. Kino loses more than his social innocence in the novel. He learns that he, too, can kill to protect his chance for wealth and power.

Some readers point out that Kino is the exploited but innocent man who loses his innocence when he tries to venture beyond his social boundaries. Others see Kino as the symbol of an honest, hard - working man destroyed by greed. Still others see him as a man unable to escape his fate.

Kinos, wife Juana is another important character who is immediately pointed out in the first chapter of The Pearl. She is a loving and devoted wife, the stabilizing force in Kino's life. At first you may see her simply as subservient. But Juana has great inner strength and determination. For example, when Coyotito is bitten by the scorpion, Juana acts immediately and sucks out the poison. She also insists that they see the doctor - an unheard of event in the village.

Juana has a strong survival instinct where her family is concerned. When the doctor refuses to treat the baby, Kino responds by ineffectually punching the gate; Juana puts a seaweed poultice on the baby's shoulder. She responds with the same kind of direct action when she decides that the pearl is a threat to her family. She tries to throw it back in the sea.

In away of categorizing what each character represents, it can be said  t

1001.      Stuck In The Middle

Stuck In The Middle

Joe Egan and Gerry Rafferty were a duo known as Stealers Wheel when

they recorded a Dylanesque pop hit, "Stuck in the Middle With You", in

April of 1974. The single reached number five on the charts - little

did they know that eighteen years later it would become a cult favorite.

In 1992 Quentin Tarantino, a little known writer/director, took the

Cannes film festival and the world by surprise with his motion picture

Reservoir Dogs. The movie is about the difficulties that occur when

five "master" criminals are hired by a crime king pin named Joe to pull

off the biggest diamond heist of the century.

Stuck right in the middle of the movie, the Egan/Rafferty hit is

played as a introduction to one of the best or worst torture seens ever

in the history of movies. It depends on how you look at it.

I'll set-up the scene in the movie where it is being played, try and

follow me... The five criminals hired go by color-coded names . During

the heist the cops show and things got out of control. Two of the

robbers were shot and killed after Mr. Blonde, the "on the edge"

gangster started shooting up the place when an employee triggered the

alarm. Mr. White and Mr. Orange (an undercover cop) escaped the scene

and headed for the hideout where all the men were supposed to meet. On

the way to the hideout Mr. Orange was shot, he was bleeding severely but

the injury was not life threatening. Shortly after their arrival, Mr.

Pink met with them and they all anxiousley waited for Mr. Blonde.

Mr. Blonde, acting cool and unaffected by the mornings events, made his

entrance. After being questioned by Mr. White about why he went psycho

in the store, Mr. Blonde called them out to see a "surprise" he had in

his trunk. Mr. Blonde in an effort to find out how the police heard

about the robbery in advance had kidnapped a police officer. They

carried the man into the warehouse and after tying him to a chair Mr.

White and Mr. Pink commenced beating the hell out of him. They Asked

him to tell how the police knew of the heist, he said he knew nothing

and after beating on him some more, Nice Guy Eddie came in. He was

Joe's son and told Mr. White and Mr. Pink that they would have to come

with him to ditch the cars. Mr. Blonde was told to stay and keep an eye

on the cop and the injured Mr. Orange.

My idea is that the following scene was written by Director Tarantino

choreographed to the song by Stealers Wheel. Rather than the norm where

a scene is written and the music is picked thereafter. As I describe

the scene I will give the lyrics to the song and show how they

correspond to the characters actions in the scene.

Mr. Blonde starts talking to the cop, who still insists he knows

nothing. The lyrics to the song begin; keep in mind that I am

suggesting that the words are what the cop is thinking. Well I don't know why I came here tonight.

I got the feeling that something ain't right.

I'm so scared in case I fall off my chair,

and I'm wondering how I'll get down the stairs.

Clowns to the left of me, Jokers to the right...

Here I am stuck in the middle with you.

The words being sung tell us that the cop is wondering how he got into

this situation, he knows something is up, and he is scared that he may

not be able to make it through the rest of this torturous interrogation

alive. The clowns are his fellow officers who allowed the situation to

get so out of control, and the jokers are Mr. White and Mr. Pink. And

now he is stuck in the middle of this whole ordeal with the most

cynical, evil, and hardest criminal of the bunch....Mr. Blonde.

Yes I'm stuck in the middle with you and I'm wondering what it is I should do

It's so hard to keep this smile from my face

cause I'm and I'm all over the place

(chorus)

These are the lines that justify what I am saying the most. He is

wondering what he should do, he knows that Mr. Orange is a cop and if he

were to mention it to Mr. Blonde it may save his life. It is an

internal conflict in which he heroically decides to keep quiet. He

can't keep the smile off his face because he knows the cops are outside

just waiting for Joe to come to the warehouse so they can bust the whole

operation, and when he comes the torture will be over.

Well you started out with nothin' and your proud that your a self -made

man.

And your friends they all come callin' - slap you on the back and say -

please, please.

Tryin' to make some sense of it all

But I can see it makes no sense at all

Is it cool to go to sleep on the floor?

'till I think that I can't take anymore.

(Chorus)

Here, the officer is bringing out the fact that Mr. Blonde is proud of

his life as a criminal, and proud that his friends, Joe and Nice Guy

Eddie come callin' -begging Mr. Blonde to work for them right after he

got out of prison. The cop tries to understand the situation that he is

in but he realizes it is a lost cause. The last two lines show what the

officer is asking himself. Should he spill his guts or should he keep

quiet until Joe shows up.

The music stops. The cop is a bloody mess, Mr. Blonde had not only

beat him, he had cut off his ear, and doused him with gasoline. He was

just about ready to set him on fire when six gunshots rang out-- Mr.

Orange, the undercover cop had shot Mr. Blonde to death.

Joe, Nice Guy Eddie, Mr. Pink and Mr. White all return shortly

thereafter. They find Mr. Blonde, the cop, and Mr. Orange all covered

in blood and question Mr. Orange about what happened. Mr. Orange tried

to explain that Mr. Blonde was going to burn the cop, and split with the

diamonds. Joe called him a traitor and would not believe him. Joe shot

the police officer and was ready to kill Mr. Orange when Mr. White turns

his gun on Joe to protect his friend. Intern Nice Guy Eddie turns his

gun on Mr. White. Sirens could be heard as the movie hit its climax -

the cops bust in and three shots are heard, and three bodies drop to the

floor. Quentin Tarintino is a acumen in the the field music, I believe he

truly wrote the seen I described - the torture seen - to coincide with

the Stealers Wheel song. In the research of my opinion I luckily

stumbled on a quote from Tarentino taken from the compact disc booklet

of "Truth and Fiction."

"Personnally, I don't know if Jerry Rafferty neccessarily appreciated

the connotations that I brought to "Stuck in the Middle With You".

There's a good chance he didn't. But that's one of the things about

using music in movies that's so cool: the fact that if you do it right,

it's about as cinematic a thing as you can do. You're really doing

what movies do better than any other art form. It works in this

visceral, emotional, cinematic way that's special. And when you do it

right and you hit it right, then you can never really hear that song

again without thinking about that image from the movie. That's what

comercials are counting on, but it never quite works with commercials.

The thing is, once a movie has done that with a song, as far as I'm

concerned that movie owns it. I mean, they've used "Stand By Me" so

many times, but to me the one that used "Stand By Me" that way was The

Wanderers. They play "Stand By Me" as the lead character, Ken Wahl,

realizes that JFK has been shot. And it's perfect."

I couldn't agree more with what Tarentino is saying. His movies

especially draw upon music to make the scenes flow together in a

surreal, inspiring style. What more can a movie connoisseur like myself

ask for in a movie? As Tarentino says "Stand By Me" is perfect in The

Wanderers, I say "Stuck in the Middle With You" is perfect in Resovoir

Dogs.

1002.      student 2

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1003.      Student

Målçôm

10:6:96

Period:

D

Powder: Questions

1 Jeremy's original source of rejection came from his parents who banished him from his home.

He was to live in the basement, away from society. This hurting he received made him a more

compassionate, caring and loving person. Although his early stages of life were of persecution

and sadness he accepted as a way of life. Being banished from society, he solely learned the

meaning of compassion. He acquired the knowledge of caring and loving by experiencing the

direct opposite of treatment. When he received this treatment, he hated it, and wished for

something different.

2. Three personality traits of Jeremy or  Powder  were his extreme compassion, his shyness, and

his caring. Jeremy expressed compassion in the fullest possible form. He expressed feeling for

others that went to extreme measures. Such as the passing of death from the dying deer to the

sheriff who shot him for sport. Since he was an albino genius, it would be simple to understand

his difficulty of fitting and acquiring new friends that he can socialize with. Thus he became a

shy boy that pretty much kept to himself. Jeremy's characteristic that distinguished him from the

rest of society in which he lived in. Although he was persecuted, beaten, and ridiculed at. He

understood his characteristics and understood why the boys hated him It was fear!

3. I respect Jeremy's caring. Like Christ himself, he wouldn't fight or use any sort of violence to

resolve problems. Jeremy would speak his words of wisdom, or use his divine powers of mental

stability and force to express a point. He would, without hurting anyone, prove a point. This

characteristic made us create a field of empathy for the boy.

4. Jeremy showed his love and compassion and caring for other people and creatures in a few

instances in the movie. The most popular scene expressed caring for a creature. A creature, in

the shape of a defenseless deer. A sheriff was with a bunch of kids, hunting when they should

not. The sheriff found and shot the deer. As the deer laid there breathing his last breathes of life,

Jeremy stepped into action. In order to express the anguish of death to the sheriff, he held on to

the neck of the deer and the arm of the sheriff. Using his forces of mental power he fed the

feelings of death to the sheriff. Even though Jeremy loved the animal inhabitants, he also

expressed compassion and caring for the human population. Jeremy was being ridiculed once

again during stormy weather. A boy named Johnny pushed Jeremy into the mud, laughing

Johnny was then struck by lightning. Even though revenge would have been sweet, Jeremy

reacquired the life for Johnny.

5. The treatment Jeremy received in the cafeteria by the student is quite disheartening and show

the lack of empathy in the students. But the reasons for his treatment is more intriguing than the

actual treatment received. Einstein once said, that we fear what is not known , and Jeremy was

an unknown case of supernatural difference. These students, being average, were reacting as

normal as frighten children, in the form of insult. These children were not mean, they were

frighten of the unknown. Another scientist or psychologist said that fear is sometimes

distinguished in the form of laughter. As the children insulted Jeremy, other children laughed to

relieve the tension they held within. Natural human reactions are to laugh instead of crying when

in fear, just as an infant. And yet another reason for the harsh treatment of Jeremy, was because

he made everyone else seem normal. Today, people try to express their uniqueness the clothes

they wear. Of course they say that its their own look, but we all know that peer pressure from

friends and the media, cause them to do, what they do. So, Jeremy being albino, distinguished all

the other kids. The kids hated this because they are working to be noticed (just as an infant will).

Jeremy proposed a threat to their uniqueness and that caused their behavior to be what it

was.

There was once a student, who was quite isolated because of his external appearance. But many

students began to feel empathy for him and they invited him to cafeteria tables and accepted into

groups.

6. Now although, Jeremy seems to be living in a world of rejection, persecution, and insult, he

has a friend. Like the Good Samaritan, a girl from school, expresses interest in Jeremy. She talks

to Jeremy and sticks by him during harsh times. Their relationship, sinks into a deeper level of

love and compassion. They become lovers. This girl listens to the troubles of Jeremy, and

Jeremy does likewise. It seems that they stood together as partners fighting the world in which

they lived in.

7. Jeremy was ultimately searching for a way to live free of anguish. He wished to find a place

where he can be accepted by all. A place where his looks were disregarded and his intelligence

acknowledged. In this story, he never finds his promised land, so he escapes. Since  Powder  is

nothing but energy, he flees to a field of lightning where he is elevated and taken away. This

seems to be in parallel with the story of Jesus Christ and his resurrection.

8. I like the acting jobs by actors Jeff

Goldblum

and  Powder . They tried their very best to

make sense of the plot that had no logic.

Goldblum

expressed his scientific knowledge and

Powder  expressed himself as a suffering friend.

Although the actors did a superb job in the acting department. The story itself is quite unlogical

and makes no sense. If you find a boy with an IQ that surpasses everyone else on the face of the

planet, and he has the power to elevate with lightning, one of the purest forms of energy, you are

not going to leave him in a school where he would beaten and made fun of. No, you will take

him to a home with a family that loves him and cares for him, while he uses his mental power to

learn and resolve many world problems.

9. Jeremy, parallels with Jesus. They both are persecuted, one for his beliefs, the other for his

external appearance. They both have divine power, one comes from the heavens in the form of

lightning, the other from God. Finally they both escape this world leaving a message behind, one

for us to be free from sin, and the other to be free from ignorance.

10. Besides Jeremy, another character that I liked is Jeff

Goldblum

. He is an authentic Jewish

Scientist. Consistently searching for answers through the path of science. Jeff is also quite

understanding of Jeremy's problem, and tries to understand more from this boy of eternal

powerand knowledge.

11. The story of Powder, teaches you the lesson, that you should not judge people from their

external appearance. Men are created different, but all in the likeness of God. Powder also

emphasizes the way society treats the unknown. With violence, persecution, and hate. As in the

cafeteria scene, Powder is ridiculed and made fun of, yet he responds with love. Thus Powder,

teaches the ultimate lesson that love is more powerful than violence. I can incorporate this into

my life, by trying to understand that all humans are different in external appearance, some are

pretty, some are not. But they all have gifts within to share with the world, if you just give them

a chance to show them.

@}-}---------

1004.      Successes & Failures of Lieutenant Hornblower from C S Fores

C.S. Forester's Lieutenant Hornblower

In the novel Lieutenant Hornblower there were a few scenes were Hornblower

was a success and a few were he was a failure.

In my opinion the first success of Hornblower was when he used all the cannons on

one side of the ship to free them from the mud holding the ship.  Another success was when

Hornblower suggested a landing attack on Samana Bay.  The commanding officer agreed

with his suggestion, and they put together a landing party.  Hornblower had the whole

attack planed and the coordinates marked.  His surprise attack on the Spanish at Samana

proved to be a success.  Once the fort was taken over he was successful in firing red hot

shot at enemy ships, even without ever using that technique before.  Then when the

negotiation with the Spanish took place he had a brilliant idea to mount a nine pound

cannon at the upper end of the peninsula to prevent the Spanish from escaping.  This

enabled them to turn down the terms of the proposal that the Spanish wanted and get what

they wanted without giving anything to the Spanish.  These achievements made by

Hornblower is what later earned him the command of the Retribution, although his

command of the Retribution did not come until later when the war started again.

Hornblower had also had a few failures that hindered his successes.  Among these

was when Hornblower was using the red hot shot to sink enemy ships.  This was both a

success and failure.  It was a failure because after heating the shot for a considerably long

period of time the shot began to deform.  This deformity of the shot wouldn't allow it to fit

into the cannon.  Hornblower realized his mistake after one of the shots wouldn't fit into the

cannon.  This slowed their operation down but didn't cause a defeat to them.  The situation

with Hornblower gambling is mostly in my opinion a success but it could also be a failure.

The way I think it would be a failure is that he lost a lot of his money and couldn't afford

some necessities.  Hornblower also won a considerable amount of money and his playing

Whist with Parry led to the confirming of his command of the Retribution.

I feel these examples show both the success and failure of Lieutenant Hornblower

throughout the novel.  His success lead him to commander of Retribution and his failures

were small and didn't have great effect on his outcome.

1005.      Sudden

Instant

I'll always remember Instant. That was the nickname the men had tacked onto the muscled giant that wielded the M60 in my unit. "Instant" was short for "Instant Death."  And I'll always remember the first time I saw Instant in action.

I was a new Lieutenant assigned to Vietnam. Back then, the Army didn't try to develop any "team spirit" within the corps; men were rotated frequently before any friendships developed. Consequently, my men were a group of strangers united only by the need to survive. They were eighteen- and nineteen-year-olds with the eyes of old men.  My first real assignment was to check a tiny hamlet, Dien Hoa. Army Intelligence believed the Viet Cong were operating from Dien Hoa. Our job was to determine if that was correct.

We rode in an olive-drab chopper. The whooping blades of the helicopter give us a little relief from the relentless heat of 'Nam; the blades cut the thick, humid air and pushed a breeze downward over the passenger compartment.

Soon, we circled the landing zone. The LZ looked cold. There's only one way to find

out if it is really cold, I thought as I double checked my M16. If no one zapped us when we entered, it was cold. If they did, it wasn't.

"Lock and load," I yelled.

The helicopter circled low and slowed down until it almost hovered four feet from the ground. The door gunner mashed the spade grips on his .30 caliber M60 machine gun. The gun spewed bullets over the field below us.

It was time to jump off the skids while we skimmed above the surface of the

lush, green valley. My stomach felt like it was turning wrong-side-out.

We dropped into the grass, stumbling under heavy packs and the weight of ammo and weapons. I wondered about snakes and hoped the groan I mad when I hit the ground was drowned by the noise of the helicopters. Though the helicopter gunner continued firing into the heavy growth to the north of them, there was no return fire. We were safe for the moment.

"OK," I yelled signaling with my hands the way you're not supposed to. Hand signals are a good way to mark yourself as the leader. It's just the thing enemy snipers watch for. But few of my twenty-seven men could hear me over the roar and firing of the helicopters. I had no choice. "Move out. On the double," I ordered. The choppers lifted. We were on our own.

The soldiers started with the usual complaining but then grew strangely quiet. They knew we had to move quickly to leave the dangerously-exposed LZ. The helicopters were lost in the distance; the only sounds were the usual clanking of equipment and water sloshing in canteens.

It took nearly an hour to walk through the grassland and occasional wooded section of the valley to the heavy jungle area at the foot of the hills. Our speed slowed while we went up the slight incline and wove through the ever thickening vegetation. At the ridge which overlooked Dien Hoa, we halted while I inspected the village below them with my binoculars.

I searched for a warning sign, some hint of danger. Old men, women, and children, with a few water buffalo, milled around; everything appeared normal. But I knew that just because an area "looked" business-as-usual it meant nothing in Vietnam.

"Call headquarters," I told my radio man as I lowered my binoculars. Moments later, he had reached headquarters with his radio.  I took the phone piece and let my commander know what the situation was. As expected, we were ordered to continue toward the village. I gave the radio phone-piece to the radioman, put my helmet back onto my head, and stood.

"Sergeant," I said.

"Yes, Sir," Sergeant Nelson answered. The burley, middle-aged trooper squinted at me. His face was wrinkles, sunburn, and peeling skin.

"We got bunched up on our way up," I said. "Be sure they keep spaced

apart."

Sergeant Nelson nodded. I didn't have to tell him that it would be essential to keep spaced in case of an ambush. I hoped the new guys would take his orders seriously.

As the Sergeant crept down the line inspecting and giving last minute instructions, I wiped the sweat from my brow with a dirty hand. Your hands never stay clean for long in Vietnam and you never quit sweating. I wondered how I would hold up in actual combat.

Eventually we were ready. "Saddle up," I said, hoping no one noticed the slight quiver in my voice.

There were two trails leading into Dien Hoa from our side of the village. I didn't choose to take the most direct footpath down. We would have been too exposed on it. I felt certain it would lead to an ambush or booby traps if some of the villagers were Viet Cong. I ordered the men off the ridge and into the jungle area overshadowing the village. Though it was dangerous to do, we had to stick to the trail; the vegetation was too dense to allow us to approach the village from another route without making a huge detour.

We walked into the shade of the thick canopy which gave some relief from the noondays heat. It was a sharp contrast to the hot grassy plane. The smell of wet dirt and rotting vegetation created the feeling of being in an entirely different place and time, rather than just a few kilometers from our LZ.

Halfway down the slope,  Jerry, the point man suddenly dropped and signaled a halt. I passed the order down the line with the same hand signal then pushed by the three grunts ahead of me and crept forward to crouch beside Jerry.  "What's up?" I whispered.

"Charlie," Jerry said in a low, hoarse voice.

I crawled by the soldier and looked down the trail. There, perhaps forty yards ahead of us, was a group of black-pajamaed Viet Cong. They laughed and smoked. They sat on a log alongside the path, their AK-47s carelessly rested against a palm.

As I watched, the Cong were joined by four similarly dressed comrades.   Jerry and I dropped back from the guerrillas' sight. I used hand signals and whispered commands to position my men on the high side of the trail. We crept through the vegetation still wet from the mornings dew. I again momentarily wondered about snakes, then forgot them while I fought my way through the vines and dense growth.

I had ordered them not to fire until the M60 gunner Instant did. And Instant was not to shoot until I gave the go ahead. I stationed myself next to him and Evens, the short, mousy private who served as Instants ammunition carrier. Instant crouched in the brush; he wore a flack jacket without a shirt under it, exposing his muscled arms.

The Viet Cong on the trail acted like they owned the place. They made enough racket and jabbering to be heard for miles. The guerrillas' lack of discipline was astonishing; I hoped we could take advantage of their carelessness.

Moments that seemed to stretch to eternity passed, then six VC rounded the turn of the path. They walked into the kill zone of the ambush, continuing to talk loudly, completely oblivious to the danger. Each had his AK-47 balanced over his shoulder with the rifles butt behind him while he carried the firearm by its barrel.

There was jabbering and laughter on the trail behind the six; I let the first group continued toward our trap. I watched. Four more men and two women rounded the angle of the trail. One woman wore a hat, the other woman and the men had rags on their heads; all wore black pajamas with sandals. All but one. He stuck out from the others. He walked like a soldier and wore a tan uniform and

green "safari hat" of the North Vietnamese Army. Unlike his comrades, he carried an old Russian SKS rifle.

Headquarters would be glad if we got that guy, I thought. They were always trying to trace the connections between the North and South. Too, the NVA might have documents on him from which US Intelligence could get useful information. I hunkered down wondering if additional VC or NVA would stumble into our trap. Things were going to be tricky; if I waited too long, the first Cong would be out of the kill zone.

I listened a moment for others; I could hear nobody else. It was time. I tapped Instants steel helmet.

There was a nearly inaudible click as Instant released the safety on the M60 machine gun. Then all hell broke loose.

I blinked at the loud thumping of the M60. With each burst, it threw a golden shower of brass into my line of vision. I strained to see through the thin blue smoke that escaped from the flash hider of the machine guns barrel. The low-toned explosions of the M60 were joined by a higher-pitched ca-whacking chorus of M16 rifles. The twelve people on the trail jerked and danced to the cruel music. They were chopped down before they could

take any action or even ready their weapons.

"Cease fire," I yelled. Two young soldiers continued to shoot although the VC were down and obviously dead.  I swore under my breath, need to work on fire discipline.  The last few shots ended. Sergeant Nelson screamed and cursed the two privates for wasting ammunition.

We rose to stare at the bodies sprawled across the footpath below us. The Sergeant quit chewing the two soldiers' butts and the jungle was quiet. Even the sounds of insects were absent. Only the whispers of my men and the smell of gunpowder hanging in the air explained what had transpired.

I signaled several of my troops to quit gawking at the bodies and return to their positions so each end of the trail would be secure. Sergeant Nelson inspected the bloody corpses for documents. I ambled back toward the point, surprised at the elation I experienced after my initial taste of combat. As I neared Jerry, I saw a flash of movement behind the palms and bushes that screened the trails bend.

More Viet Cong.

Jerry stood on the path, oblivious to the black forms running toward him. "Watch out!" I hollered. I crouched instinctively. I brought my M16 up and snapped off its safety.

Jerry noticed my performance. The GI twirled and dived back into the brush with a crash. I saw a muzzle flash. The only way to see a muzzle flash in daylight is to be gazing down a barrel. The bullet narrowly missed me as it sped by with a crack.

Six Viet Cong raced around the corner of the trail. Their firearms blazed on full automatic. I returned the fire, knocking one into the brush. Their shots kicked up plumes of earth on the trail next to me and shattered the canteen on my belt. The VC leaped into the greenery off the track. I scrambled to leave the trail myself.

I could hear my men thrashing in the undergrowth behind me; but no one was shooting for fear of hitting me or Jerry. Everything grew quiet. I searched the brush for a sign of Charlies presence.  Then I realized that the VC had leaped into the same area where Jerry hidden.  All hell's going to break loose if that's what happened, I thought to myself.

Sure enough, there was a flurry of shooting. AK-47s and an M16 barked in the scrub ahead of me. Ignoring the stray bullets cracking in the air, I rose up to a crouch to witness the outcome, my carbine at the ready.

As I watched, three of the Cong bolted out of the brush. They crossed the trail and dashed into the vegetation on the opposite side of the path before I could zap them. Two more of the enemy followed them; one limped badly. The second staggered, blood spurting from a wound on his neck. The two crossed the trail; my men finally started shooting. American bullets kicked up the sodden path around the VC. The first VC dropped like a limp rag doll. The other sprawled, his feet sticking out of the

brush onto the trail.

After the flurry of shooting, there was a lull. Most of my men had exhausted the rounds in their magazines. They paused to place new magazines into their M16s. AK-47s initiated a din of their own to fill the silence.

AK bullets cracked next to my head. I scrambled to place a palm between me and the VC and then realized that I was hearing the blast of a rifle from the knoll above me. I spun and discharged my weapon toward the sound. I caught a glimpse of a black figure. The man jerked and fell as I drew a bead on him. Half his face was blown away.  More gun shots came from the hill as well as from the bend of the pathway; I cursed myself. I had permitted us to be caught in a flanking movement. There was little I could have done to prevent it, but I was furious for not anticipating it all the same.

Crouching down, I flipped the switch on my rifle to full auto. I kept the tree to my back so I'd be screened from the Cong on the trail. Rising slightly from the foliage, I squeezed off a barrage of slugs toward where the shooting came from the slope above. I dropped to the ground.

There wasn't time to fire again. A hail of bullets answered my shots, cracking as they passed above my head; other bullets dug up the damp soil and growth. I crawled, hidden in the vegetation, and tried to withdraw from the spot from which I'd fired. I scooted on my hands and knees. Someone was thrashing toward me.  I froze. My finger tightened on the trigger. Then I relaxed. I could see the olive green of a US uniform. It was Jerry!

The soldier crawled to me. Despite the fear in his eyes, he smiled grimly as he hugged the ground.  A trickle of blood was coming from a small wound on Jerrys upper left arm. His lower ear lobe was also bleeding where it had been nicked by a bullet or possibly a splinter kicked up by a near miss.

The shooting stopped. I crawled forward and peeked through the thick brush that screened the trail. I could barely discern the black forms of two Cong who were crawling along the trail ten yards from us. I dropped the nearly empty magazine from my carbine while I watched the enemy soldiers. I rolled over and drew a full magazine from my pouch and slipped it silently into my rifle.  My gun was still set on full auto. I wiped the sweat from my right eye. Rising to a crouch, I shot into the foliage at the two guerrillas. One of the guerrillas twitched spasmodically, then fell flat, my bullets gnawing at his body. The second, a young girl, spun over firing her AK skyward, then abruptly slumped.

As I dropped into the growth beside the point man, Jerry opened up with his M16.  I peered through the foliage where Jerry fired. Several more Cong were sprinting toward us.  The VC discharged their AKs blindly at the sound of our rifles. I emptied the rest of my magazine at them. All four of the Cong were hit. They collapsed on the trail, out of view.  Now AK-47 bullets again rained on us from close range. The hill just over us was lit up with gunfire. Jerry and I plunged into the undergrowth, leaves and twigs from the trees overhead dropped on us. The moist dirt exploded with the impact of bullets.

The noise of the gunfire was accompanied by a wet, slapping sound, like a water melon being struck by a hammer. I glanced at Jerry. His face was staring with unfocused eyes. His face was blank, emotionless, his spirit drained from it. A large gaping hole in his temple oozed blood; the leaves behind him were matted with his blood and brains. I looked away and closed my eyes.

As a Lieutenant, I knew I was responsible for my soldiers. Forget Jerry, I told myself. Save the rest of your men from this predicament. But how? I'm too far from away to give orders. As close as the Cong are would make movement suicidal...

Another barrage of bullets chewed into the dirt around me.

I lay still, playing dead, praying that the next bullet wouldn't be the one to kill me. After a few tense moments, the thumping of bullets so close to my body stopped.

Lying motionless for an eternity, I listened to the battle. I couldn't believe I hadn't been hit even though the VC shooting at me had been quite close. I heard the Cong approaching through the vegetation.

I rolled over, jerked a grime-covered grenade from the side of my magazine pouch, and pulled the pin. I tossed the grenade toward the rustling sound. The blast that came seconds later was accompanied by a scream. On target, I thought. I instantly flung two more grenades.

As I listened, my M-79 grenadier started firing and the larger explosions of his shells reverberated from the knoll above me. Above the sounds of exploding grenades and the shots from the AK-47s, I could discern the staccato firing of an M60 along with the renewed fire of an M16. I quickly snapped a new magazine into my and looked over the grass to see what was happening.

I saw Instant. He was standing, firing his M60, oblivious to the incoming AK-47 bullets that were cutting through the brush and around him. He fired up the hill toward the Cong. With each string he shot, he took steps up the slope. His cowering ammunition handler scampered behind him with spare ammo, his M16 rifle playing a counterpoint to Instants weapon.

As I watched, I learned how Instant had obtained his name. Bits of palms shattered under the M60s fire.  Here and there, Cong shrieked, cut down by the invisible blade. Burst after burst spilled brass out the side of the weapon as Instant directed his bullets at the Cong.  But it'll only be a matter of time before they slaughter him, I told myself. They murdered Jerry. Damn it, they're not going to waste Instant.  Acting on my anger, I jumped up and pulled the trigger on my carbine, and fired the Cong up the ridge.

"Come on!" I ordered a private I saw cowering in a clump of rubber trees. After a moments hesitation, he jumped up and joined me, his eyes wide with fear.

We sprinted up the hill, exposed. But we didn't care. Run, aim, shoot. Sergeant Nelson stood up. He yelled and cursed those cowering around him. One by one they rose and joined the mad charge up the steep incline. We continued, stumbling, hurdling through the thick vegetation, and screaming like demented souls.

The firing of the AKs petered out. We darted through the foliage to the top of the ridge in our spontaneous charge. At the crest of the slope, the plants became sparse. We overlooked what had once been terraced farmland on the opposite downward slope. In the sparse scrub, we could also see the retreating VC. They were bounding like scared black rabbits.  From our vantage point, the VC were totally exposed below us. We launched a hasty barrage after the enemy.  Then we realized our opportunity.  The Cong had no cover close by. We proceeded to take careful aim, savoring shots the way a hunter might when he made ready to bag a prized buck. We made careful, deliberate shots. One after another, the black, running forms crumpled. With a final flurry of shooting, only a lone Charlie managed to escape into the grove of trees below.

The bodies of the VC dotted the open hillside. Sporadic last shots ended the lives of the few wounded who continued to stir below us. Complete silence reigned for a few moments, then Blake yelled an obscenity at the last Cong who had eluded us.

Silence.

"We did it," I simply said, my words falling flat.

A weak cheer went down the line; one man dropped to his knees and cried. Even though we'd all felt as good as dead, we realized we had won.

Afterward, waiting with the wounded and dead for dustoff, I thought about the firefight. Instants selfless deed had saved our skins. It was little wonder the men had so much respect for the soldier. I studied him for a moment. He sat by himself beneath a tree, carefully cleaning his M60 like a mother washing a baby. He wore a bandage over his right eye and a second on his arm; except for those minor wounds, he had managed to come through the fight uninjured.  And he'd shown a green lieutenant and his men what true bravery was.

1006.      Suicide in Chinatown

Suicide in Chinatown

There was a normal afternoon in Chinatown. Everybody was really interested in Silvester Stalone's new action movie that was being played for the first time this weekend.

Delta Force was the movie. Stalone was acting as a very famous cop. He became popular because one year before he killed all a group of terrorists that was planning to put a bomb in the Empire State Building. Now he is fighting against some bank robbers.

The critics and also the public were complaining about the violence that the film shows. The critics said that too much blood and fights would incite a bad behavior from the public.

Because of all these complaints the public opinion was discussing the possibility of cut of some parts of the movie or even stop playing it.

During the 8:00pm movie session, one fact worked to decide quickly the situation...

There were many couples in the movie theater and during one of the most violent part of the film, a couple stood up and pulled out two gun machines that were in a suitcase.

They were, apparently, a normal couple. The blond man using beard was wearing sport clothes. He was carrying a medium black and white suitcase, from where they pulled the gun. The woman was also young, may be working to 20 or 22 years old. She was wearing shorts and a red shirt.

She was the most nervous and she was the one who ordered everybody to line on the floor and picked the guys as hostages.

When they ordered the hostages to line on the floor, one girl escaped from the place and called the police.

The couple didn't ask for anything special. They just began to scream saying that they had the power and wanted the public attention.

Five minutes after the girl escape from the cinema, the police arrived. There were more than fifteen police cars around the cinema, nobody could escape. The sergeant got out of the car and began to negotiate with the couple, trying to release the hostages safely. The sergeant asked how could he finish  the situation and the couple asked for a TV team to record something very important to them.

The sergeant permitted the CNN team to go into the movie theater but, for doing it, he asked the couple to release the half part of the hostages that were there.

The guy accepted and when the CNN team went into the cinema he released seventy-five people.

When the CNN group began to record the place, the couple put their weapons on their own head and shot themselves. At this moment, everybody became in panic. The police officers invaded the place and calmed the people that were there.

The 911 doctors tried to save the couple but the bullets in their head were too much to them.

When the police was removing the dead body, a cop found a letter in the man's pocket that was telling that they loved too much each other but because their parents didn't like the romance they decided to die like Romeo and Juliet but in a Silvester Stalone's stile.

All this incident worked for stop the cinemas playing the movie. The court decided that all the cinemas that were playing "Delta Force" had to change the film in exhibition. In additional, the couple's parents sued the movie producers using the argument that they incited violence with this movie.

At the moment we don't know the judge results.

1007.      summary and commentary on the first three scenes in Act III of Macbeth

The first scene starts with Banquo voicing his suspicions about Macbeth killing Duncan in order to become the King. He is aware that the witches had prophesized that his sons would become Kings. But he doesn't let this thought obsess him. He is capable of controlling his thoughts and checking his ambitions unlike Macbeth which sets the two apart.

Macbeth enters with the others here. He announces that Banquo is to be the chief guest of the royal banquet he's hosting tonight. Banquo promises to come but not until later after he has returned from his ride with his son, Fleance. Then Macbeth talks of how Malcolm and Donalbain haven't yet confessed to their deed and are making up dumb tales to support their innocence. Macbeth needn't have told this to Banquo; his doing so shows that he is still scared that Banquo suspects him and he wants to clear any such suspicion in Banquo's mind by repeatedly reminding Banquo that Malcolm and Donalbain are the ones to blame.

Once everyone leaves and he's alone, Macbeth speaks out his innermost thoughts and feelings. His tone is that of despair, insecurity and defiance towards the end of the soliloquy. "To be thus is nothing; / But to be safely thus," he says. Macbeth realizes that being a King isn't all that great if the kingship is insecure. Banquo stands as an obstacle, a potential threat to his kingship. Then Macbeth goes on to admire Banquo and his qualities. He admires Banquo's 'nobility of character', 'loyalty', 'dauntless temper', 'daring', and his 'valour guided by his wisdom'. Here Macbeth compares himself to Mark Antony and Banquo to Julius Caesar. This is because Antony's guiding spirit was made timid by Caesar's just as Macbeth's is by Banquo's. Macbeth viewed himself as inferior to Banquo in terms of bravery and character. So he took Banquo to be the biggest potential threat to his crown.

Moreover, the three witches had prophesized that Banquo's sons would be kings. Now that he is a King, Macbeth isn't satisfied with it. Here we can see over-ambition or unchecked ambition because his desires always exceed the achievements and hence are unattainable. His descendants won't get to be kings despite all that he did to gain the crown. He feels betrayed. He says in a bitter tone that the witches merely placed 'a fruitless crown' on his head, 'a barren sceptre' in his gripe and took away the rightful kingship from his descendants. Macbeth uses imageries here. By 'a fruitless crown' and 'a barren sceptre', he means that this kind of kingship won't give him the fruit that he desires - kingship for his descendants. He hates to think that he tormented his mind, murdered the gracious Duncan and disturbed his otherwise peaceful life for the sake of Banquo's children. "Only for them; and mine eternal jewel / Given to the common enemy of man, / To make them kings, the seed of Banquo kings! / Rather than so, come fate into the list, / And champion me to th' utterance!" Macbeth says. He is fully aware that he has moved onto the side of the evil and that all he has done was wrong. But he just can't stand the prospect of Banquo's sons being kings after all he's done and is prepared to challenge fate to the death. So Macbeth after all knows that he's fighting a losing battle but it's too late to go back so the only option is to continue till the end.

After the speech, two murderers called for by Macbeth enter. Macbeth talks to them about their problems and tries to convince them that Banquo is the one to blame for all their complaints. He questions them if they have the patience to endure their pitiful state any longer, if they can pray for Banquo and his descendants when he showed them to their graves and made their descendants but beggars. "So weary with disasters, tugg'd with fortune, / That I would set my life on any chance, / To mend it or be rid on 't," says one murderer. We can feel the desperation in his tone which suggests their pitiful state. They will do anything to alleviate their sufferings. Making Banquo seem the root of their problems, Macbeth gets the murderers against Banquo and orders them to kill Banquo and Fleance.

In the next scene, we see a despairing Lady Macbeth which is in stark contrast to her character portrayed in the previous acts. She says that they lost everything to gain nothing for they aren't satisfied with what they got although it is what they desired. "'Tis safer to be that which we destroy / Than by destruction dwell in doubtful joy," Lady Macbeth says, implying that it is better to be killed than kill only to be able to rejoice in insecure and unpleasant pleasure. As Macbeth enters, Lady Macbeth tells him to forget uncorrectable mistakes, what's done is done.

"We have scorch'd the snake, not kill'd it," Macbeth says. What's done isn't done yet. The snake is apparently a metaphor for righteousness which has been scorched during the killing of Duncan but is now healing and so his evilness is losing its influence. His evil can't last much longer so he is unsure how much longer he can go on killing people to safeguard his crown. He wishes he were among the dead whom he killed to gain peace but has lost it instead and has to live in restless ecstasy. He envies Duncan who he says is sleeping peacefully in his grave and nothing can possibly harm him. When Lady Macbeth tells him to wear a bright and jovial face for the banquet, Macbeth agrees, adding that while the crown is unsafe, they should keep their titles honourable and let their faces mask their evil hearts. The theme of 'deceptive appearance' is reinforced strongly here.

"O full of scorpions is my mind, dear wife; / Thou know'st that Banquo and his Fleance lives," Macbeth reveals to Lady Macbeth that the existence of Banquo and his son worries him. Lady Macbeth is unaware of Macbeth's meeting with the murderers so she is confused when he says, "...there shall be done / A deed of dreadful note." But Macbeth plans to leave his Lady out on this one. Macbeth personifies night as he calls for it to be ruthless aided by its dark agents of evil in order to kill Banquo.

In this scene, it seems like Macbeth and Lady Macbeth have switched roles. Lady Macbeth seems to be disintegrating from her former strong and evil self. Macbeth seems to have newfound courage. Just as Lady Macbeth had convinced Macbeth to murder Duncan, Macbeth here convinces the murderers against Banquo. The last speech of Macbeth is in a way similar to the one of Lady Macbeth addressing the evil spirits. Lady Macbeth is receding into the background as Macbeth is beginning to take front stage by acting of his own initiative without consulting his Lady.

In the third scene, the sun is setting and it is getting dark. There are now three murderers instead of the two that met Macbeth in the first scene. The third could have been sent by Macbeth because he couldn't trust just the two to get the job done. To make sure that Banquo and Fleance are killed, he could have sent an extra murderer. Banquo is killed in the murderers' ambush but Fleance makes an escape. The murderers make their way back to report to the King. Here again, the atmosphere plays an important role as the murder takes place at dark. Dark is the time of evil so evil deeds are done in the dark throughout this play.

In these scenes, the audience sympathizes with Macbeth because he knows what he is doing is wrong but there's no turning back so all he can do is move on. And one could argue that the witches and Lady Macbeth are responsible for putting him in this fix. As we watch these scenes, we can feel that Macbeth is gradually moving towards his inevitable doom but there's nothing we can do about it except perhaps sympathize and this can, at times, be frustrating.

[I don't think the commentary here is very good]

1008.      Summer of the Monkeys

OUTLINE

Topic: Jay Berry

Purpose: To identify the nature of the force of the conflict which Jay Berry encounters, and indicate how they help or hinder Jay Berry the protagonist in Wilson Rawls novel Summer of the Monkeys

Thesis: Before Jay Berry succeeds his goal he encounters many conflicts that both hinder and help him through his amazing adventure.

I.                      Inner Forces

A. Help- personality traits

1.  Determination

2.  Confidence

II.                    B. Hinder

1.  Fear

2.  Over confidence

III.                   Outer Forces

A. Help- other people

1. Grandpa

2. Old Rowdy

IV.                   B. Hinder

1. Monkeys

2. Environment

SUMMER

OF

THE

MONKEYS

"It is every boys dream to own a pony and a .22" those were the

exact words that motivated Jay Berry to realize his goal of catching

Jimbo and the rest of the escaped circus monkeys.  In Wilson Rawls

novel Summer of the Monkeys Jay Berry Lee encounters many obstacles

in his way of succeeding his goal.  Before Jay Berry succeeds his goal,

he encounters many conflicts that both hinder and help him through his

amazing journey.

The first inner force that helps Jay Berry along his journey is his

incredible determination.  Jay Berry displays his determination many

times throughout the novel.  For Jay Berry to succeed his goals of

bringing the highly intelligent circus monkeys home he has to have a

great deal of determination.  He shows an example of this when he fails

to succeed his first few times out, but he never gives up, and has the

same motivation the next time he tries to catch the monkeys.  Another

inner force that helps him on his way is his confidence.  For anybody to

achieve a certain goal they have to feel confident about what they are

trying to achieve.  Jay Berry is always confident about his new scheme to

catch those extraordinary circus monkeys.  Jay Berry displays this when

his Grandfather comes up with another brilliant idea, and he is so

confident that he will catch the monkeys with the latest plot on catching

the monkeys.  It is very important to have confidence and to feel good

about what you are doing, and Jay Berry is one of those confident people

who never let a minor setback bring them down.

Everyone has many goals they set for them selves, and for every

goal that is made, there is always an  inner forces that hinder you along

your journey.  Two of the inner forces that hinder Jay Berry is his fear of

the monkeys and over confidence.  There is not one person in the world

who does not have a fear of something, whether it may be a fear of heights

or snakes.  After that incident with Jay Berry, Old Rowdy and the

monkeys where the monkeys took it to Jay Berry and Rowdy, Jay Berry

has developed a certain fear of the monkeys.  This particular fear of the

monkeys hinders Jay Berry slightly because of the monkeys "leader"

Jimbo.  Jimbo is an intimidating monkey who enjoys making a fool out

of Jay Berry, Jay Berry is reluctant to get to close to Jimbo because he

does not want to be made a fool of by some monkeys.  The second inner

force that hindered Jay Berry is his over confidence, one may not think

too much confidence is a bad thing but it could turn out to be

disastrous.  Since Jay Berry has a great deal of confidence in catching

the monkeys, it is easy for him to get too cocky.  An example of this is

when Jay Berry sees the monkeys drinking the alcohol and he does not

think to much of it. Then in inedible happened, he got drunk off the

alcohol and yet again gets made a fool by Jimbo.  These are two

examples that hindered Jay Berry throughout the novel and it is also a

problem for many people to deal with.

Everyone has outer forces that help them to succeed their goals and

these are some of the many that helped Jay Berry.  One of the most

important outer forces that helped Jay Berry through his adventure was

his Grandpa.  He was always the one that Jay Berry can talk to when he

needs help with his monkey catching, and like most Grandpa's he said

all of the right things.  Another significant thing that his Grandpa did for

him was make him decide to give up his dreams and pay for daisy's

crippled leg.  Another outer force that Jay Berry could depend upon was

his trusty dog Old Rowdy.  Of course Old Rowdy can't speak but Jay

Berry felt that Rowdy could really understand him and his feelings.  Jay

Berry felt secure telling Rowdy things and knowing know one else

would find out.  This was, if not the most significant outer force that

helped Jay Berry along his incredible journey.

Finally, there is a always is a bad thing when there's a good thing.

Some of the outer forces that were aligned against Jay Berry's success

was of course the monkeys, and the natural environment played a big

part in hindering Jay Berry.  The monkeys were the main protagonists

aligned against Jay Berry.  The monkeys hindered Jay Berry with their

intellectual abilities and also their physical attributes.  Jay Berry did not

know what he was going up against when he took on the challenge of

catching the escaped circus monkeys.  They outsmarted Jay Berry many

times making Jay Berry looking like a buffoon.  Also the monkeys

physical capabilities are far more superior than Jay Berry's, also you will

not see Jay Berry jumping from tree to tree.  Another outer force that

hindered Jay Berry was the environment.  The sycamore trees are much

too tall for Jay Berry to climb, and the bottoms are very unstable.

Summer of the Monkeys written by Wilson Rawls displays many

inner and outer forces either help or hindering Jay Berry.  In the end Jay

Berry was struck by a surprise when the whole family got what they

wished for in the magical fairy ring that Daisy found.  The peak of Jay

Berry's success is when he got a chance to run with Daisy through the

fields, and also got his pony and .22.  A lesson is to be learned from Jay

Berry's wonderful experience, if you do what's best and not just what

you want, you might just get both as an even greater reward.

1009.      Superstition

Superstistion, a word that is often used to explain bad luck, misfortune, the super natural, and the world that is

not known. In the novel The Adventures of Huckleberry Finn by Mark Twain, superstion playe an important role

that resurfaces several times throughout the book. A belief that a hair ball can tell the future, a loaf of bread

containing quicksilver can point out a dead carcass, and touching a snake skin with bare hands will give you the

worst  bad luck, are all examples of some of the superstitons found in the book.

"Miss Watson's nigger, Jim, had a hairball as big as your fist, which had been took out of the fourth stomach of

an ox, and he used to do magic with it. He said there was a spirit inside of it and it knowed everything." This

quote, taken from chapter four of The Adventures of Huckleberry Finn, is a great example of how superstitius the

people of the time were. The hairball's signifigance to the novel is seen in both the characters of Jim and Huck.

Jim is an uneducated slave who does not have much knowledge. He is very ignorant and is easy to beleive things

things. Not only does his beleif that this hairball has magic spirits, he is also fooled by Huck many times during the

novel. You would think because of him being an uneducated slave, and Huck being the white boy who has had

some schooling, that their beleifs in this superstitous hairball would differ. This is not true as seen when Huck is

the one that comes to Jim for the powers of the Hairball. Huck wanted to know what his father, Pap, was going to

do. Huck had found out earlier that Pap was back in Town. Both Huck and Jim are very superstisoius as most of the

people were then. There was not a lot of the modern technologies that we have today to prove many superstitions

false. The hairball really does not tell Huck anything that he really already did not know. It only told him that his

father did not know what to do. It only told him general things such as, you are going to get hurt ,but then you will

get better. This episode with the hairball shows that even though Huck has some sort of an education, he and Jim

may be more similar than either one would admit.

Another superstition that most all of the people then beleived had to do with a loaf of bread and some

quicksilver. "I only had a bite to eat. Well, then I happened to think how they always put quicksilver in loaves of

bread and float them off, beacuse they always go right to the drownded carcass." Luckkily for this superstition a

loaf of bread happened to float right by him, and he had breakfast. Since the bread did in dead float to him, mabey

the old belief had some truth in it. After all, he was really supposed to be dead and the bread did seek him out. This

episode furth illustrated the point that most all of the people were superstitous. The whole town beleived the loaves

would find the body. Again, they had no way of knowing why it would work or why it would not. If you put enough

loaves of bread out there, one of them is bound to find a cracass somewhere. Huck finding the bread really helped

move the novel along. If he had not been able to get the bread to eat, he might have left the shore in seek of food. If

this had happened there would never have been a seen where he sees all of town on the steambote seearching for

his dead body. A fianl point to this episode it the widow and here parying. During most of the book, Huck did not

beleive praying did much of anyhting at all. After all, he had prayed for many things in the past and never got

them. This time he though mabey there accually wa soemthing to the praying of the widow. "I says, now I reckon

the widow

1010.      Survey On Music

Survey On Music

This is a survey being conducted for the purpose of knowing the musical aspects of high school students. Your name is not a factor in this survey since all results are simply tallied. As you complete this survey, keep an open mind and follow all directions. Responses to questions can be answered with a check mark in one of the designated boxes unless otherwise instructed in that section. The end-results of this survey as a whole will be released to the public as soon as possible. Thank you for taking the time to complete this survey.

MUSIC IN GENERAL

Of the following questions please answer by checking either yes or no.                   Yes    No

1) Do you like listening to music in general?

2) Do you like music of today rather than the music from older times ?

3) Do you know of anyone whose career involves music ?

4) Do you play a musical instrument ?

5) Does anyone else you know of play a musical instrument ?

6) Can you read from a music book ?

7) Have you ever written a piece of music ?

8) Do you buy your music ?

9) If you buy music, do you only buy one type of music ?

10) Do you listen to local radio stations ?

11) Do you prefer radio stations rather than buying CDs or Cassettes ?

12) Do you or anyone in your household watch MTV ?

13) Or the BET (Black Entertainment Television) ?

14) Or VH1 ?

15) Do you keep up with all of the current events going on in the music world ?

16) Do you know of any local bands ?

17) Have you ever been to a live concert ?

18) Have you heard of composers Beethoven, Mozart, or any other greats ?

19) Do you enjoy their styles of music ?

20) Do you consider classical music to be "real" music ?

21) Do you consider rap music to be "real" music ?

22) Do you agree with your parent's opinion about the music you listen to ?

23) In general, do you think some music can contribute to violence ?

24) Do you think rap music has contributed to some of today's street violence ?

25) Do you think that music can make you violent under certain circumstances ?

26) Does your type of music reflect your personality ?

27) Does the way you dress express the type of music you listen to  ?

LIKES AND DISLIKES

Place a check under the appropriate column for the types of music that you currently listen to.

Also, give a rating of that type of music from 1 to 5. 1 being low and 5 being high.

Like     Dislike Rating

28)  Rock & Roll

29)    Alternative

30)    Dance/Pop

31)       Classical

32)        Country

33)             R&B

34)               Rap

WHERE AND WHEN

Put a check in the box that best describes how often you listen to music during the activity.

Always            Sometimes       Never

35)                              In a car

36)               Doing homework

37)                         On the job

38)                     On long trips

39)    Exercising/Working out

40)   Other: (_____________)

Put a check in the box that best describes when you listen to music.

Always            Usually            Never

41)   In the morning

42)   In the afternoon

43)   In the evening

44)   In the late night

VARIATIONS

Place a check in the box that tells how many different categories you currently listen to.

45) 0 0 (I don't listen to music)

0 1

0 2

0 3

0 4

0 5+ (I listen to all kinds of music)

Place a check in the box that tells the total amount of music categories you ever liked.

46) 0 0 (I have never really liked any music)

0 1

0 2

0 3

0 4

0 5+ (I have liked all kinds of music)

THE MUSIC AWARDS

On the following questions, please answer with a check in the "yes" or "no" box and then circle your answer for the next question.                                           Yes  No

47) When the music awards are on TV, do you watch them?

48a) If your answer was "yes", is it because:

(1) you want to see your favorite singer or group win.

(2) you just like to watch them.

(3) both 1 and 2.

(1)  or  (2)  or  (3)

48b) If your answer was "no", is it because:

(1) you have no interest in music.

(2) you just don't have the time to sit down and watch them.

(3) you really don't care about the awards.

(1)  or  (2)  or  (3)

CONSUMER INPUT

Circle the appropriate answer for the following questions.

49) Which of the following do you prefer to buy?

Compact Disk or     Cassette Tape

50) How much would you be willing to spend on an average, full-length tape?

$7 to -$10    or     $10 to -$12    or     $12 or more

51) How much are you willing to spend on an average CD?

$10 to -$13     or      $13 to -$16    or     $16 or more

In the following list of stores, place a check in the box if you buy music from that store.

52) 0 Sam Goody

53) 0 Tape World

54) 0 The Wall

55) 0 Strawberries

56) 0 Lechmere

57) 0 From a music club (specify) __________________

58) 0 Others (specify) ________________________

POPULAR GROUPS

For the following list of groups, place a check mark in the box that describes what you think of them.

Like them a lot  They are OK  Don't like them  No comment

59) Smashing Pumpkins

60) Nine Inch Nails

61) Jane's Addiction

62) White Zombie

63) Gin Blossoms

64) Pearl Jam

65) Dr. Dre

66) Alanis Morissette

67) The Fugees

68) Foo Fighters

69) Tom Petty

70) Stone Temple Pilots

71) The Beach Boys

72) Elvis

73) The Beetles

74) Oasis

75) Snoop Doggy Dog

76) Alice In Chains

77) L. L. Cool J

78) Mariah Carey

79) 2 Pac

80) Beastie boys

81) Silver Chair

82) Vanilla Ice

83) The Cranberries

84) Domino

85) 311

86) TLC

87) Aerosmith

88) Boyz 2 Men

89) Metallica

90) Brandy

91) Coolio

92) Everclear

93) Counting Crows

94) Hootie and the Blowfish

95) Toni Braxton

96) Live

97) Salt 'N Peppa

98) Warren G

99) Toadies

Mike Kaplan and Jason Gaudette would like to thank you for taking our music survey and hope to get the survey results out to you as soon as possible.

1011.      Sustainability

Essay on Sustainability

The Green Imperative' is an exceptionally good book written by Victor Papanek, who was a prominent designer as well as an author of our time.  The basis of the book is related to ecology and ethics as applied to design and architecture.  The introduction of sustainability takes place thereafter.  The word `sustainability' means that is not the same as environmentalism or about saving the world. But, instead to make each one of us realize that we are a part of the world and that certain actions we make can cause harm to our planet.  Therefore, he agrees that we as a community should try to support life on earth, making it a better place to live in.  Creating newer resources and inventions could cause less harm to our planet later on.

With references to Papanek's book `The Green Imperative' I am to give examples of existing designs that is more sustainable for the well being of our environment.

There are a lot of major changes to our natural environment.  Today we are now faced with many different types of unnatural disasters. Furthermore, these disasters are likely to increase in number as well as the scale of such disasters.

These weather changes are due to an increase in global warming.  Global warming is: '... scientifically referred to as climate change... due to natural processes and cycles... and is the result of human activity.'

Greenhouse gases cause global warming. However pollution from the earth's atmosphere also plays a significant role. Fossil fuel extractions have got connections with changes in the climate.  We humans will remain a target of these climate changes, as we are held responsible for our actions towards the environment.  Examples are: cutting down trees for phosphates, natural sources from the ground and intensive farming by use of harmful chemicals (used on croplands and fertilizers, use of such chemicals that damages the soil). On the other hand, oil spills have ill-treated the oceans; wildlife and nature are at risk while sky pollution such as transport pollution, toxic wastes, dangerous gases and litters are equally daily causes of pollution.

The other cause of pollution is from industries.  This was first established during the industrial revolution 200 years ago and is still around today. Coal or oil power plants, chemical, metal and fabric and other industries were put to the use to develop a new economy to generate more products and to lure more customers to buy.  Industrial pollution is commonly used in our products we use, in our food or in the air we breathe, but there is little indication of such chemicals in our environment. However, people should still be concerned about what they use and be given more information on the products they buy and whether those products are safe enough to be exposed to the atmosphere. Research still needs to be done on many different types of hazardous chemicals and to see in the long-term if they do cause harm to humans.

The Christian Aid Organization of reporting on the recent tragic weather conditions has issued global reports. It was revealed that noticeable evidence of climate change towards the new century was visible:

In 1998 there was a serious drought in Sudan. The following year a cyclone hit India, the state of Orissa resulting in 10,000 people dead or missing. Crops and homes had also been destroyed. At the beginning of 2000 there were the immense floods in Mozambique.

Many critics claim that the rich, developed countries are the ones to blame and are the ones consuming most of our essential resources. However, this cannot be calculated, as the population is constantly expanding, and it is problematical to say who the ones are causing these problems. The only answer is all humans are causing these problems without even realizing it!

These problems clearly reveal that there is a `lack of consideration of environmental issues'.  If there is no consideration of these issues, then how will people be encouraged to make potential changes to our world?  With useful sources of information with figures, we can find ways, which could encourage people to avoid doing certain things and to suggest other options that are more suitable, energy efficient and more sustainable.  These effective sources of evidence can hopefully persuade people to consume less and make more use of recyclable material.  To teach basic knowledge about the world, we need to as a community tackle ways to make our planet safer, to help reducing pollution and excessive use of certain resources that will eventually run out.

These crucial changes will affect many careers, consumers, and companies including designers and architects.  As Papanek has mentioned:

`.. changes... brought about... so major and so threatening it is imperative that designers and architects play their part in helping to find solutions.'

Papanek's book clearly outlines sustainability and how he strongly feels that architects and designers are the ones who could influence people for them to make changes and to create better living through designing a more sustainable world. To provide customers with the information they need to choose more sustainable solutions to their needs:

It may be helpful if customers could make a decision between`what and whether to buy' and `sharing not buying' by this it could cut down on waste and to`offer some practical alternatives to`... buying of appliances, tools, gadgets and goods.'

He further adds seriously that if it is not the case to be taken into consideration by the humanity then:

`... we must learn to preserve and conserve Earth's resources' by... our habits... patterns of consumption, manufacture and recycling, as `we may have no future.'

Ecologically, Papanek is implying that we need to refer more closely to the 3 R's, which stand for reduce, reuse and recycle. All of these which can make all the difference to our environment. These three R's have always been used to help motivate us people to recycle more and to reprocess.  Although there are still many people who think that it is all a hassle or they feel that there is no need for converting old material for reuse. Some people rely too much on landfills and that the rubbish should be sent to the landfills, but is resulting in even more on amounts of everlasting rubbish that will take longer to be eradicated.

Recently being abroad in Pakistan, it is a developing country where many people use recyclable materials in a very economical way and reuse assorted materials, mostly for survival.  Exceptional examples of recycling and reusing are car tyres, these have many uses, to make sandals as they are hardwearing and long-lasting, used for swings in parks in children's play area, they also use scraps of tyres to repair bicycles or use on ornaments, bins, etc.  Another example is old newspapers are used to wrap objects, or to wrap food in, for example nuts, crisps, chips. They also do not waste a lot of water!! Over there sanitation is not well advanced, so they have water tanks that recycle water every morning and night so they have limited amount of water supply at certain times of the day.  It shows that life is harder in poorer countries, yet they still manage to use recyclable materials that will endure their life for longer use.

The main problems with products are:

`... too many different versions of the same item available'

It shows that many industries think mechanically and waste resources of materials for the product, packaging and more packaging for the goods to be exported all of which can be difficult to replace.  These are known as non-renewable resources.  It is why there is a high demand for these resources, the sooner they act to do something it, or it can be too late.  It is highly unnecessary to make numerous types of one same product, such as a stereo, when you can easily buy a stereo that has all the buttons or functions you need.  It shows less awareness to our limited resources we use heavily today like coal, oil, metal, fossil fuels and natural gasses all which were created millions of years under seabed and ground between layers of rocks and earth to form.

Instead, people should use sources of energy that will last forever; these sources are called renewable resources. These sources are more environmentally friendly, that can cut down greenhouse gas pollution, acid rain and improves our air quality.  With this it could help replace the earth's damages into a cleaner environment, having sustainable sources of energy, for instance solar cookers, solar powered cars and solar powered heating in homes.  Furthermore, it can reduce bills making it more energy efficient.

` It is very easy to throw away things we no longer need but there are alternatives.  If we reduce, reuse and recycle more of our domestic waste, we save energy, create less pollution and help to preserve stocks of non-renewable raw materials.'

The latest new technologies of the Dyson vacuum cleaners have produced new products to clean flooring with greater suction control, with filters, a trigger bin, is lightweight and easy to use.  Nevertheless, it is being made out of colourful plastics that can be damaging to our environment, as colourful plastics are difficult to recycle.  But, in the long term it will be useful for many years to come.

A Woodstove Ecofan is useful to give heat, which increases the stove's efficiency without wasting energy or use electricity.  It also gives cooler air for hotter days by simply the hotter the stove gets, the faster the fan twirls to give cooler air, vice versa.  Or the latest twist bulb can save people up to 75% of power costs.  These bulbs produce soft light and can be used around the house and will last for up to 5 years.

From focusing on many different aspects of pollution and the materials we utilize we must think of ways to change our future to `contribute towards a sustainable future for the environment'.   First of all, we would need to focus on the link between life and the environment.  From here we could try to predict the imminent future through science, to discover if there is other possible new technology that could give newer powered energies.  Industries could instead use recyclable materials for their products, which could then encourage more people to try their products.  It could also be cheaper for both industries to produce and for consumer to purchase.  With this anticipation it could hopefully cut down pollution, and where industries would make products that will last for longer use available for all.

1012.      Sweeney Todd

Sweeney Todd

Sweeney Todd is by no means a conventional musical; it takes several forms of

music and theater and artfully places them together. Sondheim very effectively

transports the audience back to Victorian England for a mad waltz with murder,

mayhem...and meat pies. He also utilizes his skill as a choral composer to write

some truly fascinating ensemble pieces accompanied by a very intricate plot with

many elements carefully layered.

There are several important thematic elements in this carefully written

commentary on our society, and Sondheim makes good use of his music to accent

not only the melodramatic plot, but these themes as well. For example, the song

"Kiss Me" becomes an anthem for Anthony and Johanna and a symbol of their true

love....they loved when they did not even know each other's names. Sweeney Todd

may be a dark musical, but its construction lends well to light voices and an equally

light orchestral style. Plot-wise, this show is rather light, the characters seem

cartoonish and one-dimensional, especially Mrs. Lovett, Anthony, and Johanna,

who appear to be little more than melodramatic character roles. Ironically, Mrs.

Lovett, the absolute capitalist, is one of the show's most complex characters. Mrs.

Lovett is not merely some amoral witch out to make a fast dollar, she is a character

driven by greed and love to keep Sweeney however she can.

In conclusion, the play gives an excellent example of captive innocence, and

the loss of innocence that immediately follows. Sweeney is driven to murder, Mrs.

Lovett bakes these people into pies, Johanna kills, Lucy is forced to become a

Beggar and a whore, and nearly every major character experiences their own fall

from grace. Every character in the show is a captive, whether literally or

figuratively. Most importantly, Sweeney is a captive of his revenge and Mrs.

Lovett is imprisoned by her love for Sweeney. Both are determined to do whatever

possible to attain their goals and both fail, ultimately destroying themselves just

short of reaching their goals.

1013.      Swifts Real Argument 2

Swift's Real Argument

God only knows from whence came Freud's theory of penis envy, but one of his more tame theories, that of  "reverse psychology", may have its roots in the satire of the late Jonathan Swift. I do not mean to assert that Swift employed or was at all familiar with that style of  persuasion, but his style is certainly comparable. Reverse psychology (as I chose to define it for this paper) means taking arguments that affirm an issue to such a degree that they seem absurd, and thus oppose the issue. Swift, in "An Argument  [Against] The Abolishing Of Christianity In England" stands up for Christianity, and based on the absurdity of his defense, he inadvertently desecrates it. He sets up a fictitious society in which Christianity is disregarded and disdained, but nominal Christianity remains. The author writes to defend this nominal Christianity from abolition. The arguments that the author uses, which are common knowledge in his time, if applied to Christianity in Swift's time would be quite dangerous allegations. Indeed, the reasons that Swift gives for the preservation of  the fictitious Christianity are exactly what he sees wrong with the Christianity practiced in his time.  By applying Swift's satirical argument for the preservation of this fictitious religion to that which was currently practiced, Swift asserts that their Christianity served ulterior motives, both for the government and for the people.

If we are to prove that the government was using religion for selfish purposes, we must be sure that it was not serving its intended purpose, the assurance of the moral sanctity of its policies. This is quite evident in the author's comment that if real Christianity was revived, it would be, "destroy at one blow all the wit and half the learning of the kingdom; to break the entire frame and constitution of things[.]" This proves beyond a shadow of a doubt that Christianity has no influence on the government's current policies. It even seems as if the government established Church isn't completely rooted in Christianity, as the author weakly suggests that, "[A]bolishing Christianity may perhaps bring the church into danger."

The ways that the government actually uses Christianity are completely selfish. One such purpose is the consolation of allies, "among whom, for we ought to know, it may be the custom of the country to believe a God." He later goes on to suggest the abolition of Christianity in peace-time in order to avoid the loss of allies.  It also seems as if the government uses Christianity to pacify the commoners. Although Swift sarcastically interjects, "Not that I [agree] with those who hold religion to have been the intervention of politicians to keep the lower part of the world in awe," he also says that religion is, "[O]f singular use for the common people."

In other instances, the government does not use, but certainly benefits from Christianity. In several ways Christianity is a buffer from dissension, in that it takes a blow that might have instead landed on government. Many of the reasons that the author's opposition has given for abolishing Christianity deals with the settlement of unrest that comes from religious disputes.  One such example they give is that if Christianity were abolished,  there would be no more persecution of "blasphemers". Swift answers that these people are naturally inclined to rebel against establishments. Therefore, if the church, their favorite object of rebellion, was taken away, they would resort to rebelling against the government. This statement suggests that ,"deorum offensa diis curae" (offenses against the gods are the god's business). If applied to the English government, it accuses them of only punishing "blasphemers" in the interest of protecting the government. Another argument that the author counters is that upon the fall of Christianity, Protestants and other dissenters  would be able to again join in communion with the Catholic church. To this, the author retorts that while this may take away one reason for dissension, "spirit of opposition" would still remain. Thus, when these Protestants found themselves unhappily thrust back into the fold, they would simply find another area in which to dissent, and this time it may be an important area like government. While reaffirming the government's selfish motives, this accuses the Protestants of separating from the Catholic church not because of moral differences, but in order to quench their desire to rebel. Another unity that the author's opposition predicted would come from Christianity's fall would that of  political and religious parties. Swift answers that these parties used religious differences as an excuse to argue, and that, if necessary, they would find any number of other matters to argue about.  One very lilliputian example that he gives is that of two Italian factions that spawned from a dispute over the color of some ribbons. The author asserts that, much like the Protestants, these parties used religion as an excuse to fulfill their selfish desire to argue.

Like the politicians, the people also have disposed of Christianity as far as letting influence their actions. The Christianity then practiced has no relation to real Christianity, "[S]uch as used in primitive times", "to have an influence upon men's beliefs and actions." Apparently, even belief in a god, "is more than is required of us" (Christians). Also, "[B]y an entire change in the methods of education," "the young gentlemen who are now on the scene seem to have not the least tincture of [virtue, honor, etc.]." This new generation, while not believing in the morals associated Christianity, still gain from their existence. While they disobey the laws associated with these morals, Swift asserts that breaking the rule wouldn't be nearly as fun if it wasn't considered wrong.

The people also value church for selfish reasons. As Swift explains, church is many things for many people, none of which include spiritual fulfillment. For social butterflies, church is the perfect place to hob-knob or show off your latest outfit. For the businessman, "where more meetings for business?", "where more bargains driven of all sorts?" Finally, for the insomniac, "where so many conveniences or enticements to sleep?" These statements apply more directly than any others in the article to the high church of England.

All of the things that Swift says about this fictional religion would be very strong words if applied to the Church of England. It might be readily conceived by the innocent reader that Swift was an enemy of the church in his time. This couldn't be farther from the truth. Swift was involved in the church and politics all his life, often in the position of supporting political and religious factions. While this could be used to counter my thesis that Swift was criticizing the establishment, it can just as easily support it. Swift obviously didn't hate government or the church, on the contrary, it was his love of these things that led him to point out the injustices that were scarring them. Like a mother scolding her child, Swift finds fault in his beloved church, only that he may edify it.

1014.      Swifts Real Argument

Swift's Real Argument

God only knows from whence came Freud's theory of penis envy, but one of his more tame theories, that of  "reverse psychology", may have its roots in the satire of the late Jonathan Swift. I do not mean to assert that Swift employed or was at all familiar with that style of  persuasion, but his style is certainly comparable. Reverse psychology (as I chose to define it for this paper) means taking arguments that affirm an issue to such a degree that they seem absurd, and thus oppose the issue. Swift, in "An Argument  [Against] The Abolishing Of Christianity In England" stands up for Christianity, and based on the absurdity of his defense, he inadvertently desecrates it. He sets up a fictitious society in which Christianity is disregarded and disdained, but nominal Christianity remains. The author writes to defend this nominal Christianity from abolition. The arguments that the author uses, which are common knowledge in his time, if applied to Christianity in Swift's time would be quite dangerous allegations. Indeed, the reasons that Swift gives for the preservation of  the fictitious Christianity are exactly what he sees wrong with the Christianity practiced in his time.  By applying Swift's satirical argument for the preservation of this fictitious religion to that which was currently practiced, Swift asserts that their Christianity served ulterior motives, both for the government and for the people.

If we are to prove that the government was using religion for selfish purposes, we must be sure that it was not serving its intended purpose, the assurance of the moral sanctity of its policies. This is quite evident in the author's comment that if real Christianity was revived, it would be, "destroy at one blow all the wit and half the learning of the kingdom; to break the entire frame and constitution of things[.]" This proves beyond a shadow of a doubt that Christianity has no influence on the government's current policies. It even seems as if the government established Church isn't completely rooted in Christianity, as the author weakly suggests that, "[A]bolishing Christianity may perhaps bring the church into danger."

The ways that the government actually uses Christianity are completely selfish. One such purpose is the consolation of allies, "among whom, for we ought to know, it may be the custom of the country to believe a God." He later goes on to suggest the abolition of Christianity in peace-time in order to avoid the loss of allies.  It also seems as if the government uses Christianity to pacify the commoners. Although Swift sarcastically interjects, "Not that I [agree] with those who hold religion to have been the intervention of politicians to keep the lower part of the world in awe," he also says that religion is, "[O]f singular use for the common people."

In other instances, the government does not use, but certainly benefits from Christianity. In several ways Christianity is a buffer from dissension, in that it takes a blow that might have instead landed on government. Many of the reasons that the author's opposition has given for abolishing Christianity deals with the settlement of unrest that comes from religious disputes.  One such example they give is that if Christianity were abolished,  there would be no more persecution of "blasphemers". Swift answers that these people are naturally inclined to rebel against establishments. Therefore, if the church, their favorite object of rebellion, was taken away, they would resort to rebelling against the government. This statement suggests that ,"deorum offensa diis curae" (offenses against the gods are the god's business). If applied to the English government, it accuses them of only punishing "blasphemers" in the interest of protecting the government. Another argument that the author counters is that upon the fall of Christianity, Protestants and other dissenters  would be able to again join in communion with the Catholic church. To this, the author retorts that while this may take away one reason for dissension, "spirit of opposition" would still remain. Thus, when these Protestants found themselves unhappily thrust back into the fold, they would simply find another area in which to dissent, and this time it may be an important area like government. While reaffirming the government's selfish motives, this accuses the Protestants of separating from the Catholic church not because of moral differences, but in order to quench their desire to rebel. Another unity that the author's opposition predicted would come from Christianity's fall would that of  political and religious parties. Swift answers that these parties used religious differences as an excuse to argue, and that, if necessary, they would find any number of other matters to argue about.  One very lilliputian example that he gives is that of two Italian factions that spawned from a dispute over the color of some ribbons. The author asserts that, much like the Protestants, these parties used religion as an excuse to fulfill their selfish desire to argue.

Like the politicians, the people also have disposed of Christianity as far as letting influence their actions. The Christianity then practiced has no relation to real Christianity, "[S]uch as used in primitive times", "to have an influence upon men's beliefs and actions." Apparently, even belief in a god, "is more than is required of us" (Christians). Also, "[B]y an entire change in the methods of education," "the young gentlemen who are now on the scene seem to have not the least tincture of [virtue, honor, etc.]." This new generation, while not believing in the morals associated Christianity, still gain from their existence. While they disobey the laws associated with these morals, Swift asserts that breaking the rule wouldn't be nearly as fun if it wasn't considered wrong.

The people also value church for selfish reasons. As Swift explains, church is many things for many people, none of which include spiritual fulfillment. For social butterflies, church is the perfect place to hob-knob or show off your latest outfit. For the businessman, "where more meetings for business?", "where more bargains driven of all sorts?" Finally, for the insomniac, "where so many conveniences or enticements to sleep?" These statements apply more directly than any others in the article to the high church of England.

All of the things that Swift says about this fictional religion would be very strong words if applied to the Church of England. It might be readily conceived by the innocent reader that Swift was an enemy of the church in his time. This couldn't be farther from the truth. Swift was involved in the church and politics all his life, often in the position of supporting political and religious factions. While this could be used to counter my thesis that Swift was criticizing the establishment, it can just as easily support it. Swift obviously didn't hate government or the church, on the contrary, it was his love of these things that led him to point out the injustices that were scarring them. Like a mother scolding her child, Swift finds fault in his beloved church, only that he may edify it.

1015.      Symbol Use Within Two Short Stories

Symbol Use Within Two Short Stories

The authors, Shirley Jackson and Nathaniel Hawthorne, both frequently use symbols within their stories "The Lottery" and "Young Goodman Brown."  Symbols are utilized as an enhancement tool to stress the theme of each story. Hawthorne uses names and objects to enhance the theme, and Jackson mainly utilizes names to stress the theme, although she does have one object as a symbol of great importance to the theme.  The stories both contain symbols describing evil. The majority of Hawthorne's symbols describe religion (both good and evil), but Jackson's symbols reflect the evil nature within society as a whole.  There exists symbolic acts in each story.  The short stories both share the use of symbols, but the symbols are  used to express different thoughts in ones mind while reading them.

The stories "Young Goodman Brown" and "The Lottery" both use names as symbols.  Hawthorne uses the names Young Goodman Brown and Faith to portray nice, descent people.  The name Faith alone implies a faithful and Christian individual as stated   "And Faith, as the wife was aptly named," (211).  Jackson uses the name Mr. Graves throughout her story, he is the coordinator of the lottery. She needs not give any explanation to the name, as it speaks for itself (a symbol of death).  Various other names are used as symbols within each story, however, these mentioned are the most significant names to the theme.  The stories each contain names, objects, and acts as important symbols.

Hawthorne uses the names to stress good people, but relies heavily on objects to portray Satanism.  The object of obvious Satanism  is the staff (a cane) mentioned throughout the story.  It is clearly identified when the old traveler throws it down in the sentence "it assumed life, being one of the rods which its owner had formerly lent to the Egyptian Magi" (215).  According  to the Bible. sorcerers with magic powers change their rods into serpents.  Jackson uses the black box throughout her story as a symbol of  tradition not to be changed as stated "Every year, after the lottery, Mr. Summers began talking about a new box, but every year the subject was allowed to fade off without anything's being done" (249).  The fact it is an old black wore out box puts evil thoughts in ones mind while reading the story.  The symbolic objects in each story differ, Hawthorne's are to show Satanism, rather than the evil in people as Jackson's shows.

The stories each contain symbolic acts.  The devil's comments during his sermon  such as "Evil is the nature of mankind.  Evil must be your only happiness" (220) is a clear symbolic act of Satanism, although Satanism is never mentioned by the author.  Jackson uses symbolic acts to stress the evil in mankind.  An example is Mrs. Delacroix, a friend of Tessie's, chooses a large rock to throw "Mrs. Delacroix selected a stone so large she had to pick it up with both hands" (254).  Additionally evil in people is clearly proven in the statement "The children had stones already, and someone gave little Davey Hutchinson a few pebbles" (254).  One finds it not only hard to believe the children would participate, but her son participating in his own mother's death too, makes this an incredible symbolic act of evil.  Symbolic acts play a major role to the theme of each story although they are used to express different meanings.

The two short stories, "Young Goodman Brown and "The Lottery", are very similar regarding the importance of symbols to each.  The meaning of the symbols, whether names, objects, or acts, are different.  Symbols are important in each story to define the theme.  Close observation of the symbols within each story proves to one their importance.

Hawthorne, Nathaniel.  "Young Goodman Brown"

Literature:  An Introduction to Fiction, Poetry, and Drama.  Ed. X. J. Kennedy and Dana

Gioia.  6th ed.  New York:  Harper Collins, 1995.  211-220

Jackson, Shirley.  "The Lottery"

Literature:  An Introduction to Fiction, Poetry, and Drama.  Ed. X. J. Kennedy and Dana

Gioia  6th ed.  New York:  Harper Collins, 1995.  248-254

1016.      Symbolic Space French Enlightenment Architecture and Its Legacy by Richard A Etlin

Detailed book review, subject could also be French Architecture

Richard A. Etlin,  Symbolic Space: French Enlightenment Architecture and Its Legacy.  Chicago: The University of Chicago Press, 1994;  xxv + 198 pp.;  113 ills.

Richard Etlin, in his study, Symbolic Space: French Enlightenment Architecture and Its Legacy, offers his insight into the integral relationship architecture has within the activities of man.  Politics, science, social organization, and religion, all have spaces unique to their own functional character.  Beyond a functional character, however, there exists a deeper, more spiritual connection man has with his surroundings.  The emotional role of architecture is one focus of Etlin's work.  In his treatment of emotion and its relevance in architecture, Etlin relates modern designs with those of the visionary French architects during the late eighteenth century.

In understanding the role of emotion, Etlin first establishes his notion of space.  Mankind has the unique ability to control, design, and shape his environment to his needs.  "Architecture is concerned primarily with the creation of domains for human activity," Etlin writes.  Apart from activity alone, architecture creates "spatial realms...with qualities that affect the viewer and the user."  Architecture can establish a meaning and a feeling; it will affect man's mood.  The mood is created and controlled by an architect's use and design of space.  Etlin elaborates more on this idea of space, "All of these intellectual and subjective considerations about space, which reach beyond the mere measurement of height, width, and depth, and beyond the mere description of geometric features, are aspects of symbolic space."   Symbolic space elevates architecture into something more cerebral and more personal than just the basic elements.  It imparts the same notion and feeling of viewing a work of art, but allowing man more freedom; the freedom to use a work of art for his own benefit.  The functional aspect of space is very important: "We find that symbolic space is invariably commingled with the various codes of order by which humans organize their world."   Symbolic space is broken down into three types, which form Etlin's "unifying thread" of his book: primal space, organized space based on social codes, and the multi-layered space of meaning within a particular place.   Using this framework as a guide, Etlin concentrates on demonstrating the symbolic similarities of modern architects such as Cret, Wright, and Le Corbusier, with the theoretical works of visionaries such as Boullee and Ledoux.

Etlin begins his work with the phrase, "The Eighteenth century saw radical changes in the world of architecture."   Stemming from the ideas of the Enlightenment, architecture began to take on a new type of dynamic.  It was beginning to move more towards an active role in everyday life, centered upon the ideal of embellissement, or embellishment.  Architecture and the changes occurring in this field during the eighteenth century "must be understood to include cultural aspirations and functional amenities as well as aesthetic pleasures."   Space was starting to take on meaning; it was to create an impression.

Boullee is a prime example of space encompassing some type of meaning.  His buildings were to have an expressive and metaphorical character, but perhaps more importantly, he wanted them to have a symbolic character.   "Boullee provided each of his civic buildings with a temple-like space consecrated to the idea of the institution housed there," Etlin writes.   This idea could be expressed through his use of domes, or peristyles, to indicate some type of importance to a building.    The observer is able to glance at a building, and immediately identify with the importance of the event taking place there.  Boullee's neoclassical legacy can be identified with more modern buildings in Washington, D.C.  Etlin uses the example of the National Archives Building (1933-1935) to demonstrate a link to the architects of the past.  The Archives Building houses such important documents such as the Declaration of Independence and the Bill of Rights under a "hemispherically domed rotunda".   Etlin tries to invoke the neoclassical images of these buildings, but takes this image one step further.  One must also consider the documents housed in this building:

It would be difficult to find a more appropriate match between the ideas expounded in these documents, the idea of symbolic space not only to house them but also to make them manifest, and the mentality that could conceive both, a mentality convinced by the correctness and naturalness of such abstract ideas as the rights of man and the legitimacy of democracy in the human community and relation to the cosmic order.

Etlin, in his description, is not writing so much on the part of the actual structure of the building.  The description is effective in that it concentrates on the emotion of the building and the metaphorical relationship man has with the contents of the building.  The example of the National Archives and its meaning as a building is the first major example of a modern structure with its legacy rooted to the symbolic space of the past.

The eighteenth century was a time of political change.  The old institutions were being overthrown, giving rise to a sense of the importance of the individual.  Etlin considers the architecture of the late eighteenth century, most particularly associated with the French Revolution, as "Revolutionary Space".  Revolutionary space does not stray from the earlier types of character expressed by Boullee.  "The values of the Revolution... (are) equivalent to the three types of character - metaphorical, expressive, and symbolic," Etlin writes.   The corresponding types of revolutionary space follow these three aspects in the same fashion as Boullee: narrative, expressive, and numinous.  Numinous is perhaps the most distinct, having a meaning meant to establish a "deeply rooted emotive response."   The Revolution demanded a new face to Paris.  As the adage goes, "out with the old, in with the new."  Any reminder of the brutal past was desired to be erased and changed, with a revolutionary twist.  The goal of architecture was to create a sense of independence, "So that merely by walking across town he or she would imbibe a republican message."   Symbolism was to be seen everywhere.  Monuments to victories of the people, or the transformation of the Bastille, or the conversion of toll gates to victory arches; such was the goal of revolutionary architecture.  "During the revolution, hardly an urban design project could escape the appeal of a symbolic civics lesson," Etlin reiterates.   Again, Etlin uses Boullee's work to demonstrate the symbolic idea of the revolution.  "Boullee abstracted the idea of biblical tablets in the design of the neoclassical facade for his proposed Palais National."   The Palais National was a huge temple to the revolution and the people of France, and furthermore, it was to have a functional purpose within the government.  The goal of Boullee is to offer the people the feeling that their revolution against the king was just and almost as important as the biblical struggles.  By connecting the revolution with the bible, it is almost impossible to feel a type of emotion stirred up inside; Boullee is trying to get the viewer to have a chill in his spine.

Modern man has followed the revolutionary space idea in several contexts.  Fascist Italy, Nazi Germany, and Hussein's Iraq are some of Etlin's examples.  One legacy from revolutionary space is the concept of size and enormity.  Iraq's "Victory Arch" is two-and-a-half times larger than the Arc de Triomphe.   An example even closer to Boullee's Palais National is the cosmic metaphor indicated in Tatlin's monument to the Third International (1920).  Tatlin's use of  "two intertwining helixes symbolizing the dynamism of the Russian Revolution".    This building again is working to invoke emotion, a spiritual message through the action of a revolution.

Symbolism with its roots in the eighteenth century can also be seen in more functional structures.  The civic architecture of Cret is Etlin's prime example.  Following the ideas set forth by the Beaux-Arts style of Durand, or the grandeur of Blondel, Cret was "a master of symbolic character."   His works utilize many aspects of the visionary architects of the past.   These aspects were especially important in establishing character.  He uses a great hall as a unifying force in his buildings.  It became the "point of focus" with an "expressive and metaphorical character to the symbolic core of the design."   The great hall was to be the emotional center-point of his buildings.  Consider the example of the Pan American Union (1910), where Cret describes his goal of the building to be "the visible expression of the ideals of unity, solidarity, and amity to which the Union is dedicated."   The building itself is not too grand in size to impose a visitor, yet his subtle use of pilasters and a characteristic three-arch entryway, implies a great deal monumentality and significance to the building.

Another one of Cret's works which draws even more heavily on the Beaux-Arts characteristics in the eighteenth century is the Indianapolis Public Library.  Centered again around a grand hall, Cret follows in Boullee's footsteps.  The grand hall was central to the libraries function as "the repository of humankind's knowledge of the universe."    On the outside, Cret's use of orders centralized to the building creates a strong visual impact upon entering.  To enter, one must first pass through giant columns, which lead directly to the great hall. As it is known, libraries are place where one can not speak aloud.  The personal impression of entering this particular library would make it impossible.  The emotion of importance, and knowledge, are key to the ingredients of a successful library building.

Etlin's most unique chapter is the final one of his book, titled "The Space of Absence."  Here, he deals with the most abstract emotion, and architects attempts to make concrete strong and personal feelings.  "The space of absence is associated with commemoration...it is grounded in the same intuition about abstract presence as is symbolic character...its subject is extremely personal," Etlin describes.   Wright is Etlin's primary example, as his works create a feeling of "the same quality of symbolic character that could be found in Boullee and Cret".   Wright's absence of space is evident in his Unity Temple and Cenotaph (1958).  He masterfully establishes a somber, recollective quality about this building.  It awes the viewer, and one is aware of its holy significance.  The emotions again are strong, as Wright draws upon the past, "The funerary chapel was like a meeting between the Greek temple and Stonehenge, filtered through the creative persona of this inimitable organic architect."     This building, along with the other projects Etlin describes, use architecture to go beyond mere emotion.  The impact is very spiritual, and the effect is very substantial.

Etlin describes the role of emotion in architecture with unrelenting vigor.  One is constantly reminded of the symbolic qualities in each of the buildings he describes.  Emotion is the goal, even with the context of a function.  Take Cret's library, for example.  This building serves a distinct, useful, and functional purpose.  Taking this functional aspect into account, the emotions it can stir up make it that much more effective.  By demonstrating this relationship, especially how modern design follows the emotional patter of the past, we must question the validity of modern design.  Are these buildings, built in the twentieth century, truly modern?  What about the sterile and cold "modern" buildings, encased in glass and steel?  Are these able to generate emotion in the same way as their neo-classical ancestors?  After reading this book, it will be impossible to judge modern architecture without these considerations their relationship to the past.

1017.      Symbolism in Camus The Plague

For the first essay for Integrative Studies 300 I would like to write on the Camus

work, The Plague. Since Albert Camus has a philosophical view unlike that of many

western writers, the book can serve as an excellent reflection on an unpopular view of

life, living, and death. Life without a god poses many ironies; Camus attempts to satisfy

those ironies.

By using many examples of symbolism, Camus conveys his own philosophy in a

certain way so that his characters are subject to his personal ideals and morals. Camus

believes there is no god, and essentially that human beings need to be responsible for

their own lives, happiness, and decency. Through the eyes of all of his characters, the

author answers questions like: "Why be optimistic?",  "Why be moral?", "Why live if we

are just going to die?", and "Why hope?".

Camus contends that there are human values that are good in themselves; it is just

good to be moral. In this essay I plan to connect the characters, symbolism, and my

personal feelings and values with this idea. Such evidence as people being good to a

neighbor in time of need or people volunteering to adopt a family for the holidays are

many times based on a desire to simply do something good, not a necessarily a desire to

please a god or receive a reward.

Finally, without a god (or even with a god for that matter) Camus says that we

need to be responsible and create our own hope. By looking carefully at the characters in

the book, I plan to also show Camus' press for responsibility among the people. The

ultimate goal of this essay is to make prominent Camus philosophical views of a godless

world in which the people hold the responsibility of living a moral and hope-filled life.

1018.      Symbolism in Huckleberry Finn

The Adventures of Huckleberry Finn

Questions

1.  Compare and Contrast Tom Sawyer and Huckleberry Finn.

Although Tom and Hucklberry Finn have many things in common and are very good  friends, they also live a life of two totally different lifestyles.  Tom, who is a dreamer, lives a life out of romantic novels, and can be amusing and exasperating at the same time.  He lives a life out of drama and brings out his imagination in a realistic way.  He is amusing when showing his understanding of what he has read and he loves to replay what has happened  He is a leader and is idolized by many including Huck.

Huck, much different than Tom, does not engage in the fantasies that Tom does and has little interest in them.  He is more interested in what is happening right now and what is going on in his life in the present. He is always practical and natural, exhibiting good common sense except in rare episodes like the part about the snake bite. He sees Tom's wide reading and vivid imagination as something that sets him on top of himself.  He often thinks about how Tom would have enjoyed doing some difficult feet that he has just performed.  Although he gets annoyed by Tom's daydreams sometimes he goes along with them because he believes that Tom is someone that is on top of him.

2.   Huck Finn's relationship with Jim changes as the story progresses.  Analyze how and why the relationship changes, supporting your answer with at least three examples from the story.

Jim, a slave owned by Miss Watson,  is a very interesting character in the book.  He seems like a person who is filled with superstitions but later down the river we learn about his fine attributes like his unselfishness and his love for Huck.  Because he is more than a stereotypical slave, Huck and Jim throughout the book develop a very loyal friendship and become very good friends.  Jim, who acts like a father figure towards Huck because no one else is there for him., is important to the plot because he gives Huck a reason to travel on the river.  Because Jim is a runaway slave, it is necessary for Huck to keep quiet in times like for instance when Huck lies to them men about him being in the raft, instead telling them that his ill "pap" is in the raft.  Huck does whatever he can to keep his word that " he will not tell on Jim."

When Huck hears that Jim is jubilant at the thought of escape, and also that Jim plans to steal is necessary, his own children out of slavery, he is horrified at this and shocked at his own part in such an "immoral" undertaking. Not only a plot device,  Jim is also the person who brings Huck to a series of important moral decisions throughout the book..  As they travel more and more into the their adventure, you can see a stronger and stronger bond growing between the two.  They rely on each other and are both an essential part to their lives.

3.  Analyze the  significance of the Mississippi River in the novel.

The Mississippi represents a place of good.  Huck and Jim, find their freedom while traveling down the river.  It is a pace where they do not have to worry about the evil of society.  It is a place where they can drawback from society and just relax.  " It was kind of solemn, drifting down the big river, laying on our backs looking at the stars..."   As they travel down the river, Huck and Jim develop a loyal friendship that is very great.  The river is a place out of society where the two can get away and enjoy their freedom.

4.  By using examples from the plot and characters in The Adventures of Huckleberry Finn, explain Mark Twain's view of society and religion.

The conflict between society and individual becomes a controlling theme throughout the novel.  At first,  Huck mentions how the Widow Douglas wants to "civilize" him, but in contrast, Huck wants to escape and be " free and satisfied."  Huck encounters varying aspects, attitudes, and restrictions of society and he much rather prefers his individual freedom.  Even when living with his "pap" he enjoys it much better than living in regular society because he does not like living in regular schedules; going to school, waking up at the same time.  He prefers doing this out of the ordinary society.

Huck Finn is an allegory about good and evil.  Huck represents the forces of good, and most of the people he meets represent evil.  Society seems like a place that is holding you back, and the river seems like a place where there are no worries.  He sees all his freedom while his time on the river and enjoys it there.  The Mississippi River is a god that provides both beauty and terror.  Huck represents makind's need to retreat from the real world and to take in the pleasures of religion.

1019.      Symbolism in The Glass Menagerie

"I have a poet's weakness for symbols."  So states Tom Wingfield, narrator and major character in Tennessee William's timeless play "The Glass Menagerie". Through the eyes of Tom, the viewer gets a glance into the life of his family in the pre-war depression era; his mother, a southern belle desperately clinging to the past, his sister, a young woman too fragile to function in society, and himself, a struggling young poet working at a warehouse to pay the bills. Williams, through his remarkable use of symbols, is able to effectively express the theme of "The Glass Menagerie" : That of hopeful aspirations followed by inevitable disappointment, having dreams which are destroyed by the harsh realities of the world.

Symbols are a major part of this play, as Tom, the narrator, is a poet, and admits he has a weakness for symbols. One major symbol presented in the story is that of the fire escape, a symbol that has a different meaning and function for each character. For Tom, it is a means of escape from fire, not the type of fire that was considered in its building, but "the slow and implacable fires of human desperation." This is especially true of Tom's apartment. His mother, devastated after her daughter Laura's failure to cope in business college, becomes obsessed with finding her a gentleman caller so that she can marry and be well supported. When this caller finally comes, and it seems like it was meant to be, as they dance and kiss, he announces he is engaged, and dashes their hopes. The ever-fragile Laura, temporarily drawn out of her dream-world shell of her glass collection and the victrola, draws further back into herself. Now a terrible desperation fills the apartment, and Tom decides he must escape the suffocating environment to follow his own calling. The fire escape to him represents a path to the outside world.  For Laura, the fire escape is exactly the opposite--a path to the safe world inside, a world in which she can hide. Especially symbolic is Laura's fall when descending the steps to do a chore for her mother, after leaving the security of the apartment. This fall symbolizes Laura's inability to function in society and the outside world. For Amanda, the fire escape is symbolic of her hopes and dreams--hopes and dreams that a gentleman caller will arrive to marry her daughter and leave her well supported. This is the way Jim comes into the apartment, at the time when Amanda's hopes have been peaked. It is symbolic that Laura does not want to open the door when Jim arrives. It shows her reluctance to let an emissary from the world of reality, symbolized by Jim, invade the comfortable non-existence of the apartment, and her insecurity in dealing with the outside world.

Another recurring symbol in the story is that of the glass menagerie itself. This represents Laura's hypersensitive nature and fragility. The first time the menagerie is mentioned in any detail in a symbolic manner is when Tom and Amanda have a heated argument near the beginning of the play. Tom ends it by calling Amanda an "ugly babbling old witch", and struggles to put his jacket on, intent on leaving. When he cannot put the coat on properly, he becomes frustrated with his clumsiness, and flings it across the room, breaking some of the glass collection. Laura "cries out as if wounded". This shows how fragile Laura really is, and how she reacts when even the small balance of her apartment is shifted. Williams also makes the use of this symbol apparent on stage. When Amanda sits down to discuss Laura's future with Tom, the legend "Laura" appears on screen, and the music that begins playing is "The Glass Menagerie". The most prominent use of this symbol comes at the turning point of the story, when Jim is left alone with Laura. The conversation turns to Laura's glass collection, when she remarks "glass is something you have to take good care of.", again showing her fragility. More parallels are drawn between Laura and the glass collection with the introduction of the unicorn. Jim says "Poor little fellow, he must feel sort of lonesome" to which Laura replies "He stays on a shelf with some horses that don't have horns and all of them seem to get along nicely together." The unicorn becomes a symbol for Laura--she is different. When Jim and Laura dance, and Jim accidentally knocks the unicorn off the table and its horn is broken, it loses its uniqueness. Similarly, when Jim kisses Laura and then shatters her hopes by telling her that he's engaged, she becomes broken-hearted, and less unique. Part of the innocence that made Laura so vitally different is gone, because both Laura and the glass menagerie break when exposed to the uncaring outside world. When Laura gives Jim her broken unicorn, it symbolizes her broken heart that Jim will take with him when he leaves. The unicorn is no longer unique like her, rather it is common now, like Jim, so she lets him keep it. Just as she gives Jim a little bit of herself to take with him, he leaves behind a little bit of himself with her shattered hopes.

Finally, the symbol of rainbows is used throughout the story, but is less prominent and obvious than those of the fire escape and the glass menagerie. Rainbows are traditionally a symbol of hope, and each time the symbol is presented it is in a hopeful situation. For instance, when Tom comes back from the magic show with a rainbow-coloured 'magical' scarf, that can turn goldfish into canaries, who fly away. Just like the canaries, Tom also hopes to fly away, from the imprisonment of his apartment. Next, the chandeliers which create rainbow reflections at the Dance Hall can be interpreted as foreshadowing for the dance between Jim and Laura, which gives Laura hope that her problems are solved. And at the end, when Tom looks at 'pieces of colored glass, like bits of a shattered rainbow,' he remembers his sister and hopes that he 'can blow her candles out'. There is also a great irony tied up in this symbol, in that although rainbows seem to be positive signs, they all end in disappointment.

Tennessee Williams has managed to create a powerful play using a combination of different elements, one prominent one being symbolism; the fire escape, as a sense of hope, and an escape both to the outside world and from it; the glass menagerie, a symbol for Laura's fragility and uniqueness; and rainbows, as symbols of unrealized hopes and aspirations. Through these symbols a greater understanding of the theme is realized, and "The Glass Menagerie" is made into a powerful epic.

1020.      Symbollism in The Scarlett Letter

British Literature

Matt Gordon

9-22-96

Symbolism In The Scarlet Letter

Symbolism in literature is the deepness and hidden meaning in a piece of work.  It is often used to represent a moral or religious belief or value.  Without symbolism literature is just a bunch of meaningless words on paper.  The most symbolic piece of work in American Literature is Nathaniel Hawthorne's The Scarlet Letter.  Hawthorne's use of symbolism in The Scarlet Letter is one of the most significant contributions to the rise of American Literature.

Much of Hawthorne's symbolism is very hard to find but several symbols are also obvious.  In the first chapter Hawthorne describes the prison as "the black flower of civilized society".  The prison represents the crime and punishment that was incorporated in the early Puritan life.  He also contrasts the prison with the tombstone at the end of the novel by suggesting that crime and punishment bring about the end of civilized life.  In the same chapter he describes the overgrown vegetation of weeds around the prison.  The weeds symbolize how corrupt civilization really is.  He also points out a positive symbol, the wild rose bush.  This represents the blossoming of good out of the darkness of all civilized life.

The most important symbol which is carried throughout the novel is undoubtedly the scarlet letter A.  It initially symbolizes the immoral act of adultery but by the end of the novel the "A" has hidden much more meaning than that.  The "A" appears in many other places than on the chest of Hester Prynne.  It is seen on the armor breastplate at Governor Bellingham's mansion.  At night while Dimmesdale is standing on the scaffold he sees a bright red letter A in the sky.  While Pearl is playing near the bay shore she arranges some grass in the form of an A on her own breast.  But one of the most important A's is one the spectators see burnt on Dimmesdale's chest.

The letter A also has a variety of meanings.  Originally standing for the sin of adultery it has a different meaning for each character.  The Puritan community considers the letter a mark of just punishment.  Hester sees the letter as a symbol of unjust humiliation.  Dimmesdale sees the A as a reminder of his own guilt.  Chillingworth sees the A as a quest for revenge to find the adulterer.  Pearl is very curious of the letter and sees it as a great mystery.  The A also stands for "Angel" when it is seen in the sky on the night of Governor Winthrop's death.

Symbolism shows the greatness of an author's ability to supply meaning to his work.  It also shows the pride an author takes in his work.  Nathaniel Hawthorne's use of symbolism in The Scarlet Letter shows his greatness to produce a novel of the highest possible caliber.  These are the reasons why Nathaniel Hawthorne's The Scarlet Letter is American Literature's most famous symbolic novel ever to be written.

1021.      Tales of the City Book Report

Christoph Jeff Micklon's

Book Report

FOR

ENG 744.3

Gay Literature

Dr. John Bowers

Spring 1996

Tales of the City

Armistead Maupin

When you sense the affection where people enfold their loving kindness you are probably amidst the tenants of 28 Barbary Lane, San Francisco 94109.  Perhaps 'tenants' is the wrong word, it should be something more like a friendly community of people.  In Tales of the City , by Armistead Maupin, the characters are intertwined with togetherness.  The mother of all mothers, 'the landlady', guardian of all who live under her roof, orchestrates an unfolding story that is captivating and compelling.  It Is her love that permeates the other characters within this story.

This sequence of story snippets was originally introduced to San Francisco Chronicle readers back in 1976.  It is because of this that each sub-story, or chapter in the book, is a self sustaining story in itself, more so than most chapter arranged narratives.  This book is the first volume in a series, that chronicles the life of a small number of San Francisco residents.  With each new chapter there is a personal development for the characters within.  It is this sense of development that is most important for the continuity of Tales of the City.  The development neatly meshes the character's lives with one another, till ultimately the product is a mass evolution.

It is interesting to note that the writing style Mr. Maupin uses to guide the story forward is consistent throughout the book.  Chapters inevitably commence with a character's response to the given situation.  There are several departures from this style, which are explained further on in this book report.

The chapters are suited for the readers of a newspaper.  Each is short, usually between two and four pages in length.  This makes the reading simple to digest.  Each chapter equates to an individual episodes of a television soap opera.  Chapters link their engaging scenarios together to form a habit forming series.  The first thirty-one chapters amply show the author's intended direction & purpose for the entire novel.

"Taking the Plunge" ch.1 p.1-3:  This is the introduction of the unfolding Mary Ann Singleton & the expeditious Connie Bradshaw.  Vacationing in San Francisco for eight days Mary Ann discovers that she wishes to escape her home and stay in San Francisco.  She attempts to convince her mother she is doing the right thing.  Haplessly she is not even sure herself about this.  Confronting her housing situation head-on Mary Ann asks her friend, Connie, if she can shack up with her till she finds her own pad.

"Connie's Place" ch.2 p.4-7: Mary Ann moves into Connie's apartment.  She believes her new life will begin soon.  The two new roommates reminisce about their childhood together, not looking forward but looking back.  Mary Ann discovers a myriad cologne collection in Connie's bathroom cabinet. Connie is still popular with the men, a quality she is striving for in her new life.

"A Frisco Disco" ch.3 p.8-11: Mary Ann & Connie go out clubbing together for different reasons.  Marry Ann pretends to disrobe her innocence, but her attempts do not work.  Due to her inability to put aside her starched values she turns down a sexual advance from a man.  With the night's failure, and without Connie, she goes home early.

"Her New Home" ch.4 p.12-15: This is the introduction of the caring & passionate Anna Madrigal.  Mary Ann had enough exposure of Connie's Trix.  Out of the three places the rental agency sent her, Mary Ann discovers that 28 Barbary Lane is where her new funky home will be.  Once back at Connie's apartment, Connie suggests they meet at the Safeway for another man hunt.

"Love with the Proper Shopper" ch.5 p.16-19: This is one of the only chapters where scenery is in place before the introduction of characters.  The grocery is more paramount to the characters than the other way around.  This is because by its very nature Safeway is a place where people are compelled to congregate.  Mary Ann begrudgingly gets a lesson on how to pick up men from Connie.  Once alone Mary Ann is besieged by a man inquiring specifics on Chinese cooking.  She is repulsed by the overt scenario and quickly dumps him into the frozen food section.  To her frustration the second round of interaction is with a beautiful man who is not there to pick up girls, he was just being friendly.  He had no intentions of picking her up, namely because he was gay.  Mary Ann's emotions dip to her foundation, when she realizes that again she is unsuccessful at forging her new life.

"Connie's Bummer Night" ch.6 p.20-23:  Connie arrives back from Safeway, as she puts it, "with no weirdoes."  Mary Ann turns down Connie's invitation to go out yet again to find tonight's Trix.  The night passes and Connie still does not have a man, one that substitutes for a meaning relationship, to prevail by her side.  The next day Mary Ann takes her lonely suitcase and what possibly is forever, leaves behind Connie for 28 Barbary Lane.  She has experienced one side of San Francisco that does not appeal to her.  Moving on to the next situation, she continues on her path for a new life, leaving Connie on her own.

"The Employment Line" ch.7 p.24-27: During her first day in her very own apartment Mary Ann seeks to fulfill her horoscope by availing herself to the Metropolitan Employment Agency.  Her posting was deceptively innocent.  A red-faced Mr. Creech decided that he wanted a girl Friday for more than just office work.  Mary Ann fell back on her hometown morals and declared she was indeed uptight about that type of work.  Not being able to withstand the rejection, she cried herself to sleep.  After she woke up she wrote a deceptively optimistic letter to her parents.  Anna intuitively knew of Mary Ann's troubles that day.  She consoled Mary Ann with a neatly rolled joint and a letter of support welcoming her.  Mary Ann truly needed a friend in her new life.

"Enter Mona" ch.8 p.28-31: This is the introduction of the oddly free Mona Ramsey & the steadfast Edgar Halcyon.  While taking out the garbage, Mary Ann meets head on with Mona, another tenant.  Mona uncovers her quaint Franciscan nature by revealing the secrets held in Mary Ann's garbage.  Mona trying to be friendly, invites her up for tea and a chat.  With Mona's connection at work, Mary Ann successfully interviews with Edgar Halcyon of Halcyon Communications.

"The Ad Game" ch.9 p.32-34: This is the introduction of the flippant & troubled Beauchamp Day.  Some time has passed and Mary Ann has settled into her new job as the personal secretary for Edgar Halcyon.  Beauchamp is described in great unnerving detail.  He is irreverent, married and flirting with Mary Ann.  He asks her to lunch that afternoon.  Exposed to another moral dilemma, Mary Ann, begins to think that her ideas of morality need to be modified to let her experience her new life.

"Edgar Blows Up" ch.10 p.35-38: Concerned for his daughter's marriage, Edgar confronts Beauchamp on his whereabouts the night before.  The chapter turns to Mary Ann & Mona having a friendly lunch together.  Later on Mona asks Anna if Mary Ann knows about Anna's secret.  A mystery that is frugally explained in chapter 105, is left unanswered in this chapter.  This helps develop Anna's secretive identity.

"Anguish in Bohemia" ch.11 p.39-42: This is the introduction of the blue-blooded Frannie Halcyon.  Edgar calls Frannie on the phone to make up an excuse for not coming home that evening.  Suspecting deception, Frannie becomes combative.  After getting off the phone with Frannie, Edgar admits to himself that Ruby Miller might as well have been his mistress.  The chapter diverts to a conversation at Beauchamp's social club.  Drugs were used by a club member.  Both of these situations shatter high societies ambiance.  The lives of the rich are not perfect.

"The Wrath of DeDe" ch.12 p.43-45: Beauchamp realizes that DeDe was waiting for him to take her to a social ladder climbing party.  He begrudgingly rushes home to chauffeur her to this social incarceration.  Once home the two quarrel about DeDe calling up her father the previous night.  The quarrel ends when DeDe pronounces that Beauchamp is obligated to her father.  The undertone here is that Beauchamp does not relish the idea that he is not of the same social class of his wife.  He resents when he feels inferior, and frustrated when he has to live up to the social class.  With this small triumph, DeDe can declare that she knew about the lunch date with Mary Ann Singleton.  Behind those words she suspects infidelity.  This turbulent conflict forces Beauchamp to immaturely retaliate in chapter twenty-two.

"The Landlady's Dinner" ch.13 p.46-50: Mary Ann's innocence surfaces again when she does not realize that Mona's offer of 'coke' was not a cola.  Mona further exposes her debauched nature when she produces food stamps when it is obvious that she is making enough money not to need them.  But Mary Ann does not realize that Mona did need them at one time and simply kept them.  During Anna's dinner party Mary Ann is offered more joints and boorish company.  Bored with Anna's plastic guests, Mary Ann wanders into the bathroom and noticed a part of Anna's past.  Anna comes in to reveal that her name is assumed and that she was never married.  The conversation leads to men.  Anna assures Mary Ann that she will find a man in San Francisco that is not gay.

"Rendezvous with Ruby" ch.14 p.51-53: This is the introduction of the devoted Ruby Miller.  This is another chapter that begins with setting the scene before interacting with the characters.  In this case it is necessary to do this because the scene is showing the environment that Ruby lives in, than the person herself.  She is made out to be a born, bred, lower-middle class Christian solider.  The chapter name and the actions seem very much like a mid-evening rendezvous for a quickie.  The chapter's intention is to dumfound the reader.  Ruby starts pressing her fingertips against Edgar's temples.  The action appears to prelude a sexual act.  Then the next sentence blunts the senesces by making it known that Ruby is spiritually healing Edgar.  Blam!  The chapter ends without warning.

"The Boy Next Door" ch.15 p.54-56: This is the introduction of the meandering & oversexed Brian Hawkins.  Mary Ann reads her mail.  There is an impression that she is very lonely in her new world.  Anna intervenes by sending up Brian Hawkins.  He had no idea of the reason why Anna would ask him to go up and see Mary Ann, but the light dawned for her.  She explained that she had just told Anna that there were not enough straight men in San Francisco.  He invited her up to his apartment, which was short and agreeable.

"The Matriarch" ch.16 p.57-59: Edgar returns home after his 'meeting', and makes up an intricate lie about it.  It is evident that Frannie is drunk and discouraged.  Not realizing it Edgar is guilty of the same transgression that he reprimanded his son-in-law for in chapter ten.  Edgar changes the subject from being late, which leads to a discussion about a party that Frannie wishes to put on.  It is evident that he is tired of living the strict social life of the upper class.  Both Edgar & Beauchamp wish for the same thing, release, but they attain their wishes in different ways.

"Stranger in the Park" ch.17 p.60-64: Edgar is in turmoil over his life threatening medical problem.  There was a hint of the problem in chapter fourteen, but the problem was never so imposing.  Edgar's doctor pleads with him to face his life, fling it off and take advantage of his last few months. As he leaves for lunch he is in great turmoil.  He absurdly fantasizes about Frannie's party and that he could add to his wife's social ladder by foretelling his death at the party.  He put this notion out of his mind as he entered Washington square and encountered Anna.

"Relating at Lunch" ch.18 p.63-66: Beauchamp and Mary Ann have lunch at an urban-organic-aloof restaurant.  This only amplifies Mary Ann's uneasiness of being with Beauchamp.  He is able to still her butterflies by tearing away the pretenses she has built around his presumed blue-blood.  He purposely strikes back DeDe, fulfilling her fears by asking Mary Ann to vacation with him that weekend.  She resists but not with much effort on account of her struggle to fit into her new life.

"A Piece of Anna's Past" ch.19 p.67-69: This is the first chapter that directly follows the personal timeline of a character.  This is because it's importance to Edgar's life discovery could not be completed in one single chapter.  Meeting Anna made the park warmer and the bird's songs more joyous.  The two start out with small talk but it inadvertently, at least according to Edgar, turns into a serious discussion about both of their pasts.  Anna remarks that Edgar is not too happy with himself and she tries to bring back memories when he enjoyed his life.  She plays with his mind by implying that she runs a house of pleasure.  But her words are misleading, she actually runs a boarding house.  Finally Anna finishes playing with her prey by saying, "Tomorrow is his turn to buy lunch."

"Mona's New Roomie" ch.20 p.70-73: This is the introduction of the self-styled Michael Tolliver (Mouse).  From nowhere Michael calls Mona declaring that another relationship is down the tubes.  In Michael's mind this is a typical stereotype for himself as a gay man.  Relationships are supposed to be short term, never everlasting, & far & few between.  His only comfort is that this particular relationship was able to get to the furniture buying stage.  The relationship is in control, neither of the two men.  Concerned for Michael's well being, Mona practically demands that Michael come live with her.  A selection of possessions are inventoried coming into Mona's apartment: a T-shirt that reads "Dance 10, Looks 3", Army surplus clothing, a photo of La Belle, & a roach clip.  These possessions elucidate Michael in a stereotypical light.  The author uses possessions to make character inner workings evident.

"Their First Date" ch.21 p.74-76: It is obvious that Edgar is falling for Anna in this chapter.  He does not care if anyone sees them alone together.  They joke with one another and Edgar reveals his inadequacy of contend with his social class.  Anna remarks about how wonderful it is to fly a kite while being stoned.  Obviously shocked Edgar asks "Marijuana?"  He felt older than ever having to refuse the offered joint.  Anna turned the cheerless situation into a gleeful one by trading the joint for the usage of a kite.

"Off to Mendocino" ch.22 p.77-79: This is the first instance where Mary Ann overtly disregards her hometown morals.  She sleeps with Beauchamp, a married man, her boss' son-in-law, and a very big step.  It is unfortunate that Beauchamp is only using her to get back at his wife for all her meddling & over-inquisitive nature.

"Brian Climbs the Walls" ch.23 p.80-83: It is ironic while Mary Ann seeks sex with Beauchamp, Brian is bored out of his skull and wants Mary Ann's company.  Brian really desires her, Beauchamp does not share this.  Brian relieves himself by going out for the night.  He ends up in a bar with Chip Hardesty, who is a rival of sorts.  The rivalry comes from the fact that Chip is a babe magnet; note Chip's last name.  All used up, Chip leaves the bar to Brian.  Alas Brian has no choice but to accept the women leftovers.

"Post-Mortem" ch.24 p.84-86: Beauchamp's little solder, was unable to salute Mary Ann.  He was worried, perhaps even concerned, for what he had done to DeDe.  Mary Ann wants to share feeling while Beauchamp is cold.  All of the sudden Beauchamp reveals that he is in love with Mary Ann.  More than likely he wishes to escape his social rank with Mary Ann, the representation of his freedom.  But Beauchamp divulges his true nature in his sleep.  Mary Ann is no longer infatuated with this escape to her future.  Both, Beauchamp's & May Ann's escapes have failed miserably.

"Coming Clean in the Marina" ch.25 p.87-89: Brian gave up on picking up a mistress for the evening, at the bars at least.  He takes his male chauvinism to the Laundromat.  He sights his quarry, a saucy girl waiting for the same thing he is there for.  The two exchange smart-aleck remarks with each other.  In sort, checking each other's resistance to hurt.  With persistence he melts her resistance, Connie's resistance.  Ironic that yet another intertwining of characters has developed.

"... and Many Happy Returns" ch.26 p.90-93: Brian wakes to find himself trying to cope with Connie's emotions.  She is pissed and Brian has no clue.  She wants tenderness and only gets, wham bam thank you ma'am.  She emotionally breaks and communicates the reason for her acting like a bitch, it is her birthday.  She is depressed that she has no one to share her loneliness with except complete a stranger, picked up in Laundromat.  Placing aside his sarcastic comments, Brian's tender nature surfaces.  He quickly runs into her kitchen and reappears with a makeshift birthday cake and says, "no wisecracks."  The charade of the wise-cracking in the last chapter is dropped for gentleness in this chapter.  Both characters grow to understand that their life simulation only disservice them.

"Mrs. Day at Home" ch.27 p.93-95: DeDe's life is crumbling around her.  She bathes away the frustration, but this escape fails to secure her doubts about herself.  She grasps for the first support, an old fling.  Walt unfortunately casts her back to reality.  He now has a happy and well adjusted marriage, no need for another woman's yearnings.

"The Chinese Connection" ch.28 p.96-98: On the phone with Walt, DeDe realizes that her husband is not away for the weekend where he said he would be.  She admits to herself she never believed the lie anyway, and tries to brush off the compounded pain.  She hangs up with Walt and almost immediately calls for backup, breakfast cereal.  It reminded her again of the past that she was struggling to find.  The present knocks on her front door delivering the groceries she just ordered.  Lionel Wong was a strong & a man to be fixated over.  Bluntly, DeDe throws herself on him and they do the dirty.  Beauchamp arrives home an hour later, just in time to see Lionel withdraw.  Indirectly he knew what had just happened.  He reveled in his ability to coerce his wife into acting out the deeds she accused him.  This is a shallow victory for Beauchamp & serves no purpose but to obliterate their marriage.

"Confession in the Nude" ch.29 p.99-102: Mona and Michael go for a mini beach vacation up the coast.  It is brought to light that Michael and Mary Ann have met before.  His lover was the shopper at the Safeway that Mary Ann was trying to inadvertently pick up.  This is another cross link of the characters within the story.

"Miss Singleton Dines Alone" ch.30 p.103-105: In deep thought Mary Ann realizes that she is not living her life for her self.  She should confront DeDe with the situation Beauchamp and her are entangled in.  The scene shifts to the Day's home.  Beauchamp plants Mary Ann's glove in his Porsche in retaliation to DeDe's nagging suggestions that he was not where he said he would be that weekend.  He is determined to squelch his wife's denigrating actions.

"Mona vs. the Pig" ch.31 p.106-108: The 'pig' is a client of Halcyon Communications, king of pantyhose himself, Fartface Siegel.  Mona does not relish the fact that she has to jump through hoops to get the man to admit that the current ad campaign needs to be overhauled.  During the meeting, Mona speaks her mind a little too freely.  She hurls her job better than any discus thrower ever could.  Walking out the door she affronts Beauchamp, "Your karma is really fucked."  Once she gets home, she apathetically informs Michael of the news that she lost her job.

There are many parallels within the story.  These stress the significance that people are much more alike than they are different.  It also gives the story a sense of continuation.

The settings within Tales of the City mostly occurs within San Francisco, aside from two departures.  These two places represent an escape from the city & the lives that are moored there.  Beauchamp's escape to Mendocino bore no fruit, neither did Michael's escape to the beach.  It turns out in later chapters that the two characters must face their lives directly to change them.  Actually all the characters that are escaping from themselves, discover this incisive wisdom.

There are several social gatherings that take place.  The party Beauchamp & DeDe Day attend provides the characters with a moment where they get to learn the truth about each other.  Both of Mrs. Anna Madrigal's parties help Mary Ann's development as a new person.

The only substantial character not reviled in the first thirty-one chapters is the pathetic Norman Neal Williams.  It is a pity that he is unable to develop.  He is introduced little by little, each part showing more of his grotesque nature.  He is found to be a little man that only obtains what he want by using other people.  He tries to reach out to Mary Ann, but his shortcomings are too great.  Norman is cut from the book in a fury, not able to learn from his mistakes as the other characters do throughout the book.  He is a reminder that not all people are saved from themselves.

Interactions Between Characters

By keeping a close nit group of characters Armistead Maupin is able to keep the attention drawn towards the development of the character, not strewn & trying to assimilate new characters constantly.  It is easier to keep track of less characters.  The interaction between the characters within Tales of the City are simple but many.  It is almost predictable that a character already introduced will somehow be the new introduced.

To understand Tales of the City it is useful to relate it to other reading from the class.

The characters are not as complex as ones in the Plato's Symposium .  While this is true what the reader learn about their nature is more revealing in Tales of the City.  Maupin's work is much more light hearted, while Plato interjects a deep philosophy.  There is an obvious time difference between the two stories, but this does not keep love from becoming the binding strap for each.  Tales of the City is a search for love that the Symposium defines.

Both Petronius' Satyricons  & Tales of the City are intended to tell a story.  The bathhouse emerges from the past to be incorporated in chapter ninety-seven.  It nearly severs the same function, but in present times the sexual content has increased.  It is odd to know this & still understand that the perversion in the Satyricons is much more open.  Usually sexual outlays refer to perversion, but in Tales of the City the action is not meant to be perverse.  This would not be acceptable to the readers of a daily newspaper.

In Tales of the City the characters are able to reach from deep within to find answers.  Augustine's Confessions  has Aurelius attaining his answers from an outside source, GOD.  Grasping for answers outside their experience the characters in Armistead's book fail to attain happiness.  Because Aurelius has an exceptional faith in things outside his experience he is able to attain happiness this way.

It is not very clear if Foucault's ideas in The History of Sexuality an introduction Vol. 1.  Conform to Tales of the City.  Foucault says that it is inherent to confess such as in Augustine's work.  Because Tales of the City is not about the author himself, but a selection of fictional characters, it is difficult to tell if Maupin is interjecting his confession.  The only sure idea that fits the work is that the power of identity is not taken for granted.  Strong examples of this are Mary Ann & Anna.  Mary Ann firmly builds her identity and Anna has one to begin with.

After the dedication page Maupin quotes Oscar Wilde.  "It's an odd thing, but someone who disappears is said to be seen in San Francisco"  Maupin must relate to this quote.  The finding of one self happens very often in San Francisco.  In Oscar Wilde's prose composition De Profundis  the lower class is able to run their lives free of the obstruction of society.  Maupin relates this understand with the characters Edgar & Beauchamp.  Wilde was thrust into a social class that he was never really included.  Beauchamp feels the vary same way.  He does not fit in, but must take the responsibility of the social position.  Wilde writes his composition to justify his deeds to either to himself or his beloved.  Maupin writes to convey a sense that life is workable.

Sir Richard Conway in Forester's Arthur Snatchfold  does not confront his omission from society.  The character does not believe he needs to develop, unlike characters in Tales of the City which are striving to develop into anew.  Sir Richard fantasizes about another character & is able to confront him.  The descriptions of settings are much more colorful in Arthur Snatchfold, but the characters are not as absorbing.

Anna Madrigal serves as the motherly type in Tales of the City much like the storyteller in Coward's "Me and the Girls."   The reader never knows the storyteller's name, but does realize that he cares for his dance troop.  While Coward's story is a fanciful recounting of prior experiences, a confession of sorts, Maupin's rendering releases the pasts for a better future.  Death manifests because of necessity in both works.  To confess the storyteller needs death to encourage his reminiscing.  In chapter one hundred-twelve fairness is brought when Norman dies a befitting death.  He fails to hang on from the precipice because his own shortcomings.  His tie is just a clip on, an article that represents his fraudulent life.  Mary Ann holds his tie while Norman falls to his death.

Beattie's stories characters in "The Cinderella Waltz"  are as shallow as a muddy puddle.  The characters in Tales of the City are fully developed and substantial.  Marriage is considered a facade in both works.  The characters superficially believe that marriage is important, but when it comes down to feelings, it is unimportant.  Development is found by separation in Beattie's story, while in Maupin's story it is found through consolidation.

Tales of the City requires a detailed explanation of all events.  Each circumstance leads to another which helps in the development of the characters.  Maupin is  also able to tie in events so they adhere to future events.  The hypocrisy of the social classes is brought forward. Humans are frail.  The reading is seemingly simplistic on the surface, but beneath this there are serious lessons to be learned.  Self improvement & happiness can only be attained when a critical analysis of oneself has been executed.

Subsequent Chapters:  Tales of the City

Ch. 32.  Where Is Love p.109-111

Ch. 33.  If the Shoe Fits p.112

Ch. 34.  Sherry and Sympathy p.115

Ch. 35.  The Rap about Rape p.118

Ch. 36.  Romance in the Rink p.123

Ch. 37.  Coed Steam p.127

Ch. 38.  Hillary's Room p.130

Ch. 39.  Breakfast in Bed p.133

Ch. 40.  The Maestro Vanishes p.136

Ch. 41.  Frannie Freaks p.139

Ch. 42.  The Case of the Six Batons p.142

Ch. 43.  Back to Cleveland p.145

Ch. 44.  Michael's Pep Talk p.148

Ch. 45.  War and Peace p.151

Ch. 46.  Once More into the Beach p.154

Ch. 47.  Fantasia for two p.157

Ch. 48.  They Mysterious Caller p.160

Ch. 49.  So Where Was Beauchamp p.163

Ch. 50.  What the Simple Folk Do p.167

Ch. 51.  Intermezzo p.170

Ch. 52.  Vincent's Old Lady p.173

Ch. 53.  The Anniversary Tango p.177

Ch. 54.  Bells Are Ringing p.180

Ch. 55.  The Landlady Bares Her Soul p.183

Ch. 56.  At the Fat Farm p.186

Ch. 57.  Michael's Shocker p189

Ch. 58.  The Family Myth p.192

Ch. 59.  DeDe Triumphs p.195

Ch. 60.  Boris Steps In p.198

Ch. 61.  Renewing Vows p.201

Ch. 62.  The Man on the Roof p.204

Ch. 63.  That Ol'-Time Religion p.207

Ch. 64.  Child's Play p.211

Ch. 65.  What are Friends For? p.214

Ch. 66.  The Beach Boys p.217

Ch. 67.  Ebony Idol p.220

Ch. 68.  D'orothea's Lament p.223

Ch. 69.  The Winner's Circle p.226

Ch. 70.  Fiasco in Chinatown p.229

Ch. 71.  Starry, Starry Night p.232

Ch. 72.  The News from Home p.235

Ch. 73.  A Place for Strays p.238

Ch. 74.  Hanging Loose p.241

Ch. 75.  Nightcap p.244

Ch. 76.  Words of Comfort p.247

Ch. 77.  The Clue in the Bookshop p.250

Ch. 78.  Mona Moves On p.253

Ch. 79.  At the Gynecologist's p.256

Ch. 80.  The Diagnosis p.259

Ch. 81.  The Tollivers Invade p.262

Ch. 82.  Trick or Treat in Suburbia p.265

Ch. 83.  Chip off the Old Block p.268

Ch. 84.  DeDe's Growing Dilemma p.271

Ch. 85.  Mrs. Madrigal and the Mouse p.275

Ch. 86.  The Shadow Knows p.278

Ch. 87.  How to Cure the Munchies p.281

Ch. 88.  The Hungry Eye p.284

Ch. 89.  Trauma in a Travel-Eze p.287

Ch. 90.  And Baby Makes Three? p.290

Ch. 91.  Ties That Bind p.293

Ch. 92.  New York, New York p.296

Ch. 93.  Full Moon in Sea Cliff p.299

Ch. 94.  Norman Confesses p.302

Ch. 95.  What D'or Won't Tell Her p.305

Ch. 96.  Michael's Visitor p.309

Ch. 97.  Three Men at the Tubs p.312

Ch. 98.  Cruising at The Stud p.315

Ch. 99.  She is Woman, Hear Her Roar p.318

Ch. 100.  The Doctor is In p.321

Ch. 101.  Not Even a Mouse p.324

Ch. 102.  Enigma at the Twinkie Factory p.327

Ch. 103.  Anna Crumbles p.330

Ch. 104.  The Baker's Wife p.334

Ch. 105.  Old Flames p.337

Ch. 106.  A Lovers' Farewell p.340

Ch. 107.  Edgar on the Brink p.343

Ch. 108.  Breaking and Entering p.347

Ch. 109.  At the Grove p.350

Ch. 110.  Art for Art's Sake p.353

Ch. 111.  Guess Who's Coming to Dinner? p.356

Ch. 112.  The Confrontation p.360

Ch. 113.  The Party p.363

Ch. 114.  Saying Good-bye p.366

Ch. 115.

1022.      Tales of the City

Tales of the City

Christoph Jeff Micklon's

Book Report

FOR ENG 744.3

Gay Literature

Dr. John Bowers

Spring 1996

Armistead Maupin

When you sense the affection where people enfold their loving kindness you

are probably amidst the tenants of 28 Barbary Lane, San Francisco 94109.

Perhaps 'tenants' is the wrong word, it should be something more like a friendly

community of people.  In Tales of the City , by Armistead Maupin, the characters

are intertwined with togetherness.  The mother of all mothers, 'the landlady',

guardian of all who live under her roof, orchestrates an unfolding story that is

captivating and compelling.  It Is her love that permeates the other characters

within this story.

This sequence of story snippets was originally introduced to San Francisco

Chronicle readers back in 1976.  It is because of this that each sub-story, or

chapter in the book, is a self sustaining story in itself, more so than most

chapter arranged narratives.  This book is the first volume in a series, that

chronicles the life of a small number of San Francisco residents.  With each new

chapter there is a personal development for the characters within.  It is this

sense of development that is most important for the continuity of Tales of the

City.  The development neatly meshes the character's lives with one another,

till ultimately the product is a mass evolution.

It is interesting to note that the writing style Mr. Maupin uses to guide

the story forward is consistent throughout the book.  Chapters inevitably

commence with a character's response to the given situation.  There are several

departures from this style, which are explained further on in this book report.

The chapters are suited for the readers of a newspaper.  Each is short,

usually between two and four pages in length.  This makes the reading simple to

digest.  Each chapter equates to an individual episodes of a television soap

opera.  Chapters link their engaging scenarios together to form a habit forming

series.  The first thirty-one chapters amply show the author's intended

direction & purpose for the entire novel.

"Taking the Plunge" ch.1 p.1-3:  This is the introduction of the unfolding

Mary Ann Singleton & the expeditious Connie Bradshaw.  Vacationing in San

Francisco for eight days Mary Ann discovers that she wishes to escape her home

and stay in San Francisco.  She attempts to convince her mother she is doing the

right thing.  Haplessly she is not even sure herself about this.  Confronting

her housing situation head-on Mary Ann asks her friend, Connie, if she can shack

up with her till she finds her own pad.

"Connie's Place" ch.2 p.4-7: Mary Ann moves into Connie's apartment.  She

believes her new life will begin soon.  The two new roommates reminisce about

their childhood together, not looking forward but looking back.  Mary Ann

discovers a myriad cologne collection in Connie's bathroom cabinet. Connie is

still popular with the men, a quality she is striving for in her new life.

"A Frisco Disco" ch.3 p.8-11: Mary Ann & Connie go out clubbing together

for different reasons.  Marry Ann pretends to disrobe her innocence, but her

attempts do not work.  Due to her inability to put aside her starched values she

turns down a sexual advance from a man.  With the night's failure, and without

Connie, she goes home early.

"Her New Home" ch.4 p.12-15: This is the introduction of the caring &

passionate Anna Madrigal.  Mary Ann had enough exposure of Connie's Trix.  Out

of the three places the rental agency sent her, Mary Ann discovers that 28

Barbary Lane is where her new funky home will be.  Once back at Connie's

apartment, Connie suggests they meet at the Safeway for another man hunt.

"Love with the Proper Shopper" ch.5 p.16-19: This is one of the only

chapters where scenery is in place before the introduction of characters.  The

grocery is more paramount to the characters than the other way around.  This is

because by its very nature Safeway is a place where people are compelled to

congregate.  Mary Ann begrudgingly gets a lesson on how to pick up men from

Connie.  Once alone Mary Ann is besieged by a man inquiring specifics on Chinese

cooking.  She is repulsed by the overt scenario and quickly dumps him into the

frozen food section.  To her frustration the second round of interaction is with

a beautiful man who is not there to pick up girls, he was just being friendly.

He had no intentions of picking her up, namely because he was gay.  Mary Ann's

emotions dip to her foundation, when she realizes that again she is unsuccessful

at forging her new life.

"Connie's Bummer Night" ch.6 p.20-23:  Connie arrives back from Safeway, as

she puts it, "with no weirdoes."  Mary Ann turns down Connie's invitation to go

out yet again to find tonight's Trix.  The night passes and Connie still does

not have a man, one that substitutes for a meaning relationship, to prevail by

her side.  The next day Mary Ann takes her lonely suitcase and what possibly is

forever, leaves behind Connie for 28 Barbary Lane.  She has experienced one side

of San Francisco that does not appeal to her.  Moving on to the next situation,

she continues on her path for a new life, leaving Connie on her own.

"The Employment Line" ch.7 p.24-27: During her first day in her very own

apartment Mary Ann seeks to fulfill her horoscope by availing herself to the

Metropolitan Employment Agency.  Her posting was deceptively innocent.  A red-

faced Mr. Creech decided that he wanted a girl Friday for more than just office

work.  Mary Ann fell back on her hometown morals and declared she was indeed

uptight about that type of work.  Not being able to withstand the rejection, she

cried herself to sleep.  After she woke up she wrote a deceptively optimistic

letter to her parents.  Anna intuitively knew of Mary Ann's troubles that day.

She consoled Mary Ann with a neatly rolled joint and a letter of support

welcoming her.  Mary Ann truly needed a friend in her new life.

"Enter Mona" ch.8 p.28-31: This is the introduction of the oddly free Mona

Ramsey & the steadfast Edgar Halcyon.  While taking out the garbage, Mary Ann

meets head on with Mona, another tenant.  Mona uncovers her quaint Franciscan

nature by revealing the secrets held in Mary Ann's garbage.  Mona trying to be

friendly, invites her up for tea and a chat.  With Mona's connection at work,

Mary Ann successfully interviews with Edgar Halcyon of Halcyon Communications.

"The Ad Game" ch.9 p.32-34: This is the introduction of the flippant &

troubled Beauchamp Day.  Some time has passed and Mary Ann has settled into her

new job as the personal secretary for Edgar Halcyon.  Beauchamp is described in

great unnerving detail.  He is irreverent, married and flirting with Mary Ann.

He asks her to lunch that afternoon.  Exposed to another moral dilemma, Mary Ann,

begins to think that her ideas of morality need to be modified to let her

experience her new life.

"Edgar Blows Up" ch.10 p.35-38: Concerned for his daughter's marriage,

Edgar confronts Beauchamp on his whereabouts the night before.  The chapter

turns to Mary Ann & Mona having a friendly lunch together.  Later on Mona asks

Anna if Mary Ann knows about Anna's secret.  A mystery that is frugally

explained in chapter 105, is left unanswered in this chapter.  This helps

develop Anna's secretive identity.

"Anguish in Bohemia" ch.11 p.39-42: This is the introduction of the blue-

blooded Frannie Halcyon.  Edgar calls Frannie on the phone to make up an excuse

for not coming home that evening.  Suspecting deception, Frannie becomes

combative.  After getting off the phone with Frannie, Edgar admits to himself

that Ruby Miller might as well have been his mistress.  The chapter diverts to a

conversation at Beauchamp's social club.  Drugs were used by a club member.

Both of these situations shatter high societies ambiance.  The lives of the rich

are not perfect.

"The Wrath of DeDe" ch.12 p.43-45: Beauchamp realizes that DeDe was waiting

for him to take her to a social ladder climbing party.  He begrudgingly rushes

home to chauffeur her to this social incarceration.  Once home the two quarrel

about DeDe calling up her father the previous night.  The quarrel ends when DeDe

pronounces that Beauchamp is obligated to her father.  The undertone here is

that Beauchamp does not relish the idea that he is not of the same social class

of his wife.  He resents when he feels inferior, and frustrated when he has to

live up to the social class.  With this small triumph, DeDe can declare that she

knew about the lunch date with Mary Ann Singleton.  Behind those words she

suspects infidelity.  This turbulent conflict forces Beauchamp to immaturely

retaliate in chapter twenty-two.

"The Landlady's Dinner" ch.13 p.46-50: Mary Ann's innocence surfaces again

when she does not realize that Mona's offer of 'coke' was not a cola.  Mona

further exposes her debauched nature when she produces food stamps when it is

obvious that she is making enough money not to need them.  But Mary Ann does not

realize that Mona did need them at one time and simply kept them.  During Anna's

dinner party Mary Ann is offered more joints and boorish company.  Bored with

Anna's plastic guests, Mary Ann wanders into the bathroom and noticed a part of

Anna's past.  Anna comes in to reveal that her name is assumed and that she was

never married.  The conversation leads to men.  Anna assures Mary Ann that she

will find a man in San Francisco that is not gay.

"Rendezvous with Ruby" ch.14 p.51-53: This is the introduction of the

devoted Ruby Miller.  This is another chapter that begins with setting the scene

before interacting with the characters.  In this case it is necessary to do this

because the scene is showing the environment that Ruby lives in, than the person

herself.  She is made out to be a born, bred, lower-middle class Christian

solider.  The chapter name and the actions seem very much like a mid-evening

rendezvous for a quickie.  The chapter's intention is to dumfound the reader.

Ruby starts pressing her fingertips against Edgar's temples.  The action appears

to prelude a sexual act.  Then the next sentence blunts the senesces by making

it known that Ruby is spiritually healing Edgar.  Blam!  The chapter ends

without warning.

"The Boy Next Door" ch.15 p.54-56: This is the introduction of the

meandering & oversexed Brian Hawkins.  Mary Ann reads her mail.  There is an

impression that she is very lonely in her new world.  Anna intervenes by sending

up Brian Hawkins.  He had no idea of the reason why Anna would ask him to go up

and see Mary Ann, but the light dawned for her.  She explained that she had just

told Anna that there were not enough straight men in San Francisco.  He invited

her up to his apartment, which was short and agreeable.

"The Matriarch" ch.16 p.57-59: Edgar returns home after his 'meeting', and

makes up an intricate lie about it.  It is evident that Frannie is drunk and

discouraged.  Not realizing it Edgar is guilty of the same transgression that he

reprimanded his son-in-law for in chapter ten.  Edgar changes the subject from

being late, which leads to a discussion about a party that Frannie wishes to put

on.  It is evident that he is tired of living the strict social life of the

upper class.  Both Edgar & Beauchamp wish for the same thing, release, but they

attain their wishes in different ways.

"Stranger in the Park" ch.17 p.60-64: Edgar is in turmoil over his life

threatening medical problem.  There was a hint of the problem in chapter

fourteen, but the problem was never so imposing.  Edgar's doctor pleads with him

to face his life, fling it off and take advantage of his last few months. As he

leaves for lunch he is in great turmoil.  He absurdly fantasizes about Frannie's

party and that he could add to his wife's social ladder by foretelling his death

at the party.  He put this notion out of his mind as he entered Washington

square and encountered Anna.

"Relating at Lunch" ch.18 p.63-66: Beauchamp and Mary Ann have lunch at an

urban-organic-aloof restaurant.  This only amplifies Mary Ann's uneasiness of

being with Beauchamp.  He is able to still her butterflies by tearing away the

pretenses she has built around his presumed blue-blood.  He purposely strikes

back DeDe, fulfilling her fears by asking Mary Ann to vacation with him that

weekend.  She resists but not with much effort on account of her struggle to fit

into her new life.

"A Piece of Anna's Past" ch.19 p.67-69: This is the first chapter that

directly follows the personal timeline of a character.  This is because it's

importance to Edgar's life discovery could not be completed in one single

chapter.  Meeting Anna made the park warmer and the bird's songs more joyous.

The two start out with small talk but it inadvertently, at least according to

Edgar, turns into a serious discussion about both of their pasts.  Anna remarks

that Edgar is not too happy with himself and she tries to bring back memories

when he enjoyed his life.  She plays with his mind by implying that she runs a

house of pleasure.  But her words are misleading, she actually runs a boarding

house.  Finally Anna finishes playing with her prey by saying, "Tomorrow is his

turn to buy lunch."

"Mona's New Roomie" ch.20 p.70-73: This is the introduction of the self-

styled Michael Tolliver (Mouse).  From nowhere Michael calls Mona declaring that

another relationship is down the tubes.  In Michael's mind this is a typical

stereotype for himself as a gay man.  Relationships are supposed to be short

term, never everlasting, & far & few between.  His only comfort is that this

particular relationship was able to get to the furniture buying stage.  The

relationship is in control, neither of the two men.  Concerned for Michael's

well being, Mona practically demands that Michael come live with her.  A

selection of possessions are inventoried coming into Mona's apartment: a T-shirt

that reads "Dance 10, Looks 3", Army surplus clothing, a photo of La Belle, & a

roach clip.  These possessions elucidate Michael in a stereotypical light.  The

author uses possessions to make character inner workings evident.

"Their First Date" ch.21 p.74-76: It is obvious that Edgar is falling for

Anna in this chapter.  He does not care if anyone sees them alone together.

They joke with one another and Edgar reveals his inadequacy of contend with his

social class.  Anna remarks about how wonderful it is to fly a kite while being

stoned.  Obviously shocked Edgar asks "Marijuana?"  He felt older than ever

having to refuse the offered joint.  Anna turned the cheerless situation into a

gleeful one by trading the joint for the usage of a kite.

"Off to Mendocino" ch.22 p.77-79: This is the first instance where Mary Ann

overtly disregards her hometown morals.  She sleeps with Beauchamp, a married

man, her boss' son-in-law, and a very big step.  It is unfortunate that

Beauchamp is only using her to get back at his wife for all her meddling & over-

inquisitive nature.

"Brian Climbs the Walls" ch.23 p.80-83: It is ironic while Mary Ann seeks

sex with Beauchamp, Brian is bored out of his skull and wants Mary Ann's company.

Brian really desires her, Beauchamp does not share this.  Brian relieves

himself by going out for the night.  He ends up in a bar with Chip Hardesty, who

is a rival of sorts.  The rivalry comes from the fact that Chip is a babe

magnet; note Chip's last name.  All used up, Chip leaves the bar to Brian.  Alas

Brian has no choice but to accept the women leftovers.

"Post-Mortem" ch.24 p.84-86: Beauchamp's little solder, was unable to

salute Mary Ann.  He was worried, perhaps even concerned, for what he had done

to DeDe.  Mary Ann wants to share feeling while Beauchamp is cold.  All of the

sudden Beauchamp reveals that he is in love with Mary Ann.  More than likely he

wishes to escape his social rank with Mary Ann, the representation of his

freedom.  But Beauchamp divulges his true nature in his sleep.  Mary Ann is no

longer infatuated with this escape to her future.  Both, Beauchamp's & May Ann's

escapes have failed miserably.

"Coming Clean in the Marina" ch.25 p.87-89: Brian gave up on picking up a

mistress for the evening, at the bars at least.  He takes his male chauvinism to

the Laundromat.  He sights his quarry, a saucy girl waiting for the same thing

he is there for.  The two exchange smart-aleck remarks with each other.  In sort,

checking each other's resistance to hurt.  With persistence he melts her

resistance, Connie's resistance.  Ironic that yet another intertwining of

characters has developed.

"... and Many Happy Returns" ch.26 p.90-93: Brian wakes to find himself

trying to cope with Connie's emotions.  She is pissed and Brian has no clue.

She wants tenderness and only gets, wham bam thank you ma'am.  She emotionally

breaks and communicates the reason for her acting like a bitch, it is her

birthday.  She is depressed that she has no one to share her loneliness with

except complete a stranger, picked up in Laundromat.  Placing aside his

sarcastic comments, Brian's tender nature surfaces.  He quickly runs into her

kitchen and reappears with a makeshift birthday cake and says, "no wisecracks."

The charade of the wise-cracking in the last chapter is dropped for gentleness

in this chapter.  Both characters grow to understand that their life simulation

only disservice them.

"Mrs. Day at Home" ch.27 p.93-95: DeDe's life is crumbling around her.  She

bathes away the frustration, but this escape fails to secure her doubts about

herself.  She grasps for the first support, an old fling.  Walt unfortunately

casts her back to reality.  He now has a happy and well adjusted marriage, no

need for another woman's yearnings.

"The Chinese Connection" ch.28 p.96-98: On the phone with Walt, DeDe

realizes that her husband is not away for the weekend where he said he would be.

She admits to herself she never believed the lie anyway, and tries to brush off

the compounded pain.  She hangs up with Walt and almost immediately calls for

backup, breakfast cereal.  It reminded her again of the past that she was

struggling to find.  The present knocks on her front door delivering the

groceries she just ordered.  Lionel Wong was a strong & a man to be fixated over.

Bluntly, DeDe throws herself on him and they do the dirty.  Beauchamp arrives

home an hour later, just in time to see Lionel withdraw.  Indirectly he knew

what had just happened.  He reveled in his ability to coerce his wife into

acting out the deeds she accused him.  This is a shallow victory for Beauchamp &

serves no purpose but to obliterate their marriage.

"Confession in the Nude" ch.29 p.99-102: Mona and Michael go for a mini

beach vacation up the coast.  It is brought to light that Michael and Mary Ann

have met before.  His lover was the shopper at the Safeway that Mary Ann was

trying to inadvertently pick up.  This is another cross link of the characters

within the story.

"Miss Singleton Dines Alone" ch.30 p.103-105: In deep thought Mary Ann

realizes that she is not living her life for her self.  She should confront DeDe

with the situation Beauchamp and her are entangled in.  The scene shifts to the

Day's home.  Beauchamp plants Mary Ann's glove in his Porsche in retaliation to

DeDe's nagging suggestions that he was not where he said he would be that

weekend.  He is determined to squelch his wife's denigrating actions.

"Mona vs. the Pig" ch.31 p.106-108: The 'pig' is a client of Halcyon

Communications, king of pantyhose himself, Fartface Siegel.  Mona does not

relish the fact that she has to jump through hoops to get the man to admit that

the current ad campaign needs to be overhauled.  During the meeting, Mona speaks

her mind a little too freely.  She hurls her job better than any discus thrower

ever could.  Walking out the door she affronts Beauchamp, "Your karma is really

fucked."  Once she gets home, she apathetically informs Michael of the news that

she lost her job.

There are many parallels within the story.  These stress the significance

that people are much more alike than they are different.  It also gives the

story a sense of continuation.

The settings within Tales of the City mostly occurs within San Francisco,

aside from two departures.  These two places represent an escape from the city &

the lives that are moored there.  Beauchamp's escape to Mendocino bore no fruit,

neither did Michael's escape to the beach.  It turns out in later chapters that

the two characters must face their lives directly to change them.  Actually all

the characters that are escaping from themselves, discover this incisive wisdom.

There are several social gatherings that take place.  The party Beauchamp &

DeDe Day attend provides the characters with a moment where they get to learn

the truth about each other.  Both of Mrs. Anna Madrigal's parties help Mary

Ann's development as a new person.

The only substantial character not reviled in the first thirty-one chapters

is the pathetic Norman Neal Williams.  It is a pity that he is unable to develop.

He is introduced little by little, each part showing more of his grotesque

nature.  He is found to be a little man that only obtains what he want by using

other people.  He tries to reach out to Mary Ann, but his shortcomings are too

great.  Norman is cut from the book in a fury, not able to learn from his

mistakes as the other characters do throughout the book.  He is a reminder that

not all people are saved from themselves.

Interactions Between Characters

By keeping a close nit group of characters Armistead Maupin is able to keep

the attention drawn towards the development of the character, not strewn &

trying to assimilate new characters constantly.  It is easier to keep track of

less characters.  The interaction between the characters within Tales of the

City are simple but many.  It is almost predictable that a character already

introduced will somehow be the new introduced.

To understand Tales of the City it is useful to relate it to other reading

from the class.

The characters are not as complex as ones in the Plato's Symposium .  While

this is true what the reader learn about their nature is more revealing in Tales

of the City.  Maupin's work is much more light hearted, while Plato interjects a

deep philosophy.  There is an obvious time difference between the two stories,

but this does not keep love from becoming the binding strap for each.  Tales of

the City is a search for love that the Symposium defines.

Both Petronius' Satyricons  & Tales of the City are intended to tell a

story.  The bathhouse emerges from the past to be incorporated in chapter

ninety-seven.  It nearly severs the same function, but in present times the

sexual content has increased.  It is odd to know this & still understand that

the perversion in the Satyricons is much more open.  Usually sexual outlays

refer to perversion, but in Tales of the City the action is not meant to be

perverse.  This would not be acceptable to the readers of a daily newspaper.

In Tales of the City the characters are able to reach from deep within to

find answers.  Augustine's Confessions  has Aurelius attaining his answers from

an outside source, GOD.  Grasping for answers outside their experience the

characters in Armistead's book fail to attain happiness.  Because Aurelius has

an exceptional faith in things outside his experience he is able to attain

happiness this way.

It is not very clear if Foucault's ideas in The History of Sexuality an

introduction Vol. 1.  Conform to Tales of the City.  Foucault says that it is

inherent to confess such as in Augustine's work.  Because Tales of the City is

not about the author himself, but a selection of fictional characters, it is

difficult to tell if Maupin is interjecting his confession.  The only sure idea

that fits the work is that the power of identity is not taken for granted.

Strong examples of this are Mary Ann & Anna.  Mary Ann firmly builds her

identity and Anna has one to begin with.

After the dedication page Maupin quotes Oscar Wilde.  "It's an odd thing,

but someone who disappears is said to be seen in San Francisco"  Maupin must

relate to this quote.  The finding of one self happens very often in San

Francisco.  In Oscar Wilde's prose composition De Profundis  the lower class is

able to run their lives free of the obstruction of society.  Maupin relates this

understand with the characters Edgar & Beauchamp.  Wilde was thrust into a

social class that he was never really included.  Beauchamp feels the vary same

way.  He does not fit in, but must take the responsibility of the social

position.  Wilde writes his composition to justify his deeds to either to

himself or his beloved.  Maupin writes to convey a sense that life is workable.

Sir Richard Conway in Forester's Arthur Snatchfold  does not confront his

omission from society.  The character does not believe he needs to develop,

unlike characters in Tales of the City which are striving to develop into anew.

Sir Richard fantasizes about another character & is able to confront him.  The

descriptions of settings are much more colorful in Arthur Snatchfold, but the

characters are not as absorbing.

Anna Madrigal serves as the motherly type in Tales of the City much like

the storyteller in Coward's "Me and the Girls."   The reader never knows the

storyteller's name, but does realize that he cares for his dance troop.  While

Coward's story is a fanciful recounting of prior experiences, a confession of

sorts, Maupin's rendering releases the pasts for a better future.  Death

manifests because of necessity in both works.  To confess the storyteller needs

death to encourage his reminiscing.  In chapter one hundred-twelve fairness is

brought when Norman dies a befitting death.  He fails to hang on from the

precipice because his own shortcomings.  His tie is just a clip on, an article

that represents his fraudulent life.  Mary Ann holds his tie while Norman falls

to his death.

Beattie's stories characters in "The Cinderella Waltz"  are as shallow as a

muddy puddle.  The characters in Tales of the City are fully developed and

substantial.  Marriage is considered a facade in both works.  The characters

superficially believe that marriage is important, but when it comes down to

feelings, it is unimportant.  Development is found by separation in Beattie's

story, while in Maupin's story it is found through consolidation.

Tales of the City requires a detailed explanation of all events.  Each

circumstance leads to another which helps in the development of the characters.

Maupin is  also able to tie in events so they adhere to future events.  The

hypocrisy of the social classes is brought forward. Humans are frail.  The

reading is seemingly simplistic on the surface, but beneath this there are

serious lessons to be learned.  Self improvement & happiness can only be

attained when a critical analysis of oneself has been executed.

Subsequent Chapters:  Tales of the City

Ch. 32.  Where Is Love p.109-111

Ch. 33.  If the Shoe Fits p.112

Ch. 34.  Sherry and Sympathy p.115

Ch. 35.  The Rap about Rape p.118

Ch. 36.  Romance in the Rink p.123

Ch. 37.  Coed Steam p.127

Ch. 38.  Hillary's Room p.130

Ch. 39.  Breakfast in Bed p.133

Ch. 40.  The Maestro Vanishes p.136

Ch. 41.  Frannie Freaks p.139

Ch. 42.  The Case of the Six Batons p.142

Ch. 43.  Back to Cleveland p.145

Ch. 44.  Michael's Pep Talk p.148

Ch. 45.  War and Peace p.151

Ch. 46.  Once More into the Beach p.154

Ch. 47.  Fantasia for two p.157

Ch. 48.  They Mysterious Caller p.160

Ch. 49.  So Where Was Beauchamp p.163

Ch. 50.  What the Simple Folk Do p.167

Ch. 51.  Intermezzo p.170

Ch. 52.  Vincent's Old Lady p.173

Ch. 53.  The Anniversary Tango p.177

Ch. 54.  Bells Are Ringing p.180

Ch. 55.  The Landlady Bares Her Soul p.183

Ch. 56.  At the Fat Farm p.186

Ch. 57.  Michael's Shocker p189

Ch. 58.  The Family Myth p.192

Ch. 59.  DeDe Triumphs p.195

Ch. 60.  Boris Steps In p.198

Ch. 61.  Renewing Vows p.201

Ch. 62.  The Man on the Roof p.204

Ch. 63.  That Ol'-Time Religion p.207

Ch. 64.  Child's Play p.211

Ch. 65.  What are Friends For? p.214

Ch. 66.  The Beach Boys p.217

Ch. 67.  Ebony Idol p.220

Ch. 68.  D'orothea's Lament p.223

Ch. 69.  The Winner's Circle p.226

Ch. 70.  Fiasco in Chinatown p.229

Ch. 71.  Starry, Starry Night p.232

Ch. 72.  The News from Home p.235

Ch. 73.  A Place for Strays p.238

Ch. 74.  Hanging Loose p.241

Ch. 75.  Nightcap p.244

Ch. 76.  Words of Comfort p.247

Ch. 77.  The Clue in the Bookshop p.250

Ch. 78.  Mona Moves On p.253

Ch. 79.  At the Gynecologist's p.256

Ch. 80.  The Diagnosis p.259

Ch. 81.  The Tollivers Invade p.262

Ch. 82.  Trick or Treat in Suburbia p.265

Ch. 83.  Chip off the Old Block p.268

Ch. 84.  DeDe's Growing Dilemma p.271

Ch. 85.  Mrs. Madrigal and the Mouse p.275

Ch. 86.  The Shadow Knows p.278

Ch. 87.  How to Cure the Munchies p.281

Ch. 88.  The Hungry Eye p.284

Ch. 89.  Trauma in a Travel-Eze p.287

Ch. 90.  And Baby Makes Three? p.290

Ch. 91.  Ties That Bind p.293

Ch. 92.  New York, New York p.296

Ch. 93.  Full Moon in Sea Cliff p.299

Ch. 94.  Norman Confesses p.302

Ch. 95.  What D'or Won't Tell Her p.305

Ch. 96.  Michael's Visitor p.309

Ch. 97.  Three Men at the Tubs p.312

Ch. 98.  Cruising at The Stud p.315

Ch. 99.  She is Woman, Hear Her Roar p.318

Ch. 100.  The Doctor is In p.321

Ch. 101.  Not Even a Mouse p.324

Ch. 102.  Enigma at the Twinkie Factory p.327

Ch. 103.  Anna Crumbles p.330

Ch. 104.  The Baker's Wife p.334

Ch. 105.  Old Flames p.337

Ch. 106.  A Lovers' Farewell p.340

Ch. 107.  Edgar on the Brink p.343

Ch. 108.  Breaking and Entering p.347

Ch. 109.  At the Grove p.350

Ch. 110.  Art for Art's Sake p.353

Ch. 111.  Guess Who's Coming to Dinner? p.356

Ch. 112.  The Confrontation p.360

Ch. 113.  The Party p.363

Ch. 114.  Saying Good-bye p.366

Ch. 115.

1023.      Talk Show Trash Essay

Talk Show Trash

Jeff Pavelcsyk

LE 100 sect-18

March 3, 1997

These are some views on why talk shows are trash.  They do nothing at

all to improve any standard of living in this country, or others also.  The

shows are about ninety percent on topics that do not affect any of us, or that

the people in general have any sort of interest in.  All they do is pollute

today's already sickening society with trashy ideas so that some other idiot can

go out and try, after getting the idea from the show.

First we will start with Richard Bey, one of the self-proclaimed kings

of daytime trash.  Well did today's show have any meaning or share common

interests of the general public...not at all.  Today's topic was "engaged men

who wanted to tell their lovers about their secret gay lives", what trash this

was.  It started off having the men come out and talk about their women and then

about their gay partners.  Then in front of millions of people they brought out

the ladies on stage, to then embarrass them by talking in detail about their gay

encounter, I was almost sick.  One man actually told his fiancee the he had sex

with one of her male cousins.  Another told of his experiences of picking up

male gay prostitutes in the streets of New York City on many occasions.  Now my

question is that is any of this even necessary for people to watch, or the

embarrassment of the individuals and those mentioned in the show.

The next trash candidate would definitely be Jerry Springer, who tries

so very hard at the end of his show to put real-life meaning to the topics of

his show in "Springer's thought of the Day."  Topic this time is "pssst.. I have

a secret to tell you."  During the duration of this show topics ranged from a

forty year old women having an affair with an eighteen year old boy.  After the

women told her husband and him almost breaking down crying, they then brought

the boy who was wearing one of the husbands gold chains that the wife had given

him.  Next a girl admitted to her boyfriend that she had committed acts of

lesbianism with his older sister, after that how could the brother learn live

with the betrayal of his girlfriend and sister.  Finally there is one of the

favorites for talk shows which is that I am already married.  This women who had

been dating this man for three told him about her being married for the last ten

years.

Last but certainly not least we have Rikki Lake, and I thought that this

show which was emotional but completely tasteless in the regards of human

feelings.  This show dealt with sexual lovers who wanted to confess of them

being H.I.V. positive.  I mean the emotions on this show were unreal, but why do

this to a person on national television where the whole world gets to watch

their reactions.  Most of the people involved were having unprotected sex so

their risk of having the disease is a reality.  The excuse of most of these

people, which made me sick, was that they were scared that if they told them

before then they would lose that person forever.  To even expose the unknowing

party by being told in this way is just morally wrong.  But at least Rikki being

the ever so caring person that she is at least offered to have arrangements made

to have the unknowing parties tested.

So when all this is said and done where does that leave the viewers in

most of these programs?  I say with a dillusional view of some of the few sick

people of today's society, and just makes it look like another common occurrence.

These shows are in bad taste, not caring who gets hurt but who will get the

better ratings for this kind of torture or humility of others.  I can't even

fathom why any broadcasting company would even sponsor this kind of public filth,

which I believe serves as a corrupting source of this nation.

These are some views on why talk shows are trash.  They do nothing at

all to improve any standard of living in this country, or others also.  The

shows are about ninety percent on topics that do not affect any of us, or that

the people in general have any sort of interest in.  All they do is pollute

today's already sickening society with trashy ideas so that some other idiot can

go out and try, after getting the idea from the show.

First we will start with Richard Bey, one of the self-proclaimed kings

of daytime trash.  Well did today's show have any meaning or share common

interests of the general public...not at all.  Today's topic was "engaged men

who wanted to tell their lovers about their secret gay lives", what trash this

was.  It started off having the men come out and talk about their women and then

about their gay partners.  Then in front of millions of people they brought out

the ladies on stage, to then embarrass them by talking in detail about their gay

encounter, I was almost sick.  One man actually told his fiancee the he had sex

with one of her male cousins.  Another told of his experiences of picking up

male gay prostitutes in the streets of New York City on many occasions.  Now my

question is that is any of this even necessary for people to watch, or the

embarrassment of the individuals and those mentioned in the show.

The next trash candidate would definitely be Jerry Springer, who tries

so very hard at the end of his show to put real-life meaning to the topics of

his show in "Springer's thought of the Day."  Topic this time is "pssst.. I have

a secret to tell you."  During the duration of this show topics ranged from a

forty year old women having an affair with an eighteen year old boy.  After the

women told her husband and him almost breaking down crying, they then brought

the boy who was wearing one of the husbands gold chains that the wife had given

him.  Next a girl admitted to her boyfriend that she had committed acts of

lesbianism with his older sister, after that how could the brother learn live

with the betrayal of his girlfriend and sister.  Finally there is one of the

favorites for talk shows which is that I am already married.  This women who had

been dating this man for three told him about her being married for the last ten

years.

Last but certainly not least we have Rikki Lake, and I thought that this

show which was emotional but completely tasteless in the regards of human

feelings.  This show dealt with sexual lovers who wanted to confess of them

being H.I.V. positive.  I mean the emotions on this show were unreal, but why do

this to a person on national television where the whole world gets to watch

their reactions.  Most of the people involved were having unprotected sex so

their risk of having the disease is a reality.  The excuse of most of these

people, which made me sick, was that they were scared that if they told them

before then they would lose that person forever.  To even expose the unknowing

party by being told in this way is just morally wrong.  But at least Rikki being

the ever so caring person that she is at least offered to have arrangements made

to have the unknowing parties tested.

So when all this is said and done where does that leave the viewers in

most of these programs?  I say with a dillusional view of some of the few sick

people of today's society, and just makes it look like another common occurrence.

These shows are in bad taste, not caring who gets hurt but who will get the

better ratings for this kind of torture or humility of others.  I can't even

fathom why any broadcasting company would even sponsor this kind of public filth,

which I believe serves as a corrupting source of this nation.

1024.      talk show trash

Jeff Pavelcsyk

LE 100 sect-18

March 3, 1997

These are some views on why talk shows are trash.  They do nothing at

all to improve any standard of living in this country, or others also.  The

shows are about ninety percent on topics that do not affect any of us, or that

the people in general have any sort of interest in.  All they do is pollute

today's already sickening society with trashy ideas so that some other idiot

can go out and try, after getting the idea from the show.

First we will start with Richard Bey, one of the self-proclaimed kings

of daytime trash.  Well did today's show have any meaning or share common

interests of the general public...not at all.  Today's topic was "engaged men

who wanted to tell their lovers about their secret gay lives", what trash this

was.  It started off having the men come out and talk about their women and

then about their gay partners.  Then in front of millions of people they brought

out the ladies on stage, to then embarrass them by talking in detail about their

gay encounter, I was almost sick.  One man actually told his fiancee the he

had sex with one of her male cousins.  Another told of his experiences of

picking up male gay prostitutes in the streets of New York City on many

occasions.  Now my question is that is any of this even necessary for people

to watch, or the embarrassment of the individuals and those mentioned in the

show.

The next trash candidate would definitely be Jerry Springer, who tries

so very hard at the end of his show to put real-life meaning to the topics of his

show in "Springer's thought of the Day."  Topic this time is "pssst.. I have a

secret to tell you."  During the duration of this show topics ranged from a

forty year old women having an affair with an eighteen year old boy.  After

the women told her husband and him almost breaking down crying, they then

brought the boy who was wearing one of the husbands gold chains that the

wife had given him.  Next a girl admitted to her boyfriend that she had

committed acts of lesbianism with his older sister, after that how could the

brother learn live with the betrayal of his girlfriend and sister.  Finally there is

one of the favorites for talk shows which is that I am already married.  This

women who had been dating this man for three told him about her being

married for the last ten years.

Last but certainly not least we have Rikki Lake, and I thought that this

show which was emotional but completely tasteless in the regards of human

feelings.  This show dealt with sexual lovers who wanted to confess of them

being H.I.V. positive.  I mean the emotions on this show were unreal, but

why do this to a person on national television where the whole world gets to

watch their reactions.  Most of the people involved were having unprotected

sex so their risk of having the disease is a reality.  The excuse of most of

these people, which made me sick, was that they were scared that if they told

them before then they would lose that person forever.  To even expose the

unknowing party by being told in this way is just morally wrong.  But at least

Rikki being the ever so caring person that she is at least offered to have

arrangements made to have the unknowing parties tested.

So when all this is said and done where does that leave the viewers in

most of these programs?  I say with a dillusional view of some of the few sick

people of today's society, and just makes it look like another common

occurrence.  These shows are in bad taste, not caring who gets hurt but who

will get the better ratings for this kind of torture or humility of others.  I can't

even fathom why any broadcasting company would even sponsor this kind of

public filth, which I believe serves as a corrupting source of this nation.

Jeff Pavelcsyk

LE 100 sect-18

March 3, 1997

These are some views on why talk shows are trash.  They do nothing at

all to improve any standard of living in this country, or others also.  The

shows are about ninety percent on topics that do not affect any of us, or that

the people in general have any sort of interest in.  All they do is pollute

today's already sickening society with trashy ideas so that some other idiot

can go out and try, after getting the idea from the show.

First we will start with Richard Bey, one of the self-proclaimed kings

of daytime trash.  Well did today's show have any meaning or share common

interests of the general public...not at all.  Today's topic was "engaged men

who wanted to tell their lovers about their secret gay lives", what trash this

was.  It started off having the men come out and talk about their women and

then about their gay partners.  Then in front of millions of people they brought

out the ladies on stage, to then embarrass them by talking in detail about their

gay encounter, I was almost sick.  One man actually told his fiancee the he

had sex with one of her male cousins.  Another told of his experiences of

picking up male gay prostitutes in the streets of New York City on many

occasions.  Now my question is that is any of this even necessary for people

to watch, or the embarrassment of the individuals and those mentioned in the

show.

The next trash candidate would definitely be Jerry Springer, who tries

so very hard at the end of his show to put real-life meaning to the topics of his

show in "Springer's thought of the Day."  Topic this time is "pssst.. I have a

secret to tell you."  During the duration of this show topics ranged from a

forty year old women having an affair with an eighteen year old boy.  After

the women told her husband and him almost breaking down crying, they then

brought the boy who was wearing one of the husbands gold chains that the

wife had given him.  Next a girl admitted to her boyfriend that she had

committed acts of lesbianism with his older sister, after that how could the

brother learn live with the betrayal of his girlfriend and sister.  Finally there is

one of the favorites for talk shows which is that I am already married.  This

women who had been dating this man for three told him about her being

married for the last ten years.

Last but certainly not least we have Rikki Lake, and I thought that this

show which was emotional but completely tasteless in the regards of human

feelings.  This show dealt with sexual lovers who wanted to confess of them

being H.I.V. positive.  I mean the emotions on this show were unreal, but

why do this to a person on national television where the whole world gets to

watch their reactions.  Most of the people involved were having unprotected

sex so their risk of having the disease is a reality.  The excuse of most of

these people, which made me sick, was that they were scared that if they told

them before then they would lose that person forever.  To even expose the

unknowing party by being told in this way is just morally wrong.  But at least

Rikki being the ever so caring person that she is at least offered to have

arrangements made to have the unknowing parties tested.

So when all this is said and done where does that leave the viewers in

most of these programs?  I say with a dillusional view of some of the few sick

people of today's society, and just makes it look like another common

occurrence.  These shows are in bad taste, not caring who gets hurt but who

will get the better ratings for this kind of torture or humility of others.  I can't

even fathom why any broadcasting company would even sponsor this kind of

public filth, which I believe serves as a corrupting source of this nation.

1025.      Tamed Shrews and Twelfth Nights The Role of Women In Sh~12D

Tamed Shrews and Twelfth Nights: The Role of Women In Shakespeare

It is curious to note the role of women in Shakespearean literature. Many critics have lambasted the female characters in

his plays as two-dimensional and unrealistic portrayals of subservient women. Others have asserted that the roles of

women in his plays were prominent for the time and culture that he lived in. That such contrasting views could be held in

regards to the same topic is academic. It is only with close examination of his works that we are able to suppose his intent

in creating characters that inspire so much controversy. Two works, Taming of the Shrew, and Twelfth Night, stand out

particularly well in regards to Shakespeare's use of female characters. After examining these two plays, one will see that

Shakespeare, though conforming to contemporary attitudes of women, circumvented them by creating resolute female

characters with a strong sense of self.

The Taming of the Shrew is one of Shakespeare's most famous plays, and has weathered well into our modern era with

adaptations into popular television series such as Moonlighting. For all the praises it has garnered throughout the

centuries, it is curious to note that many have considered it to be one of his most controversial in his treatment of women.

The "taming" of Katherine has been contended as being excessively cruel by many writers and critics of the modern era.

George Bernard Shaw himself pressed for its banning during the 19th century (Peralta). The subservience of Katherine

has been labeled as barbaric, antiquated, and generally demeaning. The play centers on her and her lack of suitors. It

establishes in the first act her shrewish demeanor and its repercussions on her family. It is only with the introduction of the

witty Petruchio as her suitor, that one begins to see an evolution in her character. Through an elaborate charade of

humiliating behavior, Petruchio humbles her and by the end of the play, she will instruct other women on the nature of

being a good and dutiful wife.

In direct contrast to Shrew, is Twelfth Night, whose main female protagonist is by far the strongest character in the play.

The main character Viola, has been stranded in a foreign land and adopts the identity of her brother so that she might live

independently without a husband or guardian. She serves as a courtier to a young, lovesick nobleman named Orsino.

Throughout the play she plays as a go-between for him to the woman he loves. In the course of her service, she falls in

love with him. Only at the end, does she renounce her male identity and declares her love for him.

Both plays portray female characters unwilling to accept the female role of passivity. Katherine rebels against this

stereotype by becoming a "shrew", a violently tempered and belligerent woman. Viola disguises herself as a man for most

of the play in order to preserve her state of free will. Katherine endures reprimands, chiding, and humiliation in the course

of her chosen rebellion. Viola enjoys life and position as a man, and does not reveal who she is until the last scene of the

play. Curiously enough, both women voluntarily accept the roles that society would impose on them again at the close of

the plays. It is important to note though, that they freely resume these roles, and that they do so out of their own sense of

self. For each woman, it is a personal choice based on their desires. In the case of Katherine, she realizes that propriety is

as much a signature of self-respect as respect for others, and she has a husband whom she need prove nothing to

because he already respects her. In the case of Viola, she is in love with the young Orsino. Having found the man she

would be willing to wed, the pretense of her male identity is no longer necessary, as she desires to be his wife.

Having seen the similarities between Viola and Katherine, one should take notice that they do have different

circumstances regarding their behavior. The reason for Katherine's shrewish demeanor is never given in the play, though

many directors have interpreted it as an act to discourage suitors, much like Hamlet's feigned madness. Others have

attributed it to sibling rivalry between Katherine and her sister Bianca. In any case, no clear rationale is given to the

audience as to the reason for Katherine's behavior. It is enough to say that the actions of her father and sister do not

relieve the situation as well. Throughout the whole of the play, her father treats her as a commodity to be bargained away

to whoever is willing to take her. Granted that he doesn't view Bianca as anything more than a commodity as well, but he

clearly favors her over Katherine as unspoiled merchandise. Bianca has a rather small role to play in the whole of things.

She seems to be the archetypal young lady of quality. Her lack of understanding for her sister causes them to quarrel and

results in Bianca taking the physical worst of it, whilst Katherine is blamed for her belligerent nature. The entire presence

of family in the play gives Katherine her motivation and explains much of the whole situation in the dialogue. Contrast this

with the isolated Viola. She is shipwrecked and has no one to connect with at all. Her situation is implicitly understood by

the Shakespearean audience as being an awkward one for a young woman. Lacking anyone to provide for her, she is

forced to take measures to protect herself and her estate. The understood reason for her deception is to insure for herself,

and it is clearly stated by Viola at the end of Act I .Scene 3.

Obviously, the two women are very different individuals. Yet they share the same characteristics that Shakespeare

imparted onto many of his heroines. Each is resolute and knows her own mind. Though society demands certain behavior

from them, they each chose to undertake a different path to deny that behavior. The self is promoted over the public

image. Yet, each is not averse to returning to society's established roles if it serves their needs and wants. The entire

concept of choice and free-will, of which Shakespeare was so fond of, applies as equally to his feminine characters as to

his masculine. It is this very important point which establishes the conclusion that Shakespeare did indeed create realistic

and meaningful female characters.

Sources Cited

Peralta, T.    "The Taming of the Shrew."    English 28: Shakespeare's Plays.   Cerritos

College.   Norwalk, CA,  Fall semester 1996.

1026.      taoism action vs inaction

Taoism: Action Versus Inaction

The Star Trek The Next Generation episode: "Booby Trap" shows a perfect example of Taoist thought. The crew of the Enterprise is always taking some action in order to achieve a specific goal. This episode shows that through inaction you can sometimes achieve far more than you could through action. The mind of the physical senses cannot grasp the concepts of the unnameable.  The crew of the Enterprise learn a valuable lesson on the nature of decision making and how to do without doing anything.

The Enterprise is caught in an ancient trap that uses the starships own power supply to destroy its occupants. The answer to the trap is to shut down the engines; by generating no power the trap is overcome. Taoism is a philosophy based on inaction: "Therefore the Master acts without doing anything and teaches without saying anything."(Tao Te Ching pg. 2)

When the true nature of the trap is revealed, Ryker states "If we resist we die. If we don't resist we die."  Neither action nor inaction was the key to salvation. Ryker's statement was based on a physical world; the Tao goes beyond action or inaction of a physical sense. The Tao Te Ching states, "the Master does nothing, yet leaves nothing undone."(pg. 38) The Master does not rely on the world of the senses to decide her action.

Everything the crew of the enterprise tried to do was based on overpowering the trap. "More energy, faster adjustments. But that's exactly what we can't do because that's what we're supposed to do."(Star Trek La Forge) All of the attempts to overcome the trap were based on action, trying to do something about the problem.  The Tao teaches us to "Stop thinking and end your problems." The answer  to all things surrounds us; but cannot be grasped by the physical senses. The trap was symbolic of life; no action will bring the desired end; why worry about what we do or do not do? The end will always be the same.

Taoism goes beyond the functions of sensual perception. The mind without the senses is at one with all things.   Geordi La Forge states that "the answer is our own computer...the mind is the best piece of engineering we'll ever need."  Geordi La Forge grasped the idea that the mind or Zen is infinitely greater than any physical object. This revelation allows Geordi to look at the trap through different eyes and thus find a solution.

One of the ideas for escaping the trap was to turn control of the ship over to the computer.  The Tao tells us to "stay at the center of  the circle and let all things take their course." (pg. 19) Piccard and Ryker, who have spent their lives chasing after things of a physical nature, worked against the Tao. Their inability to relinquish control of the ship and "let all thing take their course"(pg19) showed that they could not embrace the meaning of the Tao. Their faith rested only in what they could see.

At the end of the episode La Forge says "I always thought that technology could solve almost any  problem. It enhances the quality of our lives. Lets us travel across the galaxy. Even gave me my vision; but sometimes you just have to turn it all off." Geordi had finally embraced the idea that his actions in this world are useless. His vision, his technology, are all just manifestations of perception. Truth lies far beyond what can be seen or felt, but it can be found deep within by casting aside all we have learned and grasping the "unnameable."

MLA Documentation

"Booby Trap." Star Trek The Next Generation  Dir. Gabrielle Beaumont. Paramount, 1989.

Tzu, Lao. Tao Te Ching  Translated by Stephen Mitchell Bantam books 1986

1027.      Taoism

Taoism: Action Versus Inaction

The Star Trek The Next Generation episode: "Booby Trap" shows a perfect

example of Taoist thought. The crew of the Enterprise is always taking some

action in order to achieve a specific goal. This episode shows that through

inaction you can sometimes achieve far more than you could through action. The

mind of the physical senses cannot grasp the concepts of the unnameable.  The

crew of the Enterprise learn a valuable lesson on the nature of decision making

and how to do without doing anything.

The Enterprise is caught in an ancient trap that uses the starships own

power supply to destroy its occupants. The answer to the trap is to shut down

the engines; by generating no power the trap is overcome. Taoism is a philosophy

based on inaction: "Therefore the Master acts without doing anything and teaches

without saying anything."(Tao Te Ching pg. 2)

When the true nature of the trap is revealed, Ryker states "If we resist

we die. If we don't resist we die."  Neither action nor inaction was the key to

salvation. Ryker's statement was based on a physical world; the Tao goes beyond

action or inaction of a physical sense. The Tao Te Ching states, "the Master

does nothing, yet leaves nothing undone."(pg. 38) The Master does not rely on

the world of the senses to decide her action.

Everything the crew of the enterprise tried to do was based on

overpowering the trap. "More energy, faster adjustments. But that's exactly what

we can't do because that's what we're supposed to do."(Star Trek La Forge) All

of the attempts to overcome the trap were based on action, trying to do

something about the problem.  The Tao teaches us to "Stop thinking and end your

problems." The answer  to all things surrounds us; but cannot be grasped by the

physical senses. The trap was symbolic of life; no action will bring the desired

end; why worry about what we do or do not do? The end will always be the same.

Taoism goes beyond the functions of sensual perception. The mind without

the senses is at one with all things.   Geordi La Forge states that "the answer

is our own computer...the mind is the best piece of engineering we'll ever

need."  Geordi La Forge grasped the idea that the mind or Zen is infinitely

greater than any physical object. This revelation allows Geordi to look at the

trap through different eyes and thus find a solution.

One of the ideas for escaping the trap was to turn control of the ship

over to the computer.  The Tao tells us to "stay at the center of  the circle

and let all things take their course." (pg. 19) Piccard and Ryker, who have

spent their lives chasing after things of a physical nature, worked against the

Tao. Their inability to relinquish control of the ship and "let all thing take

their course"(pg19) showed that they could not embrace the meaning of the Tao.

Their faith rested only in what they could see.

At the end of the episode La Forge says "I always thought that

technology could solve almost any  problem. It enhances the quality of our lives.

Lets us travel across the galaxy. Even gave me my vision; but sometimes you just

have to turn it all off." Geordi had finally embraced the idea that his actions

in this world are useless. His vision, his technology, are all just

manifestations of perception. Truth lies far beyond what can be seen or felt,

but it can be found deep within by casting aside all we have learned and

grasping the "unnameable."

MLA Documentation

"Booby Trap." Star Trek The Next Generation  Dir. Gabrielle Beaumont.

Paramount, 1989.

Tzu, Lao. Tao Te Ching  Translated by Stephen Mitchell Bantam books 1986

1028.      technology spontaneously approaching humanity with the passag

Technology Spontaneously Approaching 'Humanity' with the Passage of Time

-------------

By Avner Erez

Tel Aviv University , Department of Film & Television

Tools once helped early man increase his survivability, and they became more and more useful as means to achieve our goals. Today, innovations in technology have allowed us to fabricate tools of increasing complexity. As we recognize that the most effective tools have human characteristics, such as a computer capable of learning, we will give our tools these characteristics. If technological innovations continue, we could actually create tools that are human, or at least beings that challenge how we define being 'human.' Ridley Scott's Blade Runner and James Cameron's Terminator 2 offer two particular scenarios of futures in which the state of technology gives us the ability to do "questionable things." As we give our machines selected human characteristics to make them more efficient, they will tend to discover humanity in their own unique way, rising above their 'specifications' to actually become human.

By definition, tools are designed specifically for certain tasks, and as technological tools, the T800 and the replicant are deigned to meet specific specifications. In Terminator 2, the T800 is a multipurpose cyborg assigned to save John Connor, given a series of "mission parameters," initially characterized by his computer logic. He often advises John based on permutations of the T1000's next move, similar to the way a chess computer decides what move to make next. Just as the T800 is designed to perform solely as a unemotional computer, the 'replicants' in Blade Runner are designed to work in slavery without protest. Since it's remarked in Blade Runner that humans develop emotions by existing for a period of time, it is predicted that replicants could not develop emotions in their four year life span. So it's easy for the society in Blade Runner to equate replicants with machines, indicated so politically by the term 'retirement.' As in Terminator 2, these manufactured beings are intended to parallel humans only in efficiency and effectiveness, not in emotion.  Similar in practice to how we solve problems, the T800 is a learning computer, designed to carry out its objectives dynamically. The Nexus 6 generation of replicants simulates human intelligence by actually using a human brain, taking advantage of the human brain's innate intelligence and ingenuity. Both the T800s and replicants were designed to carry out prescribed functions, like any other machines, enhanced by their creators who foresaw the distinct performance advantages offered by the human abilities to learn and reason.

Their creators, however, did not anticipate these selected human characteristics to dynamically grow into other human characteristics. These films document how 'human' technology will always assume more human characteristics. They suggest that to be human is to reach some state of equilibrium. In other words, an entity initially bestowed with any combination of human related characteristics will spontaneously approach a more stable state through the passage of time, like a chemical system out of equilibrium. Just as we grow uniformly content through our venerable years, artificially created beings grow increasingly human with age. Roy, designed as a fierce "combat model," has ironically grown to be a poetically rich man and draws our attention to the pertinent issues of Blade Runner by the elegant efficiency of his words.

Roy is an excellent case of 'human' technology spontaneously evolving to become truly human. His quest to extend his and his comrades' lives shows that he well understands the richness of life. He relishes every moment of his life, and he makes tactful commentaries relating them to the irony of his present situation. "It's not an easy thing to meet your maker," Roy sardonically observes upon confronting Tyrell, prompting us to consider the implications of such a meeting between creator and created. Following Tyrell's remark, "you've done extraordinary things," Roy sarcastically replies, "nothing the god of biomechanics won't let you in heaven for." Roy, resentful that he is arguably less than human, is using tragic sarcasm to describe Tyrell receiving credit for Roy's accomplishments, like the way an inventor receives credit for his invention's accomplishments. Roy has become so deeply enriched with the feeling of being emotionally alive, he sees no better way to express the inexpressible poetically. In his final soliloquy atop a building in the rain with Deckard, Roy recounts his most triumphant moments and acknowledges a great sadness within him. He reluctantly foresees that "all those moments will be lost" at his death, understanding the tragedy and hopelessness of his and his comrades' situation. Roy has grown into a philosopher, transfixed by his human desire to live like any other.

Roy's comrades also have come so very far. In their few years, they've grown dynamically, as any intelligent beings would, to assume a more steady-state we call 'humanity.' As the diversity of their personalities unfolds in Blade Runner, it becomes clear they've acquired healthy human qualities. Zhora, a replicant model designed to kill, ironically chooses to dance for men while Pris, the "pleasure model," seems to have a more sinister personality, with her painted face. When Leon discovers his lover, Zhora, was shot and killed by Deckard, a deep "human" rage consumes him, these emotional responses providing unmistakable proof for true human qualities that lie beneath.. Once emotionless shells in their early years, they have spontaneously acquired their own personalities.

The T800, in Terminator 2, is shown to grow in this same way. However, he grows to a lesser extent because this film takes place in the infancy of his development. In Blade Runner, Roy and his comrades have already been alive for three and a half years, in contrast to the T800's few weeks. When replicants are created, they have no emotional response and no understanding of humanity because Tyrell explains these qualities are learned. More specifically, he describes how emotional response results from accumulated memories. Similar to a newly created replicant, a newly created T800 acts solely on binary logic because it has no past experiences from which to draw. Since the T800 and a replicant start identically in this way, we can treat the two as one and the same. Therefore, the newly created T800 in Terminator 2 could easily be substituted with a newly created replicant. Likewise, Roy's poetic words in Blade Runner could very well be the T800's words, provided the T800 has lived long enough. Between the two films we have a consistent, continuous documentary of 'human' technology from its infancy to its maturity.

The process that causes 'human' technology to assume a more true human form is dynamic, changing at a rate depending on the degree to which it has already changed. Such a process implies an exponential curve, characterized by a extremely slow rate of change at the time short after their creation followed by rapid increases. The T800 is extremely slow to understand John's justification for why "you just can't go around killing people," because a purely logical brain cannot impose new boundaries on its decisions without parameters. In other words, logical reasoning requires that all its priorities have logical explanations. Accordingly, the T800 queries to obtain such a logical explanation, asking "Why not?" Because of the enormous complexity of this issue coupled with the youth of his own years, John can only reply, "I don't know-you just can't!" With such a flimsy logical defense of life, it's understandable why the T800 cripples the next potential victim commenting, "he'll live." However, when he restricts his gunfire to subduing gunfire, in the Cyberdyne building scene, destroying the police transportation and tear gassing the police officers, we finally see how quickly he's able to learn. Not less than thirty minutes later, just before the T800 lowers himself to die, he has learned enough to tell John, "I understand why you cry now." If he would have lived, his growth rate would continue on its trend, turning from small steps to leaps and bounds.

Tyrell describes memories to be the very heart of emotions. Because replicants early in their life have no memories, and thus no emotions, society considers them as mere machinery. As Tyrell recognizes that humans are different from replicants only by the memories they carry, he designs an experiment to test this theory. Rachel is an experimental replicant, implanted with false memories designed to make her believe she grew up like any other. With memories to furnish her emotions, Rachel was human from the moment of her 'birth.' When she learns of her replicant heritage, she is devastated, as any person would be, and ironically grieves in human ways.  She numbs from the shock, in a haze from her personal world suddenly crumbling to dust. We would no doubt react in a similar way if we were suddenly told we were replicants. In other words, even in her defeat, she brilliantly fits Tyrell's "more human than human" slogan. Rachel is the end stage, the equilibrium stage, of the evolution of 'human' technology. At this stage, she is emotionally complete from a wealth of memories and is completely indistinguishable from her human creators, for she truly is human.

Just as these films document how 'human' technology approaches the state of 'human' equilibrium, they support its implications as well. If all 'human' technology will tend to spontaneously approach humanity, then we should logically see evidence of a turning point: a point when the technology denies its preprogrammed purpose to better pursue human goals. Roy and the others reach this point when they throw down their enslavement to pursue a more promising and fulfilling future. Reaching a crossroads in their lives, they chose to pursue humanity, the moment they chose to hijack their transport shuttle. In a similar way in Terminator 2, Skynet, the national defense's intelligent super computer "decided our fate in a microsecond" when it initiated a nuclear strike to kill most of the world's population.  How could a computer grow to make such a decision? Although John teaches the T800 why its wrong to kill, no one ever taught Skynet the value of human life, for it was only programmed to preserve its own. Having not been taught the value of human life, Skynet grew to misinterpret its purpose of maintaining a strategic superiority over other powers, deciding the best strategy to assure its own survival was to eliminate all threats. Like all the 'human' technology in these films, it grew in way related to what it was initially taught, that is, it grew dynamically.

Given the proper time, artificially intelligent technology will always deviate from its intended purpose to pursue a more preferable existence.  Because Terminator 2's T800 and Blade Runner's replicant both suffer the consequences of not having memories when they are created, they grow in an identical way. This justifies why Terminator 2 and Blade Runner are actually different segments present parts of a single story. Between the two films, they outline three key phases of 'human' technology's spontaneous tendency to reach a more steady state. It first experiences a period of transition as its mind learns how to understand philosophical issues, such as how the T800 learns to understand life's uniqueness. Next, it dynamically changes as it interactively uses what it has already learned to learn more. Roy has come infinitely far from a thoughtless soldier, contemplating the nature of his human surroundings and longing for days he can peacefully breathe in the world around him. Finally, it lives long enough, or at least think it has in Rachel's case, to truly reach a state of equilibrium we call 'humanity.' Like any state of equilibrium, it is not possible for the process to be reversed, just as it is not possible to reverse the beating of an egg. On a smaller scale, each of us converges on a more tranquil state of mind, perhaps best illustrated by the peaceful smiles we remember on our grandparents' faces. This analysis predicts only one outcome if the human race develops the ability to create technology capable of learning and reasoning. Like a marble resting on a slant, if this 'human' technology is subjected to any outside impetus, it will accelerate towards a more stable ground, a section of asphalt we have colorfully chalked, 'humanity.'

1029.      Technology Spontaneously Approaching Humanity With the Passage of Time

Technology Spontaneously Approaching `Humanity' With the Passage of Time

By Avner Erez

Tel Aviv University , Department of Film & Television

Tools once helped early man increase his survivability, and they became more and

more useful as means to achieve our goals. Today, innovations in technology have

allowed us to fabricate tools of increasing complexity. As we recognize that the

most effective tools have human characteristics, such as a computer capable of

learning, we will give our tools these characteristics. If technological

innovations continue, we could actually create tools that are human, or at least

beings that challenge how we define being 'human.' Ridley Scott's Blade Runner

and James Cameron's Terminator 2 offer two particular scenarios of futures in

which the state of technology gives us the ability to do "questionable things."

As we give our machines selected human characteristics to make them more

efficient, they will tend to discover humanity in their own unique way, rising

above their 'specifications' to actually become human.

By definition, tools are designed specifically for certain tasks, and as

technological tools, the T800 and the replicant are deigned to meet specific

specifications. In Terminator 2, the T800 is a multipurpose cyborg assigned to

save John Connor, given a series of "mission parameters," initially

characterized by his computer logic. He often advises John based on permutations

of the T1000's next move, similar to the way a chess computer decides what move

to make next. Just as the T800 is designed to perform solely as a unemotional

computer, the 'replicants' in Blade Runner are designed to work in slavery

without protest. Since it's remarked in Blade Runner that humans develop

emotions by existing for a period of time, it is predicted that replicants could

not develop emotions in their four year life span. So it's easy for the society

in Blade Runner to equate replicants with machines, indicated so politically by

the term 'retirement.' As in Terminator 2, these manufactured beings are

intended to parallel humans only in efficiency and effectiveness, not in emotion.

Similar in practice to how we solve problems, the T800 is a learning computer,

designed to carry out its objectives dynamically. The Nexus 6 generation of

replicants simulates human intelligence by actually using a human brain, taking

advantage of the human brain's innate intelligence and ingenuity. Both the T800s

and replicants were designed to carry out prescribed functions, like any other

machines, enhanced by their creators who foresaw the distinct performance

advantages offered by the human abilities to learn and reason.

Their creators, however, did not anticipate these selected human characteristics

to dynamically grow into other human characteristics. These films document how '

human' technology will always assume more human characteristics. They suggest

that to be human is to reach some state of equilibrium. In other words, an

entity initially bestowed with any combination of human related characteristics

will spontaneously approach a more stable state through the passage of time,

like a chemical system out of equilibrium. Just as we grow uniformly content

through our venerable years, artificially created beings grow increasingly human

with age. Roy, designed as a fierce "combat model," has ironically grown to be a

poetically rich man and draws our attention to the pertinent issues of Blade

Runner by the elegant efficiency of his words.

Roy is an excellent case of 'human' technology spontaneously evolving to become

truly human. His quest to extend his and his comrades' lives shows that he well

understands the richness of life. He relishes every moment of his life, and he

makes tactful commentaries relating them to the irony of his present situation. "

It's not an easy thing to meet your maker," Roy sardonically observes upon

confronting Tyrell, prompting us to consider the implications of such a meeting

between creator and created. Following Tyrell's remark, "you've done

extraordinary things," Roy sarcastically replies, "nothing the god of

biomechanics won't let you in heaven for." Roy, resentful that he is arguably

less than human, is using tragic sarcasm to describe Tyrell receiving credit for

Roy's accomplishments, like the way an inventor receives credit for his

invention's accomplishments. Roy has become so deeply enriched with the feeling

of being emotionally alive, he sees no better way to express the inexpressible

poetically. In his final soliloquy atop a building in the rain with Deckard, Roy

recounts his most triumphant moments and acknowledges a great sadness within him.

He reluctantly foresees that "all those moments will be lost" at his death,

understanding the tragedy and hopelessness of his and his comrades' situation.

Roy has grown into a philosopher, transfixed by his human desire to live like

any other.

Roy's comrades also have come so very far. In their few years, they've grown

dynamically, as any intelligent beings would, to assume a more steady-state we

call 'humanity.' As the diversity of their personalities unfolds in Blade Runner,

it becomes clear they've acquired healthy human qualities. Zhora, a replicant

model designed to kill, ironically chooses to dance for men while Pris, the "

pleasure model," seems to have a more sinister personality, with her painted

face. When Leon discovers his lover, Zhora, was shot and killed by Deckard, a

deep "human" rage consumes him, these emotional responses providing unmistakable

proof for true human qualities that lie beneath.. Once emotionless shells in

their early years, they have spontaneously acquired their own personalities.

The T800, in Terminator 2, is shown to grow in this same way. However, he grows

to a lesser extent because this film takes place in the infancy of his

development. In Blade Runner, Roy and his comrades have already been alive for

three and a half years, in contrast to the T800's few weeks. When replicants are

created, they have no emotional response and no understanding of humanity

because Tyrell explains these qualities are learned. More specifically, he

describes how emotional response results from accumulated memories. Similar to a

newly created replicant, a newly created T800 acts solely on binary logic

because it has no past experiences from which to draw. Since the T800 and a

replicant start identically in this way, we can treat the two as one and the

same. Therefore, the newly created T800 in Terminator 2 could easily be

substituted with a newly created replicant. Likewise, Roy's poetic words in

Blade Runner could very well be the T800's words, provided the T800 has lived

long enough. Between the two films we have a consistent, continuous documentary

of 'human' technology from its infancy to its maturity.

The process that causes 'human' technology to assume a more true human form is

dynamic, changing at a rate depending on the degree to which it has already

changed. Such a process implies an exponential curve, characterized by a

extremely slow rate of change at the time short after their creation followed by

rapid increases. The T800 is extremely slow to understand John's justification

for why "you just can't go around killing people," because a purely logical

brain cannot impose new boundaries on its decisions without parameters. In other

words, logical reasoning requires that all its priorities have logical

explanations. Accordingly, the T800 queries to obtain such a logical explanation,

asking "Why not?" Because of the enormous complexity of this issue coupled with

the youth of his own years, John can only reply, "I don't know-you just can't!"

With such a flimsy logical defense of life, it's understandable why the T800

cripples the next potential victim commenting, "he'll live." However, when he

restricts his gunfire to subduing gunfire, in the Cyberdyne building scene,

destroying the police transportation and tear gassing the police officers, we

finally see how quickly he's able to learn. Not less than thirty minutes later,

just before the T800 lowers himself to die, he has learned enough to tell John, "

I understand why you cry now." If he would have lived, his growth rate would

continue on its trend, turning from small steps to leaps and bounds.

Tyrell describes memories to be the very heart of emotions. Because replicants

early in their life have no memories, and thus no emotions, society considers

them as mere machinery. As Tyrell recognizes that humans are different from

replicants only by the memories they carry, he designs an experiment to test

this theory. Rachel is an experimental replicant, implanted with false memories

designed to make her believe she grew up like any other. With memories to

furnish her emotions, Rachel was human from the moment of her 'birth.' When she

learns of her replicant heritage, she is devastated, as any person would be, and

ironically grieves in human ways.  She numbs from the shock, in a haze from her

personal world suddenly crumbling to dust. We would no doubt react in a similar

way if we were suddenly told we were replicants. In other words, even in her

defeat, she brilliantly fits Tyrell's "more human than human" slogan. Rachel is

the end stage, the equilibrium stage, of the evolution of 'human' technology. At

this stage, she is emotionally complete from a wealth of memories and is

completely indistinguishable from her human creators, for she truly is human.

Just as these films document how 'human' technology approaches the state of '

human' equilibrium, they support its implications as well. If all 'human'

technology will tend to spontaneously approach humanity, then we should

logically see evidence of a turning point: a point when the technology denies

its preprogrammed purpose to better pursue human goals. Roy and the others reach

this point when they throw down their enslavement to pursue a more promising and

fulfilling future. Reaching a crossroads in their lives, they chose to pursue

humanity, the moment they chose to hijack their transport shuttle. In a similar

way in Terminator 2, Skynet, the national defense's intelligent super computer "

"decided our fate in a microsecond" when it initiated a nuclear strike to kill

most of the world's population.  How could a computer grow to make such a

decision? Although John teaches the T800 why its wrong to kill, no one ever

taught Skynet the value of human life, for it was only programmed to preserve

its own. Having not been taught the value of human life, Skynet grew to

misinterpret its purpose of maintaining a strategic superiority over other

powers, deciding the best strategy to assure its own survival was to eliminate

all threats. Like all the 'human' technology in these films, it grew in way

related to what it was initially taught, that is, it grew dynamically.

Given the proper time, artificially intelligent technology will always deviate

from its intended purpose to pursue a more preferable existence.  Because

Terminator 2's T800 and Blade Runner's replicant both suffer the consequences of

not having memories when they are created, they grow in an identical way. This

justifies why Terminator 2 and Blade Runner are actually different segments

present parts of a single story. Between the two films, they outline three key

phases of 'human' technology's spontaneous tendency to reach a more steady state.

It first experiences a period of transition as its mind learns how to understand

philosophical issues, such as how the T800 learns to understand life's

uniqueness. Next, it dynamically changes as it interactively uses what it has

already learned to learn more. Roy has come infinitely far from a thoughtless

soldier, contemplating the nature of his human surroundings and longing for days

he can peacefully breathe in the world around him. Finally, it lives long

enough,or at least think it has in Rachel's case, to truly reach a state of

equilibrium we call 'humanity.' Like any state of equilibrium, it is not

possible for the process to be reversed, just as it is not possible to reverse

the beating of an egg. On a smaller scale, each of us converges on a more

tranquil state of mind, perhaps best illustrated by the peaceful smiles we

remember on our grandparents' faces. This analysis predicts only one outcome if

the human race develops the ability to create technology capable of learning and

reasoning. Like a marble resting on a slant, if this 'human' technology is

subjected to any outside impetus, it will accelerate towards a more stable

ground, a section of asphalt we have colorfully chalked, 'humanity.'

1030.      technology

Technology

In  Frankenstein or The Modern Prometheus, written in the late nineteenth century by Mary Shelley, Shelley proposes that knowledge and its effects can be dangerous to individuals and all of humanity.  Frankenstein was one of our first and still is one of our best cautionary tales about scientific research..  Shelley's novel is a metaphor of the problems  technology is causing today.

Learn from me. . . at least by my example, how dangerous is the acquirement of knowledge and how  much happier that man is who believes his native town to be the world, than he who aspires to become greater than his nature will allow (Shelley 101)

The popular belief of how Frankenstein came to be written derives from Shelley herself, who explains in an introduction to the novel that she , her husband Percy Shelly, and Lord Byron set themselves the task of creating ghost stories during a short vacation at a European villa.  According to Shelley, the short story she conceived was predicated of the notion as the eighteenth became the nineteenth century that electricity could be a catalyst of life.  in her introduction she recalls the talk about Erasmus Darwin, who had preserved a piece of vermicelli in a glass case, till by some extraordinary means it began to move with voluntary motion," (Joseph vii).  The extraordinary means forms the basis for Frankenstein.  Many people also believe that a nightmare that Mary Shelley had could also be partly responsible for the creation of the novel.

At the time the novel was written, England was on the brink of leading the Industrial revolution in Europe.  The experiments of Huntsman (crucible steel manufacture), Newcome (steam-powered pumps), and Cochrane (coal tar production) throughout the eighteenth century in England were decisive in the initial transformation of England into an industrialized country (Burke 137, 173, 195).  The emerging age of technology appears to have found followers throughout the culture and to have become firmly reinforced by the time  Frankenstein was written.  Eric Rabkin (author), says that in England early in the eighteenth century, "there exist a populous discourse community that accepted the rhetoric of science" (Rabkin 39).  This rhetoric has proof extending back to the English Renaissance.

Those sensitive to change and those prepared to embrace a rhetoric of change need not be scientists.  While scientists address a discourse community of scientists, novelists          address a wider discourse community of the literate.  If we can accept the earlier  argument that science and poetry are not ontologically antagonistic, then we might well hope to find fictional uses of the rhetoric of science . . . in texts scattered from Francis Bacon's time to the present.  These uses would change as the prevailing first principles of  the time evolved under the impact the advances brought by science and as the consequent needs of artist also changed . . .

In the early seventeenth century, when the prevailing first principles in the artist's discourse community were theological, Bacon, as we have seen, used the authority of theology to validate the rhetoric of science.  As science and technology and the persuasiveness of the rhetoric of science changed the world and the way people viewed it, the competing authorities changed their balance until today the rhetoric of science is used to lend authority to religion (Rankin 25, 37).

Tillyard confirms the proof of science and technology as firmly established in Mary Shelley's lifetime by quoting a  book on Homer that proclaimed England's arts improving and its sciences advancing.  Tillyard's point is that "the eighteenth-century myth of freedom in England included the doctrine of progress" ( Tillyard 106).  The doctrine of progress is connected with the emerging doctrine of  industrialization and science.  It was this doctrine, seemingly inside by English scholars and popular culture, although reflected by imagination it may have been, that it can be said to have provided scientific proof for Frankenstein.  Rankin states that "Shelley had written a palpable fable and she knew that its full effect depended on authorizing some possibility of belief"  (Rankin 42).  Science provided in the novel provided that  authority, creating a foundation story in what the English culture current with Mary Shelley would have taken as real world possibility.

The rhetoric of science in fiction is not merely a modern overlay on storytelling, nor is it employed, except fortuitously, to convey newly discovered information about the world.  Once upon a time fiction, which obviously is not true, took its authority form the Muse: at other times from the Bible.  Neither of these sources of authority would do for Shelley, but authority has always to be found somewhere if we are to distinguish the lies that tell truths form the just plain lies (Rankin 43).

Industrialization and the development of science were a sign that the mind was no longer medieval as it was modern.  This explains the use by Shelley of The Modern Prometheus, and it does not eliminate the potential for literary investigation.  Fellman (178, 180) makes this point when he asserts that Frankenstein was a  literary anticipation of the twentieth century  with alienation of human beings and technologies.  He asserts that technology has led to a culture of control of positive creative energy in favor of technology that developed a life of its own and that there is a parallel in Frankenstein with Victor's alienation and withdrawal from his family and from the world at large.  Tillyard deals with the troubling element of moral uncertainty certain in a culture of scientism when he cites Percy Shelley's Prometheus Unbound, were "the poet asks by what means liberty, once lost, can be regained."

The answer is hope, forgiveness, defiance of absolute power, love, endurance, steadfastness.  In this passage Shelley descends from his ecstatic vision of a redeemed universe to the sober thought that a happy state of things on earth is liable to mutability (Tillyard 120).

There is uneasiness in the vision of the world could be improved by scientific or at least technical progress.  The consequence of technological action on this view is emotional and psychological on the part of human beings connected with it.  In this regard (Brooks 592-4) suggests that in the novel, the monster's comportment makes it impossible for him to access human interaction; only his ability to speak and communicate offers any opportunity for interaction.  Indeed, the monster's ability to communicate offers suspense and pathos, particularly when he demands that Victor create a mate for him:

You have destroyed the work which you began: what is it that you intend?  Do you dare to break your promise?  I have endured toil and misery:  I left Switzerland with you: I crept along the shores of the Rhine, among its willow islands, and over the heaths of England, and among the deserts of Scotland.  I have endured incalculable fatigue, and cold, and hunger; do you dare destroy my hopes?

Begone!  I do break my promise; never will I create another like yourself, equal in deformity and wickedness (Shelley 167).

This goes to the issue of the scientist as villain, as Issac Asimov puts it.  Asimov says that Victor Frankenstein is the prototype of the mad scientist who invades on those things not meant for man to know, because , presumably they are reserved for God alone.

What lies behind Victor Frankenstein's scientific projects is obviously an attempt to gain power.  Victor is inspired by the new scientists who acquired new and almost unlimited power.  Frankenstein has sought this unlimited power to the extent of taking the place of God in reaction to his creation.  In doing so, Frankenstein has not only disrupted nature, but seized the power of reproduction in order to become acknowledged.  This ambition is very close to capitalism (to exploit natures resources for both commercial profit and political control).  This is a goal of what many of todays scientist are out to accomplish.

" Frankenstein, Asimov remarks "dared usurp what was considered the divine choice of giving life and . . . paid dearly in consequence" (Asimov 66). The subtle irony of the book is of course that Frankenstein is not portrayed as a villainous character.  he is actually, a tragic hero: he meant well"  (Asimov 66).  The moral dilemma created by progress that outgrows its creator and develops as it were a life of its own is identified in Frankenstein.  Robert Spector sees this as a concern of Shelley's.

Frankenstein (1818), which has long enjoyed a reputation as a monster story, was a warning against man's domination by the machines he was creating.  The evil is not inherent in the monster, but is a result of the attitude toward it.  For Mary Shelley, imbued with the ideas of progress and the perfectibility of man, the danger lay in a lack of proper feeling, a failing of charity and understanding.  Her long passages describing the education of the monster have often been criticized as sentimental nonsense, but they were essential to her point of view.  If what the monster learns about humanitarian principles comes only from book, it merely increased his wrath to discover their perversion in practice.  .  .  . (Spector 10)

Shelley questioned the morals of the advancing technologies.  She saw the consequences that all the advances might cause.  On this view, the novel is a cautionary tale about  what is to come.  Shelley's tale of horror is a profound insight of the consequences of morally insensitive scientific and technological research.

Works Cited

Asimov, Isaac.  "The Scientist as Villian."  Asimov on Science Fiction.  New York: Granada,        1983. 65-68.

Brooks, Peter.  "Godlike Science/ Unhallowed Arts:  Language and Monstrosity in                        Frankenstein." New Literary History (Spring 1978)  591-605

Fellman, Gordon.  "The Truths of Frankenstein:  Technologism and Images of Destruction."          Psychohistory Review 19 (1991): 177231.

Joseph, M.K.  Introduction.  Frankenstein or The Modern Prometheus, by Mary Shelley.  Ed.       M.K. Joseph.  Oxford: Oxford UP, 1969.  i-xx.

Rabkin, Eric S. "The Rhetoric of Science in Fiction. " Critical Encounters II:  Writers and Themes in Science Fiction.  Ed. Tom Staicar.  New York:  Ungar, 1982.  23-43

Shelley, Mary.  Frankenstein or The Modern Prometheus.  Ed. M.K. Joseph.  Oxford: Oxford Up,            1969.

Spector, Robert Donald.  Introduction.  Seven Masterpieces of Gothic Horror.  New York:           Bantam, 1963.  1-12.

Tillyard, E.M.W. Myth and the English Mind.  New York:  Collier Books, 1961.

1031.      Televised Violence is Here to Stay Essay

Televised Violence is Here to Stay

One of the most heated issues debated, ever since the invention of the

television, is the effects of media violence on society. Many try to wipe it out,

but will undoubtedly fail. It has great educational and entertainment value.

There have even been studies showing that viewing television violence will

actually relieve stress. For these reasons, televised violence, including fights,

with or without weapons, resulting in bloodshed, will never diminish.

Many parents try to shelter their kids from the violence portrayed on

television. They only look at the negative aspect because the parents complain

by saying the violence only teaches their children how to kill and to get away

with it (Leonard 92).

Television is the most credible and believable source of information on

the reality of the world. It teaches that the world is a violent and

untrustworthy place (Bennett 168). It reports on how the world really works.

Televised violence cultivates dominant assumptions about how conflict and power

work in the world.

Violence is an important fact of life (Howitt 17). It is very much part

of the human condition. The media cannot pretend that violence does not exist.

Televised violence orients people to their environment. It helps them

understand their world. It serves as a mirror in which people examine themselves,

their institutions, and their values (Comstock 357).

The exposure of children to televised violence is functional to the

extent that it prepares them to cope with reality. Conflict is important for

children to grow up with. It is part of their life. Kids should not be lead to

think that nothing is going to happen to them (Comstock 354). Exposure to

violence in childhood is not a bad idea. Ghetto children see violence unknown to

other children. They have to live with it, and because it is so hateful, they do

not get influenced by it. People who grew up in a tough ghetto situation regard

others who did not as patsies, naive, and easy to use.

Children learn a good deal of their society's culture by viewing the

violent television shows. People acquire definitions of appropriate behavior and

interpretations of reality from the mass media. Lower income persons often think

they are learning the style and etiquette of middle-class society from

television programs (Ball 305).

The viewing of televised violence helps children academically, as well

as socially. One study shows that children entering school, raised on the

violent television shows, picked up a one-year advantage in vocabulary over

children whose parents prohibit the viewing of violence (Clark 136). Here, the

positive effects clearly outweigh the negative.

There have been many attempts to ban violence from television. The

majority of the viewers prevent the idea through the ratings. There is a

discrepancy between public attitudes and private behavior; while people may

publicly condemn television violence, they may actually enjoy it in private

(Howitt 6).

The majority of people get whatever they want in the mass media. There

is substantial public demand for violence. The key question is: Why? To a large

extent, the answer to this question lies in the social and cultural structure of

society. Violence constitutes a significant and recurring theme in the value

structure (Leonard 91).

There can be little doubt that topics of violence are of intense

interest to the public and attract large audiences. Television gives people what

they want to see. In entertainment, it is a more acceptable truism to assert

that  the supply creates the demand. Leisure time cries for fulfillment

(Lineberry 24).

Violence is the dominant theme of all mass media. The audience ratings

do correlate positively with the percentages of violent programs. Violent types

of programs gain great popularity; networks regard violence as good bait. It is

a tool for attracting audiences (Howitt 124).

Mass media organizations spend countless hours producing and presenting

entertainment, and the American public spend a comparable amount of time in

consumption of such productions. The media identifies entertainment drama with

conflict. Conflict translates into action, and action is equal with violence

(Lineberry 21). The networks make violence their prime test for inclusion in

their content.

The significance of violence is that it helps define, move, and resolve

dramatic situations (Comstock 29). Violence allows conflict to be quickly

establish or resolve; it is visual and understandable; it is attractive to large

segments of the audience. There is indeed violence in the real world, and to

ignore it in drama is in effect to lie.

There will never be a cure for the addiction to violence. Media viewers

hunger for the violent action on the television. The people speak through

ratings, showing that violent programs are exceedingly popular (Lineberry 23).

Some parents believe that violence, whether portrayed as fantasy or

reality, will arouse aggression or increase aggressive behavior. They think it

will harden their kids to human pain and suffering. These parents also believe

that the televised violence will lead them to accept violence as a solution to

personal and social problems, creating an increase in social delinquency

(Zuckerman 64).

However, such exposure has precisely the opposite effect. Viewing

violence on television will allow the media user to discharge in fantasy what he

might otherwise act out (Ball 239). It provides a safe and harmless outlet for

human frustrations and aggressive-hostile impulses in much the same manner as

hitting a punching bag.

The viewing of aggressive scenes brings about a reduction in the

aggressive drives of the viewer. Children get rid of hostility feelings in an

innocuous way by watching violent television programs. These programs provide a

necessary social function by presenting young people with a harmless outlet for

latent hostility and by enabling them to relieve their pent-up aggression

(Larsen 143).

It is wrong to blame television for outbreaks of violence and the

alleged increase in crime and delinquency rates. Many factors other than

exposure to the media, such as relationships and experiences with parents,

brothers, sisters, teachers, and companions, cause real life violence.

Interaction in primary groups (such as the family) develops the human

personality. As a child matures, he undergoes a process of social preparation

for adult roles. Much of this preparation ordinarily takes place in the family,

while some of it occurs in play groups and formal education. It occurs all the

time the child is awake and active, even when he and the persons with whom he

interacts are not consciously concerned with shaping his character. He becomes a

residue of what he has done and experienced, which in turn depends on his

genetic endowment and the social heritage into which he was born. If there is

any "social damage," it is the faults of the home, the school, the neighborhood,

or other social settings (Larsen 141).

Exposure to violent stimuli has no effect on already established

attitudinal commitments regarding violent mortality. Empirical research has

found no evidence that exposures to explicit violent materials play a

significant role in the causation of delinquency or criminal behavior among

youth and adults (Clark 131). Television violence does not cause one to act out

aggressive actions.

Although many critics object to the viewing of televised violence, there

are too many reasons explaining why it will never disappear. Parents who

prohibit their children from viewing violent topics will shelter them too much

from the reality of the world. Violence on the television is essential. People

need to know what is happening in the world (Tuchscherer 95). Those who would

prefer to avoid exposure to the media's portrayal of violence have the option to

turn off the television set. Doing this, however, will only result in their loss.

1032.      Televised Violence is Here to Stay

Televised Violence is Here to Stay

One of the most heated issues debated, ever since the invention of the television, is the effects of media violence on society. Many try to wipe it out, but will undoubtedly fail. It has great educational and entertainment value. There have even been studies showing that viewing television violence will actually relieve stress. For these reasons, televised violence, including fights, with or without weapons, resulting in bloodshed, will never diminish.

Many parents try to shelter their kids from the violence portrayed on television. They only look at the negative aspect because the parents complain by saying the violence only teaches their children how to kill and to get away with it (Leonard 92).

Television is the most credible and believable source of information on the reality of the world. It teaches that the world is a violent and untrustworthy place (Bennett 168). It reports on how the world really works. Televised violence cultivates dominant assumptions about how conflict and power work in the world.

Violence is an important fact of life (Howitt 17). It is very much part of the human condition. The media cannot pretend that violence does not exist.

Televised violence orients people to their environment. It helps them understand their world. It serves as a mirror in which people examine themselves, their institutions, and their values (Comstock 357).

The exposure of children to televised violence is functional to the extent that it prepares them to cope with reality. Conflict is important for children to grow up with. It is part of their life. Kids should not be lead to think that nothing is going to happen to them (Comstock 354). Exposure to violence in childhood is not a bad idea. Ghetto children see violence unknown to other children. They have to live with it, and because it is so hateful, they do not get influenced by it. People who grew up in a tough ghetto situation regard others who did not as patsies, naive, and easy to use.

Children learn a good deal of their society's culture by viewing the violent television shows. People acquire definitions of appropriate behavior and interpretations of reality from the mass media. Lower income persons often think they are learning the style and etiquette of middle-class society from television programs (Ball 305).

The viewing of televised violence helps children academically, as well as socially. One study shows that children entering school, raised on the violent television shows, picked up a one-year advantage in vocabulary over children whose parents prohibit the viewing of violence (Clark 136). Here, the positive effects clearly outweigh the negative.

There have been many attempts to ban violence from television. The majority of the viewers prevent the idea through the ratings. There is a discrepancy between public attitudes and private behavior; while people may publicly condemn television violence, they may actually enjoy it in private (Howitt 6).

The majority of people get whatever they want in the mass media. There is substantial public demand for violence. The key question is: Why? To a large extent, the answer to this question lies in the social and cultural structure of society. Violence constitutes a significant and recurring theme in the value structure (Leonard 91).

There can be little doubt that topics of violence are of intense interest to the public and attract large audiences. Television gives people what they want to see. In entertainment, it is a more acceptable truism to assert that  the supply creates the demand. Leisure time cries for fulfillment (Lineberry 24).

Violence is the dominant theme of all mass media. The audience ratings do correlate positively with the percentages of violent programs. Violent types of programs gain great popularity; networks regard violence as good bait. It is a tool for attracting audiences (Howitt 124).

Mass media organizations spend countless hours producing and presenting entertainment, and the American public spend a comparable amount of time in consumption of such productions. The media identifies entertainment drama with conflict. Conflict translates into action, and action is equal with violence (Lineberry 21). The networks make violence their prime test for inclusion in their content.

The significance of violence is that it helps define, move, and resolve dramatic situations (Comstock 29). Violence allows conflict to be quickly establish or resolve; it is visual and understandable; it is attractive to large segments of the audience. There is indeed violence in the real world, and to ignore it in drama is in effect to lie.

There will never be a cure for the addiction to violence. Media viewers hunger for the violent action on the television. The people speak through ratings, showing that violent programs are exceedingly popular (Lineberry 23).

Some parents believe that violence, whether portrayed as fantasy or reality, will arouse aggression or increase aggressive behavior. They think it will harden their kids to human pain and suffering. These parents also believe that the televised violence will lead them to accept violence as a solution to personal and social problems, creating an increase in social delinquency (Zuckerman 64).

However, such exposure has precisely the opposite effect. Viewing violence on television will allow the media user to discharge in fantasy what he might otherwise act out (Ball 239). It provides a safe and harmless outlet for human frustrations and aggressive-hostile impulses in much the same manner as hitting a punching bag.

The viewing of aggressive scenes brings about a reduction in the aggressive drives of the viewer. Children get rid of hostility feelings in an innocuous way by watching violent television programs. These programs provide a necessary social function by presenting young people with a harmless outlet for latent hostility and by enabling them to relieve their pent-up aggression (Larsen 143).

It is wrong to blame television for outbreaks of violence and the alleged increase in crime and delinquency rates. Many factors other than exposure to the media, such as relationships and experiences with parents, brothers, sisters, teachers, and companions, cause real life violence. Interaction in primary groups (such as the family) develops the human personality. As a child matures, he undergoes a process of social preparation for adult roles. Much of this preparation ordinarily takes place in the family, while some of it occurs in play groups and formal education. It occurs all the time the child is awake and active, even when he and the persons with whom he interacts are not consciously concerned with shaping his character. He becomes a residue of what he has done and experienced, which in turn depends on his genetic endowment and the social heritage into which he was born. If there is any "social damage," it is the faults of the home, the school, the neighborhood, or other social settings (Larsen 141).

Exposure to violent stimuli has no effect on already established attitudinal commitments regarding violent mortality. Empirical research has found no evidence that exposures to explicit violent materials play a significant role in the causation of delinquency or criminal behavior among youth and adults (Clark 131). Television violence does not cause one to act out aggressive actions.

Although many critics object to the viewing of televised violence, there are too many reasons explaining why it will never disappear. Parents who prohibit their children from viewing violent topics will shelter them too much from the reality of the world. Violence on the television is essential. People need to know what is happening in the world (Tuchscherer 95). Those who would prefer to avoid exposure to the media's portrayal of violence have the option to turn off the television set. Doing this, however, will only result in their loss.

1033.      Television and Commercialism Essay

Television and Commercialism

Television is populated with images which are superficial and lack depth.

Programs look more like ads and ads look more like programs.  All this leads to

a close circle of consumerism.  The three excerpts relate to these unifying

ideas thus the validity of their argument.

"Surface is all;  what you see is what you get.  These images are proud

of their standing as images.  They suggest that the highest destiny of our time

is to become cleansed of depth  and specificity altogether." (1).  We live in a

world populated by images.  Children's television has concocted small, preset

groups of images such as rainbows for happiness, red hearts for warmth, unicorns

for magical regeneration, and blondness to indicate superiority ( 2).  Images

are just that-images which keep the viewer on a superficial level.  For instance,

in the program Sailor Moon, little girls are kept on a level of clothes and

being cute for boys.  This is a very unrealistic outlook and short circuits any

thoughts of importance in their lives.  Barbie, the Mattel doll, also portrays a

false image.  With her petite, fragile figure, large bust, tiny waist, long legs,

big eyes, and vast career ranging from a lifeguard to a doctor, Barbie wins the

hearts of many innocent little girls who become subjected to her unrealistic

image.

Most often in television there is no depth beyond the surface, what you

see is what you get.  This is very prominent in children' s television, where

without the special effects in action- adventure shows, all that is left are

shows that lack enthusiasm.  For example, many children's programs are alike.

They often involve very innocent, sweet, high-voiced creatures that live in

happy land.  They are threatened by bad people who capture one of the happy

creatures.  However they are rescued on the end and everyone lives happily ever

after.  In response the viewer experiences the emotion of feeling "happy."

These programs allow for a quick emotional response but no deep response that

permits you to go past the surface.

However, television allow us to see further at times such as a program

about black Americans discovering their roots.  Yet shows like this are far and

few between.  Most of the time, we only see what's on the surface which focuses

on what society already knows or what they (writers) think we need or want to

know (3).

"Television, with all its highly touted diversity, seems to becoming

more of a piece, more a set of permutations of a single cultural constant:

television, our debased currency." (4).  TV looks like TV and when you look at

it deeper it takes you back to itself, this is referred to as homogeneity.  "But

even as television becomes television-plus, it remains the national dream

factory, bulletin board, fun house mirror for distorted images of our national

desires and fears...And yet non of the metaphors seems quite right, because

finally television is not quite anything else.  It is just-television." (5).

Ads are becoming to look more like programs with the use of narrative

strategies called "mini- narratives."  This strategy is used in a particular

Pepsi commercial which models the TV show Miami Vice.  It features Don Johnson

and the music of Glenn Fry.  It is almost as if the commercial is a three minute

episode of the show.  Similarly programs are beginning to look like ads.  When

Price Adam pulls out his sword in the show He-Man, he is encircled with lively,

lightning flashes as he shouts in a deep, echoing, voice, "By the power of

Grayskull... I have the power!"  He then transforms into He-Man .  This appears

to be a commercial for the He-Man action figure and sword of power.  There is a

history behind program-length commercial.  A cartoon Hot Wheels , which is also

the name of a line of cars made by Mattel, was aired on ABC in 1969.  One of

Mattel's competitors, Topper, filed a complaint with the Federal Communications

Commission (FCC) stating that the show was a thirty- minute commercial.  The FCC

agreed stating that during the program, Mattel was receiving a commercial

promotion for its product beyond the allowed time for commercial advertising.

(6).

Both ads and children's television generally have minimal plots which

contribute to the lack of depth .  In kids TV there is more focus on visual and

sound effects, pyrotechnics and a recognizable theme song.  "Plots repeat each

other from one show to another, no matter who produces them.  Whether aimed at

little girls and syrupy sweet, or at little boys and filled with "action"

sequences in which the forces of Good triumph, however provisionally, over the

forces of Evil, they involve an obsession with theft, capture, and kidnapping

(emphasis on "kid" ), with escape, chase, and recapture, with deception and

mechanical transformation from one shape or state of being to another - all

stung together to make each show a series of predictable permutations."  (7).

"... TV now exalts TV.  Spectatorship by perserving  a hermetic vision

that is uniformly televisual.  Like advertising, which no longer tends to evoke

realities at variance with the market, TV today shows almost nothing that might

clash with its own busy, monolithic style.  This new stylistic near integrity is

the product of a long process whereby TV has eliminated or subverted whichever

of its older styles have threatened to impede the sale of goods;  that is,

styles that might once have encouraged some nontelevisual type of

spectatorship." (8).  "Authorship" as a business concept has moved from

television studios to the toy industry, greeting card companies, advertising

agencies, and cereal companies.  In only a short time, a small - scale business

of licensing popular kids characters to appear on products has been turned into

a multibillion dollar industry.  Through the "licensed character" and the

program - length commercial.  Originally the idea of character licensing came

about in 1904 when the Brown Shoe Company purchased the rights to use the name

of a popular comic strip character, Buster Brown, to promote its children's

shoes. (9).  At first, licensers thought it was a good idea to simply get free

advertising value of having their "image" on a product with no payment required.

(10).

Character licensing was made for children's television and started to

get out of hand.  The 1950's were a golden age of  kids TV.  Announcers like

Buffalo Bob of Howdy Doody  who did ads themselves would pressure the viewers by

saying things such as "have your Mom or Daddy take you to the store where you

get Poll Parrot shoes, and ask for your Howdy Doody cut out!" (11).  Thus

popular characters in kids TV lead to huge lines of products to which their

images are attached.

The process of TV merchandising began with a successful show.  Then

along came a toy company who had paid for the right to make a doll of the show's

main character.  Then a clothes company paid to make clothing featuring the

character and on the story goes. (12).  More importantly, this created a new

framework for not only marketing a toy, but an image.  Thus leading to children

surrounded by advertising images which were mirrored off every object that

caught their eye. (13)

Cartoons are often about multiply groups so that there are more

characters to sell.  The more they sell the more money they make.  "What better

than urging kids to get into sharing and togetherness and cooperation by buying

whole integrated, cooperative, loving sets of huggable, snugglable, nurturing

dolls?  ( "Ten Care Bears are better than one, " as one  Care Bear Special put

it.)" (14).

Kids have enormous imaginative capacities which leads to highly

structured play which requires highly structured toys.  For instance, in the

cartoon Sailor Moon, the characters wear rings to give them power.  What better

marketing strategy than to create gadgets which will increase sales.  After all,

Sailor Moon is not Sailor Moon without her ring, and Price Adam is only He-Man

with his sword.

Children's television is "intimately linked to the seasonal launching

and selling of new lines of dolls and other licensed products - not singly, but

in bonded groups:  ten or more Care Bears; scads of My Little Ponies; eight

Hugga Bunch plush dolls with their baby Hugglets in their arms." (15).  These

shows focus on the need for teamwork.  Most often in children's television one

of the worst crimes you can commit is to be alone.

Consumerism becomes a naturalized act since all you see is superficial

and fake.  You begin to believe what you see is real because that is all you see,

so it seems natural.  The ideas of superficiality and lack of depth, as well as

homogeneity combine to promote consumerism.  Ads portray utopias which convey

that we are supposed to think it is the magic of things.  Such that if we buy

these things they will transform our lives.  For instance, if a child has a He-

Man sword he too will have the " Power of Grayskull."  These images try to place

the product's image onto the image of this transformation and eventually lead to

a purchase. (16).

" If we want a different set of images on the screen, we'll have to

produce not just better plots, but a different production system with different

goals in a different world." (17).

1034.      Television and Commercialism

Television is populated with images which are superficial and lack depth.  Programs look more like ads and ads look more like programs.  All this leads to a close circle of consumerism.  The three excerpts relate to these unifying ideas thus the validity of their argument.

"Surface is all;  what you see is what you get.  These images are proud of their standing as images.  They suggest that the highest destiny of our time is to become cleansed of depth  and specificity altogether." (1).  We live in a world populated by images.  Children's television has concocted small, preset groups of images such as rainbows for happiness, red hearts for warmth, unicorns for magical regeneration, and blondness to indicate superiority ( 2).  Images are just that-images which keep the viewer on a superficial level.  For instance, in the program Sailor Moon, little girls are kept on a level of clothes and being cute for boys.  This is a very unrealistic outlook and short circuits any thoughts of importance in their lives.  Barbie, the Mattel doll, also portrays a false image.  With her petite, fragile figure, large bust, tiny waist, long legs, big eyes, and vast career ranging from a lifeguard to a doctor, Barbie wins the hearts of many innocent little girls who become subjected to her unrealistic image.

Most often in television there is no depth beyond the surface, what you see is what you get.  This is very prominent in children' s television, where without the special effects in action- adventure shows, all that is left are shows that lack enthusiasm.  For example, many children's programs are alike.  They often involve very innocent, sweet, high-voiced creatures that live in happy land.  They are threatened by bad people who capture one of the happy creatures.  However they are rescued on the end and everyone lives happily ever after.  In response the viewer experiences the emotion of feeling "happy."  These programs allow for a quick emotional response but no deep response that permits you to go past the surface.

However, television allow us to see further at times such as a program about black Americans discovering their roots.  Yet shows like this are far and few between.  Most of the time, we only see what's on the surface which focuses on what society already knows or what they (writers) think we need or want to know (3).

"Television, with all its highly touted diversity, seems to becoming more of a piece, more a set of permutations of a single cultural constant:  television, our debased currency." (4).  TV looks like TV and when you look at it deeper it takes you back to itself, this is referred to as homogeneity.  "But even as television becomes television-plus, it remains the national dream factory, bulletin board, fun house mirror for distorted images of our national desires and fears...And yet non of the metaphors seems quite right, because finally television is not quite anything else.  It is just-television." (5).

Ads are becoming to look more like programs with the use of narrative strategies called "mini- narratives."  This strategy is used in a particular Pepsi commercial which models the TV show Miami Vice.  It features Don Johnson and the music of Glenn Fry.  It is almost as if the commercial is a three minute episode of the show.  Similarly programs are beginning to look like ads.  When Price Adam pulls out his sword in the show He-Man, he is encircled with lively, lightning flashes as he shouts in a deep, echoing, voice, "By the power of Grayskull... I have the power!"  He then transforms into He-Man .  This appears to be a commercial for the He-Man action figure and sword of power.  There is a history behind program-length commercial.  A cartoon Hot Wheels , which is also the name of a line of cars made by Mattel, was aired on ABC in 1969.  One of Mattel's competitors, Topper, filed a complaint with the Federal Communications Commission (FCC) stating that the show was a thirty- minute commercial.  The FCC agreed stating that during the program, Mattel was receiving a commercial promotion for its product beyond the allowed time for commercial advertising. (6).

Both ads and children's television generally have minimal plots which contribute to the lack of depth .  In kids TV there is more focus on visual and sound effects, pyrotechnics and a recognizable theme song.  "Plots repeat each other from one show to another, no matter who produces them.  Whether aimed at little girls and syrupy sweet, or at little boys and filled with "action" sequences in which the forces of Good triumph, however provisionally, over the forces of Evil, they involve an obsession with theft, capture, and kidnapping (emphasis on "kid" ), with escape, chase, and recapture, with deception and mechanical transformation from one shape or state of being to another - all stung together to make each show a series of predictable permutations."  (7).

"... TV now exalts TV.  Spectatorship by perserving  a hermetic vision that is uniformly televisual.  Like advertising, which no longer tends to evoke realities at variance with the market, TV today shows almost nothing that might clash with its own busy, monolithic style.  This new stylistic near integrity is the product of a long process whereby TV has eliminated or subverted whichever of its older styles have threatened to impede the sale of goods;  that is, styles that might once have encouraged some nontelevisual type of spectatorship." (8).  "Authorship" as a business concept has moved from television studios to the toy industry, greeting card companies, advertising agencies, and cereal companies.  In only a short time, a small - scale business of licensing popular kids characters to appear on products has been turned into a multibillion dollar industry.  Through the "licensed character" and the program - length commercial.  Originally the idea of character licensing came about in 1904 when the Brown Shoe Company purchased the rights to use the name of a popular comic strip character, Buster Brown, to promote its children's shoes. (9).  At first, licensers thought it was a good idea to simply get free advertising value of having their "image" on a product with no payment required. (10).

Character licensing was made for children's television and started to get out of hand.  The 1950's were a golden age of  kids TV.  Announcers like Buffalo Bob of Howdy Doody  who did ads themselves would pressure the viewers by saying things such as "have your Mom or Daddy take you to the store where you get Poll Parrot shoes, and ask for your Howdy Doody cut out!" (11).  Thus popular characters in kids TV lead to huge lines of products to which their images are attached.

The process of TV merchandising began with a successful show.  Then along came a toy company who had paid for the right to make a doll of the show's main character.  Then a clothes company paid to make clothing featuring the character and on the story goes. (12).  More importantly, this created a new framework for not only marketing a toy, but an image.  Thus leading to children surrounded by advertising images which were mirrored off every object that caught their eye. (13)

Cartoons are often about multiply groups so that there are more characters to sell.  The more they sell the more money they make.  "What better than urging kids to get into sharing and togetherness and cooperation by buying whole integrated, cooperative, loving sets of huggable, snugglable, nurturing dolls?  ( "Ten Care Bears are better than one, " as one  Care Bear Special put it.)" (14).

Kids have enormous imaginative capacities which leads to highly structured play which requires highly structured toys.  For instance, in the cartoon Sailor Moon, the characters wear rings to give them power.  What better marketing strategy than to create gadgets which will increase sales.  After all, Sailor Moon is not Sailor Moon without her ring, and Price Adam is only He-Man with his sword.

Children's television is "intimately linked to the seasonal launching and selling of new lines of dolls and other licensed products - not singly, but in bonded groups:  ten or more Care Bears; scads of My Little Ponies; eight Hugga Bunch plush dolls with their baby Hugglets in their arms." (15).  These shows focus on the need for teamwork.  Most often in children's television one of the worst crimes you can commit is to be alone.

Consumerism becomes a naturalized act since all you see is superficial and fake.  You begin to believe what you see is real because that is all you see, so it seems natural.  The ideas of superficiality and lack of depth, as well as homogeneity combine to promote consumerism.  Ads portray utopias which convey that we are supposed to think it is the magic of things.  Such that if we buy these things they will transform our lives.  For instance, if a child has a He- Man sword he too will have the " Power of Grayskull."  These images try to place the product's image onto the image of this transformation and eventually lead to a purchase. (16).

" If we want a different set of images on the screen, we'll have to produce not just better plots, but a different production system with different goals in a different world." (17).

1035.      Television and The Internet Essay

Television and The Internet

Having already done my fair share of internet surfing, I was excited to

finally have the opportunity to do a research paper that involved this vast and

seemingly boundless electronic world. It is easy to passively interact with the

rest of the world and scan effortlessly through millions of pages of information,

some of which is useful, some of which simply takes up space; the problem that

many researchers and interest groups face is making sense of the whole thing.

What effects does the internet have on people? This question is no doubt an

immense one. In this paper I will attempt to explore the effects the internet

has on one major aspect of our everyday lives: television. The internet is not

only linked to television in the sense that they both convey vast amounts of

information, but they both seem to complement each other. The internet is

presenting vast amounts of information about our favorite television shows as

well as providing an arena for discussion about the programs. I will present to

you what is available out there and hypothesize how this can enhance or alter

one's experience with television. Included in this paper will be actual

responses from individuals around the world who responded to a survey I posted

on various internet newsgroups devoted to specific television shows. The most

relevant responses are attached as an appendix at the end of this paper.

I will first briefly define the terms that I will use to avoid any

ambiguities. When I refer to the internet, I refer to the vast encyclopedia of

information presented through a graphical interface as pages, or web sites.

Newsgroups refer to a different aspect of the world-wide web. They consist of

over ten thousand separate and specific forums or centers where people post

comments or remarks and read other's replies or comments. Each newsgroup is

devoted to a different theme. For example, there are over two hundred devoted to

television; one or two for Friends, one for Party of Five, one for the CBC, etc.

Chat groups are an interactive aspect of the world-wide web in which people can

talk in real time. There is an unlimited number of channels one can speak on,

although there are more popular ones with specific themes; for example, the

channel alt.tv.simpsons is a popular channel for Simpsons fans to discuss the

show. These are the main aspects of the world-wide web which can handle affairs

dealing with television. The broadest, of course, is the internet. I will refer

to those who browse the internet as "surfers." (Please note that most of the

information I am presenting refers to The Simpsons since it is by far the most

popular television show portrayed on the internet, having what appears to be the

most web sites, by far the most newsgroup postings, and the most chat lines)

The amount and variety of information available on the internet is

beyond comprehension. Television guides from around the world (including

TVGuide) are all on the internet in their entirety, in a searchable form

including descriptions of the episodes, reviews etc. Features include the

ability to search TVGuide for all shows in the next two weeks that have the any

given word in it, "shark" for example. This not only increases the amount of

television one watches (i.e. they don't miss interesting shows they would

otherwise not know about), but most likely enhances the experience of watching

the show since they can learn much about the episode beforehand. For example, in

the description of the show they might link you to a site that gives you extra

background information on sharks. All major networks have their own sites with

complete time grids for the week, descriptions of shows and actors and various

additional information, such as David Letterman's Top Ten Lists. Countless web

sites are also devoted to specific television shows. For example, while

performing a search for the show X-Files (a unique name), I came up with over

20,000 direct references to the show. The sites essentially expand on the

experience of television for the viewer. Any individual can find any information

they require about a series, specific episode, or character. The information on

characters can include both their fictional roles and their real-life situation.

(Sites devoted to some of the better looking actors and actresses seem to be a

very popular attraction). Therefore, if someone wanted to inquire about an

aspect of a series, which will most likely enhance his or her experience for the

show, the information is available in minutes. For example, I was curious as to

who wrote one of my favorite Simpsons episodes, The Monorail. Within one minute,

I had discovered that Conan O'Brien had written it, enhancing my appreciation

for both The Simpsons and his talk show.

Most "official" sites, either sponsored by the show or the network,

provide scripts to past episodes and details on, or clues to, future episodes;

often explaining the motivations and/or hidden agendas behind many of the

episodes. People from around the world can either follow a show that they don't

have access to (see responses 5, 15), perhaps in a different country, or read

the summaries of episodes that they have missed. Included in these sites are

popular images and sounds of the characters, trivia based on the episode,

internet "treasure hunts," as well as other interactive elements; all promoting

increased interest in the show as well as rampant discussions on the chat lines

and newsgroups. One of the most popular interactive events on the internet was a

"Who Shot Mr. Burns?" contest. In the season finale of The Simpsons, Mr. Burns

was shot and a long series of deliberately intricate and ambiguous clues were

presented in the episode. Throughout the summer, the "official" web site held a

contest. Each week new clues were presented and a new suspect analysed while

surfers were allowed to cast their votes. The contest ended when the season

premiere revealed the shooter. This method for enhancing viewers' interests in a

series has grown in popularity, with similar contests appearing at other

programs' web sites. Another interesting interactive aspect of the internet has

been a "cyber-series" of Homicide, the series. An entire season of the show,

which is actually a pseudo-spin-off of the series, was presented on the internet.

Each week a new episode added to the series, with short movies, pictures, and

text, all in an interactive context. As you can see, the internet has provided

not only the viewer with all the information he needs to enhance his experience

and interests in the series, it has provided the networks and/or producers a

medium to advertise the program and stimulate interest in the show in a unique,

engaging, and seemingly effective manner.

The newsgroups and chat lines provide the most interactive and by far

the most absorbing facet of the internet which is having an effect on our

experience with television. This is where the fans (or non-fans...) can express

themselves and learn about the interests of others. The newsgroups are filled

with questions, comments, remarks, and replies every day pertaining to an array

of issues surrounding their series of choice. Typically each television-related

newsgroup gets between 100 to over a thousand posts a day from fans around the

world. Some sample numbers of posts per day include: 155 for Friends, 324 for

Party of Five, 310 for Seinfeld, 800 for X-Files, and 1106 for The Simpsons

(data collected once a day for three days). The newsgroups and chat lines are

where the true uses and gratifications of television are enhanced. The diversion

that television provides is augmented, while the maintenance of personal

relations and social interactions are no doubt the main feature of these

services. They allow viewers with common interests who live down the street, or

on the other side of the planet, to bond with each other and reinforce or

reconsider each others opinions. Para-social interactions no doubt arise as well.

In response number 3, the fan believes he has established a relationship with

one of the Beverly Hills 90210 characters. Assuming this person is serious

(which can never be safely assumed), we quite noticeably see the extent to which

the internet has elevated viewers' experiences with television.

The topics presented in newsgroups and chat lines are tremendously diverse

and at the same time quite interesting. Common themes that come up include:

favorite episode, favorite line (from any character or one in particular), who

dresses the best, ideas for future shows, and hidden messages or meanings in any

given episode, or in the series in general. The endless search for hidden

messages or alternative interpretations is the most intriguing aspect of the

internet that has shaped or enhanced our experience with television. Producers

typically convey a dominant ideology in mind when creating a series or episode;

a meaning or message that they want to communicate to the audience. The true

message transmitted by any given episode or series is determined by the way we

decode the semiotics or messages that are portrayed to us either through text,

sound, or image. What happens in newsgroups and on chat lines is that hundreds

or thousands of individuals come together to discuss the series or episode, ty

pically soon after it airs. The result of this negotiated-reading is the

unveiling of new meanings, some intended by the producers, some unintended. This

type of analysis is of great interest to most, as it allows for a deeper

involvement into the series that you love. Other chat lines and newsgroups are

more simplistic. The newsgroup for Beverly Hills 90210, for example, usually

consists of fans' remarks about how good Valerie looked or how upset they are

that Steve said what he said about Brandon. Either way, these facets of the

world-wide web allow for people who truly love the show to get together and

discuss it, in whatever fashion they choose. The end result is the same:

interest in the show is augmented and the uses and gratifications derived from

the show are enhanced. The viewers, however, are not the only ones to benefit

from the opportunities the internet provides.

Networks and producers have gained an immediate link to the audiences that

they are seeking to interpret and satisfy. Producers, writers, executives, and

presidents are uninhibited from anonymously going onto these chat lines or

newsgroups and asking questions and reading comments or feedback. (To prove this

fact, when I posted my question on the internet for this essay, I received two

replies from executives from Due South (Story Department Coordinator) and an

unspecified show who both wanted a copy of this paper or some sort of showing as

to how people responded.) All major networks and television shows provide

special nights on selected chat lines in which a writer, producer, or actor will

appear on the line to answer questions in real-time. Networks and most

"official" television series sites also have e-mail addresses which are directly

linked to the head offices. Viewers can therefore send comments or suggestions,

or questions (direct answers are rare however), to the executives. This also in

creases viewers' interest in a program since he or she might feel that they have

had a say in what is happening in future episodes.

With all the benefits that the internet provides, surfers must be aware

that the internet has its drawbacks. The most obvious problem that has recently

become a reality is the fact that there is simply too much out there. When you

want to access specific information it is often difficult to find it very

efficiently. There are many official sites, yet there many out there who are

simply fanatics of the program and post personal information about themselves

and what they like about the show. The potential problems with this are twofold.

Firstly, copyright laws are virtually ignored on the on-line world. This may not

concern us, but for the networks and producers this is of primary importance.

Countless images and sounds are distributed at will by die-hard fans. This may

promote the television series to a certain extent, but copyright laws are no

doubt being infringed upon. Secondly, there is no limit to the amount of false

and misleading information that can circulate on the internet, newsgroups, or

chat lines. For whatever reason imaginable, some people get a kick out of

starting rumors or misleading people with respect to an aspect of a program.

Therefore, with all its benefits and enhancements, one must always be cautious

as to how they interpret the information they are being doused with.

I hope that I have provided a broad enough scope of the internet in this

short space to allow you to realize the powerful impact that it has had on our

experience with television. I did not directly include all the responses to my

question in this paper, as it would have taken up too much space. Rather, I

attempted to use their opinions as support for my hypothesis, and instead

included a selection of the responses in an appendix for you to read. The world-

wide web and its many facets have no doubt been exploited by television viewers

to enhance the uses and gratifications that television provides them with. The

reason the world-wide web has become so popular is not simply because there is

so much information out there, but because it appeals to the individual.

Whatever you personal interests may be, however strange or uncommon, chances are

that you can seek refuge in this vast electronic universe. Whether you are

looking for simple textual facts, a picture of Courtney Cox, what Homer said to

Bart right after he stole his wallet on last night's episode, or simply looking

for someone to share your interests with, the internet provides it for you in

the comfort of your own home. In conclusion, the internet a complex and

interactive medium that, as I have shown, greatly enhances one's  personal

experience with television.

1036.      Television and the Internet

Having already done my fair share of internet surfing, I was excited to finally have the opportunity to do a research paper that involved this vast and seemingly boundless electronic world. It is easy to passively interact with the rest of the world and scan effortlessly through millions of pages of information, some of which is useful, some of which simply takes up space; the problem that many researchers and interest groups face is making sense of the whole thing. What effects does the internet have on people? This question is no doubt an immense one. In this paper I will attempt to explore the effects the internet has on one major aspect of our everyday lives: television. The internet is not only linked to television in the sense that they both convey vast amounts of information, but they both seem to complement each other. The internet is presenting vast amounts of information about our favorite television shows as well as providing an arena for discussion about the programs. I will present to you what is available out there and hypothesize how this can enhance or alter one's experience with television. Included in this paper will be actual responses from individuals around the world who responded to a survey I posted on various internet newsgroups devoted to specific television shows. The most relevant responses are attached as an appendix at the end of this paper.

I will first briefly define the terms that I will use to avoid any ambiguities. When I refer to the internet, I refer to the vast encyclopedia of information presented through a graphical interface as pages, or web sites. Newsgroups refer to a different aspect of the world-wide web. They consist of over ten thousand separate and specific forums or centers where people post comments or remarks and read other's replies or comments. Each newsgroup is devoted to a different theme. For example, there are over two hundred devoted to television; one or two for Friends, one for Party of Five, one for the CBC, etc. Chat groups are an interactive aspect of the world-wide web in which people can talk in real time. There is an unlimited number of channels one can speak on, although there are more popular ones with specific themes; for example, the channel alt.tv.simpsons is a popular channel for Simpsons fans to discuss the show. These are the main aspects of the world-wide web which can handle affairs dealing with television. The broadest, of course, is the internet. I will refer to those who browse the internet as "surfers." (Please note that most of the information I am presenting refers to The Simpsons since it is by far the most popular television show portrayed on the internet, having what appears to be the most web sites, by far the most newsgroup postings, and the most chat lines)

The amount and variety of information available on the internet is beyond comprehension. Television guides from around the world (including TVGuide) are all on the internet in their entirety, in a searchable form including descriptions of the episodes, reviews etc. Features include the ability to search TVGuide for all shows in the next two weeks that have the any given word in it, "shark" for example. This not only increases the amount of television one watches (i.e. they don't miss interesting shows they would otherwise not know about), but most likely enhances the experience of watching the show since they can learn much about the episode beforehand. For example, in the description of the show they might link you to a site that gives you extra background information on sharks. All major networks have their own sites with complete time grids for the week, descriptions of shows and actors and various additional information, such as David Letterman's Top Ten Lists. Countless web sites are also devoted to specific television shows. For example, while performing a search for the show X-Files (a unique name), I came up with over 20,000 direct references to the show. The sites essentially expand on the experience of television for the viewer. Any individual can find any information they require about a series, specific episode, or character. The information on characters can include both their fictional roles and their real-life situation. (Sites devoted to some of the better looking actors and actresses seem to be a very popular attraction). Therefore, if someone wanted to inquire about an aspect of a series, which will most likely enhance his or her experience for the show, the information is available in minutes. For example, I was curious as to who wrote one of my favorite Simpsons episodes, The Monorail. Within one minute, I had discovered that Conan O'Brien had written it, enhancing my appreciation for both The Simpsons and his talk show.

Most "official" sites, either sponsored by the show or the network, provide scripts to past episodes and details on, or clues to, future episodes; often explaining the motivations and/or hidden agendas behind many of the episodes. People from around the world can either follow a show that they don't have access to (see responses 5, 15), perhaps in a different country, or read the summaries of episodes that they have missed. Included in these sites are popular images and sounds of the characters, trivia based on the episode, internet "treasure hunts," as well as other interactive elements; all promoting increased interest in the show as well as rampant discussions on the chat lines and newsgroups. One of the most popular interactive events on the internet was a "Who Shot Mr. Burns?" contest. In the season finale of The Simpsons, Mr. Burns was shot and a long series of deliberately intricate and ambiguous clues were presented in the episode. Throughout the summer, the "official" web site held a contest. Each week new clues were presented and a new suspect analysed while surfers were allowed to cast their votes. The contest ended when the season premiere revealed the shooter. This method for enhancing viewers' interests in a series has grown in popularity, with similar contests appearing at other programs' web sites. Another interesting interactive aspect of the internet has been a "cyber-series" of Homicide, the series. An entire season of the show, which is actually a pseudo-spin-off of the series, was presented on the internet. Each week a new episode added to the series, with short movies, pictures, and text, all in an interactive context. As you can see, the internet has provided not only the viewer with all the information he needs to enhance his experience and interests in the series, it has provided the networks and/or producers a medium to advertise the program and stimulate interest in the show in a unique, engaging, and seemingly effective manner.

The newsgroups and chat lines provide the most interactive and by far the most absorbing facet of the internet which is having an effect on our experience with television. This is where the fans (or non-fans...) can express themselves and learn about the interests of others. The newsgroups are filled with questions, comments, remarks, and replies every day pertaining to an array of issues surrounding their series of choice. Typically each television-related newsgroup gets between 100 to over a thousand posts a day from fans around the world. Some sample numbers of posts per day include: 155 for Friends, 324 for Party of Five, 310 for Seinfeld, 800 for X-Files, and 1106 for The Simpsons (data collected once a day for three days). The newsgroups and chat lines are where the true uses and gratifications of television are enhanced. The diversion that television provides is augmented, while the maintenance of personal relations and social interactions are no doubt the main feature of these services. They allow viewers with common interests who live down the street, or on the other side of the planet, to bond with each other and reinforce or reconsider each others opinions. Para-social interactions no doubt arise as well. In response number 3, the fan believes he has established a relationship with one of the Beverly Hills 90210 characters. Assuming this person is serious (which can never be safely assumed), we quite noticeably see the extent to which the internet has elevated viewers' experiences with television.

The topics presented in newsgroups and chat lines are tremendously diverse and at the same time quite interesting. Common themes that come up include: favorite episode, favorite line (from any character or one in particular), who dresses the best, ideas for future shows, and hidden messages or meanings in any given episode, or in the series in general. The endless search for hidden messages or alternative interpretations is the most intriguing aspect of the internet that has shaped or enhanced our experience with television. Producers typically convey a dominant ideology in mind when creating a series or episode; a meaning or message that they want to communicate to the audience. The true message transmitted by any given episode or series is determined by the way we decode the semiotics or messages that are portrayed to us either through text, sound, or image. What happens in newsgroups and on chat lines is that hundreds or thousands of individuals come together to discuss the series or episode, typically soon after it airs. The result of this negotiated-reading is the unveiling of new meanings, some intended by the producers, some unintended. This type of analysis is of great interest to most, as it allows for a deeper involvement into the series that you love. Other chat lines and newsgroups are more simplistic. The newsgroup for Beverly Hills 90210, for example, usually consists of fans' remarks about how good Valerie looked or how upset they are that Steve said what he said about Brandon. Either way, these facets of the world-wide web allow for people who truly love the show to get together and discuss it, in whatever fashion they choose. The end result is the same: interest in the show is augmented and the uses and gratifications derived from the show are enhanced. The viewers, however, are not the only ones to benefit from the opportunities the internet provides.

Networks and producers have gained an immediate link to the audiences that they are seeking to interpret and satisfy. Producers, writers, executives, and presidents are uninhibited from anonymously going onto these chat lines or newsgroups and asking questions and reading comments or feedback. (To prove this fact, when I posted my question on the internet for this essay, I received two replies from executives from Due South (Story Department Coordinator) and an unspecified show who both wanted a copy of this paper or some sort of showing as to how people responded.) All major networks and television shows provide special nights on selected chat lines in which a writer, producer, or actor will appear on the line to answer questions in real-time. Networks and most "official" television series sites also have e-mail addresses which are directly linked to the head offices. Viewers can therefore send comments or suggestions, or questions (direct answers are rare however), to the executives. This also increases viewers' interest in a program since he or she might feel that they have had a say in what is happening in future episodes.

With all the benefits that the internet provides, surfers must be aware that the internet has its drawbacks. The most obvious problem that has recently become a reality is the fact that there is simply too much out there. When you want to access specific information it is often difficult to find it very efficiently. There are many official sites, yet there many out there who are simply fanatics of the program and post personal information about themselves and what they like about the show. The potential problems with this are twofold. Firstly, copyright laws are virtually ignored on the on-line world. This may not concern us, but for the networks and producers this is of primary importance. Countless images and sounds are distributed at will by die-hard fans. This may promote the television series to a certain extent, but copyright laws are no doubt being infringed upon. Secondly, there is no limit to the amount of false and misleading information that can circulate on the internet, newsgroups, or chat lines. For whatever reason imaginable, some people get a kick out of starting rumors or misleading people with respect to an aspect of a program. Therefore, with all its benefits and enhancements, one must always be cautious as to how they interpret the information they are being doused with.

I hope that I have provided a broad enough scope of the internet in this short space to allow you to realize the powerful impact that it has had on our experience with television. I did not directly include all the responses to my question in this paper, as it would have taken up too much space. Rather, I attempted to use their opinions as support for my hypothesis, and instead included a selection of the responses in an appendix for you to read. The world-wide web and its many facets have no doubt been exploited by television viewers to enhance the uses and gratifications that television provides them with. The reason the world-wide web has become so popular is not simply because there is so much information out there, but because it appeals to the individual. Whatever you personal interests may be, however strange or uncommon, chances are that you can seek refuge in this vast electronic universe. Whether you are looking for simple textual facts, a picture of Courtney Cox, what Homer said to Bart right after he stole his wallet on last night's episode, or simply looking for someone to share your interests with, the internet provides it for you in the comfort of your own home. In conclusion, the internet a complex and interactive medium that, as I have shown, greatly enhances one's  personal experience with television.

1037.      Television Censorship Essay

Television Censorship

WHAT IS CENSORSHIP?

"Censorship is the supervision and control of the information and ideas

that are circulated among the people within a society.  In modern times,

censorship refers to the examination of books, periodicals, plays, films,

television and radio programs, news reports, and other communication media for

the purpose of altering or suppressing parts thought to be objectionable or

offensive.  The objectionable material may be considered immoral or obscene,

heretical or blasphemous, seditious or treasonable, or injurious to the national

security.  Thus, the rationale for censorship is that it is necessary for the

protection of three basic social institutions: the family, the church, and the

state.

Censorship and the ideology supporting it go back to ancient times.  Every

society has had customs, taboos, or laws by which speech, play, dress, religious

observance, and sexual expression were regulated(Microsoft Encarta 95)."

CENSORSHIP OF OBSCENITY

"The beginning of a new legal approach may be traced to the action of the

federal courts in the 1930s, when they held that Irish author James Joyce's

Ulysses was not obscene and could be freely passed through customs. The courts

ruled that the use of "dirty words" in "a sincere and honest book" did not make

the book "dirty."  Since the 1950s many obscenity cases involving books,

magazines, and film have been brought before the Supreme Court.  In the cases

during the 1970s the court ruled that laws against obscenity must be limited "

to works which, taken as a whole, appeal to the prurient interest in sex; which

portray sexual conduct in a patently offensive way; and which, taken as a whole,

do not have serious literary, artistic, political, or scientific value."  The

Court has further held that obscenity should be determined by applying

"contemporary community standards" rather than national standards (Microsoft

Encarta 95)."

WHO DOES TELEVISION CENSORSHIP EFFECT?

CENSORSHIP AFFECTS MINORS AND ADULTS

Does censorship affect both minors and adults?  One incident in Ohio led

a mother of  a 5 year old boy to believe so.  The boy's mother attributed his

actions to the influence of the popular MTV cartoon show Beavis and Butthead.

In response to watching this cartoon the boy set his house on fire which killed

his younger sister. In response to criticism about the show's violence and

appeal to younger viewers, MTV moved the cartoon to a later time slot, to

prevent young children from viewing it (Microsoft Internet Explorer).

In another incident a teen-aged boy was killed and two others seriously

injured while lying down along the centerline of a highway.  The boys were

imitating a scene from the movie The Program.  The accident and the publicity

that followed prompted Touchstone films to remove the scene from the movie, but

leaving many other violent scenes, including one in which a student purposely

smashes his head through a car window (Microsoft Internet Explorer).

I also believe that not only children but perhaps an "impressionable

adult" for whatever reason could feel moved to commit these same acts of

violence that are portrayed on uncensored movies and television.  Many of these

movies contain countless instances of torture and unnatural suffering, mass

killings and ethnic persecution.  Some of these same crimes are being committed

as we speak by minors and adults all over the world.  Who is to say that people

are not influenced by viewing a movie that lacked proper censorship?

WHAT ARE SOME OF THE GUIDELINES THAT GOVERN TELEVISION CENSORSHIP?

FILM INDUSTRY GUIDELINES

"One US industry, the film industry has for many years practiced a form

of self-censorship.  In the 1920's, responding to public demands for strong

controls, the Motion Picture Association of America imposed on its constituents

a Production Act; compliance with its standards gave a movie a seal of approval.

A system of film classification was begun in 1968 and has been revised several

times since then.  Films are given ratings, as follows: G (general audiences),

PG (Parental Guidance advised), PG-13 (may not be suitable for pre-teens), R

(persons under age 17 not admitted unless accompanied by parent or adult

guardian), and NC-17 (persons under age 17 not admitted, replaced the X rating

in 1990) (Microsoft Encarta 95)"

TELEVISION AND RADIO GUIDELINES

"For the television and radio industries the Federal Communications

Commission  (FCC) has generally established vague rules about program content

containing an implied threat that a license can be revoked for repeated poor

judgment involving program content.  In  1987 the FCC responded to public

complaints by adopting measures to restrict the use of explicit language about

sex and bodily functions from the broadcasting media.  Another code, designed by

the National Association of Broadcasters, is voluntarily adhered to by station

operators.  The major networks also have their own self-regulating system.  The

Columbia Broadcasting System (CBS), for example, has a staff of people who

review scripts and watch everything that is aired on CBS-TV, including

commercials; every contract with a producer provides that the project is subject

to approval under this system (Microsoft Encarta 95)."

PRIVATE ACTION GROUP GUIDELINES

"In the US, many different private groups attempt to influence radio and

television and broadcasters and other communication media to suppress material

that they consider objectionable.  Religious, ethnic, and racial groups have

tried to prevent plays, movies and television programs from being presented

because of elements they deem offensive."

"One private group, the American Civil Liberties Union, promotes the

open flow of all types of information in the belief that individuals should have

free access and opportunities for the exercise of their personal discretion and

that no group should limit the availability of the resources from which such

choices are made (Microsoft Encarta 95)."

TELECOMMUNICATIONS COMPETITION AND DEREGULATION ACT OF 1995

THE GOALS

"This Act is intended to establish a national policy framework designed

to accelerate rapidly the private sector deployment of advanced

telecommunications and information technologies and services to all Americans by

opening all telecommunications markets to competition, and to meet the following

goals:

1)  To promote and encourage advanced telecommunications networks, capable

of enabling users to originate and receive affordable, high-quality voice, data,

image, graphic, and video telecommunications services.

2)  To improve international competitiveness markedly.

3)  To spur economic growth, create jobs, and increase productivity.

4)  To deliver a better quality of life through the preservation and

advancement of universal service to allow the more efficient delivery of

educational, health care, and other social services (Telecommunications Bill

1995, Internet)."

THE FINDINGS

The Congress makes the following findings:

· "Competition, not regulation, is the best way to spur innovation and the

development of new services.  A competitive market place is the most efficient

way to lower prices and increase value for consumers.  In furthering the

principle of open and full competition in all telecommunications markets,

however, it must be recognized that some markets are more open than others."

· "More competitive American telecommunications markets will promote United

States technological advances, domestic job and investment opportunities,

national competitiveness (Telecommunication Bill of 1995, Internet)"

VIEWERS HAVE OPTION TO WATCH VIOLENCE ON TELEVISION

One Associate Night Editor, Daniel C. Stevenson, wrote a column called,

"Viewers Have Option To Watch Violence On Television".  In this column, he

states, "It should not be the responsibility of the government to decide what is

good and bad for viewers, it should be the responsibility of the viewers

themselves. A film or book that is vulgar or horrifying to one person might be

seen as beautiful art or entertainment to another.  Such value judgments should

be left up to each person, not formulated by the government.  Any kind of

government control that seeks to expose children only to 'good' events and

actions is a violation of an important freedom-the freedom to see both sides of

an event, to observe both good and bad (Microsoft Internet Explorer)."

Another viewpoint is that of Pat Paulsen, TV personality, on January 7,

1968.  He states, "Many people feel that censorship is a violation of Freedom of

Speech...Bull Feathers...Censorship is NOT unconstitutional. Censors have the right

to censor what you hear.  Without censorship of television, how else can you,

the American public, have the protection you want from vulgar scenes, over-

exposed bodies and all the other sights you like to see...Without the censors we

would all be at the mercy of the warped minds of the television industry and

Deity only knows what you would see, probably some of the most foul, nasty,

disgusting, vulgar, funniest, greatest stuff in the world (Microsoft Internet

Explorer)."

CENSORSHIP OF TELEVISON - VIEWPOINTS

SHOULD TELEVISION SHOWS BE CENSORED?

One private individual, Mitchell Gene Zaninelli states, "I will start

with the censorship of television.  The government of the United States of

America has been getting very involved in what they think is appropriate to be

on television.  I want to know why they get to decide what I want to watch.  I

feel that it should be a person's choice.  They say they are concerned with what

children are viewing, or that some things such as nudity and swear words offend

people.  Parents should monitor what their children watch.  If a parent does not

want their child to see something in particular, then it is the parent's

responsibility to see that they do not, not the government's (Microsoft Internet

Explorer)."

What do you think?  Should our government continue to enforce television

and film censorship as it has been?  Or should all forms of censorship be

abolished completely?

THE PURPOSE

"It is the purpose of this Act to increase competition in all

telecommunications markets and provide for an orderly transition from regulated

markets to competitive and deregulated telecommunications markets consistent

with the public interest, convenience, and necessity (Telecommunications Bill of

1995, Internet)."

1038.      Television Censorship

TELEVISION CENSORSHIP

WHAT IS CENSORSHIP?

"Censorship is the supervision and control of the information and ideas that are circulated among the people within a society.  In modern times, censorship refers to the examination of books, periodicals, plays, films, television and radio programs, news reports, and other communication media for the purpose of altering or suppressing parts thought to be objectionable or offensive.  The objectionable material may be considered immoral or obscene, heretical or blasphemous, seditious or treasonable, or injurious to the national security.  Thus, the rationale for censorship is that it is necessary for the protection of three basic social institutions: the family, the church, and the state.

Censorship and the ideology supporting it go back to ancient times.  Every society has had customs, taboos, or laws by which speech, play, dress, religious observance, and sexual expression were regulated(Microsoft Encarta 95)."

CENSORSHIP OF OBSCENITY

"The beginning of a new legal approach may be traced to the action of the federal courts in the 1930s, when they held that Irish author James Joyce's Ulysses was not obscene and could be freely passed through customs. The courts ruled that the use of "dirty words" in "a sincere and honest book" did not make the book "dirty."  Since the 1950s many obscenity cases involving books, magazines, and film have been brought before the Supreme Court.  In the cases during the 1970s the court ruled that laws against obscenity must be limited " to works which, taken as a whole, appeal to the prurient interest in sex; which portray sexual conduct in a patently offensive way; and which, taken as a whole, do not have serious literary, artistic, political, or scientific value."  The Court has further held that obscenity should be determined by applying "contemporary community standards" rather than national standards (Microsoft Encarta 95)."

WHO DOES TELEVISION CENSORSHIP EFFECT?

CENSORSHIP AFFECTS MINORS AND ADULTS

Does censorship affect both minors and adults?  One incident in Ohio led a mother of  a 5 year old boy to believe so.  The boy's mother attributed his actions to the influence of the popular MTV cartoon show Beavis and Butthead.  In response to watching this cartoon the boy set his house on fire which killed his younger sister. In response to criticism about the show's violence and appeal to younger viewers, MTV moved the cartoon to a later time slot, to prevent young children from viewing it (Microsoft Internet Explorer).

In another incident a teen-aged boy was killed and two others seriously injured while lying down along the centerline of a highway.  The boys were imitating a scene from the movie The Program.  The accident and the publicity that followed prompted Touchstone films to remove the scene from the movie, but leaving many other violent scenes, including one in which a student purposely smashes his head through a car window (Microsoft Internet Explorer).

I also believe that not only children but perhaps an "impressionable adult" for whatever reason could feel moved to commit these same acts of violence that are portrayed on uncensored movies and television.  Many of these movies contain countless instances of torture and unnatural suffering, mass killings and ethnic persecution.  Some of these same crimes are being committed as we speak by minors and adults all over the world.  Who is to say that people are not influenced by viewing a movie that lacked proper censorship?

WHAT ARE SOME OF THE GUIDELINES THAT GOVERN TELEVISION CENSORSHIP?

FILM INDUSTRY GUIDELINES

"One US industry, the film industry has for many years practiced a form of self-censorship.  In the 1920's, responding to public demands for strong controls, the Motion Picture Association of America imposed on its constituents a Production Act; compliance with its standards gave a movie a seal of approval.  A system of film classification was begun in 1968 and has been revised several times since then.  Films are given ratings, as follows: G (general audiences), PG (Parental Guidance advised), PG-13 (may not be suitable for pre-teens), R (persons under age 17 not admitted unless accompanied by parent or adult guardian), and NC-17 (persons under age 17 not admitted, replaced the X rating in 1990) (Microsoft Encarta 95)"

TELEVISION AND RADIO GUIDELINES

"For the television and radio industries the Federal Communications Commission  (FCC) has generally established vague rules about program content containing an implied threat that a license can be revoked for repeated poor judgment involving program content.  In  1987 the FCC responded to public complaints by adopting measures to restrict the use of explicit language about sex and bodily functions from the broadcasting media.  Another code, designed by the National Association of Broadcasters, is voluntarily adhered to by station operators.  The major networks also have their own self-regulating system.  The Columbia Broadcasting System (CBS), for example, has a staff of people who review scripts and watch everything that is aired on CBS-TV, including commercials; every contract with a producer provides that the project is subject to approval under this system (Microsoft Encarta 95)."

PRIVATE ACTION GROUP GUIDELINES

"In the US, many different private groups attempt to influence radio and television and broadcasters and other communication media to suppress material that they consider objectionable.  Religious, ethnic, and racial groups have tried to prevent plays, movies and television programs from being presented because of elements they deem offensive."

"One private group, the American Civil Liberties Union, promotes the open flow of all types of information in the belief that individuals should have free access and opportunities for the exercise of their personal discretion and that no group should limit the availability of the resources from which such choices are made (Microsoft Encarta 95)."

TELECOMMUNICATIONS COMPETITION AND DEREGULATION ACT OF 1995

THE GOALS

"This Act is intended to establish a national policy framework designed to accelerate rapidly the private sector deployment of advanced telecommunications and information technologies and services to all Americans by opening all telecommunications markets to competition, and to meet the following goals:

1)  To promote and encourage advanced telecommunications networks, capable of enabling users to originate and receive affordable, high-quality voice, data, image, graphic, and video telecommunications services.

2)  To improve international competitiveness markedly.

3)  To spur economic growth, create jobs, and increase productivity.

4)  To deliver a better quality of life through the preservation and advancement of universal service to allow the more efficient delivery of educational, health care, and other social services (Telecommunications Bill 1995, Internet)."

THE FINDINGS

The Congress makes the following findings:

· "Competition, not regulation, is the best way to spur innovation and the development of new services.  A competitive market place is the most efficient  way to lower prices and increase value for consumers.  In furthering the principle of open and full competition in all telecommunications markets, however, it must be recognized that some markets are more open than others."

· "More competitive American telecommunications markets will promote United States technological advances, domestic job and investment opportunities, national competitiveness (Telecommunication Bill of 1995, Internet)"

VIEWERS HAVE OPTION TO WATCH VIOLENCE ON TELEVISION

One Associate Night Editor, Daniel C. Stevenson, wrote a column called, "Viewers Have Option To Watch Violence On Television".  In this column, he states, "It should not be the responsibility of the government to decide what is good and bad for viewers, it should be the responsibility of the viewers themselves. A film or book that is vulgar or horrifying to one person might be seen as beautiful art or entertainment to another.  Such value judgments should be left up to each person, not formulated by the government.  Any kind of government control that seeks to expose children only to 'good'

events and actions is a violation of an important freedom-the freedom to see both sides of an event, to observe both good and bad (Microsoft Internet Explorer)."

Another viewpoint is that of Pat Paulsen, TV personality, on January 7, 1968.  He states, "Many people feel that censorship is a violation of Freedom of Speech...Bull Feathers...Censorship is NOT unconstitutional. Censors have the right to censor what you hear.  Without censorship of television, how else can you, the American public, have the protection you want from vulgar scenes, over-exposed bodies and all the other sights you like to see...Without the censors we would all be at the mercy of the warped minds of the television industry and Deity only knows what you would see, probably some of the most foul, nasty, disgusting, vulgar, funniest, greatest stuff in the world (Microsoft Internet Explorer)."

CENSORSHIP OF TELEVISON - VIEWPOINTS

SHOULD TELEVISION SHOWS BE CENSORED?

One private individual, Mitchell Gene Zaninelli states, "I will start with the censorship of television.  The government of the United States of America has been getting very involved in what they think is appropriate to be on television.  I want to know why they get to decide what I want to watch.  I feel that it should be a person's choice.  They say they are concerned with what children are viewing, or that some things such as nudity and swear words offend people.  Parents should monitor what their children watch.  If a parent does not want their child to see something in particular, then it is the parent's responsibility to see that they do not, not the government's (Microsoft Internet Explorer)."

What do you think?  Should our government continue to enforce television and film censorship as it has been?  Or should all forms of censorship be abolished completely?

THE PURPOSE

"It is the purpose of this Act to increase competition in all telecommunications markets and provide for an orderly transition from regulated markets to competitive and deregulated telecommunications markets consistent with the public interest, convenience, and necessity (Telecommunications Bill of 1995, Internet)."

1039.      Television Shows Reflect American Culture

Television Shows Reflect American Culture

There are many movies and television shows that reflect American culture.

A show or movie must address some current societal problem or trend in order to

truly reflect  American life; murder, rape, racism, and, on a less serious note,

parties, shopping, and sports are topics that deserve serious consideration by

the public and the media.

The show Beverly Hills 90210 attempts to be an accurate portrayal of the

life of a typical well-off American teenager growing up in the 80's and 90's.

The producers of the show attempt to integrate many real life situations into

the show.  By doing this they are suggesting to the audience, which happens to

be geared toward teenagers, that what the characters do in the show is the ideal

way to deal with these types of situations.

Many aspects of American culture are represented on the television show

Beverly Hills 90210, or  just 90210 as it is commonly referred to.  Three to

four years ago it dealt with the subject of murder or homicide.  One of David's,

a star in the show, best friends was playing with a gun which he had acquired

during a summer vacation to the mid-West.  The friend shot himself by accident;

what followed was a time of mourning for David and a recollection of many fond

memories of the times they shared together.  This episode's tragedy brought the

characters in the show closer together.

Many innocent children, and sometimes adults, are killed accidentally

playing with guns, or by drive-by random shootings. This is a major problem in

the United States and the show is trying to get the message out that it is not a

safe thing to do.  It also raises the question as to why access of guns is so

readily available to anyone.

Every night on the news, someone can see many incidents in which there

is suffering resulting from guns.  Furthermore, the availability of guns makes

the public scared.  Children have images of adults using guns for hunting or

game.  In the adolescents' mind it appears that guns are not a bad item to own,

when in reality guns are extremely dangerous weapons. Beverly Hills 90210 makes

a strong attempt to impress upon its viewers that these accidents can be avoided

if people take the proper precautions.  The show sends a message to the younger

generation, which are becoming more and more violent, to stay away from things

that result in violence like guns.  A gun is an item which should only be in the

hands of a properly trained and skilled user, in order to avoid horrible

tragedies.

Another incident of tragedy occurred last season.  Dylan's girlfriend,

whose father was an organized crime figure of some kind, was gunned down by a

bullet intended for Dylan.  Ironically, the hit-man was hired by her very own

father.  Not many parents go out and hire people to kill their children's

boyfriends or girlfriends.  However, in this circumstance there was a history

between Dylan and her father.  Her father had killed Dylan's father before they

had meet.  Dylan was attempting to get revenge for his father's murder.  In the

meantime, Dylan has fallen in love with his daughter.  The two lovers had just

married and planned on a happy life when tragedy struck.  In many ways, this

incident portrays the negative images that organized crime reflects on the

American culture.  Although organized crime rings are decreasing, the problem of

organized crime is still a detriment to American society.  The producers are

doing a good deed in showing this because it sends a message to teens; hopefully,

the y will want to become productive members of society and will not want to get

involved with the harmful aspects of the American culture.

The show also deals with the topic of suicide.  One of the newer stars

of  the show, Valerie, moved to California after her father killed himself

because she could not stand to be in the house where such a horrible thing had

happened.  Valerie did not speak of the incident very frequently, but she was

obviously disturbed about something.  Her experience was extremely valuable in

later episodes when David's mother was having mental problems and he

contemplated committing suicide.  Valerie was able to talk to David and relate

to how he was feeling about the whole situation.  Although in real life the

problem might not have been resolved as easily, the show provided a good

portrayal of what a teen contemplating suicide would hope that a friend would do

for him/her.

Teen suicides are rising because of many influences: drugs, alcohol abuse,

mental and physical abuse, alienation from parents, poor performance in school,

low self-image, rejection by peers, sexuality, or, as in this situation, a death

in the family.  Many teens today feel themselves slipping off the edge and they

need something to help them through though times.  They turn to drugs and other

illegal substances when these situations arise.    Young people today seem to

confide more in their peers than in their parents.  Many of them think their

parents do not understand them.  Their friends provide comfort and advice which

is valued.

Although parents may not provide guidance that is appreciated, they do

provide money to their offspring.  One of the more common stereotypes of

American life fits right in with the materialistic values promoted by our

society - in print, in television, in commercials, in movies - in other words,

in all aspects of the media.  All economic echelons of society in the United

States are encouraged to purchase name brand clothing and other apparel.  The

"American Dream" of shopping and credit cards is a reality in the show.  The

setting of the show is Beverly Hills, California, the home of all the popular

trends and famous stars.  This location, along with rich parents, provides for

the perfect situation to make them look like rich brats.  Although Beverly Hills

90210 is not a perfect reflection of American culture, it does lend itself to

the stereotype of having a huge wardrobe and living the "American Dream".

In the five years during which 90210 has been on the air,  the show has

dealt with many topics.  From the Persian Gulf War and high school, to AIDS and

the Internet, the show has reflected many aspects of American culture.  Beverly

Hills 90210 sends a message to the viewers to make the best of one's life.

Hopefully many of the viewers will be able to attain the "American Dream" that

is the essence of American culture.

1040.      Television Soaps

Television Soaps: The Cultural Construction of Gender and Representation

Soaps but more importantly music videos can be said to interrogate the

cultural construction of gender and representations of identity.  The video

suggests a set of images to the viewer and usually these are a blurring of

gender and identity.  Music videos predicate on the representation of female

gender experience.  The two interrelated sign systems- access signs and

discovery signs- will be discussed.  Music clips that will be focused on are

Madonna's 'Burning Up', 'Express Yourself', and 'Justify My Love'.  The singer,

who has been labelled 'Our Lady of MTV', has an amazing video appeal due to her

play with gender and identity.  No other single artist has produced as many

mixed images as she has.

Television soaps tend not to interrogate the construction of gender and the

representation of identity.  They do not seem to cross any boundaries.  People

watch soaps to relax and somehow relate, so if they were to experiment with the

theatre of gender, it may be seen as a threat to viewers.  Soapies usually have

the males in typically male dominated occupations such as doctors, car salesmen

and chefs.  Women in soaps are usually secretaries or housewives.  There does

not seem to be any attempt for a switch of roles.  Females are feminine, males

masculine.  There has been one exception, which was Kylie Minogue's character,

Charlene, on Neighbours.  She was a mechanic and tomboy.  This is one of the few

occasions where a soap has interrogated the cultural construction of gender and

representation of identity.

A music video is footage that accompanies a song.  They can have a

storyline related to the song, displays of images or simply focusing on the

artist/s performing.  Music video is forever crossing the lines of gender and

identity.  It is able to do this as it is seen as a form of art, therefore there

is no threat to viewers.  It is ironic that Boy George has said that "video was

the worst thing to happen to music", when he himself looked and acted like he

was crossing the lines of gender and boundaries back in the 1980's.  Madonna is

most famous for creating videos with no boundaries for gender or identity.  Most

of the time, she deliberately plays with surfaces and masks.  Madonna visual

style engages and hyperbolises the discourse of femininity- she has bleached

hair with dark roots, street smart image yet glamorous.  Gender play is the mix

and match of styles that flirt with the signifiers of sexual difference, and

Madonna is always doing that.  The three music videos of Madonna to be analysed

a re `Burning Up', 'Express Yourself', and `Justify My Love'.

Pouring money into the visuals, she is the first female artist to fully

exploit video.  In the three videos to be discussed, there is a mixture of

suggestion and aggression.  'Burning Up' involves her and a man.  She is

writhing in the middle of the road while he is driving towards her.  At the

moment where she seemed submissive, she was actually about to take over-

suddenly he disappeared and at the end of the clip she was behind the wheel.  It

was like she was powerless, but then she turns that image upside down by showing

who had the control. `Express Yourself' is very similar.  It shows her as being

powerful and also as being weak. She plays with gender through her wearing of a

pin-striped suit ( the male sign of power and success) and her crotch grabs.  It

also shows her with a chain around her neck.  Madonna says:

"It's just an image I thought was powerful...It showed an extreme.  Extreme

images of women: one is in charge, in control, dominating; the other is chained

to a bed..."

It is evident in this video that she interrogates the cultural construction

of gender and representations of identity. "Justify My Love" is the same.  The

banned video showed how gender roles could be swapped, blurred and played with

to create different identities.  It showed men who looked and acted like women

and women who looked and acted like men.  It totally changed the typical gender

roles and behaviour around.

E. Ann Kaplan (1897) stated "Madonna's feminism is part of a larger post-

modernism phenomenon which her videos also embody in their blurring of

sacrosanct boundaries and polarities such as male/female, high art/pop art,

film/TV, fiction/reality and private/public.

Two interrelated sign systems developed from videos predicated on female

gender experience- access signs and discovery signs.  These can both be seen in

Cyndi Lauper's 1983 hit "Girls Just Want to Have Fun" and Madonna's 1984 song "

Borderline".  Both are set in the street not feeling threatened, which is the

access sign.  The discovery sign is being female.  In 'Borderline" it is the

fact she gets discovered to be a model.

1041.      Television Violence and Its Effect on Children Essay

Television Violence and Its Effect on Children

The children of today are surrounded by technology and entertainment

that is full of violence.  It is estimated that the average child watches from

three to five hours of television a day! (Neilson 1993).  Listening to music is

also a time consuming pastime among children. With all of that exposure, one

might pose the question, "How can seeing so much violence on television and

video games and hearing about violence in in music affect a child's behavior?"

Obviously these media have a big influence on childrens' behavior: we can see it

in the way they attempt to emulate their favorite rock stars by dressing in a

similar style and the way children play games, imitating their favorite cartoon

personalities or super heroes.  Studies have shown that extensive television

viewing may be associated with, aggressive behavior, poor academic performance,

precocious sexuality, obesity, and the use of drugs or alcohol (Deitz).

Television, video games, and music are very influential and if there is too much

violence available for children to watch, play, or listen to, this can sway

their attitudes in a negative direction.

Television is especially influencial on the children today.  The hard

truth is that children spend an average of 28 hours a week in front of the

television  (Neilson 1993).  This is almost two times the amount of time that

some children are in school.  At this very impressionable age it is no wonder

that the images that kids see sometimes has a profound impact on their behavior.

Fifty-five percent of children watch television with a friend or alone. (TV-Free

America). Too often parents assume that their children are responsible enough to

choose suitable programming.  But the sad fact is that even some shows deemed as

"children's television" are violent.   A survey in Mediascope showed that a

staggering sixty-six percent of children's programming contained violence.  Many

times the violence occured in cartoons which were the least likely to show the

long term consequences of violence and in many cases portrayed the violence in a

humorous way (Mediascope 2/96).  Studies done in various countries across the

world show the homicide rates doubling 10 to 15 years after the introduction of

television even though the study was taken at different times in each country

(Centerwall).  Another study showed that eight year old boys who watched the

most violent programming were the most likely to get into fights or problems

with the police (Eron).  If parents knew what their children were watching maybe

they could help to point out the shortcomings in television.

Music is also a large part of children's lives today.  A recent study

showed that between the seventh to twelveth grade alone children listen to

almost as many hours of rock music as they spend in school, for a full twelve

years (Entertainment Monitor, 1995).  As a teenager I can personally attest to

the fact that most parents don't know what their children are listening to.

Much of the popular music of today contains messages about sex and violence.

The artists who sing the music often become the idols of countless children

across the country, many of whom copy everything from the singers habits (drugs,

alcohol, violence, etc.) to their style of dress.

Another threat to children are video games.  Today's most popular video

games include many different fighting games.  These games such as Mortal Kombat

and Street Fighter include graphic images of blood and violence.  Other popular

types of games include sports games such as NHL '96 also include many violent

aspects. The violence in these video games can desensitize children to violence

and alter their perception of reality.  It can give them the idea that violence

is the way to deal with problems and conflict.  Little is known of the actual

numbers of how video games affect children because the technology is so new.  It

has been assumed that studies dealing with other forms of media will also apply

here (McAfee).

In the first few year of a child's life he is very impressionable.  Much

of his personality is formed by the time he goes to his first day of

kindergarten.  There is nothing wrong with him listening to music, watching

television, or even playing video games.  It becomes a problem when the parents

lose control of what a child sees and how he interprets it.  Many of the facts

in this paper are startling, but does this mean we should ban all violence from

everything?  That will never happen.  In all of the examples I have presented

one thing is very clear:  If parents played a more active role in what children

watched, listened to, or games they played, things would be fine.  All too often

children are left to make up their own minds about things.  Next time you wonder

about how easily children can be convinced of something think of the myth of

Santa Claus:  One man bringing presents to the WHOLE world, in one sled, pulled

by flying reigndeer.  All in the couse of one night.  If they believe that, how

hard can it be to convince them of other falsehoods?

1042.      Television Violence and its effect on Children

The children of today are surrounded by technology and entertainment that is full of violence.  It is estimated that the average child watches from three to five hours of television a day! (Neilson 1993).  Listening to music is also a time consuming pastime among children. With all of that exposure, one might pose the question, "How can seeing so much violence on television and video games and hearing about violence in in music affect a child's behavior?"  Obviously these media have a big influence on childrens' behavior: we can see it in the way they attempt to emulate their favorite rock stars by dressing in a similar style and the way children play games, imitating their favorite cartoon personalities or super heroes.  Studies have shown that extensive television viewing may be associated with, aggressive behavior, poor academic performance, precocious sexuality, obesity, and the use of drugs or alcohol (Deitz).  Television, video games, and music are very influential and if there is too much violence available for children to watch, play, or listen to, this can sway their attitudes in a negative direction.

Television is especially influencial on the children today.  The hard truth is that children spend an average of 28 hours a week in front of the television  (Neilson 1993).  This is almost two times the amount of time that some children are in school.  At this very impressionable age it is no wonder that the images that kids see sometimes has a profound impact on their behavior.  Fifty-five percent of children watch television with a friend or alone. (TV-Free America). Too often parents assume that their children are responsible enough to choose suitable programming.  But the sad fact is that even some shows deemed as "children's television" are violent.   A survey in Mediascope showed that a staggering sixty-six percent of children's programming contained violence.  Many times the violence occured in cartoons which were the least likely to show the long term consequences of violence and in many cases portrayed the violence in a humorous way (Mediascope 2/96).  Studies done in various countries across the world show the homicide rates doubling 10 to 15 years after the introduction of television even though the study was taken at different times in each country (Centerwall).  Another study showed that eight year old boys who watched the most violent programming were the most likely to get into fights or problems with the police (Eron).  If parents knew what their children were watching maybe they could help to point out the shortcomings in television.

Music is also a large part of children's lives today.  A recent study showed that between the seventh to twelveth grade alone children listen to almost as many hours of rock music as they spend in school, for a full twelve years (Entertainment Monitor, 1995).  As a teenager I can personally attest to the fact that most parents don't know what their children are listening to.  Much of the popular music of today contains messages about sex and violence.  The artists who sing the music often become the idols of countless children across the country, many of whom copy everything from the singers habits (drugs, alcohol, violence, etc.) to their style of dress.

Another threat to children are video games.  Today's most popular video games include many different fighting games.  These games such as Mortal Kombat and Street Fighter include graphic images of blood and violence.  Other popular types of games include sports games such as NHL '96 also include many violent aspects. The violence in these video games can desensitize children to violence and alter their perception of reality.  It can give them the idea that violence is the way to deal with problems and conflict.  Little is known of the actual numbers of how video games affect children because the technology is so new.  It has been assumed that studies dealing with other forms of media will also apply here (McAfee).

In the first few year of a child's life he is very impressionable.  Much of his personality is formed by the time he goes to his first day of kindergarten.  There is nothing wrong with him listening to music, watching television, or even playing video games.  It becomes a problem when the parents lose control of what a child sees and how he interprets it.  Many of the facts in this paper are startling, but does this mean we should ban all violence from everything?  That will never happen.  In all of the examples I have presented one thing is very clear:  If parents played a more active role in what children watched, listened to, or games they played, things would be fine.  All too often children are left to make up their own minds about things.  Next time you wonder about how easily children can be convinced of something think of the myth of Santa Claus:  One man bringing presents to the WHOLE world, in one sled, pulled by flying reigndeer.  All in the couse of one night.  If they believe that, how hard can it be to convince them of other falsehoods?

WORD COUNT: 784

1043.      Television What A Waste Of Time

How much does television mean to you?  Would you sacrifice your mind, your

health, and your well-being just to keep ahold of it?  Most people would.  They are

unaware of the severe effects that TV has on our lives and on our future.  I think that

television should be banned from all American households because of the negative ideas

it exploits, the creative minds it destroys, and the growing amount of kids and adults that

are making this place a bigger and lazier country.

In the last decade, the amount of vioilence on television has greatly increased and

so has the number of senseless homicides and suicides in our country.  The promiscuity

and violence shown regularly on household televisions has intrigues us as Americans and

numbed our sense of what's right and what's wrong in society.  What shocked us at first has

now become customary dinner-time cinema.

With the increase in the number of television sets in America, more and more

young people have been robbed of their creativity.  With TV, hardly anything is left to the

imagination.  Before the existence of television, all people wre forced to create their own

opinions and images of things in their own minds.  But with TV, all the images

are created for you and almost all the arguments are one-sided.  With TV, you no

longer create your own ideas; you are told them.

Television has a great impact on the health of America.  The seductive topics and

biased broadcasts shows daily across America are luring more and more people to the

confines of their living room couch for a greater amount of time.  Inactivity and

overeating are a common result of this decision made by adults and kids alike.  Perhaps

this is the reason why America is one of the fattest countries in the world.

Television is slowly and subliminally taking its toll on America.  It is stealing all

of the things that are most precious to us--our mind, body, and soul.  If you rely on

television for all your entertainment, I think that you would be way better off looking

for it within yourself and the people around you.

1044.      Television What A Waste of Timme

Television, What A Waste of Timme

How much does television mean to you?  Would you sacrifice your mind, your

health, and your well-being just to keep ahold of it?  Most people would.  They

are unaware of the severe effects that TV has on our lives and on our future.  I

think that television should be banned from all American households because of

the negative ideas it exploits, the creative minds it destroys, and the growing

amount of kids and adults that are making this place a bigger and lazier country.

In the last decade, the amount of vioilence on television has greatly increased

and so has the number of senseless homicides and suicides in our country.  The

promiscuity and violence shown regularly on household televisions has intrigues

us as Americans and numbed our sense of what's right and what's wrong in society.

What shocked us at first has now become customary dinner-time cinema.

With the increase in the number of television sets in America, more and more

young people have been robbed of their creativity.  With TV, hardly anything is

left to the imagination.  Before the existence of television, all people wre

forced to create their own opinions and images of things in their own minds.

But with TV, all the images are created for you and almost all the arguments are

one-sided.  With TV, you no longer create your own ideas; you are told them.

Television has a great impact on the health of America.  The seductive topics

and biased broadcasts shows daily across America are luring more and more people

to the confines of their living room couch for a greater amount of time.

Inactivity and overeating are a common result of this decision made by adults

and kids alike.  Perhaps this is the reason why America is one of the fattest

countries in the world.

Television is slowly and subliminally taking its toll on America.  It is

stealing all of the things that are most precious to us--our mind, body, and

soul.  If you rely on television for all your entertainment, I think that you

would be way better off looking for it within yourself and the people around you.

1045.      Television

Television

The start of the television market all began in 1897 by K.F. Braun.  He

invented the cathode ray tube which would become the screen of most television

sets.

In 1925 C. Francis Jankins had used some ideas from a Scottish engineer,

A. A. Campbell, to create images on the screens.  The United States navy used

this new technology to transfer images back and forth to its ships.

In 1929 David Sarnoff invested $50 million dollars into the development

of television sets.  In 1935 Sarnoff committed RCA to the development of

television sets.  Several networks had to begun to form in Europe such as the

British Broadcasting Corporation which provided the first television service.

Programs were only shown for 3 hours per day.  During the next year the united

states set up eleven television stations.  RCA demonstrated a television set at

the New York World's Fair were Franklin D. Roosevelt spoke before a camera

becoming the first president to appear on television.

In 1940 the Colombian Broadcast company demonstrated its example of

color television.  World War II brought the development of television to a stand

still.  All materials had to go to the war effort.  At the end of the war NBC

made the first made for television movie.

During the time between 1946 and 1951 the radio market was over taken by

the demand for televisions.  Over 3 million sets had been sold by 1951.

1950's were the beginning of the color broadcast.  They were done at

night during the week days.  In 1957 the first newscast was taped on video

cassette changing the way television shows would be produced forever.  In 1957

Public Television was formed.

Since then color television has been reinvented but still remains color

television.

1046.      Telivision

Television

The start of the television market all began in 1897 by K.F. Braun.  He invented the cathode ray tube which would become the screen of most television sets.

In 1925 C. Francis Jankins had used some ideas from a Scottish engineer, A. A. Campbell, to create images on the screens.  The United States navy used this new technology to transfer images back and forth to its ships.

In 1929 David Sarnoff invested $50 million dollars into the development of television sets.  In 1935 Sarnoff committed RCA to the development of television sets.  Several networks had to begun to form in Europe such as the British Broadcasting Corporation which provided the first television service.  Programs were only shown for 3 hours per day.  During the next year the united states set up eleven television stations.  RCA demonstrated a television set at the New York World's Fair were Franklin D. Roosevelt spoke before a camera becoming the first president to appear on television.

In 1940 the Colombian Broadcast company demonstrated its example of color television.  World War II brought the development of television to a stand still.  All materials had to go to the war effort.  At the end of the war NBC made the first made for television movie.

During the time between 1946 and 1951 the radio market was over taken by the demand for televisions.  Over 3 million sets had been sold by 1951.

1950's were the beginning of the color broadcast.  They were done at night during the week days.  In 1957 the first newscast was taped on video cassette changing the way television shows would be produced forever.  In 1957 Public Television was formed.

Since then color television has been reinvented but still remains color television.

1047.      Term Paper on Aaron Copland

Aaron Copland                                   Aaron Warner

485-13-5800

25:014:000

Masterpieces in Music

4/29/95

Aaron Copland was the embodiment of what a composer can hope to become. Copland was very much in touch not only with himself and his feelings, but with the audience he intended to reach. Very few composers have a concrete idea of what "types" of people they wish their music to reach. Copland was one of these few. The "Common Man" was the central part of much of his volumes of music strived to reach. Copland felt that, ". .everyone should have a chance to see things through this music. Limiting who can understand it only limits your usefulness"  Throughout his 75+ years as a composer and conductor, he touched the lives and hearts of as many people as he could.

Copland was born in Brooklyn, New York in 1900 to fairly affluent parents. Because of his family's financial status, he started formally training as a teen, and moved to Paris where he became the first American student of Nadia Boulanger. It was here that Copland developed much of his neo-classical style. Although he enjoyed the precise structure that Boulanger had taught him, Copland's heart was truly in creating music that people other than musicians could appreciate. It was upon his return to America in 1924 that he decided that he would write ". . .truly American music."  He traveled throughout America, getting a taste of what the "common man"  was listening to. During these travels he strayed into Mexico, and wrote the highly successful El Salon Mexico. A quote from the fall of 1932 sums up his intentions in writing this piece: "Any composer who goes outside his native land wants to return bearing musical souvenirs."  This is exactly what he did. The piece is a lively adaptation of Frances Toor's Cancionero Mexicano, with a very loose tempo, and heavy use of the horn section.

It was after the success of El Salon Mexico that Copland proceeded to produce what is now considered the epitome of "American" music. He combined his neo-classical schooling with jazz-like syncopation and a new, more "open" use of old chordal progressions.   He created Billy The Kid in 1938, producing the first "Western" musical. The score achieved a remarkable balance between outright humor and pathos, and oftentimes bordered on tragic. It was this base understanding of humanity that made Copland's music what it is.  Many texts also refer to a certain built in sympathy that Copland may have had for the main character, citing his homosexuality as a cause for his deep understanding of what it is to be looked down upon by society.

Another rowdy musical followed, entitled Rodeo. This piece was comprised of a similar hybrid of popular western themes, and used as a story line the universally known as "The Ugly Duckling".  Rodeo had it's premiere in 1942 at the Metropolitan Opera House, and was judged as an unqualified success.

Copland was clearly breaking down barriers with his "common" music. The Metropolitan Opera was known at this time for it's stuffy renditions of Verdi and Puccini's operas, and not for the joyful playfulness of such a work.

The warm exuberance of Copland's music attracted Martha Graham in 1943. She commissioned him to write a score for her ballet entitled Appalachian Spring, which is impossible not to mention. (despite the fact that we heard it in class) Appalachian spring brought nothing but good fortune to Copland, assuring him an eternal place in classical music. It was after the widespread success of Spring that he produced his most prolific piece, and perhaps the best summation of his attitude towards classical music, "Fanfare for the Common Man" Finished in 1942, this was one of 18 pieces commissioned by Eugene Goossens for the Cincinnati Symphony Orchestra.   The horns and the timpani play a major role, producing a strong and bold urgency. This provides an interesting paradox: "Common Man" seems to be as "American" as a piece could get. It is strong, bold, to the point and unquestioning. Interestingly enough, Copland was spending much of his time with an extreme leftist group of friends who made plays about the injustice and hypocrisy that existed in society during the 1940's.

Copland was not only known for his prolific style and unquestionable compositional language. He was also a great supporter of other musicians, sponsoring event after event, and starting the career of the now world renowned Leonard Bernstein . He spoke and taught at countless Universities across the country, and gave to the American people a style of music that they could claim as their own. All of this is an example of the caring and humanity that was both the cornerstone and the trademark of his music. Although he died in 1990, his music will live on in the hearts and minds of the American people as long as there is a place called "America."

1048.      The 3 Horizontally Enhanced Pigs

The 3 Horizontally Enhanced Pigs

Once upon a time there lived three pigs. Together they owned a very popular restaurant, ³Pork Boys.²

Each of the pigs made different burgers for different people. The first pig, Hamm was trying to watch his weight so he made Veggie Burgers.

The secound pig named Pork Chop made his burger with special High protein cheese and fat free thousand island dressing.

The third pig, Bacon, made the grease burger with three slabs of beef, four pieces of(turkey) bacon, five different cheeses, super fat secret sauce, grease on the side, and your choice of any bun except whole wheat.

³Flash!!! This just in. There have been reports of Richard Simons sightings in the area so head for high grounds and hide your oldies cassetes. This is not a test, I repeat not a test.²

³Hamm, lock the doors!²

³ I¹m on it Bacon.²

Bamm! Bamm! He was there, Richard Simons pounding on the window, ³Let me in folks and together we can get rid of those stormy thunder thighs.²

³Leader of the Pack.²

All of the sudden the customers began to dance to the hypnotic music.

Hamm tried to fend it (Ricard Simons) off with his Veggie Burger but than he realized that the Burger was not Fatty enough so he to began to dance.

Pork Chop in fear of his life lobed his burger into the beasts mouth. ³High protien cheese and non-fat dressing can not harm me. Ha, Ha, Ha!²

Pork Chop then was thrown into the trance and uncontrolably began to dance the watusi.

Is this the end of the line for the pigs? Will the pigs be covered in a blanket of exercise instead of panecake... But wait look over there could it be, yes it is Big Bacon Boy!

³Baa Baa Baa,² a trumpet sounded in the background.

³Ha, Ha Richard it is the end of the line for you. You are not wanted in this town or anywhere else for that matter so it is my duty to destroy you.²

Big Bacon Boy than launched his Grease Burger in the mouth of the Beast. Richard than stunned by the fat cried out in agony.

³Here Richard, take a taste of my chocolate malt machine gun!²

Rat-tat-tat-tat!

³No I am fattening up,² Ricard Simons moaned. ³Just when I had a perfect size 34 waist.²

After that day the pigs of the town lived without fear.

1049.      The Accidental Death of an Anarchist

In the play Accidental Death of an Anarchist, Dario Fo expresses his political concerns, using humour as a way of educating his audience. He incorporates stock characters such as the Maniac and the superintendent to address issues like abuse of power, while using farce and satire to emphasize his point. All of these combined help to leave the responder thinking about the issues in contemporary society.

The Maniac has the main and most important role in ADOA. He can be likened to the Commedia Dell'arte character Arlecchino as both are very intelligent, but also unpredictable and known to frequently change their plans. Through the Maniac the audience learns the truth about the death of the anarchist.

The Maniac constantly changes his character in the play, representing the deception and disguise of the police force and emphasizing how ridiculous those in power are. In Act One, Scene Two, the Maniac says, "I'm not pushing. You've been seized by a raptus." This is a great comic line; the irony in the remark shows how absurd the police's statements are.

Another example is when the Maniac's arm falls off and he mockingly states: "Next you'll be pulling off my leg." This is a deliberate farce to make the responder laugh. This incident is also a symbol of the cover-ups made by the police and is aimed at stressing Dario Fo's message about the injustices and lies by the police in society.

The Maniac is very intelligent and this helps him to control the authoritative figures and make them out to be foolish and weak. For example: In Act One, Scene Two, he points to a nervous twitch in his neck. This is comic because he is threatening the police with something that couldn't possibly cause them any harm. It also reflects how successfully he has asserted his status over the others.

The end of Act One, Scene Two is a powerful irony with the Maniac convincing the police officers to sing an anarchist song about liberty for the people, to prove that they have a compassionate side- "People would be happy to forgive all of your cretinous blunders if they could see two decent human beings behind it all." This is an effective ironic statement and in agreeing to do this they're only further proving the hypocritical nature of those in power to the audience.

In both of these examples, Fo tries to make a political argument aimed at the audience, that is, that the majority people should have power over the minority.

The Maniac convinces the police to re-write their version of events; thus making them look like fools. "You know what I say...You mean draw up a third version?" (Act One Scene Two). Here he uses irony to satirize police conduct, again reinforcing Fo's idea that people in power know nothing. By making the audience laugh, Fo is also able to become closer to them, making his political views more important.

The Maniac's lines at the end of the play- "Whichever way it goes, you see, you've got to decide"-emphasizes the point Fo makes about the fact that there are always different outcomes possible for any event. This non-cathartic ending is also important because it allows for political debate, encouraging the audience to take action.

As you can see, the Maniac is used as a decoy character, where he appears to be mad, but becomes normal, while everything else is abnormal. He helps to point out the farcical lengths the Italian police went to in order to exonerate themselves from any responsibility for the death of the anarchist.

The Superintendent is one of the main characters in ADOA. He is cynical and sarcastic and is always offering advice. His character is a lot like that of Brighella in the Commedia Dell'arte. He represents the police force as he is in charge  (or supposed to be) in the play.

The Superintendent is not merely a caricature. He reflects the abuses of police power that were occurring at the time and still are. This is quite obviously shown in Act One, Scene Two when he speaks about the statement made by the police- "...more like a 'correction'". He tries to 'purge' their mishappenings, using a neutral euphemism for an unpleasant subject. This stirs anger within the responder, while making them laugh at how openly and confidently the Superintendent expresses his corruption.

The Superintendent heightens the comedy in the play and is made to be oafish and completely unaware by Fo, contradictory of someone who is meant to be learned. In Act Two, Scene One, the Superintendent exclaims "...your Honour, you're taking the piss." Not only does this expose the police's disrespect for the law and it's proceeding through the use of his farcical comment, but it is also ironic that what he has said is such an understatement. The Superintendent is unable to grasp what the Maniac is up to. By showing the audience his 'raw' stupidity, Dario Fo helps the responder to come to the realisation that there are actually people like this in positions of power.

The police's controverting actions are continually presented through the Superintendent-"So he's a...hoaxer, an imposter, a quick-change artist." The irony here is that the police have actually demonstrated that they're the "hoaxers" and "quick change artists" in regards to the number of times that they have changed their evidence. This irony creates a humorous side to the critical issue of police corruption while reinforcing the idea that what happened was a serious political amalgamation of lies aimed at hiding the truth behind the anarchist's death.

There were many themes presented in ADOA including that of the abuse of power by the authoritarian. This occurs when a person with a higher status uses the role in a negative way. Abuse of power often occurs for personal gain and achievement.

The characters in Dario Fo's play in some way or another reflect this theme through their actions and/or words. For example, Feletti uses her position as a journalist to gain money and improve her status. Maniac: "You are a journalist...but what will you achieve? A huge scandal..." Feletti: "Not a bad day's work." (Act Two, Scene Two) This line helps the audience to see Feletti as someone who is two-faced, pretending to do what's in the interests of the public, but having the underlying knowledge that a good story will get her 'big bucks'. This is exactly the way Fo views journalists. The Maniac in this case is used to point out how far individuals will go for their own benefit.

The Maniac's different disguises are used to emphasize the stupidity of the law and to show that corrupt people are often hidden within respectable government bodies. For example: In Act One, Scene One, the Maniac tries on different disguises asking the audiences opinion- "...No? All right forget it. What about...the anarchist...in Rome? No?...(Disguised as the judge) Thirty years for you, forty for you, forty for you etc..." By breaking down the fourth wall, the audience becomes co-conspirators, and part of the political conspiracy. Through the Maniac's exaggerated and comic view of the court system, the responder also becomes aware of the theme stated above aswell as Fo's political message.

ADOA is in itself a farce and is used to present a political view without lecturing the audience. Dario Fo extensively uses techniques such as slapstick and satire to add to the comic effect of the play. In doing so he is more easily able to get his political opinion across to the audience.

Slapstick is successfully used to express real issues such as the anarchist's death. As the audience comes closer to the truth about the death, the slapstick comedy provides a macabre contrast with the underlying seriousness. For example: In Act Two Scene One Bertozzo comes towards the Maniac, infuriated, but slips on the glass eye and falls. This incident helps to take some of the tension away from the scene by making the audience laugh.

Act One Scene One is critical because it sets the scene of the death of the anarchist. Again slapstick is used to relieve the audience when the Maniac begins acting like a dog, sniffing at the floor. He also uses physical comedy when he slaps and kicks the police officers. This is an unexpected thing for the audience to see and so it adds to the humour.

Fo also uses satire in real situations and characters to present his view of the truth i.e. the Italian police and the corrupt nature of society. This is shown when the Maniac ridicules the police by burning and throwing out documents, mocking the way the police destroy evidence. By using satire, Fo creates a humorous atmosphere, while showing the audience that political issues aren't being dealt with properly and that the responder has the ability to change things.

In summing up, Dario Fo uses a combination of Commedia characters, important political themes and performance techniques to both entertain and inform his audience. Accidental Death of an Anarchist creatively uses a comic, grotesque and satirical style to avoid any catharsis, thus stimulating the audience towards political change. By incorporating 'laughter as a political weapon' Fo is able to successfully 'educate his audience' about the political issues that can still be related to society today.

1050.      The Advancement Of Science In Brave New World

Christy Campbell

Mrs. Doig

Eng OAC 2

16 May, 1996

The Advancement Of Science In Brave New World

When thinking of progress, most people think of advances in the scientific fields, believing that most discoveries and technologies are beneficial to society.  Are these advances as beneficial as most people think?  In the novel Brave New World, the author Aldous Huxley, warns readers that scientific advances can be a threat to society.  This is particularly evident in the fields of biology, technology and psychology.  According to Huxley, "The theme of Brave New World is not the advancement of science as such; it is the advancement of science as it affects human individuals"(Huxley CLC 79 290).

One scientific advance of which Huxley warns readers of is that in biology.  In the setting of Brave New World, henceforth referred to as the reservation, the mass production of humans is accomplished with the Bokanovsky process.  In this process, human beings are genetically engineered in laboratories.  "... a bokanovskified egg will bud, will proliferate, will divide.  From eight to ninety-six buds, and every bud will grow into a perfectly formed embryo, and every embryo into a full sized adult"(Huxley Brave New World 4).  One of the threats of this genetic breeding is that no family structures exist on the reservation.  Instead, humans are raised in conditioning centres.  R.T. Oerton points out that "Present knowledge indicates, for instance, that a child cannot be deprived of parents or parent figures, as were the children in Brave New World, without suffering lasting pathological damage to his personality."(Oerton CLC 7 308).  Another threat that the Bokanovsky process poses to society is that life is not highly valued.  "Murder kills only the individual and, after all what is an individual?  With a sweeping gesture he [Mr. Foster, director of hatcheries and conditioning] indicated the rows of microscopes, the test-tubes, the incubators.  We can make a new one with the greatest ease-as many as we like"(Huxley Brave New World 133).  Human life holds no value because it can be easily replaced through the Bokanovsky process.  Furthermore, Bokanovsky's method of mass production prevents individuality, as on the reservation, all people are cloned.  Starting from the time of decanting, each embryo is genetically cloned to fall into one of the various social classes.  Within each social class, all members are cloned to be intellectually and physically equivalent.  Biological technology helps to achieve this equality by genetically shaping the minds of society.  In Brave New World , one's intelligence depends on the amount of alcohol injected into their embryo.  For example, one of the lower classes in society, Epsilons, have quite a high amount of alcohol injected in the decanting process.  Mental faculty, therefore,  is predestined from the moment of cloning.  By creating a world where humans are mass produced, Brave New World  demonstrates that advances in biology can be dangerous if used without regard for the well being of the human race.

According to Huxley, advances in technology can also be a threat to society.   In Brave New World, everything is completely mechanized, eliminating the need for creativity and imagination.  Huxley warns us against mechanization, arguing "the machine dehumanizes men by demanding mechanical efficiency of them"(Hillegas 114).  Man's creativity is replaced with mundane tasks, because machines are able to do much of the work . The occupations available for people on the reservation, consist of repetitive mechanical operations.  In Brave New World, leisure activities are dominated by technology.  The primary source of entertainment is the "feelies," a type of movie theatre in which all the senses are artificially created.  Instead of feeling the emotions portrayed on screen, the audience absorbs stimulated sensations.  These stimulations prevent them from free thought, which threatens society by denying people from experiencing their own creativity and imagination.  Furthermore, technology affects entertainment by being incorporated into all games of play.   Games consist of advanced technological apparatus, and low organization, creating very superficial entertainment.  According to Huxley, this frustrates one of humanity's vital needs to be creative.  "Men no longer amuse themselves creatively but sit passively amused by mechanical devices"(Hillegas 115).  Among technological advances, one danger Huxley warns of is the advance in pharmacology.  In Brave New World, an artificial form of happiness is present in a drug called soma.  Soma propels the user into a hallucinatory dream world, providing relief from negativity, allowing constant happiness   People are rewarded for work by receiving rations of soma.  The soma ration varies according to the social classes, with the lowest classes receiving the least, and the highest classes receiving the greatest.  Society is conditioned to believe that "One cubic centimetre cures ten gloomy sentiments"(Huxley Brave New World 53). This reasoning deceives the user into believing that soma is a cure-all remedy.  Since soma has no side effects, it can be a threat to society because people may be drugged into a hallucinatory dream world twenty-four hours a day.  It could be used as a drug not to escape the pressures of life, but to escape life itself.  Similar to biology, technology can be a danger to society if used without regard for the welfare of mankind.

Finally, the most dangerous of all scientific advancements Huxley warns of, is the progress in psychology.  In Brave New World, every person is conditioned.  The first conditioning technique used is subliminal training.  This type of psychology is utilized to program ideas into individual's minds by a method called hypnopaedia.  Hypnopaedia consists of repetitious messages that play over a loudspeaker during sleep.  These repetitions are composed of socially accepted morals and values.  "All conditioning aims at making people like their unescapable social destiny."(Huxley Brave New World 13).   This limits individuals from exploring life and developing their idea of happiness when "happiness" is already predetermined in their minds.  According to Huxley, his "...chief strategy was to show that the conditioned happiness of Brave New World cuts men off from deep experience, keeps them from being human."(Hillegas 118).  Direct stimulation is used as another conditioning technique.  On the reservation, society is conditioned against love, nature, literature, and other forms of expression that are naturally desired by man.  To condition babies against nature and literature, they are mildly shocked while encountering books and flowers placed before them.  Therefore, this direct stimulation causes them to have an instinctive hatred of flowers and books.  According to reservation controllers, "A love of nature keeps no factories busy"(Huxley Brave New World  19).  Morals and values, which normally through the growing up process can be discovered on their own, are brainwashed into society's minds.  This direct stimulation is harmful to society  as it prevents people from deciding upon their own morals and values.  Another form of conditioning in Brave New World deals with death.  From the early age of eighteen months, children are exposed to death while playing with toys and eating candy.  Thus resulting in an eternal association between happiness and death.  Death conditioning can be dangerous to society as children become unable to distinguish between good and evil.  In addition, sexual conditioning is present in Brave New World.  From a very young age, sexual play is normal and encouraged in everyone.  Together, hundreds of children play sexual games in the nude.  Also, more than one sexual partner is encouraged, resulting in the absence of committed relationships.  This absence of committed relationship creates a world without deep feelings of human affection.  Society is conditioned to believe "Everyone belongs to everyone else"(Huxley Brave New World 35). Unfortunately, these psychological advancements cause the reservation to be a world without individual thought.  Each person is conditioned into a life, which is believed to be most advantageous for them.  Thomas D. Clareson points out that "The Brave New World is mindless... it's citizens are 'nice tame animals'..."(Huxley, DISC).  The conditioning methods in Brave New World take away all freedom of choice and decision in society.

The society depicted in Brave New World is to many, a frightening one.  Though, it may be more of a reality than is presently thought.  Society must ensure that science is changing to suit human needs, rather than changing the human race to suit science.  With the increasing progress in biology, technology and psychology, this may be an impossible feat to overcome.  The world may one day be without individuality, emotions or free thought.  In Brave New World, the scientific advances show to be a threat to society, where "One could of course, exist. . ." though, "... One could not-in the fullest sense of the word-live in it."(Wright 87).

1051.      The Advantage of Commercials

The Advantage of Commercials

It began in the early 1940's and to this day still is in many of our

lives, even more so then before.  It's the TV that I'm referring to.  The TV

started only as only musicals on it,. But eventually proceeded up to today's

oriented world, with movies, sports, and violence.  Today more than 98% of all

households have a TV.  Over 75,000,000 of TV sets are color.  To how haw our

lives depend on TV; according to A.C. Nielsen, America watches more than 7 hours

per day.  Many people say TV has many disadvantaged, like expensive commercials.

For example, on 30 second commercials in the 1984 Super Bowl cost approximately

450,000 dollars.  If you just look at the price it sounds costly, but in reality

TV is one of the most cost-efficient media there is.  Not only is cost an

advantage of TV commercials, so are TV's impact credibility, selectivity, and

flexibility.

Television is powerful in may ways, mostly by having the ability to

combine all major medial into one media called commercials.  TV commercials are

like direct mail because it comes directly to the consumer in his or her house.

It is like the radio because TV has to have sound to make it powerful impact.

It is also similar to print or newspapers because TV is able to show the product

alone, in a setting, or in use.  Finally, unlike any other advertising vehicle,

TV can portray the object in motion while the other forms of media cannot.

TV is believable mostly because of the old of "seeing is believing" an

that is what TV does.  Commercials  have an unbelievable capacity to induce

belief because of this old saying.  The other major print that make TV

commercial believable is that the actors make the commercials and A or the A+.

What is meant by this is that when and actor uses a product on TV and has a

satisfying look on his or her face, that's implying that the product is doing

it's job effectively.  Also the actors can demonstrate the product tooo  The

most common way to prove a product worthyness, is to test it against a well

known competitor.  All of these ways make TV commercials not only very believing,

but also very persuading.

The next quality that TV commercials have is that the commercials are

selective.  Commercials can reach any target audience.  For example, if a

commercial is toward children, the commercial will be played in between after

school programs that the children like.  If commercial is directed toward

housewives, they will be played mostly during the midmorning and afternoon.

Another way TV commercials are selective national chain stores can advertise in

markets in which a store or product needs extra support, or have sales are the

greatest to keep them the greatest.

Finally, TV commercials are flexible they are flexible in the way they

can purchase time on TV locally, regionally.  TV is also flexible in how both

local and national companies can use this type of media if it suits their needs

and budget.  As one can plainly see, if you own a nationally known business, you

can broadcast their selling messages either from coast to coast or in selected

local markets.  As stated before, the reason small companies can advertise with

TV commercials is because of it's comparatively low cost to all other forms of

media.

With such a vast number of people being affected by a TV commercial,

there is no doubt that it is, by far the best form of media  TV commercials have

the ability to reach people, it's powerful, believable, selective, and flexible.

The availability of getting a commercial is high, with a price on it to

hopefully fit your budget.  While the other forms of media a good job at

communicating with the buyers, TV commercials top off all other ways of media by

the advantages stated before.

1052.      The Adventures of Huckelberry Finn Critique

Critical Biography

Mark Twain, the pseudonym of  Samuel Clemens, was, as a literary writer, a genius.  His use of numerous literary devices throughout the novel are quite unique.  Examples of them would be, irony;

"Here was a nigger, which I had as good as helped to run away, coming

right out and saying that he would steal his children - children that belonged to someone that had done me no harm." p. 88;

and colloquial enunciation;

I ast 'm if dey 'uz gwyne to grab a young white genlman's propaty,

en git a hidin for it?" p. 112

Samuel Clemens was a very controversial writer in his time.  Although he was fiercely criticized, he was among the first writers to incorporate views other than that of a reverential main character into his stories, and he was also a primary user of colloquial enunciation.

Plot Synopsis

The plot is, as the title suggests, about the adventures of an unruly and carefree boy named Huckleberry Finn.  The novel depicts the 1900's southern social climate in a manner that is not only satirical, but psychoanalytically intuitive.  In it, Huck, as he is commonly known, runs away with a slave named Jim.  As they travel along the Mississippi river, in the southern region of the United States, they undergo many extraordinary adventures.

Analysis

One of the most predominant themes in this novel is that of deception.  Deception, in one form or another, is used with an avid consistency throughout the story.  Two personifications of deception were the characters, King and Duke.  They were "entrepreneurs" of deception (which is a polite way of saying hustlers).  Samuel Clemens writes about them so ingeniously, that after a while the reader is able to understand the true nature of these tricksters, and that most of what they utter is either fabrication or a twisted truth.

"I'd been selling an article to take tartar of  the teeth-and it does take it off,

too, and generally the enamel along with it." p. 121

Samuel Clemens is contradictory in the way in which he utilizes deception. He makes Huckleberry Finn deceive everybody into thinking that  Huck was killed in a fire.  This is an example in which deception is brought out as a good thing.

1053.      The American Dream

Pesaresi 1  Julia Pesaresi

Burns

3rd Period Pre-Ap English

20 February 96

Solitude and Isolation: Three of Hawthorne's works

Solitude and isolation are immense, powerful, and overcoming feelings.  They possess the ability to destroy a person's life by overwhelming it with gloom and darkness.  Isolate is defined: to place or keep by itself, separate from others (Webster 381).  Solitude is "the state of being alone" (Webster 655).  Nathaniel Hawthorne uses these themes of solitude and isolation for the characters in several of his works.  "Hawthorne is interested only in those beings, of exceptional temperament or destiny, who are alone in the world..." (Discovering Authors).  Hester Prynne, Arthur Dimmesdale, Goodman Brown, and Beatrice Rappaccini are all persons "whom some crime or misunderstood virtue, or misfortune, has set them by themselves or in a worse companionship of solitude (Discovering Authors).  Hawthorne devoted many stories to isolated characters - one's who stand alone with no one to look to for love or support.  "For Hawthorne, this condition of moral and social isolation is the worst evil that can befall a man" (Adams 73).  Each of the characters above are separated from

Pesaresi 2   the world because of some sin or evil.  Their separation is a painful, devastating feelings.  The themes of solitude and isolation are depicted in Nathaniel Hawthorne's The Scarlet Letter, "Young Goodman Brown, "and "Rappaccini's Daughter."

At the age of four, Nathaniel Hawthorne's father died, devastating his mother and destroying his family forever.  He later recalls how his mother and sisters would "take their meals in their rooms, and my mother has eaten alone ever since my father's death" (Martin 10).  Naturally, Hawthorne's mother's isolated life contributed to his personal solitude and to his stories of solitude.  Although he never reached the point she did, his life too became one of separation and loneliness.  When he was nine, a severe foot injury reduced his physical activity for almost two years and excluded him from many activities with other children.  Soon after the recovery, his family moved to an isolated area in Raymond, Maine.  It is here that he picked up his first "accursed habits of solitude" (Martin 3).  On his relationship with his mother, Hawthorne said:                                I loved my mother, but there has been , ever since my              boyhood, a sort of coldness of intercourse between us,             such is apt to come between persons of strong feelings,            if they are not managed rightly (Martin 11).

Pesaresi 3

Hawthorne never had a strong, healthy family life.  However, his lonely childhood was only the beginning to the many solitude years he would experience.

1825-1837 have traditionally been termed the years of solitude in Hawthorne's life.  During this time, he is described as having "a sombre, half-disappointed spirit" (Newman 127).  However, "These years were solitary to an unusual degree, but not in the sense of a hermit's deliberate withdrawal from the world" (Stewart 27).  Hawthorne used this time to write several of his  stories.  "His chief object was to master the writer's difficult art - something which cannot be done in the hubbub of social activity" (Stewart 27).  "His household being made up of strong- attached yet reticent people each of whom maintained a well- developed sense of solitude, thus gave Nathaniel the privacy that he required" (Martin 11).  Therefore, he kept to himself spending "many lonely and despondent hours in the chamber where fame was won" (Stewart 37).  By 1838, Hawthorne had created forty-four tales and one novel.  In 1837, he became engaged to Sophia Peabody.  At this point, his life of loneliness left him; he felt invigorated and alive for the first time.  In one of his many letters to her, he wrote "And sometimes (for I had no wife

Pesaresi 4

then to keep my heart warm) it seemed as if I were already in the grave, with only life enough to be chilled and benumbed (Martin 15).  Hawthorne realized how isolated his life had become from the world.  Sophia helped to pull him out of this solitary period.

The adulteress act of Hester Prynne and Arthur Dimmesdale, in The Scarlet Letter, forces the two to live in isolation for the rest of their lives.  "Hester and Dimmesdale sin and are isolated by that sin" (Ringe 90).  Hester Prynne, "alone and independent by decree..." (Martin 118), spends all her time in her tiny home with only her baby, Pearl.  After the first scaffold scene, both Hester and Dimmesdale "begin to work out their penance in isolation" (Ringe 90).  Hester feels so guilty and sinful that she wants to be away from the world.  "[She] becomes absorbed with a morbid meddling of conscience, and continues to focus her attention on self when she feels that none is so guilty as she" (Ringe 90).  The scarlet letter "A" that she must wear, makes her "...an outcast from social joy forever (Stoddard 8).  However, this "[shame, despair, and solitude] made her strong and taught her much amiss" (Martin 21).  Being on her own teaches Hester a great deal.  unfortunately, "the price of her new intelligence...is isolation" (Ringe 91).  Through this                                                         Pesaresi 5

isolation from the community, Hester acquires an intellect which enables her to look at human institutions with a fresh point of view (Ringe 91).  She becomes more caring and helps by "...performing small services for [the community]..." (Lewis 21).

Hester's only friend is Dimmesdale, whom she can no longer be with.  She is completely alone with no friends or companions.  She has been living on the "outskirts of town," attempting to cling to the community by performing small services for it (Lewis 21), though:

In all her intercourse with society, there was             nothing that made her feel as if she belonged to it.              Every gesture, every word, and even the silence of   those with whom she came in contact, implied...that she             was banished, and as much alone as if she inhabited             another sphere... (Arvin 13).

The community's "social ostracism made her into a type of moral solitude" (Levin 22).  Hester Prynne becomes a lonely woman, isolated from everyone.  Her overwhelming sense of guilt forces her to live in a world full of darkness and gloom.

"It is Dimmesdale whom secretly tortures" (Doren 15).  Arthur Dimmesdale through the seven years, stood a witness of Hester's misery and solitude.  He watches Hester's public

Pesaresi 6

isolation while suffering from his own privately. Dimmesdale silently torturing inside, engages in "heterodox modes of self- punishment" (Abele 47).  "[He] suffers in complete isolation, for

the sin is all within him..." (Ringe 90).  He is miserable and lives in complete solitude, rarely leaving his home.  He "becomes suspicious of all mankind and seeks reasons for his keeping silent" (Ringe 90).  He deliberately isolates himself from the town for fear that someone will find out about his sinful life.  He is "a prisoner in the dungeon of his own heart" (Brodhead 162).  Revealing himself would release his fear of recognition, thus would rid him of his isolation.  Unfortunately, he chooses solitude rather than having to consistently facing the people to make him feel less guilty.  Dimmesdale becomes a sad, tortured, miserable man until he confesses, then dies.

"Young Goodman Brown" is a story of a decent man who is transformed into a "stern, a darkly meditative, a distrustful man..." (Bunge 11).  He sees visions of evil in the forest that devastate him permanently.  "Brown turns away [from the meeting] at the last moment because he does not want to confess his evil.  Ironically, his exemplary behavior produces a life of isolation and gloom" (Bunge 11).  He quickly concludes that there is "no good on earth" (Martin 87).  He spends the rest of his life

Pesaresi 7

isolated from the town and even his wife.  He "...shrinks away from the minister, wonders what god Deacon is praying to, snatches a child from Goody Cloyse, and passes his wife, Faith,...without saying a word" (Adams 72).  Brown can no longer distinguish good from evil.  He trusts no one, and hates everyone.  "...he is forever blind to the world as it normally presents itself" (Martin 81).  Things that were once ordinary and plain are now suspicious.  The vision "turns his world inside out and compels him to live and die in a gloom born of his inverted sense of moral reality" (Martin 87).

The most immediately apparent reason for Brown's final state of mind is that he has been required to face and acknowledge the evil in himself and others, including his young wife, so as to be able to recognize the good, and has failed the test" (Adams 72). Admitting that even his innocent wife, Faith, is sinful is too much for Brown to accept.  After the meeting, he is so dumbfounded by the fact that all are evil that is "condemns him to a lifetime of faithfulness" (Levy 118).  The book is "about Brown's doubt, his discovery of the possibility of universal evil" (Martin 81).  He becomes a distrustful, miserable man until his death.

In "Rappaccini's Daughter," Beatrice Rappaccini has been

Pesaresi 8

impregnated with poison since her birth.  This poison, deadly to all others, is like her sister.  unfortunately, because it is deadly, she too becomes harmful.  This means she must remain within the walls of her garden with the poisonous plant.  "A very large concern of the tale is that Beatrice is imprisoned" (Martin 88).  This imprisonment results in her being cut from

"most...human relationships" (Benzo 142).  Giovanni, the one person who meets and falls in love with Beatrice, describes in her face a look of "desolate separation" (Benzo 145).  Both being in the garden and filled with poison causes her to live a life of complete solitude and isolation.  "This isolation...causes Beatrice her greatest sorrow" (Benzo 142).  "Beatrice is toxic:   ...flowers wither in her hand and lizards and insects die when exposed to her breath" (Bunge 68).  Contact with other humans will cause the other person to become poisoned also - as Giovanni did.  Rappaccini laughed at Giovanni, "he now stands apart from common man as thou dost, Beatrice..., from ordinary women (Martin 91).  Beatrice is a lonely and deadly woman who wants so desperately to be "normal."

Beatrice's greatest wish is to have love.  She would "fain be loved not feared" (Martin 97).  She is presented as a "trapped and poisonous [woman] who...needs a special kind of redemption: a

Pesaresi 9

prisoner in the garden, her body nourished by poison, she...belongs to God in spirit; her spirit indeed craves love as its daily food" (Martin 88).  Beatrice wants to be loved, and she wants to have friends.  She wants to share joyous feelings with someone.  Growing up with only her scientist father, she is completely alone.  Unlike Hawthorne's other characters, Beatrice

hates her isolation.  She wants to be with other people, with love, with happiness.  Unfortunately, she never receives any of her wishes because she is a sad, but poisonous and deadly creature.

The themes of solitude and isolation are depicted in Nathaniel Hawthorne's The Scarlet Letter, "Young Goodman Brown," and "Rappaccini's Daughter."  The definition of solitude is "the state of being alone" (Webster 655).  To isolate is to "keep by itself, separate from others" (Webster 381).  In his early life, Hawthorne's mother lived a completely separate, isolated life.  At times, Hawthorne would "scarcely see her in three months" (Martin 10).  He quickly picked up her lonely habits.  As a child, he was often separated from others.  During the solitary years, he devoted all of his time to writing using only the most isolated and solitude characters.  "[Hawthorne's] men and women are no egotists to whom isolation is a delight; they suffer from

Pesaresi 10

it, they try in vain to come out of the shadow and sit down with the rest of the world in the sunshine" (Discovering Authors).  Hester Prynne, Arthur Dimmesdale, Goodman Brown, and Beatrice Rappaccini "belong to his exhibit of lonely men, of outcasts, of 'isolatoes' is Melville's word" (Abele 12).  Hawthorne's abundant use of solitude characters and stories comes from all his experiences of isolation.  Having an isolated mother and being a writer, it is not so unusual for him to have lived such a separate life.  "The life of a serious writer is likely to be in a large part lonely" (Stewart 37).  The lonely Nathaniel Hawthorne creates his greatest works using two familiar themes - solitude and isolation.

1054.      The appeal of Socialism

The Appeal of Socialism

During the late 1800's and early 1900's hundreds of thousands of

European immigrants migrated to the United States of America.  They had

aspirations of success, prosperity and their own conception of the American

Dream.  The majority of the immigrants believed that their lives would

completely change for the better and the new world would bring nothing but

happiness.  Advertisements that appeared in Europe offered a bright future

and economic stability to these naive and hopeful people.  Jobs with

excellent wages and working conditions, prime safety, and other benefits

seemed like a chance in a lifetime to these struggling foreigners.  Little

did these people know that what they would confront would be the complete

antithesis of what they dreamed of.

The enormous rush of European immigrants encountered a lack of

jobs.  Those who were lucky enough to find employment wound up in

factories, steel mills, or in the meat packing industry.  Jurgis Rudkus was

one fo these dissapointed immigrants.   A sweeper in slaughter house, he

experienced the horrendous conditions which laborers encountered   Along

with these nightmarish working conditions, they worked for nominal wages,

inflexible and long hours, in an atmosphere where worker safety had no

persuasion.  Early on, there was no one for these immigrants to turn to, so

many suffered immensely.  Jurgis would later learn of worker unions and

other groups to support the labor force, but the early years of his

Americanized life were filled, with sliced fingers, unemployment and

overall a depressing and painful  "new start".

Sinclair, has shown in a dramatic style the hardships and

obastacles which Jurgis and fellow workers had to endure.  He made the

workers sound so helpless and the condtions so greusome, that the reader

almost wants a way out for Jurgis.  Sinclair's The Jungle is a "subliminal"

form of propaganda for Socialism.  At a time in our nations history where

the rich were very wealthy, and the poor were peniless, Sinclair's

portrayal of socialism in regards to the laborer is very appealing to a

jobless, hungry, indigent man.

Sinclair's vision of socialism, wasn't as flawless and beneficial

as it seemed.  Although it gave the workers some motivation to work as well

as the could it was an attempt to commonize the working class.  The Marxist

theory of communism stemmed from the ideologies displayed by socialism.

The masses of the population were controlled by a small elite.  Sinclair

was a believer in socialism, and Jurgis was a member of the party.  But

fortunately for today's working force, the concept and potential threat of

socialism was stifled before it could make a permanent mark of American

society.

1055.      The Apprenticeship of Duddy Kravitz

The Apprenticeship of Duddy Kravitz

by Mordecai Richler

In the novel The Apprenticeship of Duddy Kravitz, Mordecai Richler punishes Duddy for his wrongs against others in several ways.  Each punishment fits the crime, and there is an irony about each one.  The three punishments inflicted on Duddy at the end of the novel are the loss of Simcha's love, the loss of his friends, and the absence of any funds to build on his property.

The loss of Simcha's love is a devastating blow for Duddy.  This is evident when Duddy confronts Yvette and asks her, " Why did you go to my grandfather? Of all the people in the world, he's the only one" (Richler, 1959, 313).  Duddy did everything he could to get this land because his grandfather said that 'A man without land is nobody'.  Duddy, in his own mind, did it all for Simcha, to earn his love and respect and in the end, he had neither.  The  loss of Simcha's love did not happen for nothing.  It happened because of the way in which Duddy had gone about acquiring his land.  Yvette told Simcha, and Simcha did not approve.  He was, in fact, extremely disappointed with Duddy.  His disappointment is shown when he tells Duddy,

I can see what you have planned for me, Duddel.  You'll be good to me.  You'd give me everything I wanted.  and that would settle your conscience when you went out to swindle others. (Richler 1959, 312)

The betrayal of Yvette, her speaking to Simcha, and the loss of hers and Virgil's friendships also punishes Duddy.  They are the only two people in the world who ever loved him for himself, and didn't want anything but his love in return.  In the loss of their friendships, Duddy is being punished for his rotten treatment of other people, even his only friends.  Duddy may not even know what he has lost, but he will one day, when he misses having someone to share his accomplishments and failures with, like he has had up until now.

The loss of things human is not the only punishment inflicted on Duddy.  He also ends up without money left to build anything on the land he has purchased.  This is punishment for all the low down, underhanded things he had to do to get the money to buy the land.  The irony of this is after doing everything imaginable to get his money, such as attempted blackmail, selling his uncle Benjy's belongings, and stealing from Virgil, he still ends up with just an empty piece of land, and no capital to manage to do anything with it.  This is a punishment to Duddy because he now has to put his dreams, the hotel and kids Camp, on hold for a while, maybe even forever.

Thus, Duddy has gotten his just reward for all the sins he has committed.  Each one was with reason and hopefully he will eventually see the reasons and understand why things happened the way they did.  Maybe he will even learn something in the process.

1056.      The art of PRINTMAKING and how it is done in other countries

&lt;Tab/&gt;

&lt;Tab/&gt;At a time where the American people are living in a state of limbo between fear and power, a piece of home is much welcomed. Those who lost loved ones in 9/11 or in the continuous war look for memories in the (smallest) things. Objects in a family room tend to keep memories, and the mere sight of them releases these memories. This idea is shown through a very elaborate chandelier photographed by Edward Bernstein in three separate prints, Constellation I, II, and III.

&lt;Tab/&gt;Edward Bernstein uses light and shadow to portray the good and bad of the past. Just as a memory can be fuzzy and hard to grasp, the print is blurry and almost illusive. The pale lights suggest distance, and even someone (the viewer) being swallowed by an empty, lifeless room. Chandeliers of this size don't usually appear in homes, rather they are hanging from intricately designed ceilings of ballrooms and hotels. They give a sense of high class with a touch of elegance. Just looking at this print reminds most of proms, large occasions, awards, and even dark funerals. The light, which almost looks flickering, gives a sense of fading as if the memory is fading also. The chandelier has three tiers which are all connected by glass strands of hope. The shadow effectively gives the viewer a sense of past and presence, with the light representing the present, near future. The movie, Blow, showed the cocaine dealer's house in which he had a large chandelier. He valued his dining room in which the chandelier was placed, and throughout the movie you could see the good and bad, even what the future held. To him, this was the centerpiece of his family life in his household.

&lt;Tab/&gt;The long curved, lifeless limbs of the chandelier and the rusty look of the base give it a worn look representing its actual age. Elaborate tiers and actual candles differ from modern chandeliers in which bulbs are replaced yearly. Chandeliers have almost become commonplace in homes of average families. The particular chandeliers in this piece of art are Venetian Murano glass chandeliers. Most Venetian Murano chandeliers are made of hand blown glass. Each piece of glass used must be fired up and blown to a certain unique shape. This means that each chandelier has its own unique style which may not be visible to the untrained eye. These chandeliers were beautifully photographed and then were put through the printmaking process.

&lt;Tab/&gt;Artwork has to have form, strokes, lines, paints, and colors. This is not exactly true with the process of printmaking. Printmaking occurs when image is taken from a matrix and put onto a transferring base. A matrix can be made of stone or metal plate. The image is drawn, etched, or carved into the matrix. Ink coats the matrix and shortly after being coated, it is covered with a transferring base. This base is usually paper or fabric. The final step is to print it with a  roller press, or a hand press. The resemblance from the original to the copy is almost identical. There are several different printmaking techniques.

&lt;Tab/&gt;One of these techniques is etching, more specifically, photo etching (used by Edwards Bernstein). In this process, the high contrast film is the matrix and the plate is the transferring base. The plate is covered with a light sensitive emulsion, and placed upside down on the plate. The emulsion is then exposed to a light source that uses ultraviolet rays. The image is allowed to harden on the plate, and then be washed, so that the flaky pieces will wash away. What ever is left now becomes the image. The plate is etched and follows the original printmaking process.

&lt;Tab/&gt;"Expressionists embrace art about life (Barrett 146)." Past experiences and lessons learned come out through the paintbrush, then are shown on the canvas. Edwards Bernstein's Constellation I, II, and III can be viewed as a type of expressionism. Memory is the same as past experiences. Without memory, past experiences cannot be remembered. Bernstein feels that he has refined the representation of memory and personal history using light and cast shadow from the glass chandeliers.

1057.      The Awakening Essay

The Awakening - Movie

Throughout the movie The Awakening, Robin Williams

demonstrates his knowledge of the scientific method. The

scientific method is a procedure of steps that is used to

prove problems. In the movie it is used to show that

patients suffering from an un-named disorder do have a

slight opportunity to return to their normal state of being.

The scientific method is a list of steps to prove something

and make into a law or theory based on your final product

and findings. It is composed of several steps, it starts with

observations. Observations are where a person collects

known data concerning what you are going to test on.

Next they formulate a hypothesis based on their

observations. After they have a hypothesis they perform

several experiments to prove or disprove it. After this, they

then form a theory and experiment based on their

hypothesis. More observations and experiments follow

this, until they finally come to a conclusion which is called

a law. Throughout the movie The Awakening, Robin Williams

uses the observation, hypotheses and experimenting steps

in the scientific method. Observations included, noticing

the lifeless behavior shown by the patients, their reflexes

to moving objects, and the fact that they all had cases of

encephalitis before. After he did all the research he formed

several hypotheses and experimented to prove them.

Robin Williams used strobe lights, talked to them,

measured their brain patterns, and used games such as a

Ouija board to prove some of his hypotheses.

After he formed several hypotheses and experimented with

them, he came across an article that explained how the use

of a certain type of medicine which was used to treat a

disease related to the one that he was investigating. He

tried administrating the medicine to one of his patients,

and observed the results. The patient demonstrated

normal, human conditions and seemed to have no side

effects. He then made a law that stated the medicine

helped his patient, and gave it to all the patients in the

ward. However, his observations were incorrect and the

side effects were devastating. This is how Robin Williams

demonstrated the steps of the scientific method

throughout the movie The Awakenings.

In conclusion, I enjoyed this movie very much, and the

way the scientific method was used in a real life situation.

The movie proved that even though someone follows the

scientific method, there is still a chance that the procedure

will not work every time. For a theory to become a law,

the outcome must be the same every time. Even though

Robin Williams thought his hypothesis was full proof,

the move proved that it is very difficult for some thing to

become a law.

1058.      The Awakening

The title, The Awakening, implies that a rebirth from a stupor into

self-awareness  is something good.  One would expect that someone who was once

sleeping is better off and can see more clearly when he is fully awake.  But this

expectation is exactly opposite to Edna's condition. She is not awake. She is

eventually drawn by the sea and drowns herself.  She was deceived.  Edna fails to

see that the connection of a mother to her children is far more important than the

enjoyment of a passion which experience has taught her.  By the title of this book,

Chopin is glorifying Edna's fatal situation.

Edna does not exist and never will.  It is useless and perhaps dangerous to

make judgments about these characters.  Assuming that their situations and the

outcomes of their behavior are applicable to our own lives is risky.  Her characters

are fictional.  The combinations of their actions and outcomes are entirely an

invention of Kate Chopin reflecting what she wants to teach her readers.  If Chopin

has successfully convinced a reader that the characters are real or that they could be

real, the reader is likely to apply what he has learned from this fable in his or her

own life.  With these assumptions in mind, one must apply the task of figuring out

what she wants people to believe and how to behave as a result of reading her book.

Edna, whose husband has held her like a piece of furniture, a piece of

personal property, suddenly becomes aware she is a human being.  Leonce certainly

errs if he only values his wife as a piece of furniture.  There is nothing wrong if he

believes her to be his most prized possession. The difficulty is that Edna does not

look at him in this way.  They should have appraised each other's value with mutual

respect.

I would recommend this book to others.  It was well written and did not try to

cover up the truth about the life of a woman in an extra-marital affair.

1059.      The basic tenets of Realism and Naturalism

Throughout the history of theatre there have been many schools and styles.  Theatre is ever changing as a reflection of society and what society wants.  But out of all these styles, there are two which, when blended, produce a type of theatre that can always live and flow with society and not drastically alter to fit in with the world's ever changing ways.  These are Realism and Naturalism.  When combined, they form a powerful, truthful and powerfully real theatre.  The two men who have best managed to best combine these two elements are Konstantin Stanislavski with his "system," and Anton Chekov with his dramatic writings and specifically, with his work in The Cherry Orchard

The main beliefs of Realism and Naturalism are that the theatre needs to shun melodrama and spectacle and, instead, present something that is real and true to life.  They believe that the most influential factors in a person's life are heredity and environment, and they feel that the characters shown need to be more that two dimensional stock characters.  They need to have real motives and emotions and possess all the complexities that go into making a true personality and a true person.  Naturalists feel that plays should not be written in any sort of dramatic sequence or structure because that is not true to life.  Realists embrace the desire for reality on stage, but also feel that dramatic structure follows the actual structure of life and structure and poetry should be integral parts of drama.

Konstantin Stanislavski felt that same need for reality on the stage.  He spent the majority of his life searching for how an actor can create truth on stage and, in doing so, he tapped into many of the same veins of humanity that Naturalists and Realists did.  He expressed the same desire of Naturalists for a realistic theatre that shows life with its dramatic structure and intrigue.  ". . . I was beginning to look for genuine life in [the theatre], not ordinary life, of course, but artistic life" (Bentley, 220).  And he went looking for it the same way that realists and naturalists did.  He began to look for a natural order for things and to devise a systematic plan from that natural base. He went looking for truth.  And, again, he found it in the same place as the Naturalists and realists did.  He found that, for an actor to bring full life to a character and full reality to the stage, he must both create a character with a real soul, and he must not rely on stage tricks to do so.  "An actor, [Stanislavski] thought, must have some sort of spiritual preparation before the beginning of a performance.  Not only his body, but also his spirit must put on new clothes" (222).  This type of acting blends perfectly with realistic drama, which contains characters whose souls are inherent to the script.  He did not, however, feel that he was subscribing to either school of thought.  He stated that he felt that realism and naturalism were not things that needed to be pushed onto the stage, but when a good actor takes on the role and fully builds his character from the inside out and truly lives the reality of the stage, reality will flow from it with out outside help.  "As soon as [the realism] is justified, it becomes either unnecessary or it is not noticed at all . . ." (229).  Stanislavski embraced the same ideas of the Realist and Naturalist thinkers, but he didn't place the emphasis on them.  Instead, he felt they would emerge as soon as the actor fully filled the role.

And no one wrote better roles for this approach to theatre that Anton Chekov.  Chekov was able to write plays that embodied the idea of true, artistic life, and The Cherry Orchard is a shining example of that.  He takes a moment that has dramatic appeal and is emotionally charged, and recreates it in a way that is true to life and yet exaggerated at the same time.  He creates a reality that is so real, it almost appears fake.  However, it is this style of drama that is a perfect vehicle for Stanislavski's system of acting.  As Barrault says in his essay "Why The Cherry Orchard?."  "The Cherry Orchard is one of the few plays in which a whole cast could really get so profoundly lost as to cease to believe that they are in a theatre, and believe on the contrary that this family truly exists and that they are in real life . . ."  That was Stanislavski's goal for his actors.  That was the ultimate peak to reach.  So why is this not Naturalism if the actors create a full reality?  Also, he creates this complete reality, yet it is a reality steeped in poetry and lyric.  So why is it not Realism if he creates truth through poetry?  As Barrault says, "This play belongs neither to the naturalism of the beginning of the century nor to realism, it belongs to truth, and truth always has two faces, a real one, and a poetic one."

And that is the true form that theatre should take.  It doesn't have to be one way or the other, as the Realists and the Naturalists seem to think.  True reality is a blend of both.  And Chekov was the master of that form.  He so cleanly blended the two ideas that it is impossible to separate them into separate places.  And through this masterpiece of dramatic writing, Stanislavski's systematic method of creating truth can have a fighting chance at reaching the heights that it is capable of.  So it is that through a mixture of the two schools of thought and the work of the two men who have mastered it that theatre can reach a point of beauty and truth and can display reality and drama in a way that doesn't need to adapt with the changes of life because it is based in life.   The theatre that emerges from this blend has its roots deep in the heart of humanity and what people truly want, and, consequently, will never die.

1060.      The Beach

The Beach

"The Beach" has turned out to be a very controversial film, imposing positive and negative views. Harry, in "The Juice," gave the film an A1 rating with all optimistic remarks. Matt Wolf gave the film a very negative review, mocking every aspect of it.

I am going to cover audience, tone, content, organization, and the overall effect.

Audience- The audience that Harry tried to reach was a younger crowd that would appreciate the smaller keynotes of the film. With phrases like "Yes I said intriguing, henceforth, this is a kick ass flick, no lie."

Wolf leaned toward an adult audience that would be more influenced by larger vocabulary. With words like antecedents, and incremental, that my computer doesn't even have in it's spell check. Along with phrases like "the beaches resident despot, whose officiousness do-exists with a strong sexual appetite." It isn't that I don't understand these phrases and words, but I just don't want to read them in a movie review.

Tone- Harry used a tone that was more informal with a smaller vocabulary; words like believable and particularly, words that are understandable. He also used a kind of techno-lingo, which is understandable to teens but not to adults.

Wolf used a very formal tone which was directed to adults. As I noted earlier he uses words that aren't even in spell check. His attitude coming into the piece was very negative against the film, with remarks such as, "So how is Leo? Not bad actually, which is more than can be said for a script from John Hodge that ditches most of the novel's tension."

Content- The content in Harry's piece was more like a plot summary, with phrases like, "We find a self-contained environment, complete with couples, brothers, and friends, the whole nine yards. This is the main focus of the film." He was more optimistic and just generally nicer in his review. He also used two historical references, such as "Swiss Family Robinson," and "Taxi Driver," that he believed reflected the plot of the film.

Wolf used a more quotation-oriented view. He didn't really summarize the film, but just depicted every part and used quotes to reflect his views. He was also very pessimistic as aforementioned. He also imputed a lot of prior history on the book and the film, with many different views on all the parts of the film.

Organization- Harry's organization was very loose and difficult to follow; he was not orderly and he really didn't use a outline formation. He just threw the review together, that is how it reads anyway.

Wolf used a structured organization with a very orderly summary. It wasn't really easy to read because of the vocabulary but it was easier to follow because of the organization. It seemed that he used an outline in his review. Wolf seems like a journalist and Harry seems like a more free-lance writer.

Overall effect- Harry led me to believe that he liked the movie and thought there was a good point to it. In his conclusion he said, "The Beach' really showcases Leo's maturity. I have never been particularly fond of him, but this film shows a more believable darker side.

Wolf sent a very negative message to me about the movie. He made me think that Leo did a very good job acting, but the rest of the film was terrible. In his conclusion he states, "The Beach, in comparison to 'American Beauty,' such considerations merely sound waterlogged." Also he stated the teeny-bopper fans of Leo will be confused and irritated with the film.

I thought these were two very good reviews that opposed each other immensely. Personally I would rather read the article written by Harry, just because I understood it better. I don't like highly negative reviews, that turn me off of the movie completely.

Harry in "The Juice" Movie Channel 2/13/00 http://yahoomovie.com

Matt Wolf At the Movies: 'The Beach' 2/13/00 http://newsroom.compuserve.com

1061.      The Beatle1

The Beatles

There have been more books published about one 20th century icon than any

other, this band that is said to have broken down barriers in all ways, is the

Beatles. Their music was said to have driven that younger generation mad.

Perhaps it was because they were one of the first bands ever play real rock and

roll music; or maybe it was those cute little peacoats they wore. Or maybe it

was just because they were foreigners in the world of music, yet seemed to fit

right in with the young people. Whatever reason was, the Beatles were a band

that shaped a generation and ones soon to come.

The Beatles were more than just a rock and roll band , they were a group of

young men who wanted to go a new direction in music. John Lennon, one of lead

vocalists, basically started with the intention of moving away from the

"Skiffle Boom Era" which was dominating the time. In his doing so, he began to

lay the foundation for what would later be the most famous rock band ever. The

original band members were as follows : John Lennon, vocals and guitar ; Paul

McCartney, vocals ; George Harrison, guitar ; Pete Best, drums ; Stuart

Sutcliffe, bass guitar.

In March of 1961, the Beatles began to play at the club that would

later be nicknamed "The Home of the Beatles". The Cavern Club, which's premises

comprised a small group of cellars below a seven story warehouse which had

originally been used as an air raid shelter during the war. Later, Alan Sytner,

a jazz fan decided to open it up as a new jazz club. After a few years, he sold

it to Ray McFall another jazz fan. The club was originally strictly jazz and no

rock. Luckily for the Beatles, the times were changing and McFall quickly

changed the policy the Beatles soon became regulars. This would be the club

that would make them famous.

News of the band's Liverpool popularity soon became know throughout England

and later a large part of Europe. Shortly after their first tour of Hamburg,

Stuart, who had always been a better artist than musician left the band to

pursue goals in the visual arts field. Paul had dabbled in bass guitar and took

his place. This was a transition period for the members in the band, they were

going from being Liverpool locals to being English stars. It was about this

time that the rest of the band and their manager Brian Epstien, began to notice

Pete's growing ego, and thought it would be best if he not be in the band.

Many fans were suprised and upset at the decision. When they heard Ringo

Starr one of the back up drummers, was joining they were calmed perhaps in

anticipation of hearing how the new member would fit in with the rest of the

band. The result was fabulous. The band was pleased with thier new addition and

they quickly adapted to each others playing styles. Ring was the final member to

join the band and in October of 1962, just a few months after Ringo joined the

band, the Beatles had their first hit single, Love Me Do .

1963 and 1964 proved to be the most important years for the Beatles. During

1963 they created a sensation in Britain. The boys appeared on Sunday Night at

the London Palladium and a writer for the Daily Mirror coined the phrase

Beatlemania, it later became the word people used to describe the outpour of

Beatle fans. With in months the Beatles had gone from being opening acts at

concerts to starring on the Royal Variety Show. The reasons for their success

were uncanny. During the "baby boom", more children were born in England than

any other time in history. During the time of the Beatles popularity, most of

these babies were teenagers and they wanted more freedom than their parents had

been given.

1964 was the absolute most important year of their careers. 1964 was the

year they conquered the biggest record market of the world, America. It took a

combination of talent and luck. America was suffering with the loss of John F.

Kennedy and the Beatles appeared on the scene to bring them fun and excitement

to end their mourning. They also brought rock and roll back to its homeland.

Being in right place at the right time seemed to favor the Beatles. On a flight

back home from Sweden, they ran into Ed Sullivan who invited them to come on

his show.

Although the Beatles were not an over night success, they shot for their

goals and eventually reached them and others. The band stayed together for many

years and made a generation of young kids into a generation envied by others

for having the Beatles to wait for and want. Their music still influences many

artists and will continue to do so as they were and still are the band that

will "rock on forever".

1062.      The Beatle2

The Beatles

The Beatles were a British music group whose songs are among the most

universally accepted music recordings of the 20th century.  The Beatles,  who

revolutionized popular music around the world, were at the forefront of a

movement in rock music known as the British Invasion.  The British Invasion was

a name referring to the tremendous effect that British rock-and-roll bands had

in the United States during the 1960's.  From 1960 to 1970, the Beatles achieved

unique popularity with 30 songs reaching the Billboard magazine top-ten popular

music charts.  The Beatles were adored by the world in the 60's and 70's, and

even today their music is loved by millions.

The group was formed in the 1960, and broke up in 1970.  It consisted of four

Liverpool-born musicians.  They were John Winston Lennon, James Paul McCartney,

George Harrison, and Ringo Starr (real name Richard Starkey).  Ringo Starr

replaced Pete Best as drummer.  Pete Best was an original member of the group.

The Beatles created a unique and varied sound that fans continue to enjoy and

bands continue to model, even today.  One of their greatest albums was the

creative Sgt. Pepper's Lonely Hearts Club Band.  This particular album was

admired for it's harmony and lyrics, the added use of electronic music

techniques, and the addition of the Indian sitar sound.  Though the songs were

inspired by simple, everyday things, the album was acclaimed as the pinnacle of

rock-and-roll's new elegance.  The album's finale, John Lennon's, "A Day in the

Life", is the album's most disputed track and its most musically ambitious.  The

British Broadcasting Corporation actually banned this song, because it

supposedly had references to drugs.  The Beatles were unafraid to challenge the

world with their new music, and changed rock-and-roll from what is was, into

what it is today.

After 10 years of being together, in 1970, the Beatles broke up.  Personally, I

believe it is because Paul McCartney was pushing each member of the group too

far.  He, being a perfectionist, kept trying to be the leader, and telling them

how to play.  McCartney realized that each member was getting tired of the band,

and becoming preoccupied with their own lives.  He tried to bring the magic back,

and the other members thought he was being too bossy. John Lennon, who was

involved with a Japanese artist at the time, walked into the studio one day and

told everyone he wanted a "divorce", meaning he wanted out of the band.  Finally,

they all just gave up, and the Beatles separated.

After the break-up, each member continued to perform, either as a soloist or as

a member of his own band.  Despite individual success, the members were often

approached with requests to reunite.  The requests continued until the cold-

blooded assassination of John Lennon in 1980, by a deranged man named Mark David

Chapman.

Although the Beatles are no longer a band, their music lives on in their stead.

I personally believe that their music will continue to entertain and enlighten

generations to come.  The Beatles touched the world, and their music is immortal.

1063.      The Beatle3

The Beatles

When people hear the name "The Beatles" most people think of

lead singer, John Lennon. However, the role of Paul McCartney is

often overlooked. It was McCartney, not Lennon who was the

driving force behind the Beatles.

John Lennon and Paul McCartney were in many bands

together before the forming of the Beatles. In 1962, along with

Ringo Starr1 and George Harrison, they formed the rock group

known as "The Beatles". The group featured a modern rock that was

new and popular during the period with John and Paul composing

and doing the leads on most of the songs. They were backed by

George on rhythm and bass guitar and Ringo on drums. George and

Ringo also assisted on backing vocals.

When they first began playing, the main influence inside the

band was John Lennon, who had an uncanny ability to compose songs

at a moments notice with an inspiration that others missed. He

pushed the members of the band during their touring years and was

able to achieve the best possible results from the group.

The band began playing in a Music Hall style that is very

effective for the audiences but was lacking on their albums.

Together with Paul, John began to evolve the band. As the years

began to pass, the band was obviously beginning to grow

musically. They had moved from simple lyrics like "Love me Do" to

harshly aware reflections of life in their home country in

"Eleanor Rigby"2. There were attempts, some more successful than

others, to incorporate the other Beatles into the idea stage.

George Harrison made this leap successfully with such tracks as

"I want to tell you", "TAXMAN", and the psychedelic "Love you

to". Ringo was featured in the humorous "Yellow Submarine" As the

group matured, their creativity began to rely more on the effects

and manipulations that they were able to produce in the studio.

The Beatles agreed to end their touring career after an American

tour of large halls that they failed to fill. It was around this

time, that John Lennon began to search for himself. He began

using any means that he thought might help him connect. This era

was marked by the Beatles visits to the Maharashi Mahesh Yogi,

and the beginning of heavy drug use 3. As Lennon began to use LSD

in greater and greater quanti-ties4, the other Beatles began to

have more and more influence in the production of the albums.

Lennon began to become almost reclusive, and often delayed

recording sessions.By the time that they were recording Sgt.

Pepper's Lonely Hearts Club Band in 1967, Lennon would simply

propose songs and themes, and McCartney was left to execute the

plans and tie together whims. They began to make demands of

the crew:Beatles songs were quite simple in the early days, you

couldn't play around with them too much. But by 1967 we were

building sound pictures and my [George Martin] role had changed-

it was to interpret the pictures and determine how best to get

them down on tape. Paul was fine-he could express what he wanted,

the sounds he wa nted to have. But John...would make whooshing

sounds and try to describe what only he could only hear in his

head, saying he wanted a song to 'sound like an orange'.5 As soon

as the Sgt. Pepper album was underway, Paul McCartney came up

with the idea of actually creating a band and preforming the

songs as that band. They took the Idea from there and Sgt.

Pepper's Lonely Heart's Club Band came into existence, never to

see the outside of studio 2 at Abbey Road. They spent nearly a

year recording various tracks for the album and John's state of

mind was steadily declining. In 1969 when they issued Abbey Road

it was no longer difficult to distinguish between the writings of

Paul and John . John was producing works like "I want you (she's

so heavy)" which had the lyrics:

I want you so bad it's driving me mad

She's so heavy6

And the more musical and thoughtful work of McCartney, such as

"Golden Slumbers" which was almost a lullaby:

Once there was a way to get back homeward

Once there was a way to get back home

Sleep pretty darling do not cry

And I will sing a lullaby

Golden slumbers fill your eyes

Smiles awake you when you rise Sleep pretty darling do not

cry

And I will sing a lullaby7

The writing of the material on The Beatles8 seemed more balanced

as Lennon began writing more cogent songs, and collaborating on a

song-by-song basis with McCartney. Their songs varied from a slow

ballad in McCartney's "Blackbird" to the bizarre and intriguing

"Revolution #9) by Lennon. Yet McCartney was needed to control

Lennon when he recorded the original version of "Sexie Sadie"

with the verse:

You little twat

Who the fuck do you think you are

Who the fuck do you think you are

Oh, you cunt.9

Fortunately McCartney prevented the track from proceeding any

farther than rehearsal. He ended up suggesting that the song take

a more sympathetic note and, eventually, Lennon agreed. During

this time, one almost constant presence in the recording studio

was Yoko Ono, John's wife. This was against an unspoken code

amongst the Beatles not to allow wives and girlfriends into the

studio. Yoko had a large affect on John, almost completely

altering his style, and inspiring such songs as "I want

her (she's so heavy)" and "Revelation #9". Many of the other

songs that Yoko and John created were rejected by the group, but

her presence changed John's behavior and performance. The Beatles

final album together was Let It Be released in 1970. The album

was not in any way spectacular and exhibited many of the traits

that are associated with the Beatles writing. The title track,

"Let It Be" is one of the most famous tracks recorded by the

group. The music on the album was a last chance effort to keep

the group together, and although the album was well received, it

was not what the group had in mind. The Beatles did not make

another recording after that date, though there were rumors of

the group reforming until the shooting of Lennon in 1980.

One of the most obvious indicators of the heavy hand that

was often kept on Lennon is the progress of his band which he

formed after the breakup of the Beatles. The Plastic Ono Band was

an only moderately successful group that took the popular

psycedalia a few steps to far and lost most of its popularity.

Lennon attempted to enter theater, but it was quickly obvious

that he was no actor. He lived a bizarre and drug ridden life

secluded in his apartment with his wife Yoko Ono and his son.

Both he and his wife were reported to have serious heroin

addictions and were often said to be high in the presence of

visitors.

After the breakup, McCartney launched a moderately success-

ful solo career. He has released many recordings both in the

United States and abroad. His most recent accomplishment was the

"Liverpool Oratorio" which is no small feat considering that

McCartney never learned to read music. The songwriting styles,

the studio records, and the individual careers all show that

there was a very large influence in the group, and in the music,

by Paul McCartney. Equal to Lennon in the beginning, but

surpassing him at the conclusion of the relationship. Two key

factors that probably caused this are his affection and

infatuation with Yoko Ono, and the heavy use of hallucinogenic

drugs. On some occasions, both of those factors may have given

Lennon inspiration for his music, but they greatly reduced his

control and influence in the band.

1064.      The Beatles 2

There  have  been  more  books  published  about  one  20th century  icon  than

any  other,   this  band  that  is  said  to  have  broken  down  barriers  in  all

ways,  is  the  Beatles.   Their  music  was  said  to  have driven  that  younger  generation

mad.   Perhaps  it  was  because  they  were  one  of  the  first  bands  ever

play  real rock  and  roll  music;  or  maybe  it  was  those  cute  little  peacoats  they

wore.  Or  maybe  it  was  just  because  they  were  foreigners  in  the  world  of  music,

yet  seemed  to  fit  right  in  with  the  young  people.  Whatever  reason  was,  the

Beatles  were  a  band  that  shaped  a  generation  and  ones  soon  to  come.

The  Beatles  were  more  than  just  a  rock  and  roll  band ,  they  were  a

group  of  young  men  who  wanted  to  go  a  new  direction  in  music.  John

Lennon,  one  of  lead  vocalists,  basically  started  with  the  intention  of  moving  away

from  the  "Skiffle  Boom  Era"  which  was  dominating  the  time.  In  his

doing  so,  he  began  to  lay  the  foundation  for  what  would  later  be  the  most

famous  rock  band  ever.  The  original  band  members  were  as  follows :  John

Lennon,  vocals  and  guitar ;  Paul  McCartney,  vocals ;  George  Harrison,  guitar ;  Pete

Best,  drums ;  Stuart  Sutcliffe,  bass  guitar.

In  March  of  1961,  the  Beatles  began  to  play  at  the  club

that  would  later  be  nicknamed  "The  Home  of  the  Beatles".   The

Cavern  Club,  which's  premises  comprised  a  small  group  of  cellars  below  a  seven

story  warehouse  which  had  originally  been  used  as  an  air  raid  shelter during  the

war.  Later,  Alan  Sytner,  a  jazz  fan  decided  to  open  it  up  as  a  new  jazz

club.  After  a  few  years,  he  sold  it  to  Ray  McFall  another  jazz  fan.  The  club  was

originally  strictly  jazz  and  no  rock.  Luckily  for  the  Beatles,  the  times  were

changing  and  McFall  quickly  changed  the  policy  the  Beatles  soon  became

regulars.  This  would  be  the  club  that  would  make  them  famous.

News  of  the  band's  Liverpool  popularity  soon  became  know  throughout

England  and  later  a  large  part  of  Europe.  Shortly  after  their  first  tour  of

Hamburg,  Stuart,  who  had  always  been  a  better  artist  than  musician  left  the  band

to  pursue  goals  in  the  visual  arts  field.  Paul  had  dabbled  in  bass  guitar  and

took  his  place.  This  was  a  transition  period  for  the  members  in  the  band,

they  were  going  from  being  Liverpool  locals  to  being  English  stars.  It  was  about

this  time  that  the  rest  of  the  band  and  their  manager  Brian  Epstien,  began  to

notice  Pete's  growing  ego,  and  thought  it  would  be  best  if  he  not  be  in  the  band.

Many  fans  were  suprised  and  upset  at  the  decision.  When  they  heard  Ringo

Starr  one  of  the  back up  drummers,  was  joining  they  were  calmed  perhaps  in

anticipation  of  hearing  how  the  new  member would  fit  in  with  the  rest  of  the

band.  The  result  was  fabulous.  The  band  was  pleased  with  thier  new  addition  and

they  quickly  adapted  to  each  others  playing  styles.  Ring  was  the  final  member   to

join  the  band  and   in  October  of  1962,  just  a  few  months  after  Ringo  joined  the

band,  the  Beatles  had  their  first  hit  single,  Love  Me  Do .

1963  and  1964  proved  to  be  the  most  important  years  for  the

Beatles.  During  1963  they  created  a  sensation  in  Britain.  The  boys

appeared  on  Sunday  Night  at  the  London  Palladium  and  a  writer  for  the  Daily

Mirror  coined  the  phrase  Beatlemania,   it  later  became  the  word  people  used  to

describe  the  outpour  of  Beatle  fans.  With  in  months  the  Beatles  had

gone  from  being  opening  acts  at  concerts  to  starring  on  the  Royal  Variety

Show.  The  reasons  for  their  success  were  uncanny.  During  the

"baby  boom",  more  children  were  born  in  England  than  any  other  time  in  history.

During  the  time  of  the  Beatles  popularity,  most  of  these  babies  were  teenagers

and

they  wanted  more  freedom  than  their  parents  had  been  given.

1964  was  the  absolute  most  important  year  of  their  careers. 1964  was  the

year  they  conquered  the  biggest  record  market  of  the  world,  America.  It  took  a

combination  of  talent  and  luck.  America  was  suffering  with  the  loss  of  John  F.

Kennedy  and  the  Beatles  appeared  on  the  scene  to  bring  them  fun  and  excitement

to  end  their  mourning.  They  also  brought  rock  and  roll back  to  its  homeland.

Being  in  right  place  at  the  right  time  seemed  to  favor  the  Beatles.  On  a

flight  back  home  from  Sweden,  they  ran  into  Ed  Sullivan  who  invited  them  to

come  on  his  show.

Although  the  Beatles  were  not  an  over  night  success,  they  shot  for  their  goals

and

eventually  reached  them  and  others.  The  band  stayed  together  for  many  years  and

made  a  generation  of  young  kids  into  a  generation  envied  by  others  for  having

the

Beatles  to  wait  for  and  want.  Their  music  still  influences  many  artists  and  will

continue  to  do  so  as  they  were  and  still  are  the  band  that  will  "rock  on  forever".

1065.      The Beatles 3

The Beatles

The Beatles were a British music group whose songs are among the most universally accepted music recordings of the 20th century.  The Beatles,  who revolutionized popular music around the world, were at the forefront of a movement in rock music known as the British Invasion.  The British Invasion was a name referring to the tremendous effect that British rock-and-roll bands had in the United States during the 1960's.  From 1960 to 1970, the Beatles achieved unique popularity with 30 songs reaching the Billboard magazine top-ten popular music charts.  The Beatles were adored by the world in the 60's and 70's, and even today their music is loved by millions.

The group was formed in the 1960, and broke up in 1970.  It consisted of four Liverpool-born musicians.  They were John Winston Lennon, James Paul McCartney, George Harrison, and Ringo Starr (real name Richard Starkey).  Ringo Starr replaced Pete Best as drummer.  Pete Best was an original member of the group.

The Beatles created a unique and varied sound that fans continue to enjoy and bands continue to model, even today.  One of their greatest albums was the creative Sgt. Pepper's Lonely Hearts Club Band.  This particular album was admired for it's harmony and lyrics, the added use of electronic music techniques, and the addition of the Indian sitar sound.  Though the songs were inspired by simple, everyday things, the album was acclaimed as the pinnacle of rock-and-roll's new elegance.  The album's finale, John Lennon's, "A Day in the Life", is the album's most disputed track and its most musically ambitious.  The British Broadcasting Corporation actually banned this song, because it supposedly had references to drugs.  The Beatles were unafraid to challenge the world with their new music, and changed rock-and-roll from what is was, into what it is today.

After 10 years of being together, in 1970, the Beatles broke up.  Personally, I believe it is because Paul McCartney was pushing each member of the group too far.  He, being a perfectionist, kept trying to be the leader, and telling them how to play.  McCartney realized that each member was getting tired of the band, and becoming preoccupied with their own lives.  He tried to bring the magic back, and the other members thought he was being too bossy. John Lennon, who was involved with a Japanese artist at the time, walked into the studio one day and told everyone he wanted a "divorce", meaning he wanted out of the band.  Finally, they all just gave up, and the Beatles separated.

After the break-up, each member continued to perform, either as a soloist or as a member of his own band.  Despite individual success, the members were often approached with requests to reunite.  The requests continued until the cold-blooded assassination of John Lennon in 1980, by a deranged man named Mark David Chapman.

Although the Beatles are no longer a band, their music lives on in their stead.  I personally believe that their music will continue to entertain and enlighten generations to come.  The Beatles touched the world, and their music is immortal.

1066.      The beatles and how they changed music

The beatles and how they changed music

The Beatles Rise to Stardom

The Beatles are a legendary band that underwent numerous changes over the years. They rose from a little English band to the most famous rock and roll band in the world. During the 1960's, the Beatles used war and drugs as dominant themes in their music. They brought a whole new view of reality to the American culture.

In the early years, The Beatles struggled with band membership. Ultimately, the band's final members were John Lennon, Paul McCarthy, Ringo Starr and George Harrison. In 1957, John Lennon decided to compose a band, never expecting to become the greatest rock band of all time. John experienced many band names and members such as: "The Blackjacks", "The Quarry Men", "Johnny & the Moondogs", and "Silver Beetles". Pete Best was a temporary drummer that was later replaced by Ringo Starr. Rod Davis was a previous banjo player who failed quickly. John Lennon collaborated the name, The Beatles, after "having a vision when he was 12 years old. A man came to him with a flaming pie and said unto them 'From this day on you are The Beatles with an A' " (DISCovering Biography 3). At this time The Beatles were looked down upon in Liverpool, the grass roots of The Beatles, while not reacting well to rejection they were determined to become Liverpool's top band (DISCovering Biography 3). A local record store manager noticed and paid close attention to the band. He would later be The Beatles manager, known as Brian Epstein. Brian arranged an audition with Decca Records. The turnout was devastational "the head of

Hahn and Donald

Decca Records told The Beatles manager, "Guitar groups are on their way out Mr. Epstein"(Shotton 73). The Beatles did not let that stop them a few months later they received an audition with Parlophone Records. George Martin with Parlophone Records signed The Beatles in the mid-1960's. "Love Do Me" was their first single released on October 5, 1962. "Please Please Me" topped the British charts in 1963. Please Please Me stayed at the top of the British charts for 30 weeks, establishing the group as the most popular rock n' roll band ever seen in UK (shotton 78). Each single created by The Beatles sold over a million copies in the UK. As time went on The Beatles were growing rapidly as composers and instrumentalists, as well as celebrities, appearing on the highest rated TV show in Britain, "Sunday Night At The London Palladium". Beatlemania was soon to strike everywhere.

"Beatlemania broke out in the British Isles in 1963, the group generated hysteria at all of their public appearances, musical or otherwise"(legends2). In 1964, The Beatles conquered the biggest record market, America. Capitol Records heard "I Want To Hold Your Hand" and took advantage of the opportunity. The Beatles appeared on "The Ed Sullivan Show" in February of 1964. They were a smash it was a performance heard around the world. (DISCovering Biography 5). Months later The Beatles ranked top five best singles in the US and Brittian.

The Beatles also touched Americans in other aspects than just playing songs on records. America was continuously mourning the death of John F. Kennedy and The Beatles revealed American culture through music(Shotton 97). Americans need joy and excitement to build up the economy. Rock n' Roll had died in America until The Beatles

Hahn and Donald

showed them how to dance again(shotton 99). The Beatles toured America for the first time in 1964. Touring America meant traveling state-to-state with millions of fans following to be involved in Beatlmania. "A Hard Days Night" and "Help" were two motion pictures produced by The Beatles. The Beatles performed in front of 50000 fans at the Shea Stadium in New York (Corbin 189). Lennon states to the press, "The Reason why kids are so crazy is that nobody can face the responsibility of bringing them up. Not even jesus"(Corbin 194). John had to apologize several times to the press, there became anti-Beatles and death threats became more common. Brian Epstein died in August 1967 due to drug overdose. Things would eventually fall apart for The Beatles (The Beatles3). The band went on to film two more films, "The Magical Mystery Tour" and "Yellow Submarine", dedicated to Brian.

Outside interest and hobbies started affecting the personal interest in the band. In 1964, The Beatles began experimenting with marijuana and later used lots LSD. The behind the scene arguments went public and business arrangements failed. The Beatles last concert played was at Candlestick Park in San Francisco on August 29, 1966. The Beatles broke out with the album originally titled Get Back but later became known as Let It Be, in 1969(DISCovering Biography 11). Each band member continued on with his or her personal lives outside of The Beatles. George Harrison and Paul McCartney's disagreements resulted in George leaving the band. George returned for the final album Abbey Road in 1969. The Beatles gave their last public appearance on top of the Apple building on January 30, 1969.

Each Beatle went down the path of individuality, all still producing music and instigating the peace movement. John Lennon, the founder of The Beatles, is one of the

Hahn And Donald

most influential individual in the music industry. John married Cynthia Powell in August of 1962 and became the father of Julian. Only a few years later Cynthia realized, "John was rough, ready and not her type at all, but had an irresistible character"(legend2). Soon after John re-married to Yoko Ono in November of 1966. John released his solo album Imagine in 1970. Imagine spoke for John as in describing his dream and sent his message across to listeners(Corbin 214). John performed a charity concert in Madison Square on August 30, 1972 to support the mentally handicapped. This concert ended John's experience with the Plastic Ono Bans. John and Yoko separated in 1973 due to the press and constant struggles they had gone through. John went to Los Angeles and became a drunk and a manic depressant (Corbin 217). After being alone for some time, John realizes he loves Yoko and they have a son, Sean. John later released another album, Double Fantasy, in 1980. John had begun work on his next album, "Milk and Honey", when he was shot in front of his apartment complex in New York. He died at the age of forty in the Roosevelt Hospital on December 8, 1980(Corbin 267). John Lennon created The Beatles and made music that influenced the entire world. John Lennon was a leader not a follower, he stuck to his beliefs and stood by people's rights (Shotton 216). He touched the souls of many individuals and can never be replaced. His contributions in the music industry will live on in memory for many more generations to come.

Legend is only a vague word to describe The Beatles and John Lennon. The Beatles wanted peace, love, and happiness and they gave it not only to Britain but also to the world around them. Their music touched everybody's lives and gave a new meaning of happiness to America.

1067.      The Beatles Essay

The Beatles

When people hear the name "The Beatles" most people think of lead singer,

John Lennon.  However, the role of Paul McCartney is often overlooked.  It was

McCartney, not Lennon who was the driving force behind the Beatles.

John Lennon and Paul McCartney were in many bands together before the

forming of the Beatles.  In 1962, along with Ringo Starr1 and George Harrison,

they formed the rock group known as "The Beatles".  The group featured a modern

rock that was new and popular during the period with John and Paul composing

and doing the leads on most of the songs.  They were backed by George on

rhythm and bass guitar and Ringo on drums.  George and Ringo also assisted on

backing vocals.

When they first began playing, the main influence inside the band was John

Lennon, who had an uncanny ability to compose songs at a moments notice with an

inspiration that others missed.  He pushed the members of the band during their

touring years and was able to achieve the best possible results from the group.

The band began playing in a Music Hall style that is very effective for

the audiences but was lacking on their albums. Together with Paul, John began

to evolve the band.  As the years began to pass, the band was obviously

beginning to grow musically. They had moved from simple lyrics like "Love me Do"

to harshly aware reflections of life in their home country in "Eleanor Rigby"2.

There were attempts, some more successful than others, to incorporate the

other Beatles into the idea stage. George Harrison made this leap successfully

with such tracks as "I want to tell you", "TAXMAN", and the psychedelic "Love

you to".  Ringo was featured in the humorous "Yellow Submarine

As the group matured, their creativity began to rely more on the effects

and manipulations that they were able to produce in the studio.  The Beatles

agreed to end their touring career after an American tour of large halls that

they failed to fill.

It was around this time, that John Lennon began to search for himself.  He

began using any means that he thought might help him connect.  This era was

marked by the Beatles visits to the Maharashi Mahesh Yogi, and the beginning of

heavy drug use3.

As Lennon began to use LSD in greater and greater quanti-ties4, the other

Beatles began to have more and more influence in the production of the albums.

Lennon began to become almost reclusive, and often delayed recording sessions.

By the time that they were recording Sgt. Pepper's Lonely Hearts Club Band

in 1967, Lennon would simply propose songs and themes, and McCartney was left

to execute the plans and tie together whims.  They began to make demands of the

crew:

Beatles songs were quite simple in the early days, you

couldn't play around with them too much.  But by 1967

we were building sound pictures and my [George Martin]

role had changed-it was to interpret the pictures and

determine how best to get them down on tape.  Paul was

fine-he could express what he wanted, the sounds he wa

nted to have.  But John...would make whooshing sounds

and try to describe what only he could only hear in

his head, saying he wanted a song to 'sound like an

orange'.5

As soon as the Sgt. Pepper album was underway, Paul McCartney came up with

the idea of actually creating a band and preforming the songs as that band.

They took the Idea from there and Sgt. Pepper's Lonely Heart's Club Band came

into existence, never to see the outside of studio 2 at Abbey Road.  They spent

nearly a year recording various tracks for the album and John's state of mind

was steadily declining.

In 1969 when they issued Abbey Road it was no longer difficult to

distinguish between the writings of Paul and John .  John was producing works

like "I want you (she's so heavy)" which had the lyrics:

I want you

so bad

it's driving me mad

She's so heavy6

And the more musical and thoughtful work of McCartney, such as "Golden

Slumbers" which was almost a lullaby:

Once there was a way to get back homeward

Once there was a way to get back home

Sleep pretty darling do not cry

And I will sing a lullaby

Golden slumbers fill your eyes

Smiles awake you when you rise

Sleep pretty darling do not cry

And I will sing a lullaby7

The writing of the material on The Beatles8 seemed more balanced as Lennon

began writing more cogent songs, and collaborating on a song-by-song basis with

McCartney.  Their songs varied from a slow ballad in McCartney's "Blackbird" to

the bizarre and intriguing "Revolution #9) by Lennon.  Yet McCartney was needed

to control Lennon when he recorded the original version of "Sexie Sadie" with

the verse:

You little twat

Who the fuck do you think you are

Who the fuck do you think you are

Oh, you cunt.9

Fortunately McCartney prevented the track from proceeding any farther than

rehearsal.  He ended up suggesting that the song take a more sympathetic note

and, eventually, Lennon agreed.

During this time, one almost constant presence in the recording studio was

Yoko Ono, John's wife.  This was against an unspoken code amongst the Beatles

not to allow wives and girlfriends into the studio.  Yoko had a large affect on

John, almost completely altering his style, and inspiring such songs as "I

want her (she's so heavy)" and "Revelation #9".  Many of the other songs that

Yoko and John created were rejected by the group, but her presence changed

John's behavior and performance.

The Beatles final album together was Let It Be released in 1970.  The

album was not in any way spectacular and exhibited many of the traits that are

associated with the Beatles writing. The title track, "Let It Be" is one of

the most famous tracks recorded by the group.  The music on the album was a

last chance effort to keep the group together, and although the album was well

received, it was not what the group had in mind.  The Beatles did not make

another recording after that date, though there were rumors of the group

reforming until the shooting of Lennon in 1980.

One of the most obvious indicators of the heavy hand that was often kept

on Lennon is the progress of his band which he formed after the breakup of the

Beatles.  The Plastic Ono Band was an only moderately successful group that

took the popular psycedalia a few steps to far and lost most of its popularity.

Lennon attempted to enter theater, but it was quickly obvious that he was no

actor.  He lived a bizarre and drug ridden life secluded in his apartment with

his wife Yoko Ono and his son. Both he and his wife were reported to have

serious heroin addictions and were often said to be high in the presence of

visitors.

After the breakup, McCartney launched a moderately successful solo career.

He has released many recordings both in the United States and abroad.  His most

recent accomplishment was the "Liverpool Oratorio" which is no small feat

considering that McCartney never learned to read music.

The songwriting styles, the studio records, and the ndividual careers all

show that there was a very large influence in the group, and in the music, by

Paul McCartney.  Equal to Lennon in the beginning, but surpassing him at the

conclusion of the relationship.  Two key factors that probably caused this are

his affection and infatuation with Yoko Ono, and the heavy use of

hallucinogenic drugs.  On some occasions, both of those factors may have given

Lennon inspiration for his music, but they greatly reduced his control and

influence in the band.

1068.      The beatles paper

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1069.      the beatles

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1070.      The Bell Jar

The book starts with the setting in New York as the main character is pondering the

execution of the Rosenbergs.  Esther the main character is in New York because of

contest held by a fashion magazine.  While in New York Esther tells  about her life by the encounters she's had.  She is a college student and is in the honors courses.  The whole trip to New York had messed up Esters way of thinking.  For example before she went to New York she had planed to finish college and become a poet or English professor, but now she had no idea.

When Esther returned home she became very depressed.  She wanted to disregard the whole New York experience by taking a exclusive summer writing course.  Only the best of the best writers had been able to be excepted to this class and Esther was sure she had made it until her mother had told her she was not accepted.  This was what pushed Esther over the edge.  She became more and more obsessed about how she would kill herself and planed it out carefully.  When the time came she just couldn't do it.  So she began to preoccupied herself by thinking of other ways of death.  She couldn't sleep or read this bothered her because she loved to read.  Finally she went to see a doctor who gave her shock treatments.  This made Esther even worse an so she slipped even deeper into her depressed state.  She knew the bell jar was almost completely apon her and there was nothing she could do to prevent the suffocation of her own life.  She knew there was something very wrong and neither her family or herself had no idea how to help prevent this and it made her wish for death.  Finally she did it, she plotted a scheme to end the torture of her insanity.  "The silence drew off, baring the pebbles and shells and all  the tatty wreckage of my life."  This way she thought she could escape the madness inside herself and this made her happy.  So she did it and her family knew then she needed help so they with the help of a rich lady put her in a facility that could help her.  Esther did get help and became sane again through special help and a good doctor who gained Esthers trust.

Sylvia Plath's life is the basis for this intriguing book.  She was born in Massachusetts 1932.  In August of 1950 her first publication was "And Summer Will Not Come Again," this was in Seventeen magazine. Another publication was in the Christian Science Monitor this was a poem "Bitter Strawberries."  In September 1950 Sylvia went to Smith College  (the largest woman's college in the world).  Just like in the book she won a contest to go to New York.  In June of 1955 she graduated from college and soon after at Cambridge University she met her husband.  Ted Hughes who was a poet married Sylvia in London in spring of 1957.  Later Sylvia became a instructor at Smith College in the English department.  In April of 1960 thier first child was born and Sylvia's book of poetry was accepted for fall publication by William Heinemann Limited.  In January of 1962 their second child was born.  In 1962 the "Bell Jar" was published and in 1963 she ended her life.  The Bell Jar had descended again she wrote in her journal.

1071.      The Big Scoop

Hello, my name is Jack Williams.  I am a reporter you have been hearing a lot about and this is how I gathered my information for my article on "Computers, Hacking, And USA's Citizens" that has been causing so much uproar in many states and even in the government.  Recently, people have claimed that I fantasized everything in the report and that I should work in the fiction field in stead of journalism, so here is the exact way I received my information for my story.  I will start from the top and I will try not to miss a detail so you can fully understand me.

It was the first Friday of July and it was like any typical midsummer evening at 6:00pm.  The sun was still out shining down, just turning red for sunset.  It was not especially hot, but it was still tee-shirt weather.  I walked down the rather clean street towards the Citicorp building, thinking excitedly about what was going to happen at the meeting and about what information I could receive from this expierence.  It was not long before I was standing in front of the modern Citicorp building.  The building exterior consisted of mainly large glass windows which provided a very vivid reflection of the neighboring buildings, almost camouflaging its presence on the block.  I thought of how the buildings appearence is suiting for what is happening inside at that moment.  I casually walked into the revolving glass doors that stood at the base of the building. There were plenty of stores to my left and right.  They ranged from candy stores selling snickers bars and almond joy to fast food restaurants selling burgers and french fries and all of the had people inside of them, spending the money they just withdrew from the nearby ATM machines and the tellers upstairs.  It was the tipical gimick to make people spend their money, let them have easy access to it, so it was nothing surprising to me.

I continued to walk towards the back of the building looking at all the stores to my sides until I reached the very back of the building, right in front of Barnes & Nobles.  I saw a crowd of people standing there, all of mixed ages and nationality.  None were alike. These were not the normal people you would picture as vivid computer lovers or people who liked to hack.  People exchanged disks everywhere in sight.  There were all types of people sharing information about everything from the latest computer security weakness or newest computer virii to what new programs were released today.  Forty year old men and women in suits and ties standing, talking, and exchanging information with kids age ten to fifteen who were dressed in skater outfits.  In other places people from foreign countries spoke with Americans overlooking their differences.  They all shared the same interest in hacking and computer technology.  They live in their own world where dollars mean nothing and disks mean everything.

I casually walked into the crowd towards a man who seemed rather interesting to me.  He was a tall man, about 30.  The man was wearing Levis jeans, a clean white tee-shirt that said "duh?" in large straight black letters, and a  large red and black side bag full of printed papers.  He handed me some paper and told me in a semi-happy voice to take a look at that and that it would explain everything.  I threw the paper into my bag saying to my self that this guy belongs in a mental institution if he actually believed that one piece of paper could explain the whole hacker world and I walked on to the other side of the room.  There was a kid standing there in the normal baggy pants and tee shirt working on a toshiba laptop.  Wanting to get the information I needed for my story, I walked over to the kid and asked him what he was up to and to my surprise he asked me in a deep voice if I was affiliated with any law enforcement agencies such as the F.B.I. or the C.I.A..  I said to myself why would I be with a law enforcement agency, but to get information, I tried to play it out very casually and said told him no, but if I was, I don't think  I would tell him.  He said to me that by law, I would be required to tell him the truth on that question if I was a member of a law enforcement agency.  I was shocked becuase I did not know about that.  He asked me again if I was a member of a law enforcement agency, and I replied that I wasn't.  He said that he didn't think I was but he is always better safe than sorry.  At this point I thought this guy was off the wall crazy or a really well informed kid, but again I reminded myself about the story I was writing.  I asked him what he was doing in a nonchalant voice and his response astounded me.  He said he was trying to hack a computer server.  It was not so much the idea of hacking a server, because I knew everyone in the meeting was looking to do that or to learn how to do that, but it was the way he said it.  The way it flowed was as if it was nothing special, nothing that did not happen everyday.  This kid seemed to be my story standing live in front of me.  I played as what hackers, phreakers (people who play with telephone companies), and software pirates call a lamer, which is someone who is a complete computer idiot or knows very little.  I asked him if he tried to break into computer systems often and he replied everyday and that he was usually successful on all of them.  He just continued typing his unix commands which went way over my computer training.  I figured that he was entranced enough with his hacking that I would be able to ask him a few more questions.  I proceeded to ask him about how many American kids and adult like to hack and or phreak, what percentage of hackers were kids and how many were adults and the like.  The responses were astounding and I checked with other people on these answers and they turned out to be frighteningly correct.  When I asked him, why hackers do what they do, he grabbed my bag and pulled out the paper the man had given me earlier and rudely said that I should read that and leave him alone.  I could tell that I had outlived my short welcome being a lamer, so off I went into a secluded corner and read the document which the man had given me.  It was written by a hacker called the mentor just a few days before he was sentenced to a jail term, I believe it was a fifty year term so he entitled it The Mentor's Last Words.  It told me about what goes on in a hacker's mind and why they do it.  It also showed me what hackers really are; they are not really criminals, at least not all of them.  They are curious and seek knowledge.  According to them and this document the true hacker never destroys, just looks.  That is the essence of the United States Hacker.  He is neither male nor female.  He does not age nor does he have a nationality.  People must realize most of these people will never meet anywhere except in a virtual chat room and will never hear each others voice.  They have no choice but to judge people by what they do and not what they look like or by their age.

The Citizen's view of hackers is completely distorted.  All you see is what the government wants you to see and by know even the most sheltered of American citizens know how deranged the governemt can be.  We are afraid of hackers becuase we don't understand them and I don't blame you becuase that is human nature to fear what you can not explain.  What my article was trying to present was the truth about hackers because the amount that you know is a joke, plain and simple.

This is where I received my story from.  Yes it is depressing that more and more people like to hack and phreak, but in a way, it is also good.  Now quite frankly I don't care if you believe me or not and probably if you do believe me you will say you don't because you are scared to believe me, but that is a battle I can't put to words as a story nor can I fight it for you.  So, having finished my explanation, I say good night and thank you for coming and listening.

1072.      The Black Cat

Throughout the opening paragraph of "The Black Cat," the reader is introduced to a narrator who, because of his grotesque actions, has become mentally deranged and very untrustworthy, " . . . my very senses reject their own evidence."  The narration of this story is in the first person, which would lead you to believe the narrator could be trusted to relate to you the true events of the story, but this is false.  The narrator in this story is unreliable due to his horrid state of mind and body.  The narrator cannot be relied upon to show the reader the true events of the story, these events have to be interpreted and the reader must come to his own conclusion as to what really happened.

The reader is shown in the opening paragraph that he should not trust the narrator to deliver the true events of the story.  The narrator admits throughout the story that his bad habits, namely alcoholism,  lead to his irrational state of mind.  His alcoholism was the root of his downfall.  While intoxicated, the narrator mutilated his favourite pet, Pluto, causing the cat to become terrified of his master.  The alienation of his cat gave the narrator even more cause to become mentally unstable.

The hanging of his cat shows how the narrator has become obsessed with doing evil things for the sake of their evilness.  This evilness is linked to his alcoholism.  The narrator was most-likely in a drunken state when he hung his cat, which only infuriated his temper.  This separation of friends had a huge effect on the narrator's deadly temper.  His temper is such that anything that slightly annoyed him caused him to go into fits of rage.

The fits of rage which occupy the narrator for much of the story are all linked to his pet cats.  He points out that he was an animal lover in his younger days and the feeling was carried through into his maturity.  His love for animals ended here.  His alcoholism had driven him to avoid his animals or, when he encountered them, to physically harm them for the reason that they were there.  The narrator's pet cat's were the exceptions.  He held his temper back from his cats because of his love for them.  This feeling disappears after time and the cats become the subject of his worst fits of rage.

After each violent act upon his cats, the narrator did feel remorse at his actions.  This feeling also disappears over time and, as it disappeared, his rage grew.  The narrator seems to have had the feeling that they (the animals) must pay for what they have done.  Tiny scratches upon the narrators hand necessitated Pluto losing an eye.  He also seems to be upset that his cats love him and want to be around him.  He felt he should be the one to love them and they should not be allowed to love.  This is shown through his annoyance at their constant presence around him.   He must be the one in control, and be able to make other things do what he wants.

The fits of rage which he encountered are finally brought to a culmination when his wife stops his attempted murder of their new cat.  The narrator is so mad at his wife that he takes the worst possible action.  He kills her. The murder of his wife seems to be the real end for the narrator.  He feels little guilt for his actions, "The guilt of my dark deed disturbed me little."  The reason for his lack of guilt is that he does not believe he has done anything wrong.  His conscience has become so deteriorated that nothing seems to affect him anymore.

When an outsider looks at the events of the story, it is obvious that the narrator is untrustworthy.  The alcoholism, which affects the narrator for much of his adult life can be seen as the root of his problems.  The alcoholism leads to other problems in his life, such as his horrible fits of rage, and his utter disliking of his once prized pets.  In his mentally deranged state, the narrator cannot be trusted to deliver the true events of the story.  Therefore the reader must take it upon himself to interpret the events of the story and come up with his own conclusion as to what really happened, and why they happened.

.

1073.      The Blair Witch Project

The Blair Witch Project

My overall impression of the movie is that it was a very scary movie that made my hair stand up and gave me the chills. The major theme or statement that I learned from the movie was that it's better to stay on the beaten trail. The performances by the major actors and actresses were great. Heather Donahue did a great job in getting the group lost in the woods. She did it with the confidence that she would find her way back. Her naïve personality was a great build up for the movie. Joshua Leonard played a good cameraman in the group. He kept the relationships between characters friendly. Michael Williams expressed his feelings when things weren't going right. His outbursts made his part likeable. Some noteworthy supporting players were all the local town folks. They did a good job of telling the story of the Blair Witch. On October 21, 1994, three college aged students (Heather Donahue, Joshua Leonard and Michael Williams) go to the Black Hills Forest of Maryland, to make a documentary video of the local legend, the Blair Witch. They were never seen again. One year after their disappearance their video footage is found. The video footage is about the documentary of the Blair Witch. The footage contained interviews of the local town folk. They told all of what they knew of the legend of the Blair Witch. After they had finished the interviews the three go into the Black Hills Forest to do some exploring. When the navigator and leader of the group Heather gets the group lost their relationships starts crumbling and their tempers start to flair. By the third day of being lost there seems to be no hope of finding their way back. Starting that night they are aware of another presence in the woods with them. The forth day goes all right but again at night they are disturbed by loud noises away from their camp. By this time they are completely lost in the woods. The next day Michael out of a fit of anger throws the map into a lake when the other two aren't around. After another couple of days their fear and short tempers is driving them mad. The noises are getting closer and closer each night and soon the filmmakers start turning up missing one at a time. The director's style was very effective. The low budget film and inexpensive equipment did not get in the way of the effect of the movie. The director did a great job in building up the groups problems and fears all the way to the end. The audience experience for me in the theatre was very interactive. The audience was very into the movie. People were shouting out their thoughts and feelings of the movie. It was very enjoyable. The film was most likely made because the director wanted to make a low budget horror movie that would scare audiences and give them the chills.

1074.      The Book Report on The Power and The Glory by Graham Greene

The Power and the Glory by Graham Greene

Book report by Allen Rabinovich

It is the story-teller's task to elicit sympathy and a measure of understanding for those who lie outside the boundaries of State Approval.

Graham Greene

One day I gave The Power and the Glory to... a native of Mexico who had lived through the worst persecutions... She confessed that your descriptions were so vivid, your priest so real, that she found herself praying for him at Mass. I understand how she felt. Last year, on a trip through Mexico, I found myself peering into mud huts, through village streets, and across impassible mountain ranges, half-believing that I would glimpse a dim figure stumbling in the rain on his way to the border. There is no greater tribute possible to your creation of this character - he lives.

An excerpt from the letter of Californian Catholic teacher to Graham Greene, 1960

I

In a particular Mexican state the Church had been outlawed and the priests had to go underground by the threat of being shot.  After several months from the governor's office appeared a news, that there was still one priest, Father Montez, who was moving from village to village working on the Church by administering  the sacraments, listening confessions and saying masses. A young lieutenant of police, and ardent revolutionist and an anti-clerical, asked his chief to let him search for the priest who, as the authorities understood it, was guilty of treason.

Two photographs were pasted up together in police station. One was the picture of an American bank robber who killed several police officers in Texas; the other was that of the priest. No one noticed the irony, including the young lieutenant, who was more interested in arresting the priest. When the officer received permission to look for Father  Montez, the priest was already in the village, where he came  to get aboard the boat that would take him in the city Vera Cruz and safety.

In the village he met Mr. Tench, old dentist who wanted somebody to speak English with. But before Father  Montez could get aboard the boat news came to him that an Indian woman was dying several miles inland. True to the call, the priest sat on the mule and went to administer the last rites to the dying woman, even though he realized that he might not find another ship to carry him to safety. There was one other priest in the region, Father Jose. But Father Jose was so coward, that he renounced the church up to the point of taking a wife, a shrewish old woman. The authorities paid no attention to him at all, for they felt, and rightly so, that the priest who had renounced his vows was a shame to the Church.

After completing his mission, Father Montez came back to the coast, where he spent the night in a banana warehouse. The English manager on the plantation allowed him to hide there.

The following day, hoping to find safety from the police and from the revolutionary party of Red Shirts, he went further. As he traveled, he thought of his own past and of himself as a poor example of the priesthood. He considered himself a "whiskey priest", a cleric who would do almost anything for a drink of spirits. Thinking himself a weak man and a poor priest, he was still determined to carry on the work for the Church as long as he could, not because he wanted to be a martyr, but because he knew  nothing else to do.

After twelve hours of travel he reached the village where his one-time mistress and his child lived. The woman took him for a night, and the following morning he said a mass to the villagers. Before he could escape the police entered the village. Marcia spoke with him as her husband, and his child, a little girl of seven years old, named him as her father. In that manner  he escaped. Meanwhile the police decided to use a new tactic in searching him. As they passed through each village the took a hostage. When a certain time passed without the appearance of father Montez, a hostage was shot. In that way the lieutenant of police hoped to persuade the people to betray their priest.

After the police had left the village without discovering him, Father Montez took his mule and went on his way. He traveled northward to escape the police and, if possible, to make his way temporarily into another state.

Some hours after leaving the village,  Father Montez met with a mestizo who joined  him. Before long the half-breed discovered that Father Montez was the priest for whom the police were searching. He promised that he, a good Catholic, would not betray the secret, but Father Montez was afraid that the promised reward of seven hundred pesos would be too much for a patience of the poor man.

When they reached a town , however, it was  Father Montez own weakness which put him into the hands of the police. He wanted to have some liquor, the selling of which was against the law. He tried to buy some illegally, but his possession of the contraband was discovered by one of the revolutionary Red Shirts, who raised a cry about this. Tracked down by a police, the priest was caught and placed in the prison. Fortunately, the police didn't recognize him, but since he had no money he was kept in jail to work and thus to pay the fine.

The lieutenant of police who was searching for him unexpectedly did father Montez a good thing. Seeing the old man working about the prison, the lieutenant stopped to talk with him. The priest said he was a vagrant who had no home of his own.  The lieutenant, feeling sorry for the old fellow, released him and gave him a present of five pesos. Leaving town, Father Montez started out across the country to find a place of temporary safety. After traveling for some time, he met an Indian woman who could speak only a few words of Spanish. She wanted to make him understand that something was wrong with her child. He went with her and found that the baby had been shot; his immediate guess was that the American bandit had done the deed.

After making rites over the child, Father  Montez continued his flight. He went into the next state, where he was given sanctuary by a German plantation owner. After resting a few days, he planned to go to a city and there tell about his problems to his bishop. Before he could leave, however, he was found by the mestizo, who said that the American bandit, a Catholic, was dying and needed the priest. Father Montez answered the call, even though he was sure he was being led into trap. The bandit was really dying, but he was in the state from which Father Montez had just escaped. With him was a party of police, waiting for the priest's appearance in order to arrest him.

Immediately after the bandit's death the police took  Father Montez . He was taken back to the capital of the state and accused in treason. Then he was found guilty and sentenced to be shot. The lieutenant of the police, who felt sorry in a way for the old priest, tried to persuade the renegade Father Jose to hear Father Montez' last confession, but Father Jose, who feared the authorities, refused. Father Montez was led out and shot. But the lieutenant of police had not succeeded in removing the Church's influence; in the evening of the day on which father Montez died another priest made his way, in secret, into the town where the execution had taken place.

II.

The events of the book take place in one of the Mexican states, somewhere in the Tabasco region. Historically the time of the plot is 1930's. As the book shows, this historical period was very difficult for the country, because it was the time of "great reforms", i. e. the time of passage from the monarchism to communism. The beginning of this reforms was the Mexican revolution, which took place in 1910.

Also the book tells a lot about the climate of Mexico. It is very hot and  dry. The landscape, like one on the cover, is very typical for Mexico.

III.

The Power and The Glory, first published more than fifty years ago in a modest English edition of 3,500 copies, is Graham Greene's masterpiece, his most popular book. Based upon less than two months spent in Mexico in March and April of 1938, the novel of Greene is his "least English", containing only a few minor English characters. And when I read it I completely agreed with the Catholic teacher (I found the excerpt of the letter, which I placed as an epigraph in the beginning of my report, in periodical literature before I finished reading the book) who wrote to Graham Greene - "descriptions were so vivid, your priest is so real" - I felt that characters were real. I've never been in Mexico, and I can't say were these events and descriptions of them true or false, but I can say that they are very realistic. The novel reflects the author's interest in Mexico and his experience as a resident of that country. A Mexican priest in 1978 told to Greene's biographer, Norman Sherry: "As a Mexican I traveled in those regions. The first three paragraphs, where he gives you camera shots of the place, why it is astounding. You are  in the place".

Greene's reality showed me the Mexico, than I've never seen before. But the most interesting thing, from my point of view is that the story occurred many times in many places before and after the appearance of the book. As an example I can take the country, where I was born - Russian revolution in 1917 resulted the same persecution of  priests and Church.

Greene deals masterfully with the mystery of the God, with people's beliefs. In The Power and the Glory  Greene illustrates God's kindness as it defies the violent, atheistic government through the faith of his flawed, but still faithful people. And as the communism begins to spread all over the world, Greene's book assures the reader that there is a God, who will never leave us, and the evil will never win him.

1075.      The Breakdown of Community Ray Oldenburg Ishmael Reed

WR 121

Paper #2

The Breakdown of Community

In Ray Oldenburg's "The Problem of Place in America" and Ishmael Reed's "My

Neighborhood" the authors express thier dissatisfaction with the community.  Oldenburg

focuses on the lack of a "third place" and the effects of consumerism on the suburbs, while

Reed recalls his experience with prejudice communities.  Their aim is to identify problems

in our society that they find to be a problem.  Although neither of these authors offer

solutions, the fact that these problems are addressed is enough.

Some basic similarities between these two authors is they are both attempting to

identify problems in our society today.  There are many that are ailing our society at this

time, yet I agree with them in their deductions.  It seems that they have addressed two of

the main ills today, prejudice and consumerism.  These keep our communities from

becoming unified.  Fear is one of the prevalent themes in both essays.  In Oldenburg's

essay the suburbanite fears the unknown, his neighbors.  People feel threatened by the size

of the communities and they do not know anyone.  These is due partly to consumerism,

which keeps people indoors.  Reed was feared because of the color of his skin.  Dogs

would bark at him as he walked by, cops would enter his own home to harass him, people

would yell racial slurs, and he was even watched closely to make sure that he did not

abduct a child off the street.  These fears are a result of the media and our society telling

us to fear certain types of people.  Television often portrays the black man as a dope

dealing slander who hangs out on corners with a forty of "Old E."  Soon people begin to

believe all that they hear and begin to discriminate against others.

One glaring difference in the two authors essays is that they both address the same

problem yet they touch on differing aspects.  Oldenburg talks about the deterioration of

the suburbs.  One reason is that there is no third place.  This is where we come to grips

with our lives, relax, and reflect.  This could be a community center, a secluded spot in the

woods, or a coffee shop at the corner.  The problem is that these places simply do not

exist in the suburbs.  One must get in their car, use gas, and drive to a place of meeting.

This means planning out the whole rendezvous point in advance and making sure that the

person you want to meet can be there.  Consumerism also keeps the community from

talking with one another.  The television, video games, and stereo equipment make us

want to stay inside, thus ignoring our surroundings.  Soon we have thousands of houses

with no people that really know eachother because they are busy attending to a screen.

Ishmael Reed talks about the various communities he lived in, and how each one

varied in its level of prejudice.  Part of his problems were due to the fact that his skin was

black.  People were often cold to him and he was treated badly because he is a black man.

However, he finds the ideal neighborhood in Oakland.  His neighbors all look out for one

another and care about what happens in their area.  Also, the people often meet at thier

houses to have dinner and talk.  He says that it was the ideal community where the people

act human.  Now, while Reed is recalling a past experience of his, Oldenburg is simply

stating facts and observations.  Neither of these are direct warnings yet they attempt to

make us aware of common problems in today's society.

1076.      The British cinema renewed itself tardily no doubt by orthodox commercial procedures

I feel that this is a very complex statement that should be broken down in order to fully consider its validity.  I propose to look at what I have interpreted Durgnat to mean by 'proven successes'; to which other 'media' and 'new talents' he refers; whether British cinema did, in fact, 'renew' itself; and which 'orthodox commercial procedures' he alludes to in his summary.  Firstly, I have assumed that Durgnat's definition of 'proven success' to mean critical acclaim.  I would consider there to be several definitions of 'success' within the field of film and cinema, from the number of awards won to spectacular audience attendance not forgetting the box office return on production costs of the film.  Some films will only fall into one of these classifications whereas others may fall into more than one.  With this definition in mind I have decided to focus mainly on the films Billy Liar! (1963) and Saturday Night and Sunday Morning (1960) .

Billy Liar!, originally a novel, then a play, and finally making it to the big screen followed an almost standard route for films between 1959 and 1963.  The London run of Billy Liar! lasted for at least six hundred performances1 enjoying the successful adaptation of Waterhouse's novel.  With previous cinema adaptations of other writers successfully under their belt, Willis Hall and Keith Waterhouse decided to turn their hand to their own work and adapted the stage play's script for film.  The two scripts were almost identical with only a small number of censorious changes made to the film version.  John Schlesinger, the film's director, was able to explore Billy's fantasies in more depth, bringing an extra dimension to the central character and his surroundings due to the fact that film is a far more versatile medium than theatre.  For example, in the film, the viewer was visually transported to the imaginary country of Ambrosia rather than having to visit it through Billy's internal dialogue as had happened on stage and in the novel.  I believe that this capability of film enables viewers to engage better with the difficulties Billy faces and the fantasies he dreams of.   Adaptations 'are all more interesting than the novels they are derived from, largely because of the way ideological information seeps into every frame.'  Brian McFarlane highlights the importance of ideology within film, especially in one whereby 'reality' is being projected.  'As a result of the unobtrusive but insistent evocation of time and place, the protagonists' lives are seen to be played out against the backgrounds that shape and confine them:' 2 Film is much more able to use existing codes and conventions to signify and represent society in an accessible fashion.  Theatre however, due to the restrictive nature of a stage, is much more limiting.  In film, the viewer can be transported into the community rather than having to imagine certain aspects of the life of the central character.

I feel that the film version of Billy Liar! works considerably better as a film than as a play for these reasons. It is indisputable that Billy feels trapped by his surroundings, not physically so, but metaphorically, by his family, girlfriends and his own lies and I feel that this is epitomised by the locations chosen for the film and the film style.  Similarly, in the film version of Saturday Night and Sunday Morning (1960) the male lead, Arthur, is trapped by his feelings of being unable to escape the confines of the factory and Nottingham.  He is placed at a distance from both the viewer and other fundamental characters further emphasising his surroundings and internal conflicts.  The film is not as true a representation of Alan Sillitoe's novel as Billy Liar! was to Keith Waterhouse's.  Saturday Night and Sunday Morning merely adopts the novel's main incidents as it's own whilst bringing in fresh aspects to the plot and characters.

It is not uncommon for an author to see his or her work adapted beyond recognisable belief for a stage play or film, however, as the films often credit the original writer, the audience are sometimes misled to believe they are to witness a faithful reproduction of the original.  'Only too often one is obliged to admit that translation to the screen has coarsened or blurred a novel or play'3  Dilys Powell is quoted to have written.  I would suggest that this is a purist attitude to film criticism.  Rather than respect the film as a piece of art unto itself, as an adaptation of a novel, it would appear from this statement that Dilys Powell expects an exact replica of the novel on celluloid.  As touched upon earlier, the very nature of film allows for a different version of 'reality' to be presented in every scene viewed, connoting many facets of life that could never be captured using words alone.  Everything from accents to the locations themselves are chosen carefully to emphasise and embody the community depicted and to further highlight the anguish of the protagonist.  In the film version of Saturday Night and Sunday Morning the director, Karel Reisz, approaches his subject with a distinct sense of reality and rationalism whereas in the novel, Sillitoe's hero has a very romantic approach to the world.

Perhaps this alternative approach by directors could be attributed to the pressures of the industry and audiences in the late 1950s.  During this time, critical praise was heaped upon the films of the New Wave due to their perceived 'realism'.  These films, representing real life and real issues, were seen to be cultural reflections of the time, exemplifying the high artistic values and capabilities of the British film industry.  In his leaflet, Realism or Tinsel, Michael Balcon gave his views on the construction of contemporary films.  He approved of the documentary techniques adopted in the 'kitchen sink' style dramas of the era and degraded those films made purely for entertainment purposes.  Hollywood equated with 'tinsel', the glamour and theatrical style of films that really represented little other than a distraction.  It should be remembered however that whilst critical opinion matched that of Balcon, it represented a very middle class attitude of the industry at the time, and whilst the influence of critics can be very persuasive it does not always guarantee the success of a film.  In her book British Genres, Cinema and Society, 1930-1960, Marcia Landy categorises the reasons as to why realism was critically better received than anything else at that time. It was believed '(1) that realism is an unchanging essential phenomenon, (2) that realism is superior to genre production, (3) that the strengths of British cinema reside in realism, and (4) that films are a "reflection" of life.'4  In contrast to the realism being produced on home soil, Hollywood was seen to be turning out the 'tinsel', films of no real substance, purely entertainment.

During the period Durgnat mentions in the earlier quote, 1959 to 1963, the British film industry was still undergoing change.  Experiencing some remaining turbulence caused by the Second World War, this period continued to see outside influences affect the medium in such a way that would forever label these four years as the British New Wave.  This stage of British cinema's history was characterised by a new focus on working class life, more specifically on the Northern working classes.  With a filmic style firmly based on Grierson's documentary movement of the 1930s, these films had a refreshing gritty realism that was both new and exciting.  Loosely associated with the Independent Group of artists, architects and critics, this innovative group of 'New Wave' filmmakers had strong theatrical and literary roots.  Tony Richardson, Karel Reisz and Lindsay Anderson were all originally theatre directors, making their first documentaries in the mid 1950s and progressing onto feature films during this innovative period.  Both groups were determined to forge an original style in their respective media, the New Wave looked at the very essence of England and its communities whilst the Independent Group grasped the idea of Americanism and its consumerism.  Whilst this was the beginning of Pop Art, with its young, witty, sexy and gimmicky approach to brash subject matters, the film world was doing almost the reverse.  Equally outspoken about the social construction of society the New Wave focussed on emotions and realistic representations of daily life.  To further emphasise their modern approach many of these directors chose actors that were previously unknown in the cinema.  It was felt that they were able to project a more 'authentic' reality onto the screens as they had been untarnished by 'star' status.  The protagonists of this New Wave of films enabled viewers to focus on the film's subject matter and the values of working class life that were embodied within the film.  Often rebelling violently to society these modern day heroes were labelled the 'Angry Young Men', another phrase that was later adopted for the cycle of films.  With their rejection of society and feelings of anti-establishment these 'Angry Young Men' reflected an increasing divide between society's disillusioned young adults and their communities.  The realism portrayed in these New Wave films represented genuine contemporary issues in a way that had previously been left untouched by cinema.

Further assisted by the more relaxed censorship values of John Trevelyan, filmmakers were now able to tackle real issues of promiscuity, sex, nudity and abortion in an adult fashion.  Trevelyan had decided that, to prevent censorious cuts, he would award these films an 'X' certificate. He had hoped that this new cycle of films, critically defined as 'quality' because of their realism, would help to improve the image of the 'X' rated film which was previously associated with the sensational and exploitative horror genre.  Directors greeted this new policy with open arms.  The New Wave was ideally suited to adapt to these new regulations as the relaxed censorship enabled further exploration of real issues.  Billy, in Billy Liar!, makes open references to his girlfriends of his feelings for them, in one particular instance offering Barbara 'passion pills' to encourage her to sleep with him.  However, in the case of Liz, scenes that had been passed for the theatrical play had to be cut before the film could be shown to cinema audiences as they were deemed to be too contentious.

I feel that this relaxation of censorship could be indirectly classed as one of the orthodox commercial procedures to which Durgnat refers.  Whilst censorship was something that the filmmakers had no control over, the relaxed laws undoubtedly led to an increased attendance to many films especially those promising sexual excitement.  Previously any suggestion of sex in films had come from European 'art house' cinema, whose films had almost extensively been restricted to screenings in adult cinemas.  The relaxation of British laws, however, should not be misread to imply that laws were being adapted to try to remodel the film industry or society.  However, a desire to produce films with more colloquial, and sometimes coarse, dialogue and texts with a slightly more adult subject matter did assist the development of new broadcasting laws.  Many of the key acts in British history were passed during the 1960s as a direct result from pressures within the society that they were created to protect.

In an attempt to further help the British film industry grow during this of surge of activity, and once again outwith the control of the filmmakers themselves, the UK government took measures to encourage foreign film companies to enter the British commercial market.  By reducing the cost of filmmaking in Britain many French, Italian and American filmmakers produced films in Britain using our studios and technical crews.  As a direct result of this incentive, Harry Saltzman and Cubby Brocolli made Dr No (1962) the first of a long and successful line of James Bond films.  Again, first being published as a novel in 1958 by Ian Fleming, the current formula of British filmmaking was being used again albeit by an American.  Whilst Dr. No was not part of the 'Angry Young Men' cycle, these directors '...plainly put film second.  Their success was directly derived from the success of the original plays and novels by Osborne, Amis, Braine and Sillitoe.  Look Back in Anger, Room at the Top, The Entertainer, A Taste of Honey, Saturday Night and Sunday Morning, and The Loneliness of the Long Distance Runner came out in their original forms between May 1956 and September 1959.  The film versions, which came out after a three year interval, between 1959 and 1962, clearly depended on the prepublicity and acclaim already generated by their literary sources for their initial impact.'5  Peter Wollon is very critical of the films made between 1959 and 1963, as is Raymond Durgnat, as reflected in his opening statement.  Neither seem to consider that in this period cinema attendances had dropped dramatically and, with increasing competition from television, perhaps it was wiser for directors to stick with the tried and tested genre of literary adaptations.  It certainly wasn't a new discovery to adapt novels and stage plays, Brighton Rock (1947) started its life as a novel by Graham Green as did Bram Stoker's Dracula, which had more cinema adaptations prior to 1960 than I care to mention.  Nonetheless, audience tastes seemed to be progressing from the dramatic adaptations of previous years to real depictions of society.  The chief executive of Anglo-Amalgamated, Nat Cohen, 'did feel the change in audiences' tastes taking place at that time - for one thing, television was reflecting back into their own living rooms a much more realistic picture of the lives they led outside.'6   With this in mind, cinema had to try to increase its competitive edge by giving audiences what they wanted in terms of the realism that television was offering plus the subject matters that television was not yet able to provide.

I believe that the ultimate factor defining the breakthrough of cinema during the New Wave was the change of focus from the working classes as comedic entertainment to socially integrated and hardworking, members of society with their own aspirations.  The main core of the films made during the period 1959-1963 were adaptations of literary works and they were produced using styles taken directly from other sources.  However, the British film industry was once again about to face a further collapse if measures were not taken to support it.  To say that the industry 'renewed itself, tardily' can only really refer to the fact that the rest of Europe, especially France, had already initiated a revival of it's own.  Always a follower and never a leader, Britain was slow to adapt to the new techniques of the 'Nouvelle Vague' in France.  Nonetheless, the industry was reborn, if only for a short time, under its current guise.  A stimulating era which, in later years, influenced a new cycle of films termed 'Brit-Grit', evolving in the late 1980s, early 1990s.

Notes.

1.Anthony Aldgate, Censorship and the Permissive Society: British Cinema and Theatre, 1955-1965 (Oxford: Clarendon Press, 1995), p.146

2.Brian McFarlane, 'A Literary Cinema? British Films and British Novels', in All our Yesterdays - 90 Years of British Cinema, ed. by Charles Barr (London: BFI, 1986) pp. 120-42 (p.138)

3.Christopher Cook, ed., The Dilys Powell Film Reader (Manchester: Carcanet Press, 1991) p. 21

4.Marcia Landy, British Genres Cinema and Society, 1930-1960 (Princeton: Princeton University Press, 1991) p.50

5.Peter Wollon, 'The Last New Wave: Modernism in the British Films of the Thatcher Era', in British Cinema and Thatcherism. Fires were Started, ed. by Lester Friedman (London: UCL Press, 1993), pp. 35-51 (p.37)

6.Nat Cohen.  Alexander Walker, Hollywood, England. The British Film Industry in the Sixties (London: Michael Joseph, 1974/Harrap, 1986) p.112

Bibliography.

Aldgate, Anthony, Censorship and the Permissive Society: British Cinema and Theatre, 1955-1965 (Oxford: Clarendon Press, 1995)

Aldgate, Anthony and Jeffrey Richards, eds., Best of British. Cinema and Society from 1930 to the Present (London: IB Tauris, 1999)

Barr, Charles,ed., All Our Yesterdays - 90 Years of British Cinema (London: BFI, 1986)

Cook, Christopher, ed., The Dilys Powell Film Reader (Manchester: Carcanet Press, 1991)

Ellis, John, Visible Fictions  Cinema:Television:Video (London: Routledge & Kegan Paul, 1982)

Jordan, Marion, 'Carry on...Follow that Stereotype', in James Curran and Vincent Porter, eds.,British Cinema History (London: Wiedenfield and Nicolson, 1983) pp.312-27

Landy, Marcia, British Genres : Cinema and Society 1930 - 1960 (Princeton: Princeton University Press, 1991)

McFarlane, Brian, 'A Literary Cinema? British Film and British Novels' in All Our Yesterdays, pp.120-42

Murphy, Robert, Realism and Tinsel: Cinema and Society in Britain 1939-1949 (London: Routledge, 1989)

Murphy, Robert, Sixties British Cinema (London: BFI, 1992)

Park, James, British Cinema - The Lights that Failed (London: BT Batsford Ltd, 1990)

Russell, John, Intro.  Masterworks of the British Cinema (London: Taylor Lorimer Publishing, 1974)

Porter, Vincent, 'The Context of Creativity: Ealing Studios and Hammer Films',in British Cinema History, pp.179-207

Quart, Leonard, 'The Religion of the Market: Thatcherite Politics and the British Film of the 1980s' in Lester Friedman, ed., British Cinema and Thatcherism. Fires were Started (London: UCL Press, 1993) pp.15-34

Street, Sarah, British National Cinema (London: Routledge, 1997)

Walker, Alexander, Hollywood, England. The British Film Industry in the Sixties (London: Michael Joseph, 1974/Harrap, 1986)

Wollen, Peter, 'The Last New wave: Modernism in the British Films of the Thatcher Era', in British Cinema and Thatcherism. Fires were Started, pp.35-51

Filmography.

Billy Liar! (1963)

Saturday Night and Sunday Morning (1961)

1077.      The Cabinet of Dr Caligari

Tamala Garrett

English 376

Due 1/29/96

CRITIQUE OF THE CABINET OF DR. CALIGARI

The Cabinet of Dr. Caligari was written by Hans Janowitz and Carl Mayer, and

directed by Robert Weine.  It was produced in 1919 by Erich Pommer for Decla-Bioscop.

1919 was a year in which the movie industry was transformed into a giant industry.

Although the movie was produced in 1919, it was not released in the United States until

1921.  A time when film makers were out to prove that film was indeed art.  In the year

1921 525 films were released out of those 525, 50 still exist today, one of those 50 is The

Cabinet of Dr. Caligari.  At the time of its release in America, horror films were virtually

unheard of because filmakers felt that the subject matter was tasteless or even repulsive,

not to mention difficult to adjust to the silent screen.  The first horror film on record was

Frankenstein in 1910.  Elements from Frankenstein are evident in The Cabinet of Dr.

Caligari.

When the demonic somnambulist Cesare creeps into Lil Dagover's bedchamber, director

Robert Wiene was exploiting a fear common to us all.  Prone and sleeping the woman is

uttlerly helpless.  She is carried off into the expressionist labyrinth that Wiene used to

symbolize the darkest torments of the human mind and soul.  A beautiful woman is carried

off by evil, a play on the Beauty and the Beast themes that would become so popular in

horror films.

Used expressionism, films that explored dream, nightmare and psyche and that found their

narrative shape determined less by action than emotion.  Used angular sets and heavy

shadows to develop a macabre and horrific atmosphere for its tale of murder and madness.

The Cabinet of Dr. Caligari intentionally uses sets that look artificial.  The deliberate

distortions were meant to portray what a tormented soul might perceive.  German

expressionism, known as dada, and surrealism rejected notions of reality, the German

expressionist movement, modern art was underway.  Used tilted sets, and twisted

cardboard trees.  Light and shadow were used to create a response, and get the viewer

emotionally connected.

Two films imported from Germany named Passion and Sumurun starring a popular actress

named Pola Negri opened the door for other German imports.  The popularity of Negri

and Caligari combined helped to create a small art-house market.

The expressionistic style was widely distrusted at the time but even so was copied by

American directors looking to add European culture to their films.  The style soon became

so well known that a spoof was made of Caligari in 1928 called The Life and Death of a

Hollywood Extra which is a tale about a Hollywood extra whose dreams of fame and

fortune are frustrated.

Caligari had a lot of effect on the content of future Hollywood movies.  It's influence can

be seen in later films such as The Bells (1925) and Murders in the Rue Morgue (1932).

1078.      the cask of amontillado

Itzkowitz, David

11/26/96

period 1

At precisely 10:30 A.M. I got a call from a Mr. Machiano saying while renovating a palazzo his men found the bones of a human.  When I got to the scene one of his employees showed me to the bones.  The clothes were still on the carcass.  I asked Mr. Machiano how the body was discovered, "My men were knocking down the walls and one of them found a skeleton with its clothes on, and that's when I called you."  I asked whom he bought the palace from.  "A man I would say in his early eighties, named Montresor."  I then left to learn about this person..  I found out that he is living with a cousin right near his old home.  I decided to stop by and ask him a few questions hoping he will remember or know something.  After about an hour of getting "I do not know. What are you talking about? Please leave." I realized this was a waste of time and decided to go.

Later that night while eating dinner I decided the next morning I would go back to the crime scene to check for clues.  The next morning I called Mr. Machiano and asked him to meet me at the palazzo.  As I approached the body I began to feel a little queasy from last night's dinner but luckily I brought some herbal tea to help soothe my stomach.  Anyway, I began to search the ground around the body hoping to find some clues.  I noticed a gold bracelet on the ground near the body, and  it read Montrsor.  I decided to do a little more research on this man.  I went to the station and asked the secretary to show me the file on any person missing for more than 20 years.  The list only had about five people on it with a brief description.  There was a man by the name of Fortunato on it who has been missing for about 50 years.  He was last seen wearing a motley.  I then put two and two together and after some investigation, I found out that the carcass was indeed Fortunato.  Later that afternoon I decided to visit Mrs. Fortunato.  She took the news pretty well, but I guess she had a feeling he was dead  She said "The last time I saw him was fifty years ago during carnival season."

I went back to Montresor's house and told him that "Next to Fortunato's body was a gold bracelet with your name on it."  He still claimed to have nothing to do with the murder and had no idea how his bracelet got near the body.  "It must have fallen off and sunk into the mortar."  When I said that I could sense his nervousness.  I asked him if he was okay, then I heard him mumble something.  I asked him to say that louder I could not quite hear that.  He said "I killed him, and I do not even regret it."  He kept the murder a secret all these years because he did not want to go to jail.  "Now you are definitely going to jail."  I felt kind of bad bringing an eighty year old person to jail, but I had no choice.

Epilogue

Four years later Montresor died.  The Trumpino Towers was completed and a big success!

1079.      The Catcher and The Rye

Rachel LaRoche

English 10-D

Book Review                                                                                       December 14, 1996

The Catcher In The Rye

The Catcher In The Rye,  written by J.D. Salinger, is a fictional novel that was first published in 1965.  The novel takes place in New York City and in Pennsylvania over a duration of four days.  This novel tells the story of an emotionally disturbed teenager who has been kicked out of a boarding school. The story is told  from the point of  view of a teenager who is the narrator of the story.

The main character in this novel is Holden Caulfield.  He is sixteen years old and serves as the narrator of this novel.  Holden does not like anybody or anything around him.  He is an emotionally troubled kid and has many problems with his life.  Phoebe is Holden's little sister.  She is ten years old and lives at home with their parents.  Phoebe really admires and loves her big brother, Holden.

This novel begins when Holden is in a mental hospital in California.  The  novel is a flashback of the events over a time period of four days.  The flashback starts off when Holden gets kicked out of his boarding school, Pency Prep, because he is failing most of his classes.  Holden decides to go into New York City for a couple of days until his parents will be expecting him home for Christmas vacation.  Holden goes to bars and meets with friends during this time.  On  the third night, Holden decides to go and visit his sister, Phoebe.  Phoebe is one of the only people that Holden actually loves.  Holden talks

LaRoche 2

to Phoebe about his life being a failure.  He is trying to understand life and his place in the world.  Holden decides that he wants to go see Mr. Antolini, an old teacher, to help him

get a better understanding of his life.  At Mr. Antolini's home, Holden discusses many of the problems that he is facing.   Mr. Antolini tells Holden that he has to learn not to hate everyone around him.  He has to learn to love people.  Holden is told that he has to think about his future.  He has to decide when he is going to start to take life seriously and apply himself in school.  Holden's conversation with Mr. Antolini is the climax of  the novel.  This is the point of the novel when Holden starts to listen and understand his problems.  He realizes that it is time he put his life back on the right track.  The next day, Holden returns home to his family.  Holden is taken directly to a mental hospital in California.  The hospital is where Holden is before the flashback.

Holden was a very true-to-life character.  Holden's problems are similar to many teenagers of today.  A lot of teenagers do not know what they want in life just like Holden.  Holden has many problems in school similar to the probelms other kids have in school.  Mr. Antolini says to Holden, "Many, many men have been just as troubled morally and spiritually as you are right now." (189).  His statement is an example that shows that Holden is not the only person in the world with these problems.  Their problems might not be as severe as Holden's, but they are similar.  Many teenagers don't know what they want to do in the future just like Holden.  Holden is a very true-to-life character, because his problems relate to the problems of many young people today.

LaRoche 3

The reader of this novel might dislike some of the actions and find them to be unrealistic.  It is unrealistic that a sixteen year old kid would go to New York City for four days by himself with no one worrying about where he is.  In real life,  most kids would not

have the money to go into New York City for four days.  A normal school would  contact the parents if the child was expelled.  Therefore, the parents will know that the kid is coming home and the kid will not be able to go off on his own for four days without supervision. This novel had some actions in it that just would not happen in real life.

In conclusion, I really enjoyed reading this novel.  I can relate a lot of the problems that Holden was facing to people that I know.  This novel kept my attention, because I wanted to know what was going to happen to Holden.  The author probably wrote this novel to relate some of the problems that he had in life with the problems of people reading this book.  The author was attempting to impress upon his readers that it is okay to not know what you want in life when you are young.  I believe that he was successful, because he made me believe that it is okay for me not to know what I want to do in life.  This novel was very well written, and I would give it an eight on a ten point scale.

1080.      The Catcher In the Rye discuss why holden is a phony as the

The Catcher in the Rye

Holden is just as phony and hollow as the people whom he criticizes.

Holden's main problem is that he practically does not even view himself as part of the human race.  He either believes himself to be either inferior or superior to the "rest of us."

Thoughout the novel certain instances occur that lead us to believe that Holden has a serious problem in seeing himself as normal.  He spends an awful lot of time reflecting upon apperances.  Worrying too much about how the people around him seem to be, and yet at times not even thinking of how he is coming off.

He fabricates such personalities as Jim Steele who is 22 and has a little encounter with a hooker in the begining of chapter 13.  This Jim guy was sopposed to be this highly sexually experienced nonchalant casa-nova.  When he really quotes himself to be as follows:  "Caufield and his magic violin, boy.  It's corny I realize, but it isn't too corny.  I wouldn't mind being pretty good at that stuff.  Half the time, if you really want to know the truth, when I'm horsing around with a girl, I have a helluva lot of trouble just finding what I'm looking for, for God's sake, if you know what I mean."

1081.      The Catcher in the Rye

The theme that the world has an outward appearance that seems fair and perfect but really they're

as Holden put it "phonies." This is shown countless amount of times in his journey through New

York and even before he left. The setting is in the 1950's; so I'm pretty sure that he didn't encounter

any transvestites, lesbians, or anything that extreme of phoniest. Or on the other hand he could have

liked them for being as Elmemson said a "none conformist." But I doubt it, he seemed to like kids

more than anything. And his job, as he felt, was to protect them in their innocents; of which I will

talk about in my second theme.

The first example that stands out in my mind is the scene with Stradlater in the "can." If you

remember Stradlater was getting ready for his other date while Holden watched him. "Stradlater

was a secret slob" in public he always looked good and got all the girls but in fact he was a slob. His

razor that made him look so good was "rusty as hell and full on lather and hair and crap." This

proves that he is a slob to "never clean it or anything." If you think about it that's even worst than

Old Ackley. At least Ackley knew that he had a problem, that he need to do something about his

face; but Stradlater thought that he was a great guy. He actually thought that there was nothing

wrong with never washing his razor. I think that what mad, Holden so made Stradlater was

perpetrating in other word being "phony" every time he went out all GQ after using that filthy razor.

Another instance is when he calls that girl in New York, Faith Cavendish, that Eddie Birdsell had

brought to a dance at Princeton. Anyway he called her and she almost went off until Holden

drooped Eddie's name. Then all of a sudden "she was getting friendly as hell." The same person said

"if you think I enjoy bein' woke up in the middle-" was "getting an english accent all of a sudden." I

think Holden caught her with her faade down. When she first picked up the phone she was mad as

anybody else would be in her shoes. But as soon as she processed "Eddie Birdsell from Princeton"

she became so amicable. She most of thought that a friend of Eddie, from Princeton, most have

been rich or at lest well off. Faith was all ready to hook up with him for a date until she asked

"Where ya callin' from? Where ya at now, anyways?" And "in a phone booth" was the wrong

answer. When he said that she new he had no money and from that point on she had no time to

meet up any more. This is a good example of the phoniest that Holden will talk about all through

book.

Oh and one I almost missed it is a little before the conversation with Faith it is a very important

event. When J.D. Salinger had Holden look about of the window I think it was a big simile, of which

I think about more in theme number 3, of the theme of the book. I'm sure Holden didn't ride all the

way to New York to pick a run down hotel. So I take it when he drove up it probably looked good

on the outside. He even "took it off [referring to the red hunting hat] before I checked inI didn't want

to look like a screwball or something." So we can assume it was nice, or at lest on the outside.

Salinger even throw Holden foreshadowed a little in the line "I didn't know then that the goddam

hotel was full of perverts and morons." The first guy he saw out his room window "took out all these

women's clothes, and put them on." Then he started walking around like a women, smoking a

cigarette, and looking in the mirror. And now I guest I have to take back my sentence about

transvestites in the opening paragraph. Second he saw a couple squiring water and "they were in

hysterics the whole time," a little strange. You see the outside of the hotel represents what society is

or tries to be, all nice and neat. And the people acting silly in the rooms are what we a really like. Im

not saying we are all perverts but we all have two different personalities; one outside and one inside

closed doors.

Since I'm will into the second page and it's past my bed time or at lest it feels like it is this is the last

one for this theme. The one I had in mind is the one the date he had with Sally. From the jump she

was phony. Holden had already talked to her dad and told him how it was, but she still asked how it

was. Holden when call her "quite a little phony," she even sounded phony through the book with

lines like "I'd love to grand." And when they got through with the play on the Lunts it didn't get any

better. They ran into this guy that Sally knew and both of their phoniest began to shine. "You've

though that they hadn't seen each other for twenty years" they probably even hugged and kissed

checks and all. And the funny thing is that "they probably met each other only once." And from that

point on they went on a quest to outname the other. "They both kept thinking of places as fast as

they could" trying to get the upper-hand in a game of illusion. They both were trying to, I guest,

show they are more popular than the other by making it seem like they known all these places and

people, when in actuality they were two big phonies.

The next Theme of this story that I want to talk about is the significance of the novel's title. First of

all I have to say why the book was entitle as it was "The Catcher in the Rye." The title of the book is

a mystery all the way until chapter 21 when he sneaked back home to see Phoebe. When Phoebe

fronted him about getting kicked out of school again saying "you don't like anything" Holden was

forced to come up with something he would enjoy to be or do. After minutes of pondering Holden

said "I'd just be the catcher in the rye and all." He just wanted to save the little innocent kids from

falling. The kids I think represent the innocents of the young just playing and when they fall off the

cliff they discover the world. He wants to protect them and keep them pure will. All through the

story Salinger used Holden as the catcher on the rye to protect or try to protect the innocents of

kids.

The biggest and most memorial of this protection is when he went to Phoebe elementary school to

talk to her before he had to leave. Anyway he saw the word fuck you on the hall walls and "it drove

him dam near crazy." He couldn't stand the idea that Phoebe or her friend had seen that on the wall.

If they saw it they would wonder and eventually "some dirty kid would tell them" and they would

know the cruel the world thus falling in the rye. As his duty as the catcher in the rye Holden tried to

erase the first one that was on the walls, but later said "it's hopeless anyway. If you had a million

years to do it in, you couldn't rub out even half the fuck you signs in the world. Its impossible." Now

I think the word tragedy goes right there. If the job that Holden is set out to do is inevitable then it's

a tragedy. Salinger illustrates a full blown tragedy with a 15 year old boy; it sounds a lot like the

classic we read last year Romeo and Juliet. A young boy, even the same age, is placed in a no win

situation.

The next one I just thought about is the time Holden got a snow ball off the window cell. This has

nothing to go with protecting but it is about purity. Holden got some show from off the window pan

and he "started to throw it" but after looking out at the scene he decides not to. He said he stared it

throw it at a car and fire hydrogen but they looked "too nice and white." Holden is consumed with

finding and protecting purity, and when he found something pure he didn"t want to disturb it. But it's

strange how he used the words "nice and white," I know that the snow was white but is there

something more there. White is often associated with pure and even holiness. He may be comparing

it to a holy site; because he does ask Ackley about joining later in the book. You never know.

Theme number three is going to be a discussing about Salinger and his symbolism. Salinger is a

master of the subtle symbolism. He lays his symbols so subtle that most of the time they're not even

found or addressed even by a commentary over the book. I really enjoyed reading and rereading

this book to find embedding symbols. I think that's what made it so good.

A very important character that is referred to all throgh the story by Holden is Allie. Allie is Holder's

younger brother who died of leukemia when he was just thirteen. Holden loved his brother more

than anything and when he died he punched out all the windows in the garage. He said that "my

hand still hurts me once in a while." This is symbolic of the love he had and still has for his little

brother; he even quotes latter that "you don't stop loving someone because they die" proving that he

still cares for him. He may even think he had something to do with his death or he caused it.

Sometimes little kids think stuff like that. Holden also says that " I can't make a real fist any

more-not a tight one." If his fist represents his love for his brother or his heart than maybe he can't

love again. When he meet up with Sally he said he felt like marring her than he discards it by saying

"I don't even like her much." Holden is afraid to love again because of the way his heart and fist was

broken by Allie.

Another symbol is his own sister Phoebe. First you must understand that Phoebe came from the

Greek word meaning Sun. Holden is lost in the world and feels that everything is "phony." Phoebe is

his symbol of hope in the world. All Holden needs is hope. Just as the sun comes out and shines it's

beautiful color and truth to the world to nurrshish and feed the plant; so did Phoebe come with her

innocent hands saving Holden from the world. "The first thing I did when I got off at Penn station, I

went into this phone booth." Holden first started to call his brother but then he thought of his sitter

Phoebe, then he whet on about her and how she wouldn't mind being woke up. All through the

book he will think about call and eventually sneak home just to see her. This shows he sees her as

his only light in this world of phonies hint the name Phoebe Greek for sun.

I read a very interesting point in a book review about The Catcher in the Rye that explains the

Holden behavior all through the book. In short it said his activities "describes a developing nervous

breakdown." And if you think of the symptoms you would a agree. Unexplained depression, show

countless time in the story as "I felt depressed as hell." And the why that Salinger keep using the

world depressed, not bad or mellow but depressed he may have been hinting at it. Impulsive

spending, that is obvious through the fact he only had "3 dollars and some change" after just 2 days

in New York. Erratic behavior, example is Holden just jumping up and put Stradlater in a "half

Nelson." All of this is prior to his eventual

1082.      The Chamber A Look into the Novel and Film

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Dan Cano

Mrs. Ficarrota

English 10 Honors

9 December 1996

The Chamber: A Look Into the Novel and Film

Stories about crime prove to be a strong part of America's entertainment in this day. In The Chamber, John Grisham writes about a Klansman who is convicted of murder and a grandson who tries to save his grandfather is on death row. This story is now a major motion picture.

This story carries a strong emotional following to it because it both questions and supports the death penalty in different ways. Grisham shows this when he writes: " ' I've hurt a lot of people, Adam, and I haven't always stopped to think about it. But when you have a date with the grim reaper, you think about the damage you've done.' " The messages about the death penalty are brought about in different ways in the film and in the novel. Although the novel and film adaptation of The Chamber have some significant differences, the plot and character perspectives are used to convey a political message about the death penalty.  (378)

The various characters in The Chamber have different traits and backgrounds that affect their perspectives on certain issues.  Sam Cayhall is one of the main characters in the story whose background is filled with hate because of his connection with the Klan. "The second member of the team was a Klansman by the name of Sam Cayhall," "The FBI knew that Cayhall's father had been a Klansman, . . . "  (Grisham 2-3). Sam, who is brought up under the influence of the Ku Klux Klan, uses "politically incorrect" terms for other minorities when he talks with Adam Cayhall in death row. " ' You Jew boys never quit, do you?' ", " ' How many nigger partners do you have?' " " ' Just great. The Jew bastards have sent a greenhorn to save me. I've known for a long time

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that they secretly wanted me dead, now this proves it. I killed some Jews, now they want to kill me. I was right all along.' " (Grisham 77-78). These statements reflect Sam Cayhall's intense hate for others which is derived from his young upbringing in the Ku Klux Klan. Sam's background as a Klansman is told by Grisham using Sam telling Adam about generations of Klan activity:

" 'Why did you become a Klansman?'

'Because my father was in the Klan.'

'Why did he become a Klansman?'

'Because his father was in the Klan.'

'Great. Three generations.'

'Four, I think. Colonel Jacob Cayhall fought with Nathan Bedford Forrest in the war, and family legend has it that he was one of the early members of the Klan. He was my great-grandfather.' " (123).

Adam Cayhall is a young motivated lawyer who is driven to save his grandfather, Sam, because he wants to find out about his family history as well as about his grandfather. John Grisham shows Adam's desire to defend his grandfather and get him out of being executed:

" ' I've studied his entire file.' " " ' I'm intrigued by the case. I've watched it for years, read everything written about the man.  You asked me earlier why I chose Kravitz & Bane. Well, the truth is that I wanted to work on the Cayhall case, and I think this firm has handled it pro bono for, what, eight years now?' " (28).

Adam's desire to learn more about his family through defending Sam is strong. " 'I'm your grandson. Therefore, I'm allowed to ask questions about your past.' " (Grisham 123). Adam uses his family to relate to Sam. The author shows this when he quotes Adam saying,

" 'On behalf of my family, such as it is-my mother who refuses to discuss Sam; my

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sister who only whispers his name; my aunt in Memphis who has disowned the name Cayhall-and on behalf of my late father, I would like to say thanks to you and to this firm for what you've done. I admire you greatly.' " (45).

Lee is Sam Cayhall's granddaughter; she has trouble getting rid of the painful memory that is her father. Lee becomes an alcoholic to deal with her pain of being the daughter of Sam Cayhall.  Her pain surfaces again when Adam comes down to try to save Sam and the case becomes news again.  Grisham tells about Lee's problem with alcohol in many ways. " 'All right, dammit. So I'm an alcoholic. Who can blame me?' " (302).   " 'No you won't, Lee. You're not drinking any more tonight.  Tomorrow I'll take you to the doctor, and we'll get some help.' " (304).  Lee is Sam's daughter, and therefore she had to live with the memory that her father was a murderer.

The plot and characters have some differences between themselves in the novel and the film. The melodramatic film takes away from the novel's descriptive plot. The first major difference I noticed was in the level of detail. The novel seemed to be much more descriptive than the film. The film basically focused on the relationships between the characters which left out much of the novel's detailed plot. The major part of the novel's detail which was left out of the film was the characters. There were characters written about in the novel that were not included in the film. The first, and most significant was Jeremiah Dogan. Dogan was the Imperial Wizard for the Klan in Mississippi in the beginning of the book. He is the one who set's up the entire bombing which Sam Cayhall is convicted of single-handedly doing. "He was not stupid. In fact, the FBI later admitted Dogan was quite effective as a terrorist because he delegated the dirty work to small, autonomous groups of hit men who worked completely independent of one another."  (Grisham 2).

The difference between the film and the novel that disappointed me most was the minor but

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highly significant changes of the plot. In the novel, the first three chapters of the book describe the

events leading up to the bombing in detail.  The movie starts with the actual bomb going off itself.  The beginning of the book that was left out was one of the most interesting parts of the novel and should not have been left out of the film. (Grisham 1-22).

John Grisham, the author of The Chamber, does not approve of Universal's film adaptation.

"As his asking price has soared, so has his involvement. Grisham had approval of the script, director and cast during the making of A Time to Kill (while grumping about Universal's unapproved adaptation of The Chamber, due this fall). He is co- writing the screenplay for The Rainmaker with director Francis Coppola."  (Bellafante 1)

The author and film use character perspectives to convey a political message about the death penalty. Adam's profession, and family influence his perspective on the death penalty. Grisham shows this in Adam's conversation with his employer. " 'I'm opposed to the death penalty.' 'Aren't we all, Mr. Hall?' " (Grisham 27). Besides Adam's career in law influencing his perspective on the death penalty, seeing Sam on death row also influences Adam's views. " 'It is not simply about someone being executed, but about a grandfather dying and his grandson's frightening circumstance of trying to win both a legal victory to save him and an emotional victory to reach him.' " (Greer 2-3).

Mississippi's Governor McAllister uses the Cayhall case to enhance his public stature. John Grisham uses many different ways to show how Governor McAllister supports the death penalty by putting Sam on death row:  "In 1980, eight short years after the trial, David McAllister was elected governor of the State of Mississippi. To no one's surprise, the widest planks in his platform

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had been more jails, longer sentences, and an unwavering affinity for the death penalty."  (50). Sam expresses his hate of the governor as well. " 'An hour before I die, he'll hold a press conference somewhere-probably here, maybe at the governor's mansion-and he'll stand there in the glare of a hundred cameras and deny me clemency. And the bastard will have tears in his eyes.' " (Grisham 122).

Ruth Kramer and her family are the characters who are also supportive of the death penalty. Their perspective is brought about because her husband and two children were killed by the man who awaits the gas chamber. While Sam Cayhall thinks David McAllister is a monster, Ruth Kramer thinks David McAllister is a hero for demanding justice. These are the two sides of the coin which is the death penalty in The Chamber. As Grisham writes it, Ruth Kramer's situation is well described by Lee in this line:

" 'Bitter? She lost her entire family. She's never remarried. Do you think she cares if my father intended to kill her children? Of course not. She just knows they're dead, Adam, dead for twenty-three years now. She knows they were killed by a bomb planted by my father, and if he'd been home with his family instead of riding around at night with his idiot buddies, little Josh and John would not be dead.' " (61).

The Chamber is a story about life and death and how it is treated by different people. In the film, The Chamber more about relationships. " 'The film is about a young man, very alone in the world, connecting with his grandfather and trying to understand who he is.' " (Greer 4). Despite the differences between the two, The Chamber proves to show a political message on the infliction of the death penalty in America.

1083.      The Chamber

The Chamber: A Look Into the Novel and Film

Dan Cano

Mrs. Ficarrota

English 10 Honors

9 December 1996

Stories about crime prove to be a strong part of America's entertainment in

this day. In The Chamber, John Grisham writes about a Klansman who is convicted

of murder and a grandson who tries to save his grandfather is on death row. This

story is now a major motion picture. This story carries a strong emotional

following to it because it both questions and supports the death penalty in

different ways. Grisham shows this when he writes: " ' I've hurt a lot of people,

Adam, and I haven't always stopped to think about it. But when you have a date

with the grim reaper, you think about the damage you've done.' " The messages

about the death penalty are brought about in different ways in the film and in

the novel. Although the novel and film adaptation of The Chamber have some

significant differences, the plot and character perspectives are used to convey

a political message about the death penalty.  (378)

The various characters in The Chamber have different traits and

backgrounds that affect their perspectives on certain issues.  Sam Cayhall is

one of the main characters in the story whose background is filled with hate

because of his connection with the Klan. "The second member of the team was a

Klansman by the name of Sam Cayhall," "The FBI knew that Cayhall's father had

been a Klansman, . . . "  (Grisham 2-3). Sam, who is brought up under the

influence of the Ku Klux Klan, uses "politically incorrect" terms for other

minorities when he talks with Adam Cayhall in death row. " ' You Jew boys never

quit, do you?' ", " ' How many nigger partners do you have?' " " ' Just great.

The Jew bastards have sent a greenhorn to save me. I've known for a long time

that they secretly wanted me dead, now this proves it. I killed some Jews, now

they want to kill me. I was right all along.' " (Grisham 77-78). These

statements reflect Sam Cayhall's intense hate for others which is derived from

his young upbringing in the Ku Klux Klan. Sam's background as a Klansman is told

by Grisham using Sam telling Adam about generations of Klan activity:

" `Why did you become a Klansman?'

`Because my father was in the Klan.'

`Why did he become a Klansman?'

`Because his father was in the Klan.'

`Great. Three generations.'

`Four, I think. Colonel Jacob Cayhall fought with Nathan Bedford

Forrest in the war, and family legend has it that he was one of the early

members of the Klan. He was my great-grandfather.' " (123).

Adam Cayhall is a young motivated lawyer who is driven to save his

grandfather, Sam, because he wants to find out about his family history as well

as about his grandfather. John Grisham shows Adam's desire to defend his

grandfather and get him out of being executed:

" `I've studied his entire file.' " " ' I'm intrigued by the case.

I've watched it for years, read everything written about the man.  You asked me

earlier why I chose Kravitz & Bane. Well, the truth is that I wanted to work on

the Cayhall case, and I think this firm has handled it pro bono for, what, eight

years now?' " (28). Adam's desire to learn more about his family through

defending Sam is strong. " 'I'm your grandson. Therefore, I'm allowed to ask

questions about your past.' " (Grisham 123). Adam uses his family to relate to

Sam. The author shows this when he quotes Adam saying,

" `On behalf of my family, such as it is-my mother who refuses to

discuss Sam; my

sister who only whispers his name; my aunt in Memphis who has

disowned the name Cayhall-and on behalf of my late father, I would like to say

thanks to you and to this firm for what you've done. I admire you greatly.' "

(45).

Lee is Sam Cayhall's granddaughter; she has trouble getting rid of the

painful memory that is her father. Lee becomes an alcoholic to deal with her

pain of being the daughter of Sam Cayhall.  Her pain surfaces again when Adam

comes down to try to save Sam and the case becomes news again.  Grisham tells

about Lee's problem with alcohol in many ways. " 'All right, dammit. So I'm an

alcoholic. Who can blame me?' " (302).   " 'No you won't, Lee. You're not

drinking any more tonight.  Tomorrow I'll take you to the doctor, and we'll get

some help.' " (304).  Lee is Sam's daughter, and therefore she had to live with

the memory that her father was a murderer.

The plot and characters have some differences between themselves in the

novel and the film. The melodramatic film takes away from the novel's

descriptive plot. The first major difference I noticed was in the level of

detail. The novel seemed to be much more descriptive than the film. The film

basically focused on the relationships between the characters which left out

much of the novel's detailed plot. The major part of the novel's detail which

was left out of the film was the characters. There were characters written about

in the novel that were not included in the film. The first, and most significant

was Jeremiah Dogan. Dogan was the Imperial Wizard for the Klan in Mississippi in

the beginning of the book. He is the one who set's up the entire bombing which

Sam Cayhall is convicted of single-handedly doing. "He was not stupid. In fact,

the FBI later admitted Dogan was quite effective as a terrorist because he

delegated the dirty work to small, autonomous groups of hit men who worked

completely independent of one another."  (Grisham 2).

The difference between the film and the novel that disappointed me most

was the minor but highly significant changes of the plot. In the novel, the

first three chapters of the book describe the events leading up to the bombing

in detail.  The movie starts with the actual bomb going off itself.  The

beginning of the book that was left out was one of the most interesting parts of

the novel and should not have been left out of the film. (Grisham 1-22).

John Grisham, the author of The Chamber, does not approve of Universal's

film adaptation.

"As his asking price has soared, so has his involvement. Grisham

had approval of the script, director and cast during the making of A Time to

Kill (while grumping about Universal's unapproved adaptation of The Chamber, due

this fall). He is co- writing the screenplay for The Rainmaker with director

Francis Coppola."  (Bellafante 1)

The author and film use character perspectives to convey a political

message about the death penalty. Adam's profession, and family influence his

perspective on the death penalty. Grisham shows this in Adam's conversation with

his employer. " 'I'm opposed to the death penalty.' 'Aren't we all, Mr. Hall?' "

(Grisham 27). Besides Adam's career in law influencing his perspective on the

death penalty, seeing Sam on death row also influences Adam's views. " 'It is

not simply about someone being executed, but about a grandfather dying and his

grandson's frightening circumstance of trying to win both a legal victory to

save him and an emotional victory to reach him.' " (Greer 2-3).

Mississippi's Governor McAllister uses the Cayhall case to enhance his

public stature. John Grisham uses many different ways to show how Governor

McAllister supports the death penalty by putting Sam on death row:  "In 1980,

eight short years after the trial, David McAllister was elected governor of the

State of Mississippi. To no one's surprise, the widest planks in his platform

had been more jails, longer sentences, and an unwavering affinity for the death

penalty."  (50). Sam expresses his hate of the governor as well. " 'An hour

before I die, he'll hold a press conference somewhere-probably here, maybe at

the governor's mansion-and he'll stand there in the glare of a hundred cameras

and deny me clemency. And the bastard will have tears in his eyes.' " (Grisham

122).

Ruth Kramer and her family are the characters who are also supportive of

the death penalty. Their perspective is brought about because her husband and

two children were killed by the man who awaits the gas chamber. While Sam

Cayhall thinks David McAllister is a monster, Ruth Kramer thinks David

McAllister is a hero for demanding justice. These are the two sides of the coin

which is the death penalty in The Chamber. As Grisham writes it, Ruth Kramer's

situation is well described by Lee in this line:

" 'Bitter? She lost her entire family. She's never remarried. Do

you think she cares if my father intended to kill her children? Of course not.

She just knows they're dead, Adam, dead for twenty-three years now. She knows

they were killed by a bomb planted by my father, and if he'd been home with his

family instead of riding around at night with his idiot buddies, little Josh and

John would not be dead.' " (61).

The Chamber is a story about life and death and how it is treated by

different people. In the film, The Chamber more about relationships. " 'The film

is about a young man, very alone in the world, connecting with his grandfather

and trying to understand who he is.' " (Greer 4). Despite the differences

between the two, The Chamber proves to show a political message on the

infliction of the death penalty in America.

1084.      The changes in the narratots view of sonny

The Changes in the Narrator's View of Sonny

Can one know another's thoughts? Through dialogue, actions, and events, the thoughts and views

of a man of whom we know not even a name are shown. The man is the narrator of "Sonny's Blues" and

his thoughts we are shown are those directed towards his brother. Over the course of the story, there are

three major stages or phases that the narrator goes through, in which his thoughts about his brother

change. We see that those stages of thought vary greatly over the narrator's life, from confusion about his

brother to understanding. Each phase brings different views of his own responsibility toward his brother,

his brother's manhood, and his brother's sense of reality.

Through out the story, three of the narrator's view are changed, the first of which is Sonny's

manhood. During the first phase, early in the story, the narrator showed that he viewed Sonny as a child.

"I was beginning to realize that I'd never seen him so upset before... [and decided this was] one of those

things kids go through and that I shouldn't make it seem important."(49) This quote is an example of how

the narrator viewed his brother. He not only thought Sonny acted as a kid, but was also too young to be

planning a future or career. "He still wasn't a man yet, he was still a child, and they had to watch out for

him in all kinds of ways."(51) The narrator decided that he would plan Sonny's future and when Sonny

rebelled,  the narrator saw it as yet another childish action.

Another way in which the narrator's overall view changed was his view on whether Sonny's idea

of reality was sound. Still in the first phase, the narrator often presents his view of reality and when Sonny

rejects it, the narrator feels Sonny is being unreasonable. For instance, "'Well Sonny,' I said, gently, "you

know people can't always do exactly what they want to do-' 'No I don't think that,' said Sonny, surprising

me."(49) Actually, Sonny understood life much more clearly than the narrator, but the narrator did not

realize that then. He thought that perhaps Sonny was just too young or too high on drugs to understand

what life was about.

Finally, the third view changed was the narrator's responsibility towards Sonny. Before the

brothers' mother died, the narrator promised he would take it upon himself to take care of Sonny should

the mother die. The narrator viewed Sonny as a responsibility he had. Because of the promise made to his

mother, he felt he owed it to his mother to take care of Sonny. Therefore, whenever he did something for

Sonny it was because his mother had wanted him to, not because he cared about Sonny. As soon as taking

care of Sonny stopped working with his schedule, he sent him to his mother-in-law's house.

During the story, however, a long separation brought the narrator into his second stage of

thinking, and changed his views of Sonny. The narrator recognized that Sonny wasn't just a kid any more.

Sonny had been in the Navy and had been living on his own for some time. Yet he didn't see him as a

man either. "He was a man by then, of course, but I wasn't willing to see it."(52) He saw Sonny as a

teenager of sorts. Sonny dressed strangely, became family with strange friends, and listened to still

stranger music." In the narrator's eyes, Sonny foolishly thought he knew everything.

Even though the narrator's views on Sonny's manhood changed, during the second stage his

feelings about Sonny's sense of reality didn't. When he saw Sonny after Sonny's stay in the Navy, the

narrator still viewed Sonny as if he were on drugs. "He carried himself, loose and dreamlike all the time,

...and his music seemed to be merely an excuse for the life he led. It sounded just that weird and

disordered."(52) He thought that Sonny had been driven even farther from reality than before. He thought

that Sonny's view of reality was so distorted that he might as well have been dead.

Unlike his views on Sonny's sanity, when his views on Sonny's manhood changed so he thought,

did his responsibility toward Sonny. He began fighting regularly with Sonny, "Then [Sonny] stood up and

he told me not to worry about him anymore in life, that as he was dead as far as I was concerned."(52)

During this time in which the narrator thought Sonny was acting as a teenager he forsook his promise all

together. The narrator did not communicate with his brother at all for some time. During this time of no

communication, he felt that he could do nothing more and could not be held responsible for what

happened to Sonny.

As the story nears completion, a single event brings the narrator out of the second phase and into

his third phase. It is in this final pahse that the narrator obtains  a true understanding of Sonny. The death

of the narrator's daughter Grace was so devastating to the narrator that he said, "My trouble made his

real"(53). The narrator finally felt the pain and despair that had plagued his brother for so long. It was at

that moment that the narrator found himself understanding Sonny's manhood. He was on the same level

as his brother, and he was finally seeing his brother as he truly was. When the narrator felt these feelings

he saw that Sonny was just a man that was steeped in despair and deserved respect.

All of the narrator's views did not change at once. He had already come to accept Sonny as a man

before his views of Sonny's sanity changed. As he listened to Sonny's emotional playing, he came to the

realization that Sonny had always understood what life was about. He listened to the playing and

recognized it as more than merely music. Through his mentioning the cup of trembling, the cup that hold

the anger of the Lord, he shows he understands what Sonny has been through. He finally knew that

Sonny's songs, Sonny's blues weren't weird or disordered but were actually a way to freedom.

Finally, during the third phase, the narrator finally started caring about Sonny instead of try to

care for Sonny. He no longer saw him as just something to be taken care of, he finally began to see him as

a brother. He became sensitive to what offended Sonny and took caution to avoid them. He was willing to

be interested in what Sonny interested in. Finally, he was willing to sit and listen to Sonny instead of

telling him how to run his life. All of these were drastic changes from when their mother had first died

and improved the brothers' relationship.

Through out the story it is as if the narrator is descending a stair well. Each stage that the narrator goes

through is another flight of stairs and each flight of stairs he descends brings him closer to an

understanding of Sonny. The narrator descended one flight and it changed his views one way, another

flight and his views changed again. During the whole ordeal he can see Sonny, yet his views of Sonny are

distorted or blurred. After each stage he believes his new view is the correct one, however it is not until he

reaches the ground that he gets a true idea of what Sonny is like. It is then that he brings himself down to

Sonny's level and begins seeing Sonny as an equal.

1085.      The Character of MacBeth

The Character of MacBeth

Macbeth is presented as a mature man of definitely

established character, successful in certain fields of

activity and enjoying an enviable reputation. We must not

conclude, there, that all his volitions and actions are

predictable; Macbeth's character, like any other man's at a

given moment, is what is being made out of potentialities

plus environment, and no one, not even Macbeth himself, can

know all his inordinate self-love whose actions are

discovered to be-and no doubt have been for a long time-

determined mainly by an inordinate desire for some temporal

or mutable good.

Macbeth is actuated in his conduct mainly by an

inordinate desire for worldly honors; his delight lies

primarily in buying golden opinions from all sorts of people.

But we must not, therefore, deny him an entirely human

complexity of motives. For example, his fighting in Duncan's

service is magnificent and courageous, and his evident joy in

it is traceable in art to the natural pleasure which

accompanies the explosive expenditure of prodigious physical

energy and the euphoria which follows. He also rejoices no

doubt in the success which crowns his efforts in battle - and

so on. He may even conceived of the proper motive which

should energize back of his great deed:

The service and the loyalty I owe,

In doing it, pays itself.

But while he destroys the king's enemies, such motives work

but dimly at best and are obscured in his consciousness by

more vigorous urges. In the main, as we have said, his nature

violently demands rewards: he fights valiantly in order that

he may be reported in such terms a "valour's minion" and

"Bellona's bridegroom"' he values success because it brings

spectacular fame and new titles and royal favor heaped upon

him in public. Now so long as these mutable goods are at all

commensurate with his inordinate desires - and such is the

case, up until he covets the kingship - Macbeth remains an

honorable gentleman. He is not a criminal; he has no criminal

tendencies. But once permit his self-love  to demand a

satisfaction which cannot be honorably attained, and he is

likely to grasp any dishonorable means to that end which may

be safely employed. In other words, Macbeth has much of

natural good in him unimpaired; environment has conspired

with his nature to make him upright in all his dealings with

those about him. But moral goodness in him is undeveloped and

indeed still rudimentary, for his voluntary acts are scarcely

brought into harmony with ultimate end.

As he returns from victorious battle, puffed up with

self-love which demands ever-increasing recognition of his

greatness, the demonic forces of evil-symbolized by the Weird

Sisters-suggest to his inordinate imagination the splendid

prospect of attaining now the greatest mutable good he has

ever desired. These demons in the guise of witches cannot

read his inmost thoughts, but from observation of facial

expression and other bodily manifestations they surmise with

comparative accuracy what passions drive him and what dark

desires await their fostering. Realizing that he wishes the

kingdom, they prophesy that he shall be king. They cannot

thus compel his will to evil; but they do arouse his passions

and stir up a vehement and inordinate apprehension of the

imagination, which so perverts the judgment of reason that it

leads his will toward choosing means to the desired temporal

good. Indeed his imagination and passions are so vivid under

this evil impulse from without that "nothing is but what is

not"; and his reason is so impeded that he judges, "These

solicitings cannot be evil, cannot be good." Still, he is

provided with so much natural good that he is able to control

the apprehensions of his inordinate imagination and decides

to take no step involving crime. His autonomous decision not

to commit murder, however, is not in any sense based upon

moral grounds. No doubt he normally shrinks from the

unnaturalness of regicide; but he so far ignores ultimate

ends that, if he could perform the deed and escape its

consequences here upon this bank and shoal of time, he'ld

jump the life to come. Without denying him still a complexity

of motives - as kinsman and subject he may possibly

experience some slight shade of unmixed loyalty to the King

under his roof-we may even say that the consequences which he

fears are not at all inward and spiritual, It is to be

doubted whether he has ever so far considered the possible

effects of crime and evil upon the human soul-his later

discovery of horrible ravages produced by evil in his own

spirit constitutes part of the tragedy. Hi is mainly

concerned, as we might expect, with consequences involving

the loss of mutable goods which he already possesses and

values highly.

After the murder of Duncan, the natural good in him

compels the acknowledgment that, in committing the unnatural

act, he has filed his mind and has given his eternal jewel,

the soul, into the possession of those demonic forces which

are the enemy of mankind. He recognizes that the acts of

conscience which torture him are really expressions of that

outraged natural law, which inevitably reduced him as

individual to the essentially human. This is the inescapable

bond that keeps him pale, and this is the law of his own

natural from whose exactions of devastating penalties he

seeks release:

Come, seeling night...

And with thy bloody and invisible hand

Cancel and tear to pieces that great bond

Which keeps me pale.

He conceives that quick escape from the accusations of

conscience may possibly be effected by utter extirpation of

the precepts of natural law deposited in his nature. And he

imagines that the execution of more bloody deeds will serve

his purpose. Accordingly, then, in the interest of personal

safety and in order to destroy the essential humanity in

himself, he instigates the murder of Banquo.

But he gains no satisfying peace because hes conscience

still obliges him to recognize the negative quality of evil

and the barren results of wicked action. The individual who

once prized mutable goods in the form of respect and

admiration from those about him, now discovers that even such

evanescent satisfactions are denied him:

And that which should accompany old age,

As honor, love, obedience, troops of friends,

I must not look to have; but, in their stead,

Curses, not loud but deep, mouth-honour, breath,

Which the poor heart would fain deny, and dare not.

But the man is conscious of a profound abstraction of

something far more precious that temporal goods. His being

has shrunk to such little measure that he has lost his former

sensitiveness to good and evil; he has supped so full with

horrors and the disposition of evil is so fixed in him that

nothing can start him. His conscience is numbed so that he

escapes the domination of fears, and such a consummation may

indeed be called a sort of peace. But it is not entirely what

expected or desires. Back of his tragic volitions is the

ineradicable urge toward that supreme contentment which

accompanies and rewards fully actuated being; the peace which

he attains is psychologically a callousness to pain and

spiritually a partial insensibility to the evidences of

diminished being. His peace is the doubtful calm of utter

negativity, where nothing matters.

This spectacle of spiritual deterioration carried to the

point of imminent dissolution arouses in us, however, a

curious feeling of exaltation. For even after the external

and internal forces of evil have done their worst, Macbeth

remains essentially human and his conscience continues to

witness the diminution of his being. That is to say, there is

still left necessarily some natural good in him; sin cannot

completely deprive him of his rational nature, which is the

root of his inescapable inclination to virtue. We do not need

Hecate to tell us that he is but a wayward son, spiteful and

wrathful, who, as other do, loves for his own ends. This is

apparent throughout the drama; he never sins because, like

the Weird Sisters, he loves evil for its own sake; and

whatever he does is inevitably in pursuance of some apparent

good, even though that apparent good is only temporal of

nothing more that escape from a present evil. At the end, in

spite of shattered nerves and extreme distraction of mind,

the individual passes out still adhering admirably to his

code of personal courage, and the man's conscience still

clearly admonishes that he has done evil.

Moreover, he never quite loses completely the liberty of

free choice, which is the supreme bonum naturae of mankind.

But since a wholly free act is one in accordance with reason,

in proportion as his reason is more and more blinded by

inordinate apprehension of the imagination and passions of

the sensitive appetite, his volitions become less and less

free. And this accounts for our feeling, toward the end of

the drama, that his actions are almost entirely determined

and that some fatality is compelling him to his doom. This

compulsion is in no sense from without-though theologians may

at will interpret it so-as if some god, like Zeus in Greek

tragedy, were dealing out punishment for the breaking of

divine law. It is generated rather from within, and it is not

merely a psychological phenomenon. Precepts of the natural

law-imprints of the eternal law- deposited in his nature have

been violated, irrational acts have established habits

tending to further irrationality, and one of the penalties

exacted is dire impairment of the liberty of free choice.

Thus the Fate which broods over Macbeth may be identified

with that disposition inherent in created things, in this

case the fundamental motive principle of human action, by

which providence knits all things in their proper order.

Macbeth cannot escape entirely from his proper order; he must

inevitably remain essentially human.

The substance of Macbeth's personality is that out of

which tragic heroes are fashioned; it is endowed by the

dramatist with an astonishing abundance and variety of

potentialities. And it is upon the development of these

potentialities that the artist lavishes the full energies of

his creative powers. Under the influence of swiftly altering

environment which continually furnishes or elicts new

experiences and under the impact of passions constantly

shifting and mounting in intensity, the dramatic individual

grows, expands, developes to the point where, at the end of

the drama, he looms upon the mind as a titanic personality

infinitely richer that at the beginning. This dramatic

personality in its manifold stages of actuation in as

artistic creation. In essence Macbeth, like all other men, is

inevitably bound to his humanity; the reason of order, as we

have seen, determines his inescapable relationship to the

natural and eternal law, compels inclination toward his

proper act and end but provides him with a will capable of

free choice, and obliges his discernment of good and evil.

1086.      The Character of MacBeth1

The Character of MacBeth

Macbeth is presented as a mature man of definitely

established character, successful in certain fields of

activity and enjoying an enviable reputation. We must not

conclude, there, that all his volitions and actions are

predictable; Macbeth's character, like any other man's at a

given moment, is what is being made out of potentialities

plus environment, and no one, not even Macbeth himself, can

know all his inordinate self-love whose actions are

discovered to be-and no doubt have been for a long time-

determined mainly by an inordinate desire for some temporal

or mutable good.

Macbeth is actuated in his conduct mainly by an

inordinate desire for worldly honors; his delight lies

primarily in buying golden opinions from all sorts of people.

But we must not, therefore, deny him an entirely human

complexity of motives. For example, his fighting in Duncan's

service is magnificent and courageous, and his evident joy in

it is traceable in art to the natural pleasure which

accompanies the explosive expenditure of prodigious physical

energy and the euphoria which follows. He also rejoices no

doubt in the success which crowns his efforts in battle - and

so on. He may even conceived of the proper motive which

should energize back of his great deed:

The service and the loyalty I owe,

In doing it, pays itself.

But while he destroys the king's enemies, such motives work

but dimly at best and are obscured in his consciousness by

more vigorous urges. In the main, as we have said, his nature

violently demands rewards: he fights valiantly in order that

he may be reported in such terms a "valour's minion" and

"Bellona's bridegroom"' he values success because it brings

spectacular fame and new titles and royal favor heaped upon

him in public. Now so long as these mutable goods are at all

commensurate with his inordinate desires - and such is the

case, up until he covets the kingship - Macbeth remains an

honorable gentleman. He is not a criminal; he has no criminal

tendencies. But once permit his self-love  to demand a

satisfaction which cannot be honorably attained, and he is

likely to grasp any dishonorable means to that end which may

be safely employed. In other words, Macbeth has much of

natural good in him unimpaired; environment has conspired

with his nature to make him upright in all his dealings with

those about him. But moral goodness in him is undeveloped and

indeed still rudimentary, for his voluntary acts are scarcely

brought into harmony with ultimate end.

As he returns from victorious battle, puffed up with

self-love which demands ever-increasing recognition of his

greatness, the demonic forces of evil-symbolized by the Weird

Sisters-suggest to his inordinate imagination the splendid

prospect of attaining now the greatest mutable good he has

ever desired. These demons in the guise of witches cannot

read his inmost thoughts, but from observation of facial

expression and other bodily manifestations they surmise with

comparative accuracy what passions drive him and what dark

desires await their fostering. Realizing that he wishes the

kingdom, they prophesy that he shall be king. They cannot

thus compel his will to evil; but they do arouse his passions

and stir up a vehement and inordinate apprehension of the

imagination, which so perverts the judgment of reason that it

leads his will toward choosing means to the desired temporal

good. Indeed his imagination and passions are so vivid under

this evil impulse from without that "nothing is but what is

not"; and his reason is so impeded that he judges, "These

solicitings cannot be evil, cannot be good." Still, he is

provided with so much natural good that he is able to control

the apprehensions of his inordinate imagination and decides

to take no step involving crime. His autonomous decision not

to commit murder, however, is not in any sense based upon

moral grounds. No doubt he normally shrinks from the

unnaturalness of regicide; but he so far ignores ultimate

ends that, if he could perform the deed and escape its

consequences here upon this bank and shoal of time, he'ld

jump the life to come. Without denying him still a complexity

of motives - as kinsman and subject he may possibly

experience some slight shade of unmixed loyalty to the King

under his roof-we may even say that the consequences which he

fears are not at all inward and spiritual, It is to be

doubted whether he has ever so far considered the possible

effects of crime and evil upon the human soul-his later

discovery of horrible ravages produced by evil in his own

spirit constitutes part of the tragedy. Hi is mainly

concerned, as we might expect, with consequences involving

the loss of mutable goods which he already possesses and

values highly.

After the murder of Duncan, the natural good in him

compels the acknowledgment that, in committing the unnatural

act, he has filed his mind and has given his eternal jewel,

the soul, into the possession of those demonic forces which

are the enemy of mankind. He recognizes that the acts of

conscience which torture him are really expressions of that

outraged natural law, which inevitably reduced him as

individual to the essentially human. This is the inescapable

bond that keeps him pale, and this is the law of his own

natural from whose exactions of devastating penalties he

seeks release:

Come, seeling night...

And with thy bloody and invisible hand

Cancel and tear to pieces that great bond

Which keeps me pale.

He conceives that quick escape from the accusations of

conscience may possibly be effected by utter extirpation of

the precepts of natural law deposited in his nature. And he

imagines that the execution of more bloody deeds will serve

his purpose. Accordingly, then, in the interest of personal

safety and in order to destroy the essential humanity in

himself, he instigates the murder of Banquo.

But he gains no satisfying peace because hes conscience

still obliges him to recognize the negative quality of evil

and the barren results of wicked action. The individual who

once prized mutable goods in the form of respect and

admiration from those about him, now discovers that even such

evanescent satisfactions are denied him:

And that which should accompany old age,

As honor, love, obedience, troops of friends,

I must not look to have; but, in their stead,

Curses, not loud but deep, mouth-honour, breath,

Which the poor heart would fain deny, and dare not.

But the man is conscious of a profound abstraction of

something far more precious that temporal goods. His being

has shrunk to such little measure that he has lost his former

sensitiveness to good and evil; he has supped so full with

horrors and the disposition of evil is so fixed in him that

nothing can start him. His conscience is numbed so that he

escapes the domination of fears, and such a consummation may

indeed be called a sort of peace. But it is not entirely what

expected or desires. Back of his tragic volitions is the

ineradicable urge toward that supreme contentment which

accompanies and rewards fully actuated being; the peace which

he attains is psychologically a callousness to pain and

spiritually a partial insensibility to the evidences of

diminished being. His peace is the doubtful calm of utter

negativity, where nothing matters.

This spectacle of spiritual deterioration carried to the

point of imminent dissolution arouses in us, however, a

curious feeling of exaltation. For even after the external

and internal forces of evil have done their worst, Macbeth

remains essentially human and his conscience continues to

witness the diminution of his being. That is to say, there is

still left necessarily some natural good in him; sin cannot

completely deprive him of his rational nature, which is the

root of his inescapable inclination to virtue. We do not need

Hecate to tell us that he is but a wayward son, spiteful and

wrathful, who, as other do, loves for his own ends. This is

apparent throughout the drama; he never sins because, like

the Weird Sisters, he loves evil for its own sake; and

whatever he does is inevitably in pursuance of some apparent

good, even though that apparent good is only temporal of

nothing more that escape from a present evil. At the end, in

spite of shattered nerves and extreme distraction of mind,

the individual passes out still adhering admirably to his

code of personal courage, and the man's conscience still

clearly admonishes that he has done evil.

Moreover, he never quite loses completely the liberty of

free choice, which is the supreme bonum naturae of mankind.

But since a wholly free act is one in accordance with reason,

in proportion as his reason is more and more blinded by

inordinate apprehension of the imagination and passions of

the sensitive appetite, his volitions become less and less

free. And this accounts for our feeling, toward the end of

the drama, that his actions are almost entirely determined

and that some fatality is compelling him to his doom. This

compulsion is in no sense from without-though theologians may

at will interpret it so-as if some god, like Zeus in Greek

tragedy, were dealing out punishment for the breaking of

divine law. It is generated rather from within, and it is not

merely a psychological phenomenon. Precepts of the natural

law-imprints of the eternal law- deposited in his nature have

been violated, irrational acts have established habits

tending to further irrationality, and one of the penalties

exacted is dire impairment of the liberty of free choice.

Thus the Fate which broods over Macbeth may be identified

with that disposition inherent in created things, in this

case the fundamental motive principle of human action, by

which providence knits all things in their proper order.

Macbeth cannot escape entirely from his proper order; he must

inevitably remain essentially human.

The substance of Macbeth's personality is that out of

which tragic heroes are fashioned; it is endowed by the

dramatist with an astonishing abundance and variety of

potentialities. And it is upon the development of these

potentialities that the artist lavishes the full energies of

his creative powers. Under the influence of swiftly altering

environment which continually furnishes or elicts new

experiences and under the impact of passions constantly

shifting and mounting in intensity, the dramatic individual

grows, expands, developes to the point where, at the end of

the drama, he looms upon the mind as a titanic personality

infinitely richer that at the beginning. This dramatic

personality in its manifold stages of actuation in as

artistic creation. In essence Macbeth, like all other men, is

inevitably bound to his humanity; the reason of order, as we

have seen, determines his inescapable relationship to the

natural and eternal law, compels inclination toward his

proper act and end but provides him with a will capable of

free choice, and obliges his discernment of good and evil.

1087.      The Chase

The Chase

from the view of the chased

Leaving the jewelry store at a rather accelerated pace, a common, plain-clothed man with a parcel tucked under his arm jumped into his white, slightly dirtied Ford Bronco.  He then hurriedly concealed the package under the front passenger seat making certain to prevent it from being seen from people passing by.  He then tore out of the parking lot attempting to avoid drawing attention to himself or his accompanying bundle.  He knew it would only be a matter of minutes before the police would be on his trail and he couldn't have them catching him so he would have to make certain he covered all his tracks and make it as difficult as he could for his pursuants as he could.  For starters he had to dispose of this car and acquire his new transportation; a new model Corvette conveniently located in a pre-arranged spot just behind the rail road tracks near Market St. at I-15.  Efficiently he removed all traceable evidence of his existence from the Bronco.  Now heading in the opposite direction he was originally going, he and his package continued the chase already in progress.  Entering onto the interstate he planned on obtaining a very large lead on his pursuists furthering his immunity from an almost inevitable prison cell, where he almost certainly would end up if apprehended.  At this very quick speed he increased his lead and put himself out of danger.  After half an hour, he exited in a conspicuous place where his hide-out was located.  "They'll never catch me in here," he thought.

Getting out of the car, he cautiously made sure no one was looking as he took his package into his hide-out.  Opening it he realized he'd been bugged.  They had placed a small tracking device inside one of the rings he'd stolen.  "How could they possibly have uncovered my meticulously, elaborate plan.  No one even had a clue about the details . . . except for Thomas.  Darn that rotten, selfish feign.  How dare he get greedy and sell out on me."  He reasons that with little time to spare, he'd be better off cutting his losses by leaving the package of jewels behind and trying to escape and save his own butt.  Running out to his car he sees the police cars turning off the exit.  "Ah!, there's no time, I'd better make a run for it!"  He trots off into the trees while police get out of their cars and start chasing him through the wooded obstacle course.  He feels his heart beat at such a rate that it nearly popped right out of his chest.  "They're closing in, what am I going to do?"  As his breaths grow fainter he starts losing his distance and before he knew it they had him on the ground and in no time had his hands cuffed, and with no energy left to fight, he quickly surrendered giving no resistance whatsoever.

1088.      The Chicken

The Chicken

by DaPimp

Sarah lived on a small farm in Ohio in 1959. She was nine years old, had brown hair and green eyes. Her mother raised chickens to eat and would sell the eggs. One day Sarah's mother gave Sarah her very own chicken to raise. Sarah named the chicken Maryanne.

Sarah couldn't wait for Maryanne to start laying eggs because Sarah wanted to sell the eggs and buy a necklace that she had been wanting for just about a year now.

She found some wood, some chicken wire, a hammer, and nails laying around the farm and she built Maryanne a small chicken coup. Maryanne could eat in her mother's chicken pen but Sarah wanted her to lay her eggs in the coup that she had built. Sarah would let Maryanne out in her mother's chicken pen during the day and lock her in the coup at night. Maryanne wouldn't be too lonely because Sarah had built her coup right next to her mother's chicken coup.

There was a garden on the farm that Sarah's family used for canning their own food and Sarah's job was to pick the bugs off of the beans, tomatoes, and cabbage. She would take the bugs and put them into an old Mason jar. When the jar was full of bugs, she took them to Maryanne's coup and fed the bugs to her as a special treat. She also fed Maryanne laying mash which was supposed to help her lay eggs and keep her healthy.

One morning Sarah went to her mothers chicken coup to feed and water the chickens and she saw some hens sitting on their nests and they wouldn't get up to eat or drink. She went into the house and told her mother that some of her hens were sick because they wouldn't get off the nests. Her mother just smiled and went with Sarah to tend to the sick hens.

When they got to the chicken coup, Sarah's mother told her that the hens weren't sick. She told Sarah that the hens were laying eggs now and that they wouldn't leave the nests very much until the eggs had hatched. Sarah went back to the house and got a basket to put her mothers eggs in. After they had pushed the hens over and removed their eggs, Sarah looked in Maryanne's coup and she wasn't there. She looked all over the place but Maryanne wasn't anywhere.

Sarah's mother told her that maybe her chicken was eaten by a Fox during the night. Sarah looked all around the chicken pen area for Fox tracks but couldn't find any. After breakfast, Sarah looked again but still Maryanne was nowhere to be found.

When Sarah and her mother went to lock the chickens up for the night, she saw Maryanne with the rest of the chickens eating her mash. Sarah and her mother just scratched their heads in wonder. Where could Maryanne have been hiding all day?

Three months had passed since Sarah's mother had given her Maryanne and Sarah was beginning to wonder why her mothers chickens were laying eggs and hers wasn't. Maryanne hadn't laid one egg and Sarah wanted that egg money really bad.

Maryanne kept hiding for a couple of more weeks, and Sarah would find her at different times in the chicken pen eating with the other hens. Maryanne never sat on any nests and she didn't lay any eggs. Sarah heard her dad tell her mother that they might as well cook Maryanne because she wasn't laying any eggs and she was costing them money by eating the chicken mash . This really worried Sarah because she knew how much that her dad liked "Chicken and Dumplings".

Sarah got up very early the next day. She had to find Maryanne before her dad did. Her plan was to hide Maryanne and sneak her some mash to eat. Sarah looked all over but Maryanne was once again, nowhere to be found. Sarah started to cry now. All that work to build the coup and all the special attention that she gave

Maryanne and this was all she got in return. I hope a Fox did get her, thought Sarah, then she started crying even more...

Sarah finally gave up the search and was getting very hungry. She started back to the house to eat breakfast when she noticed something moving over by the barn. It was Maryanne and walking behind Maryanne was nine little baby chicks. She ran to the house to tell her mother and father. They all went out to the barn and her dad found Maryanne's nest near the feedbag.

Sarah's dad bought the baby chicks from her and Sarah rushed down to the store and bought the necklace that she had been wanting for over a year. Maryanne was allowed to raise her chicks and she didn't get cooked. Sarah's father found the hole in the fence that Maryanne had been escaping through and patched it up. Maryanne ended up being the best egg layer on the farm.

1089.      The Classical period

Classical Period

Getting it's name from art history, the classic period in music extends from 1740 to 1810 and includes the music of Haydn, Mozart, the first period of Beethoven, and Bach's sons.  The classical period of music coordinated harmony, melody, rhythm, and orchestration more effectively then earlier periods of music.

During the classical era the social function of music began to change from earlier aristocratic and religious connections toward more public and secular activities associated with the middle class.  The rise of public concerts, the spread of commercial opera houses, the growth of music publishing, the increased number of musical pieces composed and played were all direct effects of the changing musical times.

Among the many musical types of the period, the classical period is best known for the symphony, a form of a large orchestral ensemble.  The symphonic pieces generally had three movements, the sonata, the minuet, and the finale.  Building of the achievements of earlier composers, Haydn, and Mozart brought the symphony to it's peak in the last 20 years of the 18th century.  Haydn excelled in rhythmic drive and development of theme-based music.  Mozart also added to the symphony by contrasting memorable lyric themes in very full sounding orchestral settings.

To satisfy the middle-class amateur, classic composers supplied a ton of new chamber music for all imaginable combinations.  The piano sonata became a very important form of chamber music, especially after being refined by Haydn, Mozart, and Beethoven. After 1765, the string quartet began to increasingly dominate the chamber music field.

Unlike the concertos of the baroque period, the classic era mainly emphasized the solo concerto.  The choice of solo instrument, however, was somewhat broader then in the baroque era.  There was more of a trend during the classical period towards keyboard concertos.  This style  was originated in North Germany, by C.P.E. Bach, and gradually spread to other areas. Mozart took the concerto to its greatest heights. "His incomparable ability to weave the complex strands of the concerto fabric without entangling or obscuring either soloist or orchestra has never been surpassed."

To match the larger forms and more complex requirements of classic music, the late 18th-century orchestra gained both in size and variety of personnel.  Composers increasingly employed pairs of woodwinds, now including clarinets as well as flutes., oboes, and bassoons.  Large court orchestras, such as those in Vienna and Munich, numbered more then 50, but Haydn's orchestra at Esterház in 1783 consisted of only 24 players.

1090.      The Club

Part A

In his play The Club, David Williamson presents numerous Australian attitudes of the 1970s.  However, many of these attitudes are still relevant and fairly accurate representations of Australian attitudes in the 1990s, although some of course have changed somewhat over the time since the play was written nearly twenty years ago.

Tradition plays a very important part in The Club.  Each of the characters of course has his own ideas and attitudes towards tradition, but there are some which are more or less universal throughout the play.  In The Club, tradition is mainly presented as the opposite to progress and success; that is, to achieve success in today's world, tradition must be abandoned.  For example, Laurie (the coach) blames an old Club tradition for his failure to win a premiership, 'You and your cronies wouldn't let me buy players.'  Jock (the vice-president) replies, 'We were upholding an old tradition.  It was wrong, but we believed in it.'  Then in the next line, Laurie accuses Jock of supporting the rest of the committee in upholding the tradition not because he believed in it himself, but because he didn't want Laurie to succeed, 'They might have believed in it but the reason why you wouldn't let the Club buy players was to stop me winning a flag.'

However, Jock does support and use tradition when it is in agreement with his goals.  For example when trying to avert a players' strike, Jock claims that former Club heroes would be disgusted by the idea, 'I want to turn all those photographs around so they don't have to look down on this shameful scene.'  However, it is later revealed that Jock supports the buying of players and a coach who has not played for the Club, both of which are against traditions, to ensure that the Club wins a premiership next season.  This hypocritical attitude towards tradition is probably a fairly typical Australian attitude; traditions are upheld and honoured, but only when they do not stand in the way of progress and success.  This attitude presented by Williamson is probably even more widespread now in the 1990s, as success is seen as being even more important today.

Attitudes towards commercialism are also explored in The Club.  In the play, the Club itself is just beginning the road to commercialisation with the purchase of Geoff Hayward (the star recruit) for $90,000.  However, Gerry (the administrator) and Jock's plans for next year not only include the dropping of some Club traditions, but also extensive commercialisation as wealthy entrepreneurs are recruited for sponsorship money which will be used to buy more players.  The attitude of acceptance of the commercialisation of sport that is evident in The Club is more relevant in the 1990s than ever, when all popular sports are funded mainly by sponsorship dollars from big corporations.  Even the Australian Olympic Team has received massive financial backing from sponsors, something which is accepted and considered to be good by most people.

Power is also explored extensively in The Club; much of the play is based on power struggles between the characters.  As mentioned earlier, the power struggle between Laurie and Jock is evidenced by Laurie's accusation that Jock supported the committee's traditional approach only to stop Laurie from succeeding.  Obviously some of the characters are much more successful than others.  For example, Gerry is able to skilfully manipulate the other characters so he can accomplish his own hidden agenda.  However the two players, Danny (the team Captain) and Geoff, do not really become involved in these power struggles except when they aid Laurie at the end of the play.  Ted (the president) has the most obvious power at the start of the play, although he steadily loses it throughout as the other characters strive to improve their standing.  The desire for power is basically universal, and there is resentment from those who are not in power towards those who are.  These attitudes are also still relevant in the 1990s, as shown by the recent Super League fiasco.

Competitiveness is also an important attitude in the play -- one which is shared by all the characters, to at least some extent.  In addition to competing for power amongst themselves, the characters of The Club are also fiercely competitive with the other football clubs in the league.  The fact that the Club has not been particularly successful recently and has not won a premiership for nineteen years only strengthens the characters' competitive attitudes and desire for victory.  These sorts of competitive attitudes are realistic and still held in the 1990s.  Today's society itself is highly competitive by nature, with people competing for jobs, wealth, and success, amongst other things.

Loyalty is also an important issue in The Club, although each of the characters is loyal in very different degrees and ways.  Some of the characters, like Danny, are fiercely loyal to others; for example Danny threatens a players' strike if Laurie is forced to resign, 'If that bloody committee of yours gives Laurie the boot tonight, then we don't play tomorrow.'  Other characters, like Jock and Gerry, lack loyalty to other people but are loyal to the Club as a whole.  Gerry believes that, 'Loyalty to any one individual is a luxury you can't afford in a business with a multi-million dollar turnover.'  Gerry's pragmatic attitude is perhaps typical of the attitudes which are becoming commonplace in the cutthroat business world of the 1990s.

The role of women is not explored all that extensively in The Club, but Williamson does explore some of the attitudes relating to this issue in his play.  For example, all of the characters in The Club except Ted are of the belief that it is unacceptable for a man to commit acts of physical violence against a woman.  For example, Jock refers to the incident where Ted hit a stripper, which forced him to resign, 'With closed fists too, you mongrel.  Don't expect me to be sorry for you.'  However Jock's attitude in this case is highly hypocritical as he has admittedly bashed his own wife.  Society's attitude towards such violence against women is similarly hypocritical.  Although most men claim they would never hit a woman and are disgusted at those who do, the rate of domestic violence shows that not enough is being done to change true attitudes towards violence against women.

Williamson's portrayal reflects many Australian attitudes of the 1990s very accurately, even though the play was written nearly twenty years ago.  Some of the attitudes expressed, especially those regarding the commercialisation of sport, are even more relevant today than when the play was written, while others, such as tradition, are still equally relevant in the Australian society of the 1990s.

Part B

The second Williamson play I chose was The Removalists.  This play as well, deals with many Australian attitudes, many of which are very accurate representations of the attitudes held by the majority of Australians.

One of the main issues explored in The Removalists is that of police brutality.  Simmonds (the veteran police sergeant) and later Ross (a new recruit) are both excessively violent towards Kenny (Fiona's husband), whom they eventually kill.  There is an attitude of resigned acceptance towards this brutality, as Rob (the removalist), Fiona (who was bashed by Kenny), and Kate (Fiona's sister) are all present when Simmonds is attacking Kenny, yet none of them attempt to do anything to stop the violence.  Kenny realises that Simmonds is going to bash him further when Rob, Fiona, and Kate have left, 'That sergeant's gonna beat the shit outa me.  He's mad as a bloody snake.'  Later, when Ross goes berserk and attacks Kenny, Simmonds of course does nothing to stop the fighting, and in fact his first question to Ross is, 'Did you let him get away?'  The attitude of Australian society at large towards police brutality is accurately portrayed in The Removalists.  People are disgusted by police brutality, yet believe that there is little or nothing they can do to stop it.  Victims still do not speak out, for fear of further harassment, which has recently been shown by shown by testimony to the Royal Commission into Police Corruption.

Another, perhaps even more important issue explored in The Removalists is that of police corruption.  Simmonds is thoroughly corrupt, and by the end of Ross' first day on the job, Simmonds has already managed to corrupt him as well.  He explains to Ross early on that, 'Something doesn't have to be very big before it's too big for us and likewise something doesn't have to be all that small before it's not worth worrying about,' therefore the workload at their particular police station is quite low.  Simmonds knows of a local prostitution ring, yet does nothing to bring those involved to justice, 'Well, there's a very attractive group of young girls a block or two from the station who, well the fact is they're very high class call girls.'  Then, when he realises that he and Ross have gone too far in bashing Kenny, he offers to organise free time with these prostitutes for Kenny in exchange for his silence about the bashing.  However when Kenny dies from his injuries a short while later, it is Ross who goes berserk, suggesting that 'Let's get a shotgun and make it look like suicide.  Shoot his bloody head off.'

The attitudes expressed towards the extensive police corruption in The Removalists are quite realistic.  After Kenny begs Rob to call in police from another station, the removalist says, 'You must be mad.  Do you think they'd come down and collar their own mates?'  The recent Royal Commission has revealed that police corruption is a widespread and severe problem in Australia.  However, until now, attitudes have again been those of resigned acceptance, as people believed that there was little that could be done about corrupt police, as officers stick together and most courts believe the word of a police officer over that of the accused.

Another central issue in The Removalists is that of domestic violence.  Williamson portrays issues and attitudes surrounding domestic violence and its demoralising effects on women.  For example, Fiona says, 'It hardly inspires confidence when you're made love to one minute and bashed up the next.'  Simmonds takes the socially expected attitude of disgust against Kenny, but in reality he has ulterior motives for even aiding Fiona and Kate at all, and he also uses it as an excuse to bash Kenny.  However, the play does make the point that although domestic violence is considered unacceptable by most of society, it is still occurring, and little is being done to stop it.

Other important attitudes explored in Williamson's play are those of law and order, and of anti-authoritarianism.  The audience is left wondering how a society can expect law and order when those whose job it is to enforce the law break it themselves on a regular basis.  Anti-authoritarian attitudes are also expressed, for example, when Kenny disobeys Simmonds' orders to shut up even though he knows it will result in further bashing.  Such anti-authoritarian attitudes can be in some ways regarded as typically Australian.

The Removalists expresses a number of attitudes about Australian society including those regarding police brutality and corruption, domestic violence, law and order, and anti-authoritarianism.  The majority of ideas presented about these are accurate representations of the attitudes held by most Australians, and are very relevant, even today.

1091.      The Color Purple

Byron Hooper

11/18/96

The Color Purple film review

The Color Purple

The movie "The Color Purple," directed by Steven Speilberg, was, in general, a

satisfactory film.  It was enjoyable, if you don't consider accuracy towards the novel it is

portraying important.  Speilberg obviously had little, if any, respect toward the original

story, by Alice Walker.  He slaughtered a story most people had heard of, but never read.

I thought the movie itself was rather good.  It had it's own good and bad points.  Up until

about when Sofia left Harpo, they were almost identical.  After that they are almost two

different stories with the same ending.

The movie was written purely for entertainment.  It added a small number of scenes, but

cut more than it added.  Also, it emphasized different parts of the story than the book.

The film is about a young black girl growing up in the south, abused by, first, her father,

then her husband, whom she had no choice in marrying, as is the book.  But in the novel,

after Celie found her sister's letters, the main focus was Nettie in Africa.  In the movie, the

section on Africa was only ten, fifteen minutes long, and the rest was based more on the

rest of Celie's life.

I'll admit, most movies, that follow the book that they're based on word for word are

pretty monotonous (i.e. Dune), but this particular movie probably would have been better,

at least in my own opinion,

1092.      The comparison and explanation of Gothic architecture and romanesque architecture

What is beauty? Beauty as we see it enshrined as an illusion, it is a big effort and a big business to keep it up. The shell of the perfect woman is stressful and expensive to maintain; beauty contests are just to see who does it best. When one talks about beauty it typically leads us to focus on women. In the past, words such as 'beauty' were used in relation to 'women' and even in this day in age words like 'beautiful' and 'attractive' are referred to women, rather then men. The media has helped to mold how we visualize words. Messages from the media help to define what is normal, acceptable and ideal, but do not help teach and distinguish between imagination and reality. Image and representation of women in the media has long been a subject of concern. In today's society woman are perceived as stereotypical models, which consequently have a negative affect on young girls who emulate women based on fantasy and unrealistic standards. As media continues to show negative images, young girls will continue to face challenges physically, mentally and socially.

Media Watch groups are non-governmental groups and organizations that monitor the way communications media deals with socially and politically sensitive issues. Media Watch.ca and Media Watch.com are two such organizations that take an in-depth look at how women are represented in the media. Their goals are to portray women positively, depict women as experts and represent diversity through media. They do this by revealing the true source of negativity, and the impacts it can have on young girls. Gatekeepers play a major role in deciding what will and will not appear in media. If anything they are too be blamed for most of these negative images that we see daily. Gatekeepers are not too worried about what the consequences of there actions will be, they are more worried about what will sell, even if it is a women's image. Gatekeeping is supposed to be a theory enforcing positive access to media. The goal is to present a women's image positively while illustrating diversity. However, they do not and society suffers. Their concept of ideal and realistic standards can have a great affect on individuality, health, and a girls self esteem.

There are many different types of media that influence young girls. The truth is that media does not understand how unhealthy and deadly their representation of women can be. Advertisements are one of the many ways girls are affected. Advertising is a multi-billion dollar industry in North America. North Americans are believed to be exposed to between 1,500 and 3,000 promotional messages each day. (These can come via radio, TV, newspapers, magazines, bus shelters, billboards, posters, bumper stickers, flyers, on the internet). The average woman however sees 400 to 600 advertisements per day, and by the time she is 17 years old, she has received over 250,000 commercial messages through the media. The continuous exposure to female-oriented advertisements influences girls to become insecure about their bodies and to obsess over their physical appearance. Fashion models, whose image we are bombarded with daily, weigh less than twenty-three percent than the average American woman. Only five percent of all women are born with the ideal body type of fashion models. Advertising uses a massive number of techniques to create perfect images. The majority of the women we see in magazines, music videos, and films do not appear in reality, as we perceive them in media. We may believe we are actually looking at one woman's body when we are actually looking at least three different images. Young girls learn very quickly that they must spend there time, money, and energy on achieving these standards. Girls frequently compare their bodies to those they see around them, and researchers have found that exposure to a "perfect" body images lowers a girl's happiness with their own appearance. Studies have found that people who were shown slides of thin models had lower self-esteems than people who had seen average and oversized models. A 1996 study found that the amount of time an adolescent watches soaps, movies and music videos is associated with their degree of body dissatisfaction and desire to be thin. Magazines such as Cosmopolitan, Vogue, and Seventeen are almost guarantee tips on "loosing ten pounds in just ten days," or "101 ways to a tighter behind." Ads such as Gucci, Versace, CK and Chanel are just one of the many ads that not only illustrate thin women, but stereotypical gender roles where women are submissive and helpless and men are dominating. Whoever thought toys could actually make young girls question their bodies. Well, Barbie has become a major role model for young girl. What people do not know is that the originally Barbie was based on a prostitute. The image aspects of the media influence us, weather we are young or old. About 90% of American girls ages 3-11 own Barbie dolls and live in a world with fairy tale princesses as our role models. Barbie dolls expand the description of the "perfect" image. Complete with tiny waist, enormous breasts, and long slender legs. 5 Another factor that helps manipulate young girl's minds is music. Music videos tend to send out a negative message to young girls, three-quarters of female music videos show sexual content. Young women artists tend to show more skin, and dance provocatively, often more than necessary. Young girls are not able to distinguish the fact that they are performers and that is what they do for a living; instead they copy what they see. Another, group that had a great influence on girls is the Spice Girls. The group of five very sexy girls took the world by surprise when they came out with their big shoes, short dresses and the message of "Girl Power." This group of girls played a large part in what girls today see as an "independent women". There message was truly positive to young girls everywhere, however the message some how did not fit with their image. Their attitude and appearance were just one of many reasons why their message of "Girl Power" did not come across as they wanted it to. To put it briefly the current message pushed into our minds by the media is that "thin is beautiful" and this can have a great effect not only physically on young girls, but also mentally and socially.

Through media young girls can learn a lot about body image and women. The hypodermic needle theory states that media is so powerful that it can "inject" their messages into audiences. In this case, women representation is the message and young girls are the audience. When all young girls see around them is negative images, this is what they see as "ok". In this case, they interpret the "ideal women" to be as thin, almost anorexic; the perfect beauty has large eyes, large in proportion to her face. She has full red lips, a small delicate nose, a face wide at the temples and narrow at the jaw, and a dainty neck. She should have shiny, glossy hair, and lots of it-but only on her head, of course! Leg hair, underarm hair, and any visible hairiness even on the forearms, but especially on the face- it all has to go. With so much pressure from media to look a certain way, how can this help them mentally and socially? The answer is it cannot. These destructive images can be so overwhelming to young girls, and can lead them to feelings of insecurity about the way they look, feel and act. Women frequently compare their bodies to those they see around them. Insecurities lead to many self-esteem problems also. Although self-esteem applies to every aspect of how you see yourself, it is often talked about in terms of appearance or body image. One study reported in a Body Image Survey that "very thin" models made them feel insecure about themselves. Young girls also punish themselves for not having perfect bodies. They believe, "It is our body's fault that we are not happy- with our relationships, our jobs, and our lives." Therefore, they deny their bodies food, new clothes, and even love. Sadly, a lot of us hate our bodies and this negative body image poisons the rest of our self-image. Unfortunately, the way girls see themselves is all due to how media depicts women. Seventy-five percent of "normal" weight women think they are overweight and 90% of women overestimate their body size. Dissatisfaction with their bodies causes many young girls to go through depression. Depression can have numerous affects on girls, such as starvation, loss of sleep and appetite. It is ridiculous when you see young girls complaining about how they think they are too overweight. The number one wish for girls ages 11 to 17 is to be thinner, and girls as young as five have expressed fears of getting fat. This can have major implications on girls in the long run. Relationships may also suffer due these factors, jobs may be jeopardized, and attitudes towards life will change. When we see negative female artists such as Madonna and Britney half naked, talking about sexual relationships, what type of message are they sending? Most videos now a days focus mainly on breasts, there behinds and their bare skin. Content analyses indicate that up to 75% of concept music videos contain sexually suggestive material. As you can see the media's influence can really have great impacts on young girls and their mental and social attitudes, but there are greater problems that can occurs from this.

A young girl can under go a lot of abuse, not only mentally and socially, but also physically. An eating disorder is a type of mental, physical, and emotional illness. Eating disorders occur in women who suffer from a distorted body image of themselves, low self-esteem, depression, etc. Fashion Ads for companies such as Calvin Klein, Gucci and Versace depict images of women that are underweight. Teenagers already suffering from mental and social problems are easily influenced by the media, which sets unrealistic standards and unachievable goals in terms of looks. Teen magazines, movies, and celebrities promote an attractive and fake, yet desirable image. Some girls affected by these cultural images follow extreme dieting, with the hopes of looking like their role models. This is especially dangerous because diets can easily lead to anorexia and bulimia. Dieting can become surprisingly addictive. Many girls between the ages of 6 and 12 are dieting and building unhealthy expectations about their bodies. With all the publicity around us advertising diet supplements, drinks, and ideas about dieting, girls are so vulnerable to these fixations that they believe this is the only way to diet. Some women that diet and or have eating disorders develop problems with alcohol or drugs. Actresses such as Ally Mcbeal and Tracy Gold are just a few of the many female actresses that have gone through these sorts of struggles. When young girls see stars that have gone through this disturbing process, they do not recognize the fact that it is an illness, and think it is all right to do those sorts of things.

The media presents role models that are degrading to women and teach them to value good looks and thinness over personality and integrity. The mass media is a powerful tool. It has influenced and shaped North American women's perceptions of body image. The media's ability to communicate mixed messages to women makes it hard to identify who we really are. It can shape one's individuality, health, and self esteem. One thing we tend to forget is that a women's beauty is not always determined from the outside, but also from inside. As soon as you accept yourself, regardless of society's standards, the media will not control your feelings about your body.

1093.      The Competitors

The Competitors

As thousands of people poured into the rectangular shaped stadium for what was being called, "the event of the century" ,  the participants readied themselves for the hardships they would surely suffer from the games.  After a long grueling season of intense bodily torture  this would by the final chapter of confrontations.  Out of the 275 original members of the DFS leagues infant year,  only 20 remained.  These men and women were not only hardened on the outside,  but on the inside as well for they had long since learned the weaknesses that emotions bring.  Everyone one  present in the cubical that was called a dressing room knew that as soon as the capacity crowd of 300,000 had settled,  they would no longer be comrades brought together by the common bond that friendship makes but enemies of the battle field each one jockeying for the upper hand.

As the referee announced there was half an hour left before game time,  a few players huddled together to say a quick prayer while  others gathered around the head coach for a final word of advice.  One of the competitors  listening to this advice was Matt Williams or "The Destroyer",  as he was known by the crowd.  He was a powerfully built young man who was in the possession of deep opaline eyes,  nightmarish black hair,  and a ruddy complexion.  Feared by all for his ruthless behavior,  Matt had joined the DFS league after being courtmarshaled by the army for striking the commanding officer of his platoon.  Why he was even near the coach was a mystery to him because most of the coaches words fell on unhearing ears.  Matt guessed he was just nervous.  Who wouldn't be.  Looking up,  Matt saw that the coach had left and it was time to enter the field.  Strapping on his helmet and the rest of his gear,  he took a deep breath, focused his thoughts,  and ran out onto the field joining the rest of the players.

The roar of the crowd sounded as if a tsunami was breaking on the beach and the ground felt as if it were pulsating with a life of its own.  He never remembered these feelings before but he simply shrugged off the thought as he faintly heard the sound of the referee's whistle. Suddenly,  the sound of the crowd was replaced by e reverberating silence that was deafening in Matt's ears.

Going into a defensive crouch,  Matt circled the nearest foe to him.  Jumping with raised spear,  he warded off the first blow positioning his spear into a counter-attack position.  Throwing it with deadly precision Matt was rewarded by the sickening thud of a lifeless body hitting the ground.  As he hurried to retrieve his spear,  Matt remembered a phrase the coach had said just before he left.  "This will be a fight to the finish so be prepared!".  Since this was the year 2071,  that was no lie because last year,  hyperbole's went out of style and gladiators came back in.

1094.      The Consumer and the Gimmick

The Consumer and the Gimmick

Today there are many factors that hurt the music industry.  One factor

involves the way we push musicians into allowing the industry to popularize one

good song thus forgetting the rest of the album.  We the consumers have somehow

been satisfied with just one good song from one mediocre band.  Perhaps there is

a simple formula for disaster.  First the song is played on the radio and then

the video is constantly on MTV, thus causing us to get tired of the music.  It's

as easy as that!

We sit and whine about not hearing enough from our favorite band, but

once they come out with new music we smother ourselves in it. We then get sick

of it and are left looking for something new to fulfill our cravings.  This is

when we, the monster consumers of music, decide to take our interest to the next

hit song. It's not all our fault.  You have to put at least some blame on the

bands themselves.  They feel that it is part of their job to indulge our wants.

We as lovers of what these songwriters do are appalled and disgusted by hearing

anything but the best from our favorite bands.  Once we have what we want it's

not long before we want more.  This is because we consume the musicians' talents

like a fast food happy meal.  We open the box, take out the toy, throw away the

contents, and then bitch about being hungry.  When we do this we always say,

"It's a cool song, but they are a one hit wonder."  We the hungry consumer do

not give the bands a chance to show their true musical talents.  One example

involves the group Verve Pipe and their hit song "The Freshman."  This songs LP

was out in December.  No one noticed it until halfway through the month of

March.  "The Freshman" was played every thirty minutes on the radio and fifteen

times a day on MTV.  This in my opinion results in the complete overplay of one

bands hit song.  Now we consider them a "One hit wonder."  The Verve Pipe has

more good music, but who is to say that anyone will ever hear it?

Another thing that hurts the industry is the reliance on gimmicks.

Finding   talent in a band that relies on gimmicks is as easy as lifting a

three-hundred pound man above you head.  Sure for some it is easy, but for

others it's damn near impossible.  A few bands that rely on gimmicks are Marilyn

Manson and basically any rapper you can think of off the top of your head.  Sure

there are a few rappers that have produced good songs, but many rappers rely

very heavily on gangster mentality and vulgar language.  These gimmicks make rap

music liked by those who see their music as a way of breaking social norms.

It's the attitude of these rappers that say, "I don't care if my music is

offensive because that's what I grew up with."  Is this really true?  Is it

really their momma's fault that every song they write relies on vulgar language

and gang-banging situations?  It's simply a way to keep their music popular

because that's what kids want to hear.  If the kids keep pumping out the cash,

then the music industry will keep producing the vulgar and obscene records.

This causes the industry to be run by bad mouthed money makers.

Another band that relies heavily on gimmicks is Marilyn Manson.  Marilyn

Mansons small band of social screwups owe it to themselves to perhaps step back

and see that he is not a heroic leader, but more like a ringleader at a circus.

I truly don't believe that he is a leader of the Satanic Brotherhood, but that

he could possibly travel with a circus and perform in his own side-show.  This

is something that I personally believe is not worth following.  This just shows

how crazy one man can pretend to be.  He creates some crazy satanic album and

then he just sits back and watches as the money and fans roll in.

Marilyn Mansons music is however very potent.  Even I have been pulled

in by a small portion of his music.  I love his remake of "Sweet Dreams," and I

also think that his song "Beautiful People" is awesome.  I am just one of many

prime examples of how one person who is disgusted by all of the gimmicks can

easily be pulled in by creating or even recreating catchy tunes.

It's gimmicks and consumer consumption that I feel make up relatively

ninety-five percent of all that is bad with the music industry today.  Sure you

still have the bands like Beck that try to show how to break those gimmicks by

poking fun at the very heart of all that they stand for, but there are also

bands that are strictly about making music.  It doesn't matter if you like their

music or not.  This decision is up to you.  It seems to me that these are the

types of bands that are much happier making music and not just making money.

Gimmicks stand for failure within music and disaster for any decent and talented

musician whose dreams were shattered by some gimmick reliant one hit wonder.

Maybe one reason that kids follow gimmicks is that since time began they have

always wanted something there to grab hold of and to call their own.  I think

that some bands that I consider gimmick bands try to give the kids something to

take a hold of.   Even though in my opinion only one or two out of twenty of

these bands will be around for a sophomore record release.

Today we are all fixed on ourselves. We say things like, "I want to hear

a new single" and "I want to see new videos."  The problem is that when we

finally do hear these songs we are quick to make opinions on them.  We still

listen to music but we no longer hear it.  All bands are seeing is dollar signs

and all the consumers are seeing is a group of lyrics and some catchy tunes.

I feel that new bands are not taken as seriously now as they were in the

past.  When we get hungry we eat.  Perhaps the same food over and over again.

How often do we try something new though?  This relates very well to the music

industry.  We are quick to spin the same records, but how often do we try out a

new band?  We very rarely give the new guys a fair chance.  I feel that

everything in the music industry has been going down hill for quite some time.

We have to change our ways.  The next time you take a crap don't flush right

away.  Just stand up and look in the bowl because what you see is exactly where

the music industry is heading in the future.  All that it's going to take to

ruin it is a simple flush.

1095.      The consumer and the gimmik

The Consumer and the Gimmick

Today there are many factors that hurt the music industry.  One factor involves the way we push musicians into allowing the industry to popularize one good song thus forgetting the rest of the album.  We the consumers have somehow been satisfied with just one good song from one mediocre band.  Perhaps there is a simple formula for disaster.  First the song is played on the radio and then the video is constantly on MTV, thus causing us to get tired of the music.  It's as easy as that!

We sit and whine about not hearing enough from our favorite band, but once they come out with new music we smother ourselves in it. We then get sick of it and are left looking for something new to fulfill our cravings.   This is when we, the monster consumers of music, decide to take our interest to the next hit song.  It's not all our fault.   You have to put at least some blame on the bands themselves.  They feel that it is part of their job to indulge our wants.  We as lovers of what these songwriters do are appalled and disgusted by hearing anything but the best from our favorite bands.  Once we have what we want it's not long before we want more.  This is because we consume the musicians' talents like a fast food happy meal.  We open the box, take out the toy, throw away the contents, and then bitch about being hungry.  When we do this we always say, "It's a cool song, but they are a one hit wonder."  We the hungry consumer do not give the bands a chance to show their true musical talents.  One example involves the group Verve Pipe and their hit song "The Freshman."  This songs LP was out in December.  No one noticed it until halfway through the month of March.  "The Freshman" was played every thirty minutes on the radio and fifteen times a day on MTV.  This in my opinion results in the complete overplay of one bands hit song.  Now we consider them a "One hit wonder."  The Verve Pipe has more good music, but who is to say that anyone will ever hear it?

Another thing that hurts the industry is the reliance on gimmicks.  Finding   talent in a band that relies on gimmicks is as easy as lifting a three-hundred pound man above you head.  Sure for some it is easy, but for others it's damn near impossible.  A few bands that rely on gimmicks are Marilyn Manson and basically any rapper you can think of off the top of your head.  Sure there are a few rappers that have produced good songs, but many rappers rely very heavily on gangster mentality and vulgar language.  These gimmicks make rap music liked by those who see their music as a way of breaking social norms.  It's the attitude of these rappers that say, "I don't care if my music is offensive because that's what I grew up with."  Is this really true?  Is it really their momma's fault that every song they write relies on vulgar language and gang-banging situations?  It's simply a way to keep their music popular because that's what kids want to hear.  If the kids keep pumping out the cash, then the music industry will keep producing the vulgar and obscene records.  This causes the industry to be run by bad mouthed money makers.

Another band that relies heavily on gimmicks is Marilyn Manson.  Marilyn Mansons small band of social screwups owe it to themselves to perhaps step back and see that he is not a heroic leader, but more like a ringleader at a circus.  I truly don't believe that he is a leader of the Satanic Brotherhood, but that he could possibly travel with a circus and perform in his own side-show.  This is something that I personally believe is not worth following.  This just shows how crazy one man can pretend to be.  He creates some crazy satanic album and then he just sits back and watches as the money and fans roll in.

Marilyn Mansons music is however very potent.  Even I have been pulled in by a small portion of his music.  I love his remake of "Sweet Dreams," and I also think that his song "Beautiful People" is awesome.  I am just one of many prime examples of how one person who is disgusted by all of the gimmicks can easily be pulled in by creating or even recreating catchy tunes.

It's gimmicks and consumer consumption that I feel make up relatively ninety-five percent of all that is bad with the music industry today.  Sure you still have the bands like Beck that try to show how to break those gimmicks by poking fun at the very heart of all that they stand for, but there are also bands that are strictly about making music.  It doesn't matter if you like their music or not.  This decision is up to you.  It seems to me that these are the types of bands that are much happier making music and not just making money.  Gimmicks stand for failure within music and disaster for any decent and talented musician whose dreams were shattered by some gimmick reliant one hit wonder.  Maybe one reason that kids follow gimmicks is that since time began they have always wanted something there to grab hold of and to call their own.  I think that some bands that I consider gimmick bands try to give the kids something to take a hold of.   Even though in my opinion only one or two out of twenty of these bands will be around for a sophomore record release.

Today we are all fixed on ourselves.  We say things like, "I want to hear a new single" and "I want to see new videos."  The problem is that when we finally do hear these songs we are quick to make opinions on them.  We still listen to music but we no longer hear it.  All bands are seeing is dollar signs and all the consumers are seeing is a group of lyrics and some catchy tunes.

I feel that new bands are not taken as seriously now as they were in the past.  When we get hungry we eat.  Perhaps the same food over and over again.  How often do we try something new though?  This relates very well to the music industry.  We are quick to spin the same records, but how often do we try out a new band?  We very rarely give the new guys a fair chance.  I feel that everything in the music industry has been going down hill for quite some time.  We have to change our ways.  The next time you take a crap don't flush right away.  Just stand up and look in the bowl because what you see is exactly where the music industry is heading in the future.  All that it's going to take to ruin it is a simple flush.

1096.      THE COUNT OF MONTE CRISTO

The Count of Monte Cristo

by: Alexandre Dumas

The Story of Edmond Dantès, the Sailor, who Becomes the Rich

& Powerful Count of Monte Cristo and Takes Revenge on all his Enemies.

Chesky Hoffman

June 17, 1996

Dr. Goodale

In this essay I will show how Edmond Dantès punishes his four enemies with relation to their specific ambitions.  Edmond is sent to jail due to his enemies' jealousy.  After he escapes he becomes rich and powerful and gets back at them.  Before I relate to you how Dantès gets back at his enemies I would like to familiarize you with the story.

The story describes the life of its main character Edmond Dantès.  He is promoted to captain of his ship.  This promotion ignites the jealousy of his fellow shipmate Danglars.  Dantès is then falsely accused of being a Bonapartist.  This means he sides with Napoleon Bonaparte and is committing treason against his own king.  He is sent to a prison called the Château d'If.  The Château d'If was surrounded by water and was known as a place of no return.  When Dantès escapes, he takes revenge against his four enemies who conspired against him to send him to prison, in the manner of an eye for and eye.  These four conspirators are Danglars, Caderousse, Fernand Mondago, and Villefort.  In order to take revenge on his four enemies, Dantès uses a variety of names and disguises. The main new identity he uses for himself is The Count of Monte Cristo.

Danglars, as mentioned above, was the Count's shipmate when his name was still Edmond Dantès.  When Edmond went to jail, Danglars ran away and became very rich.  Caderousse was a tailor.  He was also the Count's father's landlord and once the count was sent to prison, Caderousse allowed Dantès' father to starve to death.  Fernand Mondago was in love with the count's fiancee Mercédès.  When the Count was sent to jail Fernand married her on the pretext that the count would not return.  These three enemies all got together one night and were all responsible for writing an incriminating letter about the Count to his fourth enemy, Monsieur De Villefort, who was the city's temporary prosecutor at the time.  He was responsible for the actual sending of the Count to prison.

After the Count escaped from prison, he discovered that all his enemies had moved to Paris.  He became acquainted with people from that city and eventually moved there so that he could have his revenge.  The revenge taken on Danglars matches the crime which he committed toward the Count.  When Danglars wrote the incriminating letter about the Count, calling him a Bonapartist, his intention was to get the Count's position as Captain of the ship for himself.  This shows how power hungry he was.  In order for the Count to take proper revenge on this man, he recalled Danglars's great lust for power and decided to gradually diminish Danglars' wealth.  This in turn made Danglars lose his reputation as a good banker.  As a result, Danglars had to run away from the embarrassment of losing all of his power and high stature.

We see the same concept of 'an eye for and eye' played out in the Count's revenge toward Caderousse.  When the Count escaped from jail he remembered what a love for money Caderousse had.  Therefore he brought Caderousse a diamond.  When an appraiser came to Caderousse's house, he paid for the diamond and then stayed for the night.  In middle of the night Caderousse killed the appraiser and took both the diamond and the money paid for it.  He was caught and sentenced to hard labor in prison.  The Count chose this form of revenge because he knew that Caderousse could not resist the temptation of extra money.  The Count punished him in this fashion because Caderousse took away all the money that Dantès left for his father.  This loss of money caused Dantès' father to starve to death.  The Count understood Caderousse's greed and punished him through it.

The Count took revenge on Fernand Mondego by causing his wife Mercédès and son Albert to leave home.  To do this, the Count introduced  Albert to Danglars's daughter.  The couple became engaged.  A few days before the wedding was to take place, Danglars asked the Count for information about Fernand.  The Count told him to send a letter to where Fernand worked as guard for the Ali Pasha.  When Danglars received a reply to his letter, the news spread quickly that Fernand was a traitor and let the enemy become victorious.  The Pasha entrusted Fernand with his wife and daughter.  Fernand sold them indirectly to the Count.  The main point of this punishment was to make Mercédès and Albert leave Fernand.  This punishment relates to Fernand's ambitions because the Count thought about how back in Marseilles Fernand took away his family (Mercédès and his father).  In getting his revenge, the Count causes Fernand to lose his family.

Villefort was a loyalist,  His father was a Bonapartist.  He was always trying to get the favor of the King so that he could get an even higher position.  One way to accomplish this task was to find Bonapartists and put them in jail.  Villefort sent the Count to jail only because the latter knew that Villefort's father was a Bonapartist.  When he sent the Count to prison he thought he was covering up his secret about his father for good by burying the Count in the Château d'If.  Then the Count reappeared.  In his revenge toward Villefort, the Count uncovered a secret which Villefort thought was literally buried many years ago.  The Count discovered the secret of an illegitimate child which had been born of a union between Villefort and Madame Danglars.  Villefort had buried the child alive, but someone had rescued him.  The Count of Monte Cristo disgraced Villefort by revealing the secret of his illegitimate child to the public.  This method of revenge was symbolic. Villefort thought he had buried the disgrace of his dead son forever.  He also thought he had "buried" the secret of his father, the Bonapartist, by sending Edmond Dantès, the one who knew his secret, to the Château d'If.  Edmond came back from the dead as did Villefort's son.

We see from this story that it is not wise to take revenge.  It is up to G-d to decide what each person deserves.  In our story, a man named Edmond Dantès thought it wise to take revenge on his enemies.  He took revenge on each person in a way that related to the way they originally conspired against him.  However, at the end, instead of feeling good about himself, he felt confused.  On the one hand he got back at his enemies, but on the other hand, he lost the affection of Mercédès, whom he loved.  He then recognized that if a person does take revenge into his own hands, G-d now has a way of punishing him.  Edmond Dantès ruined everyone who hurt him and in the process, he ruined himself.

1097.      The Crash

........ as Jesse stumbled down the stairs, he could hear the weeping and he knew that

something had gone wrong.  He cried out, "what's going on?"

"Jesse this is officer Potter, and he would like to talk to you,"  wept his

grandmother.

"What's the problem officer?' mumbled Jesse half asleep, rubbing his eyes.

"Well, Jesse I don't know how to tell you this, but this morning on I-43 your dad

was in a very terrible accident.  He was hit by a semi truck heading south on the

interstate.  And when we arrived upon the scene, your father was found dead."

Stammered the nervous rookie cop.

"Oh God, oh God, who did this?...........how did?.......why?....

.............. I have to get out of here." Cried Jesse with a face full of tears.

"Jesse come back here!" Sobbed his grandmother.

Jesse then took off, and he told no one where he was going.  So now there is a

grandmother weeping, a nervous rookie cop, and an upset missing teenager; what is the

family to do now.  They just lost their dad, and son, and now his child has taken off.  Talk

about a nightmare of a morning.

After Jesse took off his grandmother sat there on the couch, clutching the work

shirt of her dead son crying, "Oh Edward, Oh Edward." The cries echoed through the

empty house as the grandmother sat there in tears.

"How could this have happened?" Thought Jesse to himself, "he was just in Green

Bay and now he's dead.  Who did this?  They will get theirs."

The only thing that kept Jesse going was his hatred.  He had to devise a plan to get

back at the person who did this.  The only thing he could think of was to repay blood for

blood.

Jesse didn't know the exact details of the accident, but when he found out he

erupted into a fit of rage.  "So the driver of the semi fell asleep behind the wheel, huh?  I

tell you what, he better not fall asleep tonight.  There is one pissed of kid coming for

him."

As Jesse sat at home devising a plan to pay back 'blood for blood', his

grandmother is planning out the arrangements for the funeral.  Jesse's plan sounds so

simple and fool proof that even a child could pull this off.  His idea was to wait until

about 1 o'clock in the morning and break into his house and deal with him in an

inhumane manner.  All through his life Jesse had a fascination with torture.  So for this

situation he would bring out the art of Chinese torture.  Chinese torture is when small

blades are used and little cuts are made on the body, and the person bleeds to death in

enormous pain.

Time passes by and it is about the hour of 12 o'clock, Jesse begins to make his

way to the murder's house, and thoughts of his dad go racing through his mind.  On the

way there he breaks down into a tremendous sob.  He gets very short of breath and his

face is soaking wet from the cascade of tears running down his face; all of a sudden, he

sees the truck driver's house.  His sobbing stops instantly and a look of hatred flashes

across his face, just like some one hit a switch.  At this time he had no feelings, his heart

was made of stone, he had to do what he set out to do, KILL!

As he walked through the field near by, he could hear a dog barking in the

distance near the man's house.  Jesse, on a mission, ignored the warning signs of the dog

and continued on.  As he crawled through the window into the living room, he could hear

the victim snoring in the bedroom.  He entered the darkened room, gun in hand, and hit

the switch.

"Wake the hell up!"  Roared out Jesse in the blinding light.  "So now how does it

feel to be helpless, and knowing that you are about to die."

"Who are you? Whimpered the semi driver.

"You killed my dad you bastard!  And a gun shot rang through the empty house.

The shot grazed the left leg of the truck driver, leaving him in total shock.  He was

over come by the pain and he passed out on the bed, this allowed Jesse to tie him down to

start the torture.  As Jesse made the first slit in the truck drivers side, it sent his victim

screaming in pain.

"What the fuck, why are you doing this? Groaned the truck driver.

"So you can feel the pain that you gave me, and the pain you caused my dad

before he died.  So I am going to enjoy this cause right now it's the only thing that makes

me feel good, and boy am I having fun right now."

Slit by slit, the truck driver wailed out in pain, until the moans became faint,

slower..............slower....................softer......................softer................................

until they stopped.  All that is left is a bloody mess and no traces of who did it.  A smile

cracked Jesse's face as he left  the room, and as he strolled out of the house you could

hear him mumble,  "I hope you rot in Hell!"

1098.      The Crime Film

When looking at the crime film it is important to understand the nature of the films genre.  The genre is a way for the audience to distinguish types of films. These are categorised together because of  standard protocols developed for a particular types or styles of film.  These films usually follow similar guidelines in order to produce a predictable style for the audience.  The development of genre films is not entirely the prerogative of Hollywood.  It is more  the desire of the public viewing audience to have an idea of the type of film they are about to see.  The western, musical or the gangster film are examples of genre films.  These categories of films all have similarities in the ways in which they are made: musicals end happily; the westerns will all have the final shoot out; and the gangsters will all be overcome by justice or meet their own demise.  The reason for the consistency in the films is the publics desire to make an informed choice not and not to go in blind.

By using the genre qualification, the industry is able to target societal groups and try to produce and market what they want to see. The public attends a film because they think they might enjoy some aspect of it.  The film genre follows a  set of abstract rules that allows the public to informally categorize films. These rules must be viewed from an flexible point of view in order to legitimize their future existence.  By using this method of categorizing films the public is able to decide which films they wish to see and those they do not.  Some people love musicals and if they were to go to one and find there was no music or dance they might not be too pleased.  The concept of genre is one that may provide benefit to the viewers but at the same time may also present problems for the directors who must compromise their artistic aspirations.  Examples of this can be seen in the production of  sequels, and the use of repetitive set qualities.  These may include the mise en scene of the picture or the inclusion of similar sound.  Because of these unwritten rules the directors must include some of the familiar aspects of the genre.  The greatest problem may be that the film must fall into a genre category.  Defining it within the genre may be compromising to the nature of the film.

Scarface (1932 U.S.A. - Howard Hawks ) is a film where ones view of the lead role is ever changing with the apparent mental stability of the character.  Tony, the principal character, exhibits personality characteristics found in every persons life which normally must be kept hidden.  People appreciate the fact that Tony has the guts to do what he wants and at the same time gets the respect that he feel he deserves.  Every mans dream, and on top of that he gets paid.  There is always a fascination when money and power is involved.

The character is portrayed through the majority of the film to be worry free, on top of the world, healthy, respected, and loved.  The major problems presented to Tony through the earlier portions of the film are those just like any common man: arguments with his mother and sister; family disputes; and overzealous protection of his sister.  In presenting the life and times of Camonte, the viewer sees problems that might also be present in his/her own life and can therefor relate well to them.  Being able to emulate the life of the film character enables the viewer to feel sympathy or compassion.  If the viewer can relate, he can then justify or understand the actions of the condemned.

The audience is lead into the hands of Tony and the sympathy lies with his expression of emotion.  A man whose ruthless desire to be on top enabled him to kill one of his better friends and sisters lover remains capable of showing  remorse or fear of being alone.  This is how we are able to suddenly feel for him.  He's tough: a mans man.  You have to like him. The character of Tony Camonte  might be that of a mean and ruthless killer but at least he's a capitalist, an important quality at the time.   Tony throws money around, gets the girl and a whole lot of respect.   These are the opportunities that many men would love to have.

Down to the wire we feel for the man who had it all.  We recognise that any man who is that tough has to have some feelings that when exposed engender our admiration.  By introducing the audience to the emotional side of Tony Camonte, a closer relationship between the viewer and the character is established.  This, of course, is appealing to the viewer and we return the favour by cheering for Tony Camonte.

Bonnie and Clyde (1967 U.S.A. - Arthur Penn ) is a film where audience sympathy tends to run wild.  There are many variables that make it impossible from any generations point of view not to sympathise with them.  The two characters appeal to everything that contemporary youth embrace.  Unfortunately, the way in which the qualities of characters are presented exploits the use of violence as is common in most of today's cinematic productions.  The relevant or appealing aspects are fundamentally the same.    Bonnie and Clyde live lives that incorporate all of the adventure and wild free spirit that many  wish to emulate.  Viewers are able to empathise because of the exploitation of their humanity rather than in a criminal context. Among the compelling problems are those involving Clyde's brother and the ever disturbing spectre of Clyde's virginity.  In addition, in order to gain more of the viewers favour, the characters were given  simple underprivileged backgrounds.  This eased the audiences guilt in readily accepting the criminal aspects of the main characters lives.  That which should be seen as horrifying is made acceptable through the use of humour.  By making parts of the life and times of Bonnie and Clyde funny, the audience is able to accept that  the criminals may not be as depraved as they thought. After all, all share the same appreciation.  The film depicts the life of crime with a flare for the romantic.  Day and night share unencumbered skies.  The visit with family and friends is depicted as light fun full of laughter. What could possibly be wrong with an idyllic life full of fame, fortune and family at a time when people were losing their houses and sleeping in the car?

Bonnie and Clyde fall in love at first sight, together to the end, fighting for each others honour and gazing into each others eyes just before the onslaught of lead from the symbolic bad guys.  Of course we all know that their lifestyle is abhorrent but it is difficult not to seek out and accentuate the positive of their psyche.  They don't have to be sympathetic to the little man, but they are.  The characters are developed to enable them to justify what they are doing by their simple wish to be able to afford to exist.  `Some people are carpenters and others are robbers' is the unexpressed emotion.  By this we perceive a lack of intent to harm and an inability to differentiate.  Clyde ratifies this inability by his response to the question: " If you could do it all again, how would you change things?". His reply  "Live in one state and commit crimes in the other.".

With relation to the gangster film the genre exhibits constant evolution.  The basis of the gangster film lies in the progression thought the ranks of the hood to eventually try to gain power and usurp the organisation.  The film usually ends in a great shoot out where the law has finally caught up with the villain, ending in the death or ultimate demise of the gangster.  The development of the genre  is of utmost importance to the production of films. Audiences do not want to see the same movie over and over.  They only want to see the same type of movie. To accommodate this Hollywood tends to exploit the history and events of the era.

The development and evolution of the genre can follow many different routes.  Events in history have been of  great influence in changing the classical genre film styles.  The evolution of the women's movement, the roles of the family and  the portrayal of war after WWII are some major examples.  As we saw in White Heat the use of the A-bomb was integrated into the final shot of Cody Jarret.  The great  depression in the mid-west was the setting for the rural gangsters of Bonnie and Clyde: a film that changed the way the classical gangster was viewed.  Earlier gangsters were all powerful and strived to be omnipotent.  They had the money and the power to corrupt.  With Bonnie and Clyde we see two gangsters who are really only trying to survive.   The Gangster is portrayed with a good side by the protection and favours afforded the little man.  The earlier gangster was one who terrorised all whom he encountered and terrorised all classes. By their actions Bonnie ans Clyde are given a status befitting Robin Hood; taking from the banks but not the poor.

Although the actions of the Gangster cannot be condoned, there is an uncontrollable urge to sympathise with him.  In many ways one has to feel sorry for the man who knows nothing more than a life of crime, always running from the law and ultimately dying full of fear.  One of the main reasons that we sympathise with the gangster, for a short time, may be the inherent knowledge of what is likely to happen.  We are not sure of how the events will unfold but we have an idea that they will develop against a definable set of guidelines.  This knowledge gives the viewer the upper hand and therefor might be responsible for the sympathies afforded the villain.  From an even broader point of view one could argue that if the viewer has an idea of the events that will unfold before entering the film, then undoubtedly if those events are not the ones s/he is looking for in an abstract way, dissatisfaction may prevail.  In the same instance, the viewer may be ready for an adventure of expectations and has prepared him/herself to be ready to sympathise with the villain or gangster.  The motivations could be one of many and may not even occur during the film but may have been learned as a genre  throughout years of viewing.

Acceptance of criticism of abhorrent criminal behaviour is impossible to defend but the ability to imagine is a characteristic of which every human is capable.  The problem lies in how far the imaginary is allowed to rule the realistic.  Most of us wish that we could have the experience, the feelings of adventure and unrestricted freedom portrayed in Bonnie and Clyde but that gives us no reason to rob banks.

The sympathies that are felt for the characters can for the most part be generalised by saying that the "principle" of the film is most often the character that receive the greatest attention.  This is fundamental in the understanding of a film and in the deliverance of a story.  The apparent identification with characters of certain types of films is totally dependent upon the desires and expectations of the viewer.  It is the ability of the audience to identify with the central characters of a film that keeps them watching.  The use of the imagination or a simple wish to be exposed to other possibilities  are the fundamental reasons for entertainment.  The criticisms being aroused by those who are opposed to the way in which crime is occasional depicted, believe that real life and the stories told  by films are becoming increasingly similar.  The criticism can be justified in some respects but  by justifying these criticisms there is an implied ignorance for the individual intelligence of the general  population .

Bibliography

David Bordwell, Kristin Thomson, Film Art an introduction: McGraw-Hill,Inc.:University of Wisconsin,1993.

Graeme Turner, Film as Social Practice: Routledge, 1993.

1099.      THE CRUCIBLE ACT FOUR

'The Crucible- Act Four'

The scene in Act Four of The Crucible, by Arthur Miller, defines the

characterization, themes, and conflicts of the play. The scene takes place in a

court dungeon where John Proctor, is confronted by his wife Elizabeth for the

first time in many months. The couple is imprisoned on having been falsely

convicted of practicing witchcraft. While Elizabeth has been held with the

rest of the members of the community, John has been isolated in a dark,

dingy, dungeon.  He is to be hung for his 'crimes' the very next morning. The

court officials send Elizabeth in to convince John to confess in writing that

the accusations against him are true and that the verdict is just.

The conversation that takes place between Proctor and Elizabeth is

'above sorrow, beyond it.' They are bewildered by the hatred against them.

They know they have done nothing, and are falsely accused. Yet, even with

the glum atmosphere created by the conversation, the reader detects a

glimmer of optimism, determination, and hope in Proctor's voice. The reader

feels that he will fight till the end. 'It is hard to give a lie to dogs.', he says.

Proctor continually wavers in his decision whether to confess to this

outright lie, or to spite the evil and be hung in martyrdom. Up to this point in

time, the court officials have no definitive proof that any witchcraft has

actually been practiced. Innocent people are being hung only on account of

the testimony given by one young girl. Proctor realizes that by confessing, he

will mar the memory of the many who have thus far been killed without

confirming the false accusations. These dead would not sign their names

falsely just to spare their own life. How could Proctor disrespect the cause

that these dead gave their lives for, just to spare himself?

Throughout the scene, Elizabeth struggles to let John be the one to

decide whether he should spite the court or save his own life. She never

provides a definite answer and seems to be in turmoil. Elizabeth states, 'I

want you living, John. That's sure.' Yet, when John asks her whether he

should confess so that his life will be saved, she responds,

'Do what you will. But let none be your judge. There be no

higher judge under Heaven than Proctor is! Forgive me, forgive

me, John--I never knew such goodness in the world!'

In this scene Elizabeth tells John the story of Giles' death. Giles would

not answer aye or nay to his indictment so that the court would not be

allowed to auction off his property. This allows his sons to inherit his

property upon his death. The court  pressed large stones onto his body to

force a confession, yet he would not answer and was killed by the weight of

the stones. This shows that we can not submit to the injustice that can be

brought about in American society. It also portrays that these people who

were wrongly put to death, unselfishly never thought of themselves, only  of

others. Giles chose a torturous, painful death rather than a sudden, struggle

free death so that his family could be well.

This scene epitomizes the messages and ideas that Miller tries to

portray in his writing of the play. The conversation between John Proctor and

Elizabeth exhibits the confusion, suffering, despair, determination, and hope

of the victims convicted in this terrible tragedy. Also, the story of Giles

portrays the goodness and selflessness of these martyrs. It is for these reasons

that this scene is the most compelling and instrumental to the plot, themes,

and characters.

1100.      The crucible The characters

The Crucible: Characters

Chetan Patel

The Crucible, a play by Arthur Miller that was first produced in 1953, is based on

the true story of the Salem Witch Trials of 1692.  Miller wrote the play to parallel the

situations in the mid-twentieth century of  Alger Hiss, Owen Latimore, Julius and Ethel

Rosenburg, and Senator McCarthy, if only suggestively.  (Warshow 116) Some

characters in the play have specific agendas carried out by their accusations, and the fact

that the play is based on historical truth makes it even more intriguing.

The characters in this play are simple, common people.  The accused are charged

and convicted of a crime that is impossible to prove.  The following witchcraft hysteria

takes place in one of America's wholesome, theocratic towns, which makes the

miscarriage of justice such a mystery even today.   The reasons the villains select the

people they do for condemnation are both simple and clear.  All of the accusers have

ulterior motives, such as revenge, greed, and covering up their own behavior.  Many of

the accusers have meddled in witchcraft themselves, and are therefore doubly to be

distrusted.  (Warshow 116)  The court convicts the victims on the most absurd testimony,

and the reader has to wonder how the judges and the townspeople could let such a

charade continue.

The leading character of the play is John Proctor, a man who often serves as the

only voice of reason in the play.  He had an affair with Abigail Williams, who later

charges his wife with witchcraft.  Proctor is seemingly the only person who can see

through the children's accusations.  The reader sees him as one of the more "modern"

figures in the trials because he is hardheaded, skeptical, and a voice of common sense.

He thinks the girls can be cured of their "spells" with a good whipping.  (Warshow 114)

At the end of the play, Proctor has to make a choice.  He can either confess to a crime he

is innocent of to save himself from execution, or die proclaiming his innocence.  He ends

up choosing death because a false confession would mean implicating other accused

people, including Rebecca Nurse.  (Rovere 2632)  Proctor feels she is good and pure,

unlike his adulterous self, and does not want to tarnish her good name and the names of

his other innocent friends by implicating them.  (Warshow 117)  By choosing death,

Proctor takes the high road and becomes a true tragic hero.  The reader feels that his

punishment is unjust (especially since the crime of witchcraft is imagined and

unprovable.)   Because the trials take place in a Christian, American town, the reader

must then wonder if anything like this could happen in his or her own time.  This is

particularly true of people who saw the play when it first came out, in the era of

McCarthyism.

Ann and Thomas Putnam are two instigators of the witchcraft hysteria in the play.

Ann Putnam is the one who first plants the idea that Betty is bewitched.  Her motivation

for lying is obvious; she needs to cover up her own behavior.  After all, she had sent her

daughter to Tituba to conjure up the dead in order to find out what happened to her dead

babies.  She can't have it said that she, a Christian woman, practices the pagan art with a

slave from Barbados, or that her daughter's illness is her fault because she sent her to

participate in the black art, so she blames others.  (Warshow 113)  Revenge is another

motive of hers.  Tituba's tricks led her to the conclusion that her babies were murdered

while under the care of a midwife, Goody Osburn.  Osburn is later accused of witchcraft.

Ann Putnam's husband also influences her.  (Rovere 2632)

Thomas Putman had nominated his wife's brother-in-law, James Bayley, to be the

minister of Salem.  He was qualified and the people voted him in, but a faction stopped

his acceptance.  Thomas Putnam felt superior to most people in the village, and was

angry that they rejected his choice for minister.  He was also involved in a land dispute

with Francis Nurse, whose wife Rebecca is accused of witchcraft.  This is detailed in the

movie Three Sovereigns for Sarah, which shows basically the same story as the play.

Many people died because of Thomas Putnam's land hunger.  The Putnams, driven by

their need for revenge and their greed, contributed to the huge travesty of justice that was

the Salem Witch Trails.

The motive of Abigail Williams is equally easy to decipher.  Abigail is the

ringleader of the group of girls who testify in court against those accused of witchcraft.

She and John Proctor had an affair previously, when she worked as a servant in his home,

and she obviously does not want it to be over.  She says to him, "I know how you

clutched my back behind your house and sweated like a stallion whenever I come near!

Or did I dream that?  It's she [Elizabeth] that put me out, you cannot pretend it were you.

I saw your face when she put me out, and you loved me then and you do now!"  (Miller

20)  Elizabeth, Proctor's wife, had fired Abigail as their servant because she suspected

the affair.  Clearly, Abigail despises her.  She tells Proctor, "She is blackening my name

in the village!  She is telling lies about me!  She is a cold, sniveling woman, and you

bend to her!"  (Miller 21) Abigail is obviously furious with Elizabeth because she feels

Elizabeth has cut off her relationship with John and soiled her reputation in the village.

Abigail uses the witchcraft mess to get back at Elizabeth.  Of course, Elizabeth Proctor is

charged with witchcraft.

In 1692, the real historical Abigail Williams was about eleven years old.  Why,

then, does Arthur Miller decide to make her a young woman of eighteen or nineteen for

this play?  He does this in order to invent an adulterous relationship between Abigail and

John Proctor.  This relationship motivates her denunciation of John and Elizabeth

Proctor.  This offers an easily theatrical motive for one of his characters.  (Warshow 114)

It also makes Abigail seem like a cold, calculated adult.  This is more like an element of

twentieth century entertainment than of a theocracy in 1692, but Miller has to appeal to

his audience to make the play popular in 1953.

The rest of the girls in the play, including Susanna Walcott, Mercy Lewis, Mary

Warren, and Betty Parris, are all covering up for their own actions.  Abigail herself

admits that they were dancing in the woods, and Parris says they were naked.  The girls

had been asking the slave, Tituba, to conjure spells, and Parris finds out about it.  He

says, "And what shall I say to them?  That my daughter and my niece I discovered

dancing like heathen in the forest?"  (Miller 7)  And then, "My own household is

discovered to be the very center of some obscene practice.  Abominations are done in the

forest--" (Miller 8)     The children know that they are going to be punished for their

behavior, and they make up the stories that they were bewitched to place the blame

elsewhere.  When greedy people like the Putnams start encouraging them, it becomes

easier to lie and they begin to enjoy all the attention and power they hold.  They are

probably also afraid of Abigail.  After a while, she makes it impossible for the other girls

to retract their accusations.  When Mary Warren tries to tell the truth, Abigail accuses her

of witchcraft, too.  The girls find themselves stuck in a trap of their own making, and in

the witchcraft game until the end.  (Rovere 2632)

Reverend Samuel Parris allows the witchcraft hysteria to go on because it helps

him.  At the beginning of the play he asks Abigail, "Do you understand that I have many

enemies?  There is a faction that is sworn to drive me from my pulpit.  Do you

understand that?"  Everyone in the town did not receive Parris well, and he feels like he

has "fought here three long years to bend these stiff-necked people" to him.  (Miller 9)

The witchcraft charade unites the people of the town to him.  In this time of spiritual

crisis, they look to their minister for guidance and support.  Parris is now getting the

following he never had before.  It is for this selfish reason that he allows the witch hunt

to continue, even though he knows it is not valid.  (Warshow 117)

The characters in The Crucible are interesting and easy to read.  The victims of the witch trails are innocent, spiritual people who are wronged because of their accusers'

greed, vengefulness, and need to cover up for their own actions.  The deep involvement

of the accusers, especially Abigail, and the lengths they will go to in order to continue

their charade make the play absorbing and haunting.

Works Cited

Miller, Arthur. The Crucible.  Toronto: Bantam, 1959.

Rovere, Richard.  "Arthur Miller's Conscience."  1957.  Ed. Harold Bloom.  New York:

Chelsea House, 1987.

Warshow, Robert. "The Liberal Conscience in "The Crucible."  1962.  Ed. Robert W.

Corrigan.  Englewood Cliffs: Prentice-Hall, 1969.

1101.      The Crucible

The Crucible, by Arthur Miller, is a play about the Salem Witch Trials, in Salem, Massachusetts, in the year 1692.  In this play, the characters are obsessed with goodness, and evil. In the 17th century, it was not acceptable to be evil, or have evil thoughts. Most fun was also considered evil. Characters in this play are caught "dancing," and it somehow turns into a witch-hunt. There are many evils in this play, like, greed, murder, vengeance, manipulation, obsession, lying, and lechery. The Puritan religion is the reason for why the people are being executed. The easiest evils to explain are obsession, lying, and manipulation.

The biggest obsession in Salem is purity in the lives of the people. Reverend Parris for example, questions his niece Abigail's purity by saying; "Your name in the town-it is entirely white, is it not?" (Act 1, Page 12). She argues that her name is not soiled.  Abigail is again questioned by Parris of her purity. "Abigail, is there any other cause than you have told me, for your being discharged from Goody Proctors service? I have heard it said, and I tell you as I heard it, that she comes so rarely to the church this year for she will not sit so close to something soiled. What signified that remark?" (Act 1, Page 12). The people of Salem are obsessed with preserving the perceived cleanliness of their souls, and that if you do one thing wrong, you are practically a leper.

Mrs. Putnam has a strange obsession with talking to her dead babies. "And now, this year, my Ruth, my only - I see her turning strange. A secret child she has become this year, and shrivels like a sucking mouth were pullin' on her life too. And so I thought to send her to your Tituba -"  (Act 1, Page 15). She thinks that someone killed her babies, and since people think that Tituba has been practicing witchcraft, Mrs. Putnam wants her to talk to her babies, and find out what happened to them.

Abigail also has a big obsession, his name is John Proctor. They had an affair once, and because of it; Abigail believes that someday John will leave his wife for her. "I cannot sleep for dreamin'; I cannot dream but I wake and walk about the house as though I'd find you comin' through some door." (Act I, Page 23). She tempts Proctor into lechery, and commits unlawful acts which all are against the Puritan religion. She can't justify what happened, so she has to lie to everyone instead.

Lastly, One of John Proctor's obsessions are telling the truth. This may not really be an evil, but because of this, John Proctor winds up dead at the end of the play.  "Because it is my name. Because I cannot have another in my life . . . How may I live without my name? Have given you my soul; leave me my name!" (Act 4, Page 143). John feels strongly about having a good name and not dying with a bad one. Because John won't sign the papers, he is put to death.

Lying and manipulation are other major evils in this play. Abigail is the star liar and manipulator. To escape punishment for dancing, she deflects the actions and blames them on someone else, and does not care how many lives she ruins. "I want to open myself . . . I want the light of God, I want the sweet love of Jesus! I danced for the Devil; I saw him; I wrote in his book; I go back to Jesus; I kiss His hand. I saw Sarah Good with the Devil! I saw Goody Osburn with the Devil! I saw Bridget Bishop with the Devil!" (Act 1, Page 48).

Later when she grows into power and influence, she seems to enjoy sending these innocent people their deaths. She takes pleasure in her lies, and thrives on the attention and power that they bring her. "And mark this.  Let either of you breathe a word, or the edge of a word, about the other things, and I will come to you in the black of some terrible night and I will bring a pointy reckoning that will shudder you.  And you know I can do it; I saw Indians smash my dear parents' heads on the pillow next to mine and I have seen some reddish work done at night, and I can make you wish you had never seen the sun go down!" (Act 1, Page 20). Abigail asserts her power over the girls right away so as to ensure she is not exposed.   "She made me do it! She made Betty do it!. . . She makes me drink blood!" (Act 1, Page 43). She uses evil actions disguised as good by admitting who was with the devil. Of course the people she accuses are actually innocent, but she has the ability to manipulate people into believing that she is doing good. Abigail also tries to manipulate John Proctor into loving her, and leaving his wife. "I know how you clutched my back behind your house and sweated like a stallion whenever I come near! Or did I dream that? It's she puts me out, you cannot pretend it were you. I saw your face when she put me out, and you loved me then and you do now!" (Act 1, Page 22).

At one point, Reverend Hale tries to manipulate Elizabeth into making John confess. He would much rather put Proctor to death, being only one person, then let the trial continue, and kill many more innocent people. He realizes his part in the whole affair and is trying to save lives in the only way possible.  "Let you not mistake your duty as I mistook my own.  I came into this village like a bridegroom to his beloved, bearing gifts of high religion; the very crowns of holy law I brought, and what I touched with my bright confidence, it died; and where I turned the eye of my great faith, blood flowed up." (Act 4, Page 132).

Manipulation, lying, and obsession were the main evils in this play.  Because of these evils, Salem turned evil. Even though sometimes, the characters evils were supposed to be for good, the bottom line was made for evil. This play was a constant battle of good versus evil.

1102.      The Cultural Construction of Gender and Representation of Ide

Soaps but more importantly music videos can be said to interrogate the cultural construction of gender and representations of identity.  The video suggests a set of images to the viewer and usually these are a blurring of gender and identity.  Music videos predicate on the representation of female gender experience.  The two interrelated sign systems- access signs and discovery signs- will be discussed.  Music clips that will be focused on are Madonna's 'Burning Up', 'Express Yourself', and 'Justify My Love'.  The singer, who has been labelled 'Our Lady of MTV', has an amazing video appeal due to her play with gender and identity.  No other single artist has produced as many mixed images as she has.

Television soaps tend not to interrogate the construction of gender and the representation of identity.  They do not seem to cross any boundaries.  People watch soaps to relax and somehow relate, so if they were to experiment with the theatre of gender, it may be seen as a threat to viewers.  Soapies usually have the males in typically male dominated occupations such as doctors, car salesmen and chefs.  Women in soaps are usually secretaries or housewives.  There does not seem to be any attempt for a switch of roles.  Females are feminine, males masculine.  There has been one exception, which was Kylie Minogue's character, Charlene, on Neighbours.  She was a mechanic and tomboy.  This is one of the few occasions where a soap has interrogated the cultural construction of gender and representation of identity.

A music video is footage that accompanies a song.  They can have a storyline related to the song, displays of images or simply focusing on the artist/s performing.  Music video is forever crossing the lines of gender and identity.  It is able to do this as it is seen as a form of art, therefore there is no threat to viewers.  It is ironic that Boy George has said that "video was the worst thing to happen to music", when he himself looked and acted like he was crossing the lines of gender and boundaries back in the 1980's.  Madonna is most famous for creating videos with no boundaries for gender or identity.  Most of the time, she deliberately plays with surfaces and masks.  Madonna visual style engages and hyperbolises the discourse of femininity- she has bleached hair with dark roots, street smart image yet glamorous.  Gender play is the mix and match of styles that flirt with the signifiers of sexual difference, and Madonna is always doing that.  The three music videos of Madonna to be analysed are 'Burning Up', 'Express Yourself', and 'Justify My Love'.

Pouring money into the visuals, she is the first female artist to fully exploit video.  In the three videos to be discussed, there is a mixture of suggestion and aggression.  'Burning Up' involves her and a man.  She is writhing in the middle of the road while he is driving towards her.  At the moment where she seemed submissive, she was actually about to take over- suddenly he disappeared and at the end of the clip she was behind the wheel.  It was like she was powerless, but then she turns that image upside down by showing who had the control.

'Express Yourself' is very similar.  It shows her as being powerful and also as being weak. She plays with gender through her wearing of a pin-striped suit ( the male sign of power and success) and her crotch grabs.  It also shows her with a chain around her neck.  Madonna says:

"It's just an image I thought was powerful...It showed an extreme.  Extreme images of women: one is in charge, in control, dominating; the other is chained to a bed..."

It is evident in this video that she interrogates the cultural construction of gender and representations of identity.

"Justify My Love" is the same.  The banned video showed how gender roles could be swapped, blurred and played with to create different identities.  It showed men who looked and acted like women and women who looked and acted like men.  It totally changed the typical gender roles and behaviour around.

E. Ann Kaplan (1897) stated "Madonna's feminism is part of a larger post-modernism phenomenon which her videos also embody in their blurring of sacrosanct boundaries and polarities such as male/female, high art/pop art, film/TV, fiction/reality and private/public.

Two interrelated sign systems developed from videos predicated on female gender experience- access signs and discovery signs.  These can both be seen in Cyndi Lauper's 1983 hit "Girls Just Want to Have Fun" and Madonna's 1984 song "Borderline".  Both are set in the street not feeling threatened, which is the access sign.  The discovery sign is being female.  In 'Borderline" it is the fact she gets discovered to be a model.

Soaps but more importantly music videos can be said to interrogate the cultural construction of gender and representations of identity.  The video suggests a set of images to the viewer and usually these are a blurring of gender and identity.  Music videos predicate on the representation of female gender experience.  The two interrelated sign systems- access signs and discovery signs- will be discussed.  Music clips that will be focused on are Madonna's 'Burning Up', 'Express Yourself', and 'Justify My Love'.  The singer, who has been labelled 'Our Lady of MTV', has an amazing video appeal due to her play with gender and identity.  No other single artist has produced as many mixed images as she has.

Television soaps tend not to interrogate the construction of gender and the representation of identity.  They do not seem to cross any boundaries.  People watch soaps to relax and somehow relate, so if they were to experiment with the theatre of gender, it may be seen as a threat to viewers.  Soapies usually have the males in typically male dominated occupations such as doctors, car salesmen and chefs.  Women in soaps are usually secretaries or housewives.  There does not seem to be any attempt for a switch of roles.  Females are feminine, males masculine.  There has been one exception, which was Kylie Minogue's character, Charlene, on Neighbours.  She was a mechanic and tomboy.  This is one of the few occasions where a soap has interrogated the cultural construction of gender and representation of identity.

A music video is footage that accompanies a song.  They can have a storyline related to the song, displays of images or simply focusing on the artist/s performing.  Music video is forever crossing the lines of gender and identity.  It is able to do this as it is seen as a form of art, therefore there is no threat to viewers.  It is ironic that Boy George has said that "video was the worst thing to happen to music", when he himself looked and acted like he was crossing the lines of gender and boundaries back in the 1980's.  Madonna is most famous for creating videos with no boundaries for gender or identity.  Most of the time, she deliberately plays with surfaces and masks.  Madonna visual style engages and hyperbolises the discourse of femininity- she has bleached hair with dark roots, street smart image yet glamorous.  Gender play is the mix and match of styles that flirt with the signifiers of sexual difference, and Madonna is always doing that.  The three music videos of Madonna to be analysed are 'Burning Up', 'Express Yourself', and 'Justify My Love'.

Pouring money into the visuals, she is the first female artist to fully exploit video.  In the three videos to be discussed, there is a mixture of suggestion and aggression.  'Burning Up' involves her and a man.  She is writhing in the middle of the road while he is driving towards her.  At the moment where she seemed submissive, she was actually about to take over- suddenly he disappeared and at the end of the clip she was behind the wheel.  It was like she was powerless, but then she turns that image upside down by showing who had the control.

'Express Yourself' is very similar.  It shows her as being powerful and also as being weak. She plays with gender through her wearing of a pin-striped suit ( the male sign of power and success) and her crotch grabs.  It also shows her with a chain around her neck.  Madonna says:

"It's just an image I thought was powerful...It showed an extreme.  Extreme images of women: one is in charge, in control, dominating; the other is chained to a bed..."

It is evident in this video that she interrogates the cultural construction of gender and representations of identity.

"Justify My Love" is the same.  The banned video showed how gender roles could be swapped, blurred and played with to create different identities.  It showed men who looked and acted like women and women who looked and acted like men.  It totally changed the typical gender roles and behaviour around.

E. Ann Kaplan (1897) stated "Madonna's feminism is part of a larger post-modernism phenomenon which her videos also embody in their blurring of sacrosanct boundaries and polarities such as male/female, high art/pop art, film/TV, fiction/reality and private/public.

Two interrelated sign systems developed from videos predicated on female gender experience- access signs and discovery signs.  These can both be seen in Cyndi Lauper's 1983 hit "Girls Just Want to Have Fun" and Madonna's 1984 song "Borderline".  Both are set in the street not feeling threatened, which is the access sign.  The discovery sign is being female.  In 'Borderline" it is the fact she gets discovered to be a model.

It is important to see a music video as well as hearing a song, because the video can change and correct any perceived ideas.  This is the case for "Material Girl".  The song was telling of money and acquisition, many thinking of Madonna as being money-hungry and greedy.  The video itself showed that it was one big parody on the idea that diamonds are a girl's best friend, showing Madonna to like simpler things instead.  Her music videos are not to be taken seriously.  She simply produces images that may not be seen often.  She was quoted as saying

" I play a lot of characters and everytime I do a video or a song, people go 'Oh, that's what she's like'.  And I'm not like any of them.  I'm all of them.  I'm none of them".

This shows that you cannot learn about her as a person from her videos.  They are merely to view rare images of power and weakness at the same time.

There are many music videos that do not challenge gender or indentity.  Such video clips as George Michael's "Freedom".  It seems slightly hypercritical that the song is about being your own person and being strong, when the images portrayed were supermodels looking like sex objects.  Another video was Robert Palmer's "Simply Irressistable", where the women were all dressed the same with no expression, looking once again like sex obejects.  Motley Crue also did this in their clip "Girls, Girls, Girls".  Though not suprising for this band, it features females in bikinis acting like 'bimbos'.  In these clips there is no attempt to challenge gender or identities.  No experimenting with the two ideas, making the music videos pointless as they do not raise any notions.

From this essay, it is evident to see how music video can play with the idea of gender and identity.  Soaps do not do it as much as music video.  Music videos are always pushing the limits on how far they can cross over into each one.  Madonna is famous for

1103.      The Dark House

Story e - The dark house                                                     by Tom-Inge

Earlier today, John and I were taking a walk in the outskirts of the town, when we saw an old house on top of a hill. I wanted to take a closer look at it, but John looked a little spooked, and mumbled something about not wanting to go there.

I convinced him that there was nothing to be afraid of, it's just an old house which haven't been occupied for a while, though I wasn't sure whether someone really was living there. We walked up the driveway, up to the house. It was huge.        The place looked deserted, the grass wasn't mowed for ages, and everything was a mess. John chew nails like crazy, but I still wanted to check this place out.

The door was made of wood, and looked like it could fall apart any minute.

I tried to turn the door knob, but it fell off as soon as I touched it. The knob rolled down the steps and kept on rolling down the driveway, and stopped by the fence.

That didn't make John feel any better at all. He looked like he had seen a ghost.

I took a deep breath, and pushed the door. It wouldn't budge an inch. "Help me out", I said, but John kept chewing his nails. God knows why, there was nothing to be scared of. Or was it? I took a step backwards, and then kicked the door. It slowly slid open, and I went inside. "Wow! What a huge mansion we've got here!" John took a peek into the house, but didn't dare go inside.

There was a huge hall in the middle of the house, with staircases to my left and right. I went right ahead, towards a glass door in front of me. It wasn't locked, so I carefully turned the knob, and the door opened. Suddenly I felt someone touch my shoulder. I turned around immediately to see, but there was nobody there. "Probably just my imagination", I said to myself, and went on into the room.

It was a lounge, with some impressive furniture, antiques and other objects. It was a lot to look at, and I yelled for John. He didn't reply, so I went to check on him. All I found outside the house was a shoe, and his necklace. I couldn't quite understand what was going on. If he'd run away, at least he'd taken his belongings with him. The door slammed shut behind me, and my heart stopped for a second or two. I turned, and again there was nobody there. All I could hear, was the breeze in the trees nearby, and a helicopter flying over the town. I admit I was a bit spooked myself now, and felt like running away, but I was fascinated by this old house, and wanted to explore it.

I turned around and went inside again, the door wasn't locked this time. I went up the staircase, and into a bedroom. I should never have done that. On the bed lay John, without his shoe or necklace, completely pale in his face, dead. I started crying, wishing that we'd never entered this house in the first place. A cold breeze made me stop crying, and to swear revenge upon whoever that did this to my friend. Outside the room I spotted something floating in the air, in the hall. It was transparent, I could see through it. It floated closer to me, and I started running away, down the stairs and towards the door leading outside. But it was locked. "I'm doomed", I thought, and stood still. As I looked to my left, I saw a window, big enough for me to climb through. I ran over there, knowing that the floating thing was following me. The window was in a kitchen, and in one corner I saw a little white furry thing with long ears. I looked behind me, the floating thing had stopped in the hall. I picked up the bunny, but when it turned around, I could see its long, bloodstained teeth, and its red eyes, staring at me. I couldn't move, I panicked. The bunny jumped and bit my arm, my god it was painful, and the blood started running, dripping on the floor. I kicked the bunny, it flew towards the hall, and then I broke the window with my shoe. But something kept me back. I had sworn revenge, so I couldn't leave this house until I had eliminated the creature which had killed John. I turned, the bunny came running towards me, and I grabbed a knife to fight it off with. I waved the knife around, trying to stab the bunny to death, and managed to do so after having been bit way too many times in my legs. The kitchen didn't contain any form of bandages, so I started searching around the house, carrying the bloody knife with me.

At last I found the bathroom, and some bandages to put on my wounds, but suddenly someone turned off the lights. I got terrified, and walked around as blind as a bat. I felt someone touching me again, and ran as fast as I could in a random direction, until I hit my head in something and fainted. When I woke up again, I felt pain in my right leg. When I looked, I saw the furry little white thing chewing on my leg. I grabbed a pot plant, and smashed it into the rabbit, which fell lifeless to the floor. I picked up the rabbit, and walked towards a railing.

I was now in the hall, and I saw the floating thing downstairs, near the kitchen. The bunny started to move, and I quickly threw it over the railing. It hit the thing down there, and they melted together into a green slimy mass. The green stuff began crawling up the staircase, and towards me. My feet ached so much, I couldn't run, so I picked up my knife from the floor and prepared to fight it. I slashed the knife into the monster, but nothing happened. I tried several times, but of no use. I climbed over the railing, and lowered myself by my arms down to the floor below. The green mass followed. I walked towards the kitchen, but it was hard to see anything in the dark. Some light came in through the windows, though. I searched the room roughly, and found a fork, a bottle, some broken glass which I cut my finger on, and a flashlight. I turned on the flashlight and looked around. I found some kerosene, and put it in the empty bottle I found, and then tore a piece of cloth from my shirt and stuffed into the bottle. The Molotov cocktail was ready for use. I lurched upon the creature, and when I was close enough, I lit the cloth with my lighter, and threw the cocktail at the green slime.

The monster burned for quite a while, and soon it was nothing left but ashes.

I went up to the bedroom where John was, and I fainted when I saw him get out of bed all by himself.

When I awakened, I noticed that I was lying on the ground outside the house. John said that we'd better get as far away from this house as possible. I tried to get on my feet, but I just fell on the ground again. John helped me get to the railway station, and bought me a ticket. He had to go home, so he couldn't join me. Now I am sitting here in a couch, riding as far away from that spooky place as I can, but my legs are still aching. And what is that furry little creature in the corner of the couch?

1104.      The Dead Poet that Kill Himself A Response to Dead Poets S

The movie Dead Poet's Society raises an interesting question: When educating teen-agers, is it better to use the school's policy of Tradition, Honor, Discipline,  and Excellence or Mr. Keating's philosophy of carpe diam (seize the day)? Mr. Keating believed that people should "suck the marrow out of life" and live like a free thinking person even at the young age of seventeen. Centuries of teaching experience prove Mr. Keating is wrong and that tradition and discipline are the correct methods of educating.

Our fledgling nation of only 200 years is a mental midget in this world. Why is it that we are 17th in the world in education. Is it that we are stupid? No, it is that we have diverged from the old world teaching methods of Europe and Asia. Japan is third is the world in education. The reason is simple. Although they manufacture most of the world's calculators, not one is used in the classroom. One really begins to understand math when taught by route memorization and physical punishment for incorrect answers. Anyone who has been "rapped on the knuckles" by a nun with a ruler can attest to this fact.

The one thing that a student needs in life is structure. Without this, he or she cannot function in a school environment. When a bell rings, you must go to class. When a teacher assigns homework, you do it. No questions asked. No individual thought. The only marrow that should be sucked out of a students life is that of education. That, after all, is why they are in school. To learn and no other reason.

In the end, it should be noted that although Mr. Keating's teaching philosophy was debunked, he made one good point. Neil should have spoken to his parents. Neil's case is a perfect example of a mind not ready for independent thought. A mind without discipline. His parents tried to give him direction and a better life than they had. Neil rewarded them by killing himself. The author of this essay has no sympathy for Mr. Keating, the man whose teaching inspired a cowardly act of suicide.

1105.      The Development of Irony In The Necklace

The Development of Irony in

"The Necklace"

by

Kimberly Ednie

Mrs. Connolly

ENC 1102  M-W-F 9:00AM

Short Story Essay

January  29, 1997

The Development of Irony in "The Necklace"

Guy de Maupassant's "The Necklace"  is situational irony

written in 1884.  The story was written in a time when there were very

distinct social classes primarily determined by one's birth.  It is about

a woman who can not come to terms with her position in the middle

class.  Although she knows she can not escape her  class, she

refuses to accept it gracefully.  It is through Matilde that Maupassant

develops the story's irony.  This is reflected through Matilde's

daydreaming, which only serves to torment her, the loss of the

necklace borrowed for show, which only worsens their economic

position, and finally, their unnecessary sacrifice.

The irony begins with Matilde's frequent daydreaming.  She is a

beautiful and charming woman who feels "herself destined for all

delicacies and luxuries" (4).  Fate, however, placed her among the

middle class where life was very simple.  For her, the only means to

a more affluent class was through her imagination.  She dreams of

"large silent anterooms, expensive silks and of achievement and fame

that would make her the envy of all other women" (4).  What she fails

to realize is that  these daydreams only make her more dissatisfied

with her real life.  As a result, she becomes more focused on what

she does not have rather than what she does have.

Contributing to the irony is the borrowed necklace.  Matilde's

husband brings a coveted dinner invitation home, and her first

reaction is concern for appearances.  She tells her husband that they

can not possibly go because she has "nothing to wear" (5).  Her

husband agrees to buy her a new dress.  This, however, is not

enough for Matilde; she  needs jewelry.  She explains that, without

jewelry, she will appear "shabby in the company of rich women" (6).

In her quest to present herself as a wealthy woman, she decided to

borrow a "superb diamond necklace" (6) from a friend.

Unfortunately, upon arriving home, Matilde noticed that the necklace

was lost.  When the necklace can not be found, Matilde and her

husband have no choice but to replace it.  As a result,  Matilde's

desire to appear part of the upper class has only succeeded in

making them part of a lower one.

Without a doubt, the most ironic part of the story  is  the Loisel's

unnecessary  sacrifice.  The Loisel's decide to replace the necklace

without telling the owner of  its loss.  "In a shop in the Palias-Royal,

they found a necklace that seemed to them exactly like the one they

were looking for" (8).  They  secure the thirty-six thousand for the

necklace from Mr. Loisel's inheritance and in the form of loans.  They

struggle and live in poverty for ten years to pay off the necklace.  By

now, Matilde looks old.  "She had become the strong, hard, and rude

woman of poor households" (9).  Matilde is walking along the

Champs-Elysees when she encounters the friend who loaned her the

necklace.   Her friend is shocked when Matilde finally tells her about

the necklace.  It is then that Matilde learns that the necklace her and

her husband toiled to replace was only costume jewelry. Even among

the rich there are apprearances to keep up.

Maupassant, through  irony, shows us that in pursuit of wealth

or status it is easy to forget what one already has to appreciate.  Also,

appearances are just that, no matter what class you belong to.

Because Matilde did not understand this, desire to rise above the

middle class was replaced with a desire to merely rise above poverty.

1106.      The Direct and Indirect Impact of Rhetoric

The Direct and Indirect Impact of Rhetoric

In the world that we live in, rhetoric always affects and is a

part of everything that happens.  Rhetoric, in its broadest sense, is

communication, and how people relate to each other.  The movie The Color Purple

is about relationships.  Therefore rhetoric plays a very important role in this

movie.  Throughout The Color Purple the impact of rhetoric can be seen in two

groups of people, the communicator, or rhetor, and the audience.  Celie, the

main character of the movie, shows the impact of rhetoric in almost every aspect

of her life.  The effects of rhetoric in Celie's life are apparent through her

relationships with Mr. Johnson, Shug Avery, and Sofia.

The relationship that Celie has with Mr. Johnson is unbalanced

from the first time they meet.  Celie's complacent and gentle nature leave her

at the mercy of Albert Johnson's more dominant attitude.  The rhetoric that she

expresses to him, of innocence and always complying to his orders, forces her to

live a large portion of her life sheltered and overshadowed by Albert, who

continuously beats her into submission.  Celie also passes on what she learned

from "Mister" to his son Harpo, the rhetoric of "the importance of a man giving

his wife a good beating."  Albert Johnson does not even realize how important

Celie is to him until she is gone.  At that point he returns some of the love

that is shown to him by helping Nettie and her family to return to the United

States in order to see Celie.  This action shows the impact of Mr. Johnson's

rhetoric on Celie by returning to her the first person that she ever loved.

Both the rhetoric that Mr. Johnson exposes Celie to and the rhetoric that Celie

reveals to Albert Johnson have a very important role in Celie's life in the

movie The Color Purple.

Celie also shares a strong relationship with Shug Avery.  Celie

first meets Shug when she is drunk and has a very bad temper.  Celie just tries

to comfort the sick stranger in her house.  In this unselfish act of kindness,

Celie's rhetoric ends up giving her the best friend that she has for a long time.

Shug then returns the rhetoric of kindness and love that Celie first shows her

by writing a song to cheer her up.  Celie's newfound friend also teaches her how

to smile, and perhaps how to enjoy life and respect herself.  Shug Avery also

helps Celie discover that Nettie is writing her and where to find the letters.

Celie's rhetoric in her relationship with Shug let her gain a new friend,

contact with her beloved sister, and rediscover a joy and purpose to her life.

Rhetoric also has a strong impact in the relationship between

Celie and Sofia.  After Sofia's jail sentence she is very depressed, and Celie

helps her do the grocery shopping.  Showing her rhetoric of friendship and

kindness once again, Celie shows Sofia a friend when she needs one the most.  At

the family dinner one night, Celie expresses her true feelings in an outburst of

rhetoric.  This reawakens the spirit inside Sofia and allows her to admit to

Celie how she helped her and that people do understand and love her.  Without

first affecting Sofia with her rhetoric, Celie would not have experienced the

assurance of Sofia's rhetoric in her life.

Rhetoric is present in the relationships between Celie and Mr.

Johnson, Shug Avery, and Sofia.  This rhetoric affects Celie in many ways and

from different directions.  Celie is affected by how she relates to others

through rhetoric and how others relate to her through rhetoric.  In some cases

Celie's rhetoric has an impact on someone else and then later works its way back

to her.  Mr. Johnson is exposed to Celie's kindness and friendship a long time

before he shows her some of the same respect.  Shug Avery is also affected by

the rhetoric of Celie before she is in turn impacted by Shug's friendship.

Celie gives Sofia the assurance that she needs and then receives the same from

Sofia when she is in need of support.  In all of these relationships Celie is

affected directly by the rhetoric of the other people and indirectly by the

influence of her own rhetoric.

1107.      the directand indirectimpact of rhetoric on The Color Purple

Emory Lott

12/05/96

English 1001

page 1

The Direct and Indirect Impact of Rhetoric

In the world that we live in, rhetoric always affects and is a part of everything that happens.  Rhetoric, in its broadest sense, is communication, and how people relate to each other.  The movie The Color Purple is about relationships.  Therefore rhetoric plays a very important role in this movie.  Throughout The Color Purple the impact of rhetoric can be seen in two groups of people, the communicator, or rhetor, and the audience.  Celie, the main character of the movie, shows the impact of rhetoric in almost every aspect of her life.  The effects of rhetoric in Celie's life are apparent through her relationships with Mr. Johnson, Shug Avery, and Sofia.

The relationship that Celie has with Mr. Johnson is unbalanced from the first time they meet.  Celie's complacent and gentle nature leave her at the mercy of Albert Johnson's more dominant attitude.  The rhetoric that she expresses to him, of innocence and always complying to his orders, forces her to live a large portion of her life sheltered and overshadowed by Albert, who continuously beats her into submission.  Celie also passes on what she learned from "Mister" to his son Harpo, the rhetoric of "the importance of a man giving his wife a good beating."  Albert Johnson does not even realize how important Celie is to him until she is gone.  At that point he returns some of the love that is shown to him by helping Nettie and her family to return to the United States in order to see Celie.  This action shows the impact of Mr. Johnson's rhetoric on Celie by returning to her the first person that she ever loved.  Both the rhetoric that Mr. Johnson exposes

page 2

Celie to and the rhetoric that Celie reveals to Albert Johnson have a very important role in Celie's life in the movie The Color Purple.

Celie also shares a strong relationship with Shug Avery.  Celie first meets Shug when she is drunk and has a very bad temper.  Celie just tries to comfort the sick stranger in her house.  In this unselfish act of kindness, Celie's rhetoric ends up giving her the best friend that she has for a long time.  Shug then returns the rhetoric of kindness and love that Celie first shows her by writing a song to cheer her up.  Celie's newfound friend also teaches her how to smile, and perhaps how to enjoy life and respect herself.  Shug Avery also helps Celie discover that Nettie is writing her and where to find the letters.  Celie's rhetoric in her relationship with Shug let her gain a new friend, contact with her beloved sister, and rediscover a joy and purpose to her life.

Rhetoric also has a strong impact in the relationship between Celie and Sofia.  After Sofia's jail sentence she is very depressed, and Celie helps her do the grocery shopping.  Showing her rhetoric of friendship and kindness once again, Celie shows Sofia a friend when she needs one the most.  At the family dinner one night, Celie expresses her true feelings in an outburst of rhetoric.  This reawakens the spirit inside Sofia and allows her to admit to Celie how she helped her and that people do understand and love her.  Without first affecting Sofia with her rhetoric, Celie would not have experienced the assurance of Sofia's rhetoric in her life.

Rhetoric is present in the relationships between Celie and Mr. Johnson, Shug Avery, and Sofia.  This rhetoric affects Celie in many ways and from different directions.  Celie is affected by how she relates to others through rhetoric and how others

page 3

relate to her through rhetoric.  In some cases Celie's rhetoric has an impact on someone else and then later works its way back to her.  Mr. Johnson is exposed to Celie's kindness and friendship a long time before he shows her some of the same respect.  Shug Avery is also affected by the rhetoric of Celie before she is in turn impacted by Shug's friendship.  Celie gives Sofia the assurance that she needs and then receives the same from Sofia when she is in need of support.  In all of these relationships Celie is affected directly by the rhetoric of the other people and indirectly by the influence of her own rhetoric.

1108.      The Diviners How does Morags past influence Piques life

How does Morag's past influence Pique's life

Michael Lo

Pique is the inheritor of French-Indian and Scottish-Canadian roots. She is raised her mother in Canada and England. However, her growth is affected by Morag's life style and Morag's past life. There are three events in Morag's past that affects Pique's life.

Morag moves away from Christie when she goes to college and she rarely comes back to Manawake,

"Going to Winnipeg this fall. To college. And I'm never coming back."

She does not seem care for her stepparents. In certain respects the parent-child relationship between Morag and Pique resembles the one between Christie, the Scavenger,

"You've never had somebody tell you mother was crazy between

she lived out her alone and wrote dirty books and had kooky people

coming out from the city to visit?"  (P.446)

And both, in different ways, attempt to deny their parents. At one point, Pique, having run away from home, ends up in a mental hospital in Toronto after "a bad trip",

"Can't you see I despair you? Can't you see I want you

to go away? You aren't my mother. I haven't got a mother." (P.111)

Furthermore, Morag does not get married with Jules. When her husband is Brooke Skelton, she has a sexual relationship with Jules and gets pregnant. Later, Pique is aware that Jules is her father. Pique has an idea about why she is different from the others because a typical family should have a mother and a father, but she comes from a single parent family. When Pique first meets her father she is at about five years old. Jules sings a song to Pique which she finds fascinating and meaningful to her. Pique, at 18, is more mature than her mother at the same age. She loves her father very much and wants to live with him, however, Morag does not approve that Pique should stay with Jules,

"Why did you have me?"

"For your own satisfaction, yes. You never thought of him or of me."

We are aware that Pique needs care and love from both of her parents because Morag cannot fulfill Pique's desire. She runs away in search of what she thinks she is missing all along, which she, herself is not sure what it is.

Later on, she dates Dan McRaith, who is a husband of Bridie.  They  have a abnormal friendship between them. As we know Dan Scranton and Gord are boyfriends of Pique. It is coincidental with Morag's boyfriend first name is also Dan. These two individuals occurs in Morag and Pique's life as their names are the same. We do not know whether Pique has the intention to be a girlfriend of Dan Scranton? However, we can deduce that Pique is doing the same things as Morag's past.

In conclusion, Pique is made up of the conflicts of her parents with their separate origins and cultures. She remains mysterious to Morag and she is closer in her heritage to Jules. Like both parents, she has no feeling of belonging to any particular group of people. She is divided by her parents because of her mixed blood. Pique's dilemma shows that her problem is not simple, nor is it a solution: "what really happened", she does not belong because she has not yet found her own individual place.

1109.      The Doors Biography

The Doors Biography

From their beginnings during the summer of 1965 at Venice Beach, California, The Doors were a band of creative energy, with most of the focus on Jim Morrison. His looks and talents clearly tell why. Jim was well aware that the magic of The Doors could never have happened without the fortunate talents of John Densmore, Robby Krieger, Ray Manzarek and Jim Morrison. Robby Krieger, for example, wrote lyrics and music that sounded a lot like Morrison's work, such songs as "Light My Fire," "Love Me Two Times," and "Love Her Madly." There are many that think Jim was the only creative poet in the band, when in fact there were two. If it wasn't for Krieger, Manzarek and Densmore there is a strong chance that Jim's songs would never have made it off the page, into rehearsal, onto the stage, into the recording studio. It took all three to successfully create the masterwork of "The Doors." Ray Manzarek, was a trained pianist, raised in Chicago with a deep love for the blues. He wrote the themes for many of the songs and played not only the keyboard parts but simultaneously (with his left hand) played the melodic driving bass lines. John Densmore, a jazz drummer with an unbeatable skill for shamanic rhythm and theatrical timing, was the band's tireless engine. Robby Krieger, a song writing secret weapon who could play any guitar from classic flamenco to bottle neck blues, created styles and sounds previously unheard by man. And Jim Morrison, the baritone, was a talented poet with an innate compositional gift and the soul of a mystic. Together these men brought The Doors' songs to life. They were equal points of a musical phenomenon. The band got its name from the poet William Blake, who had written, "When the doors of perception are cleansed, things will appear to man as they truly are, infinite." English author Aldous Huxley was inspired by Blake's quote to title his book on mescaline experiences The Doors of Perception. Morrison was so connected to both works that he proposed, The Doors, to his band mates. Everyone agreed that the name, was perfect to convey who they were and clearly represent what they stood for. The group was signed to Elektra Records in July of 1966 by Jac Holzman, Elektra's founder. At that time Elektra Records was a small folk music record company. By April 1971, The Doors had recorded six landmark studio LP's and a two record set of live performances. The first seven discs with producer Paul A. Rothchild and the last one co produced by The Doors and their career long engineer Bruce Botnick. The Doors and Elektra had grown into world famed institutions. The band's un stated goal was to accomplish musical alchemy, to fuse rock music with both existent poetry and improvisational theater. Jim was influenced by the nineteenth century poet Arthur Rimbaud and he dutifully imparted Rimbaud's philosophy to the group. Rimbaud advocated a systematic "rational derangement of all the senses in order to achieve the unknown." Morrison was a man who would not, could not, and did not know how to compromise himself or his art. He was driven to go all the way or die trying, the ultimate ecstatic risk taker. Manzarek, Krieger and Densmore's contribution to this state of creative bliss cannot be underestimated. Jim's improves onstage required the other three Doors to not merely play arrangements but to follow Jim's unplanned creativity perfectly in one of the music's classic and most difficult feats the art of perceptive chords. Jim once said, "For me, it was never really an act, those so called performances. It was a life and death thing, an attempt to communicate, to involve many people in a private world of thought." During the late 1960's bands sang of love and peace while acid was passed out. It was different for The Doors. The nights belonged to Pan and Dionysus, they are gods of revelry and rebirth, and their songs invoked their strong passions. The Oedipal nightmare of "The End," the breathless gallop of "Not to Touch the Earth," the doom of "Hyacinth House," the ecstasy of "Light My Fire," the dark uneasy undertones of "Can't See Your Face in My Mind," and the alluring loss of Consciousness in "Crystal Ship." As with Dionysus, The Doors offered themselves as a sacrifice to be torn apart, to bleed, to die, to be reborn for yet another night in another town. To be a poet meant more to Morrison than writing poems. It meant embracing the tragedy fate has chosen for you and fulfilling that destiny with enthusiasm and dignity.

In the end, after conquering America, after being shackled by the courts and laws of the land that he loved, he escaped to Paris. Home of so many expatriate artists, to pursue his life as a poet. His body was too worn down, his heart too weak; he had already seen, done and drunk too much. He had lived life on his own terms, And now must pay for his actions. Death was closer and easier than returning to America, to the endless succession of stages it demanded. Jim Morrison passed away in Paris on July 3, 1971. His dying wish was to be remembered as a poet, and not as a rock star. Pamela Morrison used to tell a story from the earliest day of The Doors. They were playing their first club, The London Fog. It was their last set of the night and there were only three people in the club, two drunks and Pamela. The band was intense. Jim raged and exploded with super human passion with an excellent performance. Pam was stunned. In the car she could say nothing. Long after arriving home she was still speechless. Jim asked, "What's wrong baby?" Pam said, "There were three people in the club during the last set yet you burned like you were performing for thousands of people. Why did you go so far, risk so much for a tiny audience that was barely aware of your presence?" Jim looked at her and said slowly, "You never know when you're doing your last set."

1110.      The Drainpipe

The Drainpipe

For a half hour, every school day, for a few months, I

was really happy. A friend and I would go to the drainpipe,

and we would sit, talk, eat our lunches, and listen to my

walkman. It was the perfect place: It was quiet, beautiful,

and it was full of peace. It didn't matter whether it was

cold or hot, somehow you didn't feel anything sitting on

that drainpipe. You would feel the wind on your face, and it

made your face cold, but inside, you felt warm and cozy, and

you almost felt like you couldn't be harmed. There was

something magical about the drainpipe. Maybe it was the fact

that nobody was around except the two of us, and we were

tiny compared to the long grass surrounding us. Then again,

it could just been the freedom of knowing that we were

listening to the walkman that was banned from school, and we

weren't getting caught. What ever it was, it doesn't matter

because analyzing something takes away the feeling it gives

when you think about it. It was just a great place, and it

made me happy, and I don't know why. That makes it better in

a way, just knowing that it had that power.

Everyday, I would meet with a friend at the drain-

pipe. That is until a teacher found us and told us that

because we didn't have any adult supervision, we couldn't

eat there anymore. It felt terrible. I wanted to stay there.

I had always thought that adult supervision was outdated by

the time we were this old. We had come to this place to get

away from adults and all the other P.C. people in this

world, and now we had to join them again. At lunch time, I

wander now, using the tape player in any open classroom and

get into screaming matches with people, it's all just little

kid fun anyway. Lunchtime isn't the same anymore. I wish the

teacher had never found us.

Even to this day, I go to the drainpipe. When things

get to hard at home, and I need to just escape, I make the

excuse that I forgot a book at school and I leave. I cross

the soccer field, then the gym, sometimes stop at my locker

to put away my backpack, and I run to the drainpipe. I lay

down in the grass, and think about what ever is bothering me

right now. I put my headphones in my ears and blast the tape

that is in my walkman. I'm transported.

1111.      THE DRIVE

Driving through the dessert can be wearisome, fatiguing and all the things that you dread

in a long drive.  Not this trip, it was the new beginning, I was on my way to find myself.  I

had 14 hours to contemplate the reasons I was doing this.  My friends said I was nuts,

family said I was stupid.  Let's see, nuts and stupid, um, O.K. I guess everyone has their

own opinion.  Its not really what I wanted to hear, but I could see their point.

Yuma, Arizona, my hometown, lived there for 10 years, graduated from high school, had

lots of friends, had a great job, but one crucial element was missing,  I just wasn't happy

there.  Everyone, including my family, (who by the way, all moved back south), said I had

everything going for me.  I, on the other hand, did not feel that way.  There were hundreds

of reasons why I should have stayed, carried on, but it only took a few significant reasons

to abandon my so called perfect life in Yuma, Arizona.

I remember driving, looking out of the window at the mountains and clay colored rocks.  I

realized just how beautiful it all was. Again, my thoughts turned back to my life. The man

I thought I would end up sharing my so-called perfect life with.  I could see his face,

remember his smile, hear him laugh.  Jim and I were great friends for a long while.  Almost

a whole year, until I began to actually feel something stronger.  I had never been in love

before and it had been an overwhelming feeling.  At a party, I had too much to drink and

on the way home blurted out how I had felt.   He smiled and drove me home.  The next

day he came by my house and sat me down and told me he had felt the same way.  It

began.  Two wonderful years, of now loving my best friend.  It wasn't always wonderful,

we had our bad moments, but I was the happiest I could ever remember.  Jim was still in

the Army, it was time for him to decide whether to re-enlist for another 3 years or get out,

be a civilian.  He decided to get out.  Jim was a very private person.  It was hard for him

to share himself with anyone, even me.  I respected that, and gave him his privacy.  But I

never realized that meant that he would leave Yuma and leave without me.  I never told

him how I felt and he never discussed his feelings with me.  Our last week together was

the best.  We stayed up all night and gazed at the stars and went into the dessert and

watched the sunrise.  Those times I will never forget.  The day came, we got up and I

drove him to the Phoenix airport.  The drive seemed endless.  We kissed goodbye, and he

was gone.  I drove back to Yuma, and went to work.

I had been employed by the Federal Government, a Civil Servant is what we were called.

My job description was Computer Information Specialist.  Which simply meant that I

created programs for divisions on a military installation. My last assignment was to create

a program for the communication division.  I worked intensely on this program.  Logging

in around 25 hours overtime, and 3 months of work.  Three days before my big

presentation, that was to be given to the division head, I was informed that a commercial

program had been purchased for $32,000.00!  I could not believe it.  I was devastated.

What a bad 2 months I had had.  I stopped by the store and got a bottle of Tequila.  I

remember the shattered feeling I had.  I cried for the first time. I sat in my driveway

sobbing.  I just realized that Jim had gone and would not be back.  I felt like a ton of

bricks had been dropped on my chest and I was trapped.  I was hoping the Tequila would

give me strength to release myself.

I woke up the next mourning on the living room floor a red magic marker was in my very

sticky hand..  Lemon peels were scattered all over the room, and there was a mound of

salt where the salt shaker had spilled.  I was laying on a map of the U.S. and a bright red

circle around the city of Sacramento, CA.   I did not go to work that day.  I slept and

cried. and slept.

When I did go to work I handed in my resignation.  I drove down to the Ryder truck

rental shop and rented a truck with a hitch to pull my Nissan.  I went around to see all my

friends and bid them farewell, most offered to help me load the truck.  We had a farewell

party that night.  I could not believe my whole house fit in that Ryder truck.  Phoned my

family and got a lecture on the way life deals cards and all that stuff , you know the stuff

parents tells their kids when they think they are making a big mistake.  Sacramento here I

come.

The mourning I left was a nice March day..  A nice day to start a new life in a new town.

A nice March day to take a drive in the dessert.  A nice day to vow never to drink tequila

again.

Driving through the dessert can be wearisome, fatiguing and all the things that you dread

in a long drive.  Not this trip, it was the new beginning, I was on my way to find myself.  I

had 14 hours to contemplate the reasons I was doing this.  My friends said I was nuts,

family said I was stupid.  Let's see, nuts and stupid, um, O.K. I guess everyone has their

own opinion.  Its not really what I wanted to hear, but I could see their point.

Yuma, Arizona, my hometown, lived there for 10 years, graduated from high school, had

lots of friends, had a great job, but one crucial element was missing,  I just wasn't happy

there.  Everyone, including my family, (who by the way, all moved back south), said I had

everything going for me.  I, on the other hand, did not feel that way.  There were hundreds

of reasons why I should have stayed, carried on, but it only took a few significant reasons

to abandon my so called perfect life in Yuma, Arizona.

I remember driving, looking out of the window at the mountains and clay colored rocks.  I

realized just how beautiful it all was. Again, my thoughts turned back to my life. The man

I thought I would end up sharing my so-called perfect life with.  I could see his face,

remember his smile, hear him laugh.  Jim and I were great friends for a long while.  Almost

a whole year, until I began to actually feel something stronger.  I had never been in love

before and it had been an overwhelming feeling.  At a party, I had too much to drink and

on the way home blurted out how I had felt.   He smiled and drove me home.  The next

day he came by my house and sat me down and told me he had felt the same way.  It

began.  Two wonderful years, of now loving my best friend.  It wasn't always wonderful,

we had our bad moments, but I was the happiest I could ever remember.  Jim was still in

the Army, it was time for him to decide whether to re-enlist for another 3 years or get out,

be a civilian.  He decided to get out.  Jim was a very private person.  It was hard for him

to share himself with anyone, even me.  I respected that, and gave him his privacy.  But I

never realized that meant that he would leave Yuma and leave without me.  I never told

him how I felt and he never discussed his feelings with me.  Our last week together was

the best.  We stayed up all night and gazed at the stars and went into the dessert and

watched the sunrise.  Those times I will never forget.  The day came, we got up and I

drove him to the Phoenix airport.  The drive seemed endless.  We kissed goodbye, and he

was gone.  I drove back to Yuma, and went to work.

I had been employed by the Federal Government, a Civil Servant is what we were called.

My job description was Computer Information Specialist.  Which simply meant that I

created programs for divisions on a military installation. My last assignment was to create

a program for the communication division.  I worked intensely on this program.  Logging

in around 25 hours overtime, and 3 months of work.  Three days before my big

presentation, that was to be given to the division head, I was informed that a commercial

program had been purchased for $32,000.00!  I could not believe it.  I was devastated.

What a bad 2 months I had had.  I stopped by the store and got a bottle of Tequila.  I

remember the shattered feeling I had.  I cried for the first time. I sat in my driveway

sobbing.  I just realized that Jim had gone and would not be back.  I felt like a ton of

bricks had been dropped on my chest and I was trapped.  I was hoping the Tequila would

give me strength to release myself.

I woke up the next mourning on the living room floor a red magic marker was in my very

sticky hand..  Lemon peels were scattered all over the room, and there was a mound of

salt where the salt shaker had spilled.  I was laying on a map of the U.S. and a bright red

circle around the city of Sacramento, CA.   I did not go to work that day.  I slept and

cried. and slept.

When I did go to work I handed in my resignation.  I drove down to the Ryder truck

rental shop and rented a truck with a hitch to pull my Nissan.  I went around to see all my

friends and bid them farewell, most offered to help me load the truck.  We had a farewell

party that night.  I could not believe my whole house fit in that Ryder truck.  Phoned my

family and got a lecture on the way life deals cards and all that stuff , you know the stuff

parents tells their kids when they think they are making a big mistake.  Sacramento here I

come.

The mourning I left was a nice March day..  A nice day to start a new life in a new town.

A nice March day to take a drive in the dessert.  A nice day to vow never to drink tequila

again.

1112.      The Early Evolution of Motion Picutres

The Early Evolution of Motion Pictures

Many inventors and scientists observed the visual phenomenon that a series of individual still pictures set into motion created the illusion of movement - a concept termed persistence of vision by Roman poet Lucretius who discovered the phenomenon. A number of technologies and inventions related to motion and vision were developed in the early to late 19th century that were precursors to the birth of the motion picture industry.

Pioneering Britisher Eadweard Muybridge (1830-1904), an early photographer and inventor, was famous for his photographic loco-motion studies at the end of the 19th century. He used 12 cameras, equally spaced along a racetrack, to record the movement of a galloping horse, to prove that all four of the horse's feet were off the ground at the same time. Muybridge's pictures, published widely in the late 1800s, were often cut into strips and used in a Praxinoscope.  Muybridge's stop-action series of photographs helped lead to his own 1879 invention of the Zoopraxiscope, a primitive motion-picture projector machine that also recreated the illusion of movement or animation by projecting images onto a screen from photos printed on a rotating glass disc.

The Belgian scientist Joseph Antoine Ferdinand Plateau developed the phenakistoscope (also called the Fantascope), the first device that allowed pictures to appear to move.  In the late 1880s, famed inventor Thomas Alva Edison and his young British assistant William Kennedy Laurie Dickson first developed the Kinetophonograph (or Kinetophone), a precursor of the 1891 Kinetoscope, that synchronized film projection with sound from a phonograph record.  Although Edison is often credited with the development of early motion picture cameras and projectors, it was Dickson, in November 1890, who devised the Kinetograph.   Early in 1893, the world's first film production studio, the Black Maria, or the Kinetographic Theater, was built on the grounds of Edison's laboratories at West Orange, New Jersey, for making filmstrips for the kinetoscope.  On Saturday, April 14, 1894, Edison's Kinetoscope began commercial operation.

The innovative Lumiere brothers in France, Louis and Auguste (often called "the fathers of modern film"), who worked in a Lyons factory that manufactured photographic equipment, were inspired by Edison's work. They created their own combo movie camera and projector.  It was dubbed the Cinematographe. The multi-purpose device was more profitable because more than a single spectator could watch the film on a large screen. They used a film width of 35mm, and a speed of 16 frames per second - an industry norm until the talkies. By the advent of sound film in the late 1920s, 24 fps became the standard.  The first public demonstration of the Lumiere's camera-projector system (the projection of a motion picture) was made in March of 1895.

Aside from technological achievements, another Frenchman who was a member of the Lumiere's viewing audience, Georges Melies, expanded development of film cinema with his imaginative fantasy films. When the Lumiere brothers would not sell him a Cinematographe, he developed his own camera, and then set up Europe's first film studio in 1897.  An illusionist and stage magician, Melies exploited the new medium with a pioneering, 14-minute science fiction work, Le Voyage Dans la Lune - A Trip to the Moon (1902).  Melies also introduced the idea of narrative storylines, plots, character development, illusion, and fantasy into film, including trick photography (early special effects), hand-tinting, dissolves, wipes, 'magical' super-impositions and double exposures, the use of mirrors, trick sets, stop motion, slow-motion and fade-outs/fade-ins. Although his use of the camera was innovative, the camera remained stationary and recorded the staged production from one position only.

The key years in the development of the cinema in the U.S. were in the late 1800s and early 1900s, when the Edison Company was competing with a few other burgeoning movie companies.  Motion pictures ("flickers") were no longer innovative experiments. They soon became an escapist entertainment medium for the working-class masses, and one could spend an evening at the cinema for a cheap entry fee. Kinetoscope parlors, lecture halls, and storefronts were often converted into nickelodeons, the first real movie theatres.  Businessmen soon became interested in the burgeoning movie industry. Some of the biggest names in the film business got their start as proprietors, investors, exhibitors, or distributors in nickelodeons.  As film production increased, cinema owner William Fox was one of the first (in 1904) to form a distribution company (a regional rental exchange), that bought shorts and then rented them to exhibitors at lower rates. The Warner brothers opened their first theatre, the Cascade, in New Castle, Pennsylvania in 1903, and then in 1904 founded the Pittsburgh-based Duquesne Amusement & Supply Company, the precursor to Warner Bros. Pictures, to distribute films.

Soon, successful exhibitors turned their profits back into their businesses and were able to provide additional amenities for their viewer ship, including comfortable seats, pre-show entertainment, peanuts/popcorn for sale, and accompanying pianists and orchestras for the silent films.  During the early 1900s, Vitagraph was a major competitor to Edison's Company. It became known for its filming of historical events, including Teddy Roosevelt's charge up San Juan Hill in the Spanish-American War, the Boer War in S. Africa, the Galveston flood of 1900, President McKinley's assassination in 1901, Roosevelt's inauguration in 1904, and the aftermath of the San Francisco Earthquake in 1906. In 1905, they built their first studio in the Flatbush area of Brooklyn, New York, and expanded into California in 1910.

Motion pictures enable viewers to see past events and/or stories that normally would have only been recalled by memory.  The advancement of photography and filmmaking aided each other, but film became increasingly in more demand than still photographs.  Film did not utilize old or abandoned methods or technologies.  It was a completely new invention.  Some may ask the film industry, "what is next?"  Can the industry go any further?  This medium will continue to improve itself and push filmmakers to make films better each time.

1113.      The elements of design line colour tone shape space

This essay explains in detail, line, colour, tone, shape, space ect excellent.

Line

Line is the most direct way of making a mark, lines define form and shape. Lines do

not occur in nature. They are simply used to translate a form into something we can

recognise on paper. The outline just symbolises the object we represent.

- Combinations of line can be used to represent structure and movement.

- Line can be used to create the sensation of movement.

- The artist can communicate feelings by using line expressively. Different lines

encourage this.

Line Types

Contour - Line which are brief descriptions of an object.

Calligraphic - Captures the expressive qualities of an object, quick flowing marks.

Tonal - Represents shapes, form and textures in objects

Visual - Represents texture

Tactile - Drawings as themselves can be textile

Line Direction

Circles, curved lines - movement , progression.

Vertical - Elevation, formality.

Horizontal - Intimacy, restful and peaceful.

Moderately curved - Harmony, graceful.

Line In Relation To Principals.

Variety - Combinations of contrasting lines create variety , long, short, zig zag and

horizontal

Repetition Of Line - Harmony, balance.

- Balance, common groupings of line and textures.

- Harmony, lines and textures flow together in unified direction and

corresponding rhythm.

Combinations of particular lines can also create disharmony and disunification.

Line Exercise

1.Draw three drawings analising the different types of line that are used.

2. Find Three artists , describe and discuss the types of lines and textures they have

used.

e.g. Textural - Susan Norrie

Movement - Brett Whitely

Geometrical - Geoff Smart

Texture.

- Texture is how the surface of an object feels to  touch. In sculpture Real Texture is

an element in painting texture is simulated.

- Different lines can create textures,

Converging Lines

Contrasting lines and marks

Repetition of marks

- How does texture effect the design qualities and principals of an art work.

1. Contrasting textures can create form.

2. Highlights focal points

3. Textures can produce rhythm and movement.

4. Common groupings of textures can produce balance and variety.

5. Textures flowing together in common direction can produce unity.

6. Textures can establish these qualities and feelings associated with them

The surface area of any art work is very important. Two dimensional art relies almost

completely on there surface qualities to interest and attract.

Sculptors also pay close attention to the surface qualities of their materials and the

textures they create.

Textures are created by grouping contrasting lines, colours, brushstrokes, broken

colours, scratches and smooth colours.

Textural Exercise.

Take rubbings from interesting textures,

- Use different mediums.

- Take this selection of rubbings and form a composition.

- Cut out an area of the textures.

- The area that you have cut out, simulate these back into the composition.

Colour

Complementary colours are totally unrelated and opposites in the colour wheel. They

form the greatest contrast and when used together they bring out each others fullest

intensity. e.g. Red / Green, Blue / Orange, Yellow / Purple.

Harmonious colours also called Analogus are adjacent in the circle. They have at least

one common colour. e.g. Yellow / Orange / Red ( Common colour is Yellow )

- The use of these two types of colours can create a purposeful and meaningful

expression within an at work.

Complementary colours can be use in such a manner to establish harmony, peace and

other such emotions

What must be remembered is that this is not in essence a Rule. It is very dependent on

what colours are used and how. e.g The use of Reds and oranges may not show peace

but may express for example an Arid Barren Land.

Primary Colours.

Yellow, Red and Blue.

Secondary Colours.

Mixed from a combination of primary colours.

Tertiary Colours.

Combination  of Primary and secondary and sometimes other tertiary

- Too many secondary colours can create a dull muddy undesirable colour

Hue: The name of the colour.

Value: Refers to the lightness or darkness of a colour

High value : Light ( cool )

Low Value : Dull.

Intensity : Refers to the brightness or dullness of a colour.

High Intensity : Bright

Low Intensity : Dull

Local Colour: Is the actual colour of objects. e.g. Yellow is the colour of Lemon.

Monochromatic : When colour arrangement is made with one colour with shades and

tints of

that colour.

Dominant Colour : When one colour in a composition, with its shades that are largely

used.

Achromatics : Black and White and the mixture of the two. Greys are not colours.

They are

called Achromatics.

Lighter and Darker colours.

By adding the neutral colours, black and white you can make various tints and shades.

- Adding white is called a " tint. "

- Adding black is called a " Shade "

An important compositional aspect of colour is that shades tend to recede and tints

project themselves when placed against each other.

Contrasting colours in this aspect can create focal points and make certain images

more dominant etc.

Biological Aspects Of Colour.

Certian colours have the power to evoke emotional responses in the viewer.

Warm colours - simulate.

Cool colours - relax.

Warm colours - come forward.

Cool colours - recede.

Broken colour - This is where one colour is of another colour but the colour can be

seen in sparkles impressionists.

Tone.

Tone is very important in drawing. It makes things look real and 3-D. Tone is the

values of light and darkness, by light falling on a object.

Every object has tone because tone is created by light.

When drawing a still life the whole object must be toned.

- You must start with light

- Build up tones until you have correct value.

- You must have total range and contrast in tonal values.

Drawing.

It can be seen as representing a set of  composition.

1. Proportion and scale - Size and shapes of objects

- Reference point of the objects

- Use these points to analise how big you should draw the other

.                                      object

2. Angles how objects lead from the drawer, compare angles of other objects

- Circular tops and bottoms must be the same.

3. Space - The distance between objects.

- Look more at what you are drawing than at the page.

- Look at the still life for several minutes.

- Do some quick analytical drawings.

Shape.

There are many different types of shapes. Shapes can be enclosed by a line, but

shapes can also be created without lines. Shapes can be geometric or organic.

Organic shapes remind us of the natural world in which objects are usually irregular

and constantly changing. They are usually curved and undulating.

Geometric shapes remind us of the precision of man - made or mechanical objects.

They are usually rectilinear or straight edged.

Space

Actual space this refers to the actual space and distance existing between images and

forms.

Pictorial Space.

This is the illuseionary space that we see in 2D work. This can vary from a flat

patterned surface to the illusion of  a deep space as in a landscape.

Pictorial space mimics, using spatial devices, the space in the natural environment.

Tonal devices create form, perspective overlapping of images . Depth of field -

foreground, middle and back . Field object appears larger if they are close.

Spacial relationships - Matisse was interested in spacial relationships that colours and

space made the design aesthetically pleasing composition arranging shapes and space.

Mass

This can be categorized into geometric, natural, abstract, and non objective. Mass of

an object is the size, weight, height, breadth and depth.

Geometrric Shapes.

Represent solidity and restfulness. A cone can represent a thrusting mass and this can

create a dynamic composition.

Natural Masses.

These are such forms as the human forms. Many sculptors use such forms as e.g..

Henry Moore, He  explored the mass of the female figure and its curved majestic

nature.

Abstract Masses.

Used extensively in modern sculpture exploring the pure essence of natural and

geometric masses, and there interaction with other enviroments. These masses evoke

thought , feelings and tensions - seeking out the purest form of the subject.

Non Objective Masses.

They refer to no specific recognisable forms. Doesn't resemble anything known to

you.

Masses And Shapes.

The Cube : Most visually stable.

The Sphere : Implies movement and rolling.

The pyramid : Represents solidity and stresses move out from the tip to the solid base.

The Cylinder : Harmonious mass and solid.

1114.      The Empty pillow

The Empty pillow

Using the theory of reason action-Fishbein and applying it on a 5 min. scene of the movie by: AlomaniQ8 THE EMPTY PILLOW This is a love story that it's events occur, in Egypt, in the fifties, where there were strict traditions about love between non married lovers, and where the word of the parents rules the lives of their sons and daughters. In that movie, a young man (salah) who is still a student falls in love with a beautiful girl (Sameha), whom she is also an eighteen years old student, they are both college students, that get supported by their families. The scene begins, when Salah asks his father that he wants to be married, but his father laughs, and asks him if he is able to support himself or her. Salah's father suggested that he should wait until he graduates and gets a job, so he could marry her. Salah refuses, saying that she would get married to someone else, and her parents will not wait for me until I graduate. Unfortunately a doctor proposes to her and asks her hand to be his wife. Sameha's father and mother agree instantly, without giving Sameha any notice, only thinking of the position and the how they would guarantee a wonderful future for their daughter with this doctor, adding that he is a very nice man and have great reputation. Sameha says that she is young to be married, and disagree. Sameha's father say's "no doughtier of mine argues with me in such matters, you will do as I say" Consequently, Sameha stop arguing. And shows yielding. She think about the hard time choosing between the two, the one she loves! or the fine rich physician, which her parents ergs her to marry. In order to prevent the marriage, Salah meets her in the desert where they used to meet. He starts convincing her to run a way with him. Sameha refuses, saying that her parents might have a heart attack, then she will not forgive herself. Salah remembers, what one of his friends suggested to him, and that he should rape her, and in this way she would be his according to the traditions. Consequently he tries to do so. She cries and begs him to let her go. But he refuses, until he notices the ring that she is still wearing, which he brought to her as a token of their love. Sameha runs a way. Sameha thinks hard and consults her heart and mind. Salah calls her but she refuses to answer. The next scene she is observed in a nice car with the doctor. The doctor opens the car door for her. The next week she gets married to the doctor. Other events happen in the next scenes where Salah graduates and get a job, making great success in his curare as a businessman. Salah marries the daughter of his boss. Salah invites Sameha and her husband (the doctor), so she sees the position that he got and the beautiful wife that he is marring, thinking that Samaha would be jealous and regret that she did not wait to marry him. But Sameha congratulates him and showing that she is happy with her choice to marry the doctor. Using the Theory of Reason Action-FISHBEIN. Fishbein refers to beliefs, attitudes, and intentions. We have referred to these as the cognitive, affective, and cognitive (behavioral) components of attitudes. In this theory, the receiver's variables such as the demographic: age, sex, education, religion and the personality have a direct impact on beliefs and how they are evaluated. The behavior is a function of the individual's behavioral intention. Intentions are compromised of two components. 1. Affective attitudes, which are a function of beliefs about consequences subjective Evaluation of those consequences. 2.Subjective norms, which are a function of beliefs about the expectations of others times my motivation to comply with them. Behavioral intentions are the only direct determinant of behavior. And are determined by affective attitudes and subjective norms. The personal component: Belie we see the example of buying a new car. We have two consumers A and B. Both of the consumers are placed in an equal weight on the attitude and the subjective norm components. For consumer A, a calculated attitudes by adding the multiplying attitudes to evaluate the belief by considering the consequences of buying a new car, such as better gas mileage, prestige less money in bank, and higher insurance premiums. We notice the sum of belief evaluation tends to be in the positive +8, while consumer B belief evaluation of his attitude tends to be in the negative -6 consequently we say that consumer a has high a positive attitude towards buying a new car, while consumer B has a negative attitude towards buying a new car according to their money in the bank, which wouldn't allow them to buy the car. As for their normative belief (motivation to comply), the subjective norms are measured based on the important referent such as, spouse's, father's, neighbor's, and child's opinions and would they agree on buying a new car. Again the subjective norms are ca! lculated, resulting the same results as the attitude evaluating, as having positive for consumer A and a negative for consumer B. Concluding the behavioral intentions of the two consumers towards buying a new car. Hence consumer A has positive results the attention is to buy a new car is positive. And for consumer B, the attention of buying a new car is dismissed. In the scene the person who is measuring her attitude is Sameha, who tries to calculate the consequences of marring the doctor and forgetting the student that she loves. She evaluates her belief by first, considering her love for the student Salah. Consequences of marrying the doctor Belief evaluation And leaving Salah 1. Salah is the one she loves (+3) x (+3) >From the scene we see that she is in love with him. Dating him and wearing the ring that he gave to her as a token of their love. 2. Salah is a student (+3) x (-1) Being a student is an obstacle in their marriage, but she does not care if he is a student or not, as long as he could convince his father to support them financially, and we see that when she asks him to tell his parents to come to her parents and propose. 3. Salah tries to rape her (+2) x (-3) She gets extremely upset and resists him and begs him not to do such a thing. So she have a negative feeling about his actions. 4. The doctor has a very Bright future. (+2) x (+2) She knew that she would be a doctor's wife and she would be, pleasing her parents if she would marries him. But she don't care if she gets married in the first place because she tells her parents that she is still young to get married. 5. The doctor is a nice and a (+3) x (+2) Gentleman who treats her nicely. After Salah tries to rape her, observing that from the scene. She considers marring the doctor because her parents know him, they say nice things about him in the scene. And she has no choice but to obey her parents, and that is observed when she yielded to her father's argument with her when he imposed his opinion on her. Calculating the results of the attitude we can figure her attitude of leaving Salah and marring the doctor to be +7. Confirming that from the scene, when she is observed riding with the doctor in the car and refusing the calls of the student Salah after his try to rape her. As for the subjctive norm effect we can observe different subjective norms MARRING THE DOCTOR & LEAVING SALAH Formative beliefs Motivation to comply (How supportive is this person?) (How much do I want to listen to this person)? 1. Father (+3) x (+3) Since he is her father and she obeys his orders, and being raised in a family so strict. She yields to her father's decision. Observing that from the scene when she stops arguing with her father. Also when she refuses to run a way with Salah, because she loves her parents and she is afraid to lose them. 2. Mother (+3) x (+3) Sameha's mother supports her father. Since he have the last word in the house. So Sameha have a positive belief towards her mother's opinion in marring the doctor. 3. Salah (-3) x (+2) Salah tells her to run a way with him. So she won't have to marry the doctor. She refuses, and instead she tells him to talk to his father to help them financially. And he tries to rape her she consults her heart and mind. Sameha finds a little amount of possessiveness of taking Salahs opinion to marry the doctor. Resulting that Sameha, evaluated her attitude and subjective norms, and found that she would be better off with out Salah, and we can see that in the scene. When she refuses to answer his calls. Consequently in order to do what her parents wanted, measuring that from the positive results that she got from her both parents, as for her to marry the doctor +12. She is observed riding with the doctor in his car, and marring him in the next scenes. Finally we see that Sameha had made up her mind to marry the doctor and abandon her lover after she measured her attitude and subjective norms.

1115.      The events leading up to the International Style of architecture being used in America

One common criticism of modern architects such as Mies van der Rohe and Walter Gropius is that while their goals might have been laudable, the execution and physical manifestation of their beliefs is somehow disconnected from the culture in which it grew out of.  As 'ineffective' as critics might say this style was, there is great importance in the entire movement made in architecture during the mid-twentieth century. Understanding where the International Style came from, who was involved and what accomplishments were made will allow us to appreciate the architecture we see around us everyday.

The International Style began as a movement in architecture known as 'Bauhaus'. This was  a German expression used for 'house for building'. 'Bauhaus' became an institution from which a new social order would arise. Walter Gropius was the head of this institution, but once the Nazis shut down the school, the 'Functionalists' as they were known, emigrated to the U.S. The Functionalists included Gropius, Mies van der Rohe and others. The term 'International Style' was used to describe the American form of 'Bauhaus' architecture. Common characteristics of International Style buildings are rectangular forms that have been completely stripped of applied decoration, visually weightless qualities, open interior spaces, and an stimulating association with geometry. Glass, steel, and reinforced concrete are the characteristic materials of construction. The International style grew from three phenomena that architects had to deal with. The first problem was the incorporating mix of decorative elements from different architectural periods that had little or no relation to the building's functions. The second was the development and use of iron, steel, glass, and reinforced concrete, and thirdly the economical creation of mass numbers of office buildings. These three phenomena basically outlined the search for an economical architecture that would use the new materials and still appeal to the people's taste.

This kind of new architecture embodied the classic and simple shapes of geometry, and followed the idea that every item would serve a function. Thus there would be absolutely no decorations. Bauhaus buildings have flat roofs, smooth facades and cubic shapes. Simple metals were used, such as steel and iron, and basic colors of black, white, and grays were used. This 'International Style' came to embody capitalism, since it favored huge glass and steel office buildings, such as the Seagram Building (1957) pictured below, by Mies van der Rohe along with Phillip Johnson. He developed a building with an internal steel structure, surrounded by a non-bearing "curtain" or covering, usually made of glass, thus the glass-box skyscraper.

(Seagram Building, 1952)

This building was quite a piece of work. It is generally recognized as the finest skyscraper designed and built in the International Style. The building has very elegant proportions. It is set ninety feet away from the main road, with thirty feet of space on either side. It is thirty-eight stories high. The tinted-glass and bronze 'I-beams' give the building its character. The 'I-beams' were attached to mullions to emphasize the height and verticality. Another example we have of the 'office buildings' is the Lever House, also on Park Avenue in New York. Although it was not designed by one of the Functionalists, it is one of the first high-rise buildings in the International Style. It was designed by Skidmore, Owings and Merrill LLP, and completed in 1952. It sits on the north side of corporate Park Avenue, and embodies the International Style with its functionalist form of steel and glass. It was also the first skyscraper to be built despite the new zoning regulations of the city and was the first curtain wall structure in the city. It was thus the 'curtain-wall pioneer' of New York City.

(Lever Building, 1952)

Considered to be in the transitional period of architecture, between Streamline Moderne and International Style, comes the McGraw-Hill building. The building is on 42nd Street in New York City, was designed by Raymond Hood and completed in 1931. To some it is considered to be the first building in the International Style, while to others it still holds onto characteristics of Streamline Moderne. In can be considered to be in the International Style primarily because of its lack of decoration and regularity in geometric shapes. As we can see from the picture below, it does hold true to the geometric shapes and simple cubic design.

(McGraw-Hill Bldg, 1931)

While skyscrapers were making its way to the top, there were other avenues of the International Style that were becoming very popular, and one of these was the furniture. A principle of the Bauhaus was to cater to the development of contemporary housing. The Bauhaus designers were infatuated with metal. Metal was cheaper, lighter, less bulky and more hygienic. The furniture designed in the International Style followed the same criteria as the buildings did, in that everything was functional. The designs were very smooth and made great use of geometric shapes and plain colors. Van der Rohe's furniture designs are closely connected to his architectural designs and have the same functionalist concept. His furniture compliments the interiors of his buildings. One infamous piece of furniture from this period of time is his Barcelona chair. It made its debut at the 1929 International Exhibition in Barcelona, Spain.

(Barcelona chair)                                                    (Brno Flat Chair)

The Barcelona chair is a wide armless chair with leather quilted cushions, sitting atop a double X - shaped frame made of steel. It became the symbol for the elegance of the avante-garde lifestyle. Today, this piece of furniture is still as captivating as it was at its debut. A similar piece of furniture is Van der Rohe's Brno Flat Chair, pictured above. It has a flat steel frame in polished chrome with a leather sit and back. It is his characteristic conference chair. This is classic furniture at its best.

One of the most unique pieces of furniture was designed by Marcel Breuer, called the 'Wassily Chair'. It was made in 1928, and carries the name of Breuer's friend and teaching colleague, Wassily Kandinsky.

(Wassily Chair, 1928)

This chair is the most modern-looking massive 'grandfather chair' and is made possible by using steel and leather. The best use of the specific character of material and form of each element is used in order to obtain both minimal weight and maximum strength. The tubular frame resists compression, and the leather straps resists traction. This chair is functional, linear and solid in space. It is luxurious at the same time, and holds true to the Bauhaus tradition of functionality.

One more chair that is important to note is Le Corbusier's 'Grand Confort'. It was designed in 1928 and also has a chrome-plated tubular steel frame with loose leather-covered cushions that fit snuggly into the frame. It is no wonder it is called the 'Grand Confort'. The revolutionary idea of exposing the steel frame transformed a traditional club chair into a modern object destined to become a classic design.

(Grand Confort, 1928)

As we can see, the International Style is one of the purest forms of Modernism. It holds to geometric designs with flat roofs and uniform arrangement of windows. The materials are steel, iron and metal, making it affordable and malleable in the eyes of the Bauhaus designers. The furniture from this period reflects the same concept. Smooth frames and the use of leather make them classic pieces that are still in high demand today. From the examples we have covered, we can see how International Style became a movement in the architectural world. With its 'Functionalists', Mies van der Rohe, Walter Gropius and Le Corbusier among others, it has left a distinguishing mark not only in history books, but in our minds because we see the physical accomplishments of this architectural style everyday.

1116.      The Evil of Fear

In The Crucible, a play written by Arthur Miller, the strict Puritan community of Salem is bombarded with the hysteria of witchcraft.  It starts when five young girls of Salem are caught dancing in the forest.  Instead as mere children playing, this behavior is viewed upon by the Puritans as the work of the devil.  As the hysteria builds momentum, more and more accusations radiate.  Reverend Hale, a well known expert on witches, is brought into Salem to 'cleanse' the town of it's evil.  At the beginning of the play, Hale leads the onslaught of punishment for the accused; but by the end, he radically changes his views, denouncing the court and its proceedings.

At first, Hale believes that the witch trials are necessary, and stands by them unconditionally.  When he first comes to town, he concludes that Satan is at work.  "And I mean to crush him utterly if he has shown face!" (p.39) Hale shows his strong abhorrence toward evil.  He is willing to follow the church's authority to do anything to put a stop to it.  While he is talking to Abigail, a girl who was caught dancing in the forest, he yells, "You cannot evade me..." (p.43)  Hale expects to find evidence of witchcraft.  This expectation leads him to early, not fully thought out conclusions.  Hale is determined to end the alignments these witches have with the Devil, and he knows the court is too.

Later, Hale's views on the courts change and he becomes less obedient to it's decisions.  When the judge finds out that John Proctor, an accused witch, plows on the Sabbath, he becomes disgusted; but Hale questions his authority.  "Your Honor, I cannot think that you may judge the man on such evidence." (p.78) Hale is slowly starting to see how much authority the judges have that they do not deserve.  He is becoming doubtful in their decisions.  Hale, seeing the danger Mr. Proctor is facing, begs, "In God's name, sir, stop here; send him home and let him come again with a lawyer-" (p.85) Hale realizes the lack of representation that Mr. Proctor has.  He does not want to see an innocent man be put in jail, or even worse, hanged.  Hale is starting to lose his alliance with the courts.

Finally, Hale becomes convinced that the trials are wrong, and he wants to end them.  When he is counseling Elizabeth Proctor, he pleads, "Let you not mistake your duty as I mistook my own." (p.110) He knows that he has played a major role in the trials by instigating them.  He does not want her to allow this mistake to continue, so he begs her to confess to the charges.  When the Judge does not listen to Hale's request to end the trials, He exclaims, "I denounce these proceedings, I quit this court!" (p.101) Hale knows the grave error these trials have caused, possibly innocent people being hanged.  He does not want his name to be part of it.  Hale willfully declares himself against the court.

The Puritan's strict way of life, and the rules the religion places on it's society, leads to the fear that evil is thriving in Salem.  Reverend Hale is caught in the middle, and while he thinks he is helping the Community with their problems, he is actually making them worse.  Eventually, he discovers his terrible mistakes, but by then, it is too late.

1117.      The Fall Of The Smurfs

The Fall of the Smurfs

I had hated Smurfs for the longest time. Their little blue forms

annoyed me so, and their high-pitched voices made me want to smash the TV.

So when I decided that I was going to take over their little village and

make the Smurfs pay for what they had d one, I was going to go prepared.

I bought an RV and outfitted it specially for the invasion. I

anticipated being gone for several months, so the RV was well stocked with

food and other supplies. As my main mission was to take over the Smurf

village, I carried with me a number of nets and Smurf traps, all designed

to exacting specifications, for the Smurfs were not stupid, and would

avoid any ordinary traps. I also had a "playroom" and a well-stocked

laboratory, where I would perform my experiments on my unwilling blue

subjects. One side of the RV was lined with cages, each of which could

hold two Smurfs comfortably.

I set out on the first day of spring. The Smurfs are most active

in the spring, when they run around smelling flowers and playing in the

fields and generally being nuisances. I drove all day until I reached the

borders of Smurfland. A little wooden gate, decorated with flowers and

leaves, denoted the entrance to that happy place. I got down from the RV

and kicked it over, smashing it with my foot. I then got my net and a

heavy canvas bag and went out, looking for signs of Smurf.

I found my first Smurf almost immediately. He was looking at his

reflection in a puddle and whistling the Smurf's theme song. He was so

stupid, he never even noticed me coming up behind him. I got close enough

and whipped the net over his blue form.

"Hey, why'd you do that?"

"Shut up, you little blue creep", I walked up and looked down on

him. He stared up at me indignantly, putting his blue hands at his hips.

I knelt down, got my hand under the net, and ripped off that little white

diaper thing all of the Smurfs wear. There he was, naked as sin, his

little blue dick hanging out. His hands went down to cover himself, which

I took as an opportunity to give him a good sharp thunk on the nose. As

is well known, that will knock a Smurf out for about a minute. I took

that opportunity to stuff him in the bag and carry him back to the RV. I

put him in the cage and put a padlock on it, since Smurfs are well known

for their escape abilities. I then went back out to continue the search.

Hunting was good. By the time night fell, I had captured five

Smurfs. One of them was the hated Handy Smurf, the others were just your

average stupid Smurf. I took Handy out of his cage, holding him firmly so

that he didn't squirm away.

"Hey stop that, you can't do that!"

"I can do whatever I want, you little prick", I popped him in a

large glass bottle that he couldn't climb out of. He was still naked, as

were all the other Smurfs, and he covered up his genitals with his hands

again.

"So what's your name?"

"Handy Smurf."

"How old are you?"

"In Smurf years?"

"Yes."

"Twenty-three."

"Get your hands up."

"What?"

"Get your hands up, you blue bastard." I reached in and thumped

him on the head. His hands flew up to rub his head, which was when I

grabbed them, put them behind his back, and tied them with a twisty-tie.

His little blue dick was semi-hard, which I noted in my lab book.

"Why Handy Smurf, you have a hard-on", I said. He blushed a darker

shade of blue, but said nothing. His erection, though, grew even harder

and longer, which is to say about an inch long.

"So Handy Smurf, have you ever fucked Smurfette?"

"Have I ever done what?"

"Have you ever...smurfed her?"

"Gosh...we Smurfs would never do that!"

"Why not, Handy?"

"Because Papa Smurf would get very mad at us. No one has ever

smurfed Smurfette, its against the law."

"So...don't you want to do it though?"

He didn't answer, but he looked very uncertain. I had what I

wanted though, so I put him back in his cage. I took each Smurf out in

turn, questioning them the same way I had questioned Handy Smurf. All of

them seemed shocked when I suggested they could have their way with

Smurfette, though they all seemed interested in the idea. One Smurf,

though, refused to answer any questions. I named him Stubborn Smurf. He

ran all around the bottle, yelling, "Papa Smurf, Papa Smurf!" I got sick

of this behavior after awhile, so I decided to teach the other Smurfs a

lesson. I took Stubborn out and put him in a small vacuum chamber that I

had on a rolling cart in the lab. The door had a large window, so the

other Smurfs could look in. I rolled it over so the other Smurfs could

see inside and started evacuating the air. I had a microphone inside the

tank, so I could hear Stubborn Smurf. I expected to hear his little

screams, but all he kept saying was, "Papa Smurf, Papa Smurf!" He ran in

circles, dashing himself against the walls of the vacuum chamber. The

other Smurfs yelled encouragement, but Stubborn couldn't hear them. I was

almost starting to think the Smurfs could live in a vacuum, when I heard a

loud pop, like a balloon. I looked in and saw a thick

blue liquid dripping down the window.

"What did you do with Stubborn?" yelled Handy, his nose pressed

against the bars.

"I killed him, Handy. Stubborn Smurf is dead...he's never coming

back."

"But you can't kill a Smurf...that's not nice!"

"Shut up Handy, or you're next." I grabbed a glass of cold water

and doused him with it.

"Papa Smurf, Papa Smurf!"

"I could see he was scared. That was good, it was my first step

towards conquering the entire Smurf village. I went to my room, the cries

of "Papa Smurf, Papa Smurf" echoing in my ears.

II

The next day dawned clear and sunny. I got up, made a cup of

coffee, and went into the lab. All four Smurfs were asleep. I drew a cup

of cold water and threw it on Handy Smurf. He sputtered awake and said,

"Who did that?"

"Me, you little ingrate." I ran the cup over the bars on the other

cages, waking up the other Smurfs. They woke up, joyous smiles on their

little blue faces.

"Are you going to let us go today?" they asked, their eyes bright

with promise and hope.

"No...none of you are ever going to go free. In fact, you'll

probably be working in a Smurf mine by the end of the spring."

"No we won't we won't let you, " they said in unison. Handy said,

"We'll tell Papa Smurf on you!"

"I'm going to kill Papa Smurf, in front of the entire Smurf

village, Handy. Then you can be the new leader of the Smurfs. How would

you like that? And then, I'll even let you smurf Smurfette." I could

tell he was interested.

"No...I can't do that!"

"Why not Handy, I know you want to."

"No I don't!"

"Yes you do Handy...your little dick is getting hard again."

"No it isn't...leave me alone...or I'll tell Papa Smurf on you!"

Handy started sobbing. "Why won't you let us go...we want to go smell

flowers, play in the fields, gather nuts for the village." The others

started sobbing too.

"Stop sobbing, Handy, or I'll put another Smurf in the vacuum

chamber."

"NO...don't kill another Smurf...they're my friends!"

"Someday Handy...you'll be killing them yourself, just to have a

chance to smurf Smurfette."

"No I won't...I never will and you can't make me!"

"Yes I can and I will, Handy. So now, I'm going to go and catch

more Smurfs." I left them sobbing and crying for Papa Smurf.

III

By the time the sun went down, I had caught three more Smurfs.

One was Brainy Smurf. I took away their clothes, of course, and I took

away Brainy Smurf's little horn-rimmed glasses and smashed them under my

heel. I then put Brainy in with Handy. Handy went over and hugged

Brainy, which got them another dousing with cold water. I wanted to start

bringing them away from their touchy-feely emotional state, break them

down to the point where they'd be fighting with each other. I then put

five Smurfs in a cage, which was barely large enough to hold them all. I

rolled a TV/VCR in front of the cage and popped in a special tape. I had

taken some video of Smurfette a while back and digitally altered it so

that Smurfette was doing some really naughty thing s to herself. It

started out with her putting her little blue hand up her little skirt. I

had also added some sound effects, so the caged Smurfs could clearly hear

Smurfette's moans of "Smurf me, oh please smurf me!" The five Smurfs in

the cage had hug e erections (for a Smurf) and were soon running their

hands over their erect shafts. When Smurfette started screaming, "I'm

smurfing, I'm smurfing!", all five of them exploded in unison, blue Smurf

juice spraying all over their hands and each other as they chanted

loudly, "Smurf me, smurf me." I picked out one of the five and threw him

into the vacuum chamber. Soon I heard the Smurf running around yelling

for Papa Smurf, pleading for Papa Smurf to come save him. I had no

intention of killing this Smurf though, not just yet, so I left him there

the entire night, isolated from his Smurf buddies. The other Smurfs

started sobbing too, especially when I turned out all of the lights

(Smurfs hate the dark). It had been another good day, but tomorrow was to

begin my assault on the Smurf village.

IV

I disdained subtlety, so in the morning I just started driving the

RV right over the Smurf's fields, running over their grains and

strawberries and blueberries and all of the Smurf's food supplies. A

couple of times I actually got to run over some Smurfs that didn't get

out of the way in time. Once, one Smurf managed to hang on to the fender

for awhile, yelling for Papa Smurf, but soon he went under the wheels as

well. I heard the pop as they rolled over his little blue head, the last

cry of "Oh my Smurf" sounding out over the roar of the engine. While I

drove, the other Smurfs were in the back watching the Smurfette tape over

and over again. Their little blue dicks were raw from so much beating

off. Handy and Brainy were trying to ignore it, but I knew it wouldn't be

long before they succumbed as well and started beating off to the video.

I stopped for lunch and went into the back of the RV. All of the Smurfs

except for Handy and Brainy were watching the tape, even the one in the

vacuum chamber was beating his little blue dick. I reached over and

turned off the VCR.

"Turn it back on, please please turn it back on!" they said in

unison, their blue cocks at half-staff.

"I'll turn it on if you'll do one thing for me, my Smurfs."

"What do you want us to do?" one of them said, his hand running

absently over his blue dick.

"I want you to kill the Smurf in the vacuum chamber there. Kill

him, and I'll give you a whole new Smurfette video to watch."

"No no we won't do it", they all said. But their cocks were saying

yes. I put a new tape in and started it up. This one showed Smurfette

taking a shower in the nude this time, soap bubbles covering her private

parts as she moaned for smurfing. Their cocks sprang to life and they

started beating off furiously, all together. I turned off the tape,

reached in and picked up the Smurf in the vacuum chamber and put him in

the cage with the other four. The four Smurfs had lust-crazed looks in

their eyes.

"Kill him for me...and I'll let you watch the rest of the video."

The sight was incredible. All four Smurfs, their eyes glazed over

from twelve hours of continuous video watching, surrounded Bottle Smurf,

as I had come to call him. He yelled at the top of his lungs for Papa

Smurf, but no one could save him as they pr essed in closer. Suddenly all

four Smurfs closed in on Bottle and begin pummeling him with their little

blue fists. "Help me, Handy", he yelled, but Handy Smurf could do nothing

but sob. I noticed that the erections of all four Smurfs grew when they

st arted in on Bottle Smurf. When one of the Smurfs, possessed by lust

for Smurfette, tore Bottle Smurf's little tail off, showering the other

three with Smurf vital juices, he came explosively, setting off the other

three Smurfs. The cage was soon splatte red with Smurf juices of all

kinds, as the four Smurfs in their lust literally tore Bottle Smurf limb

from limb. I heard a last cry for Papa Smurf before all fell silent. I

turned the TV back on and started the tape back up, and was instantly

rewarded b y the sounds of Smurfs whacking off. I connected a hose to the

sink and sprayed the cage off, washing away the last remnants of Bottle

Smurf. The other four Smurfs didn't even notice, as they were engrossed

by the sight of Smurfette running bare-ass naked through a field of

clover. Soon the chant began..."Smurf me, smurf me...", as they watched

with rapt attention. I noticed Handy and Brainy were watching now as well

(Brainy couldn't see much, but it was enough), their hands absently

stroking their ne ther regions. Leaving them to their video, I picked up

my net and bag and a 9 mm Glock and went out the door of the RV.

I had parked the RV in the middle of a Smurf potato farm. Three

Smurfs were waiting about ten feet away. One had a rake, which was the

first time I had ever seen one carry something that could hurt me. The

others didn't carry anything. I decided I was going to be careful.

"Why did you park that in the middle of my farm, I was going to

pick potatoes today," the Smurf with the rake whined. I named him Farmer

Smurf.

"Because I wanted to, Farmer Smurf."

"Well, you'd better leave or I'll tell Papa Smurf on you!"

"Fuck Papa Smurf!" I targeted the one to the right of Farmer Smurf

and fired. The bullet impacted him in the gut and passed through. Pieces

of Smurf flew through the air. "Help me Papa Smurf," were his last words

as he dropped to the ground face firs t, bouncing on his bulbous blue nose

before he was silenced forever.

"Papa Smurf, Papa Smurf!" the other two yelled and started running

back towards the Smurf village. I started after them, my much longer

stride catching me up after only a few seconds. I slipped the net over

Farmer Smurf and bonked him on the nose, knocking him out. I let the

other Smurf get about twenty yards away. He thought I had given up, the

idiot, and started walking and whistling the Smurf's theme song. I fired.

The hollow point bullet smashed into the back of his head, and sent Smurf

brains (which are blue as well) about twenty feet out the front. He was

one dead Smurf. I took Farmer Smurf back to the RV and put him in with

Handy and Brainy. The other Smurfs were still watching the video and I

noticed that in the cage with the four Smurfs , one Smurf had gotten

behind another Smurf and was whacking that Smurf's dick off for him.

"So you all want to go out and smurf with Smurfette," I asked.

"Yes we do!" they all said in unison, except for Farmer and Handy.

"Good. Before I let you do that though, there's one thing I want

you to do for me, my Smurfs."

"What do you want, sir!" they all said.

"I want you to go out and bring me Papa Smurf...alive. If you do

that, I'll let you see another video, and then I'll let you all smurf

Smurfette."

Handy Smurf had not said a word during all of this, but suddenly

he got up and went to the bars of his cage and said, "Don't do it,

Smurfs...think of the village, our Smurf homes!"

"It's too late, Handy, they've gone over."

"No, they haven't. All they need is love and affection and..."

"Sex, Handy. They need sex." I grabbed Farmer by his little blue

tail and dangled him above their cage. He struggled but it was no use.

"If you don't bring back Papa Smurf, this is what will happen to you." I

opened the door to the microwave and threw Farmer in head first. "Ouch!"

he said, as he pressed his nose against the glass window in the door.

"Help me, Handy, help me!" I set the microwave on high and turned it on.

He pounded at the door with his little blue fists, crying for another

Smurf to save him, but no Smurf could. Handy and Brainy were sobbing, but

the other Smurfs had totally blank expressions on their little blue faces.

It only took about a minute. Suddenly, Farmer Smurf burst into flames, he

became a Smurf fireball! I opened the door and he leaped out, running in

circles, yelling, "Put me out, put me out Smurfs." He did this for about

thirty seconds before he let out a final cry of "Oh my Smurf!" and

exploded into a pile of dust and ash. I noted that in the lab book.

"Farmer!" Handy cried. "Why did you kill Farmer Smurf, he was my

friend!"

"Because I wanted to, Handy."

"Why are you so mean to us? We never hurt you!"

"Because I want to be, Handy. In fact, I might kill all the Smurfs

but you. You'd be the only Smurf left in the whole world. You'd never

see another Smurf again, Handy. I'd keep you in a cage and make you watch

videos of the Smurfs playing and smelli ng flowers. Then I'd make you

watch videos of the luscious Smurfette. You'll never smurf her, Handy,

unless you do what I say."

"No...please don't hurt any more Smurfs!"

"Too late, Handy, you had your chance." I took Brainy Smurf out of

Handy's cage and put him in another one, isolating Handy Smurf. He rolled

into a ball and started sobbing, "Smurf me...oh Smurfs." Every other

Smurf stared blankly into space, waiting for my command.

"Ok Smurfs, I want you to do one thing for me. Bring Papa Smurf to

me...alive. Do that, my Smurfs, and I'll let you watch another Smurfette

video."

"Hooray!" they all said, eager to be at their task. They crowded

at the doors of their cages, ready to go and find Papa Smurf for me. I

let out all of the Smurfs except Handy and Brainy. Opening the door to

the RV, they trooped out, blank expressions on their faces, whistling the

Smurf's theme song. I had attached a small camera to the cap of one of

the Smurfs, so I was able to see what they were doing. I turned a monitor

on to watch the proceedings. The four Smurfs ran towards the village,

still n aked, of course. Several Smurfs were out and about and looked at

the quartet as they ran into the village. One Smurf ran towards the

group, obviously recognizing one of them, but they walked right past him.

He started running alongside. I had a microp hone mounted on the camera

so I could also hear what was going on.

"Builder Smurf, want to go smurfing on the lake tonight?" the

newcomer asked.

"Must get Papa Smurf", they all said together.

"But...but Papa Smurf's asleep, you can't go wake him up.!"

"Must get Papa Smurf so we can smurf Smurfette."

"Hey, we can't smurf with Smurfette, that's against the law."

I had also put a small speaker inside the ear of one of the

Smurfs. I picked up a microphone and said, "Kill that Smurf for me."

"Hey...what happened to your clothes, Papa Smurf is...no stay

away...help me help me Papaaa..."

The monitor showed my Smurfs attacking the other Smurf. I saw

Builder Smurf tear the other Smurf's little blue tail off, which prompted

a new cry for help, but none came, and soon the ground was covered with

Smurf parts and Smurf vital juices. My Smurf s started towards the house

on the hill, the house of Papa Smurf. They got to the gate and swarmed

over. Papa Smurf was already waiting, having heard the commotion outside.

"My Smurfs, what is wrong? Why aren't you wearing any clothes?"

"You must come with us, Papa Smurf."

"Where are we going?"

"We have to take you to our leader. Then we can smurf Smurfette."

"What...you know that's against the law, my Smurfs. And I'm your

leader...what's happened...hey, let go of me Smurfs!"

My Smurfs had hoisted Papa Smurf on their shoulders. He

struggled, but he was an old Smurf, and he was no match for four young

Smurfs. They ran down the hill and begin walking through the Smurf

village. They had reached the outskirts when a voice call ed out, "Where

are you taking Papa Smurf?"

It was Smurfette. She had on a little blue dress with flowers.

The four Smurfs stopped and turned as one towards her.

"Smurfette, come with us while we take Papa Smurf to our leader.

Then we'll smurf you!" they all said.

"No!" She sounded terrified. "We can't smurf, you know that. Put

Papa Smurf down and I'll make you some tea and cookies."

I took hold of the microphone and said, "Bring Papa Smurf to me,

now!"

"Must take Papa Smurf, " they said as one. "But we'll be back for

you later, Smurfette! We're going to smurf you all night long!" I didn't

know if she noticed, but each Smurf had an enormous erection. They jogged

on past carrying Papa Smurf while S murfette ran inside her little house

and closed the door. Not that it mattered, I could open it for my Smurfs

if they needed it.

It only took a few minutes before I heard some little knocks. It

was my Smurfs, and they carried with them the leader of the entire Smurf

village, Papa Smurf.

"Ah, Papa Smurf, so glad you could join us, " I said, picking him

up.

"Papa Smurf, Papa Smurf, you've come to rescue us," Handy Smurf

said from his cage. He got a dousing of cold water for that. He went

into a corner and started sobbing again.

"Let go of me, and all of my Smurfs."

"I don't think so, Papa Smurf." I opened one of the cages and

threw him in. "You see, I'm going to take over as the leader of the

Smurfs. More like a dictatorship, I guess. Anyway, all of the Smurfs

will be mining gold for me soon, Papa Smurf. You c an either continue to

lead peacefully, or die in front of all of your Smurfs. The choice is

yours." Behind me, all four of my Smurfs had gone back into their cage.

I popped in another tape. This time, it showed Smurfette being smurfed by

a 3D-Studio generated Smurf. It was all fake, of course, but the sounds

were real enough for my Smurfs. All four were beating off together.

Handy and Brainy were watching as well, and I noticed their Smurf dicks

were getting hard too.

"Don't watch, my Smurfs, he's trying to brainwash you!" Papa Smurf

said loudly. That got him a first dousing with cold water. On the

screen, Smurfette was getting it from behind. "Ohhh, make me

smurfffffffffffff!" she screamed and this time every Smurf but Papa Smurf

flooded his hand with Smurf juice. Then Smurfette turned around and took

her Smurf lover's tool deep inside her mouth, slurping lustfully.

"Oh...suck on my smurf Smurfette," the voice came from the lover's lips as

he thrust in and out of

Smurfette's mouth.

"And besides, Papa Smurf...if you don't cooperate, this is what

will happen to every Smurf." I grabbed Handy out of his cage and with one

swift motion, tore off his little blue tail. Smurf vital juices sprayed

out as Handy let out a yelp and begin call ing for Papa Smurf to save his

miserable little existence. I wasn't ready to get rid of Handy just yet,

so I took a piece of duct tape and slapped it over the place where his

tail had once been, and threw him in with Papa Smurf. Handy went over to

Papa Smurf for a hug, which quickly got both of them a cold-water dousing.

Handy started bawling like a baby when I wouldn't let him get his hug from

Papa Smurf, but I didn't care. He tried twice more, but each time he got

a glass of ice-cold water in the fa ce for his troubles.

"Pleaseee...I need a hugggg!" he cried, his little blue face buried

in his hands.

"Shut up Handy, or I'll throw your Papa Smurf in the vacuum chamber."

"Pleaseeee...Papa Smurffffffff!"

"Why won't you let me hug Handy Smurf...he's hurt," Papa Smurf

cried. He tried to get closer to Handy, who was rolled up in a corner

sobbing his eyes out, but all that got him was another glass of cold water

on top of Handy Smurf.

"Because I don't want you to hug anyone, Papa Smurf. No Smurf will

ever hug another Smurf again, unless it's like my friends in the cage

there." I pointed to the cage, where my Smurfs had formed a daisy-chain,

each Smurf whacking off the Smurf in front

of him, all chanting, "Smurf me, smurf me."

"Please let me and all my Smurfs go...I'll give you all the gold in

the village," Papa Smurf said, tears starting to well up in his eyes. I

think he was starting to see that I was no Gargomel.

"Shut up, Papa Smurf." I grabbed him and put him in a metal box.

The box only had two tiny airholes, so there was almost no light going

inside. I went to bed, Handy still sobbing as he sat in the corner of his

cage, and my Smurfs still beating each ot her off.

V

The next day I woke up and decided to teach Papa Smurf a lesson.

I took him out of the box and put him back in the cage with Handy, only

this time he didn't go over to try and give him a hug. Handy was fast

asleep, so I solved that by rattling my coffe e cup against the bars. He

woke up, saw where he was at, and started sobbing again. He was such a

stupid Smurf. I then grabbed Brainy out of his cage and placed him on the

lab table, telling him to stay put. After seeing what had happened to

other Smu rfs who had disobeyed me, he probably figured this was not the

time nor the place to stage an escape.

"You know, Papa Smurf...I've often wondered what would happen to a

Smurf exposed to very cold temperatures...after all, I don't think you get

snow in the Smurf village. Well, let's find out." I grabbed a pair of

tongs from a drawer. Brainy started to get up and run, but I was too

quick for him, and got the tongs around his little blue head. I held him

firmly in one hand while I unscrewed the top of a large, thermos-like

apparatus with the other. "This is a container of liquid nitrogen...let's

see wh at happens to Brainy, shall we." With one swift motion and a last

cry of Papa Smurf, I plunged Brainy into the thermos.

"Help me Papa Smuuurrrrf," were the last words of Brainy Smurf, as

the liquid nitrogen boiled around him. I waited several minutes, then

brought him back out. He was a Smurfcicle, as the liquid nitrogen had

frozen him through and through.

"I'm going to do this to one Smurf every hour, Papa Smurf, unless

you do what I say." I banged the tongs against the edge of the table.

Brainy Smurf shattered into about a hundred pieces.

"Brainy!" Papa Smurf cried as pieces of his friend tinkled on the

floor like shards of glass.

"I love the sound of dead Smurf in the morning", as I got up to

search for more victims.

VI

By nightfall I had collected three more Smurfs to add to my

prisoners. One was the Poetry Smurf, he went into the cage with Handy and

Papa Smurf. The other two went into the cage with the other four to watch

the Smurfette video. It wasn't long before they were starting to stroke

their Smurf dicks. Poetry Smurf, on the other hand, started in almost

immediatley:

"Why have you put us

All in this cage

When we could be out

Gathering parsely and sage"

Smurfs are so happy

Joyous and free

As soon as you know us

I''m sure you'll agree"

"Shut up, Poet." I said as I thumped him on the head and stripped

him of his clothes. Handy was rubbing the spot where his tail had once

been and with Papa Smurf in the same cage, was trying to ignore the

Smurfette video. I looked outside and saw a num ber of Smurfs gathering

outside the RV, there must have been twenty Smurfs out there.

Unfortunatley, Smurfette was nowhere to be seen. I would attend to her

later, though, right now I was going to go out and bag as many Smurfs as I

could. Grabbing my G lock, a large net, and a little can of lighter

fluid, I stepped outside to meet the Smurfs.

"Hello there, Smurfs," I said. "It's a fine day to go Smurfing,

wouldn't you say?"

One Smurf came to the front and stood about five feet away from

me, the others held back. "Where do you have Papa Smurf?" he asked, his

little voice trembling in fear.

"I have him inside. But you don't have to worry about Papa Smurf,

I'm your new leader now."

"No you aren't!" they all said in unison. "We only follow the

great Papa Smurf...there's no other Smurf like him!"

"La-da-da-da-de-da....la-la-la-la-la", they whistled. I whipped out the

net just as they finished and threw it over the group, catching about

twelve Smurfs. Eight managed to evade the net and go running towards the

village, calling for Papa Smurf. Five never made it, as they couldn't

outrun a bullet. When I was done, Smurf parts littered the outskirts of

the Smurf village. Just for fu n, I took shots at some of their

buildings, blasting them and the Smurfs inside them apart in an orgy of

destruction that the Smurfs had never seen. Soon Smurfs were running all

over the streets, calling for Papa Smurf, yelling "Oh my Smurf" when

another one of their homes was destroyed. I walked over and found one

Smurf that hadn't been killed outright, though he was missing a leg and

his little blue tail. I picked him up and brought him over to the RV.

The Smurfs under the net had been trying to get out, but there was no way

they would be able to, the net was too heavy. I tossed the injured Smurf

to the ground and sprayed him with lighter fluid. "Ouuuccchhhhh...please

help me Papa Smurf, it hurrrts." As the Smurfs watched, I stuck a match

and lit the injured Smurf ablaze. He got up on one foot and tried to hop

to the village and the house of Papa Smurf, but he succumbed quickly to

the flames, and in thirty seconds blew up in an explosion similar to the

one that had taken Farmer Smurf. The Smurf s under the net started

sobbing and crying. I went and picked up another injured Smurf, tossed

him about twenty feet in the air, and plugged him with a bullet from the

Glock. Smurf parts flew everywhere as the Smurf blew apart from the force

of the bullet. I then grabbed one from under the net and pulled off his

little blue tail. He cried out for Papa Smurf to help him as Smurf vital

juices sprayed out from where his tail had once been, but

1118.      THE FAN

An extraordinary film that every movie 'guru' should see is The Fan. Putting this picture on a pedestal would be the right thing to do. My counter-part, Hector, also gives the movie exemplary reviews.

Robert DiNero plays a psychotic baseball fan who was an appalling father and a die-hard for the game. This crazy man just wants credit for giving a Barry Bonds-like player ( Wesley Snipes ) his number back. Unfortunately, the 'fan' gives Wesley his number back by killing the player who occupied the number before him. When the baseball player's son is kidnapped by the disillusioned man, the police held the man at gun point in the stadium. When the deranged man made a move to open fire, the police gunned him down right on the ball field.

My attitude toward this hostile man was that he was very baneful and my heart was lifted of many worries when he was killed. Hector gave this film two thumbs up because of its screen play and cinematography. The reason that my rating of this film was two thumbs up was because the story quickly fell together at the end and the action was remarkable.

1119.      The Farce of Heroism An opinion paper on heroism

The Farce of Heroism

The concepts of heroism in war depicted in Birth of a Nation (1915) and The General (1927) are much the same throughout the two films, but the theory of heroism is much different toward the end of the films.  The heroism concept portrayed in Birth of a Nation is one of pure and true heart with no stopping until death as was the perceived way of soldiers in the time period.  However later in the film the "hero's welcome home" seemed rather tragic and depressing.  While the heroism portrayed in both films tended to be satirical and offered a jab at the concept of heroism in war.   There is one main congruency between the two films and that being: Heroism is best suited for what your true beliefs are.

Birth of a Nation, which was the most watched film of all time, was filmed and released after World War I had broken out.  With the imminent U.S. involvement upcoming, the picture of the undaunted hero running to his demise, with flag in hand and pride in his heart, was something the audience wanted to see to ease their insecurities about war.  This very long, approximately three hours, saga of two families in the Civil War made it seem that a true hero would die for the greater good of the "Nation" and he would be immortalized in the eyes of his peers. With this thought in mind the every male rushes off to enlist and become heroes for their families. The truth behind the matter became very evident when first the "hero", saved by his best friend/enemy, was to be sentenced to death by his saviors/captors. Once he is released, due to his mother's pleadings to the president for him, he travels home to his ruined home, two dead brothers, wounded father and destroyed family.  This statement is rather harsh and real.  Another hero of Birth of a Nation is President Lincoln, the victor and hero of the United States, gets his "hero's welcome home" with an assassins bullet.  Perhaps D.W. Griffiths had a great disdain for war?

"Buster" Keaton also had a stalwart stance against war, however he showed it in a much more agreeable way.  His satirical comedy about the Civil War made the thought of war much more palatable and still got the anti-war message across to the audience.  Keaton had a nearly identical scene to Birth of a Nation where the Civil War had broken out and every able-bodied man rushed to the draft points so they could be the first person to enlist.  Through much effort "Buster" Keaton gets to the draft window very first only to be told "no" because, unbeknownst to him, his train engineering skills were much more beneficial to the confederates then his fighting skills.  This breaks his heart because he couldn't be the hero that his lovely girlfriend wanted.  After he is spotted without a uniform he is told by the girlfriend's father that he is a disgrace to the family and never to show his face again until he was in uniform.  At the very beginning of the film a intertitle tells us that Buster had only two loves in his life: The General (his locomotive) and his beautiful girlfriend.  What Keaton displays about the social standards of heroism is that without a uniform you can't be a hero and without a uniform you are a coward and cowards do not make husbands, particularly for "hero's" daughters. The whole theory of join the army or you're a coward takes one of buster's loves away and he has nothing left at that point except the General.  Once the opposing army steals the General, Buster busts into action to save his train.  Through his slips, trips, gags, stunts, misfortunes and strokes of luck buster some how saves his train, becomes a "hero" and saves the southern army, not because he loved the cause or the country but because he loved his train.  With his newfound heroism, Buster gets the girl, the much-coveted uniform, and the train he repeatedly risked his life for.  Keaton states here that you can become a hero without a uniform just by following what you truly believe in, without getting yourself killed or maimed.

The depiction of heroism in the general and birth of a nation is very similar however buster Keaton's display was much more fantasy oriented and fun.  The real world threat of war made "Birth" very realistic but due to the extreme length of the film and the all too real tone the audience must have been much more moved by Birth.  Birth of a Nation made heroism seem quite futile by punishing the "heroes".  The General made heroism seem simple and fruitful, but not for the war hero's who were dead or injured, but for the man of true heart and love.  Both films limn there is no heroism in war.  Maybe they were right too, because have you ever met a war hero that was completely functional and right in the head?  If it is necessary to be maimed, shot or killed I personally want no part of heroism.  Keaton and Griffiths both seemed to feel the same.

1120.      The Fear of Science

The Fear of Science

To live in the today's world is to be surrounded by the products of

science.  For it is science that gave our society color television, the

bottle of aspirin, and the polyester shirt.  Thus, science has greatly

enhanced our society; yet, our society are still afraid of the effect of

science.  This fear of science can be traced back to the nineteenth century

where scientist had to be secretative in experimenting with science.

Although science did wonders in the nineteenth century, many people feared

science and its effects because of the uncertainty results of science.

Our thrist for science can be traced back through many decades.

However, the nineteenth century society felt that science was a great

investment towards a better life.  This investment in science gave the

nineteenth century society the discovery of light waves and radio waves,

the electric motors, the first photograph and telephone, and the first

publication of the periodic table.  Science also caused an uproar in

society when Charles Darwin published The Origin of Species, which became

the scientific basis for the study of the evolution of humans.  Many people

in the nineteenth century detested Darwin's theory of the evolution of man

because it went against their religion, which believed that God created the

world.  Science, soon, developed the big bang theory, which states that

earth was created by the attraction of atoms.  The nineteenth century

society was afraid of science because it contradicted their beliefs, and

was afraid that the results of science would lead to the destruction of

mankind.  Thus, the study of science was limited because of fear of its

effects.

The fear of the effects of science was expressed in literature.

Novels like Dr. Jekyll and Mr. Hyde, the Time Machine, and Frankenstein

showed the dangers of science and that science would soon lead to the

destruction of mankind.

The novel Frankenstein is about a man name Victor Frankenstein who

wanted to tamper with life and death by "exploring unknown powers, and

unfold to the world the deepest mysteries of creation."  (Frankenstein, pg.40)

He acquired the knowledge of science when he attended the university of

Ingolstadt, and once the knowledge of science was gained, Frankenstein went

to his secret laboratory to create a creature with gigantic stature.  At

first, Frankenstein had doubts about creating a human being; however, with

"the improvement which every day takes place in science and mechanics, [he]

was encouraged to hope [his] present attempts would at least lay the

foundation of future success."  (Frankenstein, pg.47)  Once Frankenstein

created his human being, his dream was vanished because he had accomplished

his dream.  His dream of creating a human being soon turned into a nightmare.

For Frankenstein created a monster who had no identity, and was willing to

murder all of Frankenstein's loved ones if Frankenstein did not create

another female creature.  Victor Frankenstein refused to create another

female monster to accompany his monster.  Thus, the monster felt that he had

no choice but to take away Frankenstein's family, just to show how Victor

Frankenstein would feel being alone in the world.  The murder of William

Frankenstein (Victor's younger brother) caused Victor to believe that his

own creature had murdered his younger brother because "nothing in human

shape could have destroyed that fair child."  (Frankenstein, pg.74)

Frankenstein knew from then on that he had "turned loose into the world a

depraved wretch, whose delight was in carnage and misery."  (Frankenstein, pg.74)

Frankenstein's monster caused "the death of William, the execution of

Justine (a servant of the Frankenstein since childhood, who was framed by

Frankenstein's monster), the murder of Clerval (Frankenstein's closes friend

since childhood) and lastly [Victor's] wife (Elizabeth Lavenza)."

(Frankenstein, pg.213)  Frankenstein not only blamed the murders of his

loved ones on his monster, he blamed himself for creating the monster.

Throughout Frankenstein, the words "friend, monster, daemon, vile insect,

enemy, and abhorred devil" were used by Frankenstein to describe the monster

which he had created.  In a way, the monster is protrayed as science and

Frankenstein's fear of and hatred towards the monster or science is

expressed throught Frankenstein.  Thus, Frankenstein is a novel which

proved to society that science is dangerous. That, we should not tamper with

life using science since it will only lead to disaster.

Another novel which expressed society's hatred and fear of science

through literature is the Time Machine.  The story is about a Time Traveller

who believed that there was no difference between Time and any of the three

dimensions of space except that the consciousness of a human being moves

along Time in a single direction from the beginning to the end of his or her

life.  He secretly experimented with his theory by building a machine that

could travel in any direction through Space and Time.  Like Frankenstein, in

the Time Machine, the Time Traveller had doubts about his creation of the

time machine, for, he knew that the time machine could destroy him.  When he

did succeed in time travelling, his machine was stolen by the Morlocks, and

he was afraid that he would be stuck in an unknown world forever, he

expressed that his invention of the time machine was useless. As he says,

The thought of the years I had spent in study and toil

to get into the future age, and now my passion

and anxiety to get out of it.  I had made myself the most

complicated and the most hopeless trap that a man devised.

(Time Machine, pg.48)

H.G Wells's Time Machine gave the nineteenth century society an insight

into what the future holds, and shared that people should be afraid of the

effects of science because science could end one's life.  The Time traveller

in Time Machine returned to tell his adventures which none of his friends

believed.  Thus, he was so determine to bring back proof, that he went to

the future.  However, during his second journey in time, the Time traveller

"just vanished three years ago, and as everybody knows now, he has never

returned."  (Time Machine pg.117)  In the Time Machine, the effect of science

caused the Time traveller to be captured within Time.  Thus, the creation of

the Time machine caused the disappearance of a human being which led people

to fear science because it could lead to the destruction of hunmanity.

Another novel in which the immense interest in science led to the

death of a human being and provoked its readers to fear the effect of science

in the nineteenth century is Dr. Jekyll and Mr. Hyde.  Basically the novel

is about a doctor name Henry Jekyll who wanted to expriment (using science)

with the theory that every man has a dual personality, that there will always

be an evil side and good side of a person.  In proving his theory, Dr. Jekyll

mixed up a potion using chemicals that would break the chain of good and evil.

The evil side, Edward Hyde, could enjoy all the wicked pleasures and execute all

of Dr. Jekyll's angry, and vengeful wishes, yet, Dr. Jekyll does not have to

be afraid of his conscience.  Since Mr. Hyde was pure evil and was affected

by science, Stevenson tells his readers that science is evil through Hyde's

actions, and through the characters like Utterson whose descriptions of Hyde

is immense horrifying.  As he says,

Mr. Hyde was pale and dwarfish; he gave an impression

of deformity without any namable malformation, he had

a displeasing smile, ..., and he spoke with a husky

whispering and somewhat broken voice, ...God bless

methe man seems hardly human!  (Dr. Jekyll and Mr. Hyde pg.20)

Like Frankenstein, the words "evil, satan, and devilish" were all used to

describe Mr. Hyde.  Thus, the point which Stevenson might be getting across

to his reader in the nineteenth century is that science is evil and satanic,

which everyone in the society should be afraid of.

The nineteenth century society was not the only society that is

afraid of science.  Even now, our society is afraid of the effects of

science.  Take for instance the creation of nuclear energy plants around

the world.  These nuclear energy plants can do wonders to our society;

however, many people are afraid of the fact that if there was an accident

in the plant the whole nuclear plant would blow up.  This accident in the

nuclear plants can eliminate many cities around them.  Science makes the

destruction of humanity possible.  For instance, the nuclear atom bomb

which was fired on Hiroshima by the U.S.A caused many deaths and mutants

resulted in the surviving generations of the bomb.  Movies like Jurassic

Park display the dangers of science, and the money wasted in building a

park that is filled with danger.  Thus, like the nineteenth century society,

our fear about science have not died out.

Although science enchanced the nineteenth century, it (science) was

feared by many because of its uncertain effects.  According to Chemistry

Today, "science is a human activity which is directed towards gaining new

knowledge about the composition and the functioning of matter, both living

and nonliving."  (Chemistry Today, pg.2)  In other words, science is

justified if a single "new fact (appears) and adds a brick to the bright

temple of human knowledge."  Because science is so extensive and its effect

is uncertain, mankind will always fear science.  After all, our thrist for

science can led to the destruction of mankind

1121.      The Firm

The Firm

Sydney Pollack's film The Firm is a drama based on an desire to escape from the law firm (Berndini, Lambert, and Lock) from which he was hired.  The relatively small but wealthy firm wines and dines the ambitious Harvard Law Graduate's (played by Tom Cruise) with money and gifts in order to make him part of their team.  Overwhelmed by the gracious treatment and substantial offer Mitch McDeere takes the offer to be part of the Firm.  The firm gets them caught up in a affluent lifestyle that they never thought they could live.  Once involved n the day to day workings of the firm McDeere began to get subtle hints of a corruption with a Mafia mob client.  McDeere gets a hold of some information that he shouldn't have had access to that supports his suspicions.  When an FBI agent confronts him with evidence of corruption and murder within the firm, Mitch forms a plan to indite the partners of the firm by gathering information on overbilling of the firms clients.  The firms clients files contained information that could destroy both the firm and most of their mob clients. Berndini, Lambert, and Lock had a past history of spending large sums of money on their new lawyers then once they got used to the good life the firm would let them in on the corruption that when on.  The firm had a tight control over their partners.  They knew everything about their personal life as well as their work life.  All their homes were wired and their phones tapped.  They also had access to information on their partners family and friends.  With such tight controls over their lives they had a power to control their every move.  Temptations of escape were smothered by threats of harm.  In two cases the threats of harm led to murder.

A reoccurring theme of politics and power emerged throughout the film.  For this reason it seems most logical to analyze The Firm based on chapter twelve of Stephen Robbins' book Organizational Behavior.  Power is defined as A capacity that A has to influence the behavior of B so that B does things he or she would not otherwise do.  The focus of this paper is going to based on the power that the firm had over its employees.  In order to better understand the concept of power and where it comes from two published researchers named J.R.P. French Jr. and B. Raven came up with a five-category classification.  The five categories are as follows; coercive power, reward power, legitimate power, expert power, and referent power.  The firm practiced all five of  these categories to gain control over their employees actions.  The top partners of the firm possessed a great coercive power over their subordinates.  Coercive power is defined as a power based on fear.  The lead character Mitch McDeere was in fear of his life and his family's life if he failed to comply to the firms demands.  The foundation of coercive behavior

"...rests on the application, or the threat of application, of physical sanctions such as the infliction of pain, the generation of frustration through restriction of movement, or the controlling by force of basic physiological or safety needs."

Throughout the film there were many implications a negative outcome to certain actions that the head partners felt were contrary to the success of the firm.

Another classification of power, reward power, is based on compliance achieved based on the ability to distribute rewards that others view as valuable.  As stated in the chapter coercive and reward behavior are counterparts of each other.  In the movie they were used together.  The book describes coercive power as the power to take away something of positive value or to give something of negative value.  It goes further to explain reward power as the power to give something of positive value or to take something away of negative value.  Under this view one could assume that the firm took away Mitch McDeeres' value of freedom.  During the last few scenes of the movie the FBI agent asked Mitch why he went to all the trouble to do what he did.  His reply was "...now I have a life.  A life of my own, not someone else's."  At the same time the firm gave Mitch many things of great value such as a houses, car, and six figure salary.

Another form of power that emerges in The Firm is Legitimate power.  Legitimate power is the power that a person receives as a result of his or her position in the formal hierarchy of an organization.  Tom Cruise did an excellent job of depiction his characters role in the organization.  Mitch was a newcomer to the firm, but he was a very smart individual and a talented lawyer.  Because Mitch was such an intelligent person with a strong educational background he exhibited an subtle hint arrogance.  Even with this arrogant attitude when confronted by the senior partner Tom Cruise's character showed his subordinate position with his body language and his use of power tactics such as reason, friendliness assertiveness, and higher authority.  These power tactics are fully explained on page 472 of Organizational Behavior.  The senior partner's authority over Mitch is a good example of Legitimate power.

Mitch McDeere also exhibited a power referred to as expert power.  This type of power is a form of influence based on special skills or knowledge.  Mitch and the rest of the lawyers in the firm had a expert power over the rest of the people in the movie.  Their clients respected their opinion.  Expert power exists because certain people have educational backgrounds that enable them to give advise to others that the average person would not know.  Expert knowledge only exists on a narrow spectrum.  A lawyer has a expert advantage over a doctor when the topic of law is discussed.  When the topic of medicine is discussed the table is turned to the doctor's advantage.

The final category of power listed is referent power.  Referent power is defined as an influence based on possession by an individual of desirable resources or personal traits.  Referent power emerges as a result of admiration of another individual.  Since McDeere started of as a character with little money he got caught up in the affluent lifestyle very quickly.  This was because he saw something in the other partners that he wished that he had.  He admired his colleges' the nice cars, big houses and expensive suits.  The fact that he fit in so quickly was due to the fact that he was influenced by the other partners referent power over him.

Berndini, Lambert, and Lock made it a point to maintain a certain image amongst their clients.  This image that they tried to maintain could best be explained by a process called impression management.  Impression management is defined as the process by which individuals attempt to control the impression others form of them.  The firm used impression management to influence their clients and their new recruits.  The firm encouraged strong family values and close involvement with the company.  There are seven techniques that the book lists to help an individual gain a positive image or impression others view of an individual.  Although the book focused on individual impression management techniques I believe that companies are often very concerned with their image management.  As a small firm Berndini, Lambert, and Lock had a relatively easy job of maintaining a image of a organization that hires only professional, family oriented individuals with strong values.  As a law firm Berndini, Lambert, and Lock felt it was important to make a strong effort to eliminate the negative connotations that many people think of when they hire a lawyer.  They accomplished this by maintaining the practice of impression management.

Power and politics is something that will always be around us.  As long as there are a variety of people in this world with a limited level of resources it will exist as a form of distribution of these limited resources.  Power exists in many forms.  Some are done intentionally and some are done without even knowing it.  If used correctly power can help some to advance faster in their jobs and enhance their social status.  If used incorrectly power can hurt the people it has its influence on.  A person that is under the influence of another persons power is at the mercy of the one in authority.  This raises the subject of ethics and power.  How far should you go to gain power over another individual in order to enhance your position in a company, social setting, or even a relationship?  The answer to this and many more ethical questions lie within every individuals mind and hart.  So the next time you come in contact with someone who you feel has a powerful influence on your actions ask yourself;  Do they have my intentions in mind or their own?

1122.      The First Movie Stars Florence Lawrence Mary Pickford Douglas Fairbanks and Charlie Chaplin

Movie stars are actors whose personas transcends their work, that is, persons whose personas becomes part of our mass culture.  Several of the very first movie starts set the pattern for all those who followed.

In the very early days of the Silent Film era however, there were no movie stars.  The studios purposely did not publicize their actors, since to do so might encourage them to demand more money.  That changed forever with Florence Lawrence, a former Vaudevillian, and America's first movie star.  She began to work in films in 1907, and moved to D.W. Griffith's Biograph studio in 1909. She starred in 65 films there that year and became very popular although the credits merely read, as was custom, "The Biograph Girl".  Carl Laemmle was starting his new Independent Motion Picture Company in 1910 and wanted Lawrence as his "IMP" Girl.  The public was fascinated and demanded to know her identity. Laemmle shrewdly began to use her name and picture in publicity and publicity stunts.  Kelly R. Brown, in her 1999 biography of Lawrence states: "Florence Lawrence was the first player, male or female, to use her name to advertise not only a single motion picture, but also the production company she worked for.  The company, in turn, was able to place more films into theaters because the public wanted to see the films she was in."

Thus was born the star system.

Once the public learned about Florence, they wanted to know about the other favorite players on the screen. Other studios saw the advantage of this new kind of publicity, and in 1911 The Motion Picture Story Magazine was launched to publicize Vitagraph's actors and film releases, followed closely by Moving Picture Stories, and Photoplay.  The studio's publicity departments refined their trade and began to expand in order to fulfill the public's growing desire for any news, professional and personal, about films and players.

As the decade progressed, American society began to move away from late Victorian values toward the Jazz Age.  Movie stars and their public persona also changed with the times.

Mary Pickford, who had replaced Lawrence as "The Biograph Girl", is a good example of this.  She soon became "Little Mary", and "America's Sweetheart" while starred in numerous films like Rebecca of Sunnybrook Farm (1917) and Heart o' the Hills  (1919).  Her screen persona was that of a child-like sprite, but that was in sharp contrast to her sophistication and business acumen in her private life.  By the mid 1910s, she was writing and producing films.  In 1919 she co founded, along with Douglas Fairbanks, Charles Chaplin, and D. W. Griffith, the United Artists Corporation, and later was one of 36 founders of the Academy of Motion Picture Arts and Sciences.  The media portrayed her as a modern woman with whom her fans could identify, and her public accepted both her public and screen personas.

Douglas Fairbanks was another early star.  Famous for early films as the prototype of the All-American Boy, he gained international fame for his swashbuckling roles during the 1920s. His public and screen persona: energetic, athletic, exuberant, and supremely self-confident, quickly made him an idol to millions of boys.  His marriage to Mary Pickford in 1920 made them the virtual king and queen of Hollywood. Their famous mansion in Beverly Hills, Pickfair, became famous in the movie magazines as the center of Hollywood society.

Charlie Chaplin soon gained immense international fame that extended well past the coming of sound.  His screen persona, The Tramp, was a downtrodden little fellow blessed with eternal optimism in the face of adversity.  Everyone could identify and be inspired by him.  Leonard Maltin calls Chaplin the "single most influential artist in the history of motion pictures", who "helped make the motion picture a medium of emotional expression, taking it forever out of the category of a mere flickering novelty".

Pickford's, Fairbanks', and Chaplin's rising popularity can be tracked with their rising salaries.  Pickford's 1909 salary was $10 per day, which rose to $10,000 per week by 1915.  Fairbanks and Chaplin also started with the usual studio salaries for unknown, untried stars, but were also making $10,000 per week by 1916.  By 1919, all three stars were receiving $150,000 each along with a percentage of the box-office returns on each of their exceedingly popular films.

Other stars soon eclipsed Florence Lawrence, and she faded from the limelight by 1916.  Mary Pickford and Douglas Fairbanks were famous and made pictures into the 30s.  Charlie Chaplin's fame has scarcely faded, even though he made very few films after 1940.  His films are still studied and enjoyed today.  These stars, from the first two decades of the American Film Industry, truly presaged the kind of fame achieved by all their successors.

1123.      The ghost and me

The Ghost and his soul

Nowhere, a place to live a life so full of destruction that time never seems to take place

a bleaching of disaster reaches out of the hole of hell to seize any frightful body

a whispering ghost sits upon a rotted out log stump to tell a tale never told before

the beast was the soul of the darkened phantom that roved the area in hate

upon a midmorning rain a beast no more mere than the size of a 2000 pound bolder prowled

to feast was his mind set and to another animal a battle of might's that can scream of blood

striding at six feet with long dry stiff hair saturated in pride of his prays blood

a main so laid out of perfection for a feeling from a looker standing behind away from death

eyes so filled with flames being able to make any normal filled creature faint of fright

time strolled on while this evil beast lurked and tamed his mind full of desirable thoughts

a forest all still while this time moved on and all around nothing lived as use to

greed of pride tempted this evil beast so unbearably often his fall could become reality

quite all around while the beast roamed his territory by choosing victims for their blood

the scent on tree bases and earth's crust soaked in his prays gore for victory

his blood never shed touching air but when the forest all became one against him

the whisper of fate has neared while ending the fright from everyone's wits

alone no one stands to be fearless and earth was lost deadening their dreadful spirit's

to care never about life on account of being annihilated by his fellow tribes and the wilderness

1124.      The gift of the magi a continuation

THE GIFT OF THE MAGI

It was one week from Della's 30th birthday and Jim didn't have enough money to buy her a present.

"Well," Jim thought, "if I don't have a watch then why should I have a chain for one?"  So, he sold his watch

chain in order to have money for Della's present.  "Now, what do I buy Della?" he asked himself.  "I think I'll go

to the flea market and look for something, because one little rusty old chain won't buy me very much," Jim stated

as he started riding his bicycle to the market.  At the market Jim found many things, some very pretty and

expensive, some very pretty and cheap, and some just plain ugly things that had been there awhile and always

would be until they were finally thrown away.  "Omigosh, is that DDDDeeDDDe...?" Jim stuttered in

astonishment.  Was what he had seen real?  Or was he just jumping to conclusions?  Was that really the hair that

Della had sold just 2 years ago?  It was, and Jim thought that Della would maybe like it back, so he bought it for 2

cents and he was so happy and he thought he had the best present anyone could ever give their girlfriend.  "Now,"

Jim thought, "will this be a useful gift, and I don't mean in a few years, this time I want to get it right,"  So Jim

thought for two days straight.  Finally he came up with an idea, "I'll make it into a wig, a girl can never have to

many wigs."  So he went to the wig shop, which usually only made those white braided wigs that all the important

men wore, but the wigmaker made an exception because Jim was a good friend and after all, it was for a girls

birthday.  The wigmaker asked, "Are you sure Della will like this present, I mean it is rather odd, and Della's hair

has already grown twice as long as this.  But don't get me wrong, I'm not trying to be rude, I mean, well I think

I'll just get started on this wig right away, okay, bye."  So Jim left, thinking that the wigmaker was a little out of

his mind that day.

The next day, which was the day before Della's birthday, the wigmaker called Jim.  "Hello, Umm, did you

want this wig dyed, or left red? And also, I can't make a wig that fits unless Della's head is measured, what will

you do to find out without arousing her suspicions?"  Jim answered uncertainly, "Well I guess I'll just have to

that's all, and of course not, Don't you dare dye that beautiful color of hair, it's the prettiest I've ever seen."  The

wigmaker replied, " Okay, but I still need to know her head size very soon in order to finish the hat, are you sure

you like that color?"  "I'm not stupid, what I say I want is what I want.  Now, I will bring the measurements over

as soon as I get them," Jim replied rudely.

"Della," Jim replied, breathless from running all the way to the store and back to buy a tape measure, "I

need to get your measurements for something, could you come here?"  Della obeys thinking maybe a new dress as a

present.  "What measurements do you need, honey?" Della answered in her sweetest voice.  Jim said "I need to get

your head size for something, that's all."  "Well, Okay, " Della replied surprised at first, and then realized that she

must be getting a hat for her birthday.

Later at the wig shop.  "There, it's all finished; do you like it Jim?" asked the wigmaker.  Jim said, "It's

great, don't you think?  You don't look to sure about it?"  The wigmaker replied, lying, "It's great, after all it's the

thought that counts, right?."  "Sure thing Phil, well, gotta go, tomorrow's Della's birthday, are you going to be

there?" "Sure Jim, I'll be there." Said the wigmaker.

It is Della's birthday, all of Jim and Della's friends are at their home, and she begins to open presents.

She will be opening Jim's present first.  "I wonder what it could be?" Della claims, quite ecstatically.  She unties

the ribbon, carefully undoes the golden wrapping paper, opens the box, and slowly takes out the tissue paper, piece

by piece.  "I'm really exited," she says as the first piece floats to the floor.  "I can hardly wait, I know it will be

great," she says as the second tissue is lifted up.  "This is the last one, it's it's ......... it's a wig!!!"  Della shouts

loudly and upset.  "It is just a piece of filthy old hair, worse yet it's someone else's who could have germs.  How

dare you, you, you"  Jim shouts back, in order to be heard by the roaring of Della, "My sweet, it's your very own

hair, the hair in which you cut off to buy me a Christmas present, doesn't that mean anything to you?  And besides,

I thought it was the thought that counted."  But Della was to upset to listen to reason.  She shouted at him, "I hate

you, I really hate you. How dare you give me a worthless rag, get away from me, I never want to see you again, I'm

packing and leaving tomorrow!"  As she finished speaking she ran into her bedroom, locked the door, and dropped

onto her bed, crying her eyes out.  Della left the next day, not even saying goodbye to Jim.  Jim was heartbroken.

He moved away out of shame for being so dum.  For the next 30 years he kept the wig, which had been thrown

back in his face by his beloved, and he mourned his loss.  He vowed that if he could ever se Della again, he could

make up for his stupidity.

It is 34 years after Della left Jim.  Jim had previously been traveling the country, and eventually settled

in Della's home town, hoping that someday she too would return.  Lucky for him, she did return, for her 64th

birthday.  She wanted to spend it with her brother, David, and his family.  David and Jim had been friends ever

since they met when Della and Jim started seeing each other.  David is how Jim had been keeping tabs on where

Della was.  By now, Della was old, gray, with short ugly hair.  On Della's birthday, Jim showed up, with the wig

hiding in a box.  Della opened the door and froze, stunned.  "Jim, it, it's been so long, why are you here?" Della

asked shakily.  Jim replied, "Well, I have never forgotten you Della, and I still love you and hope you could forgive

me."  "Actually, I shouldn't have been as cruel to you as I was, but still, that was a dum move," Della said.  Jim

stated apologetically, "It was a stupid present then, but would you take it now?  It kinda fits the situation better

don't you think?  But I am not implying that you look ugly now, If I gave you this I wouldn't want you to wear it if

your just around me if you didn't want, because I don't think you've changed one bit."  Jim says, taking the box

from behind him and handing it to Della.  She opens it, and it's the old wig, but cleaned and groomed of course.

Della stutters, "I, I, I don't know what to say.  I love it, and it's true with me also.  I have never loved anyone else

but you."  Jim asks, "Della, will you marry me?"  "Yes, oh yes, of course I will marry you."  Della says as she puts

on the old wig.

Della and Jim lived happily ever after, until 2 years later when they both died together in a terrible car

crash.

1125.      The Gift

In "The Gift" by Louise GlÜck, the little boy is calling oggie, oggie, at his front door.

This could mean several things, first we would have to look at clues.  The poem states that the

mother is praying to GOD.  One could infer that the boys dog died and he is calling without

reward to his lost friend.  Therefore the most logical response would be that the boy was in

fact calling for his dead dog.

In the opening paragraph I stated what I thought the main idea for the poem was.

But that does not mean that is the only message implied.  The child also was calling for

oggie, oggie, but in fact every once in a while a dog did stop by and the mom pointed

this fact out and said she hoped the boy would not call this an accident.  That could mean

that the boys dog never died but ran away, and that god sent the dog back to them.

Another thing that could have meaning in this poem would be that the boy could

be calling for a friend to play with because he is unpopular with the other children.  And "the

beast that always cam to him could be a bully.  That could in fact be the real meaning.

The child at the screen door might just be a metaphor and what the child is really

doing is calling for someone to help him because he is ill.  But yet all he does is become peace-

fully sicker.  And the mom is praying for him to get better and hopes that one day true health

will come back to this youth. Or in shorter terms, The Gift of life.

Those were my guesses, or hypothesis of what the real meaning to The Gift were.

And I don't care how silly they may have sounded but those are what I think the meanings were.

1126.      The Giver

The Giver

a Critique by:

The purpose of this book was to show us a  possible version of a "Utopia".  It  was a fantasy oriented book, that was suppose to make you think about the possibilities for the future.  The setting is a supposedly perfect society where everyone is taken care of and no one is different.  The author Lois Lowry does a fine job portraying this supposedly "ideal" society.

This book began with a description of sameness and release the two  general principles the society functions on.  It then continues while Jonas (the main character) waits to receive his assignment in the community.  Waiting to find out what his assignment is, and what it entails doing are  rises in action.  The climax is when the plan to escape the society is being conceived and the actual escape itself.  The falling action is when he is escaping from the search planes and trying to keep himself and Gabriel alive.  The ending is when he feels triumph at the top of the hill and then sleds down it to his new family, his first memory that belongs to him.

There were many characters in this book the main one being Jonas.  Jonas is a child in this supposed "Utopia" who ends up with the most important assignment of all the "Receiver of Memory".  The Receiver holds all the memories of the whole community so the community does not have to be bothered with feelings and the emotional baggage that comes with them.  Jonas's trainer the "Giver" is a old man who passes the memories on to Jonas and eventually thinks of the plan to escape.  The Giver also adopts Jonas and Rosemary as his own kids in a way.  He had a previous "Receiver" named  Rosemary who applied for and received release.  Release is the term for death in this community.  So when Rosemary was  released her memories went back to the community.  Jonas and the Giver were talking about this when the Giver got the idea of how to get Jonas away from the community and get the community back its emotions and feelings.  Gabriel was a another influential character he was a baby staying with Jonas's family  till he was ready to be given to a family unit.  He was scheduled for release however and this convinced Jonas what he had to do.  Which was to escape with Gabriel and get away from the community.  His father was a nurturer and one day Jonas wanted to see a release so the Giver showed his father releasing a newborn twin because he was lighter and having two identical people walking around would be too confusing.  After Jonas saw his father murder the young newborn he was very distraught and the next day he learned of Gabriels scheduled release and since Jonas had become attached to Gabriel he decided he must leave.  These were the main characters in this story.

The theme of this book was the idea of sameness and how we would most likely react to it and what it would be like.  The book is based in this fictional society where everyone is provided for, everything is the same.  The old are killed after a certain age and the young are too if they do not gain enough weight or sleep normal.  The word love is a defined a sloppy and imprecise word.  Differences are frowned upon and being the same as everyone else is encouraged.  The laws are strict and no one dares disobey them.  This book portrayed what  could possibly happen if we give the government too much authority.

My evaluation of this book was that Lowry accurately portrayed a certain kind of "Utopia".  A "Utopia"  that might not be that far off in the future.  He used foreshadowing to keep the reader at the edge of his or her seat.  The title was intriguing as well as accurate.  This book was a real eye opener and really made you think of the possibilities  for tomorrow.

1127.      The Glass Menagerie by Tennessee Williams the characters relation to the past

- comparisons about the similarities between the characters' relation to the past.

The Glass Menagerie, by Tennessee Williams

The Tragic Effects of the Past

In The Glass Menagerie, Tennessee Williams creates a world in which the characters are disillusioned by the present.  Amanda, Tom, and Laura achieve this disillusionment by resorting to separate worlds where they can find sanctuary.  Each character develops their own world, far away from reality.

Amanda frees herself from the harsh realities of life by constantly reminding herself of the past.  To begin with, she continuously repeats the story of the 'one Sunday afternoon in Blue Mountain' when she received seventeen gentlemen callers (1195).  Furthermore, she keeps a 'larger-than-life-size' photograph of her husband over the mantel who left the family when the children were young. When Jim came over for dinner, Amanda wears the 'girlish frock of yellowed voile with a blue silk sash' that she wore on the day she met her husband (1222).  Amanda obsesses with the past, and at the same time damaging the children psychologically.Constant allusions to the past have psychologically affected Tom and Laura, trapping them into Amanda $BCT (J lost world.  Tom and Laura fail to survive in the present because they are always trying to live through the past.  However, the past no longer exists, causing them distress in their journey through life.  Tom is unsuccessful with his job at the warehouse and Laura cannot seem to fit in with the outside world.  These personal downfalls in life drive Tom into a life of poetry and movies, and Laura into a world of glass figurines.

Tom is unsatisfied with his work at the warehouse and feels his life lacks adventure.  Therefore, he finds it through writing poetry and watching movies.  When business is slow at the shoe warehouse, Tom goes to the washroom to work on his poetry.  Tom finds adventure in poetry because he is able to create and control his own world.  Along with poetry, Tom retreats to the movies every evening to fulfill his adventurous nature. Amanda questions Tom, 'why do you go to the movies so much, Tom?'  Tom replies, 'I go to the movies because $BM* (J like adventure.  Adventure is something I don $BCU (J have much of at work, so I go to the movies'(1210). Tom $BCT (J obsessions with adventure leaves him no time or energy to concentrate on his present responsibilities at work.  Therefore, he leaves Amanda and Laura for the Merchant Marines, a place where he can live out his dreams for adventure.  However, he cannot forget Laura, 'I tried to leave you behind me, but I am more faithful than I intended to be!'(1247).

Laura $BCT (J problem, according to Jim, is her 'inferiority complex' (1237).  However, she finds confidence in the old records she plays on the victrola and in her glass menagerie.  Laura enjoys listening to old phonograph records that used to be her father $BCT (J and she retreats to the victrola every time she experiences a problem.  For example, she resorts to the victrola when Amanda finds out she has not been attending business school.  In addition, when Jim informs Laura that he is engaged, she retreats to the victrola again. Having nothing to do at home, Laura takes care of her glass ornaments.  Taking care of the glass figurines give her a sense of control $BMT (Jomething she has never experienced in her life.  She can manipulate the glass figurines any way she desires, thereby fulfilling her 'inferiority complex'(1237).  However, her dependency on Tom and Amanda, leave her tragically unfit to survive in this brutal world.

Being unaware of the present, Amanda, Tom, and Laura, live in worlds far from reality.  Amanda dwells in her past, a past filled with popularity and success.  Tom retreats to his poetry and movies to experience adventure he cannot find in his ordinary life.  Laura finds confidence playing old records on the victrola and controlling her glass collection.  All these simulated worlds that the characters retreat to, leave them unprotected from the reality of the world.  Being unprepared, Amanda, Tom, and Laura are tragically lost in their own dream worlds, far away from the present.

1128.      The Glass Menagerie

Rich Spadaccini          Fifth Period                 March 31, 1996

The Glass Menagerie

"The Glass Menagerie" by Tennessee Williams shows the struggle of two people to fit into society, Tom and Laura, and how society wouldn't accept them. They were the dreamers that were unjustly kept out and you may even go as far as to say persecuted into staying out and aloof like the other dreamers which are forced to become outcasts and not contribute to the actions of all.

Tom and Laura, the two dreamers, were pushed by their mom, Amanda, to her frame of mind and the thoughts of a hard working society. They both stumbled on the fire escape which served as a gateway, physically and mentally. Tom had the problem of fitting in at the warehouse were he worked, because is the warehouse really a place for someone like him and his mind rebelled. Lastly you can see how society forced them to change and Laura to lose her status in order to fit in with Jim and that's shown by the horn breaking. Tom then realizes that and leaves which causes him to change too. Tennessee Williams artfully depicted this.

The fire escape. A downtrodden red thing off the sides of buildings showing societies ineffectual escape from itself. In this case it served as a passageway between the real world and the dream one that Laura and Tom were living in at home. Both somehow stumbled both physically and mentally. When Laura said "I'm all right. I slipped but I'm all right"(47). She was trying to pass to the real world to do a real job and couldn't because of societies "inability" to accept her and her ways. She wasn't strong enough to make the trip by herself, but needed the moral support of the other dreamer in the area, which was Tom who came running out. Tom is the one who stumbles mentally in his inability to look at the escape, which would be his way out of the place. He was always losing his strength while out there smoking and looking out into the world. Recognizing the sounds and trying to connect but unable to. He was forced away and unable to bring up the strength inside himself to go out and leave and to stay strong as a dreamer. Forced by society to use it as a gateway instead of just keeping it the same and just a mode of transportation to go down.

Every night you hear Tom say, "I'm going to the movies" (42). He uses that as an escape of the imagination which is what made him a dreamer. As long as he went to the movies and stayed away from seeing and experiencing he could still dream. He wants to see them in person and adventure out but that would be what society wants him to do. Tom is probably content or made to seem content with the movies and sees his impending doom in being a dreamer so he becomes obsessed with trying to escape it. With "Yes, Movies! Look..... I'm tired of movies and I'm about to move"(79). Tom tells Jim of his plans to leave and see what he needs to, but Jim cannot realize the scope of the problem.

In the warehouse, for Tom and the school for Laura were the places in which dreamers do not fit in. Everyone is thinking of advancing themselves and the "American Dream" in the same breath. Tom was in the warehouse and it wasn't a place for him. He attempted to rein in his wishes but was unable to do it. He still had to sneak off and write poems to show his thoughts. "He knew of .... on poems"(68), Was what Tom was saying towards Jim. Jim was one who didn't care of what others did but just wanted to become one of the people who could fulfill the "American dream". Laura, like tom snuck off to hiding places to dream and remember what it was like. Instead of going to the business school she snuck off to the menagerie and the museum, both places where dreaming is recommended, the only sanctuary for them in society. She, like Tom was living in a dream but was unable to be as focused as he was so she "Went to the art museum.....the tropical flowers"(33), showing she had to back up her strength by skipping a killer of dreamers for one that strengthens her resolve but it is shown to be not enough and changes.

When Jim broke the horn on the unicorn showed the change of Laura from being the unicorn to a normal horse who can fit in. Since Tom was so close he felt the break and the fact that another dreamer had been changed by the rules of society and could not stand away any more. Jim had brought Laura over to his way of thinking and that of the American society. In "Make him feel less---freakish!, Now he will feel more at home with the other horses, the ones that don't have horns..."(104). Laura was that horse and felt freakish in her actions and wanted to fit in with the other horses. That's the meaning of that speech. she was broken to the American dream and then Tom felt that his ground was being invaded and got defensive. He soon left upon realizing that he was changing to Amanda's way of thinking, so he left. upon his leaving he lost his dreaming ability anyway. It was ironic how he no longer dreamed because he felt he was seeing the dreams in real life, as society had again forced him out.

As you can see Tom and Laura were dreamers which were unaccepted into society. Laura lost her dreaming when the unicorn lost it's horn and tom then lost his upon doing the first thing he had dreamed about because he stayed that way and didn't dream about going any higher. Ultimately Tennessee Wiliiams message was that society was rigid and it forced those which did not fit the mold to change into a from which was acceptable. That we killed the dreamers and are till doing it at an even younger age. We have to Accept them with open arms if ever we are able to make it far into the future and survive.

1129.      The Godfather a Comparison

Michael Vs. Sonny

At a first glance Michael and Sonny appear to be quite different.  Upon further observation, however, they have some similarities.  Although they are different in areas of personality, values, and their tempers, they are similar in areas of loyalty, their respect for their father, and their strong family ties.

Their personalities are quite different.  Sonny is brash and arrogant, where Michael is calm and cool.  When Don Corleone was in the hospital and Sonny is in charge, the family got kind of careless.  He doesn't seem to care what could happen due to his actions.  He wants to kill the police captain and doesn't think about the repercussions.  Tom has to tell him that it wouldn't be good to kill a cop, but they end up doing it anyway.  I think Michael was pushed into it because of his loyalty to the family.  He is more calculating in manner.  Near the end when he "takes care of all the family business" on the day of the Baptism is a prime example of this.  Because he was this way, the objects of his violence had no idea that it was coming.

Their values are another way that they differ.  Michael is a man of honor.  He doesn't run around having affairs with different women.  He only marries twice because his first wife was killed in the explosion.  Sonny is an adulterer.  He is with another women during his sisters wedding, along with a few other times throughout the movie.

Their tempers were not nearly the same.  Sonny had a bad temper, while Michael did not.  Sonny's temper ended up getting him killed.  He flew off the handle when he found out that his sister had been beaten and ran out of the house without anyone with him.  During those times he should have known better, but all he had on his mind was vengeance.  Michael on the other hand is fairly calm about things.  He knows that Carlos was involved in Sonny's death, but he lets it go until it is time to deal with it.

They are similar in loyalty.  They do what they need to do for their friends and family.  When others help them out, they do the same.  Although Sonny felt that the move towards narcotics was a good idea, he didn't go in that direction when he was in charge.

They both had great respect for their father.  When he wanted something done they jumped.  When He was shot, Michael rushed home to see if he could help.  He eventually got involved in the family business because of this.  Sonny wanted the people who had been involved in the shooting to pay at all costs.

Finally they both had strong family ties (towards the Corleone family).  When a member of the family needed something they gave it to them.  Sonny was outraged to learn that his sister was the victim of spousal abuse, and wanted to get her husband for it.  They did everything they could to make sure that every member of the family was safe at all times.  Michael even gave up a whole year of his life to avenge his father's shooting.  He had to go to Italy to "hide out" afterwards.

In conclusion, Sonny and Michael were two completely different people, with different traits.  They had different ways of doing things, but in all of that they remained so much the same.  I think that has to do with the way their Father brought them up, because I feel that he was the role model that they were molded after.

1130.      The Godfather Essay

The Godfather: Michael Vs. Sonny

At a first glance Michael and Sonny appear to be quite different.  Upon

further observation, however, they have some similarities.  Although they are

different in areas of personality, values, and their tempers, they are similar

in areas of loyalty, their respect for their father, and their strong family

ties.

Their personalities are quite different.  Sonny is brash and arrogant,

where Michael is calm and cool.  When Don Corleone was in the hospital and Sonny

is in charge, the family got kind of careless.  He doesn't seem to care what

could happen due to his actions.  He wants to kill the police captain and

doesn't think about the repercussions.  Tom has to tell him that it wouldn't be

good to kill a cop, but they end up doing it anyway.  I think Michael was pushed

into it because of his loyalty to the family.  He is more calculating in manner.

Near the end when he "takes care of all the family business" on the day of the

Baptism is a prime example of this.  Because he was this way, the objects of his

violence had no idea that it was coming.

Their values are another way that they differ.  Michael is a man of

honor.  He doesn't run around having affairs with different women.  He only

marries twice because his first wife was killed in the explosion.  Sonny is an

adulterer.  He is with another women during his sisters wedding, along with a

few other times throughout the movie.

Their tempers were not nearly the same.  Sonny had a bad temper, while

Michael did not.  Sonny's temper ended up getting him killed.  He flew off the

handle when he found out that his sister had been beaten and ran out of the

house without anyone with him.  During those times he should have known better,

but all he had on his mind was vengeance.  Michael on the other hand is fairly

calm about things.  He knows that Carlos was involved in Sonny's death, but he

lets it go until it is time to deal with it.

They are similar in loyalty.  They do what they need to do for their

friends and family.  When others help them out, they do the same.  Although

Sonny felt that the move towards narcotics was a good idea, he didn't go in that

direction when he was in charge.

They both had great respect for their father.  When he wanted something

done they jumped.  When He was shot, Michael rushed home to see if he could help.

He eventually got involved in the family business because of this.  Sonny

wanted the people who had been involved in the shooting to pay at all costs.

Finally they both had strong family ties (towards the Corleone family).

When a member of the family needed something they gave it to them.  Sonny was

outraged to learn that his sister was the victim of spousal abuse, and wanted to

get her husband for it.  They did everything they could to make sure that every

member of the family was safe at all times.  Michael even gave up a whole year

of his life to avenge his father's shooting.  He had to go to Italy to "hide out"

afterwards.

In conclusion, Sonny and Michael were two completely different people,

with different traits.  They had different ways of doing things, but in all of

that they remained so much the same.  I think that has to do with the way their

Father brought them up, because I feel that he was the role model that they were

molded after.

1131.      The Godfather

Michael Vs. Sonny

At a first glance Michael and Sonny appear to be quite different.  Upon further observation, however, they have some similarities.  Although they are different in areas of personality, values, and their tempers, they are similar in areas of loyalty, their respect for their father, and their strong family ties.

Their personalities are quite different.  Sonny is brash and arrogant, where Michael is calm and cool.  When Don Corleone was in the hospital and Sonny is in charge, the family got kind of careless.  He doesn't seem to care what could happen due to his actions.  He wants to kill the police captain and doesn't think about the repercussions.  Tom has to tell him that it wouldn't be good to kill a cop, but they end up doing it anyway.  I think Michael was pushed into it because of his loyalty to the family.  He is more calculating in manner.  Near the end when he "takes care of all the family business" on the day of the Baptism is a prime example of this.  Because he was this way, the objects of his violence had no idea that it was coming.

Their values are another way that they differ.  Michael is a man of honor.  He doesn't run around having affairs with different women.  He only marries twice because his first wife was killed in the explosion.  Sonny is an adulterer.  He is with another women during his sisters wedding, along with a few other times throughout the movie.

Their tempers were not nearly the same.  Sonny had a bad temper, while Michael did not.  Sonny's temper ended up getting him killed.  He flew off the handle when he found out that his sister had been beaten and ran out of the house without anyone with him.  During those times he should have known better, but all he had on his mind was vengeance.  Michael on the other hand is fairly calm about things.  He knows that Carlos was involved in Sonny's death, but he lets it go until it is time to deal with it.

They are similar in loyalty.  They do what they need to do for their friends and family.  When others help them out, they do the same.  Although Sonny felt that the move towards narcotics was a good idea, he didn't go in that direction when he was in charge.

They both had great respect for their father.  When he wanted something done they jumped.  When He was shot, Michael rushed home to see if he could help.  He eventually got involved in the family business because of this.  Sonny wanted the people who had been involved in the shooting to pay at all costs.

Finally they both had strong family ties (towards the Corleone family).  When a member of the family needed something they gave it to them.  Sonny was outraged to learn that his sister was the victim of spousal abuse, and wanted to get her husband for it.  They did everything they could to make sure that every member of the family was safe at all times.  Michael even gave up a whole year of his life to avenge his father's shooting.  He had to go to Italy to "hide out" afterwards.

In conclusion, Sonny and Michael were two completely different people, with different traits.  They had different ways of doing things, but in all of that they remained so much the same.  I think that has to do with the way their Father brought them up, because I feel that he was the role model that they were molded after.

1132.      The Good Earth 2

Pearl S. Buck shows her readers the many faces of Wang Lung in her book, The Good Earth.

Wang Lung is a rice farmer who gains all his wealth through the land.  He struggles to move from

poverty to a well respected wealthy man.  Wang Lungs character portrays a man's unselfishness,

determination, and loyalty towards his family and friends.

Wang Lung's caring and generous nature towards his family and friends make him a well-

liked person.  During the drought Wang Lung feeds the family members first and leaves what little

is left for himself.  Though it is hard, Wang Lung manages to survive the drought.  He feeds the

family small portions of rice which are left over from the season.  When the food runs out and the

furniture and equipment are sold, Wang Lung decides to make a harsh decision.  He decides to lock

up and move south.  There he hopes to find food and money for his family.  After a 100 mile train

ride,  they end up in the south.  Wang Lung is delighted to find rice for only a penny.  While Wang

Lung uses the ricksha to make money for rice,  the family eats and begins to regain strength.  When

all is well, Wang Lung returns home to start his life all over.

Also during the drought Wang Lung spares food and money for his uncle, uncles's wife

and their son.  The uncle is a poor old gambler who would rather gamble his money away than to

spend it on his family.  During the drought he shows up in Wang Lung's fields begging for money.

At first Wang Lung refuses to dish out money to his uncle.  After a time of arguementing Wang

Lung finally gives in.  He states " 'It is cutting my flesh out to give to him and for nothing except

that we are of a blood' ".(46)  Wang Lung is upset that he had to give money to his uncle.  Wang

Lung didn't have to give to his uncle, but by doing so he kept peace with his him.

Wang Lung's persistence to succeed carries him to a higher level in life.  With such an

attitude he is determined to regain his wealth after the drought.  On the way home from down

south, Wang Lung used the gold he had taken from the man in the Great House to buy things for

the land.  He bought seeds to plant and a new beast to plow the fields.  Wang Lung figures this will

give him what he needs to work again in the fields.  Wang Lung did all he could to make his land

be a success.  By doing so he made money, and money meant more land.

Wang Lung puts all extra money either back into the land or spends it to benefit his

children.  If Wang Lung is going to buy new land he wants one of his kids to be literate.  He

decides to send two of his boys to school so he will have someone to go with him to the merchants

to sell his goods.  Wang lung wants to have a scholar in the family.  In addition to sending them to

school he makes sure they are dressed nice and well mannered.  The children later grow up to be

smart, kniving men.  Though it may not work, Wang Lung tries his best to get the most out of his

children.

No matter what situation Wang Lung is in, he makes sure he stays faithful to his  family

members.  When O-Lan, his wife, wants to sell the young fool's life for food and money, Wang

Lung stops her and will hear nothing of it.  While O-lan thinks this, Wang Lung says to her he

would rather live down here than have to sell one of his kids.   He feels this will not solve the

problem and they will regret it in the long run.  Wang Lung was sure his wife didn't sell the fool,

therefore keeping him loyal to his family.

During the grandfather's life, Wang Lung makes sure he is fed and looked upon by

someone.  Pearl S. Buck states that the old man is "...half blind and almost wholly deaf, and there

was no need of speech with him except to ask to be fed or  to be brought a cup of warm tea."(120).

For this reason, he is in need of someone to be a nurse to him.  The old man is not able to live on

his own, therefore Wang Lung is sure that there is always someone there to look after his father.

Pearl S. Buck elucidates the character of Wang Lung in many ways.  She gives him a wide

array of personalities that the reader can dictate into a unique man.  Through his experiences with

Lotus to his wealthieness as a Great Man, Buck draws a mental picture of it all in the book, The

Good Earth.

1133.      The good earth 3

The Good Earth, made in 1937, was an interesting portrayal of life in China during these times. Although I think it is a great movie for this era, I had a hard time relating to the film. The advancements in film have made it hard to go back to older movies; things like digital effects and color have really made older movies seem like ancient history. The characters seemed over dramatized and unrealistic. The plot did not stick to the book and seemed to change some of the symbolism the Buck used. The book was much better then the movie and the movie did not do the book justice.

The Characters O-Lan and Wang Lung were changed the

The 1937 movie to which Chin's character objected did not feature any Chinese actors, but appeared to speak for China. Many in 1930s China objected to its unromantic description of village life and its inclusion of sex.

Still, the book, movie, and Broadway show made Chinese people real for millions of Americans

The book raises fruitful questions about the Chinese farm economy, family, and the status of women. More substantively, I think I can show how Buck illustrates the long-term cross-cultural moral debate over the nature of modernity, introduces students to issues in American foreign relations (rather than simply diplomatic relations), and shows how unarticulated views of history shape the ways we see the world.

The book Pearl Buck wrote in the attic of her cottage in Nanking is not the same one as the American public read. The American audience reads a novel about "peasants," a word that does not appear in Buck's book. In fact, I have found almost no use of the English word "peasant" in relation to China before the 1920s; "farmer" continued almost unchallenged through the 1920s (see note 8). For Americans, "peasant" was what the cultural and literary critic Raymond Williams calls a "keyword," that is, a word which crystallizes political and historical conceptions.

The myth of the yeoman farmer who civilized the frontier's "virgin land" was central to the self-image of American democracy. To cultural Jeffersonians, the landless "peasant" was a symbol--and perhaps cause--of European despotism and backwardness (see note 9)

. Feudal Europe had "peasants," Republican America had "farmers," but China was an anomaly, neither Old World nor New, with a motionless history, populated by "farmers." By World War I, however, a new view based on Progress, Race, Nation, and Middle Class Culture began to reconstrue China; now the "China difference" was not geographical distance but historical sequence (see note 10). historian Michael Hunt calls the American Open Door "paternalistic vision" of "defending and reforming China" rested on this definition of her situation (see note 12). But The Good Earth implicitly questions and resists Progressive assumptions that China naturally would and morally should become "just like us." Buck's implied historical placement of the Chinese farm economy, nationalism and revolution, and the Chinese family system all go against the conventional understandings of missionaries, Marxists, and liberals who wanted to uplift and civilize China.

The Good Earth presents a vivid description of small family farm life, though it is curiously lacking in detailed description of just what it is that Wang Lung and his family do besides hoe. Readers do see important features of the Chinese farm economy: multigenerational entrepreneurship; intensive cultivation; a petty capitalism in which the family invests capital and labor in an enterprise based on the accumulation of land and commercial handicrafts production; intense competition; and upward/downward mobility from generation to generation. Unlike her agronomist husband, however, Pearl Buck saw nothing technologically wrong with Wang Lung's way of life that coming across a little money wouldn't solve.

Pearl Buck is often characterized as representing missionary views; in fact, Fighting Angel, a scathing biography of her father, an old school missionary, and The Exile, an aggrieved biography of her mother, are both full of sharply expressed anger at the patriarchy which denied women any role in mission policy and subordinated Chinese Christians to missionary domination (see note 14). Peter Conn's biography makes clear Buck's deep distrust of fundamentalist orthodoxy.

Still, was she a missionary of the American way of life? One friend calls The Good Earth a "Chinese Horatio Alger," particularly appealing to Depression Americans and the dream of rags to riches success by hard work, individualism, and other apple-pie virtues. One American cultural historian argues, however, that the Alger hero is more likely to be awarded promotion for rescuing the boss's daughter from a locomotive than to strike out on his entrepreneurial own and rise by sweat (see note 15). Wang Lung works fiercely hard, but is helpless against nature--locusts and drought. When famine drives the family into the city, O-lan, who had been a slave in rich folks' houses, uses her knowledge to find hidden jewels and save the farm. There is no sign that Buck sees middle-class virtue as China's future. Salvation comes through luck, not Christianity, and certainly not through class struggle.

Wang Lung doesn't suffer from "poverty," it's just that he doesn't have any money; his problems are individual, not social, running more to locusts and evil uncles than feudalism. The only foreigners in the book are naive fools. When an evangelist displays a picture of a figure on the cross, Wang Lung wonders what this criminal must have done to deserve such a punishment; he takes the evangelist's pamphlet and gives it to his wife to make shoes.

Buck refused to believe that China had to adopt American middle class Christianity, but she ran the equal and opposite danger of not allowing China the capacity to develop, of pickling China in a static exoticism. Young China of the 1920s and 1930s wanted to build an autonomous new nation powerful enough to attack feudalism and repel imperialism. This ambition is what many of them meant by "revolution." Strikingly, Mao's classic Autumn Harvest Uprisings of 1927 took place a few hundred miles from Buck's cottage on the campus of Nanking University.

In a very short time, in China's central, southern and northern provinces, several hundred million peasants will rise like a mighty storm, like a hurricane, a force so violent that no power, however great, will be able to hold it back. They will smash all the trammels that bind them and rush forward along the road to liberation (see note 16).

Later, by the time of World War II, Buck was outspoken in support of world anticolonialism and nationalism. But her family had fled the Boxers in 1900 and the revolutionary Northern Expedition troops in 1927. In The Good Earth she demonstrated a typical American difficulty in seeing a need for national mobilization and revolution. In 1924 she wrote:

Bolshevism? No, I think not. The young Chinese rants a little and philosophizes a great deal, but he has an inner foundation of unemotional, hard commonsense, a practical gift from his ancestors, which will make him stop and see what Bolshevism has done thus far, and finding it barren of fruit, he will cling to a saner, slower order of progress (see note 17).

Wang Lung is just such a person, the phlegmatic farmer happily mired in the eternal Good Earth. In the city, a young agitator passes out political leaflets; Wang does with the leaflet exactly what he does with the Christian tract--he stuffs it into his shoe to fill a hole. He blames the weather, not the landlord, for his troubles. Where Mao sees a revolutionary hurricane, Buck describes a looting mob as emitting a "tigerish howl." As one of my students once put it, "Mao Zedong's revolution could not have taken place in Pearl Buck's China." (Perhaps Mao Zedong's revolution couldn't take place in Mao Zedong's China either, but that's a question for another day!)

Buck's reluctance to "see" revolution did not lead her to approve American paternalist, big stick counter-revolution of the sort that Theodore Roosevelt or Woodrow Wilson practiced in Central America and Mexico. This forbearance is related to Buck's feminism, one which Peter Conn's biography explains as pioneering and strangely neglected. After she returned to the United States in the mid-1930s, Buck joined Eleanor Roosevelt in attacking racism and promoting the independence of women, earning the honor of J. Edgar Hoover's censure (see note 18).

In The Good Earth, the feminism is complicated. The book rebuffs the Chinas of three men--her father's patriarchal missionary China, her husband's agronomic China, and Mao's revolutionary China. We see child-selling, wife-buying, foot-binding, infanticide, and self-sacrifice to the point of starvation. Americans remember O-lan giving birth and immediately picking up her hoe to go back to the fields. But perhaps Buck, who lauded Chinese 1920s feminists, had seen too much racist treaty-port condescension or too many Sunday night magic-lantern slides in which a quaint disgusting China was pictured in order to raise mission money. The situation of women is clearly, almost gruesomely, presented, but "China" is not labeled "patriarchal" or essentialized as such (is the word "Confucian" in the book?). O-lan is a strong, competent person, essential to the household economy, who achieves many of her ambitions; she is betrayed (but not broken) as much by her husband's weak character as by social attitudes. Students benefit from debating whether the family system oppresses but also sustains O-lan with the values which explain and animate her life. Perhaps, as in Ida Pruitt's Daughter of Han, the women do not demand revolution, but would be satisfied if men just lived up to their responsibilities (see note 19).

The China family, students learn, was not the nuclear family, based on a romantic love contract, made up of Mom, Dad, Junior, and Sis, but a multigenerational community of the living and the dead, of the past, present, and future. Both genders subordinated individuality to group and hierarchy in order to achieve a sort of religious transcendence. Wang Lung is not "free" as a male to do what he wants; he sincerely reveres and serves his father, while his uncle cynically abuses the call of filial piety to cadge money.

This is all well and good--we should not dismiss The Good Earth on irrelevant snobbish grounds, nor should we uncritically accept it (or anything else) as presenting "the" picture of China. But, in practical, yes-or-no terms, should we assign it? Most licensed China academics would not use The Good Earth as the human interest component in a college-level history of China (I prefer Daughter of Han and Chinese fiction). But I do urge friends to re-read Buck's novel and Peter Conn's book, and to consider using The Good Earth in courses on United States-China relations which examine the problems of historical cultural understanding and representation, where it serves as a primary document, not a sociological resource on China.

On the other hand, the book is still widely read, especially at the secondary level, and I would not discourage teachers who find the book a good read. As long as we remind students that not all Chinese are rural, that the Chinese family system is not evil simply because it differs from our modern American model, and that China has tremendously changed since the 1930s, reading The Good Earth conveys much more good than harm. We take our starting points where we can find them; the dangers in the book are "teaching opportunities" rather than excuses to avoid discussion. Students can be challenged to compare the China which Buck invented with the Chinas invented by others mentioned in this essay (Ida Pruitt, Mao Zedong, Maxine Hong Kingston), or with classic Chinese novels such as Cao Xueqin's Story of the Stone, or even with the Chinas in recent movies as Yellow Earth or Red Sorghum (see note 20). As a starting point, The Good Earth still works.

1134.      The Good Earth

Wang Lung was the son of a peasant farmer.  When it came for him to marry, his

father chose a slave girl from the house of Hwang who was hardworking.  O-lan, Wang

Lung's wife was a good wife for Wang Lung.  She did not waste anything, and made

items such as shoes for the family so Wang Lung could save his money for other things..

She worked endlessly for Wang Lung and his father, and even helped Wang Lung plow

the field.  One day while helping on the field, O-lan went inside and bore their first child.

Luckily, it was a boy.  Girls at that time were always slaves, or married to other family's

sons.  They named him Nung Wen.

Before leaving the house of Hwang earlier, O-lan promised to bring their first child

to pay respects to the house.  That year, the harvest was good, so Wang Lung bought new

clothes for O-lan, the baby, and himself.  After paying their respects, Wang Lung made a

deal with the house of Hwang and bought a plot of good land just outside the house.  One

year later, another boy was born and was named Nung En.

Wang Lung's third child was a disaster.  Not only was it a girl, but she was born

retarded.  That summer, a drought hit the area where Wang Lung lived, and it did not rain

for months.  There was little harvest, and soon all of the wheat was gone.  Starving, Wang

Lung had his ox killed for food, but could not bear to watch because the beast had been so

faithful to him.  Not having any money, Wang Lung sold the furniture in his house for a

few silver pieces.  His fourth child was born in the drought, and was born dead.  The

family was forced to move South to find food, so with the money he made from selling the

furniture, Wang Lung paid train fare to go down south.

On the train, Wang Lung spent some more money to buy material so they could

build a hut when they reached the city.  At the city, they built their hut, and discovered a

kitchen where for almost no money at all, a person could eat all of the rice they wanted.

Wang Lung bought enough rice for his family, and they ate it heartily.  Now, Wang Lung

needed money again, so the next day he rented a ricksha to transport the rich around the

city for money, and O-lan and the children begged for money.  After paying the rent for

the ricksha, Wang Lung did not make a lot, but it was enough to support his family for

another day or so.  They did this all through the winter, each day earning just enough

money to make it to the next.

One day, after the rich men left, soldiers came in and fought with the enemy that

was approaching them.  The poor took advantage of this, and raided the rich man's house.

O-lan, knowing the ways of the rich, found a secret stash of expensive jewels, and Wang

Lung got a handful of gold after threatening a rich man who was hiding.  With this money,

Wang Lung returned home with his family.

When Wang Lung got back, he repaired his home which was damaged by weather.

Within the next six years, Wang Lung bought much more land from the house of Hwang,

his first two sons began attending school, and he hired seven men to work the land

including a neighbor Ching, and O-lan had borne him twins, a boy, and a girl.  Wang Lung

also discovered that O-lan had hidden a pouch full of expensive jewels from him that she

found in the rich man's house.  When Wang Lung found the jewels, he took them all from

her except for two pearls that O-lan liked.

So the men worked well until there was a great flood.  All of the land was flooded

and could not be farmed.  It was then that his uncle, his uncle's wife, and son came to live

with Wang Lung.  During this flood, the neighbor's houses were robbed, but Wang

Lung's house was not.  He found out that his uncle was second to the chief of the robbers.

Knowing this, Wang Lung was forced to let his uncle's family live with him, or he would

be robbed or even murdered.  Not being able to farm, Wang Lung began visiting the city

for entertainment.  He discovered a tea shop where he fell in love with a woman named

The Lotus Flower.  After a month of seeing Lotus, he bought her from the tea shop and

took her home as a concubine.  O-lan did not like this, but Wang Lung would not let

Lotus live anywhere else, so he built a courtyard with adjacent rooms for Lotus to live in.

The courtyard had a small pool, and Wang Lung bought only expensive foods for his

Lotus.

When Wang Lung found out that his older son was seeing Lotus when he was

away, he decided to have him married to a grain merchant's daughter.  The wedding took

place, and shortly afterwards, O-lan died of a stomach illness, and soon afterwards, Wang

Lung's father died.  Wang Lung then apprenticed his younger son to the grain merchant

Liu, and his youngest daughter was betrothed to Liu's young son.

Thinking of a way to get rid of his uncle and his wife, he persuaded them to start

smoking opium that he had paid for.  Once they became addicted, they were too busy with

the drug to bother Wang Lung.  But, his uncle's son did not take the opium, and began to

annoy Wang Lung's older son's wife by talking dirty and walking around with his robe

open.  Seeing this, Nung Wen became very angry and Wang Lung rented a portion of the

house of Hwang.  The uncle and his wife were left in the country with their opium, and the

uncle's son left to join the army.

When Ching died, Wang Lung stopped farming and rented out his land, hoping

that his youngest son would tend the land, but when he took a girl that his youngest son

liked, his youngest son ran away from home and joined the army.

When Wang Lung's death came near, he moved back to the country to be with his

land.  He brought only his slave Pear Blossom, that his youngest son loved, and his first

daughter that was simple.  One day as he was looking at the fields with his sons, he heard

them talking about how they were going to spend their inheritance and what they would

do with the money they would make from selling the land.  Wang Lung cried out that they

must never sell the land because only with land could they be sure of earning a living.  But

Wang Lung did not see his sons look at each other over his head and grin.

1135.      The Good the Bad and the Ugly

The Good, The Bad, and the Ugly

"The Good, The Bad, and the Ugly" is the most famous of all of Sergio Leone's work, and probably one of the most famous westerns of all times. Not only it became part of our culture, but it has also created a sub-genre of Westerns, tenderly called "Spaghetti Westerns" - mostly because of the Italian origins of the filmmaker and the fact that his movies were shot in Europe instead of Hollywood. Despite the characteristic western tradition found in the movie, the movie is free of any western cliché as any traditional western theme is either given a unique twist or absolutely removed by Leone's masterful storytelling.

The plot of the movie, is a classic western plot, it concerns three people searching for two hundred thousand dollars worth of gold, nothing more than the essential quest for money.

Two of the characters are typical western individuals, a hero and a nemesis, while the third character is far more complex and quite revolutionary for the Western genre.

Clint Eastwood is playing "The Good", a good fellow (of course only relatively good), called "Blondie", although his real name remains undisclosed and he officially goes under the surname "Man With No Name". Clint Eastwood's character is a characteristic western character, not really "good" in a traditional sense, but he has an evident sense of honor and tries to do the fair thing. The scene when Blondie gives a dying Confederate soldier a puff of his cigar is a very powerful moment which characterizes the Man With No Name better than any other sequence without saying a single word. This role built the foundation of Clint Eastwood's stardom and his typical western personage. He became a Western icon through this movie and the public still remembers him as "The Man With No Name", the charismatic, enigmatic and laid-back "Blondie".

Lee van Cleef is "The Bad", he plays the role of "Angel-Eyes" who is evil personified, a classic western nemesis, a ruthless killer who is ready to do whatever it takes to get what he desires.

Finally, the most fascinating character of the three is Tuco, "The Ugly" who is played by Eli Wallach. Tuco is a two-bit bandit with a criminal record of a mile long, and a fair price on his head. He is definitely the most complex and the most interesting character in the film. All impulse and rage, Tuco spins wildly throughout the movie, stealing, lying, pretending to be Clint Eastwood's best friend in one scene, trying to kill him in another, Tuco represents "the ugly" side of us. Tuco's character is not a traditional western character, as he is neither really black nor white by any means. Eli Wallach puts so much character in this personality which includes just the right amounts of humor, slyness and humanity that, no matter how bad he is, the spectator always cares and sympathize for him.

Eli Wallach's most memorable performances in this film most likely signaled the end of the traditional John Wayne characters, which were either good or bad, thus, the end of the "White Hat/Black Hat" western tradition.

The story is a quite conventional western tale. All three characters are after the gold treasure. Two gunmen, Tuco and Blondie, team up somewhere in the west, interested in making some easy money. This isn't an easy partnership, Tuco and Blondie have a love-hate companionship, and once in a while one of them screws his companion. During one such act of vengeance, they come across a group of dead and wounded soldiers and before the last of them dies, he tells them about a hidden treasure of gold. Tuco learns only the name of the cemetery where the gold is buried, while Blondie finds out just the name of the grave under which the treasure is be found. Those circumstances force them to work together. Angel-Eyes also learns about the treasure and when he finds out that the two partners have the information he wants he tracks them down. As all three reach the cemetery, climax takes place in the form of the legendary three way duel.  There are no wasted scenes in the film regardless of the fact that it is a long movie. Despite the fairly ordinary story, Sergio Leone manages to build a lot of uncomfortable tension in the film, keeping the film from ever getting predictable.

It is an interesting development when, at some point during the movie, the characters are confronted with the severe reality of the American Civil War. All of a sudden, two traditional Western gunslingers have to face a completely new danger, and find themselves in situations they cannot shoot their way out of. It adds an important touch of reality to the film and cleverly and intentionally devastates the classic romantic myths many early Western movies have created about the Wild West.

The environment of "The Good, the Bad, and the Ugly" story is a classic Western setting; it is no different here from many other Westerns as it features a massive amount of spectacular panoramas and wide landscape shots.

"The Good, The Bad, and the Ugly" features the incredible Ennio Morricone's score featuring the modulated screaming in the main theme that is the most instantly recognizable western theme of all time. The Western genre itself became associated with this magnificent score. There are only few movie scores that have risen beyond the films they are associated with to become part of our culture (such as the stabbing music in Psycho). Morricone's theme was an attempt to recreate a hyena's cry, and while most spectators don't recognize a hyena, the pure force and aggressiveness of the cry is a powerful motif in the film which is wisely used by Leone in several powerful scenes. The scene in the Union prison camp and the climatic scene in the cemetery at the end of the film are absolutely astonishing combined with Morricone's powerful score.

The final duel is an important all - Western element and it is certainly present in "The Good, The Bad, and the Ugly". The final three way duel became a legendary western scene, the best shoot-out climax in any of Leone's works, and probably the best duel of its kind, it is perfectly timed, choreographed, and photographed. Like many other of Leone's scenes it is without dialogue, simply carried by extremely clever camera angles and perspectives. Morricone's brilliant music and Leone's clever editing create an emotional peak rarely found in western movies. During the first minutes of the duel, Sergio Leone simply flashes between shots of the duelists looking at each other, analyzing the situation and slowly moving their hands towards their fire arms, in an ever increasing speed, while Morricone's exceptional music plays on the background and increases the severe atmosphere, the tension rises higher and higher until finally it blows off in a blaze of gunfire.

"The Good, the Bad, and the Ugly" is an exceptional movie, it is still a traditional western, yet it includes many innovations and originality. The simplicity of the "man against man, and may the fastest draw win" theme is cleverly integrated with complicated real human characters and tempers as well as the not so typical for western tradition, violent background of the American Civil War. "The Good, the Bad, and the Ugly" is a serious, infectiously humorous film which symbolizes the Western genre while it expands its rules and traditions.

1136.      The Grapes Of Wrath The people and the Depression

The Grapes Of Wrath

The people and the Depression

In the movie The grapes of Wrath, the Joads undergo the hit of the depression, they have to leave their farm.  They go to California for jobs, but find there are few jobs, and it pays little, or at least less then what they were told.  The government tried to start programs to house and employ people like the Joads.  Since the people who already lived in the cities in which these developments were put didn't want them there anyway, they tried to start a riot and have the police Arrest them.  Although in the movie the plan was foiled, it could have worked in many other places, or the towns folk could have just created a lynch mob, and eventually the people living in the development would leave.

I believe that the economic situation of the country has a great effect on the fall, or succession of people like the Joads, but I don't believe government programs will effect them at all.  For example, the great depression was a major economical event, and it greatly effected more then just people like the Joads, but programs like the public works administration which employed people for government construction projects.  Another program,  the Works Progress Administration, later called the Works Projects Administration was created to develop relief programs, and to keep a person's skills.  From 1935-1943, it employed 8 million people, and spent 11 billion dollars.  But in 1939, there were still 9.5 million still unemployed.  Another program was the Civilian Conservation Corps.  Unemployed, unmarried young men were enlisted to work on conservation and resource-development projects such as soil conservation, flood control, and protection of forests and wildlife. These men were provided with food, lodging, and other necessities, and were given a small monthly salary.  Another program was the CWA, the civil works administration.  It employed more then 4 million workers to build and repair roads, and teach in schools, were just a couple of the jobs.

Some of these programs would work temporarily, but eventually there would be no more work to do, or the government would run out of funds.  All these programs were hated by some, and loved by others, and some just didn't care.  The business men that were lucky enough not to lose everything, and the other employees working in the cities who still had jobs during the depression didn't like these new programs.  In the movie, The Grapes Of Wrath, The towns people didn't like the government funded version of a "Hooverville".  The townspeople, along with the police tired to start a fight during a dance, so the police could come in, arrest some of the people living there, and say that this new development wasn't safe for the town, and it would have to be rid of.  Fortunately for them they were able to discover there little plan, and spoiled the plan.  But this showed how much the people in the towns hated these new developments like the Hoovervilles.  Also, I can't recall what town it was in, but when the Joades approached one town border, the men there said there was no work, and that they would have to turn around, I believe they even had the police there.  This showed how much the people already living in these towns and cities fear the coming farmers and others that had lost their jobs, for the townspeople wanted to keep their jobs.  I think it would have been smarter for the government to buy the farms that people like the Joads were being kicked off, that way they could still work there, and because they only got paid in food and shelter, the extra food that they made that used to go to their employer would go to the government which could either be sold for less, or given out in rations to the poor, and homeless.

I believe that Roosevelt had too much power, he was making too many programs that didn't work.   He was throwing money here, and money there to programs designed to employ people, yet there were still millions of people still employed.  I believe if he had less power, his plans would have been looked over more carefully, and the programs could have been substantially better.

I believe that the programs created by the government had little affect, and that the money could have been spent more wisely, and better programs could have been created, but I do think that the economy has a major impact on the fall, or survival of a family, like the Joads.

1137.      The Grateful Dead Essay

The Grateful Dead

I have chosen to do my report on the Grateful Dead. They were a rock and

roll band from the sixties that stayed popular and still influenced rock and

roll until 1995 when the lead singer, Jerry Garcia, died and the band dissolved.

The Dead remained popular for so long because of the style of their live

concerts that made people keep coming back. In 1959 when Jerry Garcia was thrown

out of the army, he picked up his guitar and started playing music with his

friend Robert Hunter. Robert Hunter would later become the Grateful Dead's non-

performing song writer.  Robert and Jerry lived in San Francisco, California.

On one New Year's Eve party, Garcia and Hunter met Ron "The Pig Pen" McKerman,

who played harmonica, keyboard and was also a vocalist.  Pig Pen was the janitor

at the music shop where Jerry gave banjo lessons.  During the concert of that

night, they also met guitarist Bob Weir and together they formed a band called

Mother McCree's Uptown Jug Champions.  A few weeks later Bob Matthews,who later

became a part of the Grateful Dead electronics and recording family,joined the

group along with John "marmaduke" Dawson,who later joined the New Riders of the

Purple Sage.  Work was scarce for the Jug Champions until Dana Morgan, owner at

the store where Jerry taught banjo and Pig Pen worked,provided the money and

equipment for them to become electric.  After they had become electric they

renamed the group the Warlocks.  Dawson and Matthews were soon to leave and they

were replaced by drummer Bill Sommers (Krentemann) and Phil Lesh, who was a

trumpet player who learned to play bass guitar in a very amazing two weeks just

to get the spot.  This completes the now familiar Dead line up. The Warlocks

played their first concert in July 1965 and they played pretty straight rock and

roll music until the "acid tests."  In early 1965 a state hospital in the Palo

Alto area was conducting experiments with hallucinogenic drugs.  This was still

legal at the time.  Robbert Hunter and others volunteered to try them.  Before

long the whole music group was participating in "acid tests" and their music

became more diffused, the numbers stretched out and the volume turned up.  Jerry

Garcia became known as "Captain Trips" and they played at the Ken Kesey

organized trips festival. In February 1966 the Warlocks had to change their

name due to threats by an older group with the same name. Legend has it,

according to ,"during a acid trip Garcia opened a dictionary and pointed to the

word "grateful" on one page and the word "dead" on another", and the Grateful

Dead were born.

In June of 1966 the Grateful Dead moved to 710 Haight - Ashbury district

of San Francisco, California.  This was the center of the counter culture that

is known by many as "Hippie".  The group was about to explode in a blaze of

publicity.  The Dead were playing for free at parks and a place called the

Family Dog.  Jerry Garcia was the group's guru figure despite his denials.

After a while, word started to spread about the Grateful Dead and their

incredible sound. By 1967, the summer of love, they were regulars at the Avalon

and Carousel Ballrooms and the Filmore West.  In 1969 the Dead packed their bags

and headed to Woodstock, New York. This outdoor concert would go down in history

as the largest outdoor rock concert.  On August 16, 1969, the Grateful Dead,

along with many famous rock and roll groups, played in front of thousands of

people. From 1965 and on,there has been over 3,000 Grateful Dead concerts, that

range from San Francisco to the pyramids in Egypt.  After each of them, at least

one more person became obsessed with the band and became part of the group known

as the "deadheads".  According to the Dead heads "there is nothing like a

Grateful Dead concert".  The Grateful Dead have many fans that follow them from

concert to concert;  these fans are called deadheads.  These fans thrive off of

the Grateful Dead's live performances. The deadheads would almost do anything to

get a ticket to a dead show.  A typical deadhead would go to 25 or more shows a

year. Dead fans are so loyal, "They would come under water, from Utah, backwards,

to stand in line to see them play".  Many people say that if it was not for

Grateful Dead live shows the dead would still not be popular today.  In 1972 the

Grateful Dead went on a European tour.  They played in England, Denmark, West

Germany, France, The Neatherlands, and to end their tour they went back to

London, England.  The Grateful Dead put out a live album of their tour called

Europe '72.  On this tour the dead picked up many new European followers and

there were many deadheads that came from the U.S.A to watch their favorite band

live in Europe.  Just before the tour was about to begin, Pigpen, the group's

harmonica and keyboard player, became seriously ill.  He was replaced for awhile

by Keith Godchaux.  Keith played with the Dead in Europe and at the end of 1972,

Pigpen died of a liver ailment.  After Pigpen's death, Keith Godchaux took his

place as the group's harmonica, keyboard, and part time vocalist.  Even after

his death the Dead still played live performances and produced albums.  After

the group had this enormous loss the Dead fans stuck through the hard times and

continued to be the best fans a group could have. There are many age variations

in Deadheads.  Some of the Deadheads may be as old as 60 and some may be as

young as 10.  The Grateful Dead have seen many generations of people.  In some

cases the grandfather of a family may have been a deadhead and now his grandson

is one, too.  The Dead have managed to outlast most of their competitors by

attracting these Deadhead fans know as Deadheads.  Although many critics have

labeld these fans as burnt-out hippies, the Grateful Dead are still alive in the

1990's and playing their beloved songs. On August 10, 1995 at 4:23 a.m. a nurse

walked into the room that Jerry Garcia was staying in at a drug rehabilitation

center 60 miles North of San Francisco.  She found him on the floor and noticed

he wasn't breathing.  She quietly called the Sherriff's Deputies.  When they

arrived the nurse and the deputies tried to revive him but they were

unsuccessful.  Jerry Garcia was dead.  Garcia did not tell any of the group

members that he was going to a rehabilitation center.  He had told them that he

was taking a trip to Hawaii with his wife.  It was a shock to the rest of the

group to find out that Jerry Garcia had died in a drug rehabilitation center.

"Garcia's last performance with the Dead, was July 9, 1995 in Chicago", that

night will not be forgotten by anyone who attended that last show.  Jerry Garcia

was fifty-three years of age when he died.  Jerry was the Grateful Dead's singer,

song writer, gutaitariest and many believe the heart and soul of the Grateful

Dead.  This tragedy has left many to wonder if the Grateful Dead will ever play

again.  One thing is sure about the Grateful Dead, "The Grateful Dead are the

best-known and longest lasting of all the San Francisco bands,..".

In conclusion, the Grateful Dead is a very unique group and has vary

unique followers.  it is one of the longest lasting bands and has played for

over three generations of people with their own style and creativeness.  They

have had a long journey and there have been many bumps in the road.  There is

only one phrase that can wrap up the Gratefuldeads career, "What a long strange

trip it's been".

1138.      The Grateful Dead

I have chosen to do my report on the Grateful Dead. They were a rock and roll band from the sixties that stayed popular and still influenced rock and roll until 1995 when the lead singer, Jerry Garcia, died and the band dissolved.  The Dead remained popular for so long because of the style of their live concerts that made people keep coming back.

In 1959 when Jerry Garcia was thrown out of the army, he picked up his guitar and started playing music with his friend Robert Hunter. Robert Hunter would later become the Grateful Dead's non-performing song writer.  Robert and Jerry lived in San Francisco, California.  On one New Year's Eve

party, Garcia and Hunter met Ron "The Pig Pen" McKerman, who played harmonica, keyboard and was also a vocalist.  Pig Pen was the janitor at the music shop where Jerry gave banjo lessons.  During the concert of that night, they also met guitarist Bob Weir and together they formed a band called Mother McCree's Uptown Jug Champions.  A few weeks later Bob Matthews,who later became a part of the Grateful Dead electronics and recording family,joined the group along with John "marmaduke" Dawson,who later joined the New Riders of the Purple Sage.  Work was scarce for the Jug Champions until Dana Morgan, owner at the store where Jerry taught banjo and Pig Pen worked,provided the money and equipment for them to become electric.  After they had become electric they renamed the group the Warlocks.  Dawson and Matthews were soon to leave and they were replaced by drummer Bill Sommers

(Krentemann) and Phil Lesh, who was a trumpet player who learned to play bass guitar in a very amazing two weeks just to get the spot.  This completes the now familiar Dead line up.

The Warlocks played their first concert in July 1965 and they played pretty straight rock and roll music until the "acid tests."  In early 1965 a state hospital in the Palo Alto area was conducting experiments with hallucinogenic drugs.  This was still legal at the time.  Robbert Hunter and others volunteered to try them.  Before long the whole music group was participating in "acid tests" and their music became more diffused, the numbers stretched out and the volume turned up.  Jerry Garcia became known as "Captain Trips" and they played at the Ken Kesey organized trips festival.

In February 1966 the Warlocks had to change their name due to threats by an older group with the same name. Legend has it, according to ,"during a acid trip Garcia opened a dictionary and pointed to the word "grateful" on one page and the word "dead" on another", and the Grateful Dead were born.

In June of 1966 the Grateful Dead moved to 710 Haight - Ashbury district of San Francisco, California.  This was the center of the counter culture that is known by many as "Hippie".  The group was about to explode in a blaze of publicity.  The Dead were playing for free at parks and a place called the Family Dog.  Jerry Garcia was the group's guru figure despite his denials.  After a while, word started

to spread about the Grateful Dead and their incredible sound. By 1967, the summer of love, they were regulars at the Avalon and Carousel Ballrooms and the Filmore West.  In 1969 the Dead packed their bags and headed to Woodstock, New York. This outdoor concert would go down in history as the largest

outdoor rock concert.  On August 16, 1969, the Grateful Dead, along with many famous rock and roll groups, played in front of thousands of people.

From 1965 and on,there has been over 3,000 Grateful Dead concerts, that range from San Francisco to the pyramids in Egypt.  After each of them, at least one more person became obsessed with the band and became part of the group known as the "deadheads".  According to the Dead heads

"there is nothing like a Grateful Dead concert".  The Grateful Dead have many fans that follow them from

concert to concert;  these fans are called deadheads.  These fans thrive off of the Grateful Dead's live performances. The deadheads would almost do anything to get a ticket to a dead show.  A typical deadhead would go to 25 or more shows a year. Dead fans are so loyal, "They would come under water, from Utah, backwards, to stand in line to see them play".  Many people say that if it was not for Grateful Dead live shows the dead would still not be popular today.  In 1972 the Grateful Dead went on a

European tour.  They played in England, Denmark, West Germany, France, The Neatherlands, and to end their tour they went back to London, England.  The Grateful Dead put out a live album of their tour called Europe '72.  On this tour the dead picked up many new European followers and there were many deadheads that came from the U.S.A to watch their favorite band live in Europe.  Just before the tour was about to begin, Pigpen, the group's harmonica and keyboard player, became seriously ill.  He was replaced for awhile by Keith Godchaux.  Keith played with the Dead in Europe and at the end of 1972, Pigpen died of a liver ailment.  After Pigpen's death, Keith Godchaux took his place as the group's harmonica, keyboard, and part time vocalist.  Even after his death the Dead still played live performances and produced albums.  After the group had this enormous loss the Dead fans stuck through the hard times and continued to be the best fans a group could have.

There are many age variations in Deadheads.  Some of the Deadheads may be as old as 60 and some may be as young as 10.  The Grateful Dead have seen many generations of people.  In some cases the grandfather of a family may have been a deadhead and now his grandson is one, too.  The Dead have

managed to outlast most of their competitors by attracting these Deadhead fans know as Deadheads.  Although many critics have labeld these fans as burnt-out hippies, the Grateful Dead are still alive in the 1990's and playing their beloved songs.

On August 10, 1995 at 4:23 a.m. a nurse walked into the room that Jerry Garcia was staying in at a drug rehabilitation center 60 miles North of San Francisco.  She found him on the floor and noticed he wasn't breathing.  She quietly called the Sherriff's Deputies.  When they arrived the nurse and the deputies tried to revive him but they were unsuccessful.  Jerry Garcia was dead.  Garcia did not tell

any of the group members that he was going to a rehabilitation center.  He had told them that he was taking a trip to Hawaii with his wife.  It was a shock to the rest of the group to find out that Jerry Garcia had died in a drug rehabilitation center. "Garcia's last performance with the Dead, was July 9, 1995 in Chicago", that night will not be forgotten by anyone who attended that last show.  Jerry Garcia was fifty-three years of age when he died.  Jerry was the Grateful Dead's singer, song writer, gutaitariest and

many believe the heart and soul of the Grateful Dead.  This tragedy has left many to wonder if the Grateful Dead will ever play again.  One thing is sure about the Grateful Dead, "The Grateful Dead are the best-known and longest lasting of all the San Francisco bands,..".

In conclusion, the Grateful Dead is a very unique group and has vary unique followers.  it is one of the longest lasting bands and has played for over three generations of people with their own style and creativeness.  They have had a long journey and there have been many bumps in the road.  There is only one phrase that can wrap up the Gratefuldeads career, "What a long strange trip it's been".

1139.      The Great Gastby

In today society, many people like to follow the

current.  They want to catch the wave.  Which mean, it does not

matter if things were good or bad, right or wrong, they just

follow and do them without any thinking.  Therefore, there are

not too many people would like to be a normal, thoughtful nor

neutral person.  However, in the novel, The Great Gatsby, by

Scott Fitzgerald, one of the character name is Nike Carroway, he

was the good and neutral narrator.  It was because, in the novel,

he analyzed all of the things with regard to accuracy of

observation.

In The Great Gatsby, when Mr.Gatsby told Vick he wanted

to return the past over again with his lover- Daisy, Nike

Carroway warned him to give it up, because it was impossible.

Unforturately, Mr.Gatsby was not believe it.  So at the end,

Mr.Gatsby's dream still had not came true because Daisy did not

break up with Tom and go with him.  It can be seen in the last

chapter on the novel, when Gatsby was murder, Daisy went to

somewhere else with her husband, and did not go to Gatsby's

funeray.

I called up Daisy half and hour after we found him,

called her instinctively and without hersitation. But

she and Tom had gone away early that afternoon, and

taken baggage with them.

Therefore, Nike Carroway's analysis was right by these

clear observation.

However, Nike Carroway is a good narrator, he sees

everything happen and does not trust everybody easily.  So during

the people discuss about something at a time, he does not believe

it is true.  After he proves it, he will accept the truth.

Moreover, when Nike went to Gatsby's party, there is a

drunk lady telling everyone Gatsby killed a man before.

Somebody told me they thought he killed a man once.

Also, there is one more lady said that Gatsby was a

German spy:

It is more that he was a German spy during the war.

Nike heard it, but when Nike had a chance to have a

lunch with Gatsby, he told Nike, he was an Oxford man and show

him that fought in World War One.  Then Nike knew Gatsby was not

a German Spy nor a murderer.

Furthermore, at the end of the novel, when Daisy drove

Gatsby's car and killed Mrs.Wilson in a car accident, Nike's

first though Gatsby killed Mrs.Wilson.  But after Gatsby told him

all of the things at that moment, then Nike was thinking and

discuss between Gatsby and Tom's speaking, and make his own

conclusion.  Therefore, Nike was a thoughtful man and his is not

afraid to face anything around him.  By these facts, he had a

clear mind and reliable in his observations, so it can make

people believe Nike Carroways was a neutral and clear mind

narrator of this novel, because this can be seen in Nike's

personality.

In the novel, Nike was also a neutral narrator too

becasue he is the narrator who described everything clearly and

accurately.  He was trustful because he described everything

without any personal point of view; By the way, throughout the

whole story, he didn't defenses for any characters nor put any of

his self-feeling in it.  That's why he is a character who strived

for neutrality.

On the other hand, when Mr.Gatsby tells Tom that Daisy

will leave Tom because she loves Tom no more, it's full of fire's

atomsphere and emotion.

" I've got something to tell you, old sport- " began

Gatsby. But Daisy guessed at his intention.

" Please don't!" she interrupted helplessly." Please

let's all go home.  Why don't we all go home?"

" That's a good idea." I got up. " Come on, Tom.

Nobody wants a drink."

" I want to know what Mr.Gatsby has to tell me."

" Your wife doesn't love you," said Gatsby. "She's

never loved you.  She loves me."

At that time, if Nike was not in a neutral position, he

must help Gatsby or Tom.  But, he did not join in the argument

between Gatsby and Tom.  He just put himself in a corner, keeping

quiet and see whatelse would happened in page 131 to page 135.

Therefore, we can see that Nike was a neutral man and a

narrator who just care on the truth observation for sure in here.

It is so clear that Nike was a trustful man, so, by his

unjustice information, and his truthful and accurate observation,

the reader were sure that he  is standing on neutral position,

and the person who does not follow other people.  By his

Fantastic personality - does not believe everything nor what most

other people said easily, it shows that Nike can standing on

neutral position truly because of his knowledge and clever.

1140.      The Great Gatsby 3

The Great Gatsby was a very compelling and well-written novel.

This book has a very intriguing plot, from the mysterious Jay

Gatsby to the gruesome murder at the climatic ending.  There is a

multitude of deep characters you will run into through out this

novel like Nick Carraway and his presumed love Miss Jordan Baker,

along with Gatsby's lost love Daisy Buchanan.  Then there is

Gatsby's house, one of the mysteries of the story, with all of it's

illustrious parties.  Finally it will tell you a little about the

human nature.

The story begins with the book being told as the memory of one

Nick Carraway and his encounters with Jay Gatsby (aka James Gatz).

Gatsby is a enigmatic character that no one really knows much about

who holds immense get togethers at his home for hundred of guests

at a time until he runs into his lost love, who sense has been

married, who's husband dispenses false information to a man named

George Wilson who intern kills Mr. Gatsby.  The ending of this

novel is kind of sorrowful in a touching way.  This is due to the

in depth creation of characters the author portrayed.

The most in depth character of all is Mr. Jay Gatsby in this

novel.  He is left a very obscure individual and much is not known

about him until he reveals it to Nick.  One thing Tom Buchanan

finds out about Gatsby is the he is a swindler and that is how he

has amassed his fortune.  The main character is Nick Carraway a man

who objectively stays the same through out the whole book, keeping

his friendship with Gatsby to the very end.  This book wouldn't be

the same if not for the Giant house that Gatsby lived in.

Most of the novel takes place at Mr. Gatsby's grand mansion

in East Egg, New York.  This mansion just adds to the mystery about

Gatsby and were he got all of his money from.  This huge home was

perfect for holding giant parties every weekend for hundreds of

guests, and soon became the "in" place to go.  Without Gatsby's

house the story would just not have been the same.

Even in the title you can tell that Gatsby is a somewhat

secretive man and is really just a partial fabrication.  After

reading this book it makes you realize that often people are put

into situations that they would much like to avoid.  Also, it show

the whimsical nature society has towards figures such as Gatsby.

In conclusion, it was a very good book especially the climatic

ending with the murder of Mr. Jay Gatsby.

1141.      The Great Gatsby 5

Director Jack Clayton's rendition of F. Scott Fitzgerald's The Great Gatsby  brings to life the jealousy in both men and women, a concept first observed in the 1925 novel. This popular novel has been hailed as a key symbol of the "Roaring 20's," yet its themes transcend time in an expression of the human condition. The film's flaws, however, turn it into a glossy disappointment. With its luxurious period costumes, meticulously rich settings and props, and a cast who all look the part, this version of The Great Gatsby has all of the surface elements seductively in place. Francis Ford Coppola's screenplay also stuck closely to the novel, transforming some of Fitzgerald's most iconic observations about the classes into dialogue.  Additional scenes between Jay Gatsby (Robert Redford) and his beloved Daisy (Mia Farrow) capitalize on the actor's romantic allure. Clayton's sluggish pacing, however, makes the film a stilted literary artifact rather than an emotionally complex story. Throughout the film, the audience is constantly reminded of the jealous nature of man. Each flash of green, each ominous green eye looking down upon them, and each action of the characters strengthen this reoccurring theme of jealousy.

When Nick Caraway (Sam Waterston) first appears on the screen in the opening sequence, we become aware of his jealousy of his cousin Daisy's lifestyle. "And my cousin Daisy Buchanan lived in one of the glittering white palaces of East Egg with her husband Tom, who'd I'd known in college," confesses Nick when describing how he lives on the less fashionable side of Long Island. He is on his way to visit Daisy for lunch when the story truly begins. He wants the money they have, but knows he can never have it. At lunch, Nick reveals that he lives next to Jay Gatsby.  In response to Nick's revelation, Daisy begins to show her jealousy of Nick. "Gatsby? What Gatsby?" she exclaims. However, she is interrupted by Tom (Bruce Dern) before she can obtain any details from Nick. This is not the only instance of Daisy's jealousy, however.  Daisy is also jealous of Tom's mistress, Myrtle Wilson (Karen Black). Myrtle calls while they are eating; Tom takes the call as Daisy follows him to the telephone. Jordan Baker (Lois Chiles), a famous golfer, tells Nick about Tom's unfaithfulness to his wife with Myrtle.

A few days later, Tom takes Nick to an auto repair and gas station owned and operated by George Wilson (Scott Wilson), Myrtle's husband.  Wilson is blinded to the truth about his wife by his love for her as well as the jealousy he holds for Tom's wealth. Tom has promised Wilson he could purchase a blue car from him.  Tom, however, has no intention of selling.  He merely keeps stalling Wilson so that he can continue to see Myrtle.  Myrtle is also jealous of Tom's wealth.  She is taken up in the world of the rich when she hosts a party at an apartment Tom rents for their rendezvous. They both want to leave their spouses but as Myrtle's sister points out at the party, "It's really his wife that is keeping them apart. She's a Cath-o-lic [my emphasis]. And they don't believe in divorce." Towards the end of the movie, George confesses his suspicions about Myrtle to Tom.  George believes Myrtle is having an affair, and wishes to take Myrtle to the West in order to keep her to himself.

It is not only Tom and Myrtle that have dreams of being together. Before the war, Jay Gatsby and Daisy Buchanan were in love.  After Gatsby went off to war, Daisy married Tom and they began their life together. About halfway through the film, Jordan makes a request of Nick. She asks him to invite Daisy to tea, so that Gatsby can see Daisy again, to which Nick agrees.  Gatsby turns into a little schoolboy at the prospect of seeing Daisy.  He sends flowers to Nick's cottage and cuts the grass. He even goes to the point of cutting out newspaper articles about her for a scrapbook.  Love blossoms as Daisy and Gatsby come together again.  On the longest day of the year, however, things turn sour. It begins when Gatsby meets Daisy's daughter.  As one looks into Gatsby's eyes, the jealousy he has is plain.  The look on his face seems to express that he wants the child to be his own.  He wants to be Daisy's husband and have his own children with her. Later, Nick, Gatsby, Tom, Daisy, and Jordan all travel into the city for entertainment.  What follows, however, is painful for all involved.  Gatsby expresses his love for Daisy in front of Tom, begging her to "tell him you [she] never loved him." Gatsby gets a rude awakening when Daisy announces that she did love Tom once, and that she loved Gatsby at the same time.  Daisy is distraught and runs from the hotel.  On the way home, Tom, Nick, and Jordan find that Myrtle has been killed by a hit and run.  Nick learns that Daisy was behind the wheel.  Tom, however, ignorantly tells Wilson that Gatsby was driving.  Wilson shoots Gatsby in his pool and kills him.

Nick learns valuable lessons from these events: life moves on and that money does not always guarantee happiness. After the cataclysmic events in their life, Tom and Daisy remain together, Nick returns to Chicago, and two people have died. The movie, although an excellent representation of the time and actions within the book, seems to slowly move by. Many of the scenes could have been edited out and still kept the understanding of what was happening. For prosperity, Clayton's The Great Gatsby, is an excellent representation. However, for entertainment value, it seems to be lacking.

1142.      The Great Gatsby Essay

The Great Gatsby

The Great Gatsby was a very compelling and well-written novel. This book

has a very intriguing plot, from the mysterious Jay Gatsby to the gruesome

murder at the climatic ending.  There is a multitude of deep characters you

will run into through out this novel like Nick Carraway and his presumed love

Miss Jordan Baker, along with Gatsby's lost love Daisy Buchanan.  Then there is

Gatsby's house, one of the mysteries of the story, with all of it's illustrious

parties.  Finally it will tell you a little about the human nature.

The story begins with the book being told as the memory of one Nick

Carraway and his encounters with Jay Gatsby (aka James Gatz). Gatsby is a

enigmatic character that no one really knows much about who holds immense get

togethers at his home for hundred of guests at a time until he runs into his

lost love, who sense has been married, who's husband dispenses false

information to a man named George Wilson who intern kills Mr. Gatsby.  The

ending of this novel is kind of sorrowful in a touching way.  This is due to

the in depth creation of characters the author portrayed.

The most in depth character of all is Mr. Jay Gatsby in this novel.  He

is left a very obscure individual and much is not known about him until he

reveals it to Nick.  One thing Tom Buchanan finds out about Gatsby is the he is

a swindler and that is how he has amassed his fortune.  The main character is

Nick Carraway a man who objectively stays the same through out the whole book,

keeping his friendship with Gatsby to the very end.  This book wouldn't be the

same if not for the Giant house that Gatsby lived in.

Most of the novel takes place at Mr. Gatsby's grand mansion in East Egg,

New York.  This mansion just adds to the mystery about Gatsby and were he got

all of his money from.  This huge home was perfect for holding giant parties

every weekend for hundreds of guests, and soon became the "in" place to go.

Without Gatsby's house the story would just not have been the same.

Even in the title you can tell that Gatsby is a somewhat secretive man

and is really just a partial fabrication.  After reading this book it makes you

realize that often people are put into situations that they would much like to

avoid.  Also, it show the whimsical nature society has towards figures such as

Gatsby. In conclusion, it was a very good book especially the climatic ending

with the murder of Mr. Jay Gatsby.

1143.      The Great Gatsby The Question of Nick Carraways Integrity

Essay on "The Great Gatsby" : the Question of Nick Carraway's Integrity

In  pursuing relationships, we come to know people only step by step.

Unfortunately, as our knowledge of others' deepens, we often move from enchantment to

disenchantment. Initially we overlook flaws or wish them away; only later do we realize

peril of this course. In the novel "The Great Gatsby" by F. Scott Fitzgerald, the journey

from delight to disappointment may be seen in the narrator, Nick Carraway. Moving from

initial interest to romantic allure to moral repugnance, Nick's relationship with Jordan

Baker traces a painfully familiar, all-to-human arc.

Nick's initial interest in Jordan is mainly for her looks and charm. Upon first sight

of her at the Buchanan's mansion, he is at once drawn to her appearance. He Notes her

body "extended full length" on the divan, her fluttering lips, and her quaintly tipped chin.

He observes the lamp light that "glinted along the paper as she turned a page with a

flutter of slender muscles in her arms." He is willing to overlook her gossipy chatter

about Tom's extra-marital affair, and is instead beguiled by her dry witticisms and her

apparent simple sunniness: "Time for this good girl to go to bed," she says. When Daisy

begins her matchmaking of Nick and Jordan, we sense that she is only leading where

Nick's interest is already taking him.

It is Jordan, then, who makes Nick feel comfortable at Gatsby's party, as we sense

what Nick senses: they're becoming a romantic couple. As they drive home a summer

house-party, Nick notes her dishonesty but forgives it, attributing it to her understandable

need to get by in a man's world. She praises his lack of carelessness, tells him directly "I

like you"--and he is smitten, After Jordan tells him the tale of Gatsby and Daisy's past,

Nick feels a "heady excitement" because she has taken him into her confidence. Attracted

by her "universal skepticism" and under the influence of his own loneliness, Nick--

overlooking this time her "wan, scornful mouth"--seals their romance by planted a kiss on

Jordan's lips.

But the attraction can't last and is, by summer's end, replaced by repugnance. The

smallest of details, at first, heralds this falling-apart: "Jordan's fingers, powdered with

white over their tan, rested for a moment in mine." Here Fitzgerald has dropped a subtle

hint that their liaison is to be the matter of only a moment, and that Jordan's "integrity"

may be a matter of mere cosmetics. But it is Jordan's failure to feel the gravity of the real

falling-apart--among Tom, Daisy, and Gatsby--that most rankles Nick, and he reacts with

disgust when she invites him in for a nightcap amid all the emotional wreckage, then

complains the next day of his refusal. But Jordan's worst action, in Nick's eyes, is her

failure to stay on at Daisy and Tom's when Daisy needs her. The betrayal is far worse

than moving a golf ball, because it is deeply personal.

In the end, with a rueful acceptance of what seemed "meant to be" but was not,

Nick sees that, while Jordan may excite his interest and passion, the excitement pales in

the light of her lack of "the fundamental decencies." Though it has been Nick's first

impulse to reserve judgments about her, in the end he cannot: the limit of his tolerance

defines him. In letting go of Jordan because of her lack of integrity, Nick has held fast to

his.

1144.      The Great Gatsby

Brian Olson                                                                                                OLSON 1

Professor John Hughes

ENC 1102

December  3, 1996

Life, like The great Gatsby

Imagine that you live in the nineteen twenties, and that you are a very wealthy man

that lives by himself in a manchine, on a lake and who throws parties every weekend.  This

is just the beginning of  how to explain the way Jay Gatsby lived his life.  This novel, by F.

Scott, Fitzgerald  is one that is very deep in thought.  Fitzgerald releases little clues along

the way of the novel  that will be crusual to understand the ending.  For instance, he

makes the blue coupe a very important clue, as well as the Dr. T. J. Eckleburg eyes on the

billboard that Mr. Wilson (the gas station attendant ) refers to as the eyes of god.  There

are also other little things that relate to the reason of  gatsby's death.  The main

character's of this novel each have their part to do with the ending, Nick Caraway is

probably the main character of this novel, as he comes down from New Jersey to new

York to visit his cousin Daisy, who is married to Tom Buchannan.  These are some of the

incidents that are included in the novel as  you will read further I will relate some issues of

the novel, as well as other critics have included their views on The Great Gatsby.

F. Scott, Fitsgerald  was an American short story writer and novelist famous for

his depictions of the Jazz Age(the 1920's), his most brilliant novel work being The Great

Gatsby(1925). He was born in St. Paul, Minnesota on sept. 24, 1896  and died in

Hollywood, California on December 21, 1940.  His private life, with his wife, Zelda, in

both America and France, became almost as celebrated as his novels.  Fitsgerald was the

only son of an aristocrat father, who was the author of the star spangle banner.  Fitzgerald

spent most of time with his wife, latter in their relationship they moved to france where he

began to write his most brilliant novel, The Great Gatsby.  All of his divided nature is in

this novel, the native midwestener afir with the possibilities of  every Americans dream in

OLSON 2

it's hero, Jay Gatsby, and the compassionate princeton gentlemen in it's narrator, Nick

Carraway.  The Great Gatsby is the most profoundly American novel of it's time

(Houghton).  Fitzgerald had an intensely romantic imagination, what he once called "a

heightened sensitivity to the promises of life," and he rushed into experience determined to

realize those promises.  Latter on in Fitzgeralds life, he started to drink very heavily and

became very unhappy.  In 1930 his wife had a mental breakdown and in 1932 another,

from which she never recovered.  With  it's failure and his despair over Zelda, Fitzgerald

was close to becoming an incurable alcoholic.  He surpassed becoming an alcoholic

though, and moved out west to become a Hollywood screenwriter were he met his new

wife Sheilah Graham, but he never forgot about Zelda and his daughter      Scotti.

(Johnson, 384).

The Great Gatsby is an excellent review on how fitzgerald preceived his life to be,

in the same sense that he also was very wealthy.  Gatsby, in this novel is the mistiries

wealthy man that lives in the big house across the lake from Tom and Daisy Buchanann.

There would always be some type of party going on at his house, but for some reason he

never attended to them, he would always watch from his window.  Nick Caraway is

Daisy's cousin who comes to visit, Nick  needs a place to stay, so he finds an ad for a

guest cottage that Mr. Jay  Gatsby owns.  After Nick has moved in Jay and Nick become

pretty close friends.  Jordan  has always wondered who The Great Gatsby was, so she

uses Nick to find out more about him.  As the story goes on, there are some odd things

that Fitsgerald relates to the story as important things.  These important things make you

really think about what it  means to the story.  The Automobile in The Great Gatsby is a

very big topic for the conclution of the story.  What we have in The Great Gatsby is a

creative manipulation of the automobile as symbol and image to accomplish a variety of

ends (O'Meara,  74).   O'Meara goes on to say that when Fitzgerald accentuates

mechanism and minimizes aesthetics, he depersonalizes vehicles and underscores the

OLSON 3

behavior of their drivers.  The existing criticism on automobiles in The Great Gatsby

usually centers on one or the other of these two functions.(O'Meara, 75).  The result of

the car is that it ends up killing Myrtle.  Kenneth and Irving Saposnik discuss the

automobile imagery from a technological standpoint.  Knodt asserts that all of the novel

symbol's of technology - automobiles, trains, and telephones are connected with

destruction and evil (Saposnik, 131).  I believe in this theory, that vehicles are a result evil

in almost every movie.  In this case the evil is the Blue Coupe sedan that ends up killing

Myrtle.  The other thing that  sticks out to me is the billboard that has the two eyes on it

with glasses.  This board is referred to Mr. Wilson as the eyes of god, he believes that they

can see everything and when the car ends up killing his wife Myrtle, he tells people that

god saw what happened. A footnote for the line in Andrew Turnnbull's edition of The

Letters of F. Scott Fitzgerald(1963)describes the dust jacket as showing "two huge eyes,

intended to be those of Daisy Fay, brooding over New York City, and this had been

Fitsgerald 's inspiration for the eyes of Dr. T. J. Eckleburg"(Turnbull, 166).

The brief exegesis examines the imagery of cats and dogs in Scott Fitzgerald's jazz

age novel, The Great Gatsby.  Toward the end of the novel, Nick Caraway refers to the

hot summer days on Long Island as "dog-days"(Kehul, 118).  John Kehul goes on to

mention that many of the characters in the novel are portrayed in canine terms.  They

cynically, in the sense of the Greek root kynikos, meaning "dog-like."  Their 'bites,"

particularly in relationship to the main character, Gatsby, become worse then their

"barks."  In contrast to this canine element, Gatsby has a "heightened sensitivity"(120).  In

The Great Gatsby I did notice a lot of the characters mentioning dogs or phrasing one

another as "you old dog you,".  Myrtle mentions to Tom (the man she is having an affair

with) that she would like a dog.  I believe that Fitzgerald resembles these dogs as a symbol

of affection.  Canine imagery first appears in chapter one, when Nick casually tells the

reader that he once owned a dog.  He lists his possessions: an old dodge, a finish woman

OLSON 4

who cooks and cleans for him, and his dog.  "I had a dog--at least I had him a few days

until he ran away(124).  Almost forty years after the book was written, Ernest

Hemmingway recalls Fitzgerald giving him a copy of The Great Gatsby: It had a garish

dust jacket and I remember being embarrassed by the violence, bad taste and slippery look

of it.  It looked like the book jacket for a book of bad science fiction.  Scott told me not to

be put of by it, that  it had to with a billboard along the highway in Long Island that was

important  in the story.  He said that he liked the jacket, but now how didn't like it.  I took

it offto read the book (feast 176).   According to Hemmingway, the cover of the book

only "had to do with" the billboard and had already fallen out of favor with the

author(179).  I believe that the cover of The Great Gatsby is a unique one, in a way that

people really would believe things like that if they never had any type of  religion

background or were just messed up in the head.

As I was explaining earlier in the paper about all the characters, I was mentioning

things about Nick Carraway.  Nick Carraway is also the narrator of the novel, he is

probably they most sufficient character in the novel, meaning that he is always relaying

information to others rather than getting involved in the mischief.  What I mean is,  that,

the affairs between Tom and Myrtle, and Daisy and Gatsby.  Nick knows just about

everything about everyone and he is the newest person in town.  I think that Fitzgerald put

like this because,  Nick had no other meaning to the story if he didn't get involved with

the secrets that were going on.  Near the end though, Nick is clueless as to what is going

on with Myrtle and Tom  until the night of the accident when Myrtle runs out in front of

the speeding yellow cadilac.  Myrtle had thought that Tom was driving the car, and so she

dashed in front of it  because she wanted to leave with Tom and get away from her

husband that was not to rich or smart like Tom was.   In The Great Gatsby, the fact that

the billboard is only mentioned once or twice in the film, but it so crucial to how the result

of the ending is.  Fitzgerald is trying to point out that this billboard is the point were

OLSON  5

everything takes place, like, the eyes looking down on the two cars going to party and that

they are always looking at Mr. Wilson.  When Mr. Wilson's wife (Myrtle) dies he is shock

and is looking for answers to what happened.  As O'Meara  points out earlier, cars are a

means of destruction and evil.  In two cases this is true.  One, being that big yellow cadilac

killed Myrtle and two, the fact Tom is using his car as a medium of exchange for Mr.

Wilson's wife  and free gas.  Mr. Wilson does not relize the fact that his wife is cheating

on him with Tom, the man he wants the car from.

In all conclusion to The Great Gatsby, many little things in the novel were

substantial to how the ending was to be.  Fitzgerald had really related the billboard of  Dr.

T. J. Eckleburg that looked like owl eyes  and referred to a the eyes of god by Mr. Wilson

when he talking to Tom.  The other thing that sets the tone of this novel is the car.  this

was the murder weapon that killed Myrtle and was recognized by Mr. Wilson as the car

that Jay Gatsby was driving that night, which was result of the death of Mr. Jay Gatsby by

no other than the man that looked at the "owl eyes " all day outside his gas station.  Well

the fact of living in the nineteen twenties and being a millionaire and throwing parties

every weekend doesn't sound that bad, I just wouldn't want to be The Great Gatsby.

1145.      The growth of Charlie Chaplins fame

Charlie Chaplin was born in England on April sixteenth, 1889. He was the youngest and always had a rivalry with his older brother, Sydney. Sidney was two years older than he was. His father, Charles Spencer Chaplin, Sr. was an actor. His mother, Hanna Chaplin, was a singer. His parents gave him a strong background to become an entertainer. Chaplin went to school until the age of eight when he quit school to clog dance. Sadly in 1901, his father died of alcohol abuse. His mother was hit hardest. Suddenly Chaplin's mother was going in and out of mental institutions. He was sent to a charity home with Sydney (Hale, 1). When Charles Chaplin got out, he went to Herns Boy College. He studied there for two years. This was the only proper education he had.

After a clog dancing performance, the leader of an acting troupe offered Chaplin a job. He went to America for the first time performing in a comedy called the Wow-Wows (Jepstein, 14). In 1912, with the acting troupe, a theater director offered him a job that paid fifty dollars a week (Jepstein, 14). Since it was almost quadruple the amount he got from the Wow-Wows, he accepted. In three years, he managed to make thirty short films (Encyclopedia of World Biography, 439). In 1915, he joined Essanay Studios for two hundred fifty dollars a week (Jepstein, 14). There, he made "The Champion" and "His New Job." While in Essanay, he got the idea for a tramp character. Chaplin got this idea from a comic book he used to read in England (     ,1). When, his tramp picture came out, he called it "The Tramp." A year later, he joined Mutual, earning an astounding ten thousand dollar-a-week salary (Jepstein, 14). Here, he made "One A.M.", "The Pilgrim", "The Curse", "Easy Street", and "The Immigrant."

In 1918 he started his own studio. Halfway through the year, on October 23rd, he secretly married Mildred Harris (Hale, 2). Mildred gave birth to Norman

Spencer Chaplin. The baby only lived for three days. Three months later, Mildred and Charlie divorced. In 1924, he married Lita Grey. Together, they had a boy named Sydney. Like the first marriage, Lita broke up with him before their first anniversary. She also filed paternity charges because she couldn't afford to feed Sydney. Three days into the trial Chaplin broke down and gave her the money.

In 1923, Charlie Chaplin, D. Griffith, Douglas Fairbanks, and Mary Pickford formed United Artists. There, Chaplin made "Woman of Paris", "Gold Rush", "The Circus", and "City Lights." He then made "Modern Times" in which he highlighted the issues with modern inventions. He also made "The Great Dictator." In this picture, he plays both a Jewish barber and Hitler. While playing the barber, he expresses his feelings about the modern world. As he says,

"We think too much, and feel too little. More than machinery, we need humanity. More than cleverness, we need kindness, and gentleness. Without these qualities, life would be violent, and be lost... Let us fight the free world--to do away with national barriers-to do away with greed, with hate and intolerance--jobs for youth--security for the old age. Let us fight for a world of reason--a world of science--where progress will lead happiness to us all. Soldiers! In the name of democracy, let us unite!" (Jepstein, 31).

Americans disliked the way Chaplin viewed things. He was an atheist and socialist. Also, he expressed sympathy for Leftists. The FBI accused him of being a communist and of being Jewish. The FBI put spy equipment in his hotel rooms to see what he was doing (Hale, 3). By November 1948, Charlie Chaplin was put in the Security Index. This means he was among the people the FBI was watching most closely. (Hale, 3) This means he was. Also, to add to these troubles, Chaplin was charged with another paternity suit. It was made very public. Though Chaplin was able to prove he was not the father, Americans viewed the case as another reason to believe Charlie Chaplin was a corrupt individual. (Encyclopedia of World Biography, 439) In 1952, while on a vacation to England, Chaplin received a letter from the FBI. It said the FBI would challenge his return to the United States of America. The charge claimed that he was immoral and politically unreliable. He had never become an American citizen, so he sold all of his American possessions and moved to Geneva, Switzerland. He settled in a house called "Corsier de Vevey."  In 1957 he visited England and made "The King in New York." It was never shown in the United States (Encyclopedia of World Biography,439).

Chaplin wrote his autobiography in 1964. It was called "My Autobiography." In his autobiography, Chaplin included names of people he disliked. Many American critics disapproved of this.

However, times got better for Chaplin. In 1972 he won an Academy Award for being a great comedian. This was his first time back in America since 1952. He also was knighted by Queen Elizabeth in 1975. Two years later on Christmas day, he died of natural causes at his house in Switzerland. He was eighty-eight, and left behind eight children with Oona, his wife since 1943. People now view him as the father of comedy.

"Chaplin was a lovable but unloving figure--a fascinating, elusive, and difficult human being" - Encyclopedia of World Biography.

1146.      The Hidden Life of Dogs

Book Review

"The Hidden Life of Dogs"

by Elizabeth Marshall Thomas

The Hidden Life Of Dogs was written by Elizabeth Thomas who is currently well know and highly re-spected for her books. Elizabeth Thomas was born in America and currently lives in New Hampshire. This is a book that is unlike any book ever written as it takes the perspective from a different angle. It was first published in the United States in 1993 by Houghton Mifflin Company.

Elizabeth has written five books, all bestsellers. It is evident that her success is due to her intense research as she has travelled the world while writing her books. With international success, Elizabeth plans to continue her career that currently seems to be skyrocketing.

"The Hidden Life Of Dogs"  was not just any book. Clearly there was much more effort involved. Beginning with an introductory character, Misha who was a Husky, began the book well. This book tried to get the idea across that humans knew only very little about dogs and their patterns. After intense observations on Misha, some ideas were brought up. How did the dog know how to cross a highway on its own? How did its navigational skills work? How was it that this dog knew exactly where it was and could travel through different cities without becoming lost and other dogs couldn't? Continuing on to bringing in other dogs Elizabeth was studying, she pointed out that some had skills that others did not. Misha was clearly able to navigate himself but when with another dog, he would become lost. After careful observation it was seen that the other dog could easily loose track of where she was and mislead Misha. Another interesting topic covered is how dogs behave with each other. How they achieve their social status, why some dogs don't become accepted and how they react to each other. By comparing the dogs with the wolves and dingoes some of the dogs' actions become clearer, but there is one thing a dog really wants and that is to be with others, and to love their owner. It was explained how a dog defended a bird and mouse in a cage from another excited dog in the same house. Likely explanations  for this could be because the older dog felt that the peace was not being maintained or perhaps he knew that the mouse and bird were his master's belongings and he should protect them. The book goes on to explaining what occurs between the dogs when they mate, why some dogs kill their litter and many other topics. The conclusion is quite brief, Elizabeth explains what happens to her dogs, how a dog feels when her best mate dies and the relationship her dogs had with the wolves and coyotes and their interactions.

Each single chapter of this book brings up a new issue and investigates it. The interest is maintained throughout the book purely because of the fascinating information given about this species, information that had not been studied before. The author also wrote in a clear cut way, giving a solid and adequate description of everything and then moving on to new parts, not making it boring.

Very few illustrations are used in the book, only one in the beginning of each chapter. Illustrations in this book would have little use as there is no way of really describing every action made by the dogs. Instead of illustrating, the book kept the text clear, not making it confusing but easy to understand and illustrate in the mind.

In general, the book was at an excellent standard, very easy to read, not too long and no major confusions. These small details made the book enjoyable to read as well as being useful  information. The book's purpose, to give humans better knowledge about our close friend, did just that. It achieved to show that the dog can be misunderstood for being stupid when really it knows much more than we think it does. Clearly many tiring and endless hours have been put in to make this book a success and how it was done is really amazing. Elizabeth looked after more than twenty dogs, spent all her spare time observing them, walking with them until she saw why they did what they did. The hidden life of dogs was a great book that would keep any reader at any age occupied and entertained.

1147.      The High Waymen

The Highwayman

Their journey to London was not a long one, but in the night, it  was a treacherous one.  A rolling fog covered the land, one couldn't see twenty feet ahead, but in the still, quiet night, sound carried for a mile.  They began their trek in the early evening, the sun had yet to dip below the horizon.  The passengers needed in London, could not wait for the next morning.  The stage driver was the best to be found, his fee large, but his experience was priceless.  He was accompanied by another man with a large rifle.  The Rifleman had keen eyes and his ears were at attention, listening over the horses for oncoming riders; for the Highwaymen who prayed on the stages.

Long after the sun had set, not a sound had been heard over the consistent clip-clop of the horses. Their hooves hit the dirt road, broadcasting a message for nearly a mile of the nearing prey.  The sound alerting all the nearby predators to keep a good watch, to be ready, for the prize will soon be in their grasp.

The fog, like a blanket spreading it self out on the land, concealed all stars, the only light was from a lantern suspended above the stage driver.  The passengers nervous, expecting to hear shots fired.  The jumped at every bump in the road that the wheels struck.  Clutching their baggage close, they prayed that the night would pass quickly.

The Highwayman, alerted to the approaching stage, was hidden by the road, and concealed by the fog, he was not yet able to discern the light from the quickly approaching lantern.  Clutching his pistol, his only weapon, he planned to take all the that he desired from the stage.  His family was at home, sitting by the fire.  His late night occupation provided their home, food and clothing.  During the day he works in a stable for the nearby English noble.  Feeding and grooming their horses, only he knows the stable well enough to "barrow "  a horse.  Not every night, but often enough for his family to live better than most.

Passing through a small wooded area, the stage continued at its rapid pace, the horses sweating, pulling the large stage coach and its five passengers.  The Rifleman, ever intent, tenses, telling the driver to push the animals even harder.  The two horses, running as fast as they can, try to comply, but they gain no speed.  The passengers, jumping at every bump in the road, wishing the ride over, holding fast to the coach, expecting any minute for the stage to roll on its side.  They were waiting for the Highwayman to strike.

Behind a wall of fog that hides him from the stage, not making a sound, he waits.  He is waiting for the right moment to ride forth.  He knows that quickly he will see the light and the stage that brings it.  And then they will be able to see him.

His rifle is ready in his arms, ready to rise to his shoulder, take aim, and fire.  The lantern throws ghostly shadows as the coach rushes by the surrounding trees.  The experienced eyes of the Rifleman, watching everything as it flies by, waits for that movement, that shape, that does not belong.  He listens to the sound of air rushing past, the sound of the horses, listening to their hooves as they strike ground and gulp for air in the night.  He listens for the sound that does not meld with the others, the of beat of a third horse.

He can see the light now, his anticipation building, his heart beating, over powering the sound of the stage, smothering the sounds of the horses pulling it.  His pistol ready, in his shaking hand.  His other hand holds the reigns, his feet ready to propel the horse onward, to overtake the stage.  Waiting for the right moment, waiting to strike.

The Rifleman waits, scanning the forest as it streaks past, his nerves building a lump in his throat.

The Highwayman can now see the stage in its entirety.  The Rifleman ready, will see him. Now is the time to strike.  He is surprised at the speed of the coach, the cargo must be must be important.

The passengers pray that they complete the trip, curse the driver for the speed. Not knowing of the dangers out side, clutching to each other, they sit on the floor of the coach.  Scared, they wait for the hellish ride to end.

Kicking his horse, he bursts from his hiding place, flying toward the coach, his pistol raised, ready to fire.  He banks from left to right as he intercepts the stage.  The Rifleman raises his weapon, looks down the long barrel at the approaching Highwayman.  Tracking left to right and aiming at the Highwayman, he glances at his pistol, then he centers his rifle on the Highwayman, and hesitates, knowing that he has only one shot.  Though the pistol at his side reassures him, because should he miss, he is not out of the game.

The Highwayman takes aim with his pistol.  He looks down the barrel at the Rifleman, his weapon pointing back at him.  He rides straight, aims, and fires.

The bench explodes next to the Rifleman as a bullet drives it self in to the stage, closely missing him.  He continues aiming at the bandit, looks him in the eye, breathes out, holds his breath, and fires.

The Highwayman does not feel the bullet enter his chest, so much as the force knocking him off his horse.  He crashes to the ground, his horse riding away in to the night.  He lays there dying, breathing in his last breaths, says a silent good bye to his family, and the air escapes from his lungs, never to return.

The passengers huddling on the floor of the stage. The gun shots scaring them so much, they fear the worst. They begin saying goodbye to each other and to their loved ones, as death is imminent. The stage continues.

The stage breaks through the forest on to the plains. The fog lifting, they can see the light of the soon to rise sun, though day is still hours a way. London is not far, they have completed their journey. The driver slows the horses to a gallop.  The Rifleman sinks back in the bench, spent.  The game is over.

The passengers begin cheering that they have not been killed, and that they have reached London unhurt.  Relieved and exhausted,  they collapse on their benches.

1148.      The History of Greek Theater

The History of Greek Theater

Theater and drama in Ancient Greece took form in about 5th

century BCE, with the Sopocles, the great writer of tragedy.  In his

plays and those of the same genre, heroes and the ideals of life were

depicted and glorified.  It was believed that man should live for

honor and fame, his action was courageous and glorious and his life

would climax in a great and noble death.

Originally, the hero's recognition was created by selfish

behaviors and little thought of service to others.  As the Greeks grew

toward city-states and colonization, it became the destiny and

ambition of the hero to gain honor by serving his city.  The second

major characteristic of the early Greek world was the supernatural.

The two worlds were not separate, as the gods lived in the same world

as the men, and they interfered in the men's lives as they chose to.

It was the gods who sent suffering and evil to men. In the plays of

Sophocles, the gods brought about the hero's downfall because of a

tragic flaw in the character of the hero.

In Greek tragedy, suffering brought knowledge of worldly

matters and of the individual. Aristotle attempted to explain how an

audience could observe tragic events and still have a pleasurable

experience. Aristotle, by searching the works of writers of Greek

tragedy, Aeschulus, Euripides and Sophocles (whose Oedipus Rex he

considered the finest of all Greek tragedies), arrived at his

definition of tragedy. This explanation has a profound influence for

more than twenty centuries on those writing tragedies, most

significantly Shakespeare.  Aristotle's analysis of tragedy began with

a description of the effect such a work had on the audience as a

"catharsis" or purging of the emotions.  He decided that catharsis was

the purging of two specific emotions, pity and fear.  The hero has

made a mistake due to ignorance, not because of wickedness or

corruption.  Aristotle used the word "hamartia", which is the "tragic

flaw" or offense committed in ignorance. For example, Oedipus is

ignorant of his true parentage when he commits his fatal deed.

Oedipus Rex is one of the stories in a three-part myth called

the Thebian cycle. The structure of most all Greek tragedies is

similar to Oedipus Rex. Such plays are divided in to five parts, the

prologue or introduction, the "prados" or entrance of the chorus, four

episode or acts separates from one another by "stasimons" or choral

odes, and "exodos", the action after the last stasimon. These odes are

lyric poetry, lines chanted or sung as the chorus moved rhythmically

across the orchestra. The lines that accompanied the movement of the

chorus in one direction were called "strophe", the return movement was

accompanied by lines called "antistrophe". The choral ode might

contain more than one strophe or antistrophe.

Greek tragedy originated in honor of the god of wine,

Dionysus, the patron god of tragedy. The performance took place in an

open-air theater. The word tragedy is derived  from the term

"tragedia" or "goat-song", named for the goat skins the chorus wore in

the performance.  The plots came from legends of the Heroic Age.

Tragedy grew from a choral lyric, as Aristotle said, tragedy is

largely based on life's pity and splendor.

Plays were performed at dramatic festivals, the two main ones

being the Feast of the Winepress in January and the City Dionysia at

the end of March. The Proceeding began with the procession of choruses

and actors of the three competing poets. A herald then announced the

poet's names and the titles of their plays. On this day it was likely

that the image of Dionysus was taken in a procession from his temple

beside the theater to a point near the road he had once taken to reach

Athens from the north, then it was brought back by torch light, amid a

carnival celebration, to the theater itself, where his priest occupied

the central seat of honor during the performances. On the first day of

the festival there were contests between the choruses, five of men and

five of boys. Each chorus consisted of fifty men or boys. On the next

three days, a "tragic tetralogy" (group made up of four pieces, a

trilogy followed by a satyric drama) was performed each morning. This

is compared to the Elizabethan habit of following a tragedy with a

jig. During the Peloponnesian Wars, this was followed by a comedy each

afternoon.

The Father of the drama was Thesis of Athens, 535 BC, who

created the first actor. The actor performed in intervals between the

dancing of the chorus and conversing at times with the leader of the

chorus. The tragedy was further developed when new myths became part

of the performance, changing the nature of the chorus to a group

appropriate to the individual story. A second actor was added by

Aeschylus and a third actor was added by Sophocles, and the number of

the chorus was fixed at fifteen. The chorus' part was gradually

reduced, and the dialogue of the actors became increasingly important.

The word "chorus" meant "dance or "dancing ground", which was

how dance evolved into the drama. Members of the chorus were

characters in the play who commented on the action.  They drew the

audience into the play and reflected the audience's reactions.

The Greek plays were performed in open-air theaters. Nocturnal

scenes were performed even in sunlight. The area in front of the

stages was called the "orchestra", the area in which the chorus moved

and danced. There was no curtain and the play was presented as a whole

with no act or scene divisions. There was a building at the back of

the stage called a skene, which represented the front of a palace or

temple. It contained a central doorway and two other stage entrances,

one at the left and the other at the right, representing the country

and the city.

Sacrifices were performed at the altar of Dionysus, and the

chorus performed in the orchestra, which surrounded the altar.  The

theatron, from where the word "theater" is derived, is where the

audience sat, built on a hollowed-out hillside. Seated of honor, found

in the front and center of the theatron, were for public officials and

priests. he seating capacity of the theater was about 17,000. The

audience of about 14,000 was lively, noisy, emotional and

unrestrained. They ate, applauded, cheered, hissed, and kicked their

wooden seats in disgust. Small riots were known to break out if the

audience was dissatisfied. Women were allowed to be spectators of

tragedy, and probably even comedy. Admission was free or nominal, and

the poor were paid for by the state. The Attic dramatists, like the

Elizabethans, had a public of all classes. Because of the size of the

audience, the actors must also have been physically remote. The sense

of remoteness may have been heightened by masked, statuesque figures

of the actors whose acting depended largely on voice gestures and

grouping. Since there were only three actors, the same men in the same

play had to play double parts. At first, the dramatists themselves

acted, like Shakespeare. Gradually, acting became professionalized.

Simple scenery began with Sophocles, but changes of scene were

rare and stage properties were also rare, such as an occasional altar,

a tomb or an image of gods.  Machinery was used for lightning or

thunder or for lifting celestial persons from heaven and back, or for

revealing the interior of the stage building. This was called "deus ex

machina", which means god from the machine, and was a technical device

that used a metal crane on top of the skene building, which contained

the dressing rooms, from which a dummy was suspended to represent a

god.  This device was first employed by Euripides to give a miraculous

conclusion to a tragedy. In later romantic literature, this device was

no longer used and the miracles supplied by it were replace by the

sudden appearance of a rich uncle, the discovery or new wills, or of

infants changed at birth.

Many proprieties of the Greek plays were attached to violence.

Therefore, it was a rule that acts of violence must take place off

stage. This carried through to the Elizabethan theater which avoided

the horrors of men being flayed alive or Glouster's eyes being put out

in full view of an audience (King Lear). When Medea went inside the

house to murder her children, the chorus was left outside, chanting in

anguish, to represent the feelings the chorus had and could not act

upon, because of their metaphysical existence.

The use of music in the theater began very simply consisting

of a single flute player that accompanied the chorus. Toward the close

of the century, more complicated solo singing was developed by

Euripides. There could-then be large-scale spectacular events, with

stage crowds and chariots, particularly in plays by Aeschylus.

Greek comedy was derived from two different sources, the more

known being the choral element which included ceremonies to stimulate

fertility at the festival of Dionysus or in ribald drunken revel

in his honor. The term comedy is actually drawn from "komos", meaning

song of revelry. The second source of Greek comedy was that from the

Sicilian "mimes", who put on very rude performances where they would

make satirical allusions to audience members as they ad-libbed their

performances.

In the beginning, comedy was frank, indecent and sexual. The

plots were loosely and carelessly structured and included broad farce

and buffoonery. The performers were coarse and obscene while using

satire to depict important contemporary moral, social and political

issues of Athenian life. The comedy included broad satire of well

known persons of that time.

Throughout the comedic period in Greece, there were three

distinctive eras of comedies as the genre progressed. Old comedy,

which lasted from approximately 450 to 400 BCE, was performed at the

festivals of Dionysus following the tragedies. There would be contests

between three poets, each exhibiting one comedy. Each comedy troupe

would consist of one or two actors and a chorus of twenty-four.

The actors wore masks and "soccus", or sandals, and the chorus often

wore fantastic costumes. Comedies were constructed in five parts, the

prologue, where the leading character conceived the "happy idea", the

parodos or entrance of the chorus, the agon, a dramatized debate

between the proponent and opponent of the "happy idea" where the

opposition was always defeated, the parabasis, the coming forth of the

chorus where they directly addressed the audience and aired the poet's

views on most any matter the poet felt like having expressed, and the

episodes, where the "happy idea" was put into practical application.

Aristotle highly criticized comedy, saying that it was just a

ridiculous imitation of lower types of man with eminent faults

emphasized for the audience's pleasure, such as a mask worn to show

deformity, or for the man to do something like slip and fall on a

banana peel.

Aristophanes, a comic poet of the old comedy period, wrote

comedies which came to represent old comedy, as his style was widely

copied by other poets. In his most famous works, he used dramatic

satire on some of the most famous philosophers and poets of the era.

In "The Frogs" he ridiculed Euripides, and in "The Clouds" he mocked

Socrates. His works followed all the basic principles of old comedy,

but he added a facet of cleverness and depth in feeling to his lyrics,

in an attempt to appeal to both the emotions and intellect of the

audience.

Middle comedy, which dominated from 400 to 336 BCE, was very

transitional, having aspects of both old comedy and new comedy. It was

more timid  than old comedy, having many less sexual gestures and

innuendoes.  It was concerned less with people and politics, and more

with myths and tragedies. The chorus began its fade into the

background, becoming more of an interlude than the important component

it used to be. Aristophanes wrote a few works in middle comedy, but

the most famous writers of the time were Antiphanes of Athens and

Alexis of Thurii, whose compositions have mostly been lost and only

very few of their found works have been full extant plays.

In new comedy which lasted from 336 to 250 BCE, satire is

almost entirely replaced by social comedy involving the family and

individual character development, and the themes of romantic love. A

closely knit plot in new comedy was based on intrigue, identities,

relationships or a combination of these. A subplot was often utilized

as well. The characters in new comedy are very similar in each work,

possibly including a father who is very miser like, a son who is

mistreated but deserving, and other people with stereotypical

personas. The chief writer of new comedy was Menander, and as with the

prominent writers of the middle comedic era, most of his works have

been lost, but other dramatists of the time period, like Terence and

Platus, had imitated and adapted his methods. Menander's The

Curmudgeon is the only complete extant play known by him to date, and

it served as the basis for the later Latin writers to adapt.

Adventure, brilliance, invention, romance and scenic effect,

together with delightful lyrics and wisdom, were the gifts of the

Greek theater. These conventions strongly affected subsequent plays

and playwrights, having put forth influence on theater throughout the

centuries.

1149.      The History Of Jazz Essay

The History Of Jazz

The first jazz was played in the early 20th century. The work chants and folk

music of black Americans are among the sources of jazz, which reflects the

rhythms and expressions of West African song. Ragtime, an Afro-American music

that first appeared in the 1890s, was composed for the piano, and each rag is a

composition with several themes. The leading ragtime composer was Scott Joplin.

The first improvising jazz musician was the cornetist Buddy Bolden, leader of a

band in New Orleans. The first jazz bands were usually made up of one or two

cornet players who played the principal melodies, a clarinetist and trombonist

who improvised countermelodies, and a rhythm section (piano, banjo, string bass

or tuba, and drums) to accompany the horns. These bands played for dancers or

marched in parades in the South.

Some of the first New Orleans musicians were among the most stirring of all jazz

artists. They include clarinetist Johnny Dodds, clarinetist-soprano saxophonist

Sidney Bechet, pianist Jelly Roll Morton, and cornetist King Oliver. The first

jazz record was made in 1917 by a New Orleans band the Original Dixieland Jazz

Band, made up of white musicians who copied black styles.

The New Orleans musicians discovered that audiences were eager for their music

in the cities of the North and the Midwest. In the 1920s Chicago became the

second major jazz center. White Chicago youths, such as tenor saxophonist Bud

Freeman and clarinetist Benny Goodman, were excited by the New Orleans masters

including the thrilling Louis Armstrong, who played in King Oliver's band.

The third major jazz center was New York City, and it became the most important.

In New York, pianists such as James P. Johnson created the piano style by

transforming rags and Southern black folk dances into jazz. Jazz was first

played in the ballrooms and theaters of New York.

Louis Armstrong was among the jazz musicians who accompanied Ma Rainey and the

rich-voiced Bessie Smith, the classic blues singers of the 1920s. When

Armstrong began singing, too, he scattered songs by improvising his own phrases

and nonsense syllables. Billie Holiday was only a teenager when she began her

singing career. She subtly changed the notes and rhythms of popular songs to

give them new, often ironic meanings. Ella Fitzgerald was the popular favorite

among later swing scat vocalists.

The bop era, which lasted from about 1945 to 1960, was also the period of cool

jazz. Bop blossomed out of informal performances, in New York City's Harlem in

the early 1940s. Many bop pieces were played at the fastest tempos yet heard in

jazz. Bop featured many-noted solos and unusual, quickly changing harmonies.

The opposite of cool jazz was hard bop, which was played in the Eastern cities.

Hard bop was vigorous and energetic and emphasized the Afro-American basis of

jazz.

The 1950s also brought forth composers who were not considered either bop or

hard bop creators. The traditional forms of jazz songs were abandoned by Lewis,

Nichols, and George Russell, who wrote complex, brightly colorful works for big

bands.

Chicago revived as a jazz center in 1965 when a cooperative, the Association for

the Advancement of Creative Musicians , was formed to produce concerts and to

teach music to inner-city youths. European enthusiasm about post-1960 jazz led

to two important trends of the 1970s and 1980s. First, improvising musicians

from many countries were inspired to draw on their individual musical heritages

to create new kinds of jazz. The most popular result of this trend to variety

has been fusion music, which joins jazz, rock, and Latin-American rhythms.

The concert on Wednesday night was pretty monotonous, my passion is for dance

music and hard ,uplifting beats,such as rap, rock, and house. I did enter the

auditorium with an open mind, but jazz did not click.

1150.      The History of Jazz

The History Of Jazz

The first jazz was played in the early 20th century. The work chants

and folk music of black Americans are among the sources of jazz, which

reflects the rhythms and expressions of West African song. Ragtime, an

Afro-American music that first appeared in the 1890s, was composed for

the piano, and each rag is a composition with several themes. The leading

ragtime composer was Scott Joplin.

The first improvising jazz musician was the cornetist Buddy Bolden,

leader of a band in New Orleans. The first jazz bands were usually made up

of one or two cornet players who played the principal melodies, a clarinetist

and trombonist who improvised countermelodies, and a rhythm section (piano,

banjo, string bass or tuba, and drums) to accompany the horns. These bands

played for dancers or marched in parades in the South.

Some of the first New Orleans musicians were among the most

stirring of all jazz artists. They include clarinetist Johnny Dodds,

clarinetist-soprano saxophonist Sidney Bechet, pianist Jelly Roll Morton, and

cornetist King Oliver. The first jazz record was made in 1917 by a New

Orleans band the Original Dixieland Jazz Band, made up of white musicians

who copied black styles.

The New Orleans musicians discovered that audiences were eager for

their music in the cities of the North and the Midwest. In the 1920s

Chicago became the second major jazz center. White Chicago youths, such

as tenor saxophonist Bud Freeman and clarinetist Benny Goodman, were

excited by the New Orleans masters including the thrilling Louis Armstrong,

who played in King Oliver's band.

The third major jazz center was New York City, and it became the

most important. In New York, pianists such as James P. Johnson created the

piano style by transforming rags and Southern black folk dances into jazz.

Jazz was first played in the ballrooms and theaters of New York.

Louis Armstrong was among the jazz musicians who accompanied

Ma Rainey and the rich-voiced Bessie Smith, the classic blues singers of the

1920s. When Armstrong began singing, too, he scattered songs by

improvising his own phrases and nonsense syllables. Billie Holiday was only a

teenager when she began her singing career. She subtly changed the notes

and rhythms of popular songs to give them new, often ironic meanings. Ella

Fitzgerald was the popular favorite among later swing scat vocalists.

The bop era, which lasted from about 1945 to 1960, was also the

period of cool jazz. Bop blossomed out of informal performances, in New

York City's Harlem in the early 1940s. Many bop pieces were played at the

fastest tempos yet heard in jazz. Bop featured many-noted solos and

unusual, quickly changing harmonies. The opposite of cool jazz was hard bop,

which was played in the Eastern cities. Hard bop was vigorous and energetic

and emphasized the Afro-American basis of jazz.

The 1950s also brought forth composers who were not considered

either bop or hard bop creators. The traditional forms of jazz songs were

abandoned by Lewis, Nichols, and George Russell, who wrote complex,

brightly colorful works for big bands.

Chicago revived as a jazz center in 1965 when a cooperative, the

Association for the Advancement of Creative Musicians , was formed to

produce concerts and to teach music to inner-city youths. European

enthusiasm about post-1960 jazz led to two important trends of the 1970s

and 1980s. First, improvising musicians from many countries were inspired to

draw on their individual musical heritages to create new kinds of jazz. The

most popular result of this trend to variety has been fusion music, which

joins jazz, rock, and Latin-American rhythms.

The concert on Wednesday night was pretty monotonous, my passion is

for dance music and hard ,uplifting beats,such as rap, rock, and house. I did

enter the auditorium with an open mind, but jazz did not click.

1151.      The Hitch Hikers Guide To The Galaxy

"The Hitch Hiker's Guide To The Galaxy", by Douglas Noel Adams

Douglas Noel Adams has successfully tried to show us another aspect of our daily-life routine. By using many cynical elements, he creates extremely funny situations which represent much deeper aspects.

The destruction of Earth in order to create Inner-Galactic Highways as the definition of Earth in the universe encyclopedia both represent the smallness of human-beings, contrary to their original conception.

Furthermore, the alien breeds are not perfect at all, many aspects of their actions represent a similar action which is often taken by humans: The destruction of earth without an announcement, is an equivalent of the house-destruction of Ford Perfect, one of the story's heroes, with out announcing him, both are explained by the governments as actions for the welfare of the population at the cost of suffer for a single person or for a relatively small group of persons.

Adams uses every opportunity to attack the ignorance of humankind, especially the bureaucracy of the government, wherever they are, even if they are of alien breeds.

In conclusion, "The Hitch Hiker's Guide To The Galaxy", besides being funny, gives us a very special snapshot at the inner-world of Adams, and makes us think of what we have taken obvious, in a different way.

1152.      The Hobbit 2

Title: The Hobbit

Author:  J.R.R. Tolkien

Setting:  The setting of the story takes place in the lands of Wilderland.  It is through Wilderland that the hobbit and the dwarves travel to retrieve their lost treasure.  As they move on through Wilderland, they encounter different people and different problems, making it more of an adventure.

Characters:

protagonists:

Bilbo Baggins- he is the main character of story.  The tiny hobbit is convinced by the great wizard Gandalf to undertake a long journey with thirteen dwarves to help them retrieve their lost treasure.  Bilbo, at first, seems to be of no use to the dwarfs, almost getting them killed by the giant trolls.  Eventually he shows his value to dwarves by saving them numerous times from death and imprisonment.

Thorin- He is the most important dwarf.  His father was the king under the mountain of Lonely Mountain.  After the fall of his kingdom,  the treasure that belonged to his father was lost to the evil dragon Smaug.  He leads the other twelve dwarfs in hopes of regaining the treasure and his kingdom.

Gandalf- He is the great wizard who helped organize the adventure.  At first he travels with the dwarves and the hobbit but leaves them because he has other business to attend to.

Beorn- is a large man who can change shapes into other animals.  He lives by himself in large house with animals who he can speak to.  He helps the dwarves and the hobbit after they have escaped from the goblins.  He later joins them in the Battle of the Five Armies to help defeat the goblins and and the wargs.

Bard- He is the man who slays Smaug and becomes the new master of the town where the men dwell on Long Lake.

antagonists:

the trolls (Bert, Tom, Bill)- they capture the dwarves and Bilbo with the intention of eating them.  They are saved when Gandalf creates confusion between them (the trolls) allowing the adventurers to escape.

Goblins- they also capture the adventurers but not before Thorin could kill the Great Goblin and then escape.  This caused them to pursue the group and their anger towards them led to the cause the Battle of the Five Armies.

Smaug- He is the evil dragon who takes over Lonely Mountain and all its gold within it.  He is stirred from his sleep by Bilbo and while trying to destroy the town on the river, he is killed by Bard.

Exposition: The general situation is revealed by the narrator who tells the story in the third person.  The narrator makes direct comments usually explaining parts of the story that won't be made clear until later in the novel.  Maps show the lands in which the group of adventurers is traveling.

Type of Conflict:  there is a person vs. person conflict between the dwarves and Bilbo at the beginning of the story.  It is gradually resolved after Bilbo proves his usefulness to them.  There is also a person vs. person struggle between the adventurers and just about everyone else they encounter in their travels (trolls, goblins, spiders, and Smaug), including some who would later become their allies (wood elves, and the men).

Inciting Incident: This occurs after Gandalf introduces the thirteen dwarves to Bilbo.  He convinces Bilbo to undertake a journey with them knowing that Bilbo will be of much use to them later on in their travels.

Turning Point: After Bilbo escaped from Gollum and the Goblins, the dwarves had new found respect in Bilbo.  They began to listen to his suggestions and follow his actions.  Their respect in him helped Bilbo find worth in himself.

Climax: The climax of the novel comes at the Battle of the Five Armies.  Here the dwarves, wood elves,and men join in fighting against the goblins and their allies. Resolution:occurs after Thorin dies and and his cousin Dain is crowned king.  All the goblins of the land have mostly vanished and each of the separate groups live in peace and unity.

Plot Summary:  After the inciting incident, the group comes upon three trolls who capture them but are later turned to stone when Gandalf confuses them, causing them to stay outside when the sun comes up, turning them into stone.  After seeking refuge in a cave, they are captured by the goblins but escape after some of the goblins are killed including the Great Goblin.  While fleeing the goblin tunnels, Bilbo is left behind and he meets up with Gollum. This is where he finds the magic ring and uses it to escape the Goblin tunnels and Gollum himself.  That incident resulted in the turning point of the novel.  The goblins quickly tracked down the travelers and almost killed them but the eagles had came to their rescue carrying them far from the goblins.  They sought refuge in the house of Beorn where they rested and then replenished their supplies.  While traveling the group was captured by the giant spiders.  Bilbo used his ring to help his friends escape but not before Thorin was captured by the wood elves.  Later the rest of the group (except for Bilbo) was also captured by the wood elves. He once again used his magic ring to free all the dwarves and devised a plan to help them escape.  Each of the travelers were fitted into a barrel (except for Bilbo) a floated down the river.  There the group was nursed back to health by the lake men and began the trip to Lonely Mountain to reclaim the kingdom and the treasure.  After they reached there they encountered Smaug.  He would be later slain by Bard when he tried to destroy the town.  News of the treasure reached far and wide and the wood elves and the men went to try to claim it.  This led to a conflict which almost led to battle.  Before the dwarves and the wood elves and men could fight though, the goblins, wargs, and wolves attacked them.  The next incident is the climax which is followed by the resolution.  Bilbo returns home to his hobbit hole after more than a year of traveling and adventure.

Reaction: I thought that the novel was one of the best novels I've ever read.  It was suspenseful yet entertaining.   I would definitely recommend this book to others.  The combination of magic, personal triumph, and adventure made it great to read.

1153.      the hobbit

The Hobbit by J.R.R. Tolken

Bilbo Baggins is a hobbit, one of a race of short, timid creatures who live in cozy tunnels and who prefer to keep their lives ordered and predictable. One day, he unexpectedly finds himself playing host to Gandalf the wizard and thirteen dwarves. The dwarves, with Gandalf's help, plan to travel to the Lonely Mountain to recover the treasure that a dragon named Smaug stole from their people long ago. Gandalf has selected Bilbo to be their burglar. The dwarves are not too happy with the wizard's choice, especially when Bilbo faints at the first talk of danger. But Gandalf insists there is more to the little hobbit than meets the eye.

Bilbo himself is not sure that he is happy about being chosen burglar. But a part of him does yearn for adventure, and so one spring morning he finds himself setting out for Lonely Mountain with Gandalf and the thirteen dwarves. He does not prove very helpful at first. But then something happens that changes Bilbo's life. He finds a magic ring that makes him invisible, and has several opportunities to use it to rescue the dwarves from danger and imprisonment. They become quite impressed by him, and even rely on him, just as Gandalf foretold.

Bilbo and the dwarves finally reach Lonely Mountain, the home of Smaug the dragon. The dwarves send Bilbo down a secret passage to the dragon's lair. Bilbo has more confidence in himself now and not only steals a cup, but manages to hold his own in a conversation with the wily Smaug (not an easy thing to do).Furious that someone has dared steal a piece of his treasure, Smaug attacks the mountainside where the dwarves have their camp. Then he flies toward Lake-town, to punish the inhabitants for helping the dwarves.

The people of Lake-town run at the sight of Smaug, but one man, Bard, holds his ground. He kills the dragon with his last arrow and escapes before Smaug falls, smashing the town. Believing the dwarves are dead, an army of men, led by Bard, and an army of elves march toward the Lonely Mountain to divide the treasure. They find to their surprise that the dwarves are still alive.

Bard, because he killed the dragon, claims his rightful share of the treasure. When the dwarves refuse to surrender it, the army besieges the mountain. Bilbo tries to end the dispute by stealing the Arkenstone, the piece of treasure most valued by the leader of the dwarves. He gives the jewel to Bard, hoping it can be used to force the dwarves to negotiate. Bilbo's bravery wins him praise from all but the dwarves, who are furious with him. When more dwarves arrive from the north, they are determined to fight.

Just as war begins to break out, an army of goblins and wild wolves attack. The dwarves, elves, and men forget their differences and join together to keep from being killed. Help comesat the time of greatest need, and the goblins are defeated.

Bilbo finds that he's a hero, honored by men and elves and even given a share of the treasure. But he's had enough of adventure and sets off for home with Gandalf. Once there, he finds that his house and furnishings are being auctioned off, since everyone believed him dead. Finally, everything is straightened out and he is able to settle down again into his old, comfortable life. Although from then on, he is considered eccentric by his neighbors, he continues his friendship with elves and dwarves and the wizard, happily recounting his tales to any who will listen.

Themes are quite evident throughout the story of The Hobbit and some of them were more significant than others. The question of determinism is only hinted at in the last chapter of The Hobbit, when Gandalf suggests to Bilbo that his adventures may have been completed  for some higher purpose. In The Hobbit the evils of possessiveness can be easily seen. The hobbits are corrupted by their desire for treasure, and their greed almost leads to war with men and elves. The main theme that prevails in this Tolken novel is the on going struggle between the elite and the plebeians. This can be seen most clearly in The Hobbit. They are weak and often foolish, yet capable of great acts of heroism that amaze even the very wise and the such as when Bilbo stole the possessions of  Smaug.

The Hobbit was a epic novel written by the greatest author of his time. The Hobbit falls in the series of books that include The Lord of the Rings and have a full book conclusion to the trilogy called The Simacurilium. The way that Tolken writes his book is a way that brings forth the fealing that it is being read to aloud and the reader is acctually along side Gandalf due to the use of vivid words and different literary techniques. The novels are quite worth reading and a one is promised that they shall not get bored with Gandalf and all his wondrous adventures.

1154.      The HotZone

Book Report: The Hot Zone by Richard Preston

In October of l989, Macaque monkeys, housed at the Reston Primate

Quarantine Unit in Reston, Virginia, began dying from a mysterious disease

at an alarming rate. The monkeys, imported from the Philippines, were to

be sold as laboratory animals. Twenty-nine of a shipment of one hundred

died within a month. Dan Dalgard, the veterinarian who cared for the

monkeys, feared they were dying from Simian Hemorrhagic Fever, a disease

lethal to monkeys but harmless to humans. Dr. Dalgard decided to enlist

the aid of the United States Army Medical Research Institute of Infectious

Diseases (USAMRIID) to help diagnose the case. On November 28th, Dr. Peter

Jahlring of the Institute was in his lab testing a virus culture from the

monkeys. Much to his horror, the blood tested positive for the deadly

Ebola Zaire virus. Ebola Zaire is the most lethal of all strains of Ebola.

It is so lethal that nine out of ten of its victims die. Later, the

geniuses at USAMRIID found out that it wasn't Zaire, !

but a new strain of Ebola, which they named Ebola Reston. This was added

to the list of strains: Ebola Zaire, Ebola Sudan, and now, Reston. These

are all level-four hot viruses. That means there are no vaccines and there

are no cures for these killers.

In 1976 Ebola climbed out of its primordial hiding place in the

jungles of Africa, and in two outbreaks in Zaire and Sudan wiped out six

hundred people. But the virus had never been seen outside of Africa and

the consequences of having the virus in a busy suburb of Washington DC is

too terrifying to contemplate. Theoretically, an airborne strain of Ebola

could emerge and circle the world in about six weeks. Ebola virus victims

usually "crash and bleed," a military term which literally means the virus

attacks every organ of the body and transforms every part of the body into

a digested slime of virus particles. A big point that Preston wanted to

get across was the fact that the public thinks that the HIV virus is quite

possibly the most horrible virus on Earth, when no one takes into mind the

effects and death of the victims of Ebola. Preston shows how Ebola and

Marburg (a close relative of Ebola) is one hundred times more contagious,

one hundred times as lethal, and one hundr!

ed times as fast as HIV. "Ebola does in ten days what it takes HIV ten

years to accomplish," wrote Richard Preston. The virus, though, has a hard

time spreading, because the victims usually die before contact with a

widespread amount of civilians. If there were to be another outbreak in

North America, the results would be unspeakable.

Upon reading The Hot Zone, one could easily believe that this

compelling yet terrifying story sprang from the imaginations of Stephen

King or Michael Crichton. But the frightening truth is that the events

actually occurred and that "could-be-catastrophe" was avoided by the

combined heroic efforts of various men and women from USAMRIID and the

Center for Disease Control. Preston writes compassionately and admiringly

of the doctors, virologists and epidemiologists who are the real-life

Indiana Jones' of the virus trail. Some like Dr. Joe McCormick, Karl

Johnson, and CJ Peters spent years tracking down deadly viruses in the

jungles of South America and Africa, some narrowly escaping death. Their

work is filled with courage, brilliance and sometimes petty rivalries.

Others, like Dr. Nancy Jaax have lived rather conventional lives, aside

from the fact that they don a space suit and work with highly lethal

viruses on a regular basis.

Preston has written a fast-paced and fascinating novel of medical

panic. His gripping narrative is filled with horrifying and gore-filled

descriptions and tension-building plot turns. From depictions of events at

a Belgian Hospital in Africa to the nerve-racking laboratory scenes in

Virginia, he is adept at keeping the reader riveted. At the conclusion the

reader is left with the chilling and fact based haunting after thought

"what if?"

1155.      The Hunchback Of Notre Dame

The Hunchback Of Notre Dame

A gem that has several very visible flaws; yet, with these flaws, "The

Hunchback of Notre Dame" shines as the best from the Disney factory yet.

For, at first, the company name and movie title didn't quite appear to sit

well together. You don't marry the king of novel Gothic gloom (Mr. Victor

Hugo) with one of the world's most beloved (if not biggest) animation

companies and expect the usual world population to be at the reception; but

expect even Mr. Walt Disney to pat himself on the shoulder blade (or what's

left of it) for allowing a hideous hunchback to be transformed into a Gene

Kelly-Incredible Hulk combo type of hero.

This "hero" is Quasimodo (Tom Hulce), which by the way means half-formed.

It's about his distorted education (whoever teaches the alphabet using

abomination, blasphemy, condemnation, damnation and eternal damnation ?),

his humiliation (being crowned the king of fools), his first love and his

big, big heart. It's about how our outward appearances should not matter

(sounds familiar?). It's about believing in yourself but not being

self-righteous. And it's about reliving the magic of Oscar-nominated

"Beauty and the Beast", directed by Kirk Wise and Gary Trousdale (both,

incidentally, were also responsible for "Hunchback".)

Wise and Trousdale obviously had a vision that didn't exactly conform to

your usual "and they lived happily ever after" type of fairy tale. They

employed a lot of artistic license when rewriting the plot. It was, after

all, a cartoon; but they didn't allow it to become an excuse to dissolve the

poignancy and tragedy into nothingness. Quasimodo did not get the girl.

Nobody exactly lived "happily ever after". There was an amazing amount of

implicit blood and violence. All that with Quasimodo's unrestrained

outburst near the end and the best animated celluloid representation of the

kiss contribute to the real emotions that flowed from the characters.

Talking about being real, the drawings in "Hunchback" were simply

breathtaking. The two directors and chief artists actually made their way

to the famed Notre Dame cathedral in Paris to experience first hand the

magnificence and beauty of it. For ten whole days, they walked through,

looked from, sat on, literally lived and breathed Notre Dame. The artists

even "swatched" some dirt just to match the colour! The result was such

artistry that even George Lucas and Steven Spielberg would have wanted to

call their own. The scenes in the market place, the panoramic view of the

steps of Notre Dame and beyond all left me gaping in wonder and sheer

excitement that such representation could be possible through animation;

it's all thanks to computer animation.

Computer or no computer, animation has certainly come a long way. From the

days of "101 Dalmatians", "Snow White and the Seven Dwarves" and

"Cinderella" to "Hunchback" (Disney's 34th full-length animated feature

film), there have been no lack of originality. Like its predecessor,

"Hunchback" is definitely original material destined for the Oscars. Like

the directors functioning as visionaries, the stars that are being voice

casted work like magic. Tom Hulce takes centre stage as Quasimodo's voice,

giving it a raw passion and sounding appropriately un-handsome. A very

plucky, wild and fiery gypsy Esmeralda voiced very convincingly by Demi

Moore. It is almost a reprisal of her recent role in "Striptease" as an

exotic dancer (euphemism for stripper) , which censors here will not take to

kindly. Kevin Kline did justice to the inclusion of the devistatingly

handsome Captain Phoebus by giving him that wickedly humorous edge. All the

voice actors gave such a brilliant performance that they didn't allow the

celluloid to imprison their characters, rather they added a very human

dimension that made very cartoon pop right out of the screen.

The animated feature film, though being a highly collaborative effort

(especially the case with Disney), hangs on three main factors to work well:

the directors' vision, the voice casting and the drawings themselves; all of

which we have looked at previous to this. In the case of a Disney cartoon,

however, the music also features as one of the facets of a Disney gem. What

I would have considered a loss for Disney with the death of Howard Ashman

has been filled by Stephen Schwartz; this is not to say that I am dismissing

the Elton John-Tim Rice-Hans Zimmer team responsible for "The Lion King".

The incredible sensitivities that Ashman had with his writing was what made

the songs to "Mermaid", "Beauty" and "Aladdin" so rich and beautiful;

John-Rice-Zimmer's music to "The Lion King" worked well because it was

supposed to be grandiose and wild. And by roping in Schwartz for

"Pocahontas", Disney saved the audience the pain of having the tenderness of

the script and characters shattered by inappropriate lyric and musical

sensibilities. The same goes for "Hunchback". I can see the amount of effort

Schwartz took with every little word; even with the adaptation of the canto

Gregorian chants. The echoing of Quasi's wrongly instilled self-perception by

making his first song lines "I am deformed, I am ugly". The self-inflicted pun of

being "old and bent" (he's a hunchback) in "Out There". The partying frenzy

he gets the audience into with "Topsy Turvy". The trio of gargoyles Victor,

Hugo and Laverne (Murphy Brown's Charles Kimbrough, Seinfeld's Jason

Alexander and Mary Wickes of "Sister Act") doing a very Broadway "A Guy Like

You". Emeralda (singing voice provided by Heidi Mollenhauer) a very

Christian "God Help The Outcasts". And the opening "The Bells of Notre

Dame" by Clopin (my favourite character in the movie) all point to

Schwartz's lyrical genius. Two lines that really stuck were "And it's the

day we do the things that we deplore/ On the other three hundred and

sixty-four" from "Topsy Turvy". The rhyme and convenience of "deplore" and

"364" is nothing short of brilliant.

The one song that stands out as the highlight of the movie the brilliant

juxtaposition of Quasi's "Heaven's Light" and Frollo's "Hellfire". The

contact with Esmeralda sparking off two disparate reactions from two very

different men; to borrow a phrase from the storyteller, Clopin (Paul Kandel

doing a splendid and candid job), we all end up wondering "who is the

monster and who is the man".

At the end of the day, "The Hunchback of Notre Dame" succeeds where most

other Disney movies fail: to be a cartoon not for kids, but for grown-ups

depicting grown-up problems. "Hunchback" will not gross as much in terms of

merchandising as "The Lion King" did. It's also a safe bet to say that kids

will go back home without the usual "boy meets girl, boy falls in love with

girl, kills dragon that captured girl and they lived happily ever after"

feeling. Yet, I still applaud their efforts in daring to try something so

truthful and yet still so enjoyable. It made me laugh, it made me cry, and

most importantly, it made me think. For a long time to come, "Hunchback"

will be seen as the movie Disney took all kids (8-80) on a field trip to

this place called "the real world".

1156.      The Ideals of Instrumental Music

The Ideals of Instrumental Music

At one point in the study of the Romantic period of music, we come upon

the first of several apparently opposing conditions that plague all attempts to

grasp the meaning of Romantic as applied to the music of the 19th century.  This

opposition involved the relation between music and words.  If instrumental

music is the perfect Romantic art, why is it acknowledged that the great masters

of the symphony, the highest form of instrumental music, were not Romantic

composers, but were the Classical composers, Haydn, Mozart, and Beethoven?

Moreover, one of the most characteristic 19th century genres was the Lied, a

vocal piece in which Shubert, Schumann, Brahams, and Wolf attained a new union

between music and poetry.  Furthermore, a large number of leading composers in

the 19th century were extremely interested and articulate in literary

expression, and leading Romantic novelists and poets wrote about music with

deep love and insight.

The conflict between the ideal of pure instrumental music (absolute

music) as the ultimate Romantic mode of expression, and the strong literary

orientation of the 19th century, was resolved in the conception of program

music.  Program music, as Liszt and others in the 19th century used the term,

is music associated with poetic, descriptive, and even narrative subject

matter.  This is done not by means of musical figures imitating natural sounds

and movements, but by imaginative suggestion.  Program music aimed to absorb

and transmit the imagined subject matter in such a way that the resulting work,

although "programmed", does not sound forced, and transcends the subject matter

it seeks to represent. Instrumental music thus became a vehicle for the

utterance of thoughts which, although first hinted in words, may ultimately be

beyond the power of words to fully express.

Practically every composer of the era was, to some degree, writing

program music, weather or not this was publicly acknowledged.  One reason it

was soeasy for listeners to connect a scene or a story or a poem with a piece

of Romantic music is that often the composer himself, perhaps unconsciously,

was working from some such ideas.  Writers on music projected their own

conceptions of the expressive functions of music into the past, and read

Romantic programs into the instrumental works not only of Beethoven, but also

the likes of Mozart, Haydn, and Bach!

The diffused scenic effects in the music of such composers as Mendelssohn

and Schumann seem pale when compared to the feverish, and detailed drama that

constitutes the story of Berlioz's Symphonie fantastique (1830).  Because his

imagination always seemed to run in parallel literary and musical channels,

Berlioz once subtitled his work "Episode in the life of an artist", and

provided a program for it which was in effect a piece of Romantic autobiography.

In later years, he conceded that if necessary, when the symphony was performed

by itself in concert, the program would need not be given out for the music

would "of itself, and irrespective of any dramatic aim, offer an interest in

the musical sense alone."  The principle formal departure in the symphony is

the recurrence of the opening  theme of the first Allegro, the idee fixe. This,

according to the program, is the obsessive image of the hero's beloved, that

recurs in the other movements.  To mention another example: in the coda of the

Adagio there is a passage for solo English horn and four Tympani intended to

suggest "distant thunder".

The foremost composer of program music after Beriloz was Franz Liszt,

twelve of whose symphonic poems were written between 1848 and 1858.  The name

symphonic poem  is significant: these pieces are symphonic, but Liszt did not

call them symphonies, presumably because or their short length, and the fact

that they are not divided up into movements.  Instead, each is a continuos form

with various sections, more or less varied in tempo and character, and a few

themes that are varied, developed, or repeated within the design of the work.

Les Preludes, the only one that is still played much today, is well designed,

melodious, and efficiently scored.  However, its idiom causes it to be

rhetorical in a sense.  It forces today's listeners to here lavishly excessive

emotion on ideas that do not seem sufficiently important for such a display of

feeling.

Liszt's two symphonies were as programmatic as his symphonic poems. His

masterpiece, the Faust Symphony, was dedicated to Berlioz.  It consists of

three movements entitled respectively Faust, Gretchen, and Mephistopheles, with

a finale (added later) which is a setting for tenor soloist and male chorus.

The first three movements correspond to the classic plan of an introduction in

Allegro, Andante, and Scherzo.  Liszt attempted to sum up the ideas of Romantic

music in these words:

"Music embodies feeling without forcing it - as it is forced in its

other manifestations, in most arts and especially in the art of words - to

contend and combine with thought....it is the embodied and intelligent essence

of feeling; capable of being apprehended by our senses, it permeates them like

a dart, like a ray, like a dew, like a spirit, and fills our soul."

1157.      The Ideals of Insturmental Music

ROMANTIC MUSIC (The Arts)

The ideals of instrumental music

At one point in the study of the Romantic period of music, we come upon

the first of several apparently opposing conditions that plague all attempts

to grasp the meaning of Romantic as applied to the music of the 19th century.  This

opposition involved the relation between music and words.  If instrumental

music is the perfect Romantic art, why is it acknowledged that the great masters of

the symphony, the highest form of instrumental music, were not Romantic

composers, but were the Classical composers, Haydn, Mozart, and Beethoven?  Moreover,

one of the most characteristic 19th century genres was the Lied, a vocal piece in

which Shubert, Schumann, Brahams, and Wolf attained a new union between music and

poetry.  Furthermore, a large number of leading composers in the 19th century

were extremely interested and articulate in literary expression, and leading

Romantic novelists and poets wrote about music with deep love and insight.

The conflict between the ideal of pure instrumental music (absolute music)

as the ultimate Romantic mode of expression, and the strong literary orientation of

the 19th century, was resolved in the conception of program music.  Program

music, as Liszt and others in the 19th century used the term, is music

associated with poetic, descriptive, and even narrative subject matter.  This is done not by

means of musical figures imitating natural sounds and movements, but by

imaginative suggestion.  Program music aimed to absorb and transmit the

imagined subject matter in such a way that the resulting work, although "programmed",

does not sound forced, and transcends the subject matter it seeks to represent.

Instrumental music thus became a vehicle for the utterance of thoughts which,

although first hinted in words, may ultimately be beyond the power of words to

fully express.

Practically every composer of the era was, to some degree, writing program

music, weather or not this was publicly acknowledged.  One reason it was soeasy

for listeners to connect a scene or a story or a poem with a piece of Romantic

music is that often the composer himself, perhaps unconsciously, was working

from some such ideas.  Writers on music projected their own conceptions of

the expressive functions of music into the past, and read Romantic programs into

the instrumental works not only of Beethoven, but also the likes of Mozart,

Haydn, and Bach!

The diffused scenic effects in the music of such composers as Mendelssohn

and Schumann seem pale when compared to the feverish, and detailed drama that

constitutes the story of Berlioz's Symphonie fantastique (1830).  Because his

imagination always seemed to run in parallel literary and musical channels,

Berlioz once subtitled his work "Episode in the life of an artist", and

provided a program for it which was in effect a piece of Romantic autobiography.  In

later years, he conceded that if necessary, when the symphony was performed by

itself in concert, the program would need not be given out for the music would "of

itself, and irrespective of any dramatic aim, offer an interest in the musical sense

alone."

The principle formal departure in the symphony is the recurrence of the

opening  theme of the first Allegro, the idee fixe. This, according to the program, is

the obsessive image of the hero's beloved, that recurs in the other movements.

To mention another example: in the coda of the Adagio there is a passage for solo

English horn and four Tympani intended to suggest "distant thunder".

The foremost composer of program music after Beriloz was Franz Liszt,

twelve of whose symphonic poems were written between 1848 and 1858.  The

name symphonic poem  is significant: these pieces are symphonic, but Liszt

did not call them symphonies, presumably because or their short length, and the fact

that they are not divided up into movements.  Instead, each is a continuos form with

various sections, more or less varied in tempo and character, and a few

themes that are varied, developed, or repeated within the design of the work.  Les

Preludes, the only one that is still played much today, is well designed, melodious, and

efficiently scored.  However, its idiom causes it to be rhetorical in a

sense.  It forces today's listeners to here lavishly excessive emotion on ideas that do

not seem sufficiently important for such a display of feeling.

Liszt's two symphonies were as programmatic as his symphonic poems.

His masterpiece, the Faust Symphony, was dedicated to Berlioz.  It consists of

three movements entitled respectively Faust, Gretchen, and Mephistopheles,

with a finale (added later) which is a setting for tenor soloist and male chorus.

The first three movements correspond to the classic plan of an introduction in Allegro,

Andante, and Scherzo.  Liszt attempted to sum up the ideas of Romantic music

in these words:

"Music embodies feeling without forcing it - as it is forced in its

other manifestations, in most arts and especially in the art of

words - to contend and combine with thought....it is the embodied and intelligent essence of

feeling;

capable of being apprehended by our senses, it permeates them like a dart,

like a ray, like a dew, like a spirit, and fills our soul."

1158.      The Impact Of Television Essay

The Impact Of Television

Since the beginning, there have been mixed reactions to television and

it was E.B. White who wrote "I believe that television is going to be the test

of the modern world, and in this new opportunity to see beyond the range of our

own vision, we shall discover either a new and unbearable disturbance of the

general peace or a saving radiance in the sky. We shall stand or fall by

television, of that I am sure." (Murray 7) White was correct, it would either be

beneficial or detrimental to society. Ever since the first television station

was licensed in 1941, our lives have been effected by the presence of television.

However, this effect is not for the negative since it is used from simple means

of entertainment to a widely used, invaluable, source of information. It is also

an excellent aid in preparing children for school and assisting in educating

children after they have begun school.

Every day millions of people turn to their televisions as a form of

escape from the pressures and stress of day to day life. The television, to them,

serves the purpose of entertaining them for a half hour or an hour at a time.

This is the purpose of sitcoms, such as the popular NBC produced shows Friends

and Fraiser, each appealing to different audiences, but both comedy bases for

purposes of entertaining. Humor is not the only approach used in television

entertainment. Shows, such as  NYPD Blue, use thick plot lines and heavy drama

to draw the viewer in. Entertaining society through this media has become a

multibillion dollar industry. Top movies like Jurassic Park, which grossed 390

million dollars, bring millions of people to movie theater, which are basically

large televisions, for the soul purpose of entertainment. Movies are not

restricted only to theaters since they are available on video cassette and even

broadcasted into millions of homes each day. The privilege of television as

entertainment should be used, but not abused. For instance, watching six hours

of television every night, stopping only to eat and sleep does not promote and

active lifestyle, however, on the other end of the spectrum, never watching any

television does not expose a person to a vast array of entertainment and

information.

Television is able to show different roles in society and therefore

people are able to better understand others experiences and responsibilities.

Along with this idea, people should know and understand current events of the

world to help them better understand the effects of these events on society.

Television has become the fastest media, reporting on today's event, as opposed

to yesterday's events written about in a news paper. Since there is not an area

in this country, or an area in the world that does not receive a television

signal, this, along with the fact only 2% of the population does not have a

television, ensure that this is an extremely assessable media. Society has taken

advantage of this by broadcasting the days news and information, regardless of

which part of the world it took place in, over television signal so that 98% of

the society can view it and become informed. This is not to say that television

is the best source for news and information, but it is the most current.

Documentary show are very informative on one particular chosen subject. These

shows help society better understand the world around them. For instance, a

documentary show about the wars in the middle east can explain why there is a

war and more importantly, the effects on the residents in this area. When a

documentary is shown two stories are told; the verbal information presented and

the progression of pictures. An emotion can be portrayed very effectively by

means of pictures. The viewer now is not only told that the children in the

middle east are left without food and shelter, he/she is able to see the

children suffering. This aspect of television makes it an invaluable asset to

today's society, and especially beneficial to children.

Studies estimate that before the age of 18, children have watched

fifteen to twenty thousand hours of television. What kind of impact does this

have on a child's ability to learn? In a survey of seven hundred fifty 10-16

year olds it was revealed that 82% of them confirmed that television can teach

young children the difference between right and wrong. United States congress

concluded that television has the capacity to effect society in a positive way

by educating and informing children. "Studies show that television can

effectively teach children special skills, assisting in preparing for formal

schooling, as well complement skills taught in classroom. For example, programs

such as Sesame Street and Mr Roger's Neighborhood have been shown to enhance

attentiveness and perceptual abilities." (The Impact of Television on Children's

Education) For younger children, viewing educational programs or cartoons can

increase academic performance. As little as a half and hour per day can improve

test scores on a variety of subjects. Although it has been argued that

television tends to a reduction in reading  and verbal skills, shows such as

Sesame Street are addressing the issue by showing words to improve reading and

encourage viewers to read along with the characters. It has been shown that

there is actually a demand for more educational and informative programs for

children.

Society has been effected and will continue to be effected, not only by

television, but by media in general. Television is a constant form of

entertainment and excellent source of information that is assessable by millions

of people. The education content in children television is beneficial to

preschoolers and students alike. However, television has been the blame for many

of societies faults because it is easy to contribute it to violence and a social

lack of initiative. Television is such a small part of a much larger picture and

its benefits far outweigh its faults. The idea of television as an informative

and education media must be embraced in the future to receive its full benefits.

Even the thought of a society without television is incomprehensible to many.

Bibliography

"Background Information: The Impact of Television on Children's Education."

Http://haas.berkely.edu/~atham/background.html (October 21, 1996)

Murray, John P.  "Children and Television Violence."  Kansas Journal of Law &

Public  Policy, 4, No. 3 (1995),  7-14

"Top 50 Movies, 1993."  The World Almanac and Book of Facts.  1995

1159.      The Impact of Television

The Impact Of Television

Since the beginning, there have been mixed reactions to television and it was E.B. White who wrote "I believe that television is going to be the test of the modern world, and in this new opportunity to see beyond the range of our own vision, we shall discover either a new and unbearable disturbance of the general peace or a saving radiance in the sky. We shall stand or fall by television, of that I am sure." (Murray 7) White was correct, it would either be beneficial or detrimental to society. Ever since the first television station was licensed in 1941, our lives have been effected by the presence of television. However, this effect is not for the negative since it is used from simple means of entertainment to a widely used, invaluable, source of information. It is also an excellent aid in preparing children for school and assisting in educating children after they have begun school.

Every day millions of people turn to their televisions as a form of escape from the pressures and stress of day to day life. The television, to them, serves the purpose of entertaining them for a half hour or an hour at a time. This is the purpose of sitcoms, such as the popular NBC produced shows Friends and Fraiser, each appealing to different audiences, but both comedy bases for purposes of entertaining. Humor is not the only approach used in television entertainment. Shows, such as  NYPD Blue, use thick plot lines and heavy drama to draw the viewer in. Entertaining society through this media has become a multibillion dollar industry. Top movies like Jurassic Park, which grossed 390 million dollars, bring millions of people to movie theater, which are basically large televisions, for the soul purpose of entertainment. Movies are not restricted only to theaters since they are available on video cassette and even broadcasted into millions of homes each day. The privilege of television as entertainment should be used, but not abused. For instance, watching six hours of television every night, stopping only to eat and sleep does not promote and active lifestyle, however, on the other end of the spectrum, never watching any television does not expose a person to a vast array of entertainment and information.

Television is able to show different roles in society and therefore people are able to better understand others experiences and responsibilities.  Along with this idea, people should know and understand current events of the world to help them better understand the effects of these events on society. Television has become the fastest media, reporting on today's event, as opposed to yesterday's events written about in a news paper. Since there is not an area in this country, or an area in the world that does not receive a television signal, this, along with the fact only 2% of the population does not have a television, ensure that this is an extremely assessable media. Society has taken advantage of this by broadcasting the days news and information, regardless of which part of the world it took place in, over television signal so that 98% of the society can view it and become informed. This is not to say that television is the best source for news and information, but it is the most current. Documentary show are very informative on one particular chosen subject. These shows help society better understand the world around them. For instance, a documentary show about the wars in the middle east can explain why there is a war and more importantly, the effects on the residents in this area. When a documentary is shown two stories are told; the verbal information presented and the progression of pictures. An emotion can be portrayed very effectively by means of pictures. The viewer now is not only told that the children in the middle east are left without food and shelter, he/she is able to see the children suffering. This aspect of television makes it an invaluable asset to today's society, and especially beneficial to children.

Studies estimate that before the age of 18, children have watched fifteen to twenty thousand hours of television. What kind of impact does this have on a child's ability to learn? In a survey of seven hundred fifty 10-16 year olds it was revealed that 82% of them confirmed that television can teach young children the difference between right and wrong. United States congress concluded that television has the capacity to effect society in a positive way by educating and informing children. "Studies show that television can effectively teach children special skills, assisting in preparing for formal schooling, as well complement skills taught in classroom. For example, programs such as Sesame Street and Mr Roger's Neighborhood have been shown to enhance attentiveness and perceptual abilities." (The Impact of Television on Children's Education) For younger children, viewing educational programs or cartoons can increase academic performance. As little as a half and hour per day can improve test scores on a variety of subjects. Although it has been argued that television tends to a reduction in reading  and verbal skills, shows such as Sesame Street are addressing the issue by showing words to improve reading and encourage viewers to read along with the characters. It has been shown that there is actually a demand for more educational and informative programs for children.

Society has been effected and will continue to be effected, not only by television, but by media in general. Television is a constant form of entertainment and excellent source of information that is assessable by millions of people. The education content in children television is beneficial to preschoolers and students alike. However, television has been the blame for many of societies faults because it is easy to contribute it to violence and a social lack of initiative. Television is such a small part of a much larger picture and its benefits far outweigh its faults. The idea of television as an informative and education media must be embraced in the future to receive its full benefits. Even the thought of a society without television is incomprehensible to many.

Bibliography

"Background Information: The Impact of Television on Children's Education."  Http://haas.berkely.edu/~atham/background.html (October 21, 1996)

Murray, John P.  "Children and Television Violence."  Kansas Journal of Law & Public  Policy, 4, No. 3 (1995),  7-14

"Top 50 Movies, 1993."  The World Almanac and Book of Facts.  1995

1160.      The Inferno

It is the quintessence of monotony: a mountain chain of stucco that lies atop fallow  lots the size of kitchen magnets.  Welcome to suburbia.  I effortlessly enter my pervious pastel palace, but the voyage to my room is an uphill battle; it is quite an insurmountable quest.  The trek to my cell consists of a frozen spiral staircase.  It is not smooth and slippery, though, but rocky and perilous.  The portal lies beyond the staircase...

I force my way through the abrasive forcefield of  forbiddance.  The shrieks of my tearing flesh are subdued by the overpowering silence of the room.  Words are mouthed, but not spoken.  They do not exist.  This cubicle of torment does not allow language, the embodiment of opposition.  As I step into my room, I notice all colors of the spectrum for a fraction of a second, then they appear red.  Countless pictures adorn the walls; they are all of one person.  I know her, but who is she?  Her eyes are dark and enigmatic.  I can see the sadness in her eyes.  Her eyes.  They lack the luminescence of the youthful character they portray.  Her glances pierce through my being like light through glass.  The carpet is a sea of scorn. It stabs my feet with its blades of contempt.  The walls of mockery laugh at me as I foolishly try to climb them to rid myself of its presence.  Yet there is no escape.  I have  inflicted more pain upon myself.  Nothing is soft in here; everything is jagged.      My un-sanded wooden dresser rests on the right side of the doorway.  Figures of dancers with invisible partners lie atop the uneven  surface.  They seem to move slowly across the dresser, like seaweed drifting aimlessly across the sea.  My unpleasant and discomforting bed of stone rests in the center of the room.  It is not the usual shape of a bed.  Rather, it seems as if it were molded to fit my body alone. Is there no solace?  The closet stands only two feet away from the front of the bed.  Inside is a world of death and destruction.  My clothes are victims of either neglect  or overuse.  My shoes, an array of black, sit near the foot of the closet.  They too are innocent victims of negligence or abuse.  They are casualties of an reckless spirit.  The stench of decay creeps from my nose into my mouth.  I  lick my lips in disgust of this new taste.  As I look about the room, I notice the mirror above the dresser.  It is warped and misleading.  Gazing into the mirror, I see more than just my body.  I see a being crying out because of the agony of distortion.  She can not be heard.

A deluge of darkness overtakes my bedroom.  My eyes are suddenly fixed on a beam of light.  The radio that rests to the left of my dresser has a light that indicates power.  It beckons me, but I am restrained by the dark angels in my bedroom.  They always appear when I long for anything.   They are with me, in my room, for eternity.

1161.      The Inn from Hell

Inn From Hell

It all started on a dark a stormy night just outside of the Paris city limits at about

11:00 P.M. when Doctor Bleed and his assistant checked into the old run down inn.  You

see the weather was so bad that they could not even make it all the way over to Spain so

they had to stop.

They walked in with thier clothes soaked from the rainfall, when they first walked

in they realized that there was nobody at the desk to wait on them so they just took it

upon themselves to get a room for the night.  That was thier first mistake.  As they walked

up the creeky stairs they peered around every corner looking for an open room so they

could relax in peace.  When the end of the hall grew near they both spotted an open room

with a light on in it and both of the beds with all of the blankets all folded up nice and

neat, almost as if they were expecting us to arrive that evening.  Without even thinking

about anything else they both entered the room and agreed that it was probably too late to

go wake up the inn keeper so they would just go down and pay him in the morning.  After

removing the soaking wet clothes they put on thier night clothes and not even five

minuites after hopping into bed they were both asleep.  That was thier next mistake.

Now like most people Doctor Bleed just had to get his drink of water in the middle

of the night or or or .......Well thats funny I dont think that he has ever not had his

refreshing drink of water in the middle of the night.  Oh well, I sure hope he gets it.  Like

normally the Doctor woke up at about 2:00 A.M., now with the doctor not knowing the

house he just took off in any old direction which he should not have done because he did

not know what he was about to get himself into.  As the doctor roamed the inn he started

to swear like a mad man because he still could not find any water.  He thought to himself

"What kind of an Inn is this".  He would soon find out.  Just then The doctor spotted what

appeared to be a bathroom with the lights on, he would be sure to find some water in

there.  As he looked around the bathroom for the faucet he heard this soft chant coming

from another room across the hall.  It almost sounded like the Theme Song from

"Barney", he caustiosly tip toed across the hall desperatly hoping to catch a glimpse of

whatever is making that horrible noise.  He opened the door and there standing right in

front of him dancing around and singing songs like a fairy was a huge purple dinosaur.

Right away the Dinosaur spotted the doctor and grabbed him by the arm and attempted to

get him to dance to the theme song from "Barney".  Scared to death from the words of the

horrible song he decked the dinosaur straight in the left eye, that gave the doctor time to

run.  As he ran he could hear the dinosaur clodding behind him repeating the words

"Come back!  All I want to do is sing my song".  Quickly looking for a place to hide the

Doctor Dove into the laundry  room and watched the giant purple dinosaur jog past him,

A sign of relief the Doctor thought to himself, or maybe not because right when he turned

around he saw a strange man doing his laundry.  The Doctor decided to go closer for a

better look at the man, as he peered over his shoulder he saw that it was "PEE WEE"

Herman!!!!!!!!!!!!  Oh no the Doctor has ran into that moron with his very own playhouse

and talking furniture, the doctor knew he had to get out of there fast.  Before he could get

out of the room "Pee Wee" pulled out a gun and made the doctor sit down and watch old

reruns of his show which was a total flop.  After watching just one of the episodes the

doctor pinched himself just to make sure that this was no dream, And what do you know

it wasnt.

Now the doctor was still craving that drink of water that he wanted over an hour

ago, and this moron showing him the movies was not helping one bit.  Then the doctor

began to change....HE WAS GETTING BIGGER....HE TURNED BLACK......and the

next thing he knew he was wearing boxer shorts that said Tyson on them.  His hands

turned into boxing gloves and wasting no time he jabbed "Pee Wee" right in the gut

leaving him laying in aftershock.  Now it was payback time for that purple threat to the

world "Barney".  The doctor found "Barney" in the exact same place as before and doing

the exact same thing as before, Acting like a fairy!  The doctor dove right on top of the

purple friek and hog tied him with his very own tail, but that wasnt enough for the doctor

so he began kicking the dinosaur everywhere.  With every kick he shouted "And this one

is for teaching my kids to sing your stupid song 24 hours a day and 7 days a week.  As the

doctor paused he spotted a glass of water that "Barney" had been drinking on so the

doctor walked over and chugged every drop in the glass, I mean it wasnt like "Barney"

was going to be wanting anymore.  About 20 seconds after he drank the water he began to

morph back into his previous form, now after all that work the doctor decided to go right

to bed and deal with the mess in the morning.  Now the doctor would never have to worry

about bad dreams again, that being because he was his own bad dream, and with that in

mind he closed his eyes and had a wonderful rest.

The next morning doctor Bleed's assistant woke him up early so they wouldnt have

to pay the inn keeper, obviously the assistant did not even realize anything that went on

last night.  Oh well the doctor didnt really feel like telling anybody anyway.  As they drove

away the doctor saw that there was a full moon last night.......COINCEDENCD I THINK

NOT!!!!!!

1162.      THE IR

KJGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGHKJGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGHKJGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGHKJGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGHKJGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGHKJGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGHKJGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGHKJGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGHKJGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGHKJGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGHKJGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGHKJGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGHKJGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGHKJGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGHKJGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGHKJGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGHKJGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGHKJGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGHKJGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGHKJGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGHKJGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGHKJGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGHKJGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGHKJGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGHKJGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGHKJGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGHKJGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGHKJGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGHKJGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGHKJGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGHKJGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGHKJGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGHKJGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGHKJGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGHKJGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGHKJGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGHKJGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGHKJGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGHKJGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGHKJGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGHKJGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGHKJGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGHKJGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGHKJGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGHKJGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGHKJGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGHKJGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGHKJGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGHKJGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGHKJGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGHKJGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGHKJGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGHKJGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGHKJGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGHKJGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGHKJGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGHKJGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGHKJGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGHKJGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGHKJGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGHKJGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGHKJGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGHKJGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGHKJGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGHKJGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGHKJGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGHKJGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGHKJGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGHKJGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGHKJGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGHKJGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGHKJGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGHKJGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGHKJGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGHKJGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGHKJGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGHKJGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGHKJGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGHKJGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGHKJGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGHKJGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGHKJGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGHKJGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGHKJGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGHKJGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGHKJGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGHKJGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGHKJGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGHKJGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGHKJGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGHKJGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGHKJGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGHKJGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGHKJGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGHKJGGGGGGGGGGGGGGGGGGGGGGGGGGGG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1163.      The James Bond Phenomenon

The James Bond Phenomenon

James Bond has gone through a lot of changes in the years with 19 films.

James Bond has been played by Sean Connery, Roger Moore, Timothy Dalton, George

Lazneby, to Pierce Bronsman. All being great James Bond characters. The best of

them being Sean Connery, why? I don't know why, he has always just been a better

actor in every movie he has been in. Then comes Pierce Bronsman because he has

been in movies for my generation and I can relate with the stuff going on in his

movies. Then would come Timothy Dalton because he looks and acts a lot like

Pierce Bronsman. I would guess Roger Moore comes in fourth, why? because I HATE

George Lazneby and I have no where else to put him. George Lazenby comes in way

last because he is not a actor, he is a talking mannequin. They have all gone

through different types of adventures, well ok they were all action/spy problems

but they were all different, in some ways anyway. Hey if they suck so much why

can't you stop watching them? Why have they made so many of them? eh? thats what

I thought. I had my doubts about watching all these James Bond movies, but they

were all good. Sean Connery Played a nice cool, slick James Bond, well so did

the others but he was better at it because he naturally is cool and slick.

Pierce Bronsman played also as a cool, slick James Bond, he really looked like

he was a spy, he kept his cool, I really liked that scene in Golden Eye when he

is at the tanks of fuel where the satellite comes out of the water and they are

shooting at him and there is sparks right next to his eye and he keeps on doing

what he is doing. Talk bout a great and intense scene there. Timothy Dalton

played as fast acting, nervous person as he played James bond. In my opinion he

looked very nervous and very like hyper, he really wasn't that good, but he

looked like he was a really bad acting Pierce Bronsman. Roger Moore, well he

TRYED to act as a cool, slick James Bond, but he didn't really pull it off right,

he just looked like a big dork in my opinion, he wasn't aggressive enough to be

a good James Bond. He tryed to be aggressive but he just made a fool of him self,

In his movie Live and Let die, the co-starring actors and actresses really made

the movie any good. Well George Lazenby is not an actor, he is a mannequin that

you can program one line scenes into. You THINK he has a brain, but he really

has one of those TalkBoy things up there. There really isn't that much different

in all of the James Bond films except for maybe the villains, henchmen, and the

problems needed to be solved. All of the James Bond actors tryed to be cool, and

slick. Some of them pulled it off in some movies, in others they didn't. They

all definitely got the chick of there dreams in each movie, George even got

married, although that didn't last very long, he still got married. Hey wait a

second, thats ANOTHER Reason why George Lazenby is a really bad actor, or maybe

it was just his role, he got married, James Bond isn't supposed to get married.

Getting Married is like against the James Bond code of ethics!! I bet if George

starred in another James Bond film, he would prolly die! even if the script says

he isn't soppsed to! In the end of each film James Bond kills his villain and

henchman except one, but hey we all can't be perfect. Well in the end pretty

much every person who has played James Bond has been the same, or tryed to be

the same as the last.

1164.      The Juror

I have sustained some of the most appalling trials of this century.

Over me I have felt distress, bleakness, sorrow. However none of

them were as smashing as Annie's. Have you ever heard about

Annie? Oh yes Annie Laird, one of the most kind jurors I have ever

met. In George Dawes Greens The Juror, He sumarized the events

and, thoroughly explained the pain and anguish Annie had to go

through. The woe in which her life revolved after mentioning those

lousy words ¨I need a little excitement in my life ¨1, well, if Annie

needed to add a touch of excitement to her life she should have tried

Disneyland not jury duty. What I am about to air is what happened in

our little run with the mob. Truly that has a bit of foul humor because I

can't run. If you keep on reading you will understand the risks of

serving for jury duty ¨Who will protect you?¨2

Before I met her, Annie was an unadorned artiste who had just

transferred out of Manhattan and into the country. To a small cottage

by a lake. Her child, Oliver, who loved to ride his bike, moved in as

well. I have to say that when I met Annie for the first time it was as

Juror N° 224. She was a sparkling maid. Who would have thought a

rotten soul such as the teacher would try to harm her? I confess that

her recoil in the following days impressed me. This time the trial was

against Louie Boffano. He was the head of the mob. He and his right

hand The Teacher were as bad as they come. The case was the

murders of Salvadore Riggio and his grandson. Mr. Boffano was

being accused of ordering them. By this time Annie and I already

knew the teacher, but we acknowledged him as Zach Lyde. He had a

very piquant approach toward Annie; he bought three of her artworks

for twelve thousand dollars each. Nevertheless, how were we to

imagine that he was part of the mob? By the time that night had

come, Zach Lyde was having dinner at Annie's house. Oliver stayed

at a friend's house; Juliet's house. Then came those frightful words

from the teacher ¨Annie, listen to me now, you're in danger and

your son is in danger¨3 After this, disaster struck Annie's life. From

this moment on Annie would feel  disquietude and distress. Her

house was bugged, her friend's house was bugged, and she could

not tell anyone. All she had to do was to induce the other jurors to say

just two words: ¨not guilty¨4

Annie's life was miserable; whomever she told would be put in

grievous peril. The teacher was listening in, on everything they were

saying. During the trial Annie tried everything to drop out of it.

However who could she talk to? Even the judge could be on their

side. The teacher often made his point clear to Annie. He would

usually kill someone to show her she would be next if she slipped.

Annie implemented all her swaying powers to manipulate the jury. At

the end, and I heard it clearly, came these exact words:

¨As to count one in the indictment, murder in the second degree,

do you find the defendant guilty or not Guilty?

Not Guilty ¨5

Well now the trial was over, but Zach wasn't altogether ready to

let Annie go. After Slavko Czernyk, the detective engaged in the

follow-up of the teacher, had died, it came to the authorities that

something wrong was going on. This became Annie's opportunity.

She spoke to Zach and during their conversation she taped him

saying ¨I might discard old Louie¨6 She subsequently took it to

Boffano, who was bloody mad about the subject and wanted the

teacher killed. Wrong idea Annie; what were you thinking? The

teacher got word of Annie's betrayal and blew up Boffano's car, killing

him and his associates. He also murdered Juliet and made it look like

suicide. Annie just then understood where he was going next; he was

after Oliver. But how could he get to Oliver if he was in Guatemala,

where  she took him for his own safety. Then a call; told her that the

teacher knew her son was in Guatemala; she had to save him. The

chase was on...

It was a long chase involving planes, cars and about ten dead

people. At last the teacher had done it; he had found Oliver. Though

Annie strived to get there first, it was he who had done it. At least that

was what he thought. As intelligent as he was, he never imagined that

Annie would be there, waiting for him. When the teacher was about to

shoot Oliver, Annie ¨came out of the dark, like she was made of it

¨7 and shot him to death.

I must go now. It is time to start a new trial, meet a new juror, and

live a new adventure. I must say before I go that I am very happy to

have met Annie, and to have carried her on top of me. For those of

you who don't know who I am, you just might be sitting on me right

now.

¨Isn't it ironic?¨8

1165.      The Labours of Mendevolin

THE LABOURS OF MENDEVOLIN

ACT  I  SCENE I

(HIGH PRIEST on stage right.  Enter MENDEVOLIN stage left.  HIGH  PRIEST

crosses to centre stage to meet MENDEVOLIN there.)

MENDEVOLIN:  High Priest Marchand!

HIGH PRIEST:  Ahh Mendevolin, it is such a pleasure to see you again.

MENDEVOLIN:  Let's disperse with the pleasantries.  Take me to my father.

HIGH PRIEST:  There are things you must know Mendevolin.  Your father has not been

well.  He has been slowly passing away for the last few months.  This is why we have sent

for you.

MENDEVOLIN:  He hinted at that in his letter.  I came as soon as I could.  How long do

we have?

HIGH PRIEST:  Not long, he's on his death bed.  I've been using my healing powers to

keep him alive for the last week and a half.  We have been waiting for your arrival.

MENDEVOLIN:  Why didn't he say anything before I left?

HIGH PRIEST:  He's a proud man, it took him months to even ask for my assistance.  I'm

sure that he wouldn't want his only son to have felt obligated to care for him.  He respects

you a great deal and is proud to see you out working magic as he once did.

MENDEVOLIN:  As much work as it may have been, it wouldn't have seemed a burden,

because it would have been spent with my father.  Now it's too late.  Please take me to

him now so that I might spend these last few moments of his life with him.

HIGH PRIEST:  Come with me.  He's resting in the basement of the church, you'll have to

make it quick, he doesn't have much longer.

(HIGH PRIEST and MENDEVOLIN exit stage right.)

ACT  I  SCENE  II

(MENDEVOLIN'S father lies on bed center stage.  MENDEVOLIN enters stage left and

approaches his father.)

MENDEVOLIN:  I came as soon as I heard.  I'm sorry it took so-----

FATHER: Don't worry, what's important is that you're here now.  I have some news that

is going to shock you.  It concerns your lineage and a burden which has been placed upon

this family.  In regards to your lineage, I should tell you that....ahhhhh.....oh yes,lineage

Your great-great-great....well he was a great guy.  A thousand years ago, an elven mage

of whom you are a descendant, cast----

MENDEVOLIN:  What!!!!????  We're of elven descent, why did you never tell me?  In

54 years, I would've thought that you could've mentioned it once!

FATHER:  (Coughs)  ......quiet, do you want to hear this or not? (silence)  OK, good.  As

I was saying.....what was I saying.....oh yes.  Elven ancestry......an elven member of our

family gathered together a contingent of powerful mages from across the land nearly a

thousand years ago in an effort to repress the ultimate evil which threatened to sweep

over the land.  That terrible beast known as Terresquay once rampaged across the land,

but with the help of his fellow mages, Thraltes of the Brook....did I mention he's an

ancestor of ours?

MENDEVOLIN:  Yes you did, please.....?

FATHER:  Right, right.   Well, Thraltes of the Brook and his band of mages collaborated

on what has proven to be the most powerful spell cast in millenia.  Using the wax from the

Contusion bees-----

MENDEVOLIN:  Contusion Bees!?

FATHER:  Yes, I didn't tell you about those either?

MENDEVOLIN:  No, no you didn't.

FATHER:  Well then....the Contusion bees are located on the Contusion Islands, their wax

was used to create the candle-----

MENDEVOLIN:  Father, it would help if I had some specifics.  (father coughs)  tell me

more about the Contusion bees.  How big are they, why is their wax so special and where

are the Contusion Islands

FATHER:  All in good time my son.  As I was saying before I was so rudely

interrupted..... (pause) the wax of the Contusion bees was used in making the candle

which serves as the focal point for the spell which has forced Terresquay from our realm.

The legendary Contusion bees were selected as the source for the wax due to its incredible

longevity.  Once you have gathered the wax, forge a candle from it, take it to the diamond

mountain range and place it on the pedestal between the twin volcanoes.The contusion

bees are incredibly small, but don't doubt their deadliness for a second. They produce wax

only once every 1000 years and the time for gathering the wax is at hand.  I was hoping to

do it myself, but (coughing fit).....look in the chest (gestures towards chest at head of bed)

take what is in there, it will help you in your journey.  You must also find Leon of

Sylvanus, his companion Spruce and Pardudious.

MENDEVOLIN:  (looking up from the chest holding the flyswatters)  Who are those

people and what are these.....thingies? (pause) Father? (pause, checks for life signs, finding

none bows his head in solemnity closes his father's eyes and turns to leave)(exit stage left)

ACT  I  SCENE III

NARRATOR:  After leaving his father's side and notifying the High Priest of his father's

passing, Mendevolin set forth in search of the adventurers his father had spoken of.  His

first stop, The Tavern, because everyone knows that all good adventurers eventually go to

The Tavern.

(enter LEON and SPRUCE stage right, sit at table downstage right-center, they adlib

conversation until the entrance of MENDEVOLIN stage right who approaches them)

MENDEVOLIN:  Excuse me sir, madam. I noticed you sitting here and I wondered if I

could join you for a moment?

LEON:  Why certainly (motions towards empty chair) there's always room for one more.

Can I offer you a glass of wine?

MENDEVOLIN:  No thank-you, that's quite alright.  Actually, I'm presently embarking on

an important journey, I'm afraid I don't really have time to drink right now.  In fact, what I

really was wondering, was if you may have any information that you would be willing to

share with me in regards to either Leon of Sylvanus, Spruce of Elfheim or Pardudious

whose title, I'm not familiar with.

SPRUCE: Yeah, I'm Spruce (LEON shoots SPRUCE a menacing glare) and this is Leon

LEON:  (yelling) What are you thinking telling a perfect stranger asking for information

on us that we are those whom he seeks!?  Do you not know anything of the parels of an

adventuring life!?  (draws his pistol, points it at MENDEVOLIN's head) Who knows what

this man wants us for, he could be an assassain sent by either an enemy of your father's or

someone who wants my head!

SPRUCE:  (turning to MENDEVOLIN, faking whisper)  There's more than a couple after

his head, I'm sure. (snickers)

MENDEVOLIN:  (looking uncomfortable, appearing to chose his words carefully)  I'm

sure there can't be that many people who want your head......(speeding up)  and if there

are I'm sorry to hear it.  In any case, I'm not an assassain.

LEON:  Well then who are you, and what do you want with us?

MENDEVOLIN:  I am Mendevolin, a powerful wild mage.  I have been entrusted with

the task of  renewing a millenia old spell used to repress the ultimate evil, Terresquay.  My

quest involves a journey to the Contusion Islands where I must procure the wax of the

Contusion bees which is only produced every 1000 years.  From that wax I must form a

candle and place it on a pedestal in the diamond mountain range.

SPRUCE: (aside to LEON) And you talk about me giving away too much information.

MEDEVOLIN:  (looks at the pair then continues)  My father, on his death bed, told me

that you may be of some help, will you join me?

LEON:  A dangerous quest, involving Islands that only told of in legend, bees that are

probably larger than I am, not to mention this ultimate evil thing.  Why should I go with

you, what am I going to get out of this?  Look old man, I'm perfectly happy here, minding

my own business and drinking my wine.

MENDEVOLIN:  (Stands)  First of all, the bees are not larger than you, in fact, they're

not even as large as normal bees.  Secondly, I have faith in my father, he wouldn't have

sent me on this quest if it couldn't be completed.  Therefore, the Contusion Islands must

exist.  Thirdly, you're mistaken in believing that this is a choice I'm presenting you with.

You must come, if you're not with me then the spell I'm trying to renew will fizzle and the

world will be thrown into darkness and chaos.

(LEON leans back comfortably in chair and places feet on table, folding hands behind head

and glares at MENDEVOLIN)

SPRUCE:  Don't me such a stick in the mud, it's an adventure, we're at The Tavern, don't

you know what comes next?  First, we make friends with him.  Then, we agree to join

him, pay the barkeep, sign this (pulls out contract), and we go merrily on our way.

MENDEVOLIN:  Ok.  Spruce, will you be my friend?

SPRUCE:  Yeah, will you be mine?

MENDEVOLIN: Sure.  Will you join me?

SPRUCE: You bet! (snaps fingers, BARKEEP enters stage left, SPRUCE pays

BARKEEP, exit BARKEEP stage left) Barkeep's paid, now all that's left is this.

MENDEVOLIN: (signs contract, SPRUCE signs contract) Leon?

LEON: Alright fine, I'll sign your stupid contract,(signs contract) heck I'll even pretend to

be your friend, I will even join your stupid quest... but only on one condition.  I take

orders from  nobody especialy washed-up old has-beens like you.  I'll do what I want

when I want and if you don't like it tough!

MENDEVOLIN:  I don't care what you do on your own time but you're on contract now

and until this adventure is done you're working for me and do as I say, understand?

LEON:  Yeah, I understand, (angrily gritting his teeth)(aside) I understand perfectly.

(Exit ALL stage right)

ACT  II  SCENE  I

(Enter LOWELL stage left, obviously lost)

LOWELL:  Where in the name of chaos am I?  I should've been there a long time ago.

(LOWELL continues his searching)

DEREK:  (offstage) BORK!!!!!!!!!

(as DEREK yells bork, LOWELL drops to the ground, throws map offstage left.  DEREK

charges onto the stage, jumps over LOWELL, sumersaults, sits up and takes in his

surroundings)

LOWELL: (yelling)  What do you think you're doing man!  What are you doing attacking

me?  I didn't do nothin'!  (whiny) Leave me alone!  Why does everyone always pick on

me?  Is it because I'm different, is it because I smell (checks himself).  Look, I'm sorry if I

offended you in any way, in any event, it was purely accidental.  Please, don't hurt me, just

let me be on my way.

DEREK: (stares)......(looking for the right words) I'm.....ummm.....sorry.....ahh.....I didn't

see you there.  You haven't offended me, you don't need to worry about that.  As for

attacking you, that would involve control over my body, which moments ago I didn't have.

LOWELL:  Then you didn't want to fight me?

DEREK: (appears confused)  No.  I'm not sure what I wanted to do.

LOWELL:  What do you mean?

DEREK: Well, I don't know who you are, or where I am.  One second, I'm performing

routinescouting operations for the king in the village of  Verge, next thing I know, I'm in

the middle of these woods, flying through the air and when I sit up, I see you.  By the

way, who are you?

LOWELL:  Well, my mother always told me not to tell my name to strange people, they

might be trying to kidnap me.  So I'm not telling...

DEREK:  (shocked)  Well, since you appear as lost as I am, it might be to our advantage

to join together.  Besides, it's always better to travel with company.

LOWELL:  Ah ha, that's where you're wrong, I'm not lost, I've got my map (holds up

empty hand).  (sad look, looks at DEREK)  My name is Lowell.

DEREK:  I am Derek Arcane.  Now that we're aquainted, I'm sure that with a little luck,

we'll be able to reach our destinations.  Will you join me then?

LOWELL:  (sobbing) my map, my beautiful map, gone. (LOWELL continues muttering as

he leaves offstage right, DEREK follows, attempting to console him.)

ACT  II  SCENE  II

(Enter SPRUCE followed by MEDEVOLIN and LEON stage right)

MENDEVOLIN:  (while entering) Spruce, are you sure that you know where you're

going?

SPRUCE:  Trust me (gives MENDEVOLIN big smile)  I've lived my whole life in foests.

LEON:  I can't believe you conned me into this.  Some fun this is turning out to be, I'm

marching through a forest, I am soaked, there are bugs crawling in places I can't mention

to the children (points to audience), and to top it all off, you've probably never been in this

forest have you?!  That would just be the icing on the cake.  C'mon Spruce (sarcasm) have

you ever been in this forest?!  May as well tell me, my day can't get any worse.

SPRUCE:  Well no, actually I've never been in this forest.  But, they're all the same aren't

they?  Once you've been in one, you've been in them all.  All you have to know, is how to

read  what the forest is telling you.  You have to look for things like animal trails, moss

growth, and listen for the songs of the birds.  They'll tell you all you need to know.

MENDEVOLIN:  Do you know how to find these things and interpret what they say?

SPRUCE:  No, but if I did, I know those things would help.(big smile at MENDEVOLIN)

MENDEVOLIN:  Do you at least know roughly where we are?

SPRUCE:  Yes.  We're about a half day's walk east from Elfheim.  There's bound to be

someone there who knows this Pardudious character.  If he's any kind of adventurer, he'll

be known at The Tavern.

MENDEVOLIN:  Well then, let's pick up the pace, it's going to be a long journey, 3

months to go as far south as you can, and then as far north as you possibly can, is really

pushing it.

LEON:  Yes, I agree. We've been wandering through this forest for a day and half, I

would kill for the chance to be back in civilization.  I bet the reason you've never been in

this forest before is because you've never found anyone stupid enough to come with you

before.  Let's go, my feet are starting to hurt. (crosses upstage left towards offstage)

(enter LOWELL and DEREK stage left, running into LEON)

LEON:  Geez Spruce, it's too bad you didn't run into these two dunderheads before you

dragged us into this forest, seems they would've been willing to come with you.

LOWELL:  Oh, excuse me. (LOWELL walks past LEON and continues walking towards

stage right)

DEREK: Lowell, where are you going?

LOWELL:  Well, we've got to find some other people to help us get out of......oh.....

(approaches MENDEVOLIN, shakes his hand) my name is Lowell.

DEREK: Don't mind my friend, he's a little (makes crazy sign).  My name is Derek

Arcane, I've just recently found myself in these woods and I'm trying to make it back to

civilization, if you could point us in the direction of the nearest town, it would be greatly

appreciated.

MENDEVOLIN:  We are headed there ourselves in fact.  You're welcome to join us if

you wish.  My name is Mendevolin, this is Spruce (points) and this is Leon (points).  We

are presently searching for someone named Pardudious so that we may begin our journey

towards the contusion islands.  You wouldn't happen to know where we might find him

would you?  The things my father gave me said that he may live behind a waterfall.

DEREK:  You mean find IT don't you?

ALL:  IT?

DEREK:  Yes, Pardudious is a boat, a magical flying ship.

LEON:  (skepticism)  A magic flying ship?  Why should we believe you?  We're on a quest

involving some ultimate evil.  Who's to say you aren't....one of his minions? (LEON draws

his pistol and aims at DEREK)

LOWELL:  My friend is in trouble, oh lord of chaos, show us now the power of

randomness, and cause the next shot from that boomstick to go awry and miss its intended

target.  Honour your humble servant's plea.

LOWELL: (aside) And on the off chance that the lord of chaos is unavailable for a small

miracle, at this time I will proceed to beat both combantants senseless with whatever

heavy, blunt objects that may be at hand, in your mercy.

DEREK:  (pulls out cross from under tunic)  If I was a minion of evil, would I be wearing

this?

LEON: No, I suppose not.

SPRUCE: C'mon Leon, put the gun away.  We can't be fighting with each other, we have

a ship to find and a mission to complete.

LOWELL:  Yeah, this'll be cool!  A flying ship, wow!  We'll be flying above everything,

I'll be able to see all my friends, and wave hi to th----

LEON:  Just shut up will you?  I want to get going before it's already too late.

LOWELL:  Sorry, I'll just be over here (walks away from group and sits down on stage,

head down)

MENDEVOLIN:  Well if it can help us get to the Contusion Islands quickly, I'm all for it.

We're on a very tight timeline and every little bit will help.  (turns to LEON)  Now, in

future Leon, you can take some of your own advice and keep your mouth shut unless you

have something important to say.  We have to work together.  Everyone has the right to

make suggestions, we just can't tell people to shut up all the time.  You're not the only one

with ideas worth listening to.  In fact, I'm not sure that you've had one good idea yet, and

still you shoot down everyone else.  Keep your ego under control and your mouth shut.

LEON: (aside)  I can't wait for an opportunity to shoot you down....

LOWELL: (Jumps up)  Wait a minute!.....I mean, ummm, excuse me.  We can't leave yet.

LEON: (sighs)  Why can't we go now?

LOWELL:  We haven't signed a contract yet.  Does anyone have one?

MENDEVOLIN:  Yes, right here (pulls out contract, LOWELL and DEREK sign it)

SPRUCE:  Ok, well if everything's in order, we can be on our way.

(everyone leaves down the stairs stage left and out the side door except LEON.  LEON

lingers on stage, pulls out pistol, admires it and shoots blank towards stage door.)

NOTE: Mendevolin must leave last (before Leon)

ACT  II  SCENE  III

(ALL enter stage right side door)

MENDEVOLIN:  Lives behind the waterfall, Lives behind the waterfall.  That doesn't

even make sense anymore.

SPRUCE:  What'cha got? (Smile at MENDEVOLIN)

MENDEVOLIN:  Just something my father gave me before he passed away.  He told me

about this quest, said I should find Pardudious and gave me this (holds up scroll), what's

written can't be accurate though.  Since Pardudious is not a person, he can't possibly live

behind a waterfall.

LEON:  Let me see that. (MENDEVOLIN hands scroll LEON.  LEON looks at it)  Just

looks like gibberish to me.

LOWELL:  People said that we were crazy to build a castle on a swamp, but we did, and

it sunk into a swamp.  So, we built a second castle, and it sunk too.  So we built a third

castle, it was burned, pillaged and fell to the ground, and then it sunk into the swamp.  So

we built a fourth castle and it's standing, it's the strongest castle in all the lands.  But

father, I don't want the castle, I want, I want.....No no no, there'll be no singing while I'm

still here, stop the music, stop it right now, I won't......oh excuse me (sits on stairs stage

right).

(ALL are staring at LOWELL by the end of the speech)

SPRUCE: No Leon, that was gibberish.

DEREK:  (DEREK comes down stairs stage left, walks towards group) Well, it's there

alright.  Now all we have to do is find a way to get it past the flow of the water, any

suggestions?

MENDEVOLIN:  Derek, my good friend, how did you know to look there?

DEREK: Easy, just take a look at the scroll

MENDEVOLIN:  (MENDEVOLIN looks at scroll again) Ok, perhaps it would help if I

knew what I was looking for.

DEREK:  Not that side, turn it over. (MENDEVOLIN turns scroll over)  See, there it is.

LEON:  Hmmmm, you would've thought that a powerful mage like yourself would have

known to check both sides of a scroll. I'm just glad it wasn't a spell scroll you were

reading from, that would have certainly been disasterous.  Though it wouldn't surprise me

to find out you've done it once or twice.  (this catches MENDEVOLIN's attention)

LOWELL:  (snaps to attention)  Check for fine print, check for fine print!

ALL: What!?

LEON:  For the love of god, somebody slap a muzzle on the boy!

(MENDEVOLIN takes offence and marches angrily towards LEON.  LEON forces the

scroll on SPRUCE who steps aside and looks at it.  LEON takes a defensive stance)

LOWELL:  (aside)  My god is bound to look favourably upon me!  It seems everywhere I

go, I cause chaos!  They say they're powerful mages, but they have no idea of the power

that is weilded by the followers of chaos!  If they start something, we're really going to see

a show. (LOWELL begins preparing for a battle)

SPRUCE:  Well, would ya' look at this!  Fine Print!

ALL: Shut Up!

SPRUCE:  No, I'm serious.  Listen: "If through the water your path does lay, just quote

Fat Albert, say 'Hey', 'Hey', 'Hey'"

(As words are spoken, curtains open to reveal boat behind.  ALL are unaware of what

happened, adlibbing conversation about words)

MENDEVOLIN: (turning around) That's Pardudious (everyone stops talking, turns

around) Not very impressive is it?  I've known orcs to ride around in better.

DEREK:  It may not look like much, but it's powers are beyond your comprehension and

my imagination.

LEON:  Beyond their comprehension maybe.  Beyond mine, I beg to differ.  Now, show

me the way to the controls and I'll have us out of here in no time.

(ALL head towards ship except LOWELL who lingers for a moment)

LOWELL:  I just want everyone to know that I get airsick.

ACT  III  SCENE  I

(enter ALL from stage left)

MENDEVOLIN:  Well, we're here.

DEREK:  Short trip, you'd think that it'd be a lot harder to get to an Island that most

people don't even think exists.

LEON:  (checking his wrist hourglass) Yeah, we've only been travelling an hour.

MENDEVOLIN:  Now, I have a few things here that my father told me would help us.  I

realize you may wonder of the usefulness of the items I am about to give you but I have

confidence, my father would not have given them to me were they not going to be helpful.

(MENDEVOLIN pulls forth the flyswatters from his sack)

LOWELL:  Wow!  You've got some of those.....Thingies!

LEON:  What manner of insuperior weapon are those?  I bet you couldn't even kill a fly

with them!

MENDEVOLIN:  Well....ummm.....

LOWELL:  You mean you never heard the legend?

SPRUCE:  Legend???

LOWELL:  Yeah, the legend of the tailor that killed seven giants with one of these!

(LOWELL then proceeds to sword fight with flyswatter.  ALL stare at him)....sorry.

(LOWELL sits down like before)

SPRUCE:  Well, if you can kill giants with one of these things, you'll have no problem

killing a few little bees right? (murmurs of consent)

MENDEVOLIN:  Right then.  Has everyone been armed with a......(looks at LOWELL)

LOWELL:  Thingy.

MENDEVOLIN: Right!  With a THINGY! (everyone awkwardly holds up flyswatters

except for LOWELL and MENDEVOLIN)OK!  To the Bees!

ALL:  TO THE BEES!

(exit ALL stage right)

ACT  III  SCENE  II

(enter ALL stage left)

MENDEVOLIN:  Where is the hive.....it's supposed to be here.  AHEM.  I'm sure, it's

right around here somewhere.(hive pops out behind front curtain stage right on stick)

thankyou.

DEREK:  Look, I see it, over there (points at hive)

LOWELL:  Hit it with your shovel Leon!

LEON:  My what?

LOWELL:  Your shovel. (shovel flies in from offstage right.  LEON catches shovel

and looks at it, and unimpressed, hands it to LOWELL, he turns from others, telling

story in aside like state)  I remember my mom used to go out and find hives just so that

she could whack them with her shovel.(LOWELL turns back to group) I thought

everyone whacked hives with shovels?

SRPUCE: Shovel, you don't use a shovel, you use a pitchfork. (Pitchfork comes from

offstage right, SPRUCE catches it)

LOWELL:  What do you mean!  Pitchfork, are you nuts?  Shovel!

SPRUCE: Pitchfork!

LOWELL: Shovel!

(LOWELL and SPRUCE repeat several times.  Spruce wins by pointing the pitchfork at

LOWELL)

LOWELL: Ok, ok, pitchfork.(LOWELL sits down with shovel across lap)

LEON: Oh, enough of this.  This tomfoolery has gone on long enough. (LEON pulls out

pistol and aims at hive.  Changes his mind and aims at person holding hive offstage.

LEON shoots, hive falls, sound of person offstage falling down dead)

(after hive falls, ALL pull out their thingies.  They fight valiantly while 'flight of the

bumblebee' plays in the backround.  Fight lasts for about 15-20 seconds.  It appears

hopeless)

MENDEVOLIN:  Run Away!!!!!! (everyone repeating 'run away' as they move upstage

left)

(when all arive, SPRUCE pulls out sandwhich from bag and begins to eat it)

MENDEVOLIN:  (astonished)  Spruce, what are you doing?  This is no time for a picnic.

Put that away we need to come up with a strategy.

LOWELL:  (sniffing)  Is that peanut butter and honey?

SPRUCE:  Yeah, want some?

LOWELL:  Sure, I'd love some, I haven't eaten anything since we started this adventure.

SPRUCE:  We've only been adventuring together for an hour and a half.

DEREK:  Wait a minute.  That's it!  Give me that (grabbing sandwhich from LOWELL.

LOWELL whimpers and "sits down") I'll be back in a sec.  (DEREK move towards

hive and places sandwhich near hive then retreats.  Once bees have taken bait about 15

sec.  DEREK moves back to hive and retrieves wax.)  Got it! (looks over shoulder, bees

chase 'flight of the bumblebee' plays again)

(exit ALL stage left)

ACT  III  SCENE   III

NARRATOR:  Mendevolin and his party set forth for the twin volcanoes hidden deep

within the diamond mountain range.  With the candle now formed, our heroes are now

ready to face the terrible evil that lies ahead.  (enter ALL , MENDEVOLIN first, stage

right.  MENDEVOLIN noticing the candle stops suddenly, rest of the party runs him over.

everyone falls on MENDEVOLIN and candle breaks.) Well, almost ready.

MENDEVOLIN: (realizing the candle is broken) Oh this is just perfect.  Everything I have

ever done, I have screwed up somehow.(MENDEVOLIN is in his own little world) I

failed as a tailor, (enter EVIL MAGE stage left)  I can't cast magic worth a damn, (ALL

but MENDEVOLIN see EVIL MAGE and creep away in fear) and now this! (gestures at

broken candle and breaks down crying)

EVIL MAGE: (approaches MENDEVOLIN, places hand on shoulder) There, there.  It

will all be over very soon.  (EVIL MAGE licks fingers and puts out candle) There, was

that really so bad. (EVIL MAGE laughter)

THE END

1166.      The Last Emperor

On 1908 in Peking The emperor I-Sin-Ger-Oh-Who-Eee, son of prince Dredd, at the age of two, was crowned because emperorist Dowager was dieing. He was chosen because Dowager was his grandmother. The only thing that was bad was that they took him from his mother and gave him this lady that they called his "Wet nurse", which mainly breast fed him and took care of him. Also he was not allowed to leave the empire.

In the beginning after he was crowned emperor everybody  waited on him hand and foot. At the age of about twelve he started to dislike not being able to have any freedom such as not being able to leave the forbidden city when his biological mother had died and when there was a war going on in his country and he couldn't even see beyond the walls of the forbidden city. Also at the age of twelve it was accustom for him to get married, so he married two seventeen year old girls, one as a wife and one as a secondary console.

One time he was so mad that he wasn't aloud to leave the forbidden city to go see his mother that had just die of swallowing a opium ball, he took his mouse and through it against a wall.

Towards the end he gets arrested and brought to jail for crimes he didn't commit such as trying to reform the empire.  In jail the guards found that he was getting special treatment like getting his shoes tied so they moved him into confinement.  He disliked jail so much that he tried to commit suicide, He did it by slighting his wrists and sticking them in hot water but a guard that use to be in the forbidden city found him and woke him up.

At the end he became emperor again because the people of the Manchuria would not listen to the government so they used him as a dummy so the people would obey them.

I liked this movie but I also disliked this movie, it was OK because of the background and it seamed very real, but I didn't like this movie because it was hard to understand.

1167.      The Last Of The Mohicans Essay

The Last Of The Mohicans

Bibliography

The Last of the Mohicans. Produced by Michael Mann. 1 hour 54 minutes. 1992.

Cooper, James Fenimore. The Last of the Mohicans. Albany: State University of New York Press, 1983.

The French and Indian War of the eighteenth century had uniquely complex qualities, matched by the gravity of its outcome. The myriad of cultures involved the French, Canadian, American, English, Algonquians, and Iroquois whom make this era fascinating. The multi-ethnic element made it a war built upon fragile alliances, often undermined by factional disputes and shifting fortunes. Violent as it was, its battlefields encompassed some of the most beautiful country to be found anywhere. Its richness in diverse cultures, the severity of its bloody violence, and the beauty of its landscape, all combine to make this an era with great depth of interest. It is entertaining and educational to witness a re-enactment event of a historical film and novel called The Last of the Mohicans.

In the wake of the 1992 debates about Columbus, the discovery of the Americas, and whether terms such as 'holocaust', 'genocide', and 'racism' should be applied to what happened to Native Americans, Michael Mann's film remake of James Fenimore Cooper's The Last of the Mohicans continues a process of historical erasure or forgetting that Cooper and his contemporaries began. The sentimental racism expressed in Cooper's novel involves the ideas of the auto-genocide of 'savagery' and the inevitable extinction of all Native Americans. Though Mann purported to take great pains in his film to be historically accurate, the film is only accurate in relation to trivial details. It thoroughly scrambles major aspects of Cooper's text, including converting the ageing Natty Bumppo into a young sex symbol (Daniel Day-Lewis). More importantly, the film completely erases Cooper's sentimental racism by, for instance, turning Chingachgook rather than his son, Uncas, into the 'last' of his tribe, and thereby overlooking the motif of the futureless child central to that racism. But in eliminating Cooper's racism, the film in a sense perfects the novel, because the sentimentalism that softened the racism was already a form of erasure or forgetting.

Reading the novel, The Last of the Mohicans, I was actually able to appreciate Cooper's work, as it was interesting and very different from the movie. While it is true that he is long-winded and very shallowly treats character development, I think that the original work does merit its study. I found that Cooper clearly portrayed the different values of two cultures. The readers can witness two cultures in conflict of political, moral, and religious issues. I think that Cooper did not develop his characters, not because of his inability, but rather because of his unwillingness. If David had been revealed to us thoroughly, would we have been able to objectively witness his role as a white settler? Certainly, if Magua's motivations had been opened up to the audience, Cooper would no longer present him as the "savage Indian." I enjoyed Cooper because of his shallow characters. His portrayal of their behaviors was unclouded by personal influence; they merely represented the culture from which they came. Many stunning examples of this representation were evident throughout the tale. While early in their adventures the settlers found themselves stranded on an island while being pursued by Magua and his companions, David, feeling secure in this position and unaware of the severity of their situations, begins to sing. This singing immediately alerts the Indians to their position. While this action seemed foolish to the reader, it clearly represented the European settler in "the wilderness", as Cooper would have wanted to portray it. Learning about cultures is very important in understanding the main picture of world history.

Other values of the two cultures abound. The issue of honor is raised soon after Uncas claims his position as chief. He allows Magua to leave with Cora, knowing that while it is morally wrong, she is (by Indian customs of law) his property-won fairly. This decision would have been drastically different if laid in the hands of a European settler. The different values and the conflicts raised by them are extraordinary. By avoiding personal development of the characters, and by accentuating the differences between the two worlds, Cooper is able to objectively describe both. While this may seem to be an unusual manner in which to read a novel, it is one in which I was able to appreciate the work. I find it extremely important to place a novel in historical and cultural context. His work was much different, as was the world he wrote about. The novel he created was, and is, an accurate description of his world and the world he wished to convey. It is in this context that we must appreciate it.

The Last of the Mohicans, by James Fenimore Cooper, revolves around the theme of captivity and the drama of the clash between Indian and European cultures. It involves white victims of captivity by Indians. Their record keeping of the tragedy provided the Puritan audience with a personal story of raids and forced marches, the wilderness and its native inhabitants, and of the chilling efforts of Indians and Frenchmen to assimilate their captives into an alien culture. Cooper follows all of that, plus gives the reader the opportunity to see the white man from an Indians point of view. He does this by providing emotion for the Indians, specifically, Magua and the noble Huron warrior.

The victims were innocently held captive by barbaric and cold Indians. These victims lost their families to gunshots, stabbings by spears, and being knocked down by their hatchets. A woman lost her child to an Indian selfishly trying to signal an exchange of the baby for a shawl. The ferocious Indian held the baby by its feet and teased the woman for an exchange. Upon seeing her desperate for her child, he struck the baby's head into a rock dropping the remains at the woman's feet. There was no sense in resisting these warriors because the punishment would be far worse than the resentment. Cooper led his character Cora, of African-American and Caucasian ancestry, to die because of her race, even after she tried to reason with Tamenund. Every reader has his/her own criteria for judging a novel. For me, a good novel is one, which draws me in and makes me feel a part of the story. A good novel will make me well acquainted with the characters and through them, will ultimately teach me something about myself or about the world around me. But I feel in this part, Cooper is somewhat weak in all of these respects with the novel The Last of the Mohicans. His over-emphasis on action and adventure dominate all other "would be" aspects of the novel, rendering it unrealistic, often to the point of being ridiculous. Cooper's obsession with action virtually negates all development of character. His characters seem to exist only as tools for carrying out the all-too-predictable action. If a particular character doesn't fit into his plan, he simply drops them from the narrative, leaving the reader to wonder about the plight of the character. For example, the character of David Gamut simply disappears upon the group's arrival at Fort William Henry (147), not to appear again for over twenty pages of text, with no explanation of his whereabouts. These disappearing acts are very distracting and prevent the reader from being drawn into the novel and becoming acquainted with the characters.

The Last of the Mohicans attempts to read as a work of historical fiction in its portrayal of the relations between the natives and the "pale-faces." However, its unbelievable events make it almost laughable. Cooper just loses all credibility when he tries to make the reader believe that Chingachgook was able to successfully disguise himself as a beaver. These actions make it difficult to approach the novel with any degree of seriousness or respect. Though the film is not heavy on story, The Last of the Mohicans is an immensely satisfying adventure that makes lavish use of the wide screen as it explores the landscapes of the really "Old West," while paying great attention to detail in costumes and set design as it re-creates the period. Mann goes to great pains to recreate the actual living conditions at the time of his story. But it is the action - hand-to-hand combat, characters racing through the trees and along cliffsides, jumping into waterfalls, and the images of huge blazing cannons alternating with the explosions of flintlock rifles that keep this movie going.

Mann's film is quite an improvement on Cooper's all but unreadable book. Much has been made about how authentic the movie is, about how the cast learned wilderness survival skills and how every bow, arrow, canoe and moccasin was constructed according to the ancient ways. There are just enough historical and political details; the movie touches quickly on the fine points of British-French-Indian-settler conflicts, so that they can get on to the story we're really interested in, about the hero who wins the heart of the girl. There were great action and suspense scenes as courage was all over. This is Hollywood at its best and its worst. The soldiers' uniforms are splendid, but idiotically ornate and impractical for warfare. It wasn't until 1916 that the British and French stopped wearing the bright clothing, as they were easy target colors. True, the movie perpetuates the Hollywood mystery of uniforms that stay pressed, immaculate, spotless, and dustless, even after long sweaty marches in the wilderness. The Indians seem accurately described, both from the point of view of the historian and political correctness. There are no dialogs to speak of, no historical, anthropological, geographic, political, social, explanations or orientation. So you don't learn much about world history from their conversations and dialogue. What you do grasp about the history of this period is by soaking in the environment, traditions, rules, surroundings, behaviors, clothing, and styles of living.

The movie and novel of The Last of the Mohicans are both great representations of the French and Indian War as they are attempts to resurrect and redefine the American hero. There was an emphasis on the concept that no man has dominion over another. The novel and film both have strong and weak parts that help us understand and to learn the styles and ways of this time period. They are both great tools for learning about modern world history in their own ways about war and tragedy. The Last of the Mohicans is a bold and stirring story that will always be very memorable adventure years to come.

1168.      The last of the Mohicans

The story The Last Of The Mohicans takes place in eastern Canada and in the area of modern New York State. This area is also called the St.Lawernce  Low Lands. The book takes place in the year 1757 during the third year of the colonial wars between England and France.

The books main character is about a man named Hawkeye who is a white  man but his parents were killed and he was raised by a  mohican man named Chingachgook. In the book Hawkeye helps a English soldier named Duncan who is escorting the two daughters of a English General Named Munro to Fort William Henry. Hawkeye Takes them to the Fort will it is under attack. Then the fort is captured by the French and everyone in the fort must leave. While they are leaving they are attacked by a band of Indians led by A Indian chief  named Magua. During the battle Hawkeye escapees With Cora and Alice. The Cora and Alice are captured by Magua. Then Hawkeye and Uncas go after them and Cora and Uncas are killed. Chingachgook and Uncas are the only Mohicans left and when Uncas dies Chingachgook is the last one giving the book its title.

The main character of the book is Hawkeye. Hawkeye is described as having a big head and narrow shoulders. His arms are long and skinny and he has small hands. He also has thin legs which are very long. Hawkeye is much like a Metis Because he is white and educated but raised an Indian.

Hawkeye at first does not want to get involved in the war he only wants to go and trap and make some money. He only wants to take them to the fort but then he falls in love and he stays.

In the book Hawkeye faces a big challenge. Munro's daughters are taken hostage by a ruthless Indian chief named Magua. Hawkeye tries saving them but Cora is killed. During the battle his adopted brother Uncas is killed. Then Chingachgook says the Mohican seed is will not be carried on to another generation but Hawkeye tells him that it will because he is Mohican at heart.

The most interesting part of the book was the last battle on the rocks. The battles are the easiest to understand. They are also the most exciting they also make Hawkeye a hero type figure because he is a good fighter.

Love is a major theme in the book. Hawkeye and Uncas fight for their loves. In this fight Uncas and Cora die. James Fenimore Cooper brings the issues of Indian and European relations and how the coming of the white people changed the Indians way of live forever.

The Last Of The Mohican is written in the Philosophic Mode because the book deals with Hawkeye and his relations with the people around him. It also brings in death and how he deals with it. The book in a way is a part of our history because it teaches how live was then and how our Country was formed.

The book is to entertain and to inform. It entertains because all of the characters are fictional. Everything else like the places, the wars are all real.

It shows people what life was like back then.

If I was to recommend this book to someone else I would tell to see if they could find a edited version that was written our modern day English. The novel is old and in some places it can be tough to understand. But overall the book is entertaining and fun to read. Anyone interested in our past or who enjoys action \ adventure books will enjoy the book.

1169.      The last wave by peter weir 5

SOC 118

'The Last Wave'-Peter Weir dir.(1977)

In the film, The Last Wave,  the director is trying to communicate the idea of a

culture within a culture or sub culture.  The dominant culture in the film is the white

members of society living in Australia.  The subculture in the film is the Aborigines who

were natives to the land before the white people settled in Australia.  The natives

sustained their cultural beliefs and ideologies while living in largely populated cities.

The dominant white culture imposes their laws , ideas of societal values and moral

beliefs on the native Aborigines.  Forcing them to abide by a different law system and

way of life than what their peoples have practiced for hundreds of years.  In the movie

the lawyer, David, represents the dominant culture to the Aborigines because he

represents the law that is controlling their fate in the white culture.

The director is also giving us many symbols or visual communication such as the

consistency of water in the film as well as, the overbearing control of darkness.  The film

is shot in shadows and overall is very dark , almost forcing us to look beyond the obvious

plot and storyline and into the meaning or what the film/director is trying to tell us.  The

darkness in the film can be seen as unconsciousness.  It can also be seen as a prediction

of the darkness that will occur in the world when the last wave comes.  The last wave

meaning a giant tidal wave that will cover the earth , killing humanity.  This idea is

similar to the Christian belief in the flood that was sent down centuries ago to destroy all

the evil in the world.  Also, all the modern aspects of the movie (courtroom, David's

office..etc) are filmed in light.  While, all of the Aborigines' scenes are filmed in darkness

or shadows.  Giving me the impression of something mysterious or not understood by the

whites concerning the Aborigines.  The fact that all the modern scenes are filmed in light

can also support the idea of the white culture being the predominate culture in the film

but yet not dominant enough to take away the shadows(mysterious , mystical)aspect of

the Aborigines.

The lawyer, David, Also goes through a series of dreams and premonitions.  This

is stressing the idea of mind power and mystical strength that the Aborigines have.  In

that way they can be seen as the dominant culture.  David is stuck between two worlds.

The world he knows and understands and the other world that he is definitely a part of

but does not understand.  As he tries to grapple with the idea that he may be linked to the

Aborigines, his own cultural beliefs are changing.  He is forming a complex view on life,

a combination of ways of viewing the world by both the white Christians and the

Aborigines.

The dream sequences in the film are sometimes difficult to distinguish from the

warped reality that is being portrayed.  Overall, they do give us a chance to think and

attempt to comprehend what is going through the mind of David.  For he cannot

distinguish at times what is real and not real.  But what is real depends on if you perceive

it as real as an individual.

To me, the film is saying that their is a definite cultural conflict between the

Christians and the Aborigines living in Australia.  Whichever one the viewer perceives as

being dominant or subdominant, he will perceive the fact that their is a culture clash.

The viewer may also see the idea that the Aborigines(tribal) are not understood in white

society and David is the only one who can.  He is the link between the two worlds, and at

the same time he is the wall separating them.

Overall, I feel the film was good concerning the ideas behind the storyline.  But

due in part to the director's fetish for water and darkness, he almost destroys the storyline

to me.  And without the storyline, you cannot interpret the film in a well structured way.

Also,  the symbolism is so predominant, it points at the viewers lack of intelligence .

Similar to someone repeating themselves while speaking over and over and over and

over, merely to stress a point.  Too bad by that time the point is beyond stressed it is

almost destroyed completely.

SOC 118

'The Last Wave'-Peter Weir dir.(1977)

In the film, The Last Wave,  the director is trying to communicate the idea of a

culture within a culture or sub culture.  The dominant culture in the film is the white

members of society living in Australia.  The subculture in the film is the Aborigines who

were natives to the land before the white people settled in Australia.  The natives

sustained their cultural beliefs and ideologies while living in largely populated cities.

The dominant white culture imposes their laws , ideas of societal values and moral

beliefs on the native Aborigines.  Forcing them to abide by a different law system and

way of life than what their peoples have practiced for hundreds of years.  In the movie

the lawyer, David, represents the dominant culture to the Aborigines because he

represents the law that is controlling their fate in the white culture.

The director is also giving us many symbols or visual communication such as the

consistency of water in the film as well as, the overbearing control of darkness.  The film

is shot in shadows and overall is very dark , almost forcing us to look beyond the obvious

plot and storyline and into the meaning or what the film/director is trying to tell us.  The

darkness in the film can be seen as unconsciousness.  It can also be seen as a prediction

of the darkness that will occur in the world when the last wave comes.  The last wave

meaning a giant tidal wave that will cover the earth , killing humanity.  This idea is

similar to the Christian belief in the flood that was sent down centuries ago to destroy all

the evil in the world.  Also, all the modern aspects of the movie (courtroom, David's

office..etc) are filmed in light.  While, all of the Aborigines' scenes are filmed in darkness

or shadows.  Giving me the impression of something mysterious or not understood by the

whites concerning the Aborigines.  The fact that all the modern scenes are filmed in light

can also support the idea of the white culture being the predominate culture in the film

but yet not dominant enough to take away the shadows(mysterious , mystical)aspect of

the Aborigines.

The lawyer, David, Also goes through a series of dreams and premonitions.  This

is stressing the idea of mind power and mystical strength that the Aborigines have.  In

that way they can be seen as the dominant culture.  David is stuck between two worlds.

The world he knows and understands and the other world that he is definitely a part of

but does not understand.  As he tries to grapple with the idea that he may be linked to the

Aborigines, his own cultural beliefs are changing.  He is forming a complex view on life,

a combination of ways of viewing the world by both the white Christians and the

Aborigines.

The dream sequences in the film are sometimes difficult to distinguish from the

warped reality that is being portrayed.  Overall, they do give us a chance to think and

attempt to comprehend what is going through the mind of David.  For he cannot

distinguish at times what is real and not real.  But what is real depends on if you perceive

it as real as an individual.

To me, the film is saying that their is a definite cultural conflict between the

Christians and the Aborigines living in Australia.  Whichever one the viewer perceives as

being dominant or subdominant, he will perceive the fact that their is a culture clash.

The viewer may also see the idea that the Aborigines(tribal) are not understood in white

society and David is the only one who can.  He is the link between the two worlds, and at

the same time he is the wall separating them.

Overall, I feel the film was good concerning the ideas behind the storyline.  But

due in part to the director's fetish for water and darkness, he almost destroys the storyline

to me.  And without the storyline, you cannot interpret the film in a well structured way.

Also,  the symbolism is so predominant, it points at the viewers lack of intelligence .

Similar to someone repeating themselves while speaking over and over and over and

over, merely to stress a point.  Too bad by that time the point is beyond stressed it is

almost destroyed completely.

SOC 118

'The Last Wave'-Peter Weir dir.(1977)

In the film, The Last Wave,  the director is trying to communicate the idea of a

culture within a culture or sub culture.  The dominant culture in the film is the white

members of society living in Australia.  The subculture in the film is the Aborigines who

were natives to the land before the white people settled in Australia.  The natives

sustained their cultural beliefs and ideologies while living in largely populated cities.

The dominant white culture imposes their laws , ideas of societal values and moral

beliefs on the native Aborigines.  Forcing them to abide by a different law system and

way of life than what their peoples have practiced for hundreds of years.  In the movie

the lawyer, David, represents the dominant culture to the Aborigines because he

represents the law that is controlling their fate in the white culture.

The director is also giving us many symbols or visual communication such as the

consistency of water in the film as well as, the overbearing control of darkness.  The film

is shot in shadows and overall is very dark , almost forcing us to look beyond the obvious

plot and storyline and into the meaning or what the film/director is trying to tell us.  The

darkness in the film can be seen as unconsciousness.  It can also be seen as a prediction

of the darkness that will occur in the world when the last wave comes.  The last wave

meaning a giant tidal wave that will cover the earth , killing humanity.  This idea is

similar to the Christian belief in the flood that was sent down centuries ago to destroy all

the evil in the world.  Also, all the modern aspects of the movie (courtroom, David's

office..etc) are filmed in light.  While, all of the Aborigi

1170.      the last wave by peter weir

SOC 118

"The Last Wave"-Peter Weir dir.(1977)

In the film, The Last Wave,  the director is trying to communicate the idea of a

culture within a culture or sub culture.  The dominant culture in the film is the white

members of society living in Australia.  The subculture in the film is the Aborigines who

were natives to the land before the white people settled in Australia.  The natives

sustained their cultural beliefs and ideologies while living in largely populated cities.

The dominant white culture imposes their laws , ideas of societal values and moral

beliefs on the native Aborigines.  Forcing them to abide by a different law system and

way of life than what their peoples have practiced for hundreds of years.  In the movie

the lawyer, David, represents the dominant culture to the Aborigines because he

represents the law that is controlling their fate in the white culture.

The director is also giving us many symbols or visual communication such as the

consistency of water in the film as well as, the overbearing control of darkness.  The film

is shot in shadows and overall is very dark , almost forcing us to look beyond the obvious

plot and storyline and into the meaning or what the film/director is trying to tell us.  The

darkness in the film can be seen as unconsciousness.  It can also be seen as a prediction

of the darkness that will occur in the world when the last wave comes.  The last wave

meaning a giant tidal wave that will cover the earth , killing humanity.  This idea is

similar to the Christian belief in the flood that was sent down centuries ago to destroy all

the evil in the world.  Also, all the modern aspects of the movie (courtroom, David's

office..etc) are filmed in light.  While, all of the Aborigines' scenes are filmed in darkness

or shadows.  Giving me the impression of something mysterious or not understood by the

whites concerning the Aborigines.  The fact that all the modern scenes are filmed in light

can also support the idea of the white culture being the predominate culture in the film

but yet not dominant enough to take away the shadows(mysterious , mystical)aspect of

the Aborigines.

The lawyer, David, Also goes through a series of dreams and premonitions.  This

is stressing the idea of mind power and mystical strength that the Aborigines have.  In

that way they can be seen as the dominant culture.  David is stuck between two worlds.

The world he knows and understands and the other world that he is definitely a part of

but does not understand.  As he tries to grapple with the idea that he may be linked to the

Aborigines, his own cultural beliefs are changing.  He is forming a complex view on life,

a combination of ways of viewing the world by both the white Christians and the

Aborigines.

The dream sequences in the film are sometimes difficult to distinguish from the

warped reality that is being portrayed.  Overall, they do give us a chance to think and

attempt to comprehend what is going through the mind of David.  For he cannot

distinguish at times what is real and not real.  But what is real depends on if you perceive

it as real as an individual.

To me, the film is saying that their is a definite cultural conflict between the

Christians and the Aborigines living in Australia.  Whichever one the viewer perceives as

being dominant or subdominant, he will perceive the fact that their is a culture clash.

The viewer may also see the idea that the Aborigines(tribal) are not understood in white

society and David is the only one who can.  He is the link between the two worlds, and at

the same time he is the wall separating them.

Overall, I feel the film was good concerning the ideas behind the storyline.  But

due in part to the director's fetish for water and darkness, he almost destroys the storyline

to me.  And without the storyline, you cannot interpret the film in a well structured way.

Also,  the symbolism is so predominant, it points at the viewers lack of intelligence .

Similar to someone repeating themselves while speaking over and over and over and

over, merely to stress a point.  Too bad by that time the point is beyond stressed it is

almost destroyed completely.

SOC 118

"The Last Wave"-Peter Weir dir.(1977)

In the film, The Last Wave,  the director is trying to communicate the idea of a

culture within a culture or sub culture.  The dominant culture in the film is the white

members of society living in Australia.  The subculture in the film is the Aborigines who

were natives to the land before the white people settled in Australia.  The natives

sustained their cultural beliefs and ideologies while living in largely populated cities.

The dominant white culture imposes their laws , ideas of societal values and moral

beliefs on the native Aborigines.  Forcing them to abide by a different law system and

way of life than what their peoples have practiced for hundreds of years.  In the movie

the lawyer, David, represents the dominant culture to the Aborigines because he

represents the law that is controlling their fate in the white culture.

The director is also giving us many symbols or visual communication such as the

consistency of water in the film as well as, the overbearing control of darkness.  The film

is shot in shadows and overall is very dark , almost forcing us to look beyond the obvious

plot and storyline and into the meaning or what the film/director is trying to tell us.  The

darkness in the film can be seen as unconsciousness.  It can also be seen as a prediction

of the darkness that will occur in the world when the last wave comes.  The last wave

meaning a giant tidal wave that will cover the earth , killing humanity.  This idea is

similar to the Christian belief in the flood that was sent down centuries ago to destroy all

the evil in the world.  Also, all the modern aspects of the movie (courtroom, David's

office..etc) are filmed in light.  While, all of the Aborigines' scenes are filmed in darkness

or shadows.  Giving me the impression of something mysterious or not understood by the

whites concerning the Aborigines.  The fact that all the modern scenes are filmed in light

can also support the idea of the white culture being the predominate culture in the film

but yet not dominant enough to take away the shadows(mysterious , mystical)aspect of

the Aborigines.

The lawyer, David, Also goes through a series of dreams and premonitions.  This

is stressing the idea of mind power and mystical strength that the Aborigines have.  In

that way they can be seen as the dominant culture.  David is stuck between two worlds.

The world he knows and understands and the other world that he is definitely a part of

but does not understand.  As he tries to grapple with the idea that he may be linked to the

Aborigines, his own cultural beliefs are changing.  He is forming a complex view on life,

a combination of ways of viewing the world by both the white Christians and the

Aborigines.

The dream sequences in the film are sometimes difficult to distinguish from the

warped reality that is being portrayed.  Overall, they do give us a chance to think and

attempt to comprehend what is going through the mind of David.  For he cannot

distinguish at times what is real and not real.  But what is real depends on if you perceive

it as real as an individual.

To me, the film is saying that their is a definite cultural conflict between the

Christians and the Aborigines living in Australia.  Whichever one the viewer perceives as

being dominant or subdominant, he will perceive the fact that their is a culture clash.

The viewer may also see the idea that the Aborigines(tribal) are not understood in white

society and David is the only one who can.  He is the link between the two worlds, and at

the same time he is the wall separating them.

Overall, I feel the film was good concerning the ideas behind the storyline.  But

due in part to the director's fetish for water and darkness, he almost destroys the storyline

to me.  And without the storyline, you cannot interpret the film in a well structured way.

Also,  the symbolism is so predominant, it points at the viewers lack of intelligence .

Similar to someone repeating themselves while speaking over and over and over and

over, merely to stress a point.  Too bad by that time the point is beyond stressed it is

almost destroyed completely.

SOC 118

"The Last Wave"-Peter Weir dir.(1977)

In the film, The Last Wave,  the director is trying to communicate the idea of a

culture within a culture or sub culture.  The dominant culture in the film is the white

members of society living in Australia.  The subculture in the film is the Aborigines who

were natives to the land before the white people settled in Australia.  The natives

sustained their cultural beliefs and ideologies while living in largely populated cities.

The dominant white culture imposes their laws , ideas of societal values and moral

beliefs on the native Aborigines.  Forcing them to abide by a different law system and

way of life than what their peoples have practiced for hundreds of years.  In the movie

the lawyer, David, represents the dominant culture to the Aborigines because he

represents the law that is controlling their fate in the white culture.

The director is also giving us many symbols or visual communication such as the

consistency of water in the film as well as, the overbearing control of darkness.  The film

is shot in shadows and overall is very dark , almost forcing us to look beyond the obvious

plot and storyline and into the meaning or what the film/director is trying to tell us.  The

darkness in the film can be seen as unconsciousness.  It can also be seen as a prediction

of the darkness that will occur in the world when the last wave comes.  The last wave

meaning a giant tidal wave that will cover the earth , killing humanity.  This idea is

similar to the Christian belief in the flood that was sent down centuries ago to destroy all

the evil in the world.  Also, all the modern aspects of the movie (courtroom, David's

office..etc) are filmed in light.  While, all of the Aborigi

1171.      The Last Wave

The Last Wave

SOC 118 "The Last Wave"-Peter Weir dir.(1977)

In the film, The Last Wave,  the director is trying to communicate the

idea of a culture within a culture or sub culture.  The dominant culture in the

film is the white members of society living in Australia.  The subculture in the

film is the Aborigines who were natives to the land before the white people

settled in Australia.  The natives sustained their cultural beliefs and

ideologies while living in largely populated cities. The dominant white culture

imposes their laws , ideas of societal values and moral beliefs on the native

Aborigines.  Forcing them to abide by a different law system and way of life

than what their peoples have practiced for hundreds of years.  In the movie the

lawyer, David, represents the dominant culture to the Aborigines because he

represents the law that is controlling their fate in the white culture.

The director is also giving us many symbols or visual communication such

as the consistency of water in the film as well as, the overbearing control of

darkness.  The film is shot in shadows and overall is very dark , almost forcing

us to look beyond the obvious plot and storyline and into the meaning or what

the film/director is trying to tell us.  The darkness in the film can be seen as

unconsciousness.  It can also be seen as a prediction of the darkness that will

occur in the world when the last wave comes.  The last wave meaning a giant

tidal wave that will cover the earth , killing humanity.  This idea is similar

to the Christian belief in the flood that was sent down centuries ago to destroy

all the evil in the world.  Also, all the modern aspects of the movie (courtroom,

David's office..etc) are filmed in light.  While, all of the Aborigines' scenes

are filmed in darkness or shadows.  Giving me the impression of something

mysterious or not understood by the whites concerning the Aborigines.  The fact

that all the modern scenes are filmed in light can also support the idea of the

white culture being the predominate culture in the film but yet not dominant

enough to take away the shadows(mysterious , mystical)aspect of the Aborigines.

The lawyer, David, Also goes through a series of dreams and premonitions.

This is stressing the idea of mind power and mystical strength that the

Aborigines have.  In that way they can be seen as the dominant culture.  David

is stuck between two worlds. The world he knows and understands and the other

world that he is definitely a part of but does not understand.  As he tries to

grapple with the idea that he may be linked to the Aborigines, his own cultural

beliefs are changing.  He is forming a complex view on life, a combination of

ways of viewing the world by both the white Christians and the Aborigines.

The dream sequences in the film are sometimes difficult to distinguish

from the warped reality that is being portrayed.  Overall, they do give us a

chance to think and attempt to comprehend what is going through the mind of

David.  For he cannot distinguish at times what is real and not real.  But what

is real depends on if you perceive it as real as an individual.

To me, the film is saying that their is a definite cultural conflict

between the Christians and the Aborigines living in Australia.  Whichever one

the viewer perceives as being dominant or subdominant, he will perceive the fact

that their is a culture clash. The viewer may also see the idea that the

Aborigines(tribal) are not understood in white society and David is the only one

who can.  He is the link between the two worlds, and at the same time he is the

wall separating them.

Overall, I feel the film was good concerning the ideas behind the

storyline.  But due in part to the director's fetish for water and darkness, he

almost destroys the storyline to me.  And without the storyline, you cannot

interpret the film in a well structured way. Also,  the symbolism is so

predominant, it points at the viewers lack of intelligence . Similar to someone

repeating themselves while speaking over and over and over and over, merely to

stress a point.  Too bad by that time the point is beyond stressed it is almost

destroyed completely.

1172.      The Life and Hard Times of Grantly Marshall

"The Life and Hard Times of Grantly Marshall"

Could anyone imagine having no money, few friends, and no chance to succeed in life? Well, for one individual this situation is all too real.

Grantly Reed Marshall, a 18-year-old high school student from Franklin Square, Ohio, had big dreams but little money. Grantly had reached a crucial time in his life. He desperately wanted to attend college. Grantly's siblings were much smarter than he was, as were his parents. None of his classmates expected Grantly to amount to anything, but this made him more determined.

Grantly's family was very different.  They had one light bulb in their entire house. Grantly got his name when his mother read the book Childbirth Without Pain, by Dr. Grantly Reed.

His father ran for president in 1928 under the Communist Party.

During this period in his life when they usually excluded him from the other kids, and was the poorest he would ever be, Grantly wanted most of all to go to college.

The best things Grantly knew how to do was act and recite poetry. He would memorize poetry with more than twenty stanzas in a week and recite them to anyone who would listen to him speak.

Finally, with scholarships, student aid and multiple jobs Grantly fulfilled his dream of attending college. Majoring in theater Grantly graduated Kent State University in 1972 with honors.

After he graduated, Grantly did act in local theaters for a few weeks and then decided to do to the Summer Olympics in Munich, Germany. Just weeks before he was to leave Grantly's father fell ill and died shortly there after. Grantly knew his father would want him to go to the Olympics anyway so off he went to Germany. Because he was such a passionate speaker Grantly could speak many languages and had no problems in Europe.

A few people Grantly did know and was friends with began to wonder about him after the Summer Games ended and he did not return. Then, one day Gary Johnson, one of Grantly's only friend's received a phone call. It was none other than Grantly. It ended up that Grantly loved Germany and he got a job as a German Postal Worker. Gary had many more long talks with Grantly. These talks did not cost either of them a cent because Grantly always called from the post office. This did make Gary cautious but, they were never caught.

Grantly, once again started acting and reciting poetry. People began to notice how good he was and Grantly began to make friends with more important people in Munich. Grantly then got the opportunity to produce a play entitled "The Sleuth." It was a huge hit throughout the city. Grantly then began to get more opportunities to produce plays. Soon Grantly Reed Marshal was the most sought after play producer in Munich.

For his 20th high school reunion Grantly came back to the states. He was dared by a few students to memorize and recite the poem "Casey at the Bat" at the next night's reception. Grantly went to the library that afternoon and with a copy of the poem walked the streets trying to embed the words im his mind.Grantly received a standing ovation as he coolly stepped up to the microphone. Without anything to rely on but his memory, he stood before the audience and recited the poem with but one flaw.

Everyone agreed Granlty had done quite a bot for himself. He started by acting in small plays and now he produced them with a budget over one million dollars. Not a sole their could disagree that poor, Grantly Reed Marshall was the richest man their. Not for his money, but for what he had the most of, a good personality.

By                                                   Graham T. Sobotka

1173.      The Lord of the Flies

The adventure novel, The Lord of the Flies,  was an epic tale that depicted the different

facets of the human spirit.  It was written by William Golding in the 1950's and recieved

many awards.  Idt was declared the "Outstanding Novel of the Year" by E.M. Forrester.

The author did in no wat mean for this story to be biographical, but Mr. Golding depicted

well the many different aspect of human nature.  The book has been described as

"provacative, vivid and enthralling," but Time and Tide said it best  when they wrote, "It is

not only a first-rate adventure story but a parable of our times."

The novel took place on an  island probably somewhere in the middle of the

Atlantic.  This can be inferred because of the fact that the boys are British and that they

arrived on the island by way of a plane cradsh.  The story also occurred during wartime.

The story begins when a group of British boys crash on an uninhabited island.  In

the beginning they area all unruly and unmorginized.  Finally, a boy by the nakme of Ralph

decides to take charge and call a meeting.  The boys declare him "chief" and then begin to

follow his lead.  Ralph is also assisted by another lad by the name of Piggy.  The group of

boys were getting along fine until Jack Merridew, a boy who wanted to be "chief" instead,

decided to go his own way.  He disobeyed Ralph and did things his own way.  He was to

preoccupied witdh his own whims to do the act that was most important on the island,

which was to keep the signal going so they could be rescued.  Finally, Jack went against

Ralph and declared that if any of the other boys wanted to have "fun," which meant acting

like savages, that they should follow him.  The boys splot up into two groups and then

havoc insued.  Jacks group went around hunting and being barbaric while the others tried

to get rescued.  In the end Jack had gotten all the boys except Ralph to run around loke

wild animals.  Then when Jack got tired of dealing with Ralph, he convinced wveryone to

try and kill him.  By then however, a navy ship had come an they could never get around

to the nasty deed.

There was more than one antagonist in the story, The Lord of the Flies.  They

were Ralph, Piggy, and all the other boys who tried to sustain order and law on the island.

To begin with, Ralph was the "first" chief on the island.  In the beginning, he was the one

who tdook charge of the group okf boys and called them to order.  He tried to organize a

strategy dto get off the island and make all the boys understand why it was he was doing

what he was doing.  Piggy was basically Ralph's "right-hand" man.  He was probably the

mkore natural leader, but since he did not possess the confidence to stand up alone, he did

all he wanted to do "through" Ralph.  These boys were the antagonists because they

desperately tried to get off the island and tried not to let anyone or anything get in their

way.

The antagonist in the story in the story was Jack Merridew.  He was the boy in the

story who openly showed his dislike for the procedures Ralph was taking as chief of the

island.  He continually disobeyed Ralph and eventually broke off and went his own

direction.  In turn, many of the boys followed Jack and his "savage philosophy."  Jack and

these boys started their own "tribe" and ended up causing more problems than they

solved.  He also prevented Ralph from being an effective leader by basically taking away

all his power.  When the other boys saw how much "fun" Jack was having they all left

Ralph and  followed every action Jacck took.  When the boys left, Rallph did not have

many boys helping him, dtherefore, he could not accomploish the simple taske of keeping

the signal fire going.

The theme of the novel was the fact that even  the most avid attempts to be

civilized will be squandeered by the savage nature of the human spirit.  The group of boys

were stranded on the island with almost no chance of survival and persevered through it

all.  One of the most sensible boys, Ralph, eeven tried to organize the group and get them

to follow his instructions.  He had them gbuild shelters and construct a smoke signal that

would run throughout the day.  In the beginning the group carried these instructions out,

but then anarchy overtook them.  Jack Merridew proceeded to disregard all of Ralph's

instructions and followed his own whims and fancies.  His plan while he was on the island

was to hunt and have "fun."  He did not realize that his savage nature was beginning to

surface and by the time he did realize this it was too late, the way of life had consumed

him.  The author attempts to show the reader that people must overcome their own basic

faults before they can live in active, productove, and functioning society.  "The theme is an

attempt to trace the defects of society back to the defects of juman natrue." -William

Golding.

In the  novel, The Lord of the Flies, the main conflict was between Ralph and Jack.

The two boyks comkpletely differed in their approach on what to do while stranded on the

island.  This brought about many confrontations that further increased the animosity

between them.  "Jack stood up as he said this, the bloodied knife in his hand.  The two

boys faced each other.  There was the brilliant world of hunting, tactics, fierce

exhilaration, skill; and there was the world of longing and baffled commonsense." - pg. 71.

There was was also the conflict between the boys and the actual island.  The boys were

flung into a place which was a mystery to them and through all adversity persevered and

survived in the most trying of circumsstances.  There were no adults on the island, so the

boys were forced to organize themselves and their actions.  Until savagery overtook them

in the end, the boys did an excellent job, considering the circumstances, of coordinating

their actions and surviving while on the island.  They had sufficiently fed themselves with

the fruit that was available and had a ready supply of drinking water when it was needed.

The two previously discussed conflicts were both external and a combination of  "Man

versus Another" and "Man versus Nature."

The novel, The Lord of the Flies, contains many literary devices used to enhance

the reader's grasp on the novels concepts.  "The coral was scribbled in the sea as though a

giant had bewnt down to reproduce the shape o the island in a flowing chalk line but tired

before he had finished."  - pg. 29.  This passage is comparing  the coral reef in the ocean

to the unfinished scribblings of a giant and is a good example of  a simile because it using

the word "as."  "The breezes that on the lagoon had chased their tails like kittens were

finding their way across the platform and into the forest." - pg. 34.  This statement is

saying that the breezes on the lagoon were reocurring like kittens chasing their own tails

and is another good example of a simile.  " ...whole limbs yielded passionately to the

yellow flames that poured upwards and shook a great beardof flame twenty feet in the

air." - pg. 41.  This quote is saying that limbs of trees "yielded" to flames and since tree

limbs cannot perform this human quality consciensly, this is an example of personification.

"When these breezes reached the platform the palm fronds would whisper winged things

in the shade." - pg. 15.  Once again, this sentence is implying that the palm fronds were

whispering, and since a plant cannot perform this act this is another example of

personification.  "Suddenly Piggy was a bubble with decorous excitement." - pg. 15.  This

statement furhter clarifies what Piggy looked like in the reader's mind so this is an

example of imagery.  " ...the conch exploded into a thousand white fragments and ceased

to exist."  - pg. 181. This excerpt also clearly states what the conch looked like so this is

an example of imagery.  "`There

"`Fancy thinking the Beast was something you could hunt and kill!' said the head.

`You knew didn't you?  I'm part of you?  Close, close, close!  I'm the reason why it's no

go? Why things are what they are?'" - pg. 143.  This is what "The Lord of the Flies" said

to Simon while he was in the forest.  The "Lord" meant that it was funny how the boys

thought that  the Beast was an animal that they could hunt and kill when it was really their

own human thoughts and desires.  How the whole time they were looking for something

up on the mountain when all they had to do was look at themselves.  It is important to the

message of the story because it the first instance where the author reveals and one of the

boys realizes what the group is really up against.  Mr. Golding shows the reader that the

following sequence of events will depict the darkest sides of each of the boys and that they

will have to overcome themselves in order to have any chance at survival.

1174.      The Lost World 2

The Lost World

Michael Crichton

Bantam Books

I read Michael Crichton's The Lost World. (tm)  In the following paragraphs, I will not only explain the book, but also give my critique of it.  I will also give a paragraph that was probably the best paragraph in the book, in my opinion.

The book starts out with Ian Malcolm, a mathematician who had already had an experience with live dinosaurs a couple of years ago on another island.  He has pretty much blocked that experience from his mind.  Anyway, it also talks about a man named Doctor Levine.  This man talks at a lecture that Malcolm is watching about the theory of there being a lost world, an island, undiscovered, that has extinct animals on it, particularly dinosaurs.  Malcolm dismisses this idea saying that is the dumbest thing he ever heard.  After the lecture, Levine talks to Malcolm to help him in finding this "Lost World."  Malcolm again dismisses him.  After a couple weeks of Levine nagging him, he sort of gets more into the idea, and starts to believe it.  Levine Narrows it down to one island, Isla Sorna, and just leaves without telling anyone.

Two of Levine's students, Kelly and Arby, get worried when he wasn't there to teach their class, because they were supposed to go on a field trip with him that day.  They go to a guy named Doctor Thorne, a guy that was making specialized equipment for their trip.  He said that he didn't know what was going on.  They contact Malcolm and they go to Levine's apartment.  They go to his computer room and see all this stuff on the wall about site B.  They go onto the computer and Arby gets all this stuff about site B on it.  Malcolm then finds out that the island that Levine went to was Isla Sorna.  They plan this whole trip to go there, just Malcolm, Thorne, and Thorne's assistant, Eddie.  They also call a woman named Sarah Harding, a scientist in Africa, to come with them.  She had to take a flight in a while, she was too far to just go with them.  They told the kids that they couldn't go.  They leave for a helicopter with a specialized explorer, and two trailers, with a lot of equipment. On the way there, Thorne gets a call from Arby saying good luck.  They get to the island and search for Levine, with this device they have, the find him and go back to the trailer.  Before the go back, you find out that that Kelly and Arby hid in a compartment in the trailer.  They find a computer and get into the system and find that there are camera's all around the islands.

Sarah Harding tries to find a way to the island, but can't, until she finds a boat going there.  The People on the boat, Dodgson, King, and Baselton.  They have plans to go to the island and steal some eggs.  Sarah doesn't know this and goes for the ride.  On the way there, Dodgson pushes her off the boat.  She swims to a cave and gets on the island.

Meanwhile, Levine, Thorne, and Eddie erect a high hide.  This protects them from the dinosaurs. They had a close encounter with Parasaurs when a whole herd of them went past the high hide.  They didn't notice it though.  Later on, Arby sees someone on the screen.  Its Sarah.  They go to pick her up.

Dodgson, King, and Baselton are stealing eggs.  The get to the T-Rex's nest, the expect the T-Rex to not be able to see as long as they don't move.  Malcolm says that they are misinformed and in the chase, Baselton and King Die, and Dodgson gets away and is chased by these small dinosaurs into this shed, and he falls asleep.  During that chase, Levine and Eddie were at the nest, and Eddie saw a hurt baby T-Rex.  Levine tells him to shoot it, but instead, Eddie brings it back to the trailer.  Ian and Sarah try to heal it while everyone else goes back to the high hide.  While they are mending it's broken arm, the parents come back for it.  They keep bashing the trailer until they figure out what they are after, the baby.  They give back the baby, and the dinosaurs seem to stop the beating of the trailer.  They bring the baby a little bit into the woods, and they then come back to beat the trailer again.  They hit it closer and closer to the cliff, until half of it is hanging off the cliff, only being held by the connector.  They realize that they have to get to the top part of the trailer.  They make it up.  Just then, Thorne comes in the jeep and the dinosaurs stop to protect their baby.  They then go back to the nest.  Malcolm is very hurt and takes some morphine for the pain, Sarah just has a gash on her fore head and a couple of bumps and bruises, but that's it.  There is now less than five hours until the return helicopter comes.

Meanwhile, Levine, Eddie, Kelly, and Arby are at the high hide.  They see that Malcolm and Sarah made it.  Suddenly, Levine sees some raptors in the distance, coming towards the high hide.  They almost go straight by, until one of them smelled a candy wrapper.  The find the high hide, and they start to attack it.  They knock off Arby and Eddie.  Arby gets into a cage they had set up at the bottom, but Eddie is killed.  The key is still in the lock of the cage, so Arby tries to lock it, he does, but he drops the key and a raptor gets it.  The raptors rip the cage off and push it down the hill.  Thorne, Levine, and Malcolm go after Arby and Kelly and Sarah go after the raptor with the key.  Sarah drives the motorcycle and Kelly is sitting behind her.  Kelly has to shoot the raptor and does it on like her third try.  They get the key and fine the others who got Arby back.  They go to the worker village to rest and to try to find gas for the jeep.  The raptors that were chasing them mysteriously stopped before the worker village.  They mend Arby while Thorne goes out to find gas somewhere.  He goes around back into a shed with these barrels in it.  They were all empty.  He then heard breathing, but he didn't see anything.  Suddenly, the lights went on inside the house and he saw 2 figures standing there, changing their colors, chameleon dinosaurs.  Inside, Levine also saw that they were chameleon dinosaurs and told Sarah.  Sarah and Levine went outside with flashlights and waved them around at the dinosaurs, who couldn't adapt to the rapid changing, and ran away.

They went inside and Thorne mentioned the other car, and that it would be good if it still worked, and then remembered that there was a switchboard that would fix the car.  Sarah goes there and sees about 50 dinosaurs around the jeep.  She climbs onto a tree branch so that she could get over them and onto the jeep, she misses the jeep and goes under it.  Meanwhile, Dodgson wakes up, and finds Diego's, Levine's guide who dies within the first hour on the island, and open's it, he finds a 2-way radio and hears Sarah and Thorne talking.  He goes to where Sarah is and ends up hiding under the car with her.  The dinosaurs disappear because a T-Rex is coming.  Sarah pushes Dodgson out and the T-Rex takes Dodgson and leaves, letting Sarah get the jeep going, she goes straight to the Helicopter landing sight and is too late, so she didn't get to tell him to wait so she could get the others.  She starts to go back.

Meanwhile, at the house, Levine figures out why the raptors stopped.  It was because of the chameleon dinosaurs, but now that it was morning, the chameleon dinosaurs weren't a threat, so the raptors would come to the house.  His theory was right, and Thorne and Levine end up holding the door shut while the raptors try to get in from all ways.  Kelly is on the computer trying to find a way off the island when she sees all the graphics on the screen and knows that the cord to the computer must go through the floor, which must have enough room for a repairman to get through, so they all go through there and when they get out, the see Sarah and head for the boathouse.  They get there and see a boat in there.  They take the boat off the island, and go home.

I think the only weakness of the book is that it is too much like the first book, Jurassic Park. (tm)  The characters have similar strengths and weaknesses, two kids, etc.

I also thing that there are numerous strengths to the book.  It was very compelling, and some nights I'd be up until stupid hours in the morning reading it because I couldn't put it down.  It was a thrilling book.  It kept you wanting more.

A particular passage which impressed me was PP 422 & 423, Chapter Exit, the whole chapter.  I particularly liked this chapter because it sort of turned the table on humans.  We always think we are superior to every other animal in the world, always taking them for granted, killing them and eating them.  The T-Rex brings Dodgson back to the nest for the babies to eat, sort of like when a bird brings a worm home for its babies, only we're the worms.

In conclusion, I really liked this book, it is my favorite book now.  I would definitely recommend it to anyone.  No matter what they are interested in.  I didn't read Jurassic Park, (tm) but I am definitely going to, and I can't wait to see the Lost World (tm) on the big screen.

1175.      The Lost World

The Lost World by Michael Crichton is a great science fiction novel about a group of scientists of different fields that go on an expedition to an island to bring back a rich and stubborn scientist from a test expedition that he cared about more than his life.

The "lost world" is an island off the coast of Costa Rica called Isla Sorna on which a company named InGen (Short for International Genetics Corps.), genetically engineered and contrived dinosaurs which were extinct since 65 million years.  This island was used as an incubator for the dinosaurs before they were shipped to another island close by called Isla Nublar.  Isla Nublar was leased by InGen for a biological preserve for tourists to see the dinosaurs at a certain cost.  After a tremendous tragedy at Isla Nublar, the company went bankrupt and destroyed Isla Nublar.  They did not bother to mess with Isla Sorna because  of publicity reasons.  For six years no one knew about this lost world.  Many times there were cases of large unknown animals at Costa Rica, but no one found out what they actually were or where they had come from.  A rich scientist named Dr. Richard Levine performed research on some of these animals and found some clues which led him to the lost island.  He set out on a test expedition with his colleague to find out exactly if he was on the right island.  He missed his boat back home to the states.  So, he called his friend, Dr. Thorne with his satellite phone and left a message asking him to come down to the island and get on with the expedition.  Dr. Thorne, Ian Malcolm, Dr. Sarah Harding , and two kids that sneaked in with them, went to the island to rescue Dr. Levine and explore the behaviors of the dinosaurs on the island.  When they get to the island, they find out that they aren't the only ones that were looking for dinosaurs.  Three men led by Dodgson from another genetics company called Biosyn, were also there, looking for dinosaurs to open up their own theme park.

Many things go wrong on the island.  Some of the people get too close to the dinosaurs and they get into trouble, Sarah Harding takes a baby from the Tyrannasaurus's nest because it looked sick and the mother comes looking for her baby.

This island was lost by InGen for six years, and it was the only place in the world that time had passed by.  Since 65 million years, the dinosaurs have been extinct.  Now, on this island, real live dinosaurs are the rulers of this lost world.  This lost world was found by the humans that went on this unusual expedition and found themselves in the middle of "a bird's nest."  If no one had ever "found" this world of chaos, then many people would have been happier.  The paleontologists will lose their jobs because they won't have to dig for bones anymore.  The museums would go bankrupt because everyone would see the real dinosaurs rather than their bones.  But many new jobs would also be created.  Many rich companies would create major theme parks featuring "The Hopping Compy."  There would be extra expeditions to the island by people who would kidnap some dinosaurs to breed their own.  There would also be many lives lost because of the preciousness of the Tyrannasaurus Rex and the Velociraptor.  If some of these dinosaurs escaped, they would terrorize human existence.  Then once again, the world would be ruled by the maximum ferocious dinosaurs.

The lost world which was bound to be found , would have been better if it didn't even exist.  Many lives would have been saved.  The possibility of chaos in the world would not have existed.  The human race would have been saved.  The "lost world" should have remained lost.

1176.      The Man Who Stepped into Yesterday

The Man who Stepped into Yesterday

Once upon a time, there was a mountain which rose out of a vast, green forest.  and in the forest there were birds and lakes and rocks and trees and rivers.  the forest was also inhabited by a small group of people called the lizards.  the lizards were a simple people and they had lived in the forest undisturbed for thousands of years in utter peace and tranquillity.  once a year spring came, and the first blossoms began to show, the lizards would gather at the base of the mountain to give thanks for all that they had. they thanked the birds and they thanked the lakes and they thanked the rocks and the trees and the rivers; but most importantly, they thanked icculus.  icculus lived at the top of the mountain, or at least everyone thought so, for no one had ever actually seen him.  but they knew he existed, because they had the helping friendly book.  icculus had given the helping friendly book to the lizards thousands of years earlier as a gift.  it contained all of the knowledge inherent in the universe, and had enabled the lizards to exist in harmony with nature for years.  and so they lived; until one day a traveler arrived in gamehendge.  his name was wilson and he was quickly intrigued by the lizards way of life.  he asked if he could stay and live in the forest; and the lizards, who had never seen an outsider were happy to oblige.  wilson lived with the lizards for a few years, studying the ways of the helping friendly book, and all was well.  until one morning when they awoke and the book was gone.  wilson explained that he had hidden the book, knowing that the lizards had become dependent on it for survival.  he declared himself king and enslaved the innocent people of gamehendge.  he cut down the trees and built a city, which he called prussia.  and in the center of the city he built a castle, and locked in the highest tower of the castle lay the helping friendly book, out of the reach of the lizards forever.

But our story begins at a different time, not in gamehendge, but on a suburban street in long island, and our hero is no king sitting in a castle, he is a retired colonel shaving in his bathroom.  colonel forbin looked square in the mirror and dragged the blade across his cold creamed skin.  he saw the tired little folds of flesh that lay deep beneath his eyes.  fifty-two years of obedient self-restraint, of hiding his tension behind a serene veil of composure.  for fifty-two years he had piled it all on the back burner, and for fifty-two years it had boiled, frothing over in a turbulent storm inside of him.  it had escaped through his eyes, reacting with the smoke and the fluorescent lights and slowly accumulated into the nape of his neck and he thought again about the door.

he had discovered the door some months back on one of his ritualistic morning walks with his dog, mcgrupp.  it had started out as a typical stroll with mcgrupp bounding joyously ahead of the preoccupied colonel.  as they reached the apex of the hill, he saw it, and it caught his curiosity, and he knew it had always been there, and felt foolish for overlooking it, but he soon found that it was impossible to over look it anymore, and slowly his newly acquired knowledge transformed his dreary life into a prison from which there was only one escape.  and on this morning, colonel forbin stepped through the door...

passing through the corridor i came upon an ancient knight who leaned against the wall in gnarly armor, he was on his way to see the king, wilson.  he led me through the streets of prussia talking as he tried to crush a bug that scurried underneath his boot heel.  he said there was a place where we should go, so he led me through the forest to the edge of a lagoon by which we wandered *till we reached a bubbling spring.  the knight grew very quiet as we stood there then he lifted up his visor and he turned to me and he began to sing...

he said, "i come from the land of darkness, i come from the land of doom," he said, "i come from the land of gamehendge, from the land of the big baboon.  but i*m never going back there and i couldn*t if i tried, 'cause i come from the land of lizards and the lizards they have died."

he told me that the lizards were a race of people practically extinct from doing things that smart people don*t do, he said that he was once a lizard too.  his name was rutherford the brave and he was on a quest to save his people from the fate that lay before them.  their clumsy end was perilously near.  the lizards would be saved, he said, if they could be enlightened by the writings of the helping friendly book.  in all of prussia only one existed, and wilson had declared that any person who possessed it was a crook.  the helping friendly book, it seemed, possessed the ancient secrets of eternal joy and never-ending splendor, the trick was to surrender to the flow.  we walked along beneath the moon, he lead us through the bush *til soon we saw before our eyes a raging river.  he said that we could swim it if we tried.  and saying this the night dove in forgetting that his suit of arms would surely weigh him down and so he sunk.  and as his body disappeared before me, I bowed my head in silence and remembered all the thoughts that he had thunk.

But rutherford and forbin weren*t alone, and suddenly an unexpected movement caught his eye.  on the far side of the river he saw a shaggy creature standing in the weeds who stared across at forbin with an unrelenting gaze.  a gigantic mass of muscles and claws, the hideous beast reared back and hurled himself in the water and swam toward the region where rutherford lay.  in a flash the beast was gone, underneath the surface to the frosty depths below while forbin, bewildered, waited alone.  the seconds dragged by in what seemed like hours *til finally the colonel felt it all had been a dream.  defeated, he bowed his head then turned to go.  suddenly, with a roar, the creature emerged before him and held the brave knights body to the sky. the creature laid the knight upon the shore and the colonel fell beside his friend in prayer that he*d survive, and rutherford, brave rutherford, was alive.

forbin and the unit monster were crouched over the soggy knight carefully removing his bulky helmet when the colonel heard a sound behind him.  he turned and came face to face with an enormous, shaggy, horse-like creature covered from head to tail with alternating blotches of brown and white.  it was a two-toned multi-beast, and atop the multi-beast sat the most beautiful woman the colonel had ever seen.  after fifty-two years of undaunted bachelor hood, the colonel felt a feeling rush over him as he had never felt before...

the sky is burning in this lonely man, and i kneel by the river and i feel the sand and the wind.  the wind from beyond the mountain.  and she comes to me in this lonely land, and looks down from the multi-beast on which she rides like the wind...

tela was born in a vulgar crooked hut in the shadow of wilson*s castle.  venomous scorn from the life of bitter toil, glory esteem fueled by her hatred it grew, swelling to the point where it would burst at the seems, there was nothing she could do.

tela, tela, jewel of wilson*s foul domain, a lullaby the breezes whisper.  i look into her eyes and my frozen heart begins to thaw, and it burns, *til layer after layer melts away into a pool, a sky blue mirror of her eyes.  my soul is made of marble, but in her gaze i crumble into dust and drift away on the wind.

tela grew strong, her struggle to endure, time touched her wounds and shelter proved the cure.  each passing day seemed to feed the brazen serpent locked inside and liberate the spirit she*d concealed for so long.  there was no place left to hide.

Tela reached out her hand and helped forbin onto the back of the multi-beast, and together they rode off into the forest.  as they rode, tela explained to him about wilson and the helping friendly book.  she told the colonel that she was part of a revolution to overthrow the evil king.  the leader of the revolution was a lizard named errand wolfe who was out to avenge the death of his son roger.  roger, she said, had been executed by wilson at the age of fourteen on suspicion of treason.  he had been abducted from his home and hung in the public square.

the two rode on in silence, deeper and deeper into the heart of the forest until they came to the outskirts of a small community.  tela explained to forbin that they had reached the base of the revolutionaries.  the colonel looked up and there in the center of the clearing stood errand wolfe.  he was a small man but his presence was overpowering.  he seemed to emit a kind of violent energy that sent chills down the colonel's spine.  as the multi-beast moved towards him, he raised his fist in anger and his voice filled the forest...

oh, out near stonehendge, i lived alone, oh out near gamehendge, i chafed a bone.  talk my duke a mountain, helping friendly book, in as far as fiefdom, i think you bad crook.  i talked to my son roger, rutherford the same.  when we had that meeting, over down near gamehendge.  wilson, king of prussia, i lay this hate on you, wilson, duke of lizards, i beg it all trune for you.  you got me back thinkin' that you*re the worst one, i must inquire wilson, can you still have fun?

Meanwhile, in the main square in prussia, the state of the revolution was taking another turn for the worst.  a crowd of people had gathered to witness the hanging of wilson*s account, mr. palmer.  it seemed that palmer had been a revolutionary himself and had been exhorting wilson*s money to fund the revolution.  palmer stood on the scaffold with wilson and the ac/dc bag, an electrified robot-hangman with a black bag over his head.  wilson seemed pleased as he began to speak...

mr. palmer is concerned with the thousand dollar question, just like roger he's a crazy little kid.  i*ve got the time if you've got the inclination so cheer up palmer, you*ll soon be dead.  the noose is hanging, at least you won*t die wondering, sit up and take notice, tell it like it is.  if i were near you i wouldn*t be far from you i*ve got the feeling you know what you did.  time to put your money where your mouth is, put *em in a field and let *em fight it out.  i*m running so fast my feet don*t touch the ground, i*m a stranger here, i*m going down.  let*s get down to the nitty gritty, let*s get the show on the road.  i*ll so you mine if you show me yours, i*m breathing hard - open the door.  brain dead, and made of money, no future at all.  pull down the blinds and run for cover.  who would*ve thought it, that*s where i am, no future at all, don*t sweat it, that*s where i am, whoa carry me down.

By that night, news of palmer*s death had traveled back to the camp.  spirits were low and colonel forbin felt devastated.

1177.      THe Matrix

Matrix

"Did you know that the First Matrix was designed to be a perfect human world, where none suffered, where everyone would be happy?  It was a disaster.  Some believe that we lacked the programming language to describe your perfect world, but I believe that, as a species, human beings define their reality through misery and suffering.  The perfect world was a dream that your primitive cerebrum kept trying to wake up from." - Agent Smith

"What is the Matrix?  Control.  The Matrix is a computer-generated dream world, built to keep us under control" - Morpheus

The Matrix is a neural interactive program, used to blind people from the truth.  The truth, being, that some point in the early 21st century, all of mankind was united and were excited after giving birth to "artificial intelligence".  This then produced an entire race of machines.  War against these machines, was upon the entire human race.  According to Morpheus, "We don't know who struck first, us or them.  But we know that it was us that scorched the sky".  This was due to the fact that the machines run on solar power, thus creating a defence for the humans against the machines.  The matrix was then created to keep the people under control in fear that they would overreact to the current state of the "real world".

The first matrix, as Agent Smith stated, was technically a disaster.  It was designed to be a perfect human world, a utopia, where none suffered.   According to Agent Smith, happiness cannot exist without suffering as "human beings define their reality through misery and suffering".  The perfect human world was unable to create realism about it and the people locked within the matrix were soon confused and the matrix had to be rebuilt.  Apparently, the "perfect world" was just too good to be true, and the human beings were not able to adapt to.  Thus a perfect matrix with no suffering is virtually impossible.  The human's could not adapt to this perfect matrix as was "denying the very thing that makes us human."  Even if the matrix was a world of no suffering, there is bound to be someone who is not going to be satisfied by his or her quality of life due to the psychological and moral differences between everyone.  As long as there is human interaction between human beings, someone is going to disagree causing conflict and suffering for another.  Even though the matrix is a computer program and a persons mind is locked within it, that doesn't mean that a person's actual personality and appearance is necessarily different and changeable through the program.  People are born with different personalities thus people within the matrix are those people with those different personalities.

The actual matrix that is seen in the movie, on the other hand, is based on the world we live in today, "the start of the 21st century".  In creating the second matrix, it was based on a world where there was social interaction, free will and the likelihood of suffering.  This is because we "define reality through misery and suffering".  Even if we were living in a utopian society, we must have misery and suffering in order to obtain happiness.  Some may see that people inside the Matrix are worse off than the people outside it.  Though, the people in the matrix are ignorant of their situation and thus putting them in the better situation.  For example, Cypher, who's mind has been freed by Morpheus, thinks back on the time when he chose that "red pill" that caused his mind to be freed.  Near the end of the film, Cypher decides to betray Morpheus as a ticket to Cypher's reinsertion into the Matrix.

Cypher: "If I had to choose between that (the real world) and the Matrix...I choose the Matrix."

Trinity: "The matrix isn't real."

Cypher: "I disagree, Trinity.  I think the Matrix can be more real than this world..."

Though the matrix is a form of utopia, there are still many problems about it.  There is still violence, inequality, etc.  The very factors, that outlines our world to be anything but a utopia.  Though this is the case, in The Matrix the matrix in fact is a utopia as it is able to keep people under control.  People live their lives daily without knowing what has actually happened in the real world.  The only actual problem with the matrix is that the sentient programs are able to manipulate the matrix thus causing a problem of control.

1178.      The Meaning of Chow Yun

The Meaning of Chow Yun-Fat (It's In His Mouth)

Ultimately, it comes down to his mouth.

Chow Yun-Fat is the coolest movie actor in the world today, and the only way I

can explain this is to talk about his mouth. He does cool things with his mouth.

Smoking cigarettes is no longer an emblem of cool in the USA, but Chow does

wonders with cigarette smoke in Prison On Fire. Director Ringo Lam understands

this; like most of the great Hong Kong directors, he loves using slow motion and

freeze frames to pinpoint important moments in his movies, and he saves a few of

the most elegant slow-motion sequences for Chow blowing smoke and looking cool.

In John Woo's over-the-top classic, Hard Boiled (the rough literal translation

of the Chinese title is Spicy-Handed Gun God), Chow plays with a toothpick.

There are few movie moments more violently cool than the shot of Chow, a gun in

each hand, sliding down a stair banister blasting a dozen bad guys while letting

his toothpick hang just so from the side of his mouth. In God of Gamblers, Chow

plays a gambler who gets a bump on his head that turns him into some quasi-

autistic prodigy, like Dustin Hoffman in Rain Man. Chow retains his intuitive

skill at playing cards, but now he must be pacified by constant pieces of

chocolate that he scarfs greedily, goofy smile on his face. Blowing smoke,

dangling his toothpick, eating chocolate, or just smiling ... ultimately, when

trying to explain why Chow Yun-Fat is cool, it comes down to his mouth.

Everything I have said so far describes a subjective reaction to watching Chow

Yun-Fat on the screen. Fill in the name of your favorite actor or actress,

change the specific references, and this could be your essay. We don't learn

anything new from such subjective meanderings; we only identify taste

preferences. I'm proud to be a Chow fan, but then, I am proud to be a fan in

general. With other favorites of mine, though, I am able to get at least a

little bit beyond subjectivity. Be it Murphy Brown or X-Ray Spex, Bruce

Springsteen or NYPD Blue, at some point I can analyze my relationship to the

cultural artifact in question, place it in some cultural context, and come to

some hopefully useful conclusions about both the particular text and our

interaction with that text. Chow Yun-Fat, however, seems to defy my attempts at

analysis; ultimately, it all comes down to his mouth and nothing more.

Try describing Chow Yun-Fat to someone who has never seen him on the screen.

Comparisons sometimes help, so how about this: Chow Yun-Fat is the Asian Cary

Grant. He makes everything look easy; there are always other actors chewing the

scenery in Chow's movies, but he rarely goes for the obvious and the overdone,

preferring the smile and the toothpick. He looks good in a tuxedo; he looks good

in an expensive silk suit; he looks good with nothing on at all. And it all

seems so effortless.

Cary Grant, but there is more: in one scene from Prison on Fire, Chow is Cary

Grant taking a dump. He's gotta go pretty badly, he's shitting and farting and

talking to a fellow inmate, all at the same time, he's waving away the smell and

sending looks of displeasure to his stomach, finally he's asking his friend to

leave the room, because Chow can't 'do it' if someone is watching. And yes,

through it all, Chow is cool. Cary Grant taking a dump.

Cary Grant taking a dump, but there is more: in film after film, Chow is the

object of desire for men. In Ringo Lam movies, this is often overt; in Full

Contact the main villain is a gay mobster with a hard-on for Chow, and somehow

his gayness is a positive aspect of his character, unlike so many American

action films where gay means psychopathic or neurotic or evil. His gayness is

positive because he obsesses over Chow Yun-Fat; it is hard to find fault with

anyone who merely recognizes what Chow fans know in their own subjective worlds,

that Chow Yun-Fat is the coolest. At the end of Full Contact, with the villain

about to die, he tells Chow that he only hopes that they will meet in the

afterworld where they can finally consummate their repressed affair. Chow kills

the bad guy, telling him in the wonderfully bizarre phrasing so common to HK

English subtitles, 'Masturbate in Hell!,' condemning the villain to death, to

hell, but also to an eternity of fantasizing about Chow Yun-Fat.

And still I haven't gotten beyond my own subjective fantasies. Readers who have

never seen Chow Yun-Fat might have a better picture in their minds of what he is

like, but we still don't really have an inkling of What Chow Means. We're still

at the level of establishing taste preferences. And I am still puzzling over why

I find it so hard to get beyond the surface of Chow Yun-Fat.

Maybe the answer is in the subtitles. English subtitles in HK movies are often

unintentionally hilarious, an odd and charming combination of fractured grammar

and almost-right cliches (in Once a Thief Chow tells Leslie Cheung, 'it takes

turn to tango'). When reading those subtitles, an American viewer realizes that

there are differences between HK and US culture that language can't precisely

express. Similarly, when someone speaks English in an HK film, the English

subtitles are frequently different than the spoken words, never more comically

than in Woo's Heroes Shed No Tears, where an American soldier screams

'Motherfucker!' and the subtitles read 'Son of a bitch.' It is as if the

soldier's English is first translated into Mandarin or Cantonese, then

retranslated into English subtitles; something is indeed lost in the translation.

Even such an excellent reading of these movies as Jillian Sandell's piece

elsewhere in this issue 'loses something in the translation.' (Her clearly-

stated analysis of Woo/Chow collaborations is just the kind of examination I

claim here is close to impossible; I would have said completely impossible, but

Jillian has proven me wrong.) In her discussion of The Killer (rough literal

translation of the Chinese title: A Pair of Blood-Splattering Heroes), she

mentions the nicknames 'Dumbo' and 'Mickey Mouse' which the subtitles have given

to the two primary heroes, and makes an interesting connection to the image of

Disney these nicknames suggest. Her comments are well-taken for American

audiences of The Killer, but in the original, the nicknames for the two

characters have no connection whatever to Disney characters. Dumbo and Mickey

Mouse were chosen by the translator as effective names to convey the 'real

meaning' of the Chinese nicknames; I have no idea whether or not the translator

was successful. We can only examine The Killer as it is presented to us, which

in the case of non-Chinese speaking Americans means the characters are indeed

Dumbo and Mickey Mouse. This does not in any way 'invalidate' an American

audience's response to The Killer, but it would seem to indicate how different

the text is, depending on how it is seen and what the audience brings to the

movie. This is always true, of course, but I suspect it is truest when the

cultural differences between the text and the audience are as great as they are

here.

And it is odd and charming ... yet I feel like my words have been spoken before,

by other American dilettantes, taking pleasure in the 'exotic' Orient. Charming,

because different. Odd, because different. Above all, different. However Hong

Kong action movies are perceived in Hong Kong itself, in the U.S. they are first

and foremost different, alien, even as they freely borrow from our own movie

traditions. It is that difference, in part, that I am responding to when I watch

Chow Yun-Fat. Perhaps I even make a fetish of that difference; I embrace the

alien, make it, for a moment, mine.

In an earlier issue of Bad Subjects, I related my discomfort at using a person

dressed in a bird costume as fodder for my Bad Essay, noting that while this

poor drone was only trying to earn a living in tough times, I was deriding his

efforts and then writing about them for Bad Subjects. At the time, I called this

'cultural imperialism.' My discomfort was perhaps well- deserved; I was indeed

using this bird-person for my own enlightenment. My mea culpas began because I

felt funny writing about something I didn't like to begin with. It was one thing

to take apart Murphy Brown, I suggested, because I was trying to understand a

text I enjoyed. It was another to take apart the favored texts of others,

without properly appreciating the value of those texts to their recipients.

I can't deny that I love Hong Kong movies, and I most certainly love Chow Yun-

Fat. Yet that love is related to my experiences with the bird-person: I am, as

we called ourselves in that earlier issue, a 'Bad Tourist,' stopping by, taking

what I want, leaving the rest, ultimately un-illuminated as to the essence of

Hong Kong culture, but nevertheless enriched by the experience. I don't want to

belittle that enrichment. The beginning of this essay is testament to how much I

love my relationship to Chow Yun-Fat. But I began writing because I couldn't get

beyond my attraction to Chow's coolness, and the longer I write, the more I come

to believe that I will never understand Chow as well as I understand myself.

Because the point of my consumption of Chow Yun-Fat, the point of the

dilettante's love of the exotic, is not really to understand what I consume. The

point is to understand me.

This is often how people of one culture appreciate the cultures of others; as

anthropology it most likely sucks, but for enrichment, it can't be beat. It goes

both ways, of course; no one should assume that only Americans are dilettantes.

Jackie Chan has seen Buster Keaton. The resulting movies are 'pure' Jackie Chan,

but the Keaton influence is apparent, which doesn't necessarily mean that Jackie

Chan understands the Meaning of Keaton any more than I understand the Meaning of

Chow. Jackie Chan loves Buster Keaton, he makes Buster Keaton his own, and then

he produces Jackie Chan movies. When an American watches a Jackie Chan movie,

one of the pleasurable aspects is making the connection to Buster Keaton. Jackie

Chan helps us understand Keaton better than we would if we didn't have Chan to

help illuminate Keaton. We use Jackie Chan to understand our own culture.

There are aspects of Jackie Chan, of course, that cross cultural barriers. His

exuberant acrobatics dazzle an audience whether or not we know the Chinese

cultural context for his stunts. But the Meaning of Jackie Chan escapes me, at

least, if not all American viewers. And now we are back to Chow Yun-Fat, who is

cool. His coolness crosses barriers. When he performs a romantic dance from a

wheelchair in Once a Thief, the combination of elegance and comedic grace is

lovely beyond words. When, in Hard Boiled, he demolishes a zillion bad guys with

one hand and carries a tiny baby in the other, cooing and shooting, he is the

ultimate big brother. This coolness crosses barriers. But beyond that, we are

victims of our subjective experience; we don't understand the Hong Kong culture

that produces these movies, and so we fall back on cool. It all comes down to

his mouth.

The clearest example of this is the homo-erotic charge that permeates HK action

movies. In one sense, this is no different from similar relationships in

American action movies ... Mel Gibson and Danny Glover in the Lethal Weapon

series come to mind, along with countless other buddy films. But what is beneath

the surface in American movies is out front in HK films. It doesn't take much

digging to find the homo-erotic undercurrents in Lethal Weapon, but it does

require digging. HK films, with their endless discussions between men about love

and honor and friendship, seem to bring those undercurrents to the surface,

however, in a manner that is not exactly innocent but is accepting of the bonds

between men and willing to allow men to discuss those bonds. Chow Yun-Fat is not

the strong silent type. When the inmates of Prison on Fire are happy, they

celebrate with a dance party unlike, say, the scene in Jailhouse Rock where

Elvis is fetishized as the focus of homo-eroticism (and we are 'the cutest

little jailbirds he ever did see'). In Prison on Fire, the inmates are happy,

and so they dance, and their partners are their fellow inmates with whom they

share their happiness. It's not only sexual, though sex is part of it. It's

about friendship, and loyalty, and love, and bonding.

At least, I think so. Again I am confronted with the barriers between my

experiences and Asian culture. For an American to watch a Chow Yun-Fat movie is

to partake in an ultimate experiment in audience-response theory. We don't

understand the culture that produced a Chow Yun-Fat, so we are left to the

subjective experience we bring to the movie theatre. We watch, we react, but

when we later try to analyze, all we know for certain is that it all comes down

to his mouth. And so I am no closer to the Meaning of Chow than I was at the

beginning of this essay. I've enjoyed Chow, I've used Chow, I've done what I

could with Chow, but I fear I haven't explained him. I've only explained myself

as a 'Bad Tourist.' Go watch a Chow Yun-Fat movie for yourself, and if you

figure out What Chow Means, let me know. In any event, I'll bet you think he's

cool.

1179.      the metamorphosis

Kafka wrote "The Metamorphosis" in 1912, taking three weeks to compose the story.  While he had expressed earlier satisfaction with the work, he later found it to be flawed, even calling the ending "unreadable."  But whatever his own opinion may have been, the short story has become one of the most popularly read and analyzed works of twentieth-century literature.  Isolation and alienation are at the heart of this surreal story of a man transformed overnight into a kind of beetle.  In contrast to much of Kafka's fiction, "The Metamorphosis" has not a sense of incompleteness.  It is formally structured into three Roman-numbered parts, with each section having its own climax.  A number of themes run through the story, but at the center are the familial relationships fundamentally affected by the great change in the story's protagonist, Gregor Samsa (Lawson 27).

While the father-son relationship in the story appears to be a central theme, the relationship between Gregor and his sister Grete is perhaps the most unique.  It is Grete, after all, with whom the metamorphosed Gregor has any rapport, suggesting the Kafka intended to lend at least some significance to their relationship.  Grete's significance is found in her changing relationship with her brother.    It is Grete's changing actions, feelings, and speech toward her brother, coupled with her accession to womanhood, that seem to parallel Gregor's own metamorphosis.  This change represents her metamorphosis form adolescence into adulthood but at the same time it marks the final demise of Gregor.  Thus a certain symmetry is to be found in "The Metamorphosis": while Gregor falls in the midst of despair, Grete ascends to a self-sufficient, sexual woman.

It is Grete who initially tries conscientiously to do whatever she can for Gregor.  She attempts to find out what he eats, to make him feel comfortable, and to anticipate his desires.  Grete, in an act of goodwill and love toward Gregor, "brought him a wide assortment of things, all spread out on old newspaper: old, half-rotten vegetables; bones left over from the evening meal, caked with congealed white sauce; some raisins and almonds; a piece of cheese, which two days before Gregor had declared inedible; a plain slice of bread, a slice of bread and butter, and one with butter and salt" (p. 24).  Besides being the only member of the family still willing to face Gregor daily, she is also the family representative of Gregor, in a sense, to a mother who doesn't understand and a father who is hostile and opposing.  The father is physically violent toward his metamorphosed Gregor, pushing him through a door in Part I: "...when from behind his father gave him a strong push which was literally a deliverance and he flew far into the room, bleeding freely" (p. 20).  Grete appears to concentrate on protecting Gregor from this antagonistic father and an indecisive mother.  In Part II, when Grete leads her mother into Gregor's room for the first time, we see the strange way in which Grete has become both the expert and the caretaker of Gregor's affairs (Nabokov 271).  She convinces her mother that it is best to remove all of the furniture from his room.  Kafka attributes her actions partly to an adolescent zest: "Another factor which might have been also the enthusiastic temperament of an adolescent girl, which seeks to indulge itself on every opportunity and which now tempted Grete to exaggerate the horror of her brother's circumstances in order that she might do all the more for him" (p. 34).

The change in Grete's attitudes and actions toward Gregor probably fully begin in Part II, during the scene where Gregor struggles over to the window and leans against the panes to look outside.  Grete, seemingly beginning to forget the Gregor still has human feelings and sensitivities, rudely opens the window and voices her disgust at the distasteful odor of his den.  Moreover, she doesn't bother to hide her feelings when she sees him.  One day, about a month after Gregor's metamorphosis, "when there was surely no reason for her to be still startled at his appearance, she came a little earlier than usual and found him gazing out of the window...she jumped back as if in alarm and banged the door shut; a stranger might well have thought he had been lying in wait for her there meaning to bite her" (p. 30).  Against her mounting insensitivity is Gregor's poignant selflessness (Nabokov 270).  In a marvelous display of feeling and compassion for his sister and her feelings, he expends four hours of labor to carry a sheet on his back to the couch to hide himself from her sight, thus sparing her the disgust of looking at him.

As Grete's behavior begins to change, Grete begins to slide closer and closer to his demise.  At the end of Part II, Gregor's father has completed his rise to power.  Initially weak and enfeebled, the father is now  "standing there in fine shape; dressed in a smart blue uniform with gold buttons, such as bank messengers wear; his strong double chin bulged over the stiff high collar of his jacket...his onetime tangled white hair had become combed flat on either side of a shining and carefully exact parting" (p. 38).   It is at this point that the father begins to pelt Gregor with small red apples, one of them embedding in his flesh at great pain: "Gregor wanted to drag himself forward, as if this startling incredible pain could be left behind him" (p. 39).  Of course, Gregor finds he cannot leave the pain behind him, and begins his slide towards death.

Gregor's reaction to the violin playing episode is the climax and symbol of Grete's metamorphosis and Gregor's demise (Lawson 33).  The boarders are extremely interested in hearing her play an impromptu recital.  She begins to play the violin, and Gregor, his transformation into beetlehood nearly complete, finds himself drawn to the music, putting aside any human feelings of consideration for others: "He felt as if the way were opening before him to the unknown nourishment he craved...He felt hardly any surprise at his growing lack of consideration of others" (p. 48).  So inconsiderate and oblivious is he to others, that he begins a dangerous trek towards the living room: "And in spite of his condition, no shame deterred him from advancing a little over the spotless floor of the living room" (p. 49).  Initially, nobody is aware of him, but soon the middle lodger sees him and becomes inflamed.  He announces to Grete and the mother - spitting on the floor no less - that he can no longer live there due to the disgusting conditions.

Here Grete's betrayal of her brother is final and absolute.  Grete, in this scene, reaches the plateau of her metamorphosis into an enemy of Gregor, and is left only  to change physically and advance in her womanhood.  While she tries to salvage the situation by hastily making the boarders' beds, the violin clangs to the floor, symbolizing her rejection of Gregor and her rapport with him (Lawson 33).  At this point she dissociates the name of her brother from the insect when addressing her parents: "We must try to get rid of it.  It will be the death of both of you, I can see that coming" (p. 51).  And later, "It has to go" (p. 52).  Gregor is no longer "he," but "it."  She sees the complete disappearance of Gregor the human and the complete rise of the beetle.   "How can this be Gregor?  If this were Gregor, he would have realized long ago that human beings can't live with such a creature, and he'd have gone away on his own accord" (p. 52).  Grete condemns Gregor to death when she urgently locks him into his own room, crying "At last" (p. 53) to her parents as she turns the key in the lock.  Even in death, Gregor retains tender feelings for his family: "He thought of his family with tenderness and love.  The decision that he must disappear was one that he held to even more strongly than his sister" (p. 55).  Grete's betrayal was just one more emotional trauma Gregor had to face.

Gregor's death stands in contrast to the final image of "The Metamorphosis".  Grete has now undergone her transformation into womanhood.  She wakes up to find her body has bloomed in the wake of Gregor's disappearance (Thiher 44).  Kafka's endings begs no questions: "It struck both Mr. and Mrs. Samsa, almost at the same moment, as they became aware of their daughters increasing vivacity, that in spite of all the sorrow of recent times, which had made her cheeks pale, she had bloomed into a pretty girl with a good figure" (p. 58).  Grete has emerged from her adolescence into her young adult role in the real world (Lawson 34).  Thus, her parents tacitly agree that "it would soon be time to find a good husband for her" (p. 58).

Grete's metamorphosis into womanhood can be contrasted with the mother's lack of a similar transformation.  She remains less antagonistic than the father, sometimes more insightful than the sister, but altogether unsure of herself and eager to please and indulge her husband.  In many ways, she stands as a caricature of a housewife and promises to remain that way even if the Samsas are fewer in number and forever changed (Lawson 35).

There is a final irony to note in the contrast between Gregor's demise and Grete's awakening.  While Grete has developed into an animal whose sexual passage into womanhood needs no language to express its fulfillment, Gregor was the animal whose condition begs the words to explain it.  Kafka begins "The Metamorphosis" by remarking that Gregor's transformation is "no dream" whereas Grete's accession to female sexuality is described as the family's "new dreams."  Possibly this is Kafka's ultimate irony - that nightmares express lost human reality better than dreams do of animal satisfactions (Thiher 44).  Grete Samsa's changing actions, feelings, and speech toward her brother, coupled with her accession to womanhood, parallel Gregor's own metamorphosis.

1180.      The Millers Tale

The Miller's Tale

This is a true tale of me and my life, or at least for a short while. The day had started out so well, you see I had become somewhat of a owner of women. I was interested in this becomes because of the free jobs that came with it. You see because of my gorgeous looks the women had trouble seeing past it to the real man in my pants, I mean in me. So why not just become an owner of women to sell to others for nightly jobs and such and reap the benefits of it all. So like I said, the day had gone perfectly until one of my women came down with a sudden case of the backdoor trots. He, he the ol' hag almost released her load of dung on one of my customers, so I had to get her and take her back home. When I got to the man's house I entered in grand fashion by showing how I could open the door with my head. Oh well, that didn't go over as planned but it scared my woman so bad she finally did just let it go. Then, after cleaning it up we were on our way out and back to home sweet home. When we arrived I got some great news that made the whole squirts issue fall back to the back of my mind. I got word that the King wanted one of my women to get it on with him. So soon I got the prettiest woman I had. She had blond hair and a nice set on her, if I do say so myself. She all of her teeth except

for three but in this time that's not bad. I soon put on my Sunday best and headed straight for the castle in which to meet the King himself. We came in the back just as told and soon were met by three guards dressed in black and silver. They said to me, " Wait here, the girl goes with us." Well, I'll be damned if I'm going to let these people not let me see the King! When I asked they said, "Sorry but the King won't allow it." Well, what could I do?

Absolutely nothing is right. The King sure is a bum when it comes to privacy and such. I sat outside the back entrance to the castle for almost an hour. I was almost to the point of sleep when I heard the door open. She came out with a bit of a smile on her face. We soon departed from the castle, she said nothing the whole way home. I kept asking her if something happened in there that she wanted to tell me. Once, we reached my house she began to laugh. I was intrigued by this so I said, " What is wrong with you?" She began to tell about the King's short comings. I soon also began to laugh at this and went to the bar down the way. I entered the bar in grand fashion as usual. The door was especially hard for some reason but maybe it was just me. No matter, I began to drink with my buddy from down the way by the name of Everett. I told him of my day and then he bought me a beer, then another, than another. I soon began to wonder why he was being so giving to me, but he was good friend and I thought nothing of it. The night pushed on and finally, I was so drunk I stole the money off the man beside me to pay for some of my drinks and then staggered out and to my house which was a few blocks down the road. The next morning I awoke to the sound of a rooster and a man laughing wildly outside my door. It was ol' Jethrow and his pet rooster Cleetis. He greeted me by saying, " Is it true, does the King have a small one?" I replied with, " What in God's name are you talking about?" Last night at the bar you told everyone that one of your women said that the King was a little short of the mark. "You're joking, right?" "'Fraid not," he said. Well, at that moment in time I thought I had only two choices. Either I could leave my business and the house or stay and face the wrath of the King. Well, the day passed on with more and more questions about the King and his whatever you would like to call it. I decided I'm a man, a very big man at that so I decided to stay and face the King. Hours and hours went by and no word from the King. I thought I was in the clear but as soon as I had thought such a thought, someone began to knock at the door. I went in a sort of slow pace to get the door. Then, I opened the door and there stood seven knights and the King. At once I knocked the first one down with the use of my head, then the next two with a swift kick to their families' jewels. Three down and four to go. Next, I jumped upon one and rammed my fist into his face, but soon after this the other three grabbed me and held me tight to where I couldn't get away. The King stood before me and looked me over. After a while, he told the knights to release me and for me to step back inside. The King soon followed and we sat at my table in the kitchen. He told me of a deal to sort the matter out. He would have a woman for free anytime he requested or I could have my jewels in a jar. Gladly, I took the offer and he parted with his knights and all was well. In the end I figured that the moral was to not to run your mouth unless you're a pimp.

1181.      the Ministers Black Veil

"                                                                                  The Minister's Black Veil Essay

Father Hooper wears a black veil over his eyes and nose, never revealing the reason of the veil to a soul.  At times the sexton would insinuate a reason behind the veil but never revealing the answer to the mystery.  Father Hooper is a very imaginative and creative individual to innovate the idea of wearing a black veil to express an idea.  He is angry towards the response of the veil to his parishioners, since they treated him differently with the veil compared to without it.  Most of the parishioners are clueless to why he wears it and some try to imagine why he would ever want to wear it, but there are only ideas and arguments to why a minister would wear it.

One of the reasons behind the veil might be secret sin.  Father Hooper might have committed a very bad sin which he does not want to unveil to anyone.  Instead of not telling anyone the sin he shows it clearly on his face with the aid of a black veil.  This black veil might relieve tension in his body that has accumulated due to his sin.  In the story, Father Hooper says that everyone wears a black veil, meaning that everyone commits secret sins without revealing them to anyone.  If you do not express your secret sin you would be keeping stress and tension locked up inside you, but if you express it, the stress and tension will be relieved.

Another reason behind the veil might be sorrow.  Deep, dark sorrow for someone or yourself might be expressed and shown with the help of a black veil.   By wearing the black veil for eternity, you are exhibiting great love and sorrow for someone or yourself.  If the black veil was removed, the sorrow and love would be dead.  This might be how Reverend Hooper expressed the veil.

Father Hooper might have also used the veil as a friend and a device to test Elizabeth's love for him. The black veil might have given Mr. Hooper friendship if he was lonely and without a mate.  He could test Elizabeth to see if an object would come between them and their love.  The Reverend told her if she was his, the black veil would then be removed.  If she was not his, the black veil would stay on his face and be his friend for eternity.  The black veil came between Elizabeth and Father Hooper, causing him to wear it for eternity.

The author Nathaniel Hawthorne shows how one symbol can be interpreted into many ways and lead to many sub-topics.  He does not give the reason behind the black veil because he wants the readers to use their imagination and think of their own reason behind the veil.  Although Father Hooper never answered the mystery of the veil, there are many theories behind it.  I could not think of one theory for the black veil without thinking of others, therefore I listed all three of my theories.

1182.      The Minstrel

English I Honors

4 February 1997

Minstrels

Minstrels, or traveling thespians, thrived throughout Europe in medieval times.  The term

minstrel referred to a professional entertainer of any kind from the 12th century to the 17th

century.  Minstrels were instrumentalist, but were also often jugglers, acrobats, and storytellers.

Although minstrels no longer exist, they played an important role in medieval history and, at one

time, could be found, in one form or another, throughout the entire continent of Europe.

Different countries had different names for minstrels.  In Germany, they were called

minnesingers.  In France, they were known as troubadours and joungleurs.  The Scandinavian

minstrels were called skalds.  The Irish called their minstrels bards, while the English minstrels

were referred to as scops.

Minstrels were primarily singers and musicians.  These wandering performers were also

story tellers, jugglers, clowns, and tumblers.  Often minstrels were an important part of

prominent house holds providing entertainment for the upper class of society.  Those minstrels

who were not part of a noble's homestead, traveled from town to town providing entertainment

not only to noble classes but also to common village folk as well.

There were not many forms of entertainment, nor was there a means for people to learn

about news events.  There was no television or radio in medieval times.  Even books were very

scarce.  Minstrels served to entertain the public.  They made up songs, stories, and repeated

ballads and folk tales popular during this time.  Traveling from town to town minstrels were also

a source of news.  This would share information with the townspeople of the village.  The

townspeople would share this news with the minstrels who would then share this news with the

townspeople in the next village in which they performed.

Each country in medieval Europe had their own type of minstrel.  Each, while similar in

their general role of entertainer, they were different in many ways.  Troubadour's, French

minstrels, flourished in from the 11th century through the 13th century.  Troubadours were found

in the southern part of France.  The troubadours were among the first minstrels to use their

native tongue rather than Latin.  The Latin language was considered the literary language of the

middle ages.  There were approximately 400 troubadours who were known to have lived.  The

majority of them were nobles and some were even kings (Microsoft Encarta  96 Encyclopedia.)

Originally troubadours sang their poems, later they were accompanied by jongleurs who

played musical instruments.  The musical instruments the jongleurs played were the fiddle and

the lute.  The subject of their songs were based on topics such as love ,politics, religion, war, and

death.  Approximately 400 melodies and 4000 poems have been preserved from medieval

troubadours (Microsoft Encarta  96 Encyclopedia.)

The German version of the Troubadour was the meistersinger.  The meaning of

meistersinger is master singer.  The meistersingers were a group of poet musicians and were

given the status of tradesmen.  The first German minstrels were called minnesingers.  These

were primarily wandering poet-musicians.  The word minnesinger means love singer.

The meistersingers began in the late middle ages, attempting to revive the older minstrel

art of the minnesingers.  From 1200 to 1400 the meistersingers began to develop rules for the

composition of songs and even had schools to teach the art of being a meistersinger.  Like music

schools today, meistersingers had to study and pass exams before being considered a

meistersinger.

The Celtic lands of Ireland, Scotland , and Wales also had their minstrels called bards.

Bards were professional poets who sang about heroic accomplishments and national pride.  They

accompanied themselves with harps.  Their chief form of expression was poetic alliteration or

rhyme.  By the 1700's the bards were no longer popular.  A famous playwright, William

Shakespeare, is often called the Bard of Avon (World Book Encyclopedia pp. 109.)  Today bards

are often seen and heard at folk festivals.

The decline of minstrels was due to that of modernization.  The printing press created

news papers, books, and other media, so the need for minstrels simply depleted.  Now folktales

could be written down, books and songs published, etc.  There was just no more need for

minstrels.

Minstrels were the beatniks of medieval Europe.  They were a huge part of European

culture, until modernization brought on their demise.  Poetry was, and continues to be a huge

part of every societies culture, so it would not be 100 percent accurate to say they were

completely wiped out.  Although minstrels no longer exist, they played an important role in

medieval history and, at one time, could be found, in one form or another, throughout the entire

continent of Europe.

1183.      The Mirror Has Two Faces A Movie Review

THE MIRROR HAS TWO FACES

A MOVIE REVIEW

The movie stares Barbara Streisand as Rose Morgan a lonely, single, low self esteemed

woman who lives with her domineering mother  Hannah Morgan  played by Lauren Becall

in New York.  Jeff Bridges who plays Gregory Larkin a math instructor at Columbia

University is a man in search of the perfect woman who is not interested in sex but only

companship.  Greg places a personal ad in a singles paper and receives enormous

response.  He reviews the responses to his ad and decides on a response that featured

Rose.  Greg calls the number on the response and a woman answers the phone who is

Roses sister Claire.  Claire explains to Greg  that she responded to the ad without Roses

consent and that Rose is not a women of great beauty. Greg explains that he is not in

search of a woman with great beauty, just a woman for companship. Greg calls Rose on

the telephone and the two decide to have dinner as friends. They adore each others

companship and start to spend more and more time together as best friends.  They

become extremely flexibly enmeshed and are very compatible with each other.

As time passes and they grow closer to each other they decide to get married by the

justice of the peace.  Roses mother who is dependent on her objects to the idea and thinks

the marriage is wrong.  She uses plenty of guilt trying to persuade Rose not to marry

Greg. The marriage takes place and the Rose moves into Greg's apartment where their are

separate twin beds for Rose and Greg.  The first night of living together Greg indirectly

suggests the two should have sex. Rose does not understand and falls asleep on Greg.

As time passes and the two start to become flexibly connected  and share their most

hidden secrets with each other. Greg accepts a three month job offer over seas.  Rose

agrees that he should jump at the opportunity and supports him in his decision.  Rose

decides that the arrangement of a no sex marriage is not going to work. She decides one

night before Greg leaves for three months to seduce him into having sex with her.  Greg

objects to the idea after about five minuets and explains his feelings to Rose which

infuriates her causing her to run back to her mothers chaotically enmeshed home.

Greg leaves for work over seas calling Rose on the telephone every spare minute he has

only to be greeted by her jealous and domineering mother stating she is not home or

available unknown to Rose.  Greg concentrates on his decision and changes his mind

about a no sex marriage.  He returns home early in an effort to win Rose back from her

mother.

Late at night Greg calls Rose to the window by screaming and yelling Roses name against

the wishes of the doorman to Hannah's apartment.  The doorman attempts to stop Greg

however his attempts don't succeed.   Rose comes to the window and Greg explains that

he has changed his beliefs about a no sex marriage.  Rose accepts his proposal and the two

are off to Greg's apartment to consummate the marriage.

1184.      The Mirror of Time and Memory

The Mirror of Time and Memory.

Live in the house-and the house will stand.

I will call up any century, Go into it and build myself a house...

With shoulder blades like timber props

I help up every day that made the past,

With a surveyor's chain I measure time

And traveled through as if across the Urals.

I only need my immortality

For my blood to go on flowing from age to age.

I would readily pay with my life

For a safe place with constant warmth

Were it not that life's flying needle leads me on Through the world like a thread.

Arseniy Tarkovsky

The films of Andrey Arsen'evitch Tarkovsky fall into the separate genre of cinematic creations: they are more than drama or psychological thriller, more than philosophical cinema. Although Tarkovsky's work has been deeply influenced with such prominent film directors as Kurosawa, Bunuel or Antonioni, the poetry of his father, Arseniy Tarkovsky, Boris Pasternak and many other Russian poets and writers, his films manage to form something completely unique to the mind of their director, convey a diaphanous psychological message. His cinematography is a celebration, a theatre of "imprinted time," trapped with the skillful techniques of the plot-creating and camera usage of the director. As if in the 'Zone' of his Staler the art of Andrey Tarkovsky freezes the moment, the gasp of time, enclosed into almost sculpture-like solid creation that opens up to the viewer its nostalgic breeze. The time exists, it crystallizes in form of faerie, elfish arabesque figures and characters and yet it evaporates filling the space with a sense of solitude and sorrow for the past.

Tarkovsky's film Zerkalo or otherwise known as Mirror is a story of the human life; it is not quite a celebration of it; but rather a depiction of the web of the human senses. It is an autobiographic tribute to his abandoned by her husband during the war years mother, filled with the feelings of grief and amusement with her zealous self-sacrifice for the sake of her children. The narrator, or perhaps Tarkovsky himself, is trying to appease his guilty with indifference and scorn conscience with the memories of his childhood and attempts to relive or even incarnate the experiences of his past. The problems of the past are reflected and repeated in the present. Remembering Proust, Tarkovsky describes the effect of finishing Mirror:" Childhood memories which for years had given me no peace suddenly vanished, as if they had melted away, and at last I stopped dreaming about the house where I had lived so many years before ." As all of Tarkovsky's films, Zerkalo is hard to be tied to any particular culture, it is universal, global in its meaning and message it conveys and yet fully comprehendible only by someone who experienced the described reality of pre-war Soviet times of Stalin's repressions and the war itself. The film opens with a prologue that shows life footage of a boy being treated from stuttering. In the end of the prologue, the treated patient says, "I can speak now"; the entire essence of Zerkalo as "the remembrances of a man who recalls the most important moments in his life, a man dying and acquiring a conscience. " is presented in this short sequence. This little sequel is symbolic of the authors desire to be able to speak freely of the truth that is being uncovered in front of the narrator's eyes. And as a miraculously cured boy suddenly discovers his ability to talk, the author unveils and admits the truth of his life to himself. Zerkalo incorporates three time schemes, one changing the other, that together constitute an autobiography of the artist, and a biography of two Soviet generations within a wide-ranging context of Russian, European, and world history, linked together subjectively by dreams, memory, time, and art itself. The short sequences from the pre-war years are being replaced by the more modern ones, i.e. 1970's times, which are in turn suddenly replaced by the director with to the themes of war itself. The off-screen monologue introduces the recollections of the narrator's childhood and his adult life that are being elucidated with the visualry of the images on the screen. The leaps between the scenes are perceived smoothly and line up into one picture. However, the view point that is being presented has an unusual approach: the past that is being shown is built up not simply of direct experience but is being presented as a mosaic of what the narrator knew firsthand, what he was told, what he dreamed or imagined, and what happened around him as part of a historical process that he shared with millions of other people. The dream and memory seem to overlap and intermingle, sharing the same visual and auditory imagery merging in time frames, with characters belonging to past and present appearing together. There are no loud scenes or spontaneous eruptions, but the underlying feelings of grief and guilt that are tormenting the narrator are obvious without showing emotions too vividly. The film is not an outburst; it is a quiet amusement with hitches of sadness, troubles of poverty and hunger, sorrow, loss, regret, fear, longing and desolation; but at the same time, love and hope. It is probably one of the greatest "sensual" films ever created. As Tarkovsky himself revealed the title Mirror is just an accidental thought that happened to accord with his personal feelings and psychological contemplation. Thus, the purpose of the film according to the director himself is "its inspiration, is that of a homily: look, learn, use the life show here as an example. " Although it seems so simple, the title is much more than just a sudden thought. Mirror is not just a sudden word, it has deep cinematic, psychological and philosophical implications and overtones within the film. Common to Tarkovsky, already seen in Solaris and later in Nostalgia, cinematic technique, of multiple reflections is important in Mirror. The multiple reflection of the same people traveling through time in various mirrors is a center motif of the film. Mirrors here become the instruments of a magnificent time machine that is capable of juxtaposing the time and space of different generations; and yet the mirrors distort, refract, double and present in a new, more truthful or erroneous way the physical objects and human relationships in the film. The full understanding of the events that construct the story-line itself comes only by the end of the film, when the viewer is left with something more important, more valuable than a simple context: the time sequences and repetitions that construct what is known as life. Zerkalo is a clot of life, the images here should not be deciphered: they are to be perceived as they are. "The further a viewer is from the content of a film, the closer he is; what people are looking for in cinema is a continuation of their lives, not a repetition. " It is a dialogue between the past and present in which the narrator uses the memories and experiences of others, as well as his own, to enlarge his personal consciousness and free himself from his stifling egoism and self-centeredness. This is gauze of perception, an example cinematographic expressionism, where the feelings make up the essence of the film. Tarkovsky has revealed to the journalists that Zerkalo is an autobiographic depiction of the events, or rather of the situation of after-war Russia. This fills the film with the atmosphere of poignancy, but yet warmth, compassion and deepness. The senses of personal affliction and deep contemplation create an aura around the personages that all become brushstrokes of paint on the canvas of the great expression. "The director takes us through different aspects of memory-memory as conscience and memory as guilt-and then combines within the space of one final sequence two points in time ": the tenuous barriers between dream and memory, past and present, real and imagined characters, that have held for most of the film have begun to crumble, culminating in the final scene, which as in Ivan's Childhood or Solaris, provides a vision of reconciliation of the conflicting forces in the hero's life. We are back in the sunlit landscape and the dacha of the past, with the young mother and father lying in the grass. "Would you rather have a boy or a girl?" he asks her. She smiles, not answering, then sighs and looks away. Joyful choral music swells on the soundtrack as the camera cuts to the mother as an old woman, followed by the narrator as a little boy. The old woman leads the little girl by the hand as the boy follows, and the young mother is seen, choking back tears and then smiling, as if watching them. The old woman and the two children walk rapidly across a field in long shot; as the boy leaves the frame the young mother is seen standing in the middle of the field looking at her future self, perhaps in deliberate visualization of the Russian proverb: "Living life is not like crossing a field." BILBIOGRAPHY

1. Johnson V.T. & Petrie G. The Films of Andrey Tarkovsky: A Visual Fugue, Indiana University Press, Bloomington, 1994

2. Tarkovsky, Andrey. Sculpting in Time,, University of Texas Press, Austin, 1986

3. Turovskaya, Maria. Tarkovsky: Cinema as Poetry, Faber & Faber, Boston, 1989

4. http://www.skywalking.com/tarkovsky/tmirror.html

1185.      The Mission

Meena Throngkumpola                                                      Newman Smith High School

World Experience 2,6

Essay-The Mission

The movie, "The Mission," is about how the Spanish in cooperation with Pourtugal try to get the Jesuits off land negotiated by the two countries.  The Spanish Church sends people into Asuncion, Paraguay  to persuade the Jesuits to get off the land.   The film includes spiritual and political activities the are reflected through the church, natives, and the Jesuits.

What the movie mainly tried to show was that the Church wanted to maintain control over the Jesuits.  To show that control, they went to Paraguay and tried to persuade the Jesuits to leave.  The Spanish allowed them to take care of the matter to prove that.  Spain and Portugal had negotiated the treaty of Tordesillias.  In this treaty the two countries split the western world into two parts where Spain can have one half and Portugal the other.  In the newer version of the treaty, the line that split the land was moved in favor of Portugal.  On that land, missionaries had already set up missions.  To better the economy for Portugal, the Spanish Church was sent in to get the Jesuits out.   The would be effected by the continuation of the Jesuits because of the slave trade.  If the Jesuits stayed, the Indians would have a spiritual leader .  To brake their faith the Jesuits would have to be removed.

Near the end of the movie, the Spanish do try to break the faith of the Indians. Father John is seen carrying a cross with many natives following behind him. He is killed purposely, and even though he is down, the native faith is still there. A young native boy picks up the cross and assumes the role of father proving that killing the head leader does not kill the faith.

One aspect of the movie was the technology. The Indians were attacked by a powerful weapon, and that was the weapon of being inferior to a race that had a different way of life.  The Indians were introduced to guns, complex musical instruments, and simplicities such as clothing. These new things changed their life.  In the battle scene, the Indians steal gun powder from the Spanish. The gun powder is then used by the Indians to their advantage.  By using home made cannons, they are not totally helpless to the cannons and bullets of the opposing side. One of the most memorable scenes of the movie shows the small native girl picking up a destroyed violin and taking it with her with many more children on a canoe. The only reason I can see for that scene is to represent that even though the children are leaving the area to get away from the bad people,  they will never fully forget what happened to them as they encountered the white men.  The sequences where the same girl sees her own people dying shows that even though these people were bad, they had made an impact that would not be forgotten.

This movie, "The Mission," shows many of the negative effects of European expansion. It reflects the many political and spiritual struggles that the people faces, and shows that expansion of the west was not a pretty or glorious chapter of history.

1186.      The Moderation of Roseanne

short 3.5 page essay on the television show Roseanne

The Moderation of Roseanne

With this year being an election year, the topic of family values is near and dear to us all. With Hollywood getting a left jab from the liberals, and a right cross from the conservatives, about the lack of values in television today: it only intensifies the debate of what is normal, functional, and abnormal, dysfunctional, in television today.  The hit television series Roseanne is a perfect portrait of an American family in today's society.  Although the family is portrayed as somewhat dysfunctional, when compared to other televisions shows being aired today, the true balance and meaning of the family come from the functional aspects of their lives.

The Connor family consists of father Dan, mother Roseanne, and three children - Becky, Darlene, and D.J..  The show is set in the suburbs of Chicago, Ill., in a middle class neighborhood.  The main character, Roseanne, carries her family through the trials and tribulations of everyday life in middle class suburbia.  The show attempts to interject humor with serious topics, not only to help project realism to the viewing audience, but to keep the audience's interest in something that they deal with on a daily basis.

There are many difference messages that the show attempts to present to the audience.  There are social, economical, and even political messages, but family unity has to be the most significant of these messages.  Each member of the family is mired in their own problems, but the final action to the problem is ultimately solved by the family as a whole.  Although it is blurred by the moderate levels of sarcasm in the show, the Connor family is enriched in strong family values.

Unlike situation comedies like Married With Children and The Simpsons, Roseanne uses a satirical comedy format that helps the viewers better understand the story line.  The reason for this is that the show is aired during the prime time hours, so viewers tired from a hard days work can absorb and concentrate on the aspects of the story line that are being presented to them on the television set.  The ensuing comedy causes the viewer to laugh and relax, to look for the issues, to become emotionally involved in what they are now watching intensely, and probably by now laugh at themselves.  If you were to sit through a night of prime time comedies, you would find that the majority of them use this style of delivery to their viewers.  The attack on human folly allows the viewer to reflect upon their own life, and once again, laugh at themselves.  The therapy of laughter can never be under emphasized.

In contrast, the comedy series of  Married With Children and The Simpsons use the comedy to deliver a different type of message.  These two shows possess no aspects of value, nor do they try to deliver a message or meaning to the viewer other than comedy.  The message being delivered through these shows is for the sole purpose of entertainment.  In these two shows, the messages are not value oriented: the message is actually anti-value.  To achieve this the characters in these shows become independent and rely less on the family and more upon themselves.

The Bundy family, Married With Children, and the Simpson family, The Simpsons, are what any 'normal' sociologist would call a dysfunctional family.  These families, unlike the Connors, pose no family structure.  Within the family we would find constant bickering, selfishness, and most importantly, constant personal attacks.  These attacks on the character of their loved ones are sometimes so brutal, that if the common person in a real life family were to do this, we would find this person living on the street and not in the house.  This type of behavior is not consistent with the 'normal' behavior that society set forth in their so called social norms.  If people did not really like this type of comedy they would reject it and send the series to the closet.  We know this is not the case because the series has been running for years.

The dysfunctional aspects of the two television series are viewed by some as a reinforcement of their own beliefs; either about their own family or what a dysfunctional family is about.  It is true that some do watch the shows for the comedy, but there are people that view these shows because they vindicate their own actions of values.  These are the people, comedy viewers, that have learned to separate fantasy from reality.  It is the people, the vindicatees, that have yet to learn that the idea of dysfunctional families are true, and that they are an element of these two shows.  These messages are the basic differences between the shows of Married With Children, The Simpsons, and Roseanne.

What makes the Connor family functional are the real life issues that the show takes on.  The show allows the viewer to get involved in their lives by displaying true realistic situations that we all can relate to.  These two factors alone allow each episode to be unique from the one preceding it.  The Roseanne show takes on issues like teen sex, drug use, and education.  These three issues are easily understood by most households in America because they are real issues that parents deal with on a daily basis.  The similarity to real life is that these issues are solved on the show in different ways: through sarcasm and sometimes serious tones.

Some families feel that in order to solve a problem from within is to be serious and to the point at all times.  The message that Roseanne delivers is that it is all right to mix in some sarcasm, to add a little comedy to life so that the tension that may exist can be relieved, thus allowing communications to be taken to a higher level.  Roseanne is usually successful in using this type of communication skill with her children.  A good example of this would be when Roseanne visited Darlene at college completely unsuspected.

Darlene had just recently moved to Chicago to attend college, leaving behind her significant other, David, to live with her parents.  As Darlene and Roseanne conversed about responsibility and choices in doing the things that are right, David walked into the room.  The irony is that David had told the Connor's that he was leaving their family to go live with his mom in Detroit.  Roseanne, standing there in utter shock, Darlene states, 'It isn't what it looks like mom.'  Roseanne responds in a sarcastic tone, 'Oh, I'm sure it's not, and David's bags really aren't in the closet, and he is really sleeping on the floor.': implying that Darlene should not be shacking up with David and she definitely shouldn't be having sex with him.  The sarcastic tones that Roseanne used help deflate the tension in the room between not only her and Darlene, but David as well.  This allowed the problem to be dealt with in a less tense atmosphere, thus resulting in a higher level of communication.  This, to me, is the true sign of functionality in a family, to communicate on a level that is understood and informative. The episode ended with a sense of self respect and trust not only between Darlene and Roseanne, but the viewers felt a sense of trust as well.

The final aspect that makes the Connor family a functional one is that at the end of each episode, the audience is left with some sense of value learned from that particular episode.  Although entrenched under the sarcasm, the Connor family not only use their strong family values to solve their problems, but they pass these same values along to the viewing audience.  Dysfunctional family series have no value base, nor do they convey a message of positive value that the viewership can comprehend as positive.  The Connor family should not be judged on their superficial actions, but on the basis of the underlying meaning of the actions.  The underlying meaning of these actions is that of a moderately functional, average family in America today.

1187.      The Monkeys Paw

THE MONKEY'S PAW

By (author) W.W.Jacobs

The mystery of the Monkey's Paw is a cleverly thought out short story.  This story had three main parts.  These parts were the first wish, the second wish, and the third wish.

The first wish was the only tragic wish that was granted.  Mr.White, his son Herbert, and an old man were sitting around playing chess.  There was a knock at the door and Mr. White answered it to let the man in.  His name was Sergeant-Major Morris.  He sat down in the seat nearest the fire, and after several glasses of whiskey he began to talk.  He talked about some of his war experiences, and then of India.

His last story was about a magical mummified monkey's paw.  The sergeant-major tells the family that the old dried out monkey's paw has a spell put on it by an old fakir.  The story continues and then Mr.White and the sergeant-major trade.  Later Mr. White wishes for 200 pounds.  A man comes and visits the Whites telling them that their son Herbert had been killed, and then he gibes them 200 pounds.  The consequence of Mr. Whites first wish is the main reason he uses a second and third wish.

Mr. White did not want to use a second wish but his wife insisted that they wish their son back to life.  Mr. White wishes his son back to life, but nothing happens so they go to sleep.  They are sleeping when they hear a knocking sound at their front door.  Mrs. White goes downstairs to answer the door even though Mr. White told her not to answer the door.  Mrs. White approached the door while Mr. White looked for the monkey's paw.

At the very moment Mr. White unlocked the door Mr. White found the monkey's paw and made his third and final wish.  Just as he made his wish the knocking stopped, and his wife opened the door.  What was the last wish?  The author never really says, but one can assume that he wished he had never made his second wish.  The end of the story is open and leaves you to come up with an end of your own.

In conclusion, the story line was well written and cleverly thought out.  With the three wishes as the main parts of the story; the author was able to lead you one way and then suddenly change direction.  I think that using a monkey's paw instead of a lamp was creative, and that people appreciate something different every now and then.

1188.      The most dangerous game

The Most Dangerous Game

Have you ever had feelings about something that later changed?  In "The Most Dangerous Game" by Richard Conel, I will show how one character changes his opinion about something after he has experienced it himself.  Almost all of us have said "Oh that's easy" or "I could do that any day!" and then find out that the task is harder then it looked. In a summary, "The Most Dangerous Game" is a story about a man named Rainsford whom gets stranded on an island with a crazed general.  This general is named General Zaroff.  Rainsford was an excellent hunter who wrote many books about hunting.  General Zaroff was a fan of Rainsford's books, so he immediately knew who Rainsford was when he found him.  General Zaroff let Rainsford in and treated him to good food and plenty of rest.  Zaroff was talking to Rainsford about hunting, and then Zaroff explained his passion, he hunted humans because animals were no challenge.  Rainsford did not like this and tried to avoid Zaroff.  Soon after this, Zaroff gave Rainsford a choice, it was either Zaroff would hunt Rainsford for three days or Rainsford will get whipped in the dungeon of Zaroff's home until he agrees to be hunted.  Unwillingly, Rainsford picks to go hunting and hopes to survive the three days.  If he did live, he would be set free with money and new clothing, so Zaroff says....  On the hunting trip, Rainsford successfully avoids Zaroff for three days by hiding and setting up traps, then he pretends to go to sea by freeing the boats.  Finally, he sneaks into Zaroff's room and hides there until Zaroff arrives.  Eventually, he confronts Zaroff and fights him to his death.  After that, Rainsford gets the best night sleep he has ever had.

I feel that Richard Conel tried to express a feeling of change within the character's mind.  Before Rainsford was ever hunted, he was cruel to animals.  He would hunt them just for the fun of killing them.  Rainsford had no sympathy for animals before he encountered Zaroff.

During the middle of the story, Rainsford becomes the next prey of General Zaroff.  Due to the stress and the feelings of fear, I think Rainsford might have changed his mind about animals and how they feel.

After this event, I know that Rainsford has now become sorry for his ideas about animals and how they should be treated.  I know that Rainsford is a dynamic character because of his ability to positively change his feelings.  I think you sometimes need a tragic event to finally change a stubborn person's mind.

In conclusion, I feel that the author, Richard Conel, tried to show how people could change by experiencing different situations. Rainsford, after becoming the hunted prey himself, corrected his faults and formed new opinions about hunting and standing up for the rights of animals.  Rainsford is an excellent role model for positive change!

1189.      The movements of Post Impressionism Cubism Surrealism and Dadaism

Post-Impressionism

During the post-impressionism movement, an emphasis was taken away from the typical naturalism that flooded the impressionist movement.  Colors were caked on the pieces with the idea that the colors would inspire certain feelings in the viewer.  Blue colors were to be considered a cool color and red colors are warm.  Colors during this movement not only brought out the moods of the viewers but also brought ideas.  Red was considered to be a color of passion (Kissick 352)

One person that was especially known for his use of rich colors creating a flat painting was Paul Gauguin.  He created an addition to post-impressionism in 1891 of oil on canvas named Ia Orana Maria, which is a portrayal of the Madonna and child.  This painting is 44 3/4 x 34 1/2 inches in size and originated from the Pacific islands.  In this painting, the Madonna is wearing a red dress, which is to suggest a level of warmth.  The others in the painting, to include an angel, include some hue of blue.  Also, one thing about this piece that is in need of attention is the placement of the characters on the canvas.  Since space was not created, those who are at the bottom of the canvas are made to appear closer to the viewer.  Notice that Madonna and child are both off set from the others portrayed in the painting (Kissick 352-3).

Vincent van Gogh is one of my favorite artists of all time.  I love the use of lines to bring out movement or texture.  In my opinion, his work is done on an entirely different level than anyone of his day.  One painting stands out to me when I think of post-impressionism, The Night Café.  This piece was created in 1888 of oil on canvas in France.  Spanning a mere 70 x 90 centimeters, this piece demands as much respect as any mural.  The same aspects from post-impressionism exist in this painting to include the use of color to create a specific feeling.  The red on the walls grouped with the lines of the lights bring out a very warm feeling of the room.  Again, the placement of the objects on the canvas gives a sense of space since there is no natural space shown (web source).

Cubism

Cubism was a term that was not derived from any artists' opinions yet from a critic who said that the paintings looked as if there were created of multiple cubes.   This method was not used, as it may seem.  "At first glance, Cubism appears to be a purposeful distortion of visual experience, as it the artists consciously tried to shatter and splinter their subjects into an incredibly cramped space (Kissick 402)."  This however, is not the reason of such a movement.  This movement was more about portraying images in a completely new point of view.  Cubism is a rather mystical form since the reasons for the shapes are a little vague.  Painters such as Braque and Picasso used shapes and distorted images that were clearly not conventional (Kissick 402).

Georges Braque created a piece entitled Houses at L'Estaque in 1908 in Bern.  This painting is 28 3/4 x 23 5/8 inches in size and is composed of oil on canvas.   This painting is a deliberate untraditional use of space.  The shadows, the lines, everything about this painting are unconventional.  It seems as if this painting depicts space in a totally different method, size of objects.  The rooftops in the front of the painting are larger than those in the back.  The same works for the foliage (Kissick 404-5).

Pablo Picasso was yet another famous painting from this particular movement.  Picasso strived to predict reality in the essence of a two dimensional plane.  Picasso created a piece that shows the aspects of cubism entitled Girl with a Mandolin in 1910.  This piece is in New York and is 39 1/2 x 29 inches of oil on canvas.  This painting does several things that are significant in the Cubism movement.  Picasso tries to display the idea of reality on a flat surface.  To do this, he has used two-dimensional shapes to form the images on the canvas while using shadows and overlaying shapes to create a realistic area around the breasts, neck, and arm (among others) sections.  The shapes that form the background flow right up to the image of the girl to produce the effect that the image is one with the background, sort of like a relief sculpture (Kissick 406-7).

Dadaism

Dada was formed by a group of artistic individuals in Switzerland.  Dada was born out of anger therefore a sense of anarchy can be sensed in the works of that movement.  Poetry based on sound, random lines put into one art piece, and simultaneous poetry were a few of the forms of art created in this period.  Dadaism was not only an idea of art, but also the movement had the purpose of diminishing the prior set values that were associated with art (Kissick 416).

One of the more prominent figures in Dadaism is Jean Arp.  Jean was focused on his art more than making a spectacle of himself.  Arp created a piece entitled Collage Arranged According to the Laws of Chance from 1916-17 in France.  This piece is a 19 1/8 x 13 5/8 inch collage from the Dadaism movement.  Arp believed that the conscious could be unlocked by performing art in an entirely different way.  This piece was created by randomly dropping pieces of paper on a background and simply gluing them down where they landed.  This form of art is said to be more in tune with nature than against (Kissick 418).  This type of art opened up doors to tapping the unconscious and thus led to the surrealist movement.

Surrealism

"Surrealism was Dada without the cynicism (Kissick 419)."  Surrealists clang to Freud and Jung and were delighted by the means of sexuality as a hearty competitor for the norms of art.  The art of the surrealistic movement was from an evolved Dada movement.  The ideas remained the same, but the "rebel without a cause" effect diminished.

Rene Magritte was a famous painter of the surrealist movement.  One painting that really protrudes out to me is The Rape in 1934.  Originating in Belgium, this oil on canvas painting is 28 3/4 x 21 1/4 inches in size.  The reason that I enjoy this painting is that it truly represents everything that Freud, Jung, and every surrealist has longed to express.  Some might view this painting in a different way but I see it as a picture of a woman through the eyes of a rapist.  The unconscious of the rapist views all women as a sexual object.  The body features that represent the eyes and the mouth of the woman portrayed signify what a rapist might see we he gazed upon a woman (online source).

Meret Oppenheim put together yet another piece of which I am not too fond of.  Object is composed of a fur covered spoon, saucer, and cup.  The cup is 4 3/8 inches in diameter, the saucer is 9 3/8 inches in diameter, and the spoon is eight inches long.  The overall height of the piece is 2 7/8 inches tall.  This piece is in New York and is from the surrealistic movement.  I'm not too fond of this piece because it is too simplistic and it doesn't focus on the sexuality that is focused on by most pieces in the time, to include The Rape.  The main focus on this piece is based on a dream.  The spoon, saucer, and cup were once a smooth surface and are now covered in a fur.

Work Cited

1.  Kissick, John.  Art.  Context and Criticism.  The McGraw-Hill Companies.  Boston.

1996.  352-423.

2.  The Arts and New Movement.  Vincent Van Gogh. http://www.usc.edu/schools/annenberg/asc/projects/comm544/library/images/228.html

3.  The Arts and New Movement.  Rene Magritte.  http://www.usc.edu/schools/annenberg/asc/projects/comm544/library/images/739.html

1190.      The Nightmare

It all began one day when I was over my friend Susan's house.  Her parents had

just left for vacation to Texas, leaving her home by herself.  I was allowed to stay that

weekend while her parents were away.  Susan and I were sitting down eating when she

got a call from the house where a new family just moved into.  The Smith's had asked her

to babysit for them.  They said it was all right if I came too.  They wanted us to come

over about six that evening.

When we got over there Mrs. Smith introduced her two year old daughter named

Julie to us.  Mr. and Mrs. Smith didn't leave right away because they wanted Julie to get

to know us better.  Mrs. Smith told Susan and I that Julie could stay up until 8:00 P.M..

She also told us she had been having problems with her telephone.  There must have been

something wrong with the connection because when it rang there would be no one on the

other end.  Someone was coming tomorrow to take a look at it.

Mr. and Mrs. Smith informed us that they would be a little late coming home

because it was their anniversary and they had a long night planned.  We told them to have

a nice time and they both grabbed their coats and left.

Julie started crying just as they closed the door. We gave her a bottle and put her

down to watch some TV.  Then the phone rang and Susan and I looked at each other,

seeing who was going to answer it.

I answered the phone but no one was there.  I said hello again, but still no answer.

All I could hear was someone breathing heavily.  It was loud, gasping, and very

frightening.  I said hello again and  heard a faint, masculine voice.  As I began to tremble,

the voice  whispered, "I'm coming."

All of a sudden the lights went out.  Susan, Julie and I let out a loud shriek.  I ran

over to Susan and Julie and hid my head.  Susan started laughing and told me it was

probably because of the storm outside.  We both looked out the window when a bolt of

lighting struck across the sky.  Julie began to cry and we comforted her and told her it

would be all right.

Susan was going to go down into the basement to find the fuse box so she could

turn the lights back on.  It was time for Julie to go to bed so I grabbed a flashlight and we

went up stairs.  I tucked her in and read her a short story.

All of a sudden I heard a loud screech.  I jumped up and ran down into the

basement where Susan was.  I hurried down the basement steps where I saw Susan's still

body laying on the floor and her head on top of the fuse box.  I froze with astonishment,

when I saw written on the wall with blood "YOUR NEXT."  As fast as I could, without

thinking, I ran up the steps frantically.  I got up the steps trembling and locked the

basement door behind me.  I ran up into Julie's room to get her so we could leave the

house.  I looked in her room and she was gone from her bed.  I heard foot steps coming

from the basement.  I called Julie's name a few times, but with no answer, I thought he

had already got to her.  I picked up the phone to call the police but the line was dead.

I didn't know what to do so I went to the kitchen to get a knife.  There weren't any

kitchen utensils since they had recently moved in and weren't finished unpacking yet.  I

saw a small pocket knife on the counter, grabbed it and headed toward the front door.  I

thought the best thing to do was to get out of the house as quickly as possible.  As I crept

past the steps I noticed a low crying coming from Julie's room.  It sounded like Julie so I

dashed up to her room and heard it again.  It was coming from her closet.  As I opened

the door I saw Julie huddled in the corner of the closet crying.  I picked her up and

carefully ran to the front door.

Feeling a little relieved that Julie wasn't hurt, I tried opening the front door but

something was holding me back.  Someone from the other end was holding the door.  I

looked out the window horrified at what I saw.  It was a tall man with dark hair, and an

unshaven, frightful face.  He looked as though he was thirty.  I knew he was after me so I

raced to the back door knowing he would follow.

The back door was unlocked so I took Julie and ran into the woods.  When I

thought I got far enough away from the house I put Julie down and told her everything

would be fine.  Just when I thought he was gone I heard the rustling of leaves and heavy

breathing.  I took Julie's hand and was as frightened as ever.  We ran as fast as we could

trying not to look behind us.  Julie kept tripping over rocks so I picked her up.  When my

arms got too tired to carry her any longer I stopped.  I looked back hoping he wasn't there.

When I saw the man coming closer to me I put Julie down and pulled out my

pocket knife.  He didn't seem alarmed. He then pulled out a large butcher knife from

behind his back.  Then all I could think about was seeing Susan laying dead in the

basement.  I stepped backward holding Julie's hand. Julie let out a huge shriek which

startled me, leading me to trip over a rock behind me.  I got up quickly as the man started

chasing me again.  When I went to turn around to start running again there was a huge

cliff in front of me.  I lost my balance and fell right off the edge.  I felt myself falling in

the air looking down at what I might hit. Just then I woke up in my bed with sweat

dripping from my head and realized it was all just a nightmare.

1191.      The Number One Hit man

The Healing Process

This is a brief psychological overview of the healing process. The image of healing is best described by Gloria Vanderbilt in "A Mother's Story" when she talks of breaking the invisible unbreakable glass bubble which enclosed her that kept her always anticipating loss with echoes of all past losses. She wrote, for example (Page 3),"Some of us are born with a sense of loss there from the beginning, and it pervades us throughout our lives. Loss, as defined, as deprivation, can be interpreted as being born into a world that does not include a nurturing mother and father. We are captured in an unbreakable glass bubble, undetected by others, and are forever seeking ways to break out, for if we can, surely we will find and touch that which we are missing".

This concept of healing was also described by Philip Berman in "If It Is Not Good Make It So" as changing positively from the unhappy attitude of(Page 48) "we never got the habit of happiness as others know it. It was always as if we were waiting for something better or worse to happen".

Psychological theory of change suggest it is possible to heal, to break out of the glass bubble, to develop the attitude of happiness. For example, in "The Process of Change: Variations on a Theme by Virginia Satir says on Page 89 that "successful change-making turns out to involve struggle, necessitating skill, tenacity and perspective". The struggle occurs when a foreign element produces chaos until a new integration occurs which results in a new status quo. Kurt Lewin echoed this view in saying that an old attitude has to unfreeze, the person experiments, a new attitude develops and a refreezing occurs.

Janis and Prochasky suggest a person starts in relative complacency, is presented with challenging information, the person evaluates the new challenge to habit or policy and reviews alternate policies to create a new policy or return to the original one,

The psychological theories focus on perspective and rational thought. The significance of the therapist is in giving a new perspective and in aiding self-esteem in order to break down resistance to change.  Otherwise, Satir suggests people are likely to revert to their trance like state of automatic thought and previous habits.

Maslow (1991), on the other hand, theorized that inherent in each human is a self-actualizing instinct. This was "not merely a matter of fulfilling one's own particular talents; it also involves actualizing those potentialities that one has as a human being" The key for Maslow in engaging in this process was that of openness. People must be (Page 117) "receptive and responsive to information from the world and from themselves. They do not repress or ignore uncomfortable facts and problems and their view of these facts and problems is not distorted by wishes, fears, past experiences or prejudices". This freshness of perspective permits spontaneity, creativity which then promotes growth. Growth is perceived as being open to one's self and to others which leads to empathy.

Maslow felt that the purpose of therapy with its "unconditional positive regard" was to lead the person to such growth and that the result would be love, courage, creativeness, kindness and altruism. Breaking the old habits was the key. Page 127 "To the extent that one is open, one rises above the level of an automaton and becomes more of a creative, autonomous subject. And by these means, openness helps give us a sense that our lives are rewarding".

Most psychologists seem to feel therapy is paramount in the process of change. Schoen, says for example,(Page 52) that before therapy "we are walled off in ourselves, often with evident obstinacy, at the same time, we may puff ourselves up, with obvious arrogance. We are in pain". He theorizes that there is a miracle in therapy. He says (page 53) that the act of appreciating the person actually produces a chemical change that permits a freedom of the soul to stop defending all the conditions that maintain it in its pain. "The new creation is a flexible ego that can be new, fresh and express passion and compassion from the place of a new variableness in existence" (Page 54).

Morrow and Smith describe the healing process as strengthening the person to move beyond mere survival to wholeness and empowerment, from managing helplessness and being overwhelmed by threatening and dangerous feelings to problem focused strategies.(Page 32). Therapy permits the therapist to understand that the "profusion of dysfunctional symptoms really can be seen as rational and reasonable coping strategies".

Bugental discusses that therapy is useful in showing how we all imprison ourselves. He theorizes that when this recognition is deeply experienced, "the world is already beginning to change-because the crippling element in these definitions is the belief that they are and can be the only way one sees them.."(Page 27)

He says we cripple ourselves by making us into objects and forgetting our subjectivity. In therapy we learn to recognize and respect our needs, emotions, anticipations, apprehensions and our sense of concern. But we learn not to be dominated by them.

We learn the frightening quality of relationships, that of the lack of control adds to the richness of relationships. We learn to invest in life and that relinquishment can be a sign of something right not necessarily something that has gone wrong. We learn that laws and mores are not absolutes but open to constant revision as we are to do with our inner selves.

Psychology seems to share the ideas that a person in emotional pain is stuck in a self made prison which can be escaped through unconditional positive regard and a fresh perspective. What isn't clear is how rational thought combined with 'love' enters the person's heart and soul.

Bibliography

Bugental James,F.T. "Lessons Clients Teach Therapists", J. of Humanistic Psychology Vol.31 No. 3 Summer 1991

Mittleman Willard "Maslow's Study of Self-Actualiztion: A Reinterpretation" Journal of Humanistic Psychology, Vol. 31 No.1, Winter 1991 Pages 114-135

Morrow Susan L. and Smith Mary Lee,"Survival Coping by Sexual Abuse Survivors", Journal of Counseling Psychology 1995 Vol 42, No.1, pages 24-33.

?    "The Process of Change:Variations on a Theme by Virginia Satir", J. of Humanistic Psychology, Vol. 34 No.3, Summer, 1994 Pages 87-110.

Schoen Stephen MD "Psychotherapy as Sacred Ground", J. of Humanistic Psychology, Vol 31 No.1, Winter 1991 Pages 51-55

Vanderbilt Gloria, "A Mother's Story", Alfred A. Knopf, N. Y. 1996

1192.      The Odysseus movie review

The adventures of Odysseus are dramatic, exciting and interesting even to a contemporary audience. It is a story of a great warrior who is cursed by the gods and must wander the seas for years after the Trojan War. There is beautiful scenery in Turkey and of course you have ships at sea and goddesses and gods causing confusion with the humans. What they did with the special effects is pretty impressive. Some of the more complex scenes were filmed in Malta. I noticed that there was some "overacting" when the characters emphasis their emotions strongly. I shouldn't laugh when actors are crying, but, that is the effect that the overplaying of emotions becomes funny. However, if you consider how the individuals really might have acted, this is perhaps more true to ancient life. It is true that in the original Odyssey, men cried more than men now, (in our time).I especially loved seeing all the gods and goddesses in the movie.

I liked goddess Athena a lot. She was definitely a highlight in this movie. Her eyes are very beautiful in this movie. With a twinkle in her eye, she sends Odysseus off to be brave because, it seems she is rather fond of him. Another highlight is the horse and ships. The Trojan Horse makes was very well made like, all the ships. I was amazed by the special effects in Hades. As Odysseus descends into Hades he is almost overwhelmed with the heat.

Some of the bloodiest scenes I've ever seen occur in this movie. Bodies being gobbled up by hungry sea creature and blood splattering on a wooden deck or a Cyclops tearing a body apart to devour it, wasn't horrific yet disturbing. Because it happens during the daytime, the effect is not as intense. I would recommend this movie to those who like Greek Mythology or who want to have a visual reference in your mind when ready or listening to the translation of The Odyssey by Homer. The ending of the Odyssey is very romantic and there is romance and beauty in the whole movie (which I like).   I think people should watch this movie after they have read the book because not all of the episodes that are in the book are in the movie, based on what my father told me from reading the book and watching the movie with me.

I think that the main message of this movie is: "never give up on your dream even if a optical comes are in your way." I would recommend that if you are planning to watch this movie, watch it alone so that you can pick up all the concepts of what's happening in the movie.

1193.      the odyssey and the pearl

Loyalty to another person or to a cause may be an admirable trait, but it can lead to either positive or negative consequences.  In Homer's epic The Odyssey and John Steinbeck's novel The Pearl there are characters that show great examples of this trait.  Penelope in The Odyssey and Juana in The Pearl are the most obvious, although there are many.  Penelope stayed loyal to Odysseus while he was on his twenty-year journey and Juana stayed by her husband through his time of distress.

Penelope stayed loyal to Odysseus while he was on his twenty-year journey.  To ward off suitors that were beckoning for her hand, she made them a promise that as soon as she finished weaving a gift for her father, she would take one of their hands in marriage.  Nightly, unbeknownst to the suitors, she would unravel her work, so that she could remain faithful to Odysseus.  Also, Penelope promised her hand to the suitor who could meet a test.  Penelope's test was to string Odysseus' bow and then shoot an arrow through the eye of twelve ax handles.  Penelope knew that only Odysseus could accomplish this task.  By doing this, she avoided having to marry one of the suitors.  Staying loyal to Odysseus brought about positive consequences to Penelope.  She was reunited with her beloved husband Odysseus.

Kino's wife Juana stayed by her husband through his time of distress.  Although it was her belief that the pearl was an omen of evil, she loyally stayed at her husband's side.  Juana remained loyal to Kino even after he had savagely beaten her.  She knew that she had brought it upon herself and it was her place to accept the beating.  Also, Juana vowed not to leave her husband's side when he decided to flee from the town after murdering one of the townspeople.  She made the treacherous journey with her husband across a desert trying to outrun the men that pursued them.  Negative consequences were the outcome of Juana's loyalty to Kino.  Her loyalty caused her to lose all that was common and dear to her, including her only child.

Loyalty to another person or to a cause may be an admirable trait, but it can lead to either positive or negative consequences.  Penelope stayed loyal to Odysseus while he was on his twenty-year journey and Juana stayed by her husband through his time of distress.  Penelope refused to remarry while Odysseus was on his long absence, and Juana never left Kino's side.  Loyalty is a trait found in most humans, and if used in moderation can have very positive consequences.

1194.      The Old

Matt Shouse

English 132

House

The Old

Authors use many tactics to reveal a character's personality.  In the short story, A Clean, Well-Lighted Place, Hemingway exposes the attributes of his characters through narration and dialogue.  The older waiter's characteristics are exhibited through the waiters' conversations and the observations the narrator makes.  The author cleverly associates the older waiter with the old man.  This connection gives the audience a clear understanding of the loneliness and old age the waiter faces.

The older waiter in Hemingway's story identifies with the old man.  This is evident through the statements he makes to the younger waiter.  In the begining of the work the younger waiter is complaining about the old man staying at the cafe.  The older waiter takes up for the old man by explaining that the old man, "stays up because he likes it" (Hemingway 160).  This is the initial time that the older waiter indicates that he identifies with the old man's feelings.  This identification becomes more apparent farther in the work.  For instance, the older waiter categorizes himself as being one, "of those who likes to stay late at the cafe"(Hemingway 161). With this declaration, the older waiter places himself in the same group as the old man.  Hemingway's comparison of the old man and the waiter becomes unmistakable through the words of the older waiter.

Loneliness and old age are the common bonds that the older waiter shares with the old man.  This is manifested through the dialogue between the two waiters.  For example, when the younger waiter boasts about his youth and confidence, the older waiter jealously replies, "I have never had confidence and I am not young"(Hemingway 161).  The older waiter goes on further to illustrate that all he has is work.  The older waiter later displays his loneliness through his compassion for the old man and others like himself.  For instance,  when the younger waiter remarks that he wishes to go home for the night, the older waiter says, "I am reluctant to close up because there may be some one who needs the cafe" (Hemingway 161).  Through the author's comparison of the old man and the older waiter, he reveals the waiter's loneliness and desire for youth.

The narration communicates the personality of the older waiter.  For example,  the narrator depicts the old waiter as, "not dressed to go home"(Hemingway 161).  The author is implying that the older waiter will be in search of a drinking area, much like the cafe, after the cafe closes.  Similar to the old man, the older waiter does not want to go home.  Later in the story,  the older waiter is at a bar drinking.  The narrator mentions that, "it is too late at night for conversation" (Hemingway 162).  This image reminds the reader of the old man sitting silently alone at the cafe.  Again the audience sees the old man's loneliness illustrated in the older waiter.

The connection attaching the old man to the older waiter enabled the reader to recognize the waiter's loneliness and broken spirit.  The conversations between the two waiters also discloses many of the older waiters' temperaments.  Hemingway reveals his character through speech and statements by the narrator.

1195.      The Orderly World of Mr Appleby

The Orderly World of Mr. Appleby

A short story I recently read in class was "The Orderly World of Mr. Appleby" written by Stanley Ellin.

The story tells us of a fastidious man named Mr. Appleby. Who owned a Shop called "Appleby: Antiques and Curious." At the beginning of the story we are told he had come to investigate "the most efficient methods for disposing of wife" so that he can come into immediate possession of her financial estate. He then finds an appropriate case of what seems to him the most perfect murder in a text on forensic medicine which told of a Mrs. X who was killed by her husband by her falling on an aptly placed scatter rug while handing over a glass of water to her husband which was requested by him as part of his plan. He then placed his one hand behind Mrs. X's shoulder and then the other across her jaw and with a sudden thrust produced the same horrific results as the fall on the rug. Mr. Appleby used this method on 6 of his wife's. Last in line was Martha Sturgis who "broke the pattern" his previous wives had created, not only in appearance but also attitude. Mr. Appleby did not know that Martha knew about his past and had his details past onto her Lawyers "Gainsborough Gainsborough and Golding" who she reports to every night to ensure them she is still alive. Just as Mr. Appleby is about to perform his murderous deed Martha asks "Is this what happened to all the others?" At this point the Gainsborough calls, and as Martha turns to place the glass on a near by table, she accidentally slips and dies. This puts Gainsborough in the position to prosecute Mr. Appleby for murder. On the first occasion that he had been innocent Mr. Appleby didn't know Martha had been researching his past but we, the readers, discover at the same time she tells him, she reveals details which tells us the case in forensic medicine book is about Martha's father who murdered her mother. Martha wants Mr. Appleby who is exactly like her father to live the life her father should have lived if he had no died of a heart attack before any verdict could be reached by the court.

The story was written in third person narrative. This was effective because we could see the action as if through a by standers view. Also we could see everything that was going on as if we ourselves are in the room.

The main character in the story was Mr. Appleby. He was a small prim man who wore thin rimmed spectacles and parted his greying hair in the middle. He took "sober pleasure" in pointing out that "there was no room in his properly organized life for the operations of chance." His Shop "Appleby: Antiques and Curious" was his pride and joy. Everything was carefully labeled and had a precise place and his nerves were violently shook if anything was moved out of place. His mother who was a huge influence on his life spared his nerves of this.As she had the "boiling and toasting" of his meals down to perfection. His mother's death left "a vast gap" in his life. Therefore, he turned to marriage. All his wives had been like his mother in appearance and in personality. All of them were murdered by the same "scatter - rug" method all so Mr. Appleby could come onto immediate possession of financial estates.

Martha Sturgis was next in the line up of women but she knew about Mr. Appleby's past although he is not aware of this he later finds out when he is about to kill Martha. Martha, as the writer described, had broken the pattern established by his previous thin, pale, thin lipped wives. Martha was a large, shapeless woman who in all manners may have been called "blowsy". Her hair was dyed orange - red and was piled recklessly on top of her head. Also her blobby features were carelessly painted to their distress.

Her relationship with Mr. Appleby was for one purpose only, for him to lead the life her father should have lived. Mr. Appleby was like Martha's father in every way appearance, personality and his way of being completely organized and pernickety. The relationship was totally false. The reader was told that the murder case in the forensic medicine book was infact Martha's father, who had killed her mother but before anything had been proved he died of a heart attack. If anything was to happen to Martha during her time with Mr. Appleby, then her lawyers had all the information they needed to prosecute against Mr. Appleby.

The two had met when Martha entered Mr. Appleby's shop looking for a gift for an infuriating friend, but Mr. Appleby would not permit this as Martha did not care for the objects in his shop.

As the story went on Martha began to enjoy Mr. Appleby's company although she knew his future plans to kill her and take all her financial belongings. They began to spend more and more time together and Martha had dropped into the shop for chats on numerous occasions.

The effect of the setting in the story creates a stark contrast between Mr. Appleby's shop and Martha Sturgis's home. The Shop was orderly and practical with everything labeled and in a specific place. Martha's home on the other hand is "a nightmare of disorder" with drawers and cupboards overflowing, and everything was "casually flung" aside which made it not worth picking up as it would have been cast aside once more.

The structure of the text was very tight. The revelation of Mr. Appleby's criminal intensions at the beginning of the story left the readers in a state of anticipation. Also the plot was cleverly thought out.

The climax where Mr. Appleby is about to murder Martha, when she asks "is this what happened to all the others?" first has the reader in a state of suspense then a state of shock, when Martha dies by accident on the scatter rug as she was placing down a glass of water so she could go the phone to talk to Mr. Gainsborough. Then the lawyer gives Mr. Appleby ten seconds to get Martha to the phone because he doesn't he is then arrested.

The language of the text was highly descriptive and complex. The writer conveys the characters and setting using excellent imagery such as "Her shoes gave evidence of long and pleasurable wear without corresponding care being given to their upkeep." When describing Martha's shoes. The author also uses a sense of irony - Martha dies slipping on the scatter rug without Mr. Appleby causing her death. Mr. Appleby saw she had turned to set down the glass of water and the "rug skidded slightly under her feet" and then he saw her fighting for balance as she fell to the ground as "her face twisted into a silent scream." Mr. Appleby will be convicted or hung for the death of Martha Sturgis although this is the first wife he has not killed.

The twist in the tale is effective because it shocked the reader, due to Martha dying on the rug without Mr. Appleby aiding her death in any way. Also the fact that Mr. Appleby has been caught and may be convicted for all the murders he has committed.

I enjoyed this text, mainly due to the amount of suspense created and also because we know all the action that is going on especially that the reader knew that Martha had Mr. Appleby's details and knew his future plan to kill her although Mr. Appleby is not aware of this. "The Orderly World of Mr. Appleby" is a thoroughly enjoyable text.

1196.      The Origination Of Punk Rock

The Origination Of Punk Rock

The time was in the mid-seventies, there was a void in the music industry that needed to be filled. This need for a new sound was aptly filled by punk rock, a new type of sound that had evolved from mostly rock and a little pop music. The focus of this paper is on punk rock and it's ample beginnings, early pioneers of the new sound, punk rock listener's cultural background and their ideas as a whole, bands influenced by the punk rock movement, and the state of punk rock today.

The year is 1974, this year marks the birth of punk rock (1974). There is controversy as to where punk started out at, some say it began in London while others say it started out in New York City. It can be safe to say that two very distinct sounds classified as punk originated at about the same in both London and New York City (Punk). Punk rock began in the bars and nightclubs until the bands garnered enough support to receive a record contract.

When the punk rock explosion occurred in the mid-seventies, a number of new, excitingly innovative bands burst upon the scene. Bands like the Ramones, The Clash, The Velvet Underground, The Virgin Fugs, Patti Smith, The New York Dolls, Iggy Pop and The Stooges, and the punk band with the most success, The Sex Pistols. The thing that made punk rock so unlike anything the music industry had heard before was the notable lack of talent displayed on the musician's part. Not to say that all punk bands were devoid of any talent, just that anyone with second-rate instruments and the ability to play at least three chords on the guitar could form a punk band. This is part of what punk's appeal was, it was a new sound that appealed to many of the youths of that era. As Johnny Ramone, the guitarist for the Ramones, stated, "We were new at writing songs and new at playing our instruments, so we couldn't write anything too complicated, really" (1974). Punk rock bands often had a flair for the flamboyant, not just with their appearance but with their humor, sarcasm, and often carelessness about society and social norms. For example, The Virgin Fugs, their outlook on life is often displayed in the titles of their songs. Songs like "I Saw The Best Minds of My Generation Rot", "Kill For Peace", and "New Amphetamine Shriek" captured the Fugs' sense of humor and satire (History). There were also bands like The Velvet Underground who relied on their detailed studies of urban realism that is evidenced in songs like "Heroin" and "I'm Waiting For The Man", were a far cry from the three chord, ultra-fast, guitar displayed by the Fugs and most other punk bands (History). Another one of punk rock's pioneers was the animated Iggy Pop. Iggy began his musical career, or let me say, his career took off after leaving the Paul Butterfield Blues Band. Iggy formed a band with friends who really had no idea how to play their instruments. This way their lack of musical knowledge would allow Iggy to incorporate his zany and unorthodox style into their playing style (History). Iggy was a maniac on stage, cutting himself, screaming at fans, and displaying obscenities unheard of in that time. Although Iggy never achieved much commercial success back then, Iggy just released a song "Corruption" which is on the charts. The punk subculture is often seen as a rebellious group of misguided youngsters who often come from lower class dwellings and haven't gotten the attention that they needed so they dye their hair, dress differently, and act differently. In Facing The Music edited by Simon Frith, Mary Harron reduced the meaning of punk to "the spectacle of middle-class children dressing up in a fantasy of proletarian aggression and lying desperately about their backgrounds" (History). The flipside to that is that maybe these youths are expressing their individualism and choose to stray away from societies values because they are bored with society. Either way you look at it, punk is about being your own person, at least that's the ideal. Punkers even have their own unique style of dress, which is illustrated by Alison Lurie in The Language of Clothes:

It featured hair cropped to a fuzz and dyed startling, unnatural colors: often very pale yellow, sometimes red, green, orange or lavender. Faces were powdered pasty white, with sooty eyes and heavy lipstick. In clothing, red, black and white were the favorite colors.

There are many people who believe punk is dead, I personally believe that punk is in the process of being incorporated into mainstream culture. Bands like Blink 182, Eve 6, The Offspring, and Greenday still carry on the punk flame. The difference is that their image has changed in that the bands often focus their energy into positive topics, rather than using obscenities and shock technique to garner attention. The punk bands of today's era are also more musically talented in that they actually know how to play their instruments. There aren't quite as many true hardcore punk bands as there were in the past but bands like SST, Dischord, Homestead, Twin/Tone, The Minutemen, Meat Puppets, Butthole Surfers, Scratch Acid, Husker Du, The Replacements, Dinosaur Jr., Squirrel Bait, The Effigies, Big Black, Naked Raygun, Sonic Youth, The Swans, Fugazi, Bad Brains were all heavily influenced by the punk revolution (History). Also, bands like Nirvana and Pearl Jam seem to have the mind frames of punk rockers and were undoubtedly influenced by them, the sound doesn't carry over into their own music. Punk, as it was really intended, will never become commercialized and incorporated as a large part of the music scene. But then again, punk was based on rebellion against mainstream culture and to be publicized and critically acclaimed would be contradictory to the basis of everything punk stands for. True, one can see bands on MTV that claim to be punk, but the true hardcore punk fans will tell you that they are posers. The industrialized, commercialized, mainstream music seen on MTV is really more like punk/pop, it's good music that may have been influenced by punk, but not true punk rock.

Works Cited

"A History of Punk"

http://www.fastnbulbous.com/punk.htm "Punk"

http://www.music.warnerbros.com/rocknroll/cmp/episode9.html

"The Birth of Punk"

http://www.pqdweb?TS=953580845&Did=000000042640912&Mtd=1&Fmt=3&Sid=1&Idx=21&Deli=1&3/20/00

1197.      The Outsiders 2

Jess Martin

the Theme of The Outsiders (English)

Human Nature

The Outsiders, an enthralling tale by S.E. Hinton, is an excellent story about the hardships and

triumphs experienced by the Greasers and the Socs, two rival gangs.  This novel suggests the stories¹

content because the Greasers are a gang of social outcasts and misfits.  This novel¹s theme is very specific;

people, no matter what their social background, strive for the same goals and experience the same

disappointments.  This novel shows this theme throughout a detailed story line.

The fictional novel  is set in a moderate-size city, possibly near Texas, in the late 1960¹s.

Ponyboy, the main character, lives with his brothers as a greaser.  One day Ponyboy and Johnny,

Ponyboy¹s best friend, get jumped by a group of Socs.  The Socs start to drown Ponyboy in a fountain.

Johnny, realizing they might kill Ponyboy, kills Bob, one of the Socs with his switchblade.  Johnny and

Ponyboy run to a fellow Greaser, Dally, who is always in trouble with the law.  Dally helps them by giving

them some money, a gun, and a place to hide.  They hide in a church outside of town for a week until

Dally says it¹s okay to come out.  They go out to eat and when they get back to the church they find it

burning.   When they see that there are kids inside and the fire could have been started by their cigarettes,

they run inside to save the kids.  Johnny and Dally are hurt in the fire and taken to the hospital.  They are

hailed as heroes in the local paper.  Dally breaks out of the hospital to fight in a rumble against the Socs.

While the Greasers beat the Socs, Johnny dies in the hospital.  When Dally finds out he goes out and robs

a grocery store.  When the cops pull up he pulls out an empty gun so the cops shoot him.

The theme of this novel is that all people are set back at times and they all want the same basic

things.  This theme is expressed in the novel several times.  Disappointments are shown when Bob dies

and the Socs grieve  for him, when Ponyboy¹s parents die and they are upset, and when Johnny dies and it

disturbs the Greasers.  It is shown that the Greasers and Socs strive for the same goals when Darry,

Ponyboy¹s older brother, tells him that he should succeed in school and make something of himself, and

Bob is always trying to make his father happy with him.  These examples show that all people, Soc,

Greaser, or whatever, all strive to achieve the same goals and encounter the same disappointments.

The theme that all people experience the same disappointments and strive for the same goals is

also depicted in modern times.  All people want to have a good job, make a lot of money, and live a good

life.  Everyone also encounters hardships throughout their life.  Their car can break down, their loved

ones can die, and they can run out of money.  As you can see, this theme is important not only in The

Outsiders, but in everyday life as well.

1198.      The Outsiders

In literature, a character often changes from the beginning to middle and to the end of a novel. In the novel The Outsiders, Ponyboy and Johnny undergo many changes.                  Ponyboy is an honor roll student and a good athlete in track. Pony also thought that his older brother Darry hated him because he was too strict with him. But when Pony's best friend Johnny died of injury from the church fire, Pony began to be in denial about Johnny's death. He started to drop grades and fail classes, He became scatter minded. When he read Johnny's note to him, he got over it and wrote a book for an English essay, and he found out that Darry really did love him.                                                                                  Johnny was a quiet, scared and abandoned teenager, yet when he was with the gang he felt happiness and forgot all his troubles. But when he saved the five children from the burning church, for the first time in his life he felt like a real hero. When he was in the hospital for his broken back and his burns he died from serious critical condition. He was made a hero to many and always remained in the memory of the gang.                                         As you can see, change affects characters in literature in many different ways. Ponyboy got over Johnny's death and wrote an essay for English. Johnny became bolder, not scared, and lost his life do to injury.

1199.      the Paper Chase

The most famous quote in the movie, "The Paper Chase", would have to be when Kingsfield says, "You'll come in here with a scull full of mush and leave thinking like a lawyer."

This movie should teach a high school student that going to college demands a lot more than the "easy street" they've been riding in high school.

The movie teaches that you need to be able to put up with the arrogance of the rich and uppity people that attend an Ivy League school.  They are very expensive and most students come from wealthy families.

"The Paper Chase" teaches the viewer that law school is very stressful; it is a way of life not just going to school; and you must have what it takes just to survive law school.

The things I liked most about Mr. Kingsfield was well organized, and that he was a difficult teacher.  Difficult teachers usually make you learn for yourself.

The only things I didn't like about Mr. Kingsfield were that he was rude to his students and that he didn't remember anyone's face without the seating chart.

The name, "The Paper Chase", most likely came from the pursuit of receiving a diploma in law.  All of the students strived for their diplomas throughout the movie.

Hart possessed many characteristics that helped him be successful at Harvard.  Among these were:  endurance, will power, and respect for his professors.

I liked Ford best out of all the students.  He had most of the characteristics needed  to survive Harvard, but also kept his sense of humor.

1200.      The Pardoners TaleChacers Use of Irony to Criticize the Ch

Nearly every aspect of the Pardoner's tale is ironic.  Irony

exists within the story itself and in the relationship between the

Pardoner and the story.  The ending of the story presents a good

message despite the Pardoner's devious intentions to swindle money

from the other pilgrims.  By using irony in the Pardoner's tale,

Chaucer effectively criticizes the church system.

The irony begins as soon as the Pardoner starts his prologue.

He tells the other pilgrims that his sermons reflect how money is

the root of all evils, "radix malorum est cupiditas."  He actually

preaches against his own problems and sins.  Pardoners who took

money in return for forgiveness were supposed to use the the money

for charity, but he, like many other Pardoner's in his time, used

the money for his own satisfaction.  He even admits to his greed.

"And thus I preach against the very vice I make my living out of

avarice."(p. 259)  The Pardoner makes a mockery of the entire

church by fabricating stories about his phony relics.  Chaucer

shows how the Church is so corrupt, that even a Pardoner who

admits to his evil ways, can still cheat the people out of their

money.

The Pardoner begins his story by condemning the common sins

of society such as drinking and gluttony.  The irony of his

criticism lies in the fact that he has been drinking himself, and

that he is an admitted glutton.  There are also many ironic

elements of the stor itself.  The rioters in his story, vow to set

out and slay Death.  In doing so, they promise to fight and die

for each other.  There are two ironies in their mission.  First,

Death is hardly a being that can be killed.  Second, the three

drunken fighters pledge to die for each other, but in reality they

kill each other.

1201.      The pathetic life of Walter Mitty

wALTER mITTY'S PATHETIC LIFE

Walter Mitty was a pathetic character because he had no self confidence.  He had to make up stuff to be what he wanted.  He also let his wife order him around.

His self confidence was so low that he was afraid to stand up for himself.  He automaticly assumed everyone was putting him down.  He didn't even try to do things for himself-parking his own car.  He didn't have much confidence in himself.

He daydreamed all the time about what he wanted to be because  he didn't have a very exiteing life.  He dreamed he was a doctor, pilot, convict, etc.  On acount of his boring life he dreamed of having a realy exiting life.

His wife made him do things that he did not think were necessary, but he did them anyway because he was afraid to stand up for himself.  She made him wear his boots and gloves and told him not to sit in a certain chair in the hotel.

Overall Mitty has no self confidence about himself or the way other people look at him.  He lets his wife order him around.  It is because of these things that he makes up a world were he can be the superhero.

1202.      The Pearl 2

The Pearl

As Kino and Juana walked hand in hand back to

their brush  house the song of evil hung over them like a

shadow. For they could not understand why their pearl ,

this beautiful wonderful pearl that was supposed to bring

them so much happiness wasn't worth nearly as much as

they had expected. When they arrived at the brush house

Kino sat in a corner while Juana placed Coyotito down in

his crib for a nap. Kino again raised his pearl out in front

of him. On it's shiny surface he could see the images that

he had once seen before starting slowly to diminish. But

Kino with a adamant look on his face refused to give up.

We will go to the capital city and get all that we deserve

for this pearl. We have waited long enough he told Juana.

She heard his voice and she knew better then to argue, she

knew he was determined. The next morning Kino awoke

early. He turned to awaken Juana. He told her to pack the

essentials, he wanted to get an early start to the city.

Juana awoke without a fuss. As Juana started to pack she

thought about Coyotito. She told Kino that it might be

dangerous traveling that long of a distance. Kino told her

to bring him to the house of his brother Juan Tomas. She

did and Juan Tomas and his wife Apolonia said that they

would gladly take care of him. She thanked them and

went back to Kino. He had just finished packing. He then

grabbed a few corn cakes and they started on their long

journey.

As they arrived in the city they had found that it had

almost entirely changed. The streets were more crowded,

the stores were getting more business, and all in all was

more modern. Kino walked up to a young  looking man

and asked where the pearl buyers were located. The man

didn't answer he just walked away. Kino thought that

this particularly strange. Back at La Paz anyone would

have been glad to give Kino directions. Juana told Kino

that she would try and that maybe she would get

directions. Juana went up to an older man and she asked

him the directions to the pearl buyers. She continued to

tell him about the pearl, how her husband had this big

and exquisite pearl. Then he did something she never

expected him to do, pull out a rifle turned to Kino and

demanded the pearl. But Kino was confused. Because of

his lack of knowledge he thought this man wanted to trade

pearl for rifle. Kino told him he was going to get much

more then just a rifle. Then Kino started telling him

about all that he saw in the pearl. How he was going to

get new cloths and so on. But the man was not amused.

He thought it was some sort of joke or smart remark. He

pointed the gun at Kino and Juana and told them to go

with him into an alley, over past one of the more popular

stores. Kino and Juana walked in front while the man

followed. In that alley way the story ended. It was said

that Kino was shot and Juana had only minor injuries.

Only one more thing was said that the music of evil from

that day forth forever lingered in Juana's mind.

1203.      The Pearl 3

The Pearl

The plot-           The Pearl starts off with a poor family that runs into a problem.  The problem is that their son Coyotito got bit by a posinous snake and they need money so that the doctor will treat him.  Kino, the father, went out to find a pearl so that they would have enough money to get Coyotito to the doctor.  The pivoting point in the story is when Kino finds the pearl of all pearls , the pearl he finds is huge.  The whole town finds out about Kino's findings, he starts to since an evil feeling comeing from people and the pearl.  When it comes to seling the pearl Kino can't sell it in his town because all the pearl buyers are working for the same person so they try to cheat Kino, but he doesn't sell the pearl.  He then tries to go to the city to sell the pearl but before he can go he is attacked by someone trying to steal the pearl from Kino, Kino had to defend his self by stabbing and killing the attacker.  So he has to flee the town because there are trackers comeing after him, his wife, Juana insist on going with him so they flee up to a mountain to get away from the trackers.  There were three trackers , two on foot, one on horse with a rifle.  Kino decided to attack them while they were sleeping, so when he attacked them Kino first tried to get the man on horse, in the struggle Kino killed the trackers but his son was killed by a bullet.  Kino then threw the pearl away.

Kino is a determined man , and he does what he thinks is right, like on selling the pearl to the towns pearl buyers.  He has a small mustache and short black hair.

Juana, kino's wife has long black hair and smart.

A conflict in the story is when Kino had a choice between selling the pearl to the pearl dealers in his town or to sell it some place else.  Alothough the towns people thought Kino should have sold the pearl to the dealer for the little amount he offered Kino, but Kino did what he thought was right and did not sell the pearl.

I thought the pearl was a good story.  There were some parts in the story that I got bored of reading because it wasn't keeping my interest. Most of the book was good,  I thought that is showed how people in real life act when they have the chance to get some money.  Like how the doctor wouldn't treat Coyotito until he found out that Kino had found the pearl,  and even then he had tricked Kino.

1204.      the pearl 4

the pearl

by john steinback

The novella The Pearl  is a story about greed , corruption, and good against evil.

The story starts out with a poor indian pearl diver named Kino, who lives on the Baja penninsula

. He lives with his wife Jauna and there son Coyotito. they live a simple life until coyotito is stung by

a scorpion. Kino takes the baby to the rich doctor who will not treat him because they are

poor. So Kino gets into his boat to find a pearl. He finds a pearl "the size of a seagull egg"

, and they think there trouble is over.

conclusion:

Kino and Jauna ultimatly have to go to the capital to trade their pearl in. Some trackers follow

them to get the pearl. What insues is a chase through the mountains ending up with the death

of Coyotito. Finally , they come back home and destroy the pearl forever.

thoughts:

this book has a good message about greed and humans. It tells us it is human nature to want

what someone else has.

1205.      The Pearl

In John Steinbeck's The Pearl, a destitute pearl diver finds a giant pearl with which

he hopes to buy peace and happiness for his family.  Instead, he learns that the valuable pearl

can not buy happiness but only destroy his simple life.  Throughout the fable, there is a

constant theme woven through the characters and setting which encompasses the struggle

among social classes to become successful.  Steinbeck, a novelist known for his realistic

depictions of life, portrays this motif through Kino, the doctor, Coyotito, and the town of La

Paz.

John Earnst Steinbeck, author of The Pearl and many other stories, was born on

February 27, 1902, in Salinas, California.  Both his father, who ran a flour mill, and his

mother, a teacher, encouraged him to write once they saw his early interest in literature.

Steinbeck began his career by writing articles for his school newspaper and by taking classes

at Stanford University.  At the same time, he worked at a local ranch where he witnessed the

harsh treatment of migrant workers.  These underpriveleged laborers later served as the

inspiration for many of his novels, including The Grapes of Wrath.  The Pearl, another

inspiration from his past, originated from a legend about the misfortunes of a poor boy who

found a giant pearl that was told to Steinbeck while on a trip to Mexico.

Kino, the protagonist in The Pearl, is an honest pearl diver that discovers the

sacrifices that come with the struggle for success.  He dreams of the education the pearl

could provide for his son, but the pearl also makes Kino more suspicious of the peaceful

villagers around him.  At one point, he tries to sell the pearl in order to pay for a doctor

Coyotito needs, but the pearl buyers only try to cheat him of the success he feels he deserves.

Then Kino tries to leave the town, but his fear only causes him to shoot Coyotito

accidentally.  Finally, Kino returns to La Paz and throws the pearl into the sea.  Kino, a

symbol of hard work and ambition, is destroyed by his dreams of a better life.

The town doctor also demonstrates how the struggle for success can corrupt people.

This "healer" is more interested in money than the welfare of others.  While drinking

expensive tea out of tiny china cups, he sits in his large white house and dreams of returning

to Paris.  When Juana comes to ask if he will treat Coyotito's scorpion sting, he promptly

sends her promptly away.  However, when news of Kino's discovery reaches the doctor, he

rushes to the family's grass hut.  Once there, he makes Coyotito sick so that he may cure the

infant and squeeze a portion of the pearl's wealth from the family.  This disgraceful doctor

represents the arrogance of the powerful towards the powerless.

Coyotito, though only an infant, is also a very important symbol of the struggle for

success.  An innocent victim of greed, he knows nothing more comforting than the simple life

he spends in his wooden crib and in his mother's arms.  Yet, the pearl and the possibilities it

offers threaten and eventually take his life.  Because of his poverty, he is refused treatment

for a scorpion sting, and beacuse of his fimily's wealth he is made sick by a greedy doctor.

Finally, the pearl costs little Coyotito his life when Kino accidentally thinks his eyes are

those of trackers coming to take the pearl.

Even the town of  La Paz gives evidence of the strife that costs the life of a child.

Located on the coast of Mexico, most of the Indians in this town are merely fishermen trying

to feed their families.  These people are constantly taken advantage of by traders that come.

Unfortunately, they can do nothing, or their families will lose business.  For the people, there

is a struggle each day just to make ends meet.  However, their grass and mud huts clash with

the stone and plaster city of the rich.  It is through the city of stone and plaster that Juana must

boldly journey through to ask the doctor for help.  The huts battle to enter the boundaries of

the rich, just as Kino fights the boundaries of social stratification.

Through the struggles that Kino faces, he reveals the conflicts between the rich and

the poor.  Coyotito teaches the reader how innocent bystanders can suffer, and the doctor

shows what type of people could do such a thing.  Through these characters and the town of

La Paz, Steinbeck informs his reader that wealth and happiness do not always come together,

and that being wealthy does not mean everything.  Most importantly, he shows that the

struggle to become successful can destroy one's initial dreams.  Kino finally realizes the

worthlessness of the pearl after Coyotito's death  and as Steinbeck writes:  "And in the

surface of the pearl he saw Coyotito laying in the cave with his head shot away.  And the

pearl was ugly; it was gray, like a malignant growth...And Kino drew back his arm and flung

the pearl with all his might."

1206.      The Person Behind The Mask

THE PERSON BEHIND THE MASK

It had all begun when he was a little boy. One year a circus had come to town. In the morning a big parade was held in main street. He could see the clowns walking around making people laugh. He would watch the clowns` faces as they walked by. The big noses and the funny walks made him feel happy.

It was poor times, and his father was out of work. His family couldn't afford any material benefits, but each year his father collected enough money so that he could take his son to the circus. Hand in hand they would walk to the circus, just a couple of blocks away. He would have a big smile on his face, because it was the only time he would feel better than his friends.

For a whole year he would dream of the clowns in the circus ring. Imagine their grimace, funny walks and pranks on each other. The tight- rope walker and the elephants were amusing, but they weren't the highlight. He was certain; He would be a clown when he became older.

After many years, he changed town and started on a career as an accountant in a big company. Nobody knew him better than by name, and nobody cared.  He just sat there behind his desk, working, day after day, week after week. He was an  "every chief's dream." But he was also a lonely man with no friends who would say;

"How are we today?"

His colleagues envied him, so they froze him out. He could see the guys meet in a corner. Whispering and giving him looks. He tried to be a pal, but they didn't want him to.

He was the average guy, with average pay and an average apartment. But he wasn't miserable. Of course he'd like some friends and a girlfriend to talk with,  but since he didn't have any, he thought it was the way it was supposed to be. His job was to earn money and sit behind his desk smiling to everybody.

Since nobody cared, they didn't know about his hobby. For a few years ago, a dream of his had fulfilled when he got a week to prove his ability as a clown in the town's circus. He had been a great success in his evaluation period, and was hired at once.

Each night he would become the clown "Baltasar". The salary was lousy, but he didn't do it for money. Just the looks on the children's faces was enough for him. In the ring he would blow a trumpet and kick the other clowns` bottom. Then he would be one of the guys.

Late every evening he would return to his home, satisfied and tired. A big smile would cover his face when he went to sleep, knowing that everybody liked him.

The next day, he pretended as if nothing had happened. He would sit as usual with a big smile on his face, and as usual nobody cared.

Then one day one of his colleagues in the company suggested for the others that they would make an outing to the circus, not knowing that he was a clown there.

When he realised that they weren't going to invite him, he just said to himself;

"Well, well. Perhaps another time..."

The evening they were going to the show, he was supposed to be "Baltasar".  Like normal he became a great success with everybody laughing of him, including the company's employees.

The very next day, his colleagues were whispering behind his back as normal. But they were also talking about the magnificent clown they had seen at the circus. He felt very flattered, but that didn't help him since they didn't know about him and "Baltasar".

A week later, the circus manager called for "Baltasar". The company, which he worked for, wanted to hire "Baltasar" to entertain in a party.  Totally certain  of the fact that he wasn't going to be invited, he accepted.

"Maybe this will be my final chance to show them", he thought to himself.

At the party he started to do his usual trickery, and he became a great success. But he didn't dare to take his mask of, to show his colleagues.

Then suddenly in an act, he lost his mask. And just as sudden they went quiet. Not a sound could be heard. Everybody was staring at him, wondering if it could be the dull man from the office.

They slowly started to realise that after all he wasn't such a boring man. They had been mistaken and willing to give him a fresh start.

From that time on, his life started blooming. He became one of the guys and continued to work in the company.

He never left his hobby- job as a clown. It was the passion of his life....

1207.      The Pit and The Pendulm

"The Pit and the Pendulum"

by Edgar Allen Poe

The movie "The pit and the Pendulum" was nothing at all like the book.  The

movie started out as a man walked along the ocean to enter a huge castle.  His sister had

moved there when she married Dom Madena, but now she was dead.  The castle was used

to torture Catholics during the Inquisition.  Dom Madena believes that the castle has an

atmosphere of torture thick with death, and that led to the death of his sister.  The doctor

said she died of fright.  They buried her in a tomb below the castle.

As child Dom Madena saw his father torture and kill his father's brother and his

own wife.  He accused them of adultery.  His father didn't torture his mother to death, he

buried her alive.  Dom Madena thought that he buried his wife alive.  Then one night

someone was playing the harpsichord just like his wife did.  Another time a servant heard

his wife whispering to her.  Then one night someone trashed her room.

Dom Madena, also called Nicholas, heard his wife calling him.  He went through a

secret passageway until he entered the room of all the torturing devices.  He goes to his

wife grave, which they dug up to prove she was dead, and she popped out of her grave.

She chased him through the dungeon until they met with the doctor.  Then Nicholas

fainted, and his wife, who never really died, told him that it was all scheme.  She and the

doctor were having an affair.  He chased the doctor and he fell into a pit and died.  He

stuck his wife in a torture machine out of sight and gagged her.

Then her brother came down.  Nicholas seized him and put him on table below a

razor sharp pendulum.  Right as it was cutting his shirt two servants busted in and threw

Nicholas into the pit with the doctor and saved him.

This movie, I think anyway, was a very poor interpretation of the short story.  In

the story none every commits adultery or is buried alive.  A man, or woman for all I know,

was stuck in a dungeon which he was tortured in many ways.  None died in the book, but

in the movie three people died.  The book had one character where the movie had seven or

eight.  The story line in the book of a suffering catholic being tortured to death was altered

to make a script for a movie.  The only likeness was when the two men were almost killed

by the falling pendulum, but saved at the last minute either by others or themselves.  In the

end of the book the walls of iron are heated and start to push together.  But right before the

person dies a French general grabs him because Toledo was just taken by the French.

The pit in the book was a hole in the middle of the cell.  The captive almost fell in

it when the room was pitch black.  When the walls were caving in he could of chose the

pit or the hot iron walls.  The pit is supposed to be the ultimate death in the dungeon and

the captive doesn't want to die in it.

The movie and the story were so different that if I watched the movie and read the

story without knowing the name of either I would say they had nothing at all in common.

I definitely wouldn't know they were written by the same author.

1208.      The Pitiful Prufrock

The Pitiful Prufrock

T.S. Elliot's "The Love Song of J. Alfred Prufrock," is a melancholy poem of one man's  frustrated search to find the meaning of his existence.  The speaker's strong use of imagery contributes to the poems theme of communion and loneliness.

The Poem begins with an invitation from Prufrock to follow him through his self-examination. The imagery of this invitation begins with a startling simile, "Let us go then you and I/ When the evening is spread out against the sky/ Like a patient etherised upon a table." This simile literally describes the evening sky, but functions on another level. Prufrock's description of the "etherised"  evening indicates an altering of perception, and an altering of time, which creates a dreamlike quality throughout the poem.  This dreamlike quality is supported throughout the poem with the "yellow fog" that contributes to the slowed-down-etherised feeling of the poem. Time and perception are effectively "etherised" in this poem.  It is almost as if the poem is a suspended moment of realization of one man's life, "spread out against the sky". The imagery of the patient represents Prufrock's self-examination.  Furthermore, the imagery of the "etherised patient" denotes a person waiting for treatment. It seems this treatment will be Prufrock's examination of himself and his life.

Prufrock repeats his invitation and asks the reader to follow him through a cold and lonely setting that seems to be the Prufrock's domain.  The imagery of the journey through the  city is described  as  pointed to lead the reader (and more accurately Prufrock) to an overwhelming question. Prufrock's description of the urban city is quite dreary: " Let us go, through certain half-deserted streets,/ The muttering retreats/ Of restless nights in one-night cheap hotels/ And sawdust restaurants with oyster shells;/ Streets that follow like a tedious argument/ Of insidious intent."  This is the lonely setting that Prufrock lives out his meager existence.  This city is suspended under the same anesthesia that spreads the evening like an "etherised patient."

Prufrock moves his attention from the city to his final destination; "the room the women come and go/ Speaking of Michealangelo."  This couplet contrasts with the previous urban landscape and adds anticipation to the ominous tension surrounding the event. This line also is about time.  The couplet suggests that Prufrock has been around to see these women "come and go," implying Prufrock has been situated in the high societal environment for some time.  The line also implies that while others have come and gone from the social circles Prufrock is a part of; Prufrock has stayed stagnating.    On the way, Prufrock deliberates on whether he can find value in the cold superficial environment, and ask the overwhelming question, "Do I dare/ Disturb the universe?".  He feels if he can muster the courage to ask the question, he may at last find value in his life: "would it have been worth while/ To have bitten off the matter with a smile,? To have squeezed the universe into a ball."  Ultimately, he fails at both tasks.

Throughout the poem, the themes of time's passage and age continue to illustrate the unhappiness of Prufrock's life. Prufrock reveals the measured out portions of life he has lived: "I have measured out my life in coffee spoons." This phrase shows Prufrock's inability to seize the day. He also employs subtle devices, such as thinning hair and resulting bald spot, as indicators of age and the importance he feels now that he is past his prime: "Time to turn back and descend the stair,/ With a bald spot in the middle of my hair--/ (They will say: 'How his hair is growing thin')" This shows Prufrock's fear of being laughed at.  Furthermore, this line shows Prufrock's desire to "disturb the universe," and his fear that he will be scoffed at for not acting his proper age.  When he speaks of time it is in a contradictory fashion.  On one hand, he feels a sense of urgency as he travels to the party, because must decide if he will ask his question.  Yet, while he agonizes over whether to attempt a change in his life, he tells us time is plentiful, explaining "there will be time for you and time for me/ And time yet for a hundred indecisions / And for a hundred visions and revisions/ Before taking of the toast and tea"  This seems to be Prufrock trying to escape his conviction of asking the question through rationalization.

Prufrock's growing indifference towards his sophisticated social circle, where time is suspended, reflect his aging weariness.  Ironically, he has catered to the proprieties of high society for years, and remains unaware of how time has ingrained  the same emptiness into his own nature: "For I have known them all already, known them all/ I know the voices with a dying fall/ And I have known the eyes already, known them all/ And I have known the arms already, known them all"  In this line, Prufrock shows that he is part of the societal circle, and has shared the shallowness of living he finds repulsive in his peers.. Prufrock understands the his inability to "disturb the universe" when he considers how he will approach his intended romantic interest, but realizes his leisurely way of life has left him ill-prepared  to deal with the responsibilities that accompany change: "I should have been a pair of ragged claws/ Scuttling across the floors of silent seas."

Not Surprisingly, after declining to "dare disturb the universe," he becomes resigned to his unchanging fate in superficial, sophisticated style.  He imagines himself walking along a perfect beach, wearing fine "white flannel trousers," He has not lost or gained anything, the labor of his decision has added up to nothing of consequence.

Prufrock talks compulsively of the party scene, but actually speaks to no one.  Even as the scene unfolds in his mind, he is rendered practically speechless by the scrutiny  of the cultured society matrons as they "fix" their gazes upon him: "The eyes that fix you in a formulated phrase,/ And when I am formulated, sprawling on a pin, When I am pinned and wriggling on the wall,/ Then how should I begin?"  From this line, we see that Prufrock is reduced to a bug under the scrutiny of his peers; there approval pins him down and renders him unable to ask his question.  He is tense and excited at the prospect of his question changing his life , but knows he will feel horribly self-conscious , and it frightens him.  He is certain if he asks his question and reveals his feelings, he will not be understood.  Surely, he would be made the fool.  He decides it is not worth the effort after all: "I am no prophet-and here's no great matter;/ I have seen the moment of my greatness flicker,/ And I have seen the eternal footman hold my coat, and snicker,/ And in short I was afraid."

In this line, Prufrock's fears betray his desires.  He knows the approval he covets comes from a frivolous, futile, class of people.  He has heard them talk for years and knows only fashion, appearance, art, and style are deemed worthy of discussion.  In fact, he listened so long he can't hear there voices anymore.  He can only hear "voices dying with a dying fall," not unlike the indistinguishable hum of music playing in another room.  But this is fine with him, because he and his world are once again at a comfortable place.

Finally and permanently, Prufrock accepts that he will never be a prophet like Lazarus or a prince like Hamlet, and he slips into the safety of a fantasy world.

1209.      The Power Of On1

The Power Of One

"Inclusion, not exclusion, is the key to survival." What does this mean? To say the least, the definition is clearly stated in The Power of One, as well as Richard Wright's Black Boy. Actually, both these works resemble each other by both having many types of isolation. Initially, P.K. in The Power of One and Richard in Black Boy are isolated by members of their family. Subsequently, they are both excluded by society because of their backgrounds. Ultimately, they are excluded within their own races because of their actions throughout their stories. To begin with, Richard Wright and P.K. were both isolated by their families. P.K., on one hand, suffered through deaths and losses. P.K. was named after his father, who died early in P.K.'s life. The next two deaths came from his mother and Nanny. Losses continued when Doc went back to Germany, and a camp guard killed Piet. Even when he picked up all his strength as a young man, his losses continued when Maria, his love, was also killed. It just kept on adding up, and P.K. kept taking blow by blow. Richard on the other hand, suffered isolation through abandonment. His father left when he was young, and every day his mother would work, leaving him alone. When his mother got too sick to take care of him, Richard stayed with Granny, who totally ignored him because of his religious beliefs. Like P.K., Richard dealt with isolation every day of his life. This exclusion played a major part in both their lives, making it hard to survive.

Next, Richard and P.K. both suffered exclusion through their backgrounds. In the white-dominated society, Richard was looked down upon as a piece of trash. He would be excluded from jobs with decent salaries, ability to live safely, rights to freedom. In Richard's time, it was horrible to be African-American. For P.K., it wasn't much different. He was English, and the Afrikaners in his society hated him. The English took over and governed their territory. Therefore, both P.K. and Richard were both discriminated against because of their backgrounds. P.K. was even whipped while hanging upside-down! It's amazing that something like that occurred.

Lastly, P.K. and Richard went through exclusion because of the way they acted. P.K. was a friend to the blacks, which was very uncommon. P.K. even started a Saturday school so that they would be able to read and teach throughout their tribes. Richard, on the other side, questioned everything. When others would have to scurry out of the way for a white person, Richard questioned the act. When he talked to white people, he didn't speak with the obedient respect that the others of his race did. This added to the amount of exclusion Richard went through, the same with P.K.

To conclude, all this exclusion that Richard and P.K. experienced was somewhat similar. Although there are many more similarities, these were just some of them. To go back to the quote, "Inclusion, not exclusion, is the key to survival." Well, many will argue that both Richard and P.K. survived. In fact, they did. Richard became a successful writer and P.K. survived the mass beatings and searches for him. However, in the end, they both were included. Richard was accepted in Chicago and it drove him to his career, while P.K. was accepted by his friends, who called him "The Rainmaker." It's very probable that if these inclusions didn't occur, Richard and P.K. wouldn't make it. All in all, throughout The Power of One and Black Boy stated the exclusions and isolations that many young boys experienced.

1210.      The Power of One Essay

The Power of One

A single person can change the world very much.  It means that a man or woman

can have so much courage, pride, confidence that they can help to make the world

a better place to live in.  One is very meaningful and significant.  P.K.

becomes a symbol of Christ by trying to make all the people respect each other.

To not make people respect each other by their culture or color of skin, but by

their content of their character.  P.K. wants everyone to get along with each

other.  He tries to make the white people to get along with the black people so

there will not be anymore prejudices.  He tries to stop all the violence that's

going on.  P.K. thinks that the black community should be allowed in the white

community as partners and friends.  P.K. helps the black community to learn

english, to learn how to read and write properly.  P.K. helps them because one

day in the future the whites and blacks will join hands together and work

together.

1211.      The Power of One

A single person can change the world very much.  It means that a man or woman can have so much courage, pride, confidence that they can help to make the world a better place to live in.  One is very meaningful and significant.  P.K. becomes a symbol of Christ by trying to make all the people respect each other.  To not make people respect each other by their culture or color of skin, but by their content of their character.  P.K. wants everyone to get along with each other.  He tries to make the white people to get along with the black people so there will not be anymore prejudices.  He tries to stop all the violence that's going on.  P.K. thinks that the black community should be allowed in the white community as partners and friends.  P.K. helps the black community to learn english, to learn how to read and write properly.  P.K. helps them because one day in the future the whites and blacks will join hands together and work together.

1212.      The Power of the Feminine in Macbeth

The Power of the Feminine in Macbeth

In the play and both film versions of Shakespeare's Macbeth, women are given a fairly large amount of agency or power. Interestingly enough, the women control not only their own destiny, but also that of our hero himself, Macbeth. Femininity, particularly that of the maternal, is a very widely used theme in the play and films. However it represents not only the nurture and support of a mother, but also a more terrifying aspect of womanhood- one of deceit, manipulation, and power.

The prominent female figures are the witches and Lady Macbeth. The three witches in the tragedy are introduced right at the beginning of the play and the brief opening scenes give an immediate impression of mystery, horror and uncertainty. The witches create an atmosphere of evil and disorder. Everything that the witches do implies otherworldly power and a sense of inescapable and enchanting evil. However Banquo does not seem to be drawn into this spell. Banquo says in act 1 scene 3 line 124:

"The instruments of darkness tell us truths, Win us with honest trifles, to betray's in deepest consequence."

Banquo's idea of the witches is obviously one of mistrust and misgiving. He calls them instruments of darkness and the devil. He sees beyond the witches and can see that they are evil, whereas Macbeth is taken in by the witches. Their feminine spell has ensnared him. It is Macbeth's interest in the sisters that motivates him to listen to and speak with them. Had Macbeth followed his friend's advice and left the witches before they spoke, the tragedy may have never occurred. Later on in the play after he has let their prophecy determine his actions, he again seeks them out and asks them to speak into his life or control his future and destiny.

As apparent as the witch's influence is, their power cannot even compare to that of Lady MacBeth. Lady Macbeth is shown early in the play as an ambitious woman with a single purpose. She can manipulate Macbeth easily. This is shown in act 1 scene 5:

"That I may pour my spirits in thine ear"

She is convinced early on in the play that she has power over MacBeth's thoughts. Before the speech that Lady Macbeth gives in act one scene five, Macbeth is resolved not to go through with the killing of the king. However, Lady Macbeth manipulates Macbeth's self-esteem by playing on his manliness and his bravery. This then convinces Macbeth to commit the murder. It is like a child who is easily guided by the woman he trusts and loves, his mother. Lady Macbeth knows this and uses it to her advantage. She is the dominating individual in the relationship, it seems that she can convince him to do anything as long as she pushes the right buttons. Her manipulative powers are especially shown in act 1 scene 7 line 39 when she says:

" Art thou afeard to be the same in thine own act and valour, as thou art in desire?"

She challenges his character by asking him whether he has the courage of his convictions to achieve what he desires, again she is playing on his courage and bravery to try and manipulate him into killing Duncan.

On the other hand, as the play progresses, and Duncan is killed, there is a reversal of natural order, and Macbeth becomes the dominating partner again. Lady Macbeth becomes subservient. She becomes pathetic and only a shadow of her former self. Both Macbeth and Lady Macbeth have high ambitions that drive them. Lady Macbeth's ambition drives her to manipulate Macbeth into committing the crimes. Macbeth's fierce ambition is present before the witches' prophesies, yet he would never have thought seriously about killing Duncan without the witches or Lady Macbeth. The combination of his ambitious nature, the initial prophecies and his wife's influence lead him to kill the king.

The Roman Polanski version of the film somewhat depicts this feminine power, however he chooses to not make it as apparent as Shakespeare or Kurosawa. The very beginning of the film features the witches, showing their importance and significance. As they bury their foreshadowing treasure, the old blind witch pours blood on the sand as the conclusion of whatever black ceremony they had just performed. This blood not only represents the death and destruction that is about to occur, but also the menstrual blood of a woman. The blood is used to as if to seal the spell, to give it the power to work. They also add blood as the final ingredient to the potion they mix for Macbeth to drink. However the blood is not cooked in with the potion, but added raw to the cup right before he drinks so as not to loose any of it's potency or power.

The most powerful of the witches is the blind woman. Although she cannot see, she still seems to be all knowing and all-powerful. She is drawing her power from some other source, a feminine source that Macbeth could never understand. The young blond witch represents the more sexual side of women. She is fairly attractive and sexually explicit in her interactions with Macbeth. As he follows her into their cave, she pulls up her skirt and flashes him, almost as if to entice him into the cave where they are all awaiting his presence in the nude. This nudity is meant not only to frighten Macbeth, but to enchant him as well and cause him to obey them in taking part in their ceremony. This young witch also has an eerie similarity to Lady Macbeth. She is young, blond, and thin, just as Lady Macbeth is.

Lady Macbeth and Macbeth seem to have a very loving relationship in the film. Both are young and beautiful and seem very happy and vibrant. Lady Macbeth was depicted this way to seem more enticing and seductive. The scene where she actually convinces Macbeth to kill Duncan occurs on a bed, the place of procreation. She looks beautiful, with her hair flowing and framing her face. She presents her plot in a very seductive manner, touching him and smirking while whispering in his ear. Although he at first resists, he eventually gives into her power when he watches her dance with the King who seems to be under her power as well. However the roles do switch later on in the film once he has killed Duncan, Banquo, and Lady Macduff. The death of Lady Macduff is what seems to make this change in Lady Macbeth. It's almost as if her dream was destroyed right along with Lady Macduff. She has realized that the feminine can no longer control Macbeth, he has once again claimed his own power and used it to kill this innocent woman and her children. She appears naked as she is sleepwalking to show that she is again vulnerable and without agency. She will forever have bloodstained hands.

Lady Macbeth is treated quite differently in Kurosawa's Throne of Blood. She is very cold and harsh, almost seemingly unreal. She is constantly framed in light while the rest of the scene is dark, showing her significance. She is dressed in white, which shows mock innocence. Her face is very pale and she seemingly moves without moving; rather she glides or floats. She is very ghostlike and has an ominous demeanor. One almost expects horns to sprout from the darkened lines on her forehead. This surreal appearance is most effective in showing her power. Several times throughout the film it seems as if she is no more that Washizu's ambition personified, little more than an evil thought he entertains. She never makes eye contact with Washizu but merely sits calmly and speaks her poison. You must wonder if she is even really there, or if it is just a dark aspect of Washizu speaking. She is always very still and quiet, very self-confident and very much in control. This in itself entices Washizu who seems very unsure and uptight. When Asaji does move, it is also very controlled and as smooth as the silk she wears. Even her clothing becomes terrifying. When she moves, an incredibly uncanny sound is made. The sound is reminiscent of a shrieking ghost, or possibly the sharpening of a blade. The sound is quiet yet formidable, just like Asaji herself. She seems to be an extension of the demon spirit he meets in the forest, only with a darker soul.

She uses a much deeper type of manipulation than the Polanski Lady Macbeth. She uses Macbeth's shortcomings against him by convincing him that his fears are a reality. Polanski's Lady Macbeth genuinely seems to be trying to help her husband, while Kurosawa's seems to be trying to damn him. She even lies about being pregnant to try to sway his mind. She seems more ambitious than her husband and will sacrifice not only herself, but him as well for her pleasures. However she is convinced of most of the things she says. When Washizu says that Miki's children will rule and no one can change that, she responds by saying that she will change it. Even though all the other prophesies had proved true, she still feels that she has the power to change the future. Yet she falls to the same fate as both Shakespeare's and Polanski's Lady Macbeth.

The forest spirit also greatly controls Washizu in this film. She is incredibly eerie, even creepy. She is introduced with an evil laughter resounding in the forest as she mocks their confusion. She then turns quite serious and sings a very gloomy song about the downfalls of man and pride. She has a deep voice and almost even resembles a man, yet she is most definitely a woman and her white face mirrors that of Asaji. She is sowing, perhaps holding their lives in her hands as a strand of silk being woven- much as the fates, and lures them with her song as the sirens of Greek mythology. The same light that surrounds Asaji is present around the spirit as well. She is the keeper of the wood, the very wood that predicts Washizu's downfall. She holds his destiny just as the witches, yet she foreshadows the tragedy in her song and it seems she almost tries to protect him from himself. Nevertheless she becomes a vision of terror once Washizu has chosen his path and begun the killing. She is very in touch with nature, even controls it. She causes a terrible and frightening storm when Washizu seeks her out, and though her words seem comforting, her demeanor is far from it which implies deception. She is always on a different plane from the men, always raised above them. This shows her power and ability to control. She speaks much into his life, not only by the prophecy but also by the song. She knows him better than he knows himself and can thus control him.

Therefore, the witches and Lady Macbeth were used by Shakespeare, Polanski, and Kurosawa to control Macbeth. The Polanski women were seductive while the Kurosawa women were terrifying, but both definitely controlled the actions of Macbeth. Maternal power was given to all versions of Lady Macbeth in her power over Macbeth, yet it was also denied in her barrenness. Her power was also eventually taken away by her insanity, showing that their deed took away all power either could have over their lives. Both were equally convincing due to Shakespeare's genius in leaving so much to interpretation. Although Shakespeare did leave much to the imagination, it is apparent that he gave the women in Macbeth the ability and power to control his destiny.

1213.      The Present

The Present

Theme: Greed and stupidity.

"Mysterious Fires Breaking out Across Prince Rupert, British Colombia"--John Reeves

"I can't believe there is another one" read surprised Henry Peters. "That must be 5 houses in the last 2 months.  Why would anyone do such a vapid thing?"

"Dad, they don't even know if someone is setting them yet!"

"Oh Billy, wake up and smell the smoke. Fires like that just don't start themselves."

Billy knew that as he was walking away, but since he was the cause of all the fires he did not want anyone to know.  He felt ashamed that the only way he could make money was to set fires and then get called in to the fire station as a part time worker.  He had no other way to make money for his girlfriend and her Christmas present.  He tried to keep living this life for as long as he could but he was not sure how long he could keep it up.  If he were to ever be caught Lord only knows how long he would be locked away for.

Coming from a small town nobody was used to all the buzz going around. It made Billy nervous.  That was all everyone talked about on the small shaded streets of Prince Rupert.

"Billy, Billy!" Henry yelled.

Snapping out of his dream world Billy relied "What?"

"Go down town and pick up some eggs would ya?"

"Yeah sure Dad."

As he walked down the street Billy pondered if he was really doing the right thing.  He had convinced himself that since Christmas was the time for giving and  he was just getting a little extra cash so he could give some more to his girlfriend; he was doing the right thing.  As he looked around the normal hang out spots like the barber shop, he noticed the grim look on all the old-timers and could not really put two and two together to figure out what was going on.  He saw the peoples' faces drop lower and lower.  No, he thought it isn't me, I have nothing to do with it.

He finally made it to the store where he saw old Jim Hubley.

"Hey Jim, got a dozen eggs for my old man?" Asked the immature boy.

"Yeah in the back fridge." Said Jim with a very sad look on his face.

"What's the problem Jim?"

"Haven't you noticed all the sadness going around the town Billy?  Its supposed to be Christmas time and there are now so many people with out a house. How is that supposed to be happy and cheerful?"

"Yeah, uh, I was thinking the same thing." Said the very surprised boy.

Billy was still convinced that he was doing the right thing.  It wasn't really his fault that they had nothing and besides he needed the money more than they did.

Walking home he saw a couple people including What looked to be like a father, mother and two sons. They were standing inside a porch of the liquor store.  He wondered to himself what they could be doing.  Then he saw the sign "Please support the needy."  He wondered to himself if they could have been one of the families that he had made homeless.  But, if he was making them homeless then it was his fault.  He could not worry about that now though, he had to pull off one of his biggest jobs, the MaCellar mansion. He knew that if he were to be called in for this one that he would get more than an eight hour job.

He noticed the same thing on the way home.  Everywhere he looked things seemed to be too gloomy  for what was supposed to be a fun and happy time.  Still he kept walking towards his house not even thinking that it might be his fault and that Christmas is not really a time to take from others so that you can give to someone.

"Got your eggs dad."

"Yeah just put em in the fridge, I'll make the bread later."

"Why didn't I just buy the bread dad?"

"Times are getting hard son and I can't really afford that much.  Would I ever hate to be one of those people without a house around these times."

"I know what you mean.  You should see everyone around town, there so depressed dad."

"Yeah well so am I son.  Can you imagine what it would be like to not have a house on Christmas?"

Still, Billy was determined to make one more person homeless just so he could give the best Christmas present to his girlfriend.  He would have to pull it off soon though, Christmas was just around the corner.  Maybe it would be tomorrow night.

He approached the mansion planing to burn it to the ground.  Everything seemed fine and it did not even look as if there was anybody home.  That would make his job ten times easier.  He bent down to start the fire on the side of the house when he saw a dog run by him.  He thought he would be caught for sure this time, then a small boy came around the corner.  The boy looked puzzled.  At that moment eighteen Christmas' flashed by Billy's eyes in about 5 seconds.  He could remember all the times that he ran down the stairs to rip open the presents.  Then the little boy ran back around the corner.  Billy took off through the woods quicker than he had ever run before, he did not know what else to do.

Feeling that he was doing the right thing he went to the police station and gave back all the money that he had made from the fires.  He also turned himself in.

"Billy do you know what this means?" Asked the chief of police Sergeant Bilks.

"No, what's gonna happen to me?"

"Well Billy depending on what the jury's gonna say, you could face capital punishment. But until then I'm afraid were gonna have to keep you in a cell."

"But officer that's not fair." Pleaded Billy.

"Sorry Billy, sometimes life's not fair."

1214.      The Prodigy

The Prodigy

The Prodigy story starts with a 12'' EP called What Evil

Lurks the four tracks of which were taken from the youthful Liam

Howlett's first demo tape. The EP wasn't received on the then-

massive rave scene, and it remains hardcore club anthem to this

day, as well as being one of the most sought-afterpieces of dance

vinyl of all time. On the back of the underground EP's success,

The Prodigy gigged extensively throughout the UK, and were able

to make their first trips abroad. In Italy they were hailed as

pop and mobbed by ecstatic ravers. On August 12th 1991, The

Prodigy released their second single - the legendary Charly.

There was a huge buzz around the track months before it's

release, and that excitement was unjustified when Charly shot to

No 1 in the National Dance Charts and to no3 in the Gallup Top

40. 'Charly' inspired a string of copycat records, and triggered

the notoriously heated 'is rave dead' debate. Amid all the furore

it was easy to miss the fact that Charly was one of the most

successful dance records of the time, and far better than any of

the opportunist tunes that came in it's wake. Twenty-two year old

Liam Howlett is the musical force behind the Prodigy sound,

although there are three other members who contribute to the live

performance - Maxim Reality, Leeroy Thornhill and Keith Flint

Liam was once the DJ for the London rap act Cut To Kill, but he

became disillusioned with the rap scence's aggressive attitude

after experiencing the 'Love, Peace and Happiness' that dominated

the rave scene.  Liam is also a classically trained pianist,

whose ambition once was 'to get a record deal and put out a few

tunes'. That goal was achieved very quickly, so Liam is now

concentrating on maintaining his status as the most successful

hardcore underground act, blending his unique sound of hip-hop

beats and manic house music, and, most importantly, keeping the

crowds happy. The next single was released on December 30th 1991.

Although Everybody in the place made an earlier appearance as a

track on the "What Evil Lurks" EP, it managed to better the chart

success of  'Charly' by peaking at number two. Only the

shamelessly reissued 'Bohemian Rhapsody' kept the single from the

top spot. The following September, "Fire" became The Prodigy's

third hit single, paving the way for an album. Up until the

release of the Prodigy Experience there had been no truly

successful long players from the hard dance scene. The Prodigy's

debut, however, completely rewrote the rulebook. The band were

determined to give their followers value for money, and the

combination of new material and otherwise unavailable re-mixes

off the singles which made up the album was clearly appreciated

by the thousands who bought it. The prodigy experience entered

the chart at number 11, was quickly awarded a gold disc, and then

remained in the Top 40 for 25 weeks "Out of Space" followed hard

on the heels of the L.P, and became another Top 15 hit, as did

the last single from "The Prodigy's" first phase, "Wind It Up."

Despite the huge success of The Prodigy's rave-oriented, break

beat- derived sound, Liam was increasingly feeling the need to

develop his musical style. Because of touring in Australia,

Holland, Germany, Italy and America and re-mixing artists as

diverse as Jesus Jones, Front 242 and The Art of Noise, Liam had

been exposed to a lot of new influences, and he wanted to reflect

that in his future work. As he put it, "I realized that the band

had to progress and evolve, that I had to get back to the music

and move forward". When One Love appeared in October 1993, it was

clear that Liam had done just that. One Love had more of a techno

feel than The Prodigy's previous work, but the band's supporters

took this change of direction in their stride and the single shot

to Number 8. The single's progress was no doubt helped by the

most ambitious video that the band had made so far. The One Love

video was completely computer generated, made using brand new

technology from the States, and put together over a demanding six

weeks. The result was fantastic, and a definite advance for the

band. No Good (Start the Dance) was released on May 16th 1994,and

became one of The Prodigy's most successful records to date. The

single was perhaps more accessible than anything else the band

had done, and it reached number 4 in the charts, spending an

incredible seven weeks in the Top 10. There could have been no

better introduction to the band's second LP. When Music for The

Jilted Generation was released in July 1994 it was phenomenally

successful both critically and commercially. As the album entered

the charts at number 1, the 'indie' papers unleashed torrents of

praise. The NME described Liam as 'a Robocop and a modern day

Beethoven rolled into one'. Select said Music For The Jilted

Generation was 'the best electronic pop record you'll hear this

year', while Melody Maker called the album "bloody essential".

The public agreed. Music for "The Jilted Generation" went gold

within two weeks of its release, and has now sold over a million

copies worldwide. A spate of award nominations have followed in

its wake - the band were nominated for the "Mercury Music Prize",

won the MTV Best Dance award, won the best Dance LP at the

Independent Dance Awards, and have been nominated for Best dance

Act at both the Brits and the NME's alternative: The Brats

Throughout their career, the band have toured almost non-stop.

1994 and 1995 continued in this proud tradition as "The Prodigy"

played all round the world, and became a leading fixture on the

International festival circuit. Keith's radical flame-haired

image put him on the cover of the NME and many other publications

worldwide as the band wowed audiences from Iceland to Japan and

backs again. In 1995'Poison' became The Prodigy's 9th consecutive

top 15 hit, Electronic Punks put them into the video chart as

well as the music chart, and they were universally hailed as the

best act at the Glastonbury festival, confirming the band's

metamorphosis from rave crowd-pleasers into one of the most

exciting and adventurous live acts in the world. And what Liam's

new material- due to see the light of day in January 1996 - will

bring is anyone's guess. "The Prodigy" just keeps moving forward.

1215.      The Quest

- NARRATIVE ESSAY -

- THE QUEST -

Feeling quite tired and hungry, my friend and I entered the food court of the

Everett Mall.  Looking around, I decided that I was going to get some Chinese food.  I

turned to my friend and told him, he said that he would too.  We then made our way over

to the Chinese food counter.  Upon arriving, I realized a possible problem; we only had

Canadian money.  I walked up to the woman at the counter, and asked her if they

accepted Canadian money  there.

"No, sorry, we only accept American money," she responded.

I asked if there was anyplace in the mall that I could exchange my money, more

specifically, a bank.  She thought for a moment or two, then said,

"Uhhh, there's an ATM by the door over there."

Feeling a little frustrated, I explained to her that an ATM would not suffice.  I

needed a bank, with a teller, so I could exchange my money.  She looked down and

thought about this for a few moments, then ever so slowly, she brought her head up with a

dumb look on her face and said,

"The telephones are around the corner over there."

Dumbfounded by the stupidity of this woman, my friend and turned around and

walked away, laughing.   When we were out of earshot, in a mocking tone, I said to my

friend,

"Hi, I'm an American, I'm a dumb-ass!"

With that defeat behind us, we continued on our quest for some American money.

Eventually, by wandering aimlessly about the mall, we managed to find an information

desk.   I walked up to the woman behind the desk, and said,

"Hi, would I possibly be able to exchange my Canadian money for some American

money?"

With a really confused look on her face she responded with, "What do you mean?"

I reached into my pocket, and pulled out my twenty dollar bill.  Waving it in her

face, I repeated the question.  It took a few seconds, but she finally seemed to figure out

what I was saying.

"No, but you can exchange your money at the service desk upstairs in Thrifty's."

Finally, we were making some progress, only one problem, we'd never been here

before.  We had no idea where to find Thrifty's.

"Where would that be," I asked her.

"Thrifty's?  Oh, that's right next to Payless Drugs," was her response.

"Oh, gee thanks, that's allot of help," I said sarcastically as I walked away.  So, my

friend and I spent the next ten minutes wandering the mall in search for Thrifty's or a map

of the mall.  We finally spotted a sign at the far end of the hallway that read 'Thrifty's'.

When we saw this, we started to make our way towards it.  When we got to the entrance

of the store, we saw what we believe to be the only mall map in the building.  We made

our way to the escalator and went upstairs.  From the top of the escalator we could see a

large sign that read 'service' hanging above a desk.  We walked to the desk, and once

again I posed my now tedious question.

"Oh, sorry, you have to go to the service desk to do that," was her response.  My

friend and I, in unison, looked up at the large 'Service' sign.

"Isn't this the service desk?"  I asked.  With a very derogatory tone, she answered

with a simple, no.  I said to her,

"So if this isn't the service desk, do you think that you could possibly tell me where

I might be able to find it?"  She seemed to be a little taken aback by this comment and it

took her a little while to recover.  After this pause, she said,

"Well, the service desk is located in the Hallmark card section."

Getting a little frustrated, in a very touchy tone, I said, "Oh, Do you think you

could possibly tell me where I could find this?"

"Well, basically, if you were to walk straight through that wall over there, you'd be

right there," she said dumbly.  Taken aback by the stupidity of yet another American, my

friend and I turned and walked away.  Before we got out of earshot, my friend loudly said

to obviously not just me,

"I guess those Americans have super powers or something, because the last time I

checked, us Canadians couldn't walk through walls.  What about you?"

"I don't know," I said, "I guess they must."  we spent a few more minutes walking

around trying to find this Hallmark section. We finally found it, and walked up to the

service counter.  Once again, I asked the same old question that I'd been asking for what

seemed like hours now.  And surprisingly enough, the response was,

"Uh, ya, let me just check the exchange rate first."  A little surprised, I figured that

she must be a Canadian, especially when she recognized my twenty dollar bill.  When I

finally got my American money, a pultry fourteen dollars for my twenty Canadian, I heard

my friend say,

"Whoah, you guys need new money, maybe with a little color in it."  We then

turned and left.  We were now on a new quest, this time for some lunch.

1216.      The Real Sucker

Geoff Karanasos

Sucker     CARSON McCULLERS                           December 12, 1996

Many Different experiences in a child's life help form the personality and attitude he or she will adopt later in life.  One such example of this is a fictional character named Sucker.  This young boy really admired his cousin Pete, whom he lived with.  Sucker was just an innocent child who would believe anything Pete said.  The more Sucker admired Pete, the more Pete resented Sucker.  This went on until Pete met a girl.  Pete was so happy that he didn't mind Sucker's admiration toward him.  Sucker became a bright enthusiastic child who loved being around Pete.  He was so happy that he didn't want anything to change.  After Pete got dumped, he turned all of his frustrations toward Sucker. Sucker then treated Pete the way Pete treated him - like a nobody.

Sucker's real name is Richard.  He got the name "Sucker" from being so gullible.  One time he jumped off his garage roof with an open umbrella because Pete told him he would float down to the ground.  It turned out all that happened was Sucker got a busted knee.  Sucker was like any child his age.  He talked to himself when he was alone, he would fight off gangsters and also pretend he was a cowboy.  He was a healthy kid but he kept to himself mostly.

When Pete met Maybelle Watts this had an immediate effect on Sucker because Pete was actually treating him nicely.  Sucker was flamboyant, talkative and always had a smile on his face when Pete was around.  One time when the two of them went to bed they had a long talk.  Pete even took Sucker to a movie with him.  "You're a swell kid, Sucker," said Pete.  Being so close to Pete made Sucker feel wonderful.

When Pete found out that Maybelle was using him, he took out all of his frustrations on the most defenseless person he knew - Sucker.  When Sucker asked what was wrong Pete exploded all of his emotions on him.  Sucker defended himself the only way he had left.  He became very angry and cold toward Pete.  Sucker became very independent and started hanging around with a bunch of friends.  Pete was intimidated by the hatred in Sucker's eyes whenever he looked at him.  Sucker didn't seem like a "sucker" anymore.

Through all of these ways Sucker responded to Pete's actions the last one had the most effect.  Sucker chose to shut Pete out of his life so he wouldn't have to put up with him anymore.  Pete now understands that you should never take people you love for granted because you just might lose them forever. "-Sometime the look in his eyes made me almost believe that if Sucker could he would kill me."

1217.      The realities of Historical Movies and how they are not truly historical or love triangles

Historical Movies: Fact or Fiction

Very few movies that are historically accurate make big money in the theatres.  Not many historical events contain enough action and romance to entertain the audience of this generation.  The further back in history you go, the less facts you have to work with and the easier it is to fictionalize the event.  While the movies Pearl Harbor and Titanic were fairly true to history, Gladiator, Braveheart, and The Patriot wandered closer to works of fiction.

The movie Pearl Harbor is about the historic event of the bombing of Pearl Harbor on December 7, 1941.  While the film shows all the events before, during, and after the Japanese attack, much of the story involves a love triangle between two American servicemen, and a woman.  One American (Ben Affleck) joins the British Royal Air Force and is said to have died.  The woman falls in love with his friend, the other American serviceman (Josh Harnett).  Later Ben Affleck comes back, and the woman is torn apart.  The two servicemen go off in a retaliation attempt against Japan after Pearl Harbor and Josh Harnett dies.

There are many deviations from the truth in this movie such as Affleck joining the British Royal Air Force. In reality, a U.S. serviceman could not join the R.A.F.  Also in the movie Admiral Kimmel tried to warn everybody of the attack, but in real life he actually did not believe the reports of an actual attack on Pearl Harbor.  In addition, there was no real proof that the people Josh Harnett and Ben Affleck played were actually real people.  The history was changed to create more heroic individuals for Americans to relate to and enhanced with a fictional love story to make the event more personal. A more accurate view of the bombing of Pearl Harbor can be found in the movie Tora Tora Tora.

Another movie considered to be historical is Gladiator, which is about the life of a gladiator in the Roman Empire.  This is about how Commodus, Marcus Aurelius's son kills Marcus and becomes Emperor.  After killing his father, Marcus asks Maximus if he will join him; Maximus refuses.  Commodus then kills Maximus' family, and sends some of his men to kill Maximus.  Maximus escapes and flees to a far away land.  There he is sold as a slave, and is forced to compete in a little town as a gladiator.  While this is going on, Commodus has become Caesar, and has started using the Coliseum for gladiators.  Maximus' owner takes him to Rome to fight in the Coliseum.  After winning the crowds affection, Maximus reveals himself to Commodus.  Commodus later challenges Maximus to fight in the Coliseum.  Maximus finally gets his revenge, and kills Commodus, but dies soon after.  For the most part this movie was fairly accurate in depicting the era, especially in the architecture, clothing, and some of the historical facts.  But, there were some false items presented.  First, Commodus never had a sister, yet in the movie she plays a large part in the story.  Also, Commodus did not die in the arena, but was strangled to death in his bathtub.  And, there is no proof that any soldier or gladiator named Maximus ever existed.  History was changed because there was no love interest without Commodus having a sister.  In addition, Commodus loving his sister and forcing her to love him back, and him killing his father made him more of a villain.  Commodus being killed by Maximus in the arena made a better climax, and a happy ending.  Maximus was crated to fulfill our need for a hero.

The movie Braveheart depicts the life of William Wallace who was responsible for Scotland's freedom from England.  The movie covers his entire life and supposedly depicts all the events of William Wallace's fight for Scotland's independence.  The English army murdered Wallace's wife, which is what caused his hatred for England.  At the end of the movie, Wallace gets tortured, and then killed after getting captured by the English army.  After he is executed, the Scottish army wins the war for independence.  One of the variations from fact involves Isabella, Princess of Wales, who plays a big role with William Wallace. The film depicts her in the middle of her life when Wallace was executed in 1307, while in reality, she was only 9 years old in 1307, and living happily in France.  Also after Falkirk, Wallace resigned his position as Guardian, and was sent on a diplomatic mission; he did not return until 1302.  In the movie this never happened.  In addition, at the beginning of Braveheart, in 1276, Scottish noblemen meet in a barn to decide who should be king.  They were then executed and that was how the war started.  Historically, there was already a king at that time, and the war did not really start until 1296.  In the movie, history was altered for many reasons.  Isabella was introduced into the story as a female interest for Wallace because his girlfriend turned wife is killed, and the movie needs some other womanly aspect to it.  Wallace never leaves to a diplomatic mission because that would take the main character out of the whole movie for a pretty long period of time.  The war needed to be started earlier in the movie so there would be a good reason for Wallace's wife to die, and Wallace to develop a hatred for England.

The movie The Patriot depicts the events of the American Revolution.  The Patriot is about Benjamin Martin, a famous war veteran from the French and Indian War, and his role in the American Revolution.  His son joins the American army, but Martin is not willing to because he knew the horrors of war.  After the war was going on for some time, the Patriot takes in some wounded soldiers.  A British General later comes to his house, kills all the American wounded soldiers, burns his house down, and kills two of his children.  He now joins the Americans in the war and plays a large part in this movie in defeating the British.  With one small militia, he uses the cover of the woods and swamp to defeat many British soldiers.  At the end he leads the American Army against the British in a huge battle.  The Americans win, which is the main cause of them winning the war, and the Patriot also kills the general who killed his family.  One of the ways history was altered involved the characters themselves. While some were real, like Cornwallis, others were either made up, or created from a combination of other historical characters, such as Mel Gibson's character Benjamin Martin.  The film contains many variations from fact such as the use of explosive projectiles; they had not been invented yet.  Slaves were also never offered their freedom from serving in the army, especially after only one year of service.  There was no militia that kept Cornwallis from moving north, such as the movie depicts.  The movie needed a hero, but it also needed a strong historical background. That is why they took aspects of other historical figures from the same time to crate new characters.  The only viable reason for exploding projectiles being used is to add violence and gore for the younger audience.  The movie probably showed slaves being offered their freedom just to show the nicer side of some people who supported that.  Creating the militia that kept Cornwallis from moving north gave Mel Gibson's character a reason to be named a hero.

The movie Titanic is a love story set on the doomed luxury liner.  The Titanic was the largest cruise ship ever built at the time, and it was said to be unsinkable.  The movie is about the maiden voyage of the Titanic, and it's sinking due to a collision with an iceberg.  A side plot involves a love story between an upper class girl named Rose, played by Kate Winslet, and Jack, a lower class boy played by Leonardo Decaprio.  The fictional romance helps draw attention to the subject of class during this era.  Many things happen to these two, as the movie follows the voyage, and the sinking of the Titanic.  With the exception of the fictional love story, the film was fairly accurate from an historical point of view.  However, it still wandered from the facts.  The disaster occurred on Sunday night, and its unlikely there would have been as much merriness and drinking as the film depicts.  Also, while the movie gives a fairly comprehensive view of both upper class and steerage passengers, there was no attention paid to second class passengers.  In addition, Titanic does not address the Californian, a ship that was not far from the sinking Titanic who ignored their distress signals and flares.  They changed history because they needed dialogue, and things to be going on before the crash, mostly to add to the romance of Jack and Rose.  The story did not pay any attention to second class passengers, because the Jack and Rose love story did not revolve around them at all.  They actually filmed the part about the Californian when making the movie, but cut it out because the movie was too long.

Historical fiction may serve as a strong stimulus for arousing interest in history, however, it is fiction none the less.  Almost all of these types of movies add the same things: love interest, a villain, a hero, and/or action.  The big motion picture companies feel that historical accuracy is not as important as things like love scenes or action sequences.  History records fact, but movies are changed because people do not pay money for a history lesson; people go to the movies for emotion.

1218.      The Red Death vs AIDS

The Red Death Vs. Aids

If I were to compare "The Masque of the Red Death" to a movie, I would compare it to the HBO special on aids, "And The Band Played On".  Both the story and the movie dealt with a disease which in their appropriate times were (and is ) considered to be an "evil" disease.

During the eighteen-hundreds the red plague was a major concern to society.  To many people of  the time it was considered "evil" .  In Edgar Allen Poe's "Masque of the Red Death" Poe uses a representation of the "evil red death" to strike horror in the hearts of his readers.  Prince Prospero and his company very much underestimated the power of the Red Death, by thinking that because they were of a higher class, the Red Death could not harm them.  This has been many people's way of thinking throughout the ages.  In the movie "And the Band Played On" the disease of AIDS was just being dealt with, and like the people of the eighteenth century people's mentality was that "it just can't happen to them", and it turns out that it comes back to "haunt them".

In conclusion I feel that in both cases that I have mentioned above, the type of fear was psychological because fatal diseases like the Red Death and AIDS have always been a horror to many people throughout the ages.  Also, both stories show that a fatal disease can happen to anyone, even we may fall a victim to an "evil disease".

1219.      The Rolling Stones Essay

The Rolling Stones

The English rock band The Rolling Stones was formed in 1962. The five

origional members of the group were lead singer Mick Jagger (1943-    ),

guitarists Keith Richard (1943-    ) and Brian Jones (1942-1969), bassist Bill

Wyman (1936-    ), and drummer Charlie Watts (1941-    ). Brian Jones left the

band in 1969 just before his death. Mick Talyor replaced Jones. Five years

later in 1974 Talyor quit the band. Ron Wood has been the stones second

guitarist since then.

The Rolling Stones were origionaly formed to play the music of earlier

blues and rock artists. However, years later Jagger and Richard soon began

writing most of the band's material. Some of their hit songs include "(I Can't

Get No) Satisfaction" (1965), "Get Off My Cloud" (1965), "Honky Tonk Women"

(1969), "Brown Sugar" (1971) and "Start Me Up" (1981). In the 1980's the members

of The Rolling Stones began involving themselves in solo recording projects.

1220.      The Rolling Stones

The Rolling Stones

The English rock band The Rolling Stones was formed in 1962.

The five origional members of the group were lead singer Mick Jagger

(1943-    ), guitarists Keith Richard (1943-    ) and Brian Jones

(1942-1969), bassist Bill Wyman (1936-    ), and drummer Charlie

Watts (1941-    ). Brian Jones left the band in 1969 just before his

death. Mick Talyor replaced Jones. Five years later in 1974 Talyor

quit the band. Ron Wood has been the stones second guitarist since

then.

The Rolling Stones were origionaly formed to play the music

of earlier blues and rock artists. However, years later Jagger and

Richard soon began writing most of the band's material. Some of

their hit songs include "(I Can't Get No) Satisfaction" (1965),

"Get Off My Cloud" (1965), "Honky Tonk Women" (1969), "Brown Sugar"

(1971) and "Start Me Up" (1981). In the 1980's the members of

The Rolling Stones began involving themselves in solo recording

projects.

1221.      the romantic composer Georges Bizet

Georges Bizet, who is best known for his opera, Carmen, has remained somewhat of a mystery  as far as his musical education, social life, and personal life.  He is not like so many other composers and musicians of the Romantic Period who led a highly publicized life like Hector Berlioz, Peter Ilyich Tchaikovsky, or Johannes Brahms. He spent his short life devoted to music and he did not quite make it into the limelight like these other Romantic composers.  The most  believable explanation for his obscurity  would be the lack of scandal in his life.  He had a happy childhood, was well awarded with musical scholarships, and a happy marriage.

Georges Bizet grew up in a musical house.  His father was a singing teacher and his mother was a well-known pianist who had attended the Paris Conservatory.  His parents encouraged him in music.  His father was confident that his son would become a great musician.  His father was actually too supportive of his musical education.  He had been known to hide young Georges' other school books so he would not be distracted from his musical studies.  He received his first music lesson from his mother when he was just four years old.  She was teaching him to read music at the same time she was teaching him his alphabet.

Bizet was enrolled in the Paris Conservatory when he was nine years old.  This was a special exception arranged by his uncle who taught at the Conservatory, since Bizet was still a year younger than the minimum age requirement.  Here he studied piano, organ, singing, harp, strings, woodwinds, and composition.  His instructors were the composers Charles Gounod, who is known for his opera Faust, and who is considered the greatest musical influence in Bizet's life.  And Jacque Halevy, who wrote the opera LaJuive, is also considered an important musical influence.  He had a unique, unstructured  teaching style.  Halevy would listen to and correct his students but he would never require them to do any specific types of composition.  This was to affect Bizet throughout his life as he would be known to start and abandon work after work. This was blamed directly on Halevy's lack of discipline.  At age fifteen, Halevy tried to convince Bizet to go and compete for the Prix de Rome.  Bizet refused sighting his immaturity and need for additional background.                                                                   During his time as a student he wrote Symphony in C Major (1855), which was not performed during Bizet's lifetime, but from it's first performance in 1935 it has become an established symphony in a standard repertoire.  Bizet won a number of awards during his time at the Conservatory including First prize in piano when he was fourteen.  He also won a First Prize in fugue and organ when he was seventeen; the year of his Symphony in C Major.  Bizet remained at the Conservatory until he was eighteen.

Bizet first competed for the Prix de Rome when he was eighteen.  The competition ended in a tie and the judges decided not to award a first prize but two second prizes instead.  Second prize was free tickets to all of the lyric theaters in Paris.  This in itself would have been a nice prize but not in comparison to spending four years in Rome studying music.  None the less, the prize proved to be useful as Bizet's next composition turned out to be a theater piece.                                       Finally on his second attempt at the coveted prize he was awarded the Prix de Rome when he was nineteen.  This prize entitled him to four years at the Villa Medici in Rome with all expenses paid.  It was in this same year that he tied for first place in a contest sponsored by Jacques Offenbach who was trying to raise awareness of the operetta, then very popular in Paris.  All contestants were given the same libretto, Le Docteur Miracle.  Bizet's winning composition was produced at a small Paris theater.  Ten days after his arrival in Rome Bizet was asked to play at one of the Villa Medici's Sunday evening dinners.  Of his experience Bizet said, "I had a great success, it was the first time since M. Schnetz has been director that a musician has been heard and applauded at the Academie.  It is fair to say that there are no pianists in Italy, and if you can play your scales with both hands you are regarded as a great artist."   This is a great example of Bizet's modesty.  Bizet had very positive things to say about his stay in Rome.  He loved the Academie and learned to love Italy and its people.  He had even hired a tutor to teach him Italian.

After attending Villa Medici Bizet considered returning to the Paris Conservatory as an instructor or he thought of becoming a concert pianist.  He decided against both and decided to return to Paris to be an operatic composer.  While working on his first opera he supported himself by teaching private piano lessons to students who wanted to learn for social purposes.  He arranged many opera scores for piano, and also composed third rate dance scores to make money.  His first major opera was La Guzla de l'Emir which was accepted by  the Opera-Comique for production but it was never presented.  Bizet withdrew it himself because only one work by any composer could be underwritten by a money grant and Bizet thought he could write better.  In it's place he submitted Les Pecheurs des Perles (The Pearl Fishers), which used many of the melodies from La Guzla de l'Emir.  This opera was accepted and presented when Bizet was twenty four.  It was not a success.  It was received poorly by both the public and the press.  It was dropped after only eighteen performances but has since become a permanent repertoire of the Paris Opera-Comique since 1932.

His next work was another opera La Jolie Fille de Perth (The Fair Maiden of Perth).  While this opera was in rehearsal Bizet announced his engagement to Genevieve Halevy, the daughter of Bizet's teacher from his days at the Conservatory.  This was the only opera Bizet ever wrote that received good reviews on it's premier performance from both the public and the press.  Next he wrote a melodrama, L'Arlesienne (The Girl From Arles).  This was his attempt at revitalizing the melodrama form.  It's success was short lived  however, but the music was so well liked that Bizet made an orchestral suite from it and it became known as L'Arlesienne Suite #1.

Bizet's next and best known opera was to be Carmen.  This opera was based on a play by Prosoer Merimee.  The opera was prepared for the Opera- Comique and in the tradition of that theater included spoken dialogue.  The opera was not well received at first but it held the public's interest.  It went on for thirty one performances.  The Carmen that we know today has evolved over many years and at the hands of many composers and musicians.  For example, the original version included spoken dialogue taken from the original Merimee story.  When it was performed just four months after Bizet's death Ernest Guiraud substituted recitatives for the original spoken dialogue.  Because these took longer, many cuts in the original libretto had to be made.  Carmen was not a great success until years later when it was performed in England.

There have been rumors surrounding Bizet's tragically young death.  Some say that the unenthusiastic reception of Carmen prompted his early death.  The actual cause was throat angina which he had suffered since he was seventeen.  These bouts were always followed by emotional crisis leaving Bizet in the state of nervous breakdown.  Bizet described his illness in a letter to his friend as, "colossal angina, imagine a double pedal from A flat to E flat going through your head from ear to ear".   His condition would improve for a few weeks and then would reoccur.  Toward the end of his life Bizet was confined to a wheelchair and complained of fits of suffocation.  Shortly before Bizet and his family were to move to the small country town of  Bougival, he suffered a severe rheumatic attack, complete with high fever, and total immobility of his arms and legs.  Country living seemed to make him well for a time, but his illness finally did him in on June 3,1875, at the age of thirty six.  Bizet left behind not only his wife and young son but also left behind a great opera with a timeless story.

1222.      The Roots of Blues Music Essay

The Roots of Blues Music

Blues is a very important type of music.  Most music that you hear today

has some form of blues in it.  If it wasn't for the blues there wouldn't be any

rock and roll, country, rap, pop, or jazz .  Blues is also important for African

American culture.  African Americans were also the people who started the blues.

The Blues started in the late 1800's in levee camps or plantations in

places like Mississippi, Louisiana, and Texas were many African Americans lived.

The blues of that time was called country blues.  It was a mixture of African

music, field hollers, work songs, religious music, and ragtime.

The main influence of blues music was African music which has a strong

and steady beat  using drums or other instruments. Its beat and singing showed

in the blues.

Work songs and field hollers were an influence on blues.  They were mostly

made up as the  musicians were singing.  They were a mixture of story telling

and talking with a definite call and response.

Religious music was very important in forming blues music. Because most

blacks went to Christian churches from an early age and were exposed to

Christian hymns.

Ragtime was an influence that came later and is a faster blues played with

the piano and someone singing which was usually played in bars called barrel

houses.

The first country  blues that was written and published was "Memphis Blues"

by W.C. Handy in the early 1900's.

The first recorded blues was " Crazy Blues" by Mamie Smith in 1915.

Most country blues were played with an acoustic guitar and with someone

singing.  It also has a definite call and response between the voice and guitar.

Guitars were used because they had a broad range of notes, they were

portable, affordable, and they were permitted by slave owners at that time.  The

slave owners didn't permit drums because they thought the drums could be used to

signal to each other.

There were many beginning Blues musicians but only a few had their songs

written, published, or recorded. The few who did became very popular.  One

example is Blind Melon Jefferson who started recording in 1926.  His records

outsold every other male musician at the time.  Other popular musicians were

Robert Johnson, Son House, Ma Rainy, and the most famous Charlie Patton who is

credited for being the founder of the Delta Blues.

In the end you can say that Blues came from many places, played an

important part in African American culture, And was and still is a popular form

of music for everybody.

1223.      The Roots of Blues Music

Blues is a very important type of music.  Most music that you hear today has some form of blues in it.  If it wasn't for the blues there wouldn't be any rock and roll, country, rap, pop, or jazz .  Blues is also important for African American culture.  African Americans were also the people who started the blues.

The Blues started in the late 1800's in levee camps or plantations in places like Mississippi, Louisiana, and Texas were many African Americans lived.  The blues of that time was called country blues.  It was a mixture of African music, field hollers, work songs, religious music, and ragtime.

The main influence of blues music was African music which has a strong and steady beat  using drums or other instruments. Its beat and singing showed in the blues.

Work songs and field hollers were an influence on blues.  They were mostly made up as the  musicians were singing.  They were a mixture of story telling and talking with a definite call and response.

Religious music was very important in forming blues music. Because most blacks went to Christian churches from an early age and were exposed to Christian hymns.

Ragtime was an influence that came later and is a faster blues played with the piano and someone singing which was usually played in bars called barrel houses.

The first country  blues that was written and published was "Memphis Blues" by W.C. Handy in the early 1900's.

The first recorded blues was " Crazy Blues" by Mamie Smith in 1915.

Most country blues were played with an acoustic guitar and with someone singing.  It also has a definite call and response between the voice and guitar.

Guitars were used because they had a broad range of notes, they were portable, affordable, and they were permitted by slave owners at that time.  The slave owners didn't permit drums because they thought the drums could be used to signal to each other.

There were many beginning Blues musicians but only a few had their songs written, published, or recorded. The few who did became very popular.  One example is Blind Melon Jefferson who started recording in 1926.  His records outsold every other male musician at the time.  Other popular musicians were Robert Johnson, Son House, Ma Rainy, and the most famous Charlie Patton who is credited for being the founder of the Delta Blues.

In the end you can say that Blues came from many places, played an important part in African American culture, And was and still is a popular form of music for everybody.

1224.      The Satire of Johnathan Swift Revealed

During the eighteenth century there was an incredible upheaval of commercialization in London, England.  As a result, English society underwent significant, "changes in attitude and thought", in an attempt to obtain the dignity and splendor of royalty and the upper class (McKendrick,2).  As a result, English society held themselves in very high regards, feeling that they were the elite society of mankind.  In his novel, Gulliver's Travels, Jonathan Swift satirizes this English society in many ways.  In the novel, Swift uses metaphors to reveal his disapproval of English society.  Through graphic representations of the body and it's functions, Swift reveals to the reader that grandeur is merely an illusion, a facade behind which English society of his time attempted to hide from reality.

On his first voyage, Swift places Gulliver in a land of miniature people where his giant size is meant as a metaphor for his superiority over the Lilliputians, thus representing English society's belief in superiority over all other cultures.  Yet, despite his belief in superiority, Swift shows that Gulliver is not as great as he imagines when the forces of nature call upon him to relieve himself.  Gulliver comments to the reader that before hand he, "was under great difficulties between urgency and shame", and after the deed says that he felt, "guilty of so uncleanly an action" (Norton,2051).  By revealing to the reader Gulliver's shame in carrying out a basic function of life, Swift comments on the self imposed supremacy of English society.  By humbling their representative, the author implies that despite the belief of the English to be the most civilized and refined society, they are still human beings who are slaves to the same forces as every other human being regardless of culture or race.

On the second voyage, Swift turns the tables on Gulliver and places him among a race of giant people, the Brobdingnagians, where Gulliver is viewed as the inferior.  Due to his miniature size, Gulliver is able to examine the human body in a much more detailed manner.  Upon witnessing the undressing of the Maids of Honor, Gulliver expresses his aversion to their naked bodies.  They were, "very far from being a tempting sight", and gave him, "any other emotions than those of horror and disgust", because of the acuteness to which he was able to observe their, "course and uneven [skin], so variously colored" (Norton,2104).  Gulliver also talks of their moles, "here and there as broad as a trencher, and hairs hanging from (them) thicker than pack-threads" (Norton,2104).  Earlier in the novel, upon witnessing the suckling of a baby, Gulliver tells the reader that upon seeing the woman's breast he, "[reflected] upon the fair skins of [his] English ladies, who appear so beautiful... only because they are of [his] own size" (Norton,2088).  In showing Gulliver's disgust at the sight of such prestigious and beautiful women of Brobdingnag, Swift again comments on English society through a graphic portrayal of the human body.  Swift uses the Maids of Honor as a  metaphor to comment on the women of England, whom, among eighteenth century English society, were believed to be the most beautiful of all the world.  Showing that despite their apparent beauty, they are not perfect, and suffer the same flaws and imperfections of appearance as any other women.

At one point during Gulliver's stay in Brobdingnag, Swift comments almost directly on his distaste for the self imposed supremacy of English society over all other cultures.  It happens when the King of the land, his Majesty, comments on, "how contemptible a thing was human grandeur, which could be mimicked by such diminutive insects as [Gulliver]"(Norton,2097).  Here, Swift bluntly criticizes the attitude of  English society for considering themselves to be so high in rank and eminence, by implying that even the smallest and least civilized creature could assume such a high degree of superiority.

Gulliver's Travels is a satirical novel of the eighteenth century English society, a society with superficial ideas of grandeur and nobility.  Through clever representations, Jonathan Swift successfully humbles this society's pride and human vanity.  He reveals the flaws it their thinking by reducing them to what they are, human beings, which, like any other group of human beings is able to do, have merely adopted a superficial self righteous attitude. In doing so, Swift makes a broader statement about mankind today.  Despite all the self acclaimed advances in civilization and technology, we are still merely human; suffering from the same forces and flaws, impulses and imperfections as everyone else.

Works Cited

McKendrick, Neil. Brewer, John. Plumb, J.H. The Birth of a Consumer Society, Indiana

Universtiy Press, Great Britan, 1982.

Swift, Jonathan. "Gulliver's Travels".  Norton Anthology of English Literature. 6th Ed.

M.H. Abrams, vol.1, New York: Norton, 1986.

1225.      The Saxophone

The Saxophone

The Saxophone is probably one of the most popular instruments to date. there are

13 different types of saxophones, but only four are regularly used. This

instrument has a sound all of its own, and today is manufactured by many

different companies. The Saxophone continues to develop since its creation in

1836.

Between the years of 1836- 1842, Adolphe Sax developed his saxophone. It took

him until June 28, of 1846 to get a patent on his Saxophone. This was because of

the Saxophone's original resmblace to the ophicleide and bassoon. Some people

think that the Saxophone was originally created when Adolphe Sax put a clarinet

mouthpiece on a brass instrument.

1226.      The Scaffolds Power

The Scaffold's Power

Recurring events show great significance and elucidate the truth beneath  appearances.  In The Scarlet Letter  Nathaniel Hawthorne chooses the scaffold scenes to show powerful differences and similarities.  Each scaffold scene foreshadows the next and brings greater understanding of the novel.  By beginning with the first, continuing with the middle, and ending with the last platform scene, we can gain a better understanding of this masterpiece.

At the beginning of the book, Hester is brought out with Pearl to stand on the scaffold.  Here the scarlet letter is revealed to all.  Reverend Dimmesdale, Pearl's Father, is already raised up on a platform to the same height as Hester and Pearl; and Roger Chillingworth, Hester's lost husband, arrives, stands below and questions the proceedings.  As Hester endures her suffering, Dimmesdale is told to beseech the woman to confess.  It was said "So powerful seemed the ministers appeal that the people could not believe but that Hester Prynne would  speak out  the guilty name."  His powerful speech shows Dimmesdale's need to confess.  This scene sets the stage for the next two scenes.

A few years later the event is again repeated.  It is very similar to the other and helps us understand the torment of Dimmesdale.

As before the tortured Reverend Dimmesdale goes first on to the platform.  He seeks a confession of his sins a second time by calling out into the night.  He then sees Hester and Pearl coming down the street from the governor's house.  As before, they are asked to go up on the scaffold and be with the minister.  At this time Pearl questions the minister if he will do this at noontide and he answers no.  He once again is too much of a coward to confess out in the open.   The similarities continue with a revelation of another scarlet letter.  Up in the sky a scarlet "A" shines forth.  Roger Chillingworth arrives and tells the minister to get down from the scaffold.  Chillingworth pleads for this so that he can still torment the reverend.  As the two men leave, the scene ends and leaves us with additional information.  It foreshadows a bigger and more powerful scaffold scene.

The last scaffold scene is the most important and greatest event in the novel.

It starts with the end of Dimmesdale's great election speech.  When he is finished, he grows weak and limps towards the scaffold.  He can no longer bear the burden of his sins.  He again asks Hester and Pearl to join him.  Chillingworth begs the minister not to do this, but the reverend thanks God for leading him to a place where he could escape from the leech.  Helped by Hester and Pearl he climbs the scaffold and confesses.  One last time a new scarlet lettter is supposedly revealed on his chest.  This voluntary confession makes this time unique.  As the scene ends Dimmesdale again leaves Hester and Pearl; but this time, it is forever into the after life.

These three important events in the novel have great significance.  The first  one signifies love.  Hester had such strong love that she would not make Dimmesdale go through what she was going through.  The second scaffold scene signifies cowardice.  The reverend was suffering much and yet would not relieve his suffering through confession.  The ending event signifies bravery.  Even though he didn't have to confess, Dimmesdale did.

The Scarlet Letter's recurring event was very potent.  It gave new aspects and meanings to the story that were integral to the book's power.  Truth overcomes deception.

1227.      The Scarlet Ibis

Brotherhood can either be "the state or quality of being a brother, or an association of men united in a common interest, work, etc., as a fraternity."  That statement says that someone really does not need to have another sibling to be a brother.  Friends can act like brothers, or people in a fraternity can be brothers.  I am in DeMolay and all the other members are considered my brothers.  We all work together to accomplish things, and we never let people down.  Brothers are people who get along with other people.

In "The Scarlet Ibis," Doodle refers to his older brother quite often.  The remarks he makes helps show that brotherhood is the main theme of the story.  When Doodle was up on the loft looking at a casket, his brother explained to him that the casket was made for him, Doodle.  His brother told Doodle that he will not help him down unless he touches it.  Doodle then said that he was not going to touch it, and his brother told him that he will leave him by himself unless he touches it.  Doodle's next remark is, "Don't leave me Brother."  That shows how Doodle loved his brother, and that he did not want to be separated from him.  (By the way, Doodle does touch the casket).  Another example is at the end of the story when Doodle and his brother were running to the house during a thunderstorm.  Doodle's brother was far ahead and just let his brother behind like he did not care about him.  Doodle's brother then hears Doodle scream, "Brother, Brother, don't leave me!  Don't leave me!"  Doodle's brother kept on running until he became too tired to run.  He stopped and waited for Doodle, but nobody came.  He then ran back and found Doodle under a bush.  Doodle was dead.  This shows how selfish and mean Doodle's brother was to Doodle.  He worked Doodle hard just so friends would not make fun of him.  Doodle's brother was not a good brother at all.

If Doodle's brother cared for Doodle, he would not have left him behind.  Doodle would have probably made it inside if Doodle's brother ran with him at Doodle's pace.  Instead, Doodle's brother ran so fast that Doodle felt like he had to run that fast, too.  Doodle's body could not take anymore and Doodle passed away.

1228.      The Scarlet Letter 2

Subject: English/History --Review of "The Scarlet Letter"

The Scarlet Letter

Adultery, betrayal, promiscuity, subterfuge, and intrigue, all of which

would make an excellent coming attraction on the Hollywood scene and probably

a pretty good book.  Add Puritan ideals and writing styles, making it long,

drawn out, tedious, wearisome, sleep inducing, insipidly asinine, and the end

result is The Scarlet Letter.  Despite all these things it is considered a

classic and was a statement of the era.

The Scarlet Letter is a wonderful and not so traditional example of the good

versus evil theme.  What  makes this a unique instance of good versus evil is

that either side could be considered either one.  Hester could very easily

have been deduced as evil, or the "bad guy," as she was by the townspeople.

That is, she was convicted of adultery, a horrible sin of the time, but

maybe not even seen as criminal today.  As for punishment, a sentence to wear

a scarlet "A" upon her chest, it would  hardly be considered a burden or

extreme sentence in present day.  Or Hester can be seen as rebelling against

a society where she was forced into a loveless marriage and hence she would

be the "good guy," or girl, as the case may be.  Also the townspeople, the

magistrates, and Chillingworth, Hester's true husband, can be seen in both

lights.  Either they can be perceived as just upholding the law -she

committed a crime, they enforce the law.  On the other hand are they going to

extreme measures such as  wanting to take Pearl, Hester's daughter, away just

because Hester has deviated from the norm, all to enforce an unjust law that

does not even apply to this situation?

Although the subjects of the novel do apply to important issues in history

and could have had influences on the time period, they were not great.

During the times and in the Puritan community this did not have a large

affect on anything.  Sure, they did not want anyone committing adultery, most

were killed if convicted, but it was not something that upset their way of

living in any permanent manner.  To an individual or group who was battling

something backward in the Puritan society, as were many things, this would

have been an inspirational book and possibly a revelation.

In short, this book could have been exceptional; it had all the elements of

a superb book.  Unfortunately, Hawthorne found himself a rather large

thesaurus and added a bunch of mindless prattle that mellowed out the high

points of the book and expanded on the low points.  In many chapters all he

manages to accomplish is to update the lives of characters, mostly with

irrelevant drivel.  Also by expanding on the symbolism of the scarlet letter

umpteenth times he wears it out so that the reader wants nothing more to do

with a dumb "A" on some woman's chest hundreds of years ago.  Other than

that, great book.

1229.      The Scarlet Letter

"The Scarlet Letter" was written by Nathaniel Hawthorne in 1828.  "The Scarlet Letter" portrayed the punishment suffered by two individuals who committed adultery in a Puritan society and their struggle to deal with their sins.  Throughout the novel Hawthorne uses Pearl to serve as a constant reminder to Hester and Dimmesdale of their sin.  Pearl is also used by Hawthorne to force Hester to do what is needed to bring her to salvation.  Pearl is first introduced into "The Scarlet Letter" as an infant, when Hester is on the scaffold.  Pearl appears again at the age of three and again at the age of seven.  Pearl is described by Hawthorne as having "perfect shape," "natural dexterity," "vigor," and "native grace."    Hawthorne also refers to Pearl as an "imp," or "elf-child."  Hawthorne? purpose for Pearl is to serve as a passive reminder of the sin committed by Hester and Dimmesdale.

Pearl? roll as a passive reminder of Hester? sin aides in the punishment of Hester.  The scarlet letter on her mother? bosom was one of the first things that Pearl notices about Hester.  Even as a child Pearl touched and teased the scarlet letter on Hester? bosom.  As Pearl grows older her questions and actions greatly increase the amount of torment upon Hester.  In chapter fifteen she teases Hester by making the letter A out of seaweed.  During the forest walk Pearl observes to Hester "the sunshine does not love you..it is afraid of something on your bosom."

Pearl also serves as a symbol of sin to Reverend Dimmesdale.  Pearl consistently wants recognition from Dimmesdale, which is the very thing that Dimmesdale fears most, but ironically must do to save his soul.  In the second scaffold scene Pearl asks Dimmesdale, "Wilt thou stand here with mother and me, to-morrow noontide?"  When the minister refuses she asks the same question again demanding a specific time.  In the forest she again asks Dimmesdale to come back to town with her and Hester hand in hand.  These questions that Pearl asks are constantly requesting Dimmesdale to do what he fears most and servers as a constant reminder to Dimmesdale.

Pearl? roll as a reminder of Hester? sin proved to be a greater punishment than the piece of cloth that lays on Hester? breast.  Pearl proved to be a reminder of Hester? sin during the forest scene. When Hester called for Pearl to come to her and Dimmesdale, Pearl, seeing that the scarlet letter was no longer on her mothers bosom cried out and forced Hester to put the letter back on her breast thus forcing Hester to accept her sin, and preventing Hester from escaping the letter of her punishment.

Pearl? main purpose in "The Scarlet Letter" is to serve as a reminder to Hester and Dimmesdale of their sins. Ultimately Pearl was the one who led Hester to salvation.  "Had they taken her from me, I would have willingly have gone with thee into the forest, and signed my name in the Black Man? book too, and that with my own blood."  Pearl does not know that when she asks Dimmesdale to go into town with them hand in hand, it is the very thing that he must do to save his soul.  Finally, in the final scaffold scene Dimmesdale does what he must and confesses of his sins.  After this, Pearl? purpose in the story is completed.

1230.      The Search

I used to work for the F.B.I., in the Portland office.  It was my childhood dream to be the one who gets the bad guy.

My fiftieth birthday was in just three months.  I had a wife and three children, still do, and the same job I'd had since my graduation from Quantico.   We were living just outside Portland.  My oldest son, John jr., was in his third year at Washington.  The twins were high school seniors at this time and my pride and joy, daddy's little girls.  Carolyn and I had celebrated our twenty-fifth anniversary, that's the silver one I think, the previous Thursday night.

That warm July morning, I dressed for work as I had every other.  Black socks and slacks, a pin striped white dress shirt, and a black jacket.  I slipped on my loafers but was lost in the search for my tie.  Coffee stained and still unwashed, I found it laying on the laundry room floor.  I swore to myself to let Carolyn know about that.  I walked into John's empty room, knowing he owned some ties.  It was just as he had left it, I guess, because I'd never really gone in his room.  I picked the red one he wore in his graduation pictures and slipped it over my head.  I stepped into the bathroom, combed back my whitening hair, and left for the office.

The early morning sun shone in through the broken blinds that I noticed hadn't been replaced as I asked.  I looked over the pile of paperwork awaiting me.  "Why the hell do I gotta do all these damn reports?"

"Actually, you don't, not today." I turned to see a man much like myself, but older and with his piece on.  He was a little taller, but with the same sagging features and large belly of my body.  "I've come here to give you something new." With that, I was handed a thick manila folder.  It felt like it contained a video cassette.  "All you need is in there, including my card.  This is top priority, Agent Caulsworth.  You will report to me on the hour with your progress.  The paperwork here will wait."  The man turned and left.  Outside, I heard a jet-copter quietly lift off.  Funny I hadn't heard it land.

I poured out the contents of the folder, the federal statement, a case history, vid cassette, and a dossier.  The card that fell to the floor read 'Federal Marshall Wilson R. Franklin'.  He was from the Boise office.

"Must be real important for him to come all the way out here." Steve Menschke was my oldest friend at the office, and a fine agent.  I'd known him since our days at Quantico.  "An hour's flight out here, even in that thing." He went on while I began to read the dossier.

At quarter till nine, I called a full meeting, all department heads.  "We seem to have ourselves a little situation here.  I know you are all familiar with that case in the papers, the Dean Brown thing.  This S.O.B. killed not only the Portland mayor, but two of his security, in case you are unfamiliar with all this.  He used to work for the mayor's office.  The court sentenced him just two days ago, life without parole.  I guess he didn't like the decision, because Mr. Brown escaped last night in transfer to the Oregon State Penitentiary.  His whereabouts are presently unknown and I have been instructed to find him.  As of now, the entire department will concentrate on this situation, all others suspended.  This is the video, courtroom and escape."  I shut off the lights and pressed play.

A small thin man, caucasian and under 5'10'', entered the courtroom.  He wore a wrinkled suit, dark blue with a white kerchief.  His hair was slicked back, still wet and he was unshaven.  He wore no expression, as if he were dead.  The judge spoke slowly, pausing for breath as she read the sentence.  After the announcement, the defendant simply rose and extended his hands so he could be detained.  Still the face of the small figure on the screen did not change.  He was hand-cuffed and led away.  The scene abruptly shifted to the penitentiary grounds.  A line of orange clad men, heads low, lurched forward into the penn.  Another group of like dressed men filed out, toward a waiting bus.  In a flash, a man jumped from one line to the other and boarded the bus.  Then the screen went blank.

I played the end back in slow-motion, pointing him out.  Steve flicked the lights on.  "He escaped unnoticed.  As you could tell, he was not chained at the ankles, allowing this move.  One guard monitoring the cameras, he just wasn't watching.  The bus' destination was Portland.  It arrived on time, the prisoners released.  This tape wasn't found until after he was gone so the state is helpless.  That puts the ball in our court.  As always, we get the clean up job.  Menschke, you will head one of three groups, as will Hendricks.  I have the third, here.  Be ready to move in an hour."

As they assembled, I returned to my office and read the dossier again.  Dean Brown had lived through hell.  He had a psychiatric history full of problems.  His parents abused him sexually, but he didn't admit it till he had grown and left.  He overcame that, fixed his life.  He had the standard wife and two kids, an accounting job, the whole schmeer.  One day, they cross the street and a pickup streaks from a standstill at the light.  Smashed right into them. Killed everyone but him and the son and sped away.  Brown was submitted after the hospital, the boy went to the grandparents.  He escaped the institution and committed the murders.  Waited for trial five months, it took a week to convict him.  Life was upside down in less than a year.

Reading this, I felt for the guy.  Aside from the killings, he was clean.  Never even a traffic violation, then this.  It didn't make sense, and I got an uneasy feeling in my gut.

"Hey, John, I'm ready to move.  I got two choppers lined up but no destination.  Where to, boss?"

"Steve, I don't know about this guy, there's something not right here.  I don't know what he's doing.  I want you to read this."  He took the papers, kicked back to read and I left the room.

"Hendricks, is your party ready?  You're heading for Washington, Menschke will go south.  There's no way this guy is heading east.  We've got him, its just a matter of time.  I'm giving you full jurisdiction, take what you need.  Just make sure the border is tighter than your asshole this time.  I still haven't forgotten the last time I put you in command.  I'm trusting you with this, don't make me kill you."

"Yeah, I got it Caulsworth.  Just you back off too!"

I returned to my office, Steve still reading.  "What do you think?"

"Both of you are nuts.  Hendricks?  Come on, you know he won't find the guy.  Especially not this one.  Brown is not dumb.  He could do anything.  He might be in a Portland hotel or on a fishing boat by now, there's no way to know.  He's too smart to get back into his life, he's a runner."

"Get on the horn to Thompson in California, he'll give full assistance.  Cut offs at the border and in the bay area.  Go with whatever you feel, you know you've got full j.d., just find this guy for me.  I've got ops here and I'll let you know about anything that arises.  I'll also crunch some figures, give you any new leads.  Now get going, I'm on an hourly check-in.  Hell, I already gotta call him.  I'll buzz you."

Steve was already out the door when I finished talking.  I lifted the receiver and began to dial the number on the card.  I heard the ring on the other end over the engines roaring outside.  Steve and Hendricks were moving out.

"This is Franklin."

"Yeah, this is Caulsworth, in Portland."  I explained the situation to him, though he didn't seem interested anymore.  Just grunted and sighed as I spoke.  "I'm heading up to see the parents, get some insight.  I'll miss the next two calls, but wouldn't have anything to check in with anyway." Franklin grunted again and hung up.

The air whipped through my hair, tangling it, as the helicopter warmed its engines.  When I was in, the pilot gave me a nod then looked to the ground crew and we lifted off.  I hadn't been flown in a helicopter for over five years and the effects were taking their toll on my stomach.  My ears ached, the rhythmic thump of the blades louder than I remembered.

Once we left the city's limits, I began to enjoy the flight.  We skipped over the pine forest, an endless field of green.  I had forgotten the world outside my office and I began to wish I was home.  The sunlight created a glare as it passed through the plastic window of my door, but I could still see the treetops speeding beneath me.  Watching the scenery pass, I failed to notice the time.  The fog-covered Seattle skyline lay before me in no time.

The streets were slick and shiny black, the rain having subsided.  Agent Hill, of the Seattle department, drove me out to see Brown's parents.  The fresh scent of rain filled my nostrils and my thoughts again drifted toward home.  It was cool, about sixty-five degrees with an overcast sky.  It was a short drive, only ten minutes.  We arrived at a homey, two level house at the back of a cul-de-sac that looked like all the others in the neighborhood.  I stepped out of the car and hurried up the drive through the fine mist.

The doorbell played a bar of a song I couldn't quite recall the name of.  After a moment, I heard the metallic click of the locks being undone and the door opened to reveal a small boy, his eyes on the floor.  He looked a lot like John jr. when he was seven.  His dark hair was combed over his forehead, shading his eyes from view.  He was slight in stature and held his left arm still and tense, grasping the knob with his right.  In a quiet voice, barely audible, he invited me in.  Then the boy ran inside and up the stairs.  The small front room reminded me of my parents' house, flowered curtains and brown furniture.  It smelled of moth balls and potpourri.  A large wooden television with a small screen stood across from the couch.  I seated myself in the worn recliner, humming the tune the doorbell played.

After a few minutes, an old man came down the stairs, leaning on his cane.  He adjusted his glasses, coughed twice, and shook his cane at me.  "What are you doing in my house?  Get out now!"  He wore a tan sweater, unbuttoned, over his white tee shirt.  He adjusted the belt on his trousers, pulled them up.

"Sir, I am John Caulsworth, Federal agent.  I am here to ask you a few questions, if you please.  It won't take long."   At the top of the stairs, hidden by a shadow, I saw the boy and pointed.  "Your boy let me in."  With that, the boy receded back into the shadows.

The old man poked me with his cane.  "Get out of my chair and I'll talk with you."

I seated myself on the couch.  "Mr. Brown, I have to ask some questions about Dean.  How recently have you seen him?"

"Not since he moved out.  Damn him.  His mother worries about Dean so.  He lost custody of his boy and we still haven't heard from him. " He scratched his chin, then his neck.  "He loved that boy, still should.  He hasn't even tried to see Davey.  Do you know where he is?  Why do you have to bother me about my pain?"

I began to respond, but Mr. Brown cut back in.  "I can't talk about this, it hurts.  Please leave now."  He did not stand when I rose to leave.  I closed the door behind me and Hill started the car.

"Hendricks, this is Caulsworth, I'm coming down to join your party.  I have a feeling Brown is coming this way.  Did you secure the border?" I barely heard him reply over the fury of the blades above me.  I shut off the phone.  Damn Hendricks.  It was past one and Brown had plenty of time to have made it across the border.  Hendricks let him by.  I'd have to deal with him later.  It was time to find Dean Brown.

The helicopter set down at the Washington border, at the weight scales.  I ran out from beneath the whirling blades and met Hendricks.  Down the road, I saw the line of cars and trucks, each awaiting inspection before passing into Washington.  In the southbound lane, the cars sped by.  Inside I dialed the number of Steve's mobile.  I asked if there were any developments; there weren't.  I hung up and dialed Boise.  Franklin was not in.

"Hendricks, get over here." I wrapped my arm around his shoulder.  "I have a feeling he's gotten by you.  He's got to be in Washington by now, so call back the border guards.  Concentrate our forces in the state.  Meet me outside in five, after you spread the word."

The helicopter blades were still turning, the engines cooling.  I climbed in and sat in the copilot's seat.  Hendricks came out shortly after, looked around, finally spotted me.  I opened the door.

"What do you want?"

"You're driving, get in!"

As we lifted off, I looked at my watch.  Quarter after two.  At least nightfall wasn't for another six or seven hours.  After that, we'd have to wait for morning.  Clouds were blocking most of the sunlight and my skin cooled.

It was silent for ten to twenty minutes.  Then Hendricks spoke up.  "John?"

"What?"

"Why do you get on my ass like that?  What the hell did I do?"

I tried to find the words, but couldn't.  "You don't do things like I like.  Hendricks, You always have to get in my face, to do your own thing.  That does not help the team, it doesn't help us succeed.  I'm gonna put you up for transfer:  either California or Nevada."

He turned to me, mouth agape.  "What?  Why?   You have got to give me another chance!" He sighed, looked ahead again and began to scream.

I lurched forward when the chopper sharply jolted, hitting my head on something.  I felt as if I were falling and everything went black.

I could tell I was laying face down.  I kept my eyes closed and tried to feel all my body.  My skin was chilled and I could feel my damp clothes sticking to my body.  The scent of pine overwhelmed my nose and I tasted blood.  I lifted my head and opened my eyes.  Night had fallen but I knew I was laying in a thick evergreen forest.  Stars shone from behind the thick canopy of the forest.  I tried to get up, but fell in pain.  My left arm and side felt like they were on fire.  I rolled over in the brush and did a situp.  I glanced at my shoulder to see my jacket and shirt were shredded and replaced by a sheet of blood.  My fingers slipped under my left arm for a feel.  It felt like jelly in a plastic bag might.

My shirt and jacket barely clung to me, torn down the left side.  My tie twisted around my neck and hung behind me.  I worked my way onto my knees, noted my legs were fine.  It occurred to me that I was supposed to be airborne.  I slowly stood and turned to see the wreckage of a helicopter.  Behind it, trees were toppled and the ground had a wide gash in it.  I stumbled around the smaller debris toward the frame.  The metal was bent and broken.  Amid this maze, I saw the slumping form of Hendricks, his back to me.  I could not reach him and tried calling his name.  He did not respond.  I walked around to the other side, knelt to peer inside.  A thin slice of metal stabbed into his chest.  His eyes and mouth were still open in mid-scream.

I sat to think. All I wanted was to make it home.  I knew the chopper had a first aid kit and a crash kit.  Walking slowly among the ruins, I found parts of the crash kit.  Armed now with a flashlight and flare gun, I searched for the first aid.  I found the broken plastic case protruding from beneath the frame.  The contents were undoubtedly underneath also or inside.  Either way, I had no help.   Still dizzy, I fell to the ground and leaned on the frame, winced in pain.  I withdrew the gun from my side and pointed it skyward.  The flare shot out bright orange and it was bright as day for a moment.  I watched it arc over the trees and fade as it fell.  Sparks flew as it crashed into the soft ground.

The flashlight's beam bounced around the newly made clearing.  It bounded off glass fragments, twisted metal, and broken lumber.  The beam stopped on a scrap of material hanging from a treebranch.  It looked like a shirt, but I was the only person around.  I rose and walked over to the tree, inspecting the garment.  I grabbed the size medium white tee, soiled with mud and torn on the sleeves and pocketed it.  Surveying the clearing more, I found some kindling and a set of footprints too small to be my own.  They led into the forest, up the slope.  By their depth at the toe and the slide at the end of each step, I could tell the person left in a hurry.

I had been heading up the slope almost an hour when my legs began to scream for a break.  I stopped, hunched over in pain.  Breathing came heavily, each attempt a hot knife in my chest.  My head was spinning and I felt my side again, found fresh blood still pumping.  My tie slipped over my head and into my front pocket.  I removed the tee from my back pocket, tore it in two, and wrapped my body with it.  Tears filled my eyes as I staggered.  The soft earth caught me forgivingly.  I remained there for a while, I'm not sure how long because it felt so good.  I lifted myself, knowing I had to go on.  I knew the footprints would lead me to safety or to Dean Brown.  Either way, my path lay along theirs.

I struggled against the terrain and my body to go on for hours.  The shirt had stopped my bleeding and the fog in my mind cleared.  Clear headed, the pain intensified.  My vision was blurred by tears and I had a hard time finding my way through the dark.  I stumbled over countless rocks, fallen trees, and other impediments along the way.  I never lost the prints, though.  I'm not sure when it was, probably early morning, I fell over a rock into a clearing.

It was about twenty feet across, lit by the light of the now visible half moon.  At the other end stood a pile of dirt and rocks.  I noticed a specific dark spot.  It was not a shadow, but a hole.  I followed the trail across the clearing and it led me to the hole.  I knelt, trying to see inside.  It was about three feet across, probably an old fox's burrow.  I circled the mound slowly searching for continuation of the trail, thinking the person might have walked over the burrow to throw off followers.  I returned to the mouth of the opening and dropped to my knees.

I started in head first.  The passage was tight and painful, jagged stone scraping my already abused body.  I paused, my heart racing and dizzy from straining to see in the pitch black.  My body grew warmer as I went deeper into the hole.  About ten feet in, my fingers felt thin, dry stalks of straw on the floor.  I crawled further in, until my knees felt the same.  I lifted myself into a kneeling position and pushed the button on the flashlight.

A man was curled up in the corner.  The light woke him and he shot up, eyes blinking.  The absence of his shirt revealed his pale white skin, criss-crossed with crimson lines.  His hair was no longer slicked back and his face now showed the emotion of fear, but I could still see it was Dean Brown.

I backed myself up to the mouth of the hole, held the flashlight at him like a sword.  "I've been looking for you, Dean." I set the flashlight down beside me and pulled out the flare gun with caution.  "Just stay calm, I am not going to try anything, look at me." I kept it pointed at him, but relaxed a little.  "Why did you run, Dean, why are you here?"

His brown eyes were wide, unblinking in an intense stare.  "Who are you?"

"I am John Caulsworth, a federal agent.  I was assigned to find you and bring you in.  What happened?"

"The bastards deserved to die!" Tears came to his eyes, his face red as a stoplight.  He sniffled and the words tumbled out in a rush.  "They ran us over, I barely got him out of the way.  It was the mayor's security.  As his accountant, I discovered he was corrupt and refused to bury it.  He fired me on the spot."  He shuddered and took a breath.  "They could have just taken me, but left me instead.  I couldn't let him live after that.  He stole my life!  And I can't let you stop me." Brown let go of his tension, and sat down.  "I've got to get my son and you're not going to get in my way, nothing will." I looked again into his eyes, swollen and wet as a boxer's.  "I broke out for my son, I need to save him."

"Save him?  What do you mean?"

"I know he is in my parents' custody.  They're beating him, just like me.  I almost died, I can't let that happen to Davey.  He's all I've got left." Brown held out  a picture from his pocket.  "He's what I live for and this is all I have of him.  I can't let him hurt again."

I set the flare gun aside and accepted the photo.

A man lay in a hospital bed, bandaged and casted.  Beside him stood a young boy, on crutches.  They were holding hands and each managed a smile.  The photo was torn on the top corners, a crease down the middle.  The back read 'My only son'.

He grabbed it back from me.  "I'm barely hanging on here, and without Davey I'm not alive.  My family was the only thing that mattered to me, and he's all that's left."

I reached into my pocket and withdrew the tie.  Mud concealed the red fabric.  I tried to think of John.  My mind strained to see his face, hear his voice.  A tear rolled down my cheek and fell off my chin onto the tie.  I loosened the knot and slipped it back over my head.  With my sleeve, I wiped my face.

I lifted the flashlight, switched it off and tossed it to him.  "Take it."  I turned away and started back into the world.

Hendricks' team found me a few miles west of the hole.  They airlifted me to the Olympia hospital.  I was treated for a broken clavicle and shoulder blade, along with my ribs.   The tissue damage to my back and side was extensive and I have little use of either.  After two days they released me.

The next day, I received a call from Franklin, in Boise.  I was commended by him for putting myself on the line.  He granted me early retirement, and a bonus for being injured.  He asked if I might know anything about the disappearance of David Brown from his grandparents' house in the middle of the night.  I told him I did not.  I bid him farewell, hung up, and dialed John's number at school.

1231.      The Shawhsank Redemption 5

The Shawshank Redemption

The Shawshank Redemption is a very unique movie which involves many different personalities and underlying themes. The personalities of the inmates are very interesting and when they are combined they create a very fascinating plot which looks at prison life in a interesting and different perspective than one normally thinks. The main characters are Andy Dufrense (Tim Robbins) and Eliss 'Red' Redding (Morgan Freeman). These characters are well complimented by the wise and simple old man, Brooks (James Whitmore), and the evil warden. The  personalities of the Shawshank prison combined to form a sort of community. One never really thinks of a prison as such, but it seems to hold true. This movie showed a prison not only as a place where murderers and thieves live, but as a community of people who have had problems and may or may not be rehabilitating. It seems that some prisoners go in and accept what they have done and try to make something of an already disastrous life while others give up and really don't care if they commit other crimes (inside and outside of the prison). But in all reality, the prison was home for the inmates and they made it into what it was. The demeanor of the characters creates a very unique atmosphere.

The story revolves around Andy who is convicted of murdering his wife and her lover in 1946 and is sentenced to life in prison. He is sent to the Shawshank prison, the state prison in Maine which is known for its harshness.

At the beginning of the movie, one does not know if Andy committed the horrible crime of murder. But what is known is that he is not ready for prison and honestly doesn't seem like a man who would survive. His thinking going in is just to survive and blend in. He knows that sticking out would not be good for him. Throughout the movie, Andy undergoes several changes in his personality. But overall, he seems like a wise man who will deal with what the justice system has served him. He is normal on the outside but seems full of emotion. His emotional side is best put by the 4/14/95 issue of the San Francisco Chronicle which reads, '...Dufrense, a soft-spoken banker with emotions bubbling under the surface.' Andy is a very complex character but one can see that he holds his feelings inside of him and tries not to let people know how he feels.

Andy's friendship with Red begins in a peculiar way because neither of them have anything in common. Andy asks for a rock hammer which Red gets for him. Red, knowing that Andy is vulnerable, gets him on the tar duty and seems to take him under his wing. The friendship is very unique and they both are very energetic with emotion. Bill Dupre of the News and Observer writes of their emotion together, 'This is a graceful, quiet characterization, and Robbins' scenes with Freeman are wrought with depth, delicacy, and precision.'

This is where the opportunistic side of Andy begins to be evident. After overhearing the guards talking, he almost risks his life to tell the guard that he will help him keep the $30,000 that he inherited. This shows that Andy had guts and that he wanted to survive. In return for his favor of helping the guard, he gets his fellow workers ice cold beers on the last day. It is ironic because he has quit drinking himself. Andy then begins to work in the library because the warden hears of his talents in finance. This is where Andy first meets Brooks. He use this opportunity to ask the state for more money to build a larger library. And finally, the way Andy escapes is almost genius. Knowing that he is on the good side of the warden, he devises a very interesting and successful plan of escape.

Overall, Andy blends in with the prison community through the good times and the bad (the sisters, a group of homosexual rapists). His personality is one of a person who makes the most of what he has. But he never loses hope that he will be free one day.

Red is a very unique character in his own right. The prison's sole black inmate, he is the man who smuggles contraband into the prison. He is also a 'lifer' and he says that he is the only man in the prison who is guilty. He has accepted his fate and is dealing with the prison as his life but still tries to make his life on the inside the best he can. Red really doesn't think much about being paroled (he is rejected several times during the movie). He just takes one day at a time. He is determined not to let the jail system get to him. His friendship with Andy becomes stronger throughout the movie from when they first meet until Red joins Andy in Mexico. Red is a man who knows the rights and wrongs of the prison and it seems that Andy becomes his apprentice during the movie.

Overall, Red is a subtle man who tries not to be noticed. His personality is one of perseverance and he is ready to accept what the system may deal him.

Talking about the warden is difficult just for the reason that he is a cruel man who represents evil and unfairness in the movie. The reason the warden takes a liking to Andy is because Andy is an accomplished accountant who can help him cheat the state. The opportunistic Andy takes advantage of this by reading the Bible (to impress the warden) and basically doing what he is told. This leads to the warden's demise (trusting Andy too much) and Andy's escape.

The personality of the warden does not change much throughout the movie. Even if he does something nice (letting Andy help fellow inmates), his sole purpose is to profit and be in charge. He shows off his power many times and in the cruelest way. For example, his power and cruelty can be best seen when he discovers that the young inmate's testimony may free Andy. The warden's solution is to kill the young inmate and get the matter out of the way. Losing Andy would be devastating to him. The warden basically adds the bad guy dimension to the movie.

The prison had people of all ages and backgrounds (non racial). Brooks is a real old timer who had been in the prison for a very long time. He exemplified a man who had just made prison his life and he was very content with his life. He never foresaw leaving and knew this would be his life. He didn't expect anything out of the ordinary to happen. He seems to be a lost soul not knowing what he wants or what is right for him. His death signified his confusion.

The movie gives us a perspective of a prison not really shown before. Though  the movie may seem unrealistic in some ways, it is very moving and makes one think deeper about who the inmates are and what they are really like. In the 4/14/95 issue of the San Francisco Chronicle it reads, 'As preposterous as it is appealing, 'The Shawshank Redemption' takes a straightforward, soul stirring novel by Stephen King and turns it into a somber, bloated prison drama designed to pump you with inspiration.' This inspiration is created by the actions and words of various characters. It is actually an inspiration to the viewer to always have hope and pursue your goals. Red said, 'Hope is dangerous on the inside.' He was saying that having hope could drive a man crazy but in all reality he had hope in himself. This was untrue because Brooks' death signified a lack of hope. He really had no one and the inmates were his family. Leaving the prison was devastating and he just thought nothing of life. Red was contradictory to his own words because he ended up surviving and succeeding all because of the hope that he had.

The personalities of the characters create an almost unreal setting where you see things you may not expect to see. A community of people is what the movie is about. A community which goes through good times and bad ones. But the characters are what makes this film so unique and so great.

1232.      The Shawhsank Redemption

The Shawshank Redemption

The Shawshank Redemption is a very unique movie which involves many different personalities and underlying themes. The personalities of the inmates are very interesting and when they are combined they create a very fascinating plot which looks at prison life in a interesting and different perspective than one normally thinks. The main characters are Andy Dufrense (Tim Robbins) and Eliss "Red" Redding (Morgan Freeman). These characters are well complimented by the wise and simple old man, Brooks (James Whitmore), and the evil warden. The  personalities of the Shawshank prison combined to form a sort of community. One never really thinks of a prison as such, but it seems to hold true. This movie showed a prison not only as a place where murderers and thieves live, but as a community of people who have had problems and may or may not be rehabilitating. It seems that some prisoners go in and accept what they have done and try to make something of an already disastrous life while others give up and really don't care if they commit other crimes (inside and outside of the prison). But in all reality, the prison was home for the inmates and they made it into what it was. The demeanor of the characters creates a very unique atmosphere.

The story revolves around Andy who is convicted of murdering his wife and her lover in 1946 and is sentenced to life in prison. He is sent to the Shawshank prison, the state prison in Maine which is known for its harshness.

At the beginning of the movie, one does not know if Andy committed the horrible crime of murder. But what is known is that he is not ready for prison and honestly doesn't seem like a man who would survive. His thinking going in is just to survive and blend in. He knows that sticking out would not be good for him. Throughout the movie, Andy undergoes several changes in his personality. But overall, he seems like a wise man who will deal with what the justice system has served him. He is normal on the outside but seems full of emotion. His emotional side is best put by the 4/14/95 issue of the San Francisco Chronicle which reads, "...Dufrense, a soft-spoken banker with emotions bubbling under the surface." Andy is a very complex character but one can see that he holds his feelings inside of him and tries not to let people know how he feels.

Andy's friendship with Red begins in a peculiar way because neither of them have anything in common. Andy asks for a rock hammer which Red gets for him. Red, knowing that Andy is vulnerable, gets him on the tar duty and seems to take him under his wing. The friendship is very unique and they both are very energetic with emotion. Bill Dupre of the News and Observer writes of their emotion together, "This is a graceful, quiet characterization, and Robbins' scenes with Freeman are wrought with depth, delicacy, and precision."

This is where the opportunistic side of Andy begins to be evident. After overhearing the guards talking, he almost risks his life to tell the guard that he will help him keep the $30,000 that he inherited. This shows that Andy had guts and that he wanted to survive. In return for his favor of helping the guard, he gets his fellow workers ice cold beers on the last day. It is ironic because he has quit drinking himself. Andy then begins to work in the library because the warden hears of his talents in finance. This is where Andy first meets Brooks. He use this opportunity to ask the state for more money to build a larger library. And finally, the way Andy escapes is almost genius. Knowing that he is on the good side of the warden, he devises a very interesting and successful plan of escape.

Overall, Andy blends in with the prison community through the good times and the bad (the sisters, a group of homosexual rapists). His personality is one of a person who makes the most of what he has. But he never loses hope that he will be free one day.

Red is a very unique character in his own right. The prison's sole black inmate, he is the man who smuggles contraband into the prison. He is also a "lifer" and he says that he is the only man in the prison who is guilty. He has accepted his fate and is dealing with the prison as his life but still tries to make his life on the inside the best he can. Red really doesn't think much about being paroled (he is rejected several times during the movie). He just takes one day at a time. He is determined not to let the jail system get to him. His friendship with Andy becomes stronger throughout the movie from when they first meet until Red joins Andy in Mexico. Red is a man who knows the rights and wrongs of the prison and it seems that Andy becomes his apprentice during the movie.

Overall, Red is a subtle man who tries not to be noticed. His personality is one of perseverance and he is ready to accept what the system may deal him.

Talking about the warden is difficult just for the reason that he is a cruel man who represents evil and unfairness in the movie. The reason the warden takes a liking to Andy is because Andy is an accomplished accountant who can help him cheat the state. The opportunistic Andy takes advantage of this by reading the Bible (to impress the warden) and basically doing what he is told. This leads to the warden's demise (trusting Andy too much) and Andy's escape.

The personality of the warden does not change much throughout the movie. Even if he does something nice (letting Andy help fellow inmates), his sole purpose is to profit and be in charge. He shows off his power many times and in the cruelest way. For example, his power and cruelty can be best seen when he discovers that the young inmate's testimony may free Andy. The warden's solution is to kill the young inmate and get the matter out of the way. Losing Andy would be devastating to him. The warden basically adds the bad guy dimension to the movie.

The prison had people of all ages and backgrounds (non racial). Brooks is a real old timer who had been in the prison for a very long time. He exemplified a man who had just made prison his life and he was very content with his life. He never foresaw leaving and knew this would be his life. He didn't expect anything out of the ordinary to happen. He seems to be a lost soul not knowing what he wants or what is right for him. His death signified his confusion.

The movie gives us a perspective of a prison not really shown before. Though  the movie may seem unrealistic in some ways, it is very moving and makes one think deeper about who the inmates are and what they are really like. In the 4/14/95 issue of the San Francisco Chronicle it reads, "As preposterous as it is appealing, 'The Shawshank Redemption' takes a straightforward, soul stirring novel by Stephen King and turns it into a somber, bloated prison drama designed to pump you with inspiration." This inspiration is created by the actions and words of various characters. It is actually an inspiration to the viewer to always have hope and pursue your goals. Red said, "Hope is dangerous on the inside." He was saying that having hope could drive a man crazy but in all reality he had hope in himself. This was untrue because Brooks' death signified a lack of hope. He really had no one and the inmates were his family. Leaving the prison was devastating and he just thought nothing of life. Red was contradictory to his own words because he ended up surviving and succeeding all because of the hope that he had.

The personalities of the characters create an almost unreal setting where you see things you may not expect to see. A community of people is what the movie is about. A community which goes through good times and bad ones. But the characters are what makes this film so unique and so great.

1233.      The Shawshank Redemptio1

The Shawshank Redemption

The Shawshank Redemption is a very unique movie which involves many

different personalities and underlying themes. The personalities of the inmates

are very interesting and when they are combined they create a very fascinating

plot which looks at prison life in a interesting and different perspective than

one normally thinks. The main characters are Andy Dufrense (Tim Robbins) and

Eliss "Red" Redding (Morgan Freeman). These characters are well complimented by

the wise and simple old man, Brooks (James Whitmore), and the evil warden. The

personalities of the Shawshank prison combined to form a sort of community. One

never really thinks of a prison as such, but it seems to hold true. This movie

showed a prison not only as a place where murderers and thieves live, but as a

community of people who have had problems and may or may not be rehabilitating.

It seems that some prisoners go in and accept what they have done and try to

make something of an already disastrous life while others give up and really

don't care if they commit other crimes (inside and outside of the prison). But

in all reality, the prison was home for the inmates and they made it into what

it was. The demeanor of the characters creates a very unique atmosphere.

The story revolves around Andy who is convicted of murdering his wife

and her lover in 1946 and is sentenced to life in prison. He is sent to the

Shawshank prison, the state prison in Maine which is known for its harshness.

At the beginning of the movie, one does not know if Andy committed the

horrible crime of murder. But what is known is that he is not ready for prison

and honestly doesn't seem like a man who would survive. His thinking going in is

just to survive and blend in. He knows that sticking out would not be good for

him. Throughout the movie, Andy undergoes several changes in his personality.

But overall, he seems like a wise man who will deal with what the justice system

has served him. He is normal on the outside but seems full of emotion. His

emotional side is best put by the 4/14/95 issue of the San Francisco Chronicle

which reads, "...Dufrense, a soft-spoken banker with emotions bubbling under the

surface." Andy is a very complex character but one can see that he holds his

feelings inside of him and tries not to let people know how he feels.

Andy's friendship with Red begins in a peculiar way because neither of them

have anything in common. Andy asks for a rock hammer which Red gets for him. Red,

knowing that Andy is vulnerable, gets him on the tar duty and seems to take him

under his wing. The friendship is very unique and they both are very energetic

with emotion. Bill Dupre of the News and Observer writes of their emotion

together, "This is a graceful, quiet characterization, and Robbins' scenes with

Freeman are wrought with depth, delicacy, and precision."

This is where the opportunistic side of Andy begins to be evident. After

overhearing the guards talking, he almost risks his life to tell the guard that

he will help him keep the $30,000 that he inherited. This shows that Andy had

guts and that he wanted to survive. In return for his favor of helping the guard,

he gets his fellow workers ice cold beers on the last day. It is ironic because

he has quit drinking himself. Andy then begins to work in the library because

the warden hears of his talents in finance. This is where Andy first meets

Brooks. He use this opportunity to ask the state for more money to build a

larger library. And finally, the way Andy escapes is almost genius. Knowing that

he is on the good side of the warden, he devises a very interesting and

successful plan of escape.

Overall, Andy blends in with the prison community through the good times

and the bad (the sisters, a group of homosexual rapists). His personality is one

of a person who makes the most of what he has. But he never loses hope that he

will be free one day.

Red is a very unique character in his own right. The prison's sole black

inmate, he is the man who smuggles contraband into the prison. He is also a

"lifer" and he says that he is the only man in the prison who is guilty. He has

accepted his fate and is dealing with the prison as his life but still tries to

make his life on the inside the best he can. Red really doesn't think much about

being paroled (he is rejected several times during the movie). He just takes one

day at a time. He is determined not to let the jail system get to him. His

friendship with Andy becomes stronger throughout the movie from when they first

meet until Red joins Andy in Mexico. Red is a man who knows the rights and

wrongs of the prison and it seems that Andy becomes his apprentice during the

movie.

Overall, Red is a subtle man who tries not to be noticed. His personality

is one of perseverance and he is ready to accept what the system may deal him.

Talking about the warden is difficult just for the reason that he is a

cruel man who represents evil and unfairness in the movie. The reason the warden

takes a liking to Andy is because Andy is an accomplished accountant who can

help him cheat the state. The opportunistic Andy takes advantage of this by

reading the Bible (to impress the warden) and basically doing what he is told.

This leads to the warden's demise (trusting Andy too much) and Andy's escape.

The personality of the warden does not change much throughout the movie.

Even if he does something nice (letting Andy help fellow inmates), his sole

purpose is to profit and be in charge. He shows off his power many times and in

the cruelest way. For example, his power and cruelty can be best seen when he

discovers that the young inmate's testimony may free Andy. The warden's solution

is to kill the young inmate and get the matter out of the way. Losing Andy would

be devastating to him. The warden basically adds the bad guy dimension to the

movie.

The prison had people of all ages and backgrounds (non racial). Brooks is a

real old timer who had been in the prison for a very long time. He exemplified a

man who had just made prison his life and he was very content with his life. He

never foresaw leaving and knew this would be his life. He didn't expect anything

out of the ordinary to happen. He seems to be a lost soul not knowing what he

wants or what is right for him. His death signified his confusion.

The movie gives us a perspective of a prison not really shown before.

Though  the movie may seem unrealistic in some ways, it is very moving and makes

one think deeper about who the inmates are and what they are really like. In the

4/14/95 issue of the San Francisco Chronicle it reads, "As preposterous as it is

appealing, 'The Shawshank Redemption' takes a straightforward, soul stirring

novel by Stephen King and turns it into a somber, bloated prison drama designed

to pump you with inspiration." This inspiration is created by the actions and

words of various characters. It is actually an inspiration to the viewer to

always have hope and pursue your goals. Red said, "Hope is dangerous on the

inside." He was saying that having hope could drive a man crazy but in all

reality he had hope in himself. This was untrue because Brooks' death signified

a lack of hope. He really had no one and the inmates were his family. Leaving

the prison was devastating and he just thought nothing of life. Red was contradi

ctory to his own words because he ended up surviving and succeeding all because

of the hope that he had.

The personalities of the characters create an almost unreal setting where

you see things you may not expect to see. A community of people is what the

movie is about. A community which goes through good times and bad ones. But the

characters are what makes this film so unique and so great.

1234.      The Shawshank Redemption Essay

The Shawshank Redemption

For my film analysis, I chose the movie The Shawshank Redemption. Frank

Darabont directed Shawshank and wrote the screenplay based on the novel Rita

Hayworth and Shawshank Redemption by author Stephen King. The movie was made in

1994 and produced by Niki Marvin.

The movie stars Morgan Freeman and Tim Robbins as two convicts serving

time in a New England prison named Shawshank. Tim Robbins plays a man named

Andy Dufresne, a banker, who gets convicted of murdering his wife and her lover

and is sent to prison in Shawshank. Andy eventually becomes good friends with a

fellow convict by the name of Ellis Boyd Redding(Morgan Freeman) who is able to

get anything for anyone within reason. The story follows the prison life of

Andy Dufresne and his eventual escape from Shawshank's walls.

The movie follows a formalistic style of direction under Frank Darabont.

He interweaves scenes with nice fluid shots. The shots are not jarring or rough

cut. Darabont tends to take the story at a distance allowing the characters to

establish their traits to the audience instead of pushing a barrage of angles

at the audience. The position of the camera is intricately placed in all scenes.

The movie is a perfect example of classical cinema.

The most unique part about the style of the movie is in the

cinematography by Roger Deakins. The whole story looks like it was filmed with

a blue filter. The filters give a special beauty to the scenes, which in turn

causes more dramatic feelings for the audience. With this filter the movie

tends to bring out the two different colors of blue and brown. The blues of the

uniforms are all the more dramatic compared to the drab brown buildings

surrounding the prisoners. The colors also produce dramatic irony in the last

scene of Red and Andy on the beach. The blue and brown colors that once gave

feelings of confinement and despair in the prison are now colors of freedom and

happiness.

The lighting that goes along with the scenes are also interesting. The

whole movie is shot primarily in high contrast with the exception of the guards

who are mostly in the shadows. The lighting that follows the guards present a

darkness to their characters, they are displayed as harsh and villainy. The

violent scenes all take place in the shadows as well, with low key light. The

lighting of these scenes give a sense of violence without actually showing it

in the film.

The screenplay written for The Shawshank Redemption is exact and precise,

everything in the movie complements the development of characters and presents

underlying motifs such as prisoner's dependence from long term incarceration,

prisoner camaraderie, and feelings of hope in hopeless situations. The plot has

a smart climax that is not fully understandable until the last few scenes. The

ending is a total surprise as to how Andy escapes from Shawshank. The movie is

brought together with the clever narration's by "Red"(Morgan Freeman). By

having Red narrate, the audience quickly identifies with the prisoners, there

are certain common traits that the characters and audience share that produce

sympathy for the incarcerated criminals. The use of narration also brings out a

sense of fate. The use of a narrator also helped tremendously as to explaining

the details of how Tim Robbins character escapes from the jail.

The dialogue is also clever and witty at times. The movie has many

memorable quotes such as when Andy tells red, "On the outside I was always

straight as an arrow, I had to come in here to be a crook" and "You either have

to start living or you got to start dying." Some other quotes in the movie are

a little more subtle like when the warden hands Andy his bible back with the

words, "Salvation lies from within." Only at the end of the movie do we find

that Andy had hidden a rock pick in the bible that the warden had given him.

One of the best scenes in the movie is when Andy is looking through some

records that the state has just sent to the prison. He decides to play the

record on the intercom and locks himself in the room so the guards won't stop

him. The camera goes through a montage that captures the prisoners love for a

simple thing such as listening to a record. The montage consisted mostly of

panning shots with a crane shot mixed into it. The montage was made fluidly

with the camera moving at the same speed in all the shots. The director took

special notice to the actors expressions by using many close-ups in a movie

that does not consist of many close-ups. The lighting on this scene was evenly

illuminated, there were no shadows evident. The director wanted to get the

facial expressions and convey there feeling of yearning for simple freedoms.

The mise-en-scene for this montage was strategically done to express the

number of prisoners the music was reaching. The prisoners are all evenly spaced

out in the courtyard with the crane shot moving up enhancing the idea that the

music is reaching great masses of people. The music in the montage has the

faint static that makes the audience aware that the music is coming from the

intercoms. The music also helps add to the atmosphere of the scene causing a

surrealistic feeling of calm. The acting is also done quite well. The reactions

of the prisoners turns from surprise to appreciation in a realistic way.

Another scene worth noting in this analysis is the scene in which a

character named Brooks(James Whitmore) feeds pigeons in the park. The audience

listens to the man recite a letter in which he has recently sent his friends in

prison. The acting by Whitmore resembles that of a lonely old man. The light

source in the scene seemingly comes from the sun, causing the trees to cast

streaks of shadows onto the character. What makes this a particularly good

scene is the directors' choice of angles. The camera at first pans along the

ground, giving us a full shot of the pigeons eating seed. It then tilts up into

a low angle shot of the old man. The camera gently slows to a close-up of the

man's facial expression. Darabont then shows us a full shot with the man

sitting on the bench all alone. This scene conveys a sense of emptiness to the

audience which is dramatic and memorable.

Overall, Darabont uses affective methods of filming, causing the

audience to feel Andy Dufresne desperation, sense of hopelessness, and finally

his exhaltation after escaping from prison. The movie is a modern example of

the classical style of cinema.

1235.      the shawshank redemption

The Shawshank Redemption

For my film analysis, I chose the movie The Shawshank Redemption. Frank

Darabont directed Shawshank and wrote the screenplay based on the novel Rita

Hayworth and Shawshank Redemption by author Stephen King. The movie was made in

1994 and produced by Niki Marvin.

The movie stars Morgan Freeman and Tim Robbins as two convicts serving time

in a New England prison named Shawshank. Tim Robbins plays a man named Andy

Dufresne, a banker, who gets convicted of murdering his wife and her lover and is sent to

prison in Shawshank. Andy eventually becomes good friends with a fellow convict by the

name of Ellis Boyd Redding(Morgan Freeman) who is able to get anything for anyone

within reason. The story follows the prison life of Andy Dufresne and his eventual escape

from Shawshank's walls.

The movie follows a formalistic style of direction under Frank Darabont. He

interweaves scenes with nice fluid shots. The shots are not jarring or rough cut. Darabont

tends to take the story at a distance allowing the characters to establish their traits to the

audience instead of pushing a barrage of angles at the audience. The position of the

camera is intricately placed in all scenes. The movie is a perfect example of classical

cinema.

The most unique part about the style of the movie is in the cinematography by

Roger Deakins. The whole story looks like it was filmed with a blue filter. The filters

give a special beauty to the scenes, which in turn causes more dramatic feelings for the

audience. With this filter the movie tends to bring out the two different colors of blue and

brown. The blues of the uniforms are all the more dramatic compared to the drab brown

buildings surrounding the prisoners. The colors also produce dramatic irony in the last

scene of Red and Andy on the beach. The blue and brown colors that once gave

feelings of confinement and despair in the prison are now colors of freedom and

happiness.

The lighting that goes along with the scenes are also interesting. The whole movie

is shot primarily in high contrast with the exception of the guards who are mostly in the

shadows. The lighting that follows the guards present a darkness to their characters, they

are displayed as harsh and villainy. The violent scenes all take place in the shadows as

well, with low key light. The lighting of these scenes give a sense of violence without

actually showing it in the film.

The screenplay written for The Shawshank Redemption is exact and precise,

everything in the movie complements the development of characters and presents

underlying motifs such as prisoner's dependence from long term incarceration, prisoner

camaraderie, and feelings of hope in hopeless situations. The plot has a smart climax that

is not fully understandable until the last few scenes. The ending is a total surprise as to

how Andy escapes from Shawshank. The movie is brought together with the clever

narration's by "Red"(Morgan Freeman). By having Red narrate, the audience quickly

identifies with the prisoners, there are certain common traits that the characters and

audience share that produce sympathy for the incarcerated criminals. The use of narration

also brings out a sense of fate. The use of a narrator also helped tremendously as to

explaining the details of how Tim Robbins character escapes from the jail.

The dialogue is also clever and witty at times. The movie has many memorable

quotes such as when Andy tells red, "On the outside I was always straight as an arrow, I

had to come in here to be a crook" and "You either have to start living or you got to start

dying." Some other quotes in the movie are a little more subtle like when the warden

hands Andy his bible back with the words, "Salvation lies from within." Only at the end

of the movie do we find that Andy had hidden a rock pick in the bible that the warden

had given him.

One of the best scenes in the movie is when Andy is looking through some

records that the state has just sent to the prison. He decides to play the record on the

intercom and locks himself in the room so the guards won't stop him. The camera goes

through a montage that captures the prisoners love for a simple thing such as listening to

a record. The montage consisted mostly of panning shots with a crane shot mixed into it.

The montage was made fluidly with the camera moving at the same speed in all the

shots. The director took special notice to the actors expressions by using many close-ups

in a movie that does not consist of many close-ups. The lighting on this scene was evenly

illuminated, there were no shadows evident. The director wanted to get the facial

expressions and convey there feeling of yearning for simple freedoms.

The mise-en-scene for this montage was strategically done to express the number

of prisoners the music was reaching. The prisoners are all evenly spaced out in the

courtyard with the crane shot moving up enhancing the idea that the music is reaching

great masses of people. The music in the montage has the faint static that makes the

audience aware that the music is coming from the intercoms. The music also helps add to

the atmosphere of the scene causing a surrealistic feeling of calm. The acting is also done

quite well. The reactions of the prisoners turns from surprise to appreciation in a realistic

way.

Another scene worth noting in this analysis is the scene in which a character

named Brooks(James Whitmore) feeds pigeons in the park. The audience listens to the

man recite a letter in which he has recently sent his friends in prison. The acting by

Whitmore resembles that of a lonely old man. The light source in the scene seemingly

comes from the sun, causing the trees to cast streaks of shadows onto the character. What

makes this a particularly good scene is the directors' choice of angles. The camera at first

pans along the ground, giving us a full shot of the pigeons eating seed. It then tilts up into

a low angle shot of the old man. The camera gently slows to a close-up of the man's

facial expression. Darabont then shows us a full shot with the man sitting on the bench

all alone. This scene conveys a sense of emptiness to the audience which is dramatic and

memorable.

Overall, Darabont uses affective methods of filming, causing the audience to feel

Andy Dufresne desperation, sense of hopelessness, and finally his exhaltation after

escaping from prison. The movie is a modern example of the classical style of

cinema.

1236.      The Shining

The Shining

The story take place in Colorado and begins with Jack Torrence, going to a place by the name of "The Overlook Hotel" to be the caretaker over the winter month's, because of coast of keeping a twenty-five mile road, in which it take to get to the hotel open, because of all the snow.  To get the job as the caretaker of the hotel, he would be alone for five months, and have free food, and also free stay at the hotel, all Jack has to do is mantiance and handyman work around the hotel.  He arrives for the interview and meets  Lloyd (the manager of the Overlook Hotel) they discuss certain duties and jobs that will be needed around the hotel, and then Lloyd brings up a certain account that happened a couple of years back at the hotel, about a man that murdered his family from what you call "cabin fever" caused by seclusion and away from everything.  Jack is stuned by what he hears and then quickly say's something to the effect of not having to worry about something like that happening, and that he needed the months off to get started on a book he was writing.  Lloyd decides to let him have the job, and asked him to come back the next day. The next day Danny (his son) and wife Wendy and Jack left for the hotel.

They arrive and get there bags dropped off, it is the last day the hotel is open for the season, and people are checking out, and workers cleaning up, so they can leave for the spring.  Jack and Wendy goto meet up with Lloyd, and Danny leaves for the game room.  Lloyd takes them around the hotel to look around and get a feel of were they will be staying, and shows them their rooms. They stop and meet up with the head cook Dick Hallorann, Lloyd ask Dick to show Wendy and Danny around the Kitchen as he takes Jack to see the rest of the hotel.  Dick Hallorann goes threw the kitchen and shows Wendy what to do, and what to use, etc... all threw this time of the tour Dick keeps on using a mind signal, a voice to communicate, at first Danny does not realize it, but then as the tour wraps up, the family meets back up, and Dick offers Danny some ice cream as Lloyd takes Wendy and Jack to another part of the hotel.  As Danny is eatting his ice cream, Dick is talking to him, and then talks about, what he was doing during the tour how, he could communicate with him without even talking, there are few people who have this gift and some dont even know they have it, he said its called "the shining".  A couple weeks later after adapting to living in this hotel, life is good and they are happy for once, he has plenty of space to move around and lots of time to start writing his book, but he is drained of idea's.  Danny starts to see things as he walks around the halls of the hotel, not real things images in his mind, horrible and frightning things, though he had no knowledge of what happened in the hotel years before.

A couple of more weeks set in and Jack started seeing things, such as people who werent really there.  All this time Jack has been losing his mind due to cabin fever.  One day Wendy stepped into his writting room to see what he had been typing, and there was a stack of papers that read things like "all work and no play makes Jack insane" and other things to effect on the papers, Wendy then panics and notices he has changed, and has totally lost his mind.  Jack starts to see people and talk's with them, as if they were really there.  Dick away on leave for the winter, starts to worry about the family and try's to phone them, no luck, so he gets the police to try to use the radio, then there was no luck there either.

Jack's mind starts to wear away, and he starts to totally lose it.  Dick Hallorann decides to go back to the Overlook and see if the family is danger, because he picked up signals of that, threw "the shining" from Danny.  Wendy decides to look for Jack because he didnt come back the following night, so she goes around looking for him in the hotel with a bat, and then confronts him as she was looking threw his writing, and then he talks to here about doing something with Danny, and he follows her up some stairs and she swings the bat a couple times, as he says he was going to kill her and knocks him down the stairs, and then drags him into the kitchen and locks him up in the freezer.  The next morning he leaves the freezer and grabs an axe and goes to Their bedroom Danny got out and ran outside, and Wendy could not get out so she used the knife and stabbed Jack when he broke down the door with an axe, and Wenday ran past him, Jack then Goes downstairs and finds Dick Hallorann and Jack stabs him with the axe and kills him, after that he goes running after Danny and Wendy outside and Then couldnt find them, and after being wounded and tired he fell down and froze to death.

1237.      The Short Happy Life of Francis Macomber

English 102

Essay #1

"The Short Happy Life of Francis Macomber"

In Ernest Hemingway's story, "The Short Happy Life of Francis Macomber," Francis Macomber,

according to Hemingway, is a very unhappy man because of his cowardly display after facing a wounded

lion and because of his inability to stand up to his wife.  However, Francis Macomber regains his happiness

and bravery while out hunting buffalo; unfortunately, it is short lived.

Francis Macomber is a man in his mid-thirties, "very tall, very well built...and considered

handsome."  He excelles at court games and has quite a number of big-game fishing records, yet, this

morning he "has just shown himself to be a coward."

The ordeal started the night before when Francis was awakened by the sound of a lion roaring,

which frightened him for the rest of he night.  In the early morning Francis, Margot (his wife) and their

guide Robert Wilson go out to hunt for this lion.  After coming upon the lion, Francis shoots three times,

hitting it twice and only wounding it.  The wounded lion went trotting off into the tall grass, hiding and

waiting for the hunters to come after him.  Before the men go in after the lion, Macomber sat, "sweating

under his arms, his mouth dry, his stomach hollow feeling, wanting to find the courage to tell Wilson to go

on and finish off the lion without him."  As the men enter the tall grass, the lion came charging at them.

The next thing he knows, Macomber is "running wildly, in panic in the open, running towards the stream."

Wilson finishes the lion off with two shots from his rifle.  Unfortunately for Francis, his wife has seen the

whole ordeal.  Later that night, as Macomber lies on his cot, he knew "it was neither all over nor was it the

beginning.  It was exactly as it happened...and he was miserably ashamed of it."

About three o' clock in the morning, Francis was awoken suddenly, "frightened in a dream of the

bloody-headed lion standing over him."  As Francis looks over at his wife's cot, he notices that it is empty

and stays awake until she returns.  A couple of hours later, Margot returns to the tent and Francis begins to

question her of her whereabouts.  Margot's only reply is that "she went out for a breath of fresh air."

Francis, however, knows that Margot went over to Wilson's tent and slept with him.  Even with this

knowledge, "Margot was too beautiful for Macomber to divorce her and Macomber had too much money

for Margot to leave him."

Later that morning, Francis Macomber has extreme hatred towards Wilson, making his hostilities

known in the tone of his voice.  It is this hostility that begins the new life of Francis Macomber.  Later that

day, the three of them, along with the gun bearers, go hunting for buffalo, and if is this hostility that helps

Francis in the hunt.

As they get into the car and drive off, Wilson is hoping that Francis "doesn't take a notion to blow

the back of his head off."  After driving around for awhile, not saying a word to each other, they come upon

three large buffaloes.  Francis and Wilson both jump from the car and started shooting.  Francis shoots two

bulls but the third one is too far ahead.  They both jump back into the car to chase after it.  When they come

upon the third bull, they both jump out and shoot.  The bullet from Francis's rifle drops the bull to it's

knees.  Macomber now feels "a drunken elation."  Macomber and Wilson walk to where they drop the bull

to finish it off.  Macomber lifts his rifle and "aimed carefully at the center of the huge, jerking, rage-driven

neck and shot."  Macomber "never felt so good."  As the three of them sit talking and drinking, one of the

gun bearers approaches and tells Wilson that the first bull has gotten up and gone into the bushes.

Unlike the incident with the lion, Macomber "felt wholly without fear.  Instead of fear he had a

feeling of definite elation."  As the men entered into the bushes, Macomber "felt his heart pounding and his

mouth was dry again, but it was excitement not fear."  As the bull came out charging, the men started

shooting.  Macomber, aiming at the nostrils, was hitting the horns.  As he took aim again, "he felt a sudden

white-hot flash explode inside of his head and that was all he ever felt."  Margot Macomber has shot her

husband in the back of the head, killing him instantly.  After covering up Francis's body, Wilson walks

over to the car where Margot is crying.  "That was a pretty thing to do.' he said in a toneless voice.  'He

would have left you too.'"

Francis Macomber's short lived, happy life is ended tragically by an accidental shot to the head by

a bullet from the rifle held by his wife.  Perhaps Margot shot her husband, fearing a divorce, because of his

new found bravery.  Whatever the answer is, Francis Macomber had a short happy life before he died.

1238.      The Silence of The Lambs 5

THE SILENCE OF THE LAMBS

Clarice Starling, a student preparing for a life in the FBI, hunts a serial killer by

use of vague information given to her by an incarcerated psychologist.  Hannibal "The

Cannibal" Lecter relays information to Clarice in exchange for information about herself.

The killer, known only as "Buffalo Bill", kidnaps large women, keeps them alive for a

few days, and finally skins them.  Clarice works against time as Buffalo Bill takes his

newest victim, a U.S. Senator's daughter, and the countdown to death begins.

"The Silence of the Lambs" was chosen for the title because it is Clarice

Starling's ultimate goal for the bloodcurdling screams of the lambs in her nightmares to

cease.  When she was younger, she witnessed the slaughtering of a herd of lambs and to

this day she awakens horrified some nights to escape the nightmares that she so longs to

end.  She believes deep down that if she catches Buffalo Bill herself  she will sleep

soundly in the silence of the lambs.

My first interpretation of Clarice was that she was very bright and observant.  She

reads people very well and is quick to make an accurate judgement, as in with Frederick

Chilton, the prison warden.  I believed that she was a very strong woman and was very

careful to appear that way to others.

Clarice Starling did have a large change in herself.  She began the story with a

careful mentality; a risk would have been unheard of.  She was always making sure she

was doing something to the best expectations of someone else.  As the story moves on,

she becomes more daring and risk-taking than ever before.  From disobeying direct

orders to pursuing a serial killer in his own dungeon of a basement, Clarice is finally

satisfied with herself and could care what someone else thought.

"A census taker tried to categorize me once. I ate his liver with some fava beans

and a big amorone" - A quote from the prestigious Dr. Lecter that must occasionally be

recalled to mind to serve as a reminder that no matter how helpful Lecter is to Clarice, he

is also a monster.

As a result of this book I realized some odd, yet successful methods used by the

FBI to catch killers. I also discovered how corrupt some branches of the government can

actually be.

I don't believe I received any enlightenment from this book.  I did, however, feel

pretty good that I actually finished it.

This book did affirm a few of my views on life. such as "Never judge a book by

it's cover." No matter how much someone appears to be your friend, you can never be

absolutely sure.

I didn't receive anything from this book except the sheer enjoyment of reading it.

And also a new found respect for our justice system.

I must disagree with the main character's choice of  pursuing Buffalo Bill through

his own basement. I, myself, would have called for backup. She could have easily been

killed by him and Catherine's chances of living would have died with her.  This is a

classic example of rushing in without thinking, like playing a video game to fast and

being vaporized before you have the chance to act.

A subplot of this book would be the relationship between Jack Crawford, the

director of the FBI, and his wife, Bella.  Bella is very sick and on the verge of an

inevitable death at his home.  She has been comatose and has nurses that tend to her

when Jack is away.  This gives Jack Crawford a sullen disposition and it is easily

deduced that Bella is always in the corner of his mind.  She eventually dies and this

increases his sullen manner, which is understandable.

In twenty years I see Clarice Starling still working hard for the FBI.  Having many

solved cases under her belt, she still makes it a point to appear a powerful, strong

woman.  She occasionally looks back and ponders what Hannibal Lecter might be doing,

as well as the long since retired Jack Crawford.  She still, after short periods of relief,

frequently has to reachive the silence of the lambs.

1239.      The Silence of The Lambs Essay

The Silence of The Lambs

Clarice Starling, a student preparing for a life in the FBI, hunts a

serial killer by use of vague information given to her by an incarcerated

psychologist.  Hannibal "The Cannibal" Lecter relays information to Clarice in

exchange for information about herself. The killer, known only as "Buffalo Bill",

kidnaps large women, keeps them alive for a few days, and finally skins them.

Clarice works against time as Buffalo Bill takes his newest victim, a U.S.

Senator's daughter, and the countdown to death begins.

"The Silence of the Lambs" was chosen for the title because it is

Clarice Starling's ultimate goal for the bloodcurdling screams of the lambs in

her nightmares to cease.  When she was younger, she witnessed the slaughtering

of a herd of lambs and to this day she awakens horrified some nights to escape

the nightmares that she so longs to end.  She believes deep down that if she

catches Buffalo Bill herself  she will sleep soundly in the silence of the lambs.

My first interpretation of Clarice was that she was very bright and

observant.  She reads people very well and is quick to make an accurate

judgement, as in with Frederick Chilton, the prison warden.  I believed that she

was a very strong woman and was very careful to appear that way to others.

Clarice Starling did have a large change in herself.  She began the

story with a careful mentality; a risk would have been unheard of.  She was

always making sure she was doing something to the best expectations of someone

else.  As the story moves on, she becomes more daring and risk-taking than ever

before.  From disobeying direct orders to pursuing a serial killer in his own

dungeon of a basement, Clarice is finally satisfied with herself and could care

what someone else thought.

"A census taker tried to categorize me once. I ate his liver with some

fava beans and a big amorone" - A quote from the prestigious Dr. Lecter that

must occasionally be recalled to mind to serve as a reminder that no matter how

helpful Lecter is to Clarice, he is also a monster.

As a result of this book I realized some odd, yet successful methods

used by the FBI to catch killers. I also discovered how corrupt some branches of

the government can actually be.

I don't believe I received any enlightenment from this book.  I did,

however, feel pretty good that I actually finished it.

This book did affirm a few of my views on life. such as "Never judge a

book by it's cover." No matter how much someone appears to be your friend, you

can never be absolutely sure.

I didn't receive anything from this book except the sheer enjoyment of

reading it. And also a new found respect for our justice system.

I must disagree with the main character's choice of  pursuing Buffalo

Bill through his own basement. I, myself, would have called for backup. She

could have easily been killed by him and Catherine's chances of living would

have died with her.  This is a classic example of rushing in without thinking,

like playing a video game to fast and being vaporized before you have the chance

to act.

A subplot of this book would be the relationship between Jack Crawford,

the director of the FBI, and his wife, Bella.  Bella is very sick and on the

verge of an inevitable death at his home.  She has been comatose and has nurses

that tend to her when Jack is away.  This gives Jack Crawford a sullen

disposition and it is easily deduced that Bella is always in the corner of his

mind.  She eventually dies and this increases his sullen manner, which is

understandable.

In twenty years I see Clarice Starling still working hard for the FBI.

Having many solved cases under her belt, she still makes it a point to appear a

powerful, strong woman.  She occasionally looks back and ponders what Hannibal

Lecter might be doing, as well as the long since retired Jack Crawford.  She

still, after short periods of relief, frequently has to reachive the silence of

the lambs.

1240.      The Silence of The Lambs

THE SILENCE OF THE LAMBS

Clarice Starling, a student preparing for a life in the FBI, hunts a serial killer by

use of vague information given to her by an incarcerated psychologist.  Hannibal "The

Cannibal" Lecter relays information to Clarice in exchange for information about herself.

The killer, known only as "Buffalo Bill", kidnaps large women, keeps them alive for a

few days, and finally skins them.  Clarice works against time as Buffalo Bill takes his

newest victim, a U.S. Senator's daughter, and the countdown to death begins.

"The Silence of the Lambs" was chosen for the title because it is Clarice

Starling's ultimate goal for the bloodcurdling screams of the lambs in her nightmares to

cease.  When she was younger, she witnessed the slaughtering of a herd of lambs and to

this day she awakens horrified some nights to escape the nightmares that she so longs to

end.  She believes deep down that if she catches Buffalo Bill herself  she will sleep

soundly in the silence of the lambs.

My first interpretation of Clarice was that she was very bright and observant.  She

reads people very well and is quick to make an accurate judgement, as in with Frederick

Chilton, the prison warden.  I believed that she was a very strong woman and was very

careful to appear that way to others.

Clarice Starling did have a large change in herself.  She began the story with a

careful mentality; a risk would have been unheard of.  She was always making sure she

was doing something to the best expectations of someone else.  As the story moves on,

she becomes more daring and risk-taking than ever before.  From disobeying direct

orders to pursuing a serial killer in his own dungeon of a basement, Clarice is finally

satisfied with herself and could care what someone else thought.

"A census taker tried to categorize me once. I ate his liver with some fava beans

and a big amorone" - A quote from the prestigious Dr. Lecter that must occasionally be

recalled to mind to serve as a reminder that no matter how helpful Lecter is to Clarice, he

is also a monster.

As a result of this book I realized some odd, yet successful methods used by the

FBI to catch killers. I also discovered how corrupt some branches of the government can

actually be.

I don't believe I received any enlightenment from this book.  I did, however, feel

pretty good that I actually finished it.

This book did affirm a few of my views on life. such as "Never judge a book by

it's cover." No matter how much someone appears to be your friend, you can never be

absolutely sure.

I didn't receive anything from this book except the sheer enjoyment of reading it.

And also a new found respect for our justice system.

I must disagree with the main character's choice of  pursuing Buffalo Bill through

his own basement. I, myself, would have called for backup. She could have easily been

killed by him and Catherine's chances of living would have died with her.  This is a

classic example of rushing in without thinking, like playing a video game to fast and

being vaporized before you have the chance to act.

A subplot of this book would be the relationship between Jack Crawford, the

director of the FBI, and his wife, Bella.  Bella is very sick and on the verge of an

inevitable death at his home.  She has been comatose and has nurses that tend to her

when Jack is away.  This gives Jack Crawford a sullen disposition and it is easily

deduced that Bella is always in the corner of his mind.  She eventually dies and this

increases his sullen manner, which is understandable.

In twenty years I see Clarice Starling still working hard for the FBI.  Having many

solved cases under her belt, she still makes it a point to appear a powerful, strong

woman.  She occasionally looks back and ponders what Hannibal Lecter might be doing,

as well as the long since retired Jack Crawford.  She still, after short periods of relief,

frequently has to reachive the silence of the lambs.

1241.      The Simpsons Essay

The Simpsons

This cartoon for grown-ups takes place in a fictional town called

Springfield in the 1990's.  The main character in the show is Homer Simpsons, a

father of three and a husband.  Homer works at the Springfield nuclear power

plant.  He is portrayed as a slacker who is completely unqualified for his job.

He's also shown as a lazy couch potato and a little bit of an alcoholic.  He's

also shown as a "pig" when it comes to food.  His wife, Marge, is a good parent

who has to keep an eye on Homer and the rest of the family most of the time.

Bart, their oldest son, is a poor student who enjoys comic books and television

and hates girls.  Lisa, the middle child of the family, is an excellent student

and a nice person.  She is almost the complete opposite of Bart except they both

enjoy the violent cartoons of "Itchy and Scratchy".  Maggie, the baby of the

family, is known for constantly smacking her pacifier.  She is portrayed as

being smarter than Homer.  Almost every little thing  in the show is intended

tobe humorous.

In general the show is very funny but has some bad language and other

offensive material.  The fact that the show is a cartoon may be what has kept

some people from watching.  The cartoon though is what helps achieve many of the

humorous aspects.  For example a spill of nuclear waste would not be very

amusing in a show with real people.

The show has the assumption that it is OK if your family argues all the

time.  It shows this by the little arguments that the family constantly gets

into.  It also shows that it's pointless to try to be good all the time.  One

example is when they're eating at home they use no table manners whatsoever and

when they go to church they try to be like normal families.  There are times in

the show when they step away from comedy and give a meaningful message about

family values, or friendship, etc..

In conclusion The Simpsons is a very funny show with a unique cartoon

aspect.

1242.      The Simpsons

The Simpsons

This cartoon for grown-ups takes place in a fictional town called Springfield in the 1990's.  The main character in the show is Homer Simpsons, a father of three and a husband.  Homer works at the Springfield nuclear power plant.  He is portrayed as a slacker who is completely unqualified for his job.  He's also shown as a lazy couch potato and a little bit of an alcoholic.  He's also shown as a "pig" when it comes to food.  His wife, Marge, is a good parent who has to keep an eye on Homer and the rest of the family most of the time.  Bart, their oldest son, is a poor student who enjoys comic books and television and hates girls.  Lisa, the middle child of the family, is an excellent student and a nice person.  She is almost the complete opposite of Bart except they both enjoy the violent cartoons of "Itchy and Scratchy".  Maggie, the baby of the family, is known for constantly smacking her pacifier.  She is portrayed as being smarter than Homer.  Almost every little thing  in the show is intended to be humorous.

In general the show is very funny but has some bad language and other offensive material.  The fact that the show is a cartoon may be what has kept some people from watching.  The cartoon though is what helps achieve many of the humorous aspects.  For example a spill of nuclear waste would not be very amusing in a show with real people.

The show has the assumption that it is OK if your family argues all the time.  It shows this by the little arguments that the family constantly gets into.  It also shows that it's pointless to try to be good all the time.  One example is when they're eating at home they use no table manners whatsoever and when they go to church they try to be like normal families.  There are times in the show when they step away from comedy and give a meaningful message about family values, or friendship, etc..

In conclusion The Simpsons is a very funny show with a unique cartoon aspect.

1243.      The SimpsonsGeneral Speech Outline Format

General Speech Purpose:  To Inform

Specific Speech Purpose:  To Inform my audience about the sitcom "The Simpsons"

I.  They have eight fingers, yellow skin, wacky hairdos, and a severe case of an underbite.

A.  They are the typical american family, but far from your average "Cleaver                             household"

B.  The Simpsons are the new generation of quality television sitcom families.

II.  The Simpsons were a runaway hit ever since their first season.

A.  The show generated ratings that placed it among the top 15 shows in the                             Nielsen ratings during its original run.

1.  It continued its success into the summer, pulling top 10 ratings                               throughout the summer rerun series.

2.  The show's success prompted every self respecting trend follower to                        wear a Simpsons t-shirt.

B.  It is one of the only animated series in prime time and it still produces solid                        shows every week..

III.  Their success is based primarily on the show's satirical nature, characterization, and

realism.

A.  Cartoonist Matt Groening drew the Simpsons in the image of the nuclear                            american family.

1.  The Simpsons' is a joke on traditional sitomcs because its characters                        are so far removed from what has always been thought of as the                                         "norm".  When in actuality, they are truly the "norm".

a.  Up until the Simpsons, American television viewers were                             merely exposed to a typical upper-middle class professional                           family with wise parents and generally well-behaved children.                           Such as the Cosby Show, Family Ties, and Growing Pains.

b.  Unlike those shows, The Simpson family consists of Homer, a                     bone headed father, Marge, a mother whose greatest                                      accomplishment is keeping the family members from killing                              each other, Bart, a lazy, mischevisous son, Lisa, a sweet and                         intelligent, but moody and self pitying daughter, and Maggie, a                         baby girl, who has yet to say her first word on the show.

2.  Although they aren't what we consider to be a traditional family unit,                     they are together, and they stay that way, through misadventure after                          misadventure.

B.  Another main key to the show's success is due to its satirical form of comedy.

1.  Being perhaps one of the most self-reflexive programs to date, the                          Simpsons are not afraid to call themselves what they are, a cartoon.

a.  In a recent episode, Lisa tells Bart that what they see on                          television isn't real.  She does so while we see Homer pass by in                      the background not only once, but three times, in the same                           direction.

2.  Another example of their satirical humor was displayed in a more older      episode.  Krusty the Clown is an exaggerated version of children heroes           on the sitcom.  When he believed to have robbed the Kwik-E-Mart,                              perhaps in an OJ Simpson reference, his popularity plummets.                      Although his treatment is exaggerated, it does show how our society                             treats our fallen heroes.

C.  Realism is one of the shows most important elements to its success.

1.  Much of the action which takes place within the boundaries of                    Springfield city limits is far fetched at best.

2.  More often, however, lies a ring of truth and common experience in                        ever story line.  The shows themes give it the ability to relate to almost                     every plane of human experience that any American has ever had.

IV.  These things serve to set the show apart from thers that would seek to imitate it.

A.  The wit, satire, and realism of The Simpsons can be said to be it's defining              element, and the key to its success.

B.  It remains popular today, in it's eighth season, and entertains us while at the           same time, pointing out things that we might not otherwise see about                        ourselves, our beliefs, and our institutions, and surely that is the mark of quality.

1244.      The Singing School An American Tradition

THE SINGING SCHOOL: AN AMERICAN TRADITION

The Singing School was an institution that was uniquely American. it was established to serve a dual purpose: the desire to create music and the need for sociability. Generations were taught to read and sing music by itinerant singing masters, who developed characteristic methods and materials of instruction, and distinctive performance practices. Through this institution, many people were given the opportunity to participate in music, either as a singer, a teacher, or as a composer. The Singing School foreshadowed the development of church choirs and musical societies.

Early settlers in this country brought with them their native English music, both sacred and secular. They made use of various Psalters compiled in Europe. It was not until 1640, however, that the Puritan ministers in America made their own translation of the psalms. The Bay Psalm Book was the first book printed in British North America and was widely used. The most distinguishing feature of this book was its rhymed and metered English poetry. This allowed a few tunes, having the same rhythms as the poetry, to be used as melodies for many psalms. In addition, the text employed the vernacular, and consequently promoted memorization. The ninth edition of the Bay Psalm Book, published in 1698, was the first edition published with tunes. This edition had printed the letters F-S-L-M, representing the solmization syllables fa, sol, la, and mi, under the notes. This indicates that there was a familiarity with and an interest in music instruction as applied to psalmody.

It was not until the early 18th century, however, that as a direct result of agitation by ministers for a reformation in congregational singing, arguments were advanced promoting regular singing and the eventual establishment of singing schools.

The singing school grew out of the employment by the churches in New England of regular singing. Records indicate that the first singing school was probably established in Boston, the most advanced town in New England, around 1720.

The singing school gradually spread throughout New England during the next twenty-five years. Throughout the eighteenth century, the scope and span of the singing schools continued to grow. The advent of the 19th century saw singing schools established from Maine to Pennsylvania.

The first singing schools were church-oriented, due to the face that the original purpose of the schools was to improve congregational singing. After selecting a date (usually two to four weeks during the winter or between planting and harvesting of crops), a teacher was secured (in most cases, the local school master or an itinerant singing teacher), and location was established (either in the local school house or some other public building).

After the middle of the 18th century, most singing schools were conducted by itinerant singing masters, who operated them for their own profit. Although a few teachers devoted themselves full-time to teaching, the majority of them maintained other occupations such as school teaching, retail sales, or farming. These schools, taught by itinerant singing masters, were usually not affiliated with a church. Each student was charged a tuition fee, in addition to being required to purchase his own text.

A logical outgrowth of the singing schools was the establishment of the church choir. At first it consisted of those who had attended the singing school and rehearsed the psalms, sitting together at church services. This eventually developed into the formal organization of the church choir.

The singing school movement also gave rise to several publications designed for use in the schools. These were often published by the singing masters themselves, and served as a supplement to their meager incomes. There were three types of materials: manuscript books, printed "Gamuts" and tune-books. The manuscript books were simply bound pages of manuscript paper designed for the student to record the various rudiments of music and such tunes as the singing master specified. "Gamuts" were printed books containing a summary of the rules of music, a few standard pieces, and blank manuscript pages on which to write tunes. Tune-books, produced in large quantity during the eighteenth century, were the most important instructional materials of the time. They consisted of an introduction, which listed the complete rules of music, and a large collection of printed music. The printed music was often graded according to difficulty. Tune supplements were similar to tune-books, but were designed to be bound with Psalters and hymnals, and included a short summary of the rules of music followed by a number of plain psalm tunes.

Organized teaching methods gradually emerged from the growing singing school movement. These rules were often listed at the beginning of tune-books, and ranged from extremely simple to very complex. The directions, for example, printed in Tunes in Three Parts, were:

TO THE LEARNER

Get a pitchpipe tuned to the Note A. Sound that note with your voice, and then raise or lower your voice note by note till you come to the first note of your tune, and you have its true pitch.

These directions are characteristic of those appearing in tune-books of this era. The simple directions were designed to be further explained by a teacher, while the more complex ones were designed to be expounded upon. The tune-books not only listed methods of instruction, they included rules for the organization and operation of the schools and an explanation of the results desired.

The student in the singing school first memorized the rudiments of music. The second step, once memorization was begun, was the solmization of exercises and tunes. The singing school also embraced voice production, which included breath management, articulation, pronunciation, in addition to some quality.

Once the rudiments of music had been completely mastered, the next step was to apply this knowledge to the music in the tune-book. The student progressed from a simple tune harmonized in a straight four-part setting with few rhythmic variations, to more complex fuging tunes and other pieces.

An interesting characteristic of the singing school was the maintenance of a steady beat during the performance of tunes. This was accomplished by having the students all beat time as they sang. Several tunes books contained complete and elaborate instructions for beating time, while others maintained a simple up and down motion of the hand or foot wood suffice.

The singing school movement was eventually incorporated into the public school system of the United States. Those responsible for this growth, however, received their early training in the singing school. Luther Mason, in 1864, introduced music in the primary schools of Boston. His involvement with the singing school movement began very early in his career, and lasted, with many changes and variations, throughout his lifetime. In 1870 he published a monumental work, the National Course, which outlined methods that were widely adopted and in use for many years. The new National Course emphasized methods of school music teaching, and made the older type of music and instruction employed in the singing school obsolete. Only in isolated, rural areas did singing schools continue to exist.

The contributions of this early American institution can be traced directly to the current music curriculum in the public school system in America, and the singing school must be viewed as a very important factor in the development of American music.

1245.      The Singing School

The Singing School: An American Tradition

The Singing School was an institution that was uniquely American. it was

established to serve a dual purpose: the desire to create music and the need for

sociability. Generations were taught to read and sing music by itinerant singing

masters, who developed characteristic methods and materials of instruction, and

distinctive performance practices. Through this institution, many people were

given the opportunity to participate in music, either as a singer, a teacher, or

as a composer. The Singing School foreshadowed the development of church choirs

and musical societies.

Early settlers in this country brought with them their native English

music, both sacred and secular. They made use of various Psalters compiled in

Europe. It was not until 1640, however, that the Puritan ministers in America

made their own translation of the psalms. The Bay Psalm Book was the first book

printed in British North America and was widely used. The most distinguishing

feature of this book was its rhymed and metered English poetry. This allowed a

few tunes, having the same rhythms as the poetry, to be used as melodies for

many psalms. In addition, the text employed the vernacular, and consequently

promoted memorization. The ninth edition of the Bay Psalm Book, published in

1698, was the first edition published with tunes. This edition had printed the

letters F-S-L-M, representing the solmization syllables fa, sol, la, and mi,

under the notes. This indicates that there was a familiarity with and an

interest in music instruction as applied to psalmody.

It was not until the early 18th century, however, that as a direct

result of agitation by ministers for a reformation in congregational singing,

arguments were advanced promoting regular singing and the eventual establishment

of singing schools.

The singing school grew out of the employment by the churches in New

England of regular singing. Records indicate that the first singing school was

probably established in Boston, the most advanced town in New England, around

1720.

The singing school gradually spread throughout New England during the

next twenty-five years. Throughout the eighteenth century, the scope and span of

the singing schools continued to grow. The advent of the 19th century saw

singing schools established from Maine to Pennsylvania.

The first singing schools were church-oriented, due to the face that the

original purpose of the schools was to improve congregational singing. After

selecting a date (usually two to four weeks during the winter or between

planting and harvesting of crops), a teacher was secured (in most cases, the

local school master or an itinerant singing teacher), and location was

established (either in the local school house or some other public building).

After the middle of the 18th century, most singing schools were

conducted by itinerant singing masters, who operated them for their own profit.

Although a few teachers devoted themselves full-time to teaching, the majority

of them maintained other occupations such as school teaching, retail sales, or

farming. These schools, taught by itinerant singing masters, were usually not

affiliated with a church. Each student was charged a tuition fee, in addition to

being required to purchase his own text.

A logical outgrowth of the singing schools was the establishment of the

church choir. At first it consisted of those who had attended the singing school

and rehearsed the psalms, sitting together at church services. This eventually

developed into the formal organization of the church choir.

The singing school movement also gave rise to several publications

designed for use in the schools. These were often published by the singing

masters themselves, and served as a supplement to their meager incomes. There

were three types of materials: manuscript books, printed "Gamuts" and tune-books.

The manuscript books were simply bound pages of manuscript paper designed for

the student to record the various rudiments of music and such tunes as the

singing master specified. "Gamuts" were printed books containing a summary of

the rules of music, a few standard pieces, and blank manuscript pages on which

to write tunes. Tune-books, produced in large quantity during the eighteenth

century, were the most important instructional materials of the time. They

consisted of an introduction, which listed the complete rules of music, and a

large collection of printed music. The printed music was often graded according

to difficulty. Tune supplements were similar to tune-books, but were designed to

be bound with Psalters and hymnals, and included a short summary of the rules of

music followed by a number of plain psalm tunes.

Organized teaching methods gradually emerged from the growing singing

school movement. These rules were often listed at the beginning of tune-books,

and ranged from extremely simple to very complex. The directions, for example,

printed in Tunes in Three Parts, were:

TO THE LEARNER

Get a pitchpipe tuned to the Note A. Sound that note with your voice, and then

raise or lower your voice note by note till you come to the first note of your

tune, and you have its true pitch.

These directions are characteristic of those appearing in tune-books of

this era. The simple directions were designed to be further explained by a

teacher, while the more complex ones were designed to be expounded upon. The

tune-books not only listed methods of instruction, they included rules for the

organization and operation of the schools and an explanation of the results

desired.

The student in the singing school first memorized the rudiments of music.

The second step, once memorization was begun, was the solmization of exercises

and tunes. The singing school also embraced voice production, which included

breath management, articulation, pronunciation, in addition to some quality.

Once the rudiments of music had been completely mastered, the next step

was to apply this knowledge to the music in the tune-book. The student

progressed from a simple tune harmonized in a straight four-part setting with

few rhythmic variations, to more complex fuging tunes and other pieces.

An interesting characteristic of the singing school was the maintenance

of a steady beat during the performance of tunes. This was accomplished by

having the students all beat time as they sang. Several tunes books contained

complete and elaborate instructions for beating time, while others maintained a

simple up and down motion of the hand or foot wood suffice.

The singing school movement was eventually incorporated into the public

school system of the United States. Those responsible for this growth, however,

received their early training in the singing school. Luther Mason, in 1864,

introduced music in the primary schools of Boston. His involvement with the

singing school movement began very early in his career, and lasted, with many

changes and variations, throughout his lifetime. In 1870 he published a

monumental work, the National Course, which outlined methods that were widely

adopted and in use for many years. The new National Course emphasized methods of

school music teaching, and made the older type of music and instruction employed

in the singing school obsolete. Only in isolated, rural areas did singing

schools continue to exist.

The contributions of this early American institution can be traced

directly to the current music curriculum in the public school system in America,

and the singing school must be viewed as a very important factor in the

development of American music.

1246.      The Soul of Jean Valjean

Jean Valjean was an alluring hero of Les Miserables for many reasons,  one of which was his drastic conversion from a miserable criminal into a heroic, peaceful man. Jean Valjean  seems like a three dimensional character at first. But deep inside his emotions he shows a defined viewpoint on life making him a flat character. One of the most compassionate things he did was guarding Cossette and treating her as if she were his own daughter. He is the main character, therefore there would essentially be no plot without him. His several journeys span across a length of twenty years. He is an extremely strong man. Sometimes his strength was a burden put upon him. His charisma and superhuman qualities make his character a figment of romanticism.

Valjean was born a decent human being. Unfortunately he was born into poverty, which forced him to steal in order to survive. After  getting caught stealing a loaf of bread he was imprisoned.  A few years later he is caught after escaping, he is then sent to the galleys for 19 years. He later escapes from there to goto a town where he was not wanted. Still a criminal he steals some silverware from a kind priest who gave him shelter. When caught, the police ask the priest if Jean stole the silverware. To everyone's surprise the priest said it was a gift this started his conversion toward a good life. After this he tried to live a peaceful life. He started a new factory in a new town employing several. Then a man in a city nearby was arrested under the name Jean Valjean. Jean was faced with a tough choice. Rather than letting the other man take the wrap for him, he chose to admit his identity to save the innocent man. Later, he rescued Cossette from her harsh life with the Thenardiers. He acted as her father while she grew up. Throughout these years. Jean was faced with obstacles that made him choose between right and wrong. He always chose the right path. From this Jean expressed that he only saw right and wrong, black and white, which made him two dimensional.

His life was lead one way, his personality proved to respond one way, and his relevance to the story was set out in one way. This way was the way that things were done justly in his mind. His relevence to the entire structure of the story set aside from being the main character was crucial. He was portrayed as both the hero and the miserable.

1247.      The Story of the Little Pigs Three

The Story of the Little pigs Three

1.  Upon a time there lived a homely hog woman, and her three straplings. They lived in a bare brush hut in

the forest, and they did live in squalor, and they were tortured by many hooligans and wild beasts.

2.  On one day, a wolf came to pester forsooth. And he did huff and he did blow, and he did blow yon pighut

down. The hog woman did send her young into the wilderness to escape the beast, and they did so. Thus the wolf did

eat the poor hog woman.

3.  Thus the three pigs were sent into the world to fend hunger, and thirst, and cold. The pig of lineage

closest to the hag pig, did set himself apart from his brother and went his merry way. The next oldest pig set himself

apart from his next of kin, and went on his own way. The youngest pig did build a hut of grass. The middle child did

make a hut of sticks, and he could be seen in the distance carrying a fagot across his back. The third and oldest pig

did build a house of bricks for he did know much about architecture.

4.  The wolf did look upon these happenings with slavering jowls, and dripping snout. How did resolve to

blow down these lodgings and gobble the inhabitants on the morrow. And on that morn, he blew upon the hut of

straw, and he did gobble the pig into quivering chunks. Then he went to the house that beheld the second pig, And he

did blow it down, and he did devour the pigeon inside. When he got to the third house, the Great Pig Snortimer was

awaiting him. This was the last and oldest pig, and he did wield a great Claymore sword. With one chop the pig did

lop off the head of the evil wolf, and blood did steam and there was much rejoicing. Then the remains of digested pig

did ooze out of the cut. The Great Pig Snortimer did apply healing herbs to the chunks of pig, and the pigs were

restored, and there was much rejoicing.

5.  Thus the pigs did wallow and rejoice in the blood of the wolf, and they did rest in the house of the Great

Pig Snortimer for the rest of their days.

1248.      The Subjectivity of the Character Safie in Frankenstein

The Subjectivity of the Character "Safie" in Frankenstein

Even though she is only mentioned in Mary Shelley's Frankenstein for a relatively brief period, the character, Safie, is very interesting as she is unique from the other characters in that her subjectivity is more clearly dependent on her religion and the culture of her nation. Contrasts can be made between the Orient and the European society which attempts to interpret it. Often, this creates stereotypes such as western feminists that have viewed "third-world" women as "ignorant, poor, uneducated, tradition-bound, religious, domesticated, family oriented, (and) victimized"(Mohanty 290). Of course, some of these things could also have said of European women of the time period, although noone would argue the point since Oriental women were viewed as being more oppressed. Strong contrasts can also be made in relation to the differences between Safie's development as a foreign character and her subjectivity as a female character in relation to those of the other female characters of the book. While the other female characters lack depth into how their religion and culture affect them, Safie's religion and Arabian culture sculpt her into a subject with feminist qualities juxtaposed against her fulfillment of European domestic ideology.

Many theorists, such as Benveniste who said, "Consciousness of self [or subjectivity] is only possible if it is experienced by contrast," argue that one's subjectivity can only exist in their relation to the Other(85). The subject's relation this "Other" depends on which aspect is being examined. For example, when dealing with gender, it would be the relationship between Man and Woman and when dealing with nationality it would be the relationship between Native and Foreigner. Thus, the character of Safie was defined in terms of her relationship to those around her. In the Turkish society, her role would have been to fulfill positions of lesser rank, such as a daughter to her father or a woman in relation to the dominant men, and when in Europe, as a foreign Turk in relation to native Europeans. These relationships, however, were significantly affected by the teachings her Christian Arab mother instilled in her. Her mother "taught her to aspire to higher powers of intellect, and an independence of spirit" which in either Turkish or European society, though more so in Turkish society, were in discord with the standard position and femininity of women. Both societies viewed women as having a "natural" tendency to be unassuming and docile and, in addition, it would be considered unfeminine to seek something more than their domestic role. Safie does not go to the extent of wishing for something more than a prescribed domestic role, she merely preferred the European version of that role. This role apparently differs from the Arabian role primarily in that the European society which she longed to join was associated with the Christian religion and practices that she has been taught to adore and which would be forbidden in the Arabian society. In desiring the European role and wishing to marry a Christian, she does not break the apparent confines of her feminine role but the confines of her Arabian culture. By believing in the qualities expressed by her mother, and by displaying them in her venture to violate her father's will to find Felix, she shows that her subjectivity was not based on the opposition of women versus empowered men, as might seem the norm, but was instead more distinctly based on the opposition of religiously submissive women in her culture versus the Christian woman, inspired by the freedom she experienced before being seized by the Turks, that her mother was. Safie's affinity for the Christian religion is best shown in her revulsion at the prospect of returning to the Turkish land and her desire to marry a Christian and remain in Europe.

In addition to the her unique religious point of view, Safie was also influenced by her Arabian culture but, however, Shelley does not go into much depth this aspect of Safie and stops at only a superficial, prejudiced description of the Turks. In fact, there are Eurocentric biases against the Turks throughout the portion of the book dealing with Safie. In order to examine why Mary Shelley included such biases in her work, one must first acknowledge the distinct possibility that as she wrote Frankenstein, she carried with her some prejudices of the Orient. This argument is supported by Edward Said's statement:

For if it is true that no production of knowledge can ever ignore or disclaim its author's     involvement as a human subject in (their) own circumstances, then it must also be true           that for a European... studying the Orient there can be no disclaiming the main             circumstances of (their) actuality: that (they come) up against the Orient as a European...           first , as an individual second(Said 306).

Thus, Mary Shelley's somewhat slanted portrayal of Safie and her father is not only unintentional, but a symptom of "ethnocentric universalism", or having a single, stereotypical view of an entire community(Mohanty 290). When extended to Western views of the East, this view is more specifically referred to as "Orientalism."  Orientalism is defined as "a way of coming to terms with the Orient that is based on the Orient's special place in European Western experience" which "has less to do with the Orient than it does with (the Western) world"(Said 303, 307).

These biases, apparently inherent to many European writers, are most prominently displayed in the role of Safie's father who is depicted as traitorous and oppressive. This ethnocentrically is best shown when his command to his daughter is unfairly termed a "tyrannical mandate"(Shelley 110). Although the command can easily be considered unjust in its betrayal of the life indebted vow made to Felix, it cannot be considered more oppressive than a European's command to his daughter. Oppressive commands from European men are sure to have happened since a European father's position in his family is relatively absolute in that they are the head of the household and in that society, none within the household have greater authority. The ratio of power between men and women is more slanted in Turkish society as is evident in the existence of harems and the fact that women have the possibility of achieving societal rank and ownership of property in European society and it is for these reasons, as well as her religious conflictions, that Safie feels Turkish life to be oppressive. The Turkish father's exercise of control over his daughter is not the simply a Turkish practice as Mary Shelley implies it to be. This Orientalist view of the Turks is much like the stereotypical story of the "noble" European rescuing an Arabian damsel from the harem of the "evil" Turkish tyrant and then claiming her as his. Thus delivering her from one, Orientalistic, form of servitude to another, more "proper" and European, form of servitude. Of course, Safie breaks from this stereotype in her almost feminist "rescue" of herself.

This ethnocentrism does, however, help increase the contrast between Safie's subjectivity with that of other Arabian women, making her more distinctly feminist, as well as more European in her distaste for some Arabian ways and thereby a more suitable wife for Felix. Safie felt that what her father was doing was wrong and, in acting on these beliefs to satisfy her and Felix's happiness, she performed the most feminist act in the book and thus, was the most feminist subject.  Some might also consider her feminist for her era simply by her rebelling against and eventually disobeying and abandoning her father. But as was previously mentioned, Safie was "almost" a feminist in that she was merely more feminist than the other female characters. Both Justine and especially Elizabeth were  typically feminine, meaning that they fitted and fulfilled the stereotypical "iconic femininity" which includes being a nurturing, domestic of ideal beauty and grace which must be protected by the dominant man. As they fulfilled this role, they were strictly non-feminist as feminist roles gravitate towards breaking such roles and, in fact, sometimes attempt to define themselves outside of men. Though Safie comes closer than either Justine or Elizabeth, she does not fulfill the feminist role, but rather supports the "iconic feminine" role less completely than the others. She has feminist aspects, shown in her efforts to maintain her "independence of spirit" by remaining in Europe and by, more obviously, rebelling against her father and the authoritative role he represents. But, since she does not rebel against her domestic role and, in fact, rushes to it with Felix, she is primarily a slightly non-feminist role among heavily non-feminist roles. Some critical readers might say that there is an apparent conflict between the independent nature instilled in her by her mother versus the oppressive nature of either European or Arabian society, or enlightenment and domestic ideology. However, the issue of the apparent conflict is resolved when realizing that the independence her mother gave her was directed against the Arabian society they were forced to live in. There was no evidence that her mother instilled any preconceived notions of rebelling against the male dominated society in general, especially the Christian European society which Safie had come to appreciate.

Though Safie was from an Middle Eastern culture, her mother's adherence to a Christian belief system influenced Safie's subjectivity and caused her to experience feelings more consistent with those of European women than Middle Eastern. In addition to this ideology, her mother also instilled a grain of feminist subjectivity which prompted her to resist the strong subjectivity put upon her by the phallogocentric, male dominated society in which she lived, encountered both in Turkey and Europe. However, this resistance was in the form of religious preference and her willingness to eventually disobey and rebel against her father's wishes and did not take shape in common occurrence. She subscribed to the socially common doctrine of women's domestic position and norms of femininity. In fact, she was, in a manner, willingly given as property to Felix, supporting what Irigaray referred to as "women on the market." Although her father promised her to Felix without asking her, when she learned of the deal she did not react aversely to it but in fact "exhibited towards him the simplest and tenderest affection"(Shelley 109).  As for her feminine subjectivity, her beauty, manner, and poise, combined with the male society's reaction to her, placed her as typically feminine even though some might view her slight resistance and willingness to venture forth in order to find her man as "a masculine energy and enterprise lacking in the novel's other women"(Smith 283).  In conclusion, through her mother's teachings, she was able to gain a slightly different subjectivity than might have otherwise occurred as society, attempted to mold her to fit its place for her. And this role differed from the other female examples given in the work in her strong motivation to achieve her desired European role, which was more similar to the other female roles in the book in that it fulfilled the domestic ideology of  the European society. The society itself  was phallogocentric and, by nature, riddled with its own subjectivity, such as the Orientalism inherent in Europe, which attempted to examine the Orient which had "a brute reality obviously greater than anything that could be said about them in the West"(Said 304).

Works Cited

Beneviste, Emile.  "Subjectivity in Language."  Course Reader.  83-88

Mohanty, Chandra Talpade. "Under Western Eyes:  Feminist Scholarship and Colonial

Discourses."  Course Reader. 289-300

Said, Edward W.  "Introduction to Orientalism."   Course Reader. 303-312

Shelley, Mary. Frankenstein.   Ed. Johanna M. Smith.   Boston:  Bedford Books, 1992

Smith, Johanna M. "'Cooped Up':  Feminine Domesticity in Frankenstein."  Bedford Books, 1992            270-285

1249.      The Subtle Humor of Jane Austen

The Subtle Humor of Pride and Prejudice

Of all the novels that Jane Austen has written, critics consider Pride and Prejudice to be

the most comical. Humor can be found everywhere in the book; in it's character descriptions,

imagery, but mostly in it's conversations between characters.  Her novels were not only her way

of entertaining people but it was also a way to express her opinions and views on what

surrounded her and affected her.  Her novels were like editorials.   Austen uses a variety of

comic techniques to express her own view on characters, both in her book and in her society

that she lived in. We, the readers are often the object of her ridicule, and Austen makes the

readers view themselves in a way which makes it easy for the reader to laugh at themselves. She

introduces caricatures and character foils to further show how ridiculous a character may be.

Pride and Prejudice has many character foils to exaggerate a characters faults or traits.    Austen

also uses irony quite often to inform the readers on her own personal opinions.  The comic

techniques caricatures, irony, and satire, not only helped to provide humor for Austen's readers,

but they also helped Austen to give her own personal opinion on public matters.

When an action is exaggerated on stage by an actor, it becomes all the more noticeable

to the audience.  An author can exaggerate a character in order to make fun of them.  Austen

exaggerates many of her characters and therefore makes caricatures of them in order to

emphasize their ridiculousness. Mrs. Bennet is such a character.  Her extremely unpleasant

manner and reactions causes readers to delight in the situations which Mrs. Bennet places herself

into. Mrs. Bennet's harsh tongue and simple mind causes the reader to laugh, because it is so

exaggerated that the reader thinks that such a person cannot exist.  Mr. Collins is another

exaggerated character in the novel.  But would such characters seem humorous without

somebody to react to them?  Not at all.  Such exaggeration works only when you place them

besides another character who seems very real.  Mrs.  Bennet is placed besides her husband to

make her look all the more ridiculous and Mr. Collins, when placed especially by Elizabeth,

seems to be unbelievable at times.  His proposal to Elizabeth would not be as humorous without

Eliza's reaction and response to him.  Therefore, caricature, the exaggeration of character is an

essential tool to Austen as means of portraying irony in the novel.

Irony is an excellent way for authors to combine wit and drama at the same time.  It

works well in many parts of Pride and Prejudice.  Irony can be found in the gradual revelation of

Darcy and Elizabeth's feelings for each other.  It provides humor for the readers, yet at the same

time, it revolves around the basic plot of the story.  It is a great balance between ironic dialogue

and movement towards the scenes in the climax of the novel, when the relationship is developed.

Another great example of her ironic wit can be found in the first chapter of the novel, when Mrs.

Bennet and Mr. Bennet discuss the new tenant of Netherfield Park, Mr. Bingley.  Every

sentence of that conversation can come back to the opening line of the novel: "It is a truth

universally acknowledged, that a single man in possession of a good fortune, must be in want of

a wife." (p.1)  Now for this sentence, Mrs. Bennet begins by giving one definition of 'universally',

while Mr. Bennet gives another.

"Is he married or single?"

"Oh! single, my dear, to be sure!  A single man of large fortune of four or five thousand a

year.  What a fine thing for our girls!"

"How so?  how can it affect them?"

"My dear Mr. Bennet," replied his wife, "how can you be so tiresome! You must know

that I am thinking of his marrying one of them."

"Is that his design in settling here?"

"Design! nonsense, how can you talk so!" (p.2)

Mr.Bennet's conversation is quite ironic and very satirical, because of his extreme

politeness and playful innocence, which in result, upset Mrs. Bennet.  That provides humor for

the reader as a result of her dramatic character.  Mrs. Bennet's character is not ironic in the

least, but it is the blending of both characters that bring about the irony. Such foils points out to

the readers the ridiculousness of human nature.

Pride in Prejudice is also very rich in satire.  Satire, in it's simplest form, is a "wit, irony,

or sarcasm, used for the purpose of exposing or discrediting vice or folly".  Satire is commonly

used for many reasons, including ridiculing public opinion.  Austen disapproves of the way that

public opinion always considers itself to be above all other opinions.  She demonstrates the

arrogance of public opinion in the matter with Darcy and the ball.  Darcy "drew the attention of

the room by his fine, tall person, handsome features, noble mien; and the report which was in

general circulation within five minutes after his entrance, of his having ten thousand a year.  The

gentlemen pronounced him to be a fine figure of a man, the ladies declared that he was much

handsomer than Mr. Bingley."(p.7)  The reasons which cause the ladies to consider him much

handsomer than Mr. Bingley is because his income is much more handsome as well.  Public

opinion considers Darcy to be a great man, simply on account of his large income.  However,

once public opinion hears of Darcy's pride and supposed arrogance, it immediately states that it

knew Mr. Darcy was a horrible man, and that it always assumed so.  Elizabeth, throughout the

majority of the novel, follows public opinion on the view of Darcy. She's simply a sheep,

following the rest of the herd.  Austen demonstrates that public opinion is so quick to change

minds that it often develops an opinion without informing itself of all the details or facts.  This

becomes, to the readers, something to laugh at, although most readers do follow public opinion,

one way or another.

The great display caricatures, character foils, irony, and satire of provides humor for

Austen's readers.  Many of the characters that Austen writes about are often subjects of ridicule.

The characters and situations that Austen enjoys satirizing were real for her in her time as well.

However, the ultimate irony falls on us, Austen's readers, who laugh at Austen's characters.  We

are the characters in the novel to Jane Austen. We recognize ourselves in the characters that

Austen enjoys criticizing.  It's that recognization of ourselves that we laugh at and what we find

amusing is the fact that Austen makes us view ourselves this way.  We laugh at our own faults.

1250.      The Success of Michael Crichton

The Success of Michael Crichton's Novels in the Media Industry

One only has to look at the astonishing opening weekend of Paramount

Pictures' action adventure thriller Congo which was universally panned by

critics, to be reminded of the power of the person who created the underlying

material:  Jurassic Park author Michael Crichton.  The film's whopping $24.6

million opening, which shocked insiders, underscored the value to Hollywood of

an exclusive club of best-selling writers (Eller 3).

Michael Chrichton's novels all have their similarities.  He seems to

follow a pattern which is working very well for him.  He picks a hot-button

subject and uses it to lend his novels a glossy veneer of topicality.  He casts

his novels with some really detestable villains so attentive readers will

automatically know who to root for.  He ends each chapter on a scary, cliff-

hanging note to make sure that readers will keep reading, regardless of the

characters vapidity.  He includes many frantic chase scenes or race-against-the-

clock scenes that will translate graphically onto the screen.  He puts plenty of

technical, pseudo-specialist talk into his characters' mouths to give readers

the illusion that they're learning something as they quickly flip the pages

(Kakutui 3).

Michael Crichton has definitely made a boom in the entertainment

industry.  Whether it is his top grossing movies or his top rated television

shows like E.R. which took a leading twenty prime-time Emmy nominations last

year including best drama (Carter 23).

Crichton's latest movie Congo, which had a great opening weekend, was

one of his successes.  This movie was based on a book that Crichton wrote in the

early 80's, long before he became the entertainment powerhouse that he is now.

Chrichton's novels seem to be written for big screen translations (Brom 14).

Publishers say that they can't recall a time since Jaws and The Exorcist, two

decades ago, when movies gave such a boost to the books that inspired them

(Romney 5).  Michael Chrichton indefinitely tops this long list of authors.

Crichton's novels cover many subjects such as genetic engineering in

Jurassic Park, sexual harassment in Disclosure, or Japan's threat to America in

Rising Sun (Denby 12).  I think that it is this wide variety of subject matter

that keeps his readers coming back for more.

Crichton's biggest success by far was the novel Jurassic Park.  This

book made a sales record in both the novel and on the screen (Turan 11).  It

ended up grossing over $913 million total in ticket sales and holds the

privilege of being the top selling live action movie ever on home video (Wall

Street Journal B5).  It was such a success that its director, Steven Spielberg,

has agreed to direct its sequel which will be called The Lost World, and will be

based on Crichton's latest novel which is also called The Lost World.  This film

is expected to be released in the summer of 1997 and is expected to gross just

as much as Jurassic Park did back in 1993 (Avens 4B).

Jurassic Park was seen by millions just for its special effects alone,

and the combination of puppetwork and animation certainly went beyond that of

the previous high water marks of Willis O'Brien's King Kong or Ray Harryhausen's

The Valley of Gwangi (Newman 44).  As a matter of fact, it set a new standard of

how movies should be made.

Another big boost of income from the movie was the tremendous amount of

merchandising that went along with the film.  Jurassic Park T-shirts came out

before the movie itself did.  It was dino-mania at many department stores once

this giant snowball of a movie started rolling.  Merchandising for the movie

Jurassic Park almost topped the record set by the movie Batman (Medved 27).  As

a matter of fact many companies used it to boost sales of their own merchandise.

MCA/Universal decided to make a Jurassic Park game for their 3DO game system and

it sent the system's sales up 30% (Harmon D4).

Michael Crichton has definitely made a name for himself since Jurassic

Park was released.  He went from a no-name author to superstar practically

overnight, much like many other "Hollywood authors" such as John Grisham and

Steven King.  It seems that his popularity at the moment is unsurpassed by

anyone with his major motion pictures and his hit television drama E.R.  Michael

Crichton is definitely worth millions because it seems that everything he

touches turns to gold.

1251.      The Success of Michael Crichtons Novels in the Media Industr

The Success of Michael Crichton's Novels in the Media Industry

One only has to look at the astonishing opening weekend of Paramount Pictures' action adventure thriller Congo which was universally panned by critics, to be reminded of the power of the person who created the underlying material:  Jurassic Park author Michael Crichton.  The film's whopping $24.6 million opening, which shocked insiders, underscored the value to Hollywood of an exclusive club of best-selling writers (Eller 3).

Michael Chrichton's novels all have their similarities.  He seems to follow a pattern which is working very well for him.  He picks a hot-button subject and uses it to lend his novels a glossy veneer of topicality.  He casts his novels with some really detestable villains so attentive readers will automatically know who to root for.  He ends each chapter on a scary, cliff-hanging note to make sure that readers will keep reading, regardless of the characters vapidity.  He includes many frantic chase scenes or race-against-the-clock scenes that will translate graphically onto the screen.  He puts plenty of technical, pseudo-specialist talk into his characters' mouths to give readers the illusion that they're learning something as they quickly flip the pages (Kakutui 3).

Michael Crichton has definitely made a boom in the entertainment industry.  Whether it is his top grossing movies or his top rated television shows like E.R. which took a leading twenty prime-time Emmy nominations last year including best drama (Carter 23).

Crichton's latest movie Congo, which had a great opening weekend, was one of his successes.  This movie was based on a book that Crichton wrote in the early 80's, long

before he became the entertainment powerhouse that he is now.  Chrichton's novels seem to be written for big screen translations (Brom 14).  Publishers say that they can't recall a time since Jaws and The Exorcist, two decades ago, when movies gave such a boost to the books that inspired them (Romney 5).  Michael Chrichton indefinitely tops this long list of authors.

Crichton's novels cover many subjects such as genetic engineering in Jurassic Park, sexual harassment in Disclosure, or Japan's threat to America in Rising Sun (Denby 12).  I think that it is this wide variety of subject matter that keeps his readers coming back for more.

Crichton's biggest success by far was the novel Jurassic Park.  This book made a sales record in both the novel and on the screen (Turan 11).  It ended up grossing over $913 million total in ticket sales and holds the privilege of being the top selling live action movie ever on home video (Wall Street Journal B5).  It was such a success that its director, Steven Spielberg, has agreed to direct its sequel which will be called The Lost World, and will be based on Crichton's latest novel which is also called The Lost World.  This film is expected to be released in the summer of 1997 and is expected to gross just as much as Jurassic Park did back in 1993 (Avens 4B).

Jurassic Park was seen by millions just for its special effects alone, and the combination of puppetwork and animation certainly went beyond that of the previous high water marks of Willis O'Brien's King Kong or Ray Harryhausen's The Valley of Gwangi (Newman 44).  As a matter of fact, it set a new standard of how movies should be made.

Another big boost of income from the movie was the tremendous amount of merchandising that went along with the film.  Jurassic Park T-shirts came out before the movie itself did.  It was dino-mania at many department stores once this giant snowball

of a movie started rolling.  Merchandising for the movie Jurassic Park almost topped the record set by the movie Batman (Medved 27).  As a matter of fact many companies used it to boost sales of their own merchandise.  MCA/Universal decided to make a Jurassic Park game for their 3DO game system and it sent the system's sales up 30% (Harmon D4).

Michael Crichton has definitely made a name for himself since Jurassic Park was released.  He went from a no-name author to superstar practically overnight, much like many other "Hollywood authors" such as John Grisham and Steven King.  It seems that his popularity at the moment is unsurpassed by anyone with his major motion pictures and his hit television drama E.R.  Michael Crichton is definitely worth millions because it seems that everything he touches turns to gold.

1252.      The Symbolism of the Setting in Hills Like White Elephants

In Ernest Hemingway's story "Hills Like White Elephants" an American couple is sitting at a table in a train station in Spain.  They are discussing beer, travel, and whether or not to have an abortion.

The train station and its surroundings are symbolic in this story.  The station itself represents the choice on whether or not to have the abortion.  There is a set of tracks on either side of the station, each representing one of the choices.

On one side of the station, the tracks run through a lush, green landscape full of grainfields and trees.  A wide river runs lazily in the foreground of some tall mountains.  It is almost like a paradise.  This side of the station symbolizes the choice of going through with the abortion.  As it is now they travel all around the world, drinking and staying in hotels, and seeing all the beautiful places in the world.  They have no responsibilities or schedules in their life.  With an abortion, they could continue their party- and fun-filled, although meaningless existence.

The other side of the station is dry and barren of plantlife.  The ground looks as if there has been no rain for quite some time.  There are hills in the distance that have a whitish color as the sun radiates on them.  The woman said, "They look like white elephants."(343)  White elephants are known to symbolize unexpected gifts, which is certainly what the baby would be should they choose not to have the abortion.  The barrenness of the land refers the tame life--settling down and having the responsibilities of parenthood--that they would have to start living when the baby came; a life that would be duller but would have a purpose.

The bead curtain represents the fact that once they choose a side, to have the baby or not, they cannot change their minds and then switch sides.  Once the decision has been made, it will affect their lives forever.  The man wants to have the abortion so they can continue to have the luxuries they enjoy now.  On the other hand, the woman is tired of the wilder life and wants the baby and to settle down.

Works Cited

Hemingway, Ernest.  "Hills Like White Elephants" Literature and the Writing Process.  Eds. Elizabeth McMahan, Susan X Day, and Robert Funk.  4th ed.  Upper Saddle River:  Prentice, 1996.  343-46.

1253.      The Tale of Me and Summer Reading

THE TALE OF ME AND SUMMER READING

It was a bright, hot summer day when it all happened. I could have been sitting at the beach

or swimming. Although that was not the case. I had to actually put effort into something,

to actually think , to actually well, read. I went upstairs to find the summer reading list.

I looked through pile after pile of school computer printouts but still no luck of

that little reading list. I began to get frustrated and decided the best thing to do now

would be to take a break, and that is exactly what I did. I got into my bathing suit and went

for a nice swim. I was swimming for about an hour when all of a sudden I got this thirst for

a nice cool beverage. Thoughts began to flow through my mind about how quenching and

replenishing that glass of coke would  taste. This caused me to immediately jump out of the

pool and run in for a drink. As I took a cup from the cabinet I saw in the reflection of

the glass a blue sheet on the refrigerator. I immediately turned around and there I saw under

a magnet, on the refrigerator, the summer reading list!

I wanted to start reading as soon as possible. Although I  wanted to see how many books I

could read that were on the summer reading list but would not have to go to the library to

get a hold of. My mother is a big book reader so I checked her collection and I found one.

"The Terminal Man" By: Michael Crichton. To my surprise I actually enjoyed reading this book.

I don't like reading that much, I rather watch a movie. This book however was different. It

was really suspenseful and hard to put down. I know my story sounds really convincing but I

will prove to you any way that I read this book by giving you a quick summary of the novel.

Harry Benson, the main character, is a 31 year old computer scientist. About 4 years back he

got into a car accident and got brain damage which causes him mental seizures. What happens

during these seizures is that he goes on a violent rampage for seven or so hours and then

all of a sudden wakes up from this seizure and does not know what has happened or what he

has done. Harry is admitted to Universal Hospital, the doctors plan to implant electrodes

into his brain to shock the part of his brain that causes the seizure right before it

happens. Well to make a long story short. Harry escaped from the hospital, figures out how

to make himself get these pleasurable shocks minutes a part, and continues to get these

violent rampages. Dr. Ross, his doctor finds Harry in the computer room of the hospital and

shoots and kills him in self-defense.

The next book I read was "Lord of the Flies" by William Golding. This book I also enjoyed.

I thought Jack's tribe was a little to violent for their age, I mean they dropped a rock

on Piggy's head and killed him. The kids who killed him were only 10 years old and some of

the kids who tried to kill Ralph were even younger. This novel itself was a little too long

for me but I put up with it. I am not sure how long you wanted this paper to be and I am

running out of space so I will tell you what I thought was bad about this novel to prove

I read it. I thought it was a little unrealistic how these children immediatly took control

of the island and got organized. If that was me I would have been shivering, cold, and

scared,  thinking how I would either get eaten by some wild animal or, die of old age.

That was really the only part of the novel I thought wasn't realistic. The rest seemed

pretty believable. This was a good book and would recommend it to others.

The last book I read I started the week before school. "Night" By: Eli Wiesel. This was

the most  boring 30 pages I have ever read in my life and I could not finish it! The novel

just dragged on and I just couldn't read a chapter without thinking of something else. I

am sorry I did not read this, I am sure it is a great book. Just a little to boring for me.

This concludes my story about my summer reading experience and what books I did and did

not read.

1254.      The TempestBringing it all Together

Bringing it all together

The Epilogue of the Tempest by William Shakespeare is an excellent -- if

not the best -- example of Shakespeare's brilliance.   In 20 lines

Shakespeare is able to write an excellent ending to his play, while speaking

through his characters about Shakespeare's own life and career.  Even

more amazingly, he seemlessly ties the two together.

In the context of the story Prospero's monologue makes perfect sense.  He

has lost his magical power, so his "charms are o'erthrown, and what

strength [Prospero] have's [his] own, which is most faint."  He is now

"confined" on the Island, for his other choice would be to go to Naples and

reclaim his dukedom, but he doesn't want to do that because he has already

"pardoned the deceiver" who took his position many years ago.  Prospero

then says something a little strange, but it makes sense in the context of

the story, he ask us to "release [him] from [his] bands with the help of

your good hands."  In other words, clap so that the sails of the boats his

friends are riding in will be safely returned and Prospero can be "relieved

by prayer" of the audience.

All of what Prospero has said is very nice cute, but the most interesting

part of this monologue is what Shakespeare himself is saying.  "Now that

my charms are all o'erthrown, and what strength I have's mine own"

means, now  my plays are over, and it's no longer my characters speaking.

The "Island" or stage Shakespeare is on is now "bare" and it is time for

"you" the audience to release Shakespeare and his actors from this play

with the "help of [y]our good hands."  Shakespeare was not only being

released for the performance of the play, he was being release from his

career as a playwright.  But there are more reasons to clap besides the

obvious reason that the play is over, Shakespeare could not allow his final

play to be bad, his project "was to please."  He reiterates this point by

saying "and my ending is despair unless I be relieved by prayer", or the

clapping of the audience and it frees "all faults" and allows Shakespeare to

indulge the clapping and joy of the audience.

Finally, after we seperate the two different perspectives, we can step

back and see how Shakespeare magically works them together.  The first

such pun is on the word "faint", in the third line.  Prospero uses faint to

describe his strength, but Shakespeare makes it a pun on the pun he is

making! Let me explain, faint means light (amoung other things), which

means light hearted, or fun.  As if you thought this wasn't confusing enough

already, you could put a pun on the pun on the pun!  Again, let me explain,

faint can also mean hard to see, like the pun on the pun!  That might be

pushing it a little, though.  The thing about Shakespeare is anything is

possible.  Another, less obvious but more significant double meaning is on

the word "please" on line 13.  Prospero is literally saying his goal was to

make the people on the Island happy, Shakespeare is saying his goal was to

please his audience.  Shakespeare was without a doubt is one of the greatest

authors of all time, this Epilogue clearly shows us that.

>>>>>this paper is not exactly polished, but there is A LOT of good interpretation, A quality, even at the college level<<<<<

1255.      The Theme of Londons To build a fire

Theme of Jack London's To Build a Fire

The significance of the words "dying and death" in Jack London's 1910 novel, "To Build a Fire" continuously expresses the man's dwindling warmth and bad luck in his journey along the Yukon trail to meet "the boys" at camp.   London associates dying with the man's diminishing ability to stay warm in the frigid Alaskan climate. The main characters predicament slowly worsens one level at a time finally resulting in death.

The narrator informs the reader that "the man" lacks personal experience

traveling in the Yukon terrain.  The old-timer warned the man about the

harsh realities of the Klondike.  The confident main character thinks of

the old-timer at Sulphur Creek as "womanish."  Along the trail, "the man" falls into a hidden spring and attempts to build a fire to dry his socks and warm himself.  With his wet feet quickly growing numb, he realizes he has only one chance to successfully build a fire or face the harsh realities of the Yukon at one-hundred nine degrees below freezing.  Falling snow from a tree blots out the fire and the character realizes "he had just heard his own sentence of death."  Jack London introduces death to the reader in this scene.

The man realizes "a second fire must be built without fail."  The man's mind begins to run wild with thoughts of insecurity and death when the second fire fails.  He recollects the story of a man who kills a steer to stay warm and envisions himself killing his dog and crawling into the carcass to warm up so he can build a fire to save himself.

London writes, "a certain fear of death, dull and oppressive, came to him."

As the man slowly freezes, he realizes he is in serious trouble and can no longer make excuses for himself.  Acknowledging he "would never get to the camp and would soon be stiff and dead," he tries to clear this morbid thought from his mind by running down the trail in a last ditch effort to pump blood through his extremities.

The climax of the story describes "the man" picturing "his body completely frozen on the trail."   He falls into the snow thinking, "he is bound to freeze anyway and freezing was not as bad as people thought.  There were a lot worse ways to die."  The man drowsed off into "the most comfortable and satisfying sleep he had ever known."  The dog looked on creeping closer, filling his nostrils with the "scent of death."

London's portrayal of the man does not initially give the reader the theme of dying, but slowly develops the theme as the story develops.  The story doesn't mention death until the last several pages.  The main character changes from an enthusiastic pioneer to a sad and desperate man.  The conclusion of the story portrays the man accepting his fate and understands the old-timer at Sulphur Creek had been right; "no man must travel alone in the Klondike after fifty below."  Typically, short stories written in the early 1900's often conclude the story with a death or tragedy.  London's story is no exception.  This story follows the pattern by illustrating events leading up to and including death.

Thesis Statement- The significance of the words "dying and death" in Jack London's 1910 novel, "To Build a Fire" continuously expresses the man's dwindling warmth and bad luck in his journey along the Yukon trail to meet "the boys" at camp.

1256.      The Theme of Prejudice in To Kill A Mocking Bird

The theme of prejudice in To Kill A Mockingbird is much more than just a

case of black and white. The entire novel is about prejudice in it's many forms, the

most prominent case of prejudice is the racism and hate between the blacks and

whites. The whole town of Maycomb is based on stereotypes of it's inhabitants,

that are passed down from generation to generation. Rumors run rampid and very

little truth is usually in them.

"So Jem received most of his information from Miss Stephanie Crawford, a neighbor         scold, she said she knew the whole thing. According to Miss Stephanie, Boo was sitting          in the livingroom cutting some items from The Maycomb Tribune to paste in his                          scrapbook. His father entered the room. As Mr.Radley passed by, Boo drove the scissors              into his    parent's leg, pulled them out, wiped them on his pants, and resumed his                             activities."                               (Chapter 1, page 11)

I don't see how you can't expect to have prejudice in a

small town like that, after all isolation is a major factor in why prejudice and

racism arise.

"Men hate each other because they fear each other,

and they  fear each other because

they don't know each other,

and they don't know each other because

they are often separated from each other. "

-Martin Luther King

The stereotypes in this novel are fairly common but the fact that they are

accepted and used so openly in public is what astonishes me. I think people in the

community, even if they do disagree with what is being said or done, they will say

or do nothing because they are afraid of going against the majority of the

community and become a victim of prejudice themselves. Atticus was one of the

few who actually stopped and listened to himself without being biased by the views

and opinions of the rest of the town. He then had the courage to stand up and take

prejudice himself for trying to correct the prejudice against a black man, and prove

his innocence.

"Scout, you aren't old enough to understand some things yet, but there's been some high

talk around town to the effect that I shouldn't do much about defending this man. It's a

peculiar case-it won't come to trial until summer session. John Taylor was kind enough to              give us a postponement..."

"If you shouldn't be defendin' him, then why are you doin' it?"

"For a number of reasons," said Atticus. "The main one is, if I didn't I couldn't hold my

head in town, I couldn't represent this county in the legislature, I couldn't even tell you or               Jem not to do something again."

(Chapter 9, page 75)

I think Harper Lee did an excellent job of portraying a small town and gave

a convincing sense of community and the way small towns are. The prejudice in

Maycomb was your typical kind which was based on ignorance. The meaning of

prejudice is Pre-Judge, which is when you pass judgement on something or

someone without having a good  reason, therefore almost all prejudice is based on

ignorance. Racism is much the same because your passing judgement on the color

of the person's skin and not the person themselves. In the story To Kill a Mocking

Bird the prejudice was part of the town because everyone was judged by their last

name or where they come from or their background.

"I rose graciously on Walter's behal

That quote  isn't really prejudice, but it shows how stereotypical the town is

and how it's residents consider it common knowledge that all Cunninghams are dirt

poor and don't take charity. There are many different forms of prejudice and I think

Harper Lee did a pretty good job of incorporating most of them into her novel. the

most common form of prejudice is prejudice against people of another race or

religion. In other words racism. Another type of prejudice is against people that are

from a different place then you. For instance in the novel Jem and Dill got into a

little argument about which county was better, the people from Maycomb, or the

people from Meridian.

"But Dill got him the third day, when he told Jem that folks in Meridian certainly weren't             as afraid as the folks in Maycomb, that he'd never seen such scary folks as the ones in              Maycomb.

(Chapter 1, page 13)

Prejudice is often referred to as the regular "disease" of small towns.

Prejudice is born when people form an idea that someone with a different color

skin, sexual orientation, background, accent, style, actually anything that makes

them different, makes them less equal or inferior. In big cities prejudice is still a

problem, but doesn't compare to what's in a small town. In a big city people are in

contact with other people that are different than themselves, and they begin to

realize that they are no better or no worse than anyone else. I think Harper Lee

showed how evil prejudice is during the scene with the lynch mob at the county

jail.

The lynch mob had power and confidence because they were in a group and

had each other to convince themselves that what they were doing was acceptable

and the right thing to do. When Scout came in and tried to talk to Mr. Cunningham

she reminded him that he was an individual and he felt guilty after seeing her

innocence.

The prejudice in this story was mostly about blacks and whites, but the other

forms of prejudice are just as bad and just as common. It's horrible because if you

don't follow the social norms of the environment your in then your in constant

conflict with everyone else. Being too bizarre and strange for your environment is

just as bad as staying out of sight and cutting off contact with everyone else

because then people will gossip and rumor about your life to compensate for not

knowing. This is shown in the case of Boo Radley. Just because Boo wanted to be

left alone and not be bothered he became the focal point for all the rumors and the

gossip of the town.

"Wonder what he looks like?" said Dill.

Jem gave a reasonable description of Boo: Boo was about six-and-a-half feet tall, judging             from his tracks; he dined on raw squirrels and any cats he could catch, that's why his                     hands were bloodstained - If you ate an animal raw, you could never wash the blood off.               There was a long jagged scar that ran across his face; what teeth he had were yellow and               rotten;            his eyes popped, and he drooled most of the time."

(Chapter 1, Page 13)

Prejudice is a vicious cycle that is passed down from generation to

generation and is very hard to stop unless people are willing and want to

cooperate.  I think that to overcome prejudice people have to start getting off the

band-wagon and listen to their own conscience, and then have the courage to act

on their own feelings.

1257.      The Time Machine

"The Time Machine"

by H.G. Wells

Two more books by H.G. Wells are:

"The War OF THE WORLDS"

"THE INVISIBLE MAN"

The major characters were the following:

The Time Traveler - He inventived the time machine and traveled through time

Filby - Was very argumentitive, but a very close friend of the Time Traveler.

The Eloi - Arace of sweet, innocent and child like people.

Weena - She was one of the Eloi

The Morlocks - They were a race of cannibals who raised the Eloi, like cattle for food.

In the beginning of the story the Time Traveler, Filby and some fo their friends were talking about space and time dimension. He showed them a working model of the time machine and gave them a demonstration.

When theyleft the Time Traveler went ito his labto get into his time machine. He stepped into the time machine sat down. He slowly pushed the lever forward to go ahed in time, as he got used to the controls he went faster. Through a window he saw he saw everything happening faster and a dial told him the date. The mannequin in the window also showed him the changing times.

As he traveled through time he slowed down to take a closer look at the changes that were taking place, but he never left his lab. Finally hestoped when he saw a White Sphinx with wings that made it look like it was hovering. He stopped to fasted and the time machine fell on its' side and he had to pull it up by a bar onit's side.

He was walking through a forest with trees filled with fruit, until he came to a large round building. Inside the bulding there was nothing but tables with bowls of fruit on them. He went utside to a riverthere he save Weena from drowning, this was his first encounter with the Eloi. The Eloi were simpel people who were dependent on the Morlocks for food and clothing.

When he returned to the White Spinx his time machine was gone. The Time traveler saw that there were tracks on the ground, made by his time machine. At this time he noticed the tracks led behind the bronze doorsof the Sphinx which was actually a gateway to the Morlocks subterranean city.

1258.      The Tragedy of Oedipus the King 2

The Tragedy of Oedipus the King

Man must accept responsibility for both his own actions and the consequences of those mistakes he comes to make. No excuse or point of finger should take away from his duties of taking responsibility. The events in Oedipus the King, written by Sophocles, shows an underlying relationship of man's free will existing within the order or fate, which the Greeks believed guided the vast universe. Man was free to choose and was ultimately held responsible for his own actions. The concept of fate and free will both play an important part in Oedipus' destruction. Although he was a victim of this fate, he was not controlled by it. Oedipus was destined from birth to someday marry his mother and to murder his father. This prophecy, as warned by the oracle of Apollo at Delphi, would inevitably come to pass, no matter what he may have done to avoid it. His past actions were determined by fate, but what he did in Thebes, raising himself to the level of the gods by circumventing the divine will, he did so from his own will, leading to his tragic flaw of hubris.

In order for the Greek audience to relate to the tragic figure, he had to have some type of flaw. This brought the character down to a human level, presenting the fear of, "it could happen to me." Oedipus' pride, disbelief in the gods, and quest for the truth, ultimately contributed to his destruction. When Oedipus was told that he was responsible for the murder of Laius, he becomes enraged and calls the old oracle a liar, pushing himself up to god-type status. The chorus warns us of man's need to have reverence for the gods, and the dangers of too much pride, but Oedipus is blinded by the desire to uncover the truth about Laius' murder and the mystery surrounding his own birth.

Should we feel pity? The answer can go either way, depends on how one looks at things. We should have pity when talking about Oedipus' as a murderer or of his marriage to his mother. This fate was determined years ago and is out of Oedipus hands. So pity then? Yes, we should have pity for the king. But hold your horses. Oedipus' ruins everything for himself the moment he calls the oracle a liar and elevates himself to god status. He isn't a god, so he shouldn't be acting like he is. He should show respect and gratitude that he is alive. The prophecy could easily have said that he was to die at birth. Then what, Oedipus wouldn't even of had a life.  He lacks the concept that the gods have everything predetermined, that his life is subject to what the gods feel like one day. He should be grateful for life, even if he has been put through a horrible scenario.

Oedipus knew that his fate had indeed come to pass and feels cursed by it.

At the end of this tragic story, Oedipus gouges out his eyes and says that it was his own hands that struck him. We see here that he has claimed full responsibility for his actions. Oedipus is accepting the full burden of his acts and knows that he must be punished for his sins, showing his free will. But remember that his tragic fate come about because of the god's so called order, that every sin mush have a punishment attached to it. But lets set the record straight.  Oedipus isn't necessarily guilty of killing his father and marrying his mother. The true sin lay in his attempt to raise himself to the level of the gods, by trying to escape this fate.

Ending is key when it comes to a tragedy. And the chorus exemplifies this very well. They leave the spectators with a word of insight at the conclusion of the play. The only way to true happiness is not taking anything for granted, and always remember to have respect towards the gods, or one will end up like Oedipus. The chorus speaks the truth and sums up the tragedy in one sentence for all to understand and for all to remember.

1259.      The Tragedy of Oedipus the King

The Tragedy of Oedipus the King

Man must accept responsibility for both his own actions and the consequences of those mistakes he comes to make. No excuse or point of finger should take away from his duties of taking responsibility. The events in Oedipus the King, written by Sophocles, shows an underlying relationship of man's free will existing within the order or fate, which the Greeks believed guided the vast universe. Man was free to choose and was ultimately held responsible for his own actions. The concept of fate and free will both play an important part in Oedipus' destruction. Although he was a victim of this fate, he was not controlled by it. Oedipus was destined from birth to someday marry his mother and to murder his father. This prophecy, as warned by the oracle of Apollo at Delphi, would inevitably come to pass, no matter what he may have done to avoid it. His past actions were determined by fate, but what he did in Thebes, raising himself to the level of the gods by circumventing the divine will, he did so from his own will, leading to his tragic flaw of hubris.

In order for the Greek audience to relate to the tragic figure, he had to have some type of flaw. This brought the character down to a human level, presenting the fear of, "it could happen to me." Oedipus' pride, disbelief in the gods, and quest for the truth, ultimately contributed to his destruction. When Oedipus was told that he was responsible for the murder of Laius, he becomes enraged and calls the old oracle a liar, pushing himself up to god-type status. The chorus warns us of man's need to have reverence for the gods, and the dangers of too much pride, but Oedipus is blinded by the desire to uncover the truth about Laius' murder and the mystery surrounding his own birth.

Should we feel pity? The answer can go either way, depends on how one looks at things. We should have pity when talking about Oedipus' as a murderer or of his marriage to his mother. This fate was determined years ago and is out of Oedipus hands. So pity then? Yes, we should have pity for the king. But hold your horses. Oedipus' ruins everything for himself the moment he calls the oracle a liar and elevates himself to god status. He isn't a god, so he shouldn't be acting like he is. He should show respect and gratitude that he is alive. The prophecy could easily have said that he was to die at birth. Then what, Oedipus wouldn't even of had a life.  He lacks the concept that the gods have everything predetermined, that his life is subject to what the gods feel like one day. He should be grateful for life, even if he has been put through a horrible scenario.

Oedipus knew that his fate had indeed come to pass and feels cursed by it.

At the end of this tragic story, Oedipus gouges out his eyes and says that it was his own hands that struck him. We see here that he has claimed full responsibility for his actions. Oedipus is accepting the full burden of his acts and knows that he must be punished for his sins, showing his free will. But remember that his tragic fate come about because of the god's so called order, that every sin mush have a punishment attached to it. But lets set the record straight.  Oedipus isn't necessarily guilty of killing his father and marrying his mother. The true sin lay in his attempt to raise himself to the level of the gods, by trying to escape this fate.

Ending is key when it comes to a tragedy. And the chorus exemplifies this very well. They leave the spectators with a word of insight at the conclusion of the play. The only way to true happiness is not taking anything for granted, and always remember to have respect towards the gods, or one will end up like Oedipus. The chorus speaks the truth and sums up the tragedy in one sentence for all to understand and for all to remember.

1260.      The Tragedy of One Man Speaks of Arthur Millers Death of a Salesman

Arthur Miller's Death of a Salesman can be seen as an eulogy of a dreamer, which depicts one man's tragic life and death as he tries to bring his family into grace.   Miller does, however, also uses this play to express underlying themes and ideas.  Reading Death of a Salesman from the starting point of a Marxist results in the perception that miller uses his play as a means to demonstrate the effects of a changing capitalist society.  On the other hand, a psychological reading of Death of  a  Salesman allows the play to be seen as one mans flight from shame and his own weakened self image.  The Marxist perspective is a viable reading of this drama but it does not truly define it as a tragedy.  To better understand this piece of literature as a tragedy one should observe the psychological reading which depicts the tragedy of one man.

Many people wonder if Willy is really responsible for his own death, or is he, as Luke Carrol put it in the Herald Tribune, ' a pathetic little man caught in an undertow that's too strong for him.'  Willy Loman is bewildered by a capitalist system which drives it's men into frantic, all consuming dreams of success, doomed not only by their grandiosity but also their inherent contradictoriness.

Willy's dreams of success are rooted in the concept of the 'American Dream', which is the

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idea that this is a land of unlimited opportunity in which any ragamuffin can attain riches and any mother's son can become president (Hadomi 159).  This concept of success is personified by two characters in the play:  David Singleman and Ben Loman.  The first an old sales man, David Singleman,  who could travel anywhere and place many order by phone in his hotel room.  And when this man died at the age of eighty-four people came from all over to attend his funeral.  This is the type of man Willy aspires to become and this is why he chose sales as his occupation.  Ben, Willy's older brother, is another symbol of the ruthless success Willy tries to reach in his life.   'There was the only man I ever met ' Willy says, 'Who knew all the answers'(Meyer 1734).  Willy has treasured up the memory of Ben until it is more real to him than any of the people in his life.  The character of Ben materializes again and again in the play as Willy savors his favorite brag:  'When I was seven-teen I walked into the jungle and when I was twenty-one I walked out.  and by God I was rich'(Meyer 1732).

The statement ,'Rich', echoes throughout the play as Willy is railroaded by a capitalist system as he strives to reach his dreams.  Willy Loman desperately want to believe that he has succeeded, that he is 'well liked'and a great salesman.  But at the age of sixty- three and nearing retirement, Willy is seen as a man who gave all of his life to a business, only to be thrown in the scrap-heap and as a house holder whose pattern of life was interwoven with installment plans with which he could hardly catch up.

In another time, Willy Loman might have been a happy carpenter.  He can put up a ceiling which his brother-in-law,  Charley, lauds as a 'piece a work'.  Dreaming of a rustic retirement, Willy hopes to build guest houses on his yearned-for country land for Biff and Happy:  'Cause I got so many fine tools, all I'd need would be a little lumber and some peace of mind'(Meyer 1743).  On

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the morning of the day which ends with his suicide, he admires his own house:  'All the cement, the lumber, the reconstruction put in this house.  There ain't a crack to be found in it any more'(Meyer 1744).  Belittling Charlie, Willy says, 'A man who can't handle tools is not a man'(Meyer 1730).

But it is important to note that carpentry is no more his work in the world than it is Charley's.  Willy marches in Karl Marx's army of alienated labor,  performing work that is 'not personal to him, is not part of his nature ; therefore he does not fulfill himself in work, but actually denies himself...It satisfies no spontaneous urges, but is only a means for satisfication of wants that have nothing to do with work'(Koon 65).  Willy's allienation, however, is perhaps more excruciating than even Marx could have imagined.  Business civilization tells Willy that selling is a task as whole and complex as that of any artisan, but the products of Willy's labor are never concrete and observable.  The cabinet maker can contemplate the finished cabinet; even the assembly line worker can reap the benefits of his labor.  But Willy can never know the real value of his salesman's skills because many factors -his costumer's unique needs and his merchandise's quality among them-contribute to his success or failure.  The immediate financial rewards of Willy's work are barely sufficient to provide his family with the necessities and scant comforts of lower middle class life, and the final rewards he anticipates, wealth and eminence, are never insight.  Willy never receives any of these rewards because of the changing capitalistic society in which he lives.

As Death of a Salesman opens, Willy Loman returns home 'tired to death'(Meyer 1714)in reveries about the beautiful countryside and the past, he's been driving off the road; and now he wants a cheese sandwich.  But Linda's  suggestion that he try a new American type cheese-'it's whipped'(Meyer 1716)-irritates Willy:  'Why do you get American when I like Swiss?'(Meyer 1716).  His anger at being contradicted unleashes an indictment of modern industrialized America:                                                                                                                                                 Koch 4

'The street is lined with cars  There's not a breath of fresh air in the neighborhood.  The grass don't grow anymore, you can't raise a carrot in the backyard'(Meyer 1716).  But just as Willy defines the conflict between nature and industry, he pauses and simply wonders: 'How can they whip cheese?'(meyer 1716).

The clash between the old agurain ideal and capitalistic enterprise is well documented in Death of Salesman (Koon 82).  The son a pioneer inventor and the slave of the industrialized world, Willy Loman epitomizes the victim of a changing capitalistic society.  Miller eludes to this even in the character's name Loman, which pronounced correctly reveals the words Lo-man.  Death of a Salesman engages the audiences conflicting attitudes toward this changing society:  Fear of the new and unfamiliar; marvel at the progress; and the need ,finally, to accommodate technology to cultural mythologies by subordinating it personally (Koon 52).

This is evident in the Howards office who is Willy's boss.  In this scene Willy is going to ask to work in NewYork but instead of getting his office job he is fired.  Willy has now lost every thing:  his years of service, his pride and his salary because he is no longer as productive as he once was.  This scene not only marks a tragic point in Willy's life it also gives proof of the changes that occur in a capitalist system.  Willy's termination goes along with the 'out with the old and in with the new theory of such a system.  Howard now finds Willy useless to him just like his old hobbies and like these hobbies he must replace Willy with something better and more effective.

As Willy sees his world crumble before him his only action is to celebrate the success of David Singleman.  Willy epitomizes Singleman in an unexpectedly eloquent passage:

Do you know? When he died-and by the way he died the death of a salesman, in his green  velvet slippers in the smoker of the New York, New Haven and Hartford going to Boston-

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when he died, hundreds of salesman and buyers where at his funeral...In those days there was

a personality in it, Howard.  There was respect, and Comradeship, and gratitude in it(Meyer  1748).

This passage eludes to Willy's conflict with the changing Capitalistic society.  The business has changed it has left his kind behind, and now he does not know how to perform his job.  He once thought you could succeed on the merits of personality alone but now he wonders if he is too talkative.   Willy now wonders if he ever possessed the qualities of a successful salesman.

Willy the apparent victim of Capitalism-He will kill himself in a car wreck-shows us how we must integrate a changing society and personality in order to survive.  This is one reason why, Linda insists, 'attention must finally be paid to such a person'(Meyer 1736).  But perhaps the most fitting lines of the play were spoken by Willy's friend Charley:  'Nobody dast blame this man.  For a salesman  there is no rock-bottom to life.  He don't put a bolt to a nut, he don't tell you law or give medicine.. A salesman has got to dream, boy, it comes with the territory'(Meyer 1778).  And just as Charley stated the territory is to blame for Willy's tragic end because he never had a chance to succeed in this capitalistic society.

Willy Loman the tragic hero Miller's Death of a Salesman , powerfully illustrates self psychology principles governing shame and the possibilities of self restoration.  The character seems to be in descent physical health, but the play illustrates that he is suffering some episodes of mental incoherence and distortion.  Willy has begun to run his car off the road and often forgets his destination.  However, Willy's mental health is not only distorted, but also the play displays the character as having hallmark symptoms of narcissistic personality disorder (Welleck 241).  This disorder is defined as a disorder in which the individual shows as exaggerated sense of self

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importance and they often show a lack of empathy and the need of admiration (Sue,Sue & Sue 252).  Throughout the play, Willy exaggerates his own achievements, and the talents of his son, Bill.   He

is preoccupied with fantasies of unlimited success and power.  His personality is seen as insulting and impatient, but this is just a result of his lack of empathy.  He constantly seeks admiration from his wife and sons because he wants to be seen as a success.  But to dismiss Willy Loman as just another obnoxious NPD is to miss the enduring pain of those depleted souls who suffer the empty depression of mirrored ambitions (Welleck 214).  It is in this sense that Willy Loman is tragic men as Heins Kohut understood him.

Heinz Kohut is a social psychologist who has done extensive research on the influence of a person's psyche on their psyche.  Kuhut used his definition of the self- 'the self is the center of the psychological universe and it is a conceptualization of the structure whose establishment makes possible a creative-productive, fulfilling lie.'-and the concept of shame to examine the character of Willy Loman and the drama Death of a Salesman (Welleck 213).  Kohut labeled Willy as Tragic Man because as many people Willy's struggle to grasp comfort and stability is destroyed in a universe lived imperfectly (Welleck 215).  Arthur Miller uses this concept of the self and shame to illustrate the downfall of the central character.

The concept of a declining and weakening self image is seen through out the play.  Willy Loman epitomizes Tragic Man trying desperately to balance his fragile equilibrium.  'I'm tired to death' he declares (Meyer 1714).  This statement reveals a state of self depletion, which the character is not truly aware of.  Willy's cocky and often arrogant attitudes often shadowed by a sense of doubt.  He brags of his popularity and how well liked he is, but often worries that he is talkative, and perhaps laughs too much.  He is bewildered in a universe that is hard to grasp and seems out of

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control.  Willy is constantly at ends with refrigerators that breakdown, and a car that is in perennial despair.  These continuous action can be interpreted as attempts to concertize the pervasive feelings

of a crumbling and unpredictable self (Welleck 214).

Willy's temperament is in constant flux, he is easily frustrated and angered, his mood is often shifting.  The character searches for reassurance from the those around him, in order to cope with a puzzling and unsupportive world.  For example, Willy forces his wife linda to act in exact conformity to his psychological and physical needs, he will not tolerate any form of separation.  He never allows her to speak her own mind she is only there to support him and his ideas.

Willy is constantly struggling to gain control of his self and the world around him but he see this as being unattainable:  'I can't stop myself-I talk too much', and 'the trouble is people don't seem to take to me'(Meyer 17).  Estranged from the continuity of life he is oddly unconnected.  'There's something my father should have taught me,' he musses, and poignantly, 'I still feel-kind of-temporary about myself'(Meyer 1734).

Willy, seeing his life is not going anywhere and that he has not become the success that he envisioned, uses his son, Biff, to revitalize himself.  Will manipulates Biff into trying to become the great salesman that he wanted to be, even though Biff longs for another life.  Will is using Biff in this way to fulfill his thwarted ambitions.  But this is not the only time Willy has tried to use Biff to revitalize his self esteem.  Biff has always been an important  source of self esteem for Willy and through his football prowess he acted out his fathers exhibitionism and grandiosity.  Willy was popular and handsome.  It is noted that when the self is in danger, when it is basically fragile, there is no room for empathy (Welleck 218).  This causes the individual to focus primarily on restoring  the crumbling self, however possible.  Ultimately, it is this that causes Willy to focus primarily on

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his own overwhelming needs, and to block out those closest to him.  This sense of detachment has led Willy to identify with his shameful life.

'Shame involves painful self knowledge followed by self-reproach.  In shame one asks,  'What kind of person am I?'  And the answer is, 'I am not as I should be.'  It is in this sense  that shame overwhelms Willy Loman, Tragic Man (Welleck 220).

When Willy looks back on his life, he becomes painfully aware of his failures, to his self and those around him.   He realizes the error in his persistent determination to be well liked.  He is ashamed that he did not become the successful-admired salesman that he envisioned, nor did he become the father of great sons.  Nor did he continue in the footsteps of greatness that his father, and brother, Ben, left behind.  With each of these realizations comes the shameful awareness that he is with out a sensible value system, and has never developed the reasonable ideas and goals that are essential to a healthy suit (Welleck 220).

Willy tries to settle on calming, soothing images from his past, but instead the memories become riddled with shame and humiliation.  For instance, he tries to focus on the relationship he had with his son, Biff, but this is overshadowed by an adultrias affair that destroyed there relationship and Biffs future.  Willy also tries to focus on the success of his brother, Ben, but  inevitably he must turn to his own failure.  Willy's shameful past is brought to a dramatic  realization as it is pushed into the present.   Willy begins to feel at fault for Biff's failure, he will not admit this, but it is evident in his behavior; as he ask Bernard what went wrong in Biff's life that caused him not to succeed.  In reality Willy is not angered at Biff for being a 'bum', but he is ashamed of himself for the mistakes he has made like the incident in Boston.  This is why Willy sees  Suicide as a glorious way out of his shameful life.  Suicide will allow Willy to give Biff his life back in the

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terms of twenty thousand dollars.

The psychological demise of Willy Loman is further illustrated through the setting and

language of the play.  Willy often alludes to how he is becoming boxed in by the industrialized world around him.  But is this observation intended to be taken literally or does it symbolize the realization of the character.  The more Willy realizes about his past life and his future ahead of him, the more he feels the wall are closing in on him.  In a way Willy is not being surrounded by the buildings around him but the shame of his life.  This point is further illustrated when Willy tells Ben, 'The woods are Burning'(Meyer 1762).  This statement depicts the emotional chaos involved in the character's life.  To Willy it appears as if everything in his life, past and present, is surrounding him from his adultious affair to his termination at work.  Willy world is coming to a climatic downfall due to the  shame that he bestowed upon himself.

Arthur Miller wrote, 'The tragic feeling is evoked when we are in the presence of a character who is ready to lay down his life, if need be, to secure one thing-his personal dignity' (Hadomi 162).  This statement is critical in determining which of the two standpoints best describes  Death of a Salesman as a tragedy.

When viewing the drama from the Marxist stand point one is forced to believe that the  changing capitalistic society is at fault for Willy's personal demise and his suicide.  This view point wants the reader to believe that Willy Loman was a pathetic fool, who killed himself to escape a world in which he had outlived his usefulness.  But if this is true.  How does preserve his personal dignity?  By taking his own life-for this reason-Willy has done nothing to preserve his dignity, instead he has become a maître to other poor and  unfortunate soul's who are confused by such a changing capitalist system.  The Marxist stand point also wants the reader to believe that society is

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at fault for the tragedy in Willy Loman's life.  It states that brute economics is the reason Willy is unstable and on the brink of disaster.  But if this is true why is it that Willy is the only one effected

by this?  Charley, Willy's friend, is depicted as a successful man who has his own business and has a son who argued a case before the Supreme Court.  Even Willy's brother, Ben, has succeeded in such a society, he has made millions off of the diamond business.  This proves that society can not be the cause of the Tragedy evident in Willy's life.  The only one responsible for the tragedy seen in the play is Willy himself.

The psychological standpoint most accurately depicts the tragedy of one man, Willy Loman.  It supports Miller's quote regarding the tragic feeling.  This perspective states that Willy took his own life to make a menc for his life of shame, by giving his sons the only thing he had left, the insurance policy.  As Willy ponders committing suicide he tells his dead brother Ben,'He thinks I'm nothing, see, and so he spites me'(Meyer 1772) , and goes on to say, 'Can you imagine the magnificence with twenty thousand dollars in his pocket'(Meyer 1776).  Willy Loman is prepared to take his own life because he feels there is  dignity in a death that will give his son a life.

This may be the only dignified thing Willy has done throughout the play. Willy is depicted as a pathetic man who is crushed by the world around him.  Although, the psychological standpoint  concludes that Willy is not destroyed by society but his own personal unconsciousness.  Willy is haunted by his past which leaves him disillusioned about his future:  'I still feel-kind of-temporary about myself'(Meyer 1734). Willy has lived a life of shame which has resulted in his weakened self image, he is no longer sure if he even still possesses the one tool essential to his trade-a good personality.  He often worries that he is too talkative and that people do not take to him.  Willy has become unsure of himself and this is what leads to the tragedy of the play not the Capitalistic

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system.  This reduces Willy to a feeble man forced to wallow in his own self pity and this is the true tragedy of this play.

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Works Cited

Breecher, Richard.  'Willy Loman and the Soul of a Neew Machine:  Technology and the  Common Man.'  Journal of American Studies  17 (Dec. 1983):  325 - 336.

Hadomi, Leah.  'Fantasy and Reality:  Dramatic Rhythm in Death of a Salesman.'  Modern  Drama  31 (June 1988):  157 - 174.

Koon, Helene, ed.  Twenteth Century Interpretations of Death of a Salesman.  New Jersey:   Prentice Hall, 1983.

Meyer, Micheal.  The Bedford Introduction to Literature.  Boston:  Bedford Books of St. Martin's Press, 1989

Sue, David, Sue, Derald, and Sue, Stanley.  Understanding Abnormal Behavior.  Boston:   Houghton Mifflin Company, 1991.

Welleck, Judith S.  'Kohut's Tragic Man.'  Clinical Social Work Journal.  (1993):  216 - 224

1261.      The Transcendence of frogs and ourangatangs

The Transcendence Of Frogs and Ourang-Outangs

"Hop-Frog!, I will make a man of you."

In Edgar Allen Poe's short story "Hop Frog," the title character Hop-Frog is able to transcend the limitations of his physical body, in ways the King and his seven ministers are unable.  "Hop-Frog" has multiple examples of  the transcendence of  man, and the inability of man to transcend. The most prominent  of these points are:

1.  By overcoming the limitations of his, Hop-Frog's, physical body he is able to transcend into a greater existence than his biology       would allow.

2.  By the King and his ministers discounting of Hop-Frog due to his          disfigurement and their inability to acknowledge his transcendence,    they are fated to never have the chance to transcend.

3.  By the use of symbolism in "Hop-Frog," Poe  reinforces the        actions of the characters and strengthens the representations of their transcendence, or lack there of.

Each of these of these three points coalesce to bring the significance of the transcendence of man, or the lack there of, into a focused view.

Hop-Frog,  the title character in Edgar Allen Poe's "Hop-Frog," is able to transcend the limitations of his physical body.  Biologically Hop-Frog is nothing more than a freak of nature.  Hop-Frog is a dwarf.  His means of locomotion was that of an "interjectional gait---- something between a leap and a wiggle,"(482)  and this motion was only afforded to him through "great pain and difficulty."  Hop-frog's teeth are "large, powerful, and repulsive."(484)  His arms, not in balance with his body, have a "prodigious power."(482)  His arms so over compensated for his body he  "resembled a squirrel, or a small monkey, more than a frog."(482)   His ability to tolerate wine is nonexistent.  The story states that Hop-Frog is from "some barbarous region."(482)  For the King, Hop-Frog is a "triplicate treasure"(482) for the king to laugh at.  If a man  is no greater than his biological make up, then Hop-Frog is a freak, and limited to his body.  Hop-Frog proves this is not true.  By using his arms Hop-Frog is able to do astounding acrobatic feats.  Hop-Frog is able to overcome the effect that drink had on him and is able to remain calm and formulate a plan of revenge when Trippetta is struck and wine is thrown in her face. Hop-Frog even breaks the stereotypical mold of a beautiful hero. Hop-Frog is able to find a love with Trippetta, a love that transcends his physical makeup.  Hop-Frog saves the girl, has his revenge, escapes unharmed to his homeland, and in an ironic twist of fate is able to have the last laugh at the King's expense. Hop-Frog is an example of a transcendent male, one who is able to go beyond his biological makeup and becomes something greater.

The King and his seven ministers are all healthy, albeit fat,  strong men with little or  no disabilities the reader is informed of.  Their only weakness according to the author was that for "jest."(481)  It the King's and his minister's predisposition to joking, and their inability to see in others any measure of transcendence are doomed to failure.  The fact that the King and his ministers call him "Hop-Frog" and not his given name, thereby not acknowledging his existence, further reinforces the fact that they see him as nothing more than an object to laugh at.  The fact that the King continually forces Hop-Frog to drink wine even though the King knows the effect it has on him.  The King, unable able to recognize Hop-Frog's transcendence, has no idea as Hop-Frog lays the ground work for the King and his ministers death through a "carefully planned and enacted setup."(1089)  The King is only Able to see that Hop-Frog is laughing, and since the King's weakness is a "good Jest"(481), he is unable to see the motives behind the actions.  When the King allows for no weapons at the gathering, and entrusts the keys to the locked doors to Hop-Frog, the King and his ministers are again unable conceive of any transcendence in Hop-Frog.  The King and his ministers are, up until the moment of their inevitable death, still not cognoscente of their fate,  they "were convulsed with laughter,"(486) and ignorant to the events that were to succeed. It is the King's and his minister's  predisposition to jokes, and their inability to acknowledge Hop-Frog's transcendence from  the limitations of his body, the fact that he is more than just the sum total of his parts, that dooms them to their fate.  "Hop-Frog!, I will make a man of you,"(484) is the King's ultimate admission of his inability to acknowledge Hop-Frog's transcendence, by not acknowledging that Hop-Frog is biologically a man, the King is blind to the fact that Hop-Frog can be more than a man biologically.

In "Hop-Frog," Poe makes use of extensive symbolism to enhance the transcendence of Hop-Frog and the inability of the King to recognize the fact.  The opening description of the king is that he would have "preferred Rabelias' 'Gargantua'," a giant king with a great capacity for food and drink, indicating a great lack of control and animal desires.  When the mythical king is hungry or thirsty he eats or drinks, and when the King in the story wants a jest he has one.  Both kings react without consequence, and both kings constrained by their animal urges and desires, are nothing more than the biological limits of their bodies.  Another strong symbol, is that of Hop-Frogs choice of costume for the King and His Ministers.  By choosing ourang-outangs Hop-Frog  represents the King and his ministers as "basal beasts,"(331) with no conscience.  He, Hop-Frog, shows them to be animals that have a thought, lust or desire and act upon it accordingly without care to the repercussions that it might have on others.  The chains that Hop-Frog ties around their bodies is a representation of the fact that the King and his ministers, will never be able to transcend the "bestial bodies"(331) they inhabit.  Hop-Frog's final words as he is about to leave, "... this is my last jest,"(487) is a vocalization by Hop-Frog that he has now transcended the limitations of his body and indicates that he is going to go forward from there. The most profound use of symbolism is when Hop-Frog escapes through  the "roof of the saloon."(487)  The act itself represents Hop-Frogs ability to transcend his body.  The saloon represents his body, and the escape a symbolic representation that Hop-Frog has surpassed his biological limitations.

Edgar Allen Poe's Hop-Frog contains many examples of the transcendence of man and the inability of others to acknowledge.  The main character, Hop-Frog, is able to overcome the effect that drink has on him, finds love, and manages to be more than his biological makeup.  Hop-Frog is able to transcend the limitations of his physical body, and is able to become something greater than biological makeup.  The King and his seven ministers are unable or are unwilling to acknowledge Hop-Frog's transcendence and in so doing they doom themselves to an inevitable fate.   Also, through the use of symbolism, Poe is able to "strengthen his imagery"(1091) of  Hop-Frog's transcendence and the King and his seven ministers inability to transcend and recognize transcendence in others.

Works Cited

Hall, Donald, and Stephen Spendler. Concise Encyclopedia of English and            American Poets and Poetry. New York: Hawthorn Books, 1963. 1084-1092.

Hart, James D. Oxford Companion to American Literature. 5TH  Ed. New York: Oxford            University Press, 1983. 323-336.

Poe, Edgar Allen. "Hop Frog". The Bedford Introduction To Literature Ed.           Michael Meyer. 3RD Ed. Boston: St. Martin's Press, 1996. 481-487.

1262.      The Transformation of John Proctor

Everyone has a personality all their own; they have characteristics that make them who they are. However, there's one thing most have in common: a conscience. This conscience can bother a person so much that they change who they are. For example, John Proctor, a character in Arthur Miller's The Crucible, transforms during the play. Initially, John Proctor is a passive, secretive man with his own well-being in mind; however, as the play progresses, he becomes involved, thus displaying honesty about his faults and showing concern for the people around him.

Throughout the play, John exhibits passiveness, doing whatever he can to avoid becoming involved. For example, in Act II Elizabeth urges him to approach the court and tell Ezekial Cheever what he and Abigail talked about outside her uncle's house. Instead of agreeing to her request, John allows himself more time by simply saying, "I'll think on it" (Act II, 851). While he is thinking on the matter, people are being put in jail, being hung, and being buried. However, had he willingly gone forward and told Cheever that Abigail said that their dancing in the woods had nothing to do with witchcraft, he could have possibly ended those trials before they had begun. By delaying approaching the courts, John is trying to increase his chance of having nothing to do with the Salem witch trials.

When Hale is searching for a motive for why the girls might be lying about witchcraft, and Proctor doesn't mention his affair with Abigail, one sees that Proctor is not only passive, but also concerned for his own well-being. In Act II John is explaining to Elizabeth why it is that he cannot go to the courts. He says, "I am wondering how I may prove what she told me, Elizabeth. If the girl's a saint now, I think it not easy to prove she's a fraud, and the town gone so silly. She told me it in a room alone. I have no proof for it" (Act II, 851). Since Abby's word has become so highly respected, and John was no witness to his and Abby's conversation, John is afraid that no one will believe him, and in turn, he will be thought less of or even punished for "lying." John is willing to destroy the lives of those in his community to save himself, so he doesn't so much as say a word about his affair with Abigail, showing that he is a true coward, afraid to sacrifice his own name for the people he loves. He chooses to protect his image rather than be the "bigger man" and confess to his own wrongdoing.

By the end of the play, John Proctor is a new man; he becomes involved by telling the court about his affair wit Abigail, thus risking the good reputation of his name. In Act III, John is with the court officials and says, "I have known her sir. I have known her" (Act III, 873). At that moment, John gave up his good reputation and stood up for what was right. By refusing to make a false confession and admitting to adultery, Proctor showed that he not only cared about himself, but also about the community. By choosing to hang, John's physical presence was gone, but his spiritual influence stayed behind. Through his death, he helped put an end to the witch trials, thus saving the lives of many innocent people, including his wife's. He may have lost his good reputation by confessing to adultery, but he gained a better one by refusing to falsely confess to witchcraft.

Because of the example that people such as John Proctor, Martha Corey, and Rebecca Nurse were to their community, the people of Salem went from encouraging the accusation of witchcraft to doubting its morality. Those like Hale who had been so vital in prosecuting the "witches" soon realized how tragically wrong they were. The intent for Salem as a whole to be a godly community became unattainable when they gave into the charge of witchcraft against their neighbors. Had more people possessed the courage of those like Proctor that decided to hang, nineteen lives might have been spared.

1263.      The Trip to Halawa Valley

The Trip to Halawa Valley

By: Jay Babson

"The Trip to Halawa Valley," is a short story written by Lynne Sharon Schwartz.  The story is about a son succeeding and getting married in Hawaii, and the reunification of his divorced parents.  The parents become the main focus of the story when the son suggests that they go on a trip to Halawa Valley.

In this story Schwartz is trying to show people that once you make a decision it is very hard to turn back on that decision.  With all the characters, except for the briefly mentioned newlyweds, Schwartz shows how decisions made by a person or a couple are hard to turn back on.  An example of this is Paul's parents.  Lois and Jim are brought back together in Hawaii, and try to rekindle their love for each other.  After their trip though, they realize it can not be done, and part in their own separate ways.

Schwartz does a very good job of showing the reader the experience she is trying to convey.  She does this by using a couple different characters throughout the story.  The main ones she uses are the parents, and that is the very obvious example.  A few other examples are not as clear, but they do show how decisions are an important factor in life and once made are very hard to turn around.  Using Paul's brother Anthony, Schwartz shows that once he made the decision to join the Hare Krishnas there was no turning back, even if that meant not communicating with his parents anymore.  Schwartz also uses Paul's other brother Eric.  When Eric announced that he was gay, his parents had to make the tough decision to either support or not support his choice in sexuality.

Schwartz develops the characters very fast, but in doing so makes the story move faster.  Throughout the story the characters are being developed through the thoughts of both Lois and Jim.  They talk about their kids and how one of them died at age 11 due to a brain tumor.  Schwartz also makes Lois develop Jim, and Jim develop Lois.  She does this by making them reminisce about their past together.

The conflict in this short story is between the parents of Paul.  They both do not know whether or not to get back together.  Throughout the story they both hint at getting back together, and once they even made love.  After they did though, Lois realized that she was wrong in making love to him and that they could never get back together.  Schwartz uses their unsuccessful attempts at reaching Halawa Valley as a comparison to the relationship.  This is done by showing how the two attempts at reaching the valley failed, and h

1264.      The Truman Show

The Truman Show

The Truman Show is a movie about a man who is held captive inside a world that revolves around him. Truman Burbank, the main character has been raised on a huge TV Soundstage filled with hidden cameras and actors who pretend to be his friends and family. This world is one where he is literally trapped in his own life by the surreal existence in which he has been forced to spend every day of his thirty years. Since the day he was born Truman Burbank's life was controlled from a huge control panel in the sky; controlled by a manipulation of how life should be, in a perfect world. At the hands of such manipulators we see how the role of media in our world persuades us into living in a way that we would otherwise not intend to. It is quite often oblivious to all of us, the effect that media has on us. However, where ever we look the effects of media have altered the coarse of living. The clothes we wear, the sports we play, the music we listen to and our political opinions, are all aspects that are influenced by the media. Advertising is the chief culprit in many cases. We often see others responding to the effects of media whether it is consciously or subconsciously. As victims of commercialism, we then respond to those who have been effected by media. An example of this is the clothes that we wear. We see people on television and else where, looking trendy and we respond to it by going out and aiming to look the same way, therefore buying the clothes. There are many devices that aid in media's effect on people. Television, radio, newspapers, billboards; magazines and the Internet are all forms of media and they all are forever surrounding us. One or the other is sure to appease to most people's tastes. Pessimism we can see is often a device of the media; it seems to attract much attention. Newspapers constantly thrive on human tragedy and pessimistic issues to create a public interest. Media is found wanting on many occasions. These pessimistic articles are only published to sell. However, what they do not realise is that behind these articles there are actually people who suffer, these people are tools of a money making scheme. This is also a good example of Truman's treatment in The Truman Show. He too, was being used as a lab rat to make a profit. The Truman show distinctly reveals how we are forever surrounded by the manipulative effects of media and that each of us like Truman are held captive in a world that has been altered without our permission. We in our own lives are held captive to the effects of media. In every direction we move we will always come to a wall, some form of media or advertising will stop us and attract our attention. It is a reality that we are unaware of and we can not escape. Truman was cornered in a world that altered his decisions. However, in Truman's case the media's effect altered his decisions into conforming into a very narrow lifestyle. The media manipulated Truman into remaining in the one place for thirty years, creating phobias so that Truman would never try to escape the island. Many exaggerations were made in The Truman Show, however these exaggerations showed effectively how the media can create such an impact into altering the course of life. We in the real world, are much like Trueman, held in captivity to this media influenced society. The silent, but deadly effects are evident and do pose considerable risk to our race. This is effectively portrayed in the movie The Truman Show, yet we still remain to ignore it, in an ignorance to what is right and what is wrong in our society. Media has proved to have a negative effect, as it sometimes leads ordinary people into doing things that they other wise would not have done without the influence of media. Media has the ability to train peoples opinions; this takes away the freedom we are born with, the ability to think for ourselves and to make objective decisions.

1265.      The TV Generation

Everyone has a moment in history which belongs

particularly to him.  It is the moment when his emotions

achieve their most powerful sway over him, and afterward

when you say to this person "the world today" or "life" or

"reality" he will assume that you mean this moment, even if it is

fifty years in the past.

My generation is greatly influenced by the media,

specifically television.  Television becomes my reality by

bringing into my life the happenings of the outside world.  Our

generation is often called the MTV generation.  We are often

stereotyped with the idea that all we do is sit around and watch

TV.  Sure, we probably do watch more television than our

parents did as teenagers but we have to remember, TV was

generally new to their generation.  They only had a couple of

channels to choose from while we sit in front of a television

with 53 channels and a remote to control them with.  We have

the option to decide upon everything from The Disney Channel

to VH1, The Family Channel to Fox. That box in our bedroom

or family room is a very controlling yet entertaining appliance.

Teenagers have always been free-spirited in any generation.

We are always doing and saying childish things while trying to

grow up.  If we only have a couple years of our childhood left

then who cares if we spend it in front of a TV?  Which is not to

say that we do that anyhow.  Perhaps we use the TV as a way

of relaxing before we go off and hit the books for two hours.  Or

maybe we use it to spend time with our family.  I mean, come

on, how many teenagers enjoy going on family outings with

mom, dad, and kid brother?  However, if the TV can gather

everyone together on a Sunday afternoon to watch the

"Packers" game then shouldn't mom and dad be happy?  On

the other hand, there is such a thing as bad TV.  Sex and

violence is plastered all over our brains with a flick of a switch

and I tend to believe that this influences teenagers, or for that

matter, anyone who watches it.  But then again, we can not

say all TV is evil.  MTV has set up several programs to

educate teens on sensitive subjects and has begun to censor

certain videos and shows.  Parents often say to their teens, "If

you watch too much TV you'll fry you brains out."  Yeah, right

mom!  As if we're going to believe that.  If anything we're going

to learn something new.  Like how to make a seven layer

cheese cake from Martha Stewart or how to fix a squeaky

hinge on a medicine cabinet from Bob Villa.  I have to admit

though, Americans probably watch more TV than any other

country.  European countries only have a couple of channels to

select from.  Still, this is America.  Freedom was born here so

that gives us the freedom to choose between National

Geographic on TBS or  ESPN Sportsnet.

It is this special America, a very untypical one I guess, an

unfamiliar transitional blur in the memories of most people,

which is the real America for me.

1266.      The Unforgetable Man

Derek Achterfeldt

Eng 101

10/14/96 Remembered Event

Revision

The Unforgettable Man

Being an orderly at Scottsdale Memorial Hospital was a fun job that required a strong heart.  The hospital was a great place for me to experience the beauty of life and the unwanted death of humans.  Throughout my year of employment at the Community Hospital, I was able to enjoy my work by interacting with many kinds of interesting patients.  Without the hospital, I would have never imagined to be carrying on conversations with most of these people.  Aiding curses required many long exhilarating hours of work each day, but I loved experiencing the daily recovery of patients, in which I was able to be some part.

The night of August sixth became a different story.  Just as my shift was coming to a normal close, a nurse¹s call light from one of the patient¹s rooms had illuminated.  On one of my many repetitive walks down from the station to a patient¹s room, I had nothing else on my mind except for my evening plans with friends.  I was extremely happy that this would surely be the last call light I would be answering that shift.  As I entered the room, a crying relative came yelling at me. ³He is going, something happened, do something, do something now!², demanded the distressed lady standing right at the bed side.  I had seen this man before, although I had never spoken to him.  I had know idea that he was not in a stable health.

³All right, all right,² I replied in frustration, not knowing exactly what to do first.  I looked at the 84 year old overweight male patient.  He appeared very pale with his brown colored eyes half shut looking desperately at me for some sort of help.  My mind was becoming blank, as I could not believe what I was about to experience.  In training we were told this could happen from time, to time, but I never thought with me.  We were also told how to deal with the death of a patient, although I never thought I would be a part in this type of situation.  Regardless, I could not think straight.  I could not move as I started to panic.  I looked around before I noticed that I was the only help available.  I became scared.  I then all at once, ran out of the room, screaming for help to any one that would be able to hear me, ³Code Blue, Code Blue, room 219 now!²  Running back into the room, I stepped behind the bed and pulled the call light on again.  The high pitched sound was louder than ever.  I stood there waiting, it seemed forever not knowing exactly what I should be doing.  The young lady relative was looking at me expecting that I would bring this man back to life.  I wanted to do just that, but I did not know exactly how.

Finally, two registered nurses and then a third came veering into the room.

³What¹s happening?,² the first nurse exclaimed.

³The man just stopped breathing,² I announced to every one.

I reported to the nurses that I was unable to find a pulse and the patient¹s respiration rate could not be seen.  As I backed off two nurses came racing up to the patient trying to locate a pulse.  ³Nothing, nothing,²  a nurse concluded as two of them began performing CPR.  Within five extremely long minutes, the oldest nurse whispered, ³It¹s too late.²

Right on the spot, the nurse had pronounced the patient dead.  I could not believe this scene was actually taking place.  For the first time I saw a human die right in front of my own eyes.  The death to me did not sink in my head, until a nurse ordered me to call the funeral home, while she would be talking to the family.  When I hung up the phone I was again in the room alone with a corpse who seemed to just stare at me.  The room now seemed to carry a different indescribable scent that I will never forget.  Nurse Jane then walked in the room.  She wanted me to clean the body before the coroner would arrive.

Before cleaning the body, I first had to remove the IV line out of patient¹s left arm.  Removing the IV itself was an experience.  I did not imagine that a dead person would still bleed.  Being unprepared for the stream of blood, a puddle splashed out onto the spotless, white tile floor.  I grabbed a towel immediately and began applying pressure to the IV site.  After a few minutes, I tried sticking a band-aide on the cut, but blood still came gushing out.  I was about to remove the oxygen tubing from the patient¹s nose when I felt that this man was still alive and watching me.  I became extremely nervous.  It looked as he was analyzing our hospital procedures.  I started trembling as I removed the bloody towel off the bed.  His eyes were still half shut as I tried to avoid any eye contact.  In my mind I was telling myself that this man was just sleeping and not to worry.

Ten minuets later, a coroner arrived pushing in an old black stretcher.  He asked me to help him lift the body up with the under sheets onto a hard board.  The coroner then hid the body under a thick vinyl plastic sheet.  When the body was removed from the room I was still not at ease.  I felt that maybe I should have done more, or done something differently.  This was the first time I have ever had an experience with a dead body on the job.  Hospital workers always say, you encounter many,  but your first one is always the unforgettable.  After experiencing this event, I spent a lot of time with myself thinking.  Thinking about how precious life really is.  I began to think of how important it is for me to experience everything that I want to, for one day I would run out of time.  Life and death became more than just words to me.  They had a special meaning with a lot of motivation behind them.  From that day on I have spent more time spelling flowers and having fun, because I know one day I will not be able to.

1267.      The Untouchables

The Untouchables: Mise-En-Scene Analysis

Elliot  Ness, a treasury agent, has been trying to stop alcohol from

being smuggled into the United States. He feels that the key to putting an end

to the alcohol distribution is to put gangster, Al Capone, behind bars. But

there is a small problem, Ness can't seem to be able to link the incoming

alcohol, or any other crime to Capone. Until, Oscar Wallace, the uptight, "

dorky", government official, entered the picture to help Ness fight his battle

for prohibition, and ultimately, against Capone.  Wallace discovered that

Capone hasn't paid his taxes for several years, but the only way to prove it is

to get to Capone's book keeper.  Ness discovers that the book keeper will be

going to the train station, so he along with colleague George Stone intend to

be there to pick him up when he arrives.

The scene starts in the train station.  The setting is the main lobby. The

floors, pillars, and stairs are of a light gray color.  There is a clock that is

directly above the big, dark, wooden doors that are continuously reverted back

to during the scene.  The costumes of the main characters in this scene are the

same as throughout the movie.  Ness wears a light gray colored suit, hat, trench

coat and tie. Stone is wearing a little darker colored, more casual, clothing

with a tie and light colored hat.  Capones men were dressed similarly with

trench coats and hats of light colors.  Also, the innocent bystanders in this

scene are the sailors in their suits, the woman, with the baby in her innocent

raggy clothes, and all the other people in the scene who look as though they

might be Capones men. The lighting in this scene is a little bit dull, but

gets darker when Capone shoots his gun at certain points of the scene.

The figure movement and expressions in this scene are normally paced,

excluding the woman desperately struggling to get her baby carriage up the

stairs, until the gunfire starts.  The scene  turns into slow motion and panic

arises as the shooting begins and  the baby carriage is released and slowly

starts descending down the stairs.  The mothers face is panicked and you can see

her mouthing the words "My Baby".  Then you see the innocent face of the baby

and then the carriage plummeting to the bottom of the stairs.  The expressions

on Capones men are uncaring and crazy looking where as the expressions of the

cops were determined looking. Also, the book keepers face is very frightened.

The movement and expressions of the bystanders are panicked with sailors trying

to grab the baby and getting shot.

I feel that the slow motion in this scene was for added suspense and the

baby carriage was to give a feeling of panic. I feel that the clock was

deliberately in the picture to let the viewer feel Ness's impatience.  I feel

that the sailors along with the baby carriage were images of innocence to make

the viewer more frightened. I also feel that they had bystanders, looking like

they could be Capone's men, enter the picture to make the viewer more suspense

filled.

1268.      The use of clothing in the novel Their Eyes Were Watching Go

Uses of Clothing in the Novel Their Eyes Were Watching God

by

Zora Neale Hurston

In the novel Their Eyes were watching God Zora Neale Hurston

portrays a woman named Janie's search for love and freedom.

Janie, throughout the novel, bounces through three different

marriages, with a brief stint at being a widow in between.

Throughout these episodes, Hurston uses Janie`s clothing as a

visual bookmark of where Janie is in her search for true love

and how she is being influenced by those around her.

Janie's first article of clothing is an apron that she wears

while married to Logan Killiks as a hard working sixteen year

old. Logan, who Janie describes as looking like "an `ol

skullhead in de grave yard," (pg. 13) marries Janie to fulfill

the role laid down by Janie's grandmother, a mule. Janie goes

along with this for nearly a year, until change comes walking

down the road in the form of Joe Starks. Joe is a "citified,

stylish man with a hat set at an angle that didn't belong in

those parts," and he wants to take Janie away. Joe's dream is to

become "big man" and pleads Janie to take part in his dreams of

the future. He proposes marriage to her, and arranges a

rendezvous at the bottom of the road at sunup the next morning.

Janie is torn because Jody "does not represent sun-up pollen and

blooming trees, but he spoke of the far horizon....The memory of

Nanny was still strong." (pg. 28) When Janie decides to leave

the next morning for, if nothing else, a healthy change, she

looks down and sees the apron which has stood for all the things

she has had to do for Logan," and flung it on a small bush

beside the road. Then she walked on, picking flowers and making

a bouquet." (pg. 31) When Janie threw the apron on the bush, it

represented a major change in Janie's life, and a progression

from Logan. Janie is continuing her search for true love,

although she knows already that Jody is not the perfect

fulfillment of her dream, and how she has been affected by Jody

already.

Life with Jody was a disappointment from the beginning of their

marriage. As soon as they arrived in the sleepy burg of

Eatonville, Jody was trying to gain power and clout in the town,

and had a clear image of where he wanted Janie in that equasion.

Jodie built the town's first store, and soon had Janie working

in "exalted" position of shopkeeper. After one incident where

one of the store regulars was witnessed by Jody feeling Janie's

luxurious hair without her knowledge, Jody, overcome by

jealousy, forced her to wear her glorious tresses in a head rag,

like those worn by old women with hair that really needed to be

kept in a head rag. This head rag came to typify their whole

marriage, with Jody's selfish appearance loving demands taking

precedence over Janie's needs and dreams. Obviously Janie had

not found true love with Jody either, for soon their marriage

broke down into a silent stalemate. After dying a broken man,

Janie faced life as a young and well off widow. The head rag

through the "Jody" period of her life clearly showed her

position is her search for love and how she was influenced by

those around.

After Jody died, Janie began to be the object of the "aims" of

other men, mainly because of her dollar value. Janie dismisses

most of these claims, but eventually a man named Tea Cake came

along, and brought another phase of her life into swing. "She

couldn't make him look like just another man to her. He looked

like the love thoughts of women. He could be a bee in blossom--a

pear tree in blossom in the spring. he seemed to be crushing the

scent out of the world with his footsteps. Crushing aromatic

herbs with every step he took. he was a glance from God." (pg.

102) When the author uses words like these to describe the

thoughts of Janie towards Tea Cake, the conclusion can be safely

made that Janie was well down the path to love with tea Cake.

And travel that path she does. It is now that Janie changes her

attire from the garments of widowhood to something a little

brighter. ""Folks seen you out in colors and dey thinks you

ain't payin' de right amount of respect tuh yo' dead husband."

"Ah ain't greivin so why do I hafta mourn? Tea Cake Love me in

blue, so Ah wears it. Jody ain't never in his life picked out no

color for me. De worl' picked out black and white for mournin',

Joe didn't. So Ah wasn't wearin it for him. Ah was wearin it fo'

the rest of y'all."" (pg. 107-108) In this passage, Janie

clearly moves on from Jody by shedding the husk of mourning

black and emerging wearing a blue dress and in love. Tea Cake

represents the first man who truly appreciates Janie for who she

is, and enjoys her for herself. Every other Significant Other in

her life previously has tried to shape her into a mold; Logan

into the role of the housewife or mule, and Jody as an

accessory, much like an ottoman. With Tea Cake, Janie

experiences true love and self expression, both of which are

symbolized by the blue dress.

Eventually, Janie and Tea Cake get married and move away, down

"on the muck" in the "'glades." There, Janie and Tea Cake have a

house which is a "magnet, the unauthorized center of the "job.""

There, many gather to have fun and gamble. "Sometimes Janie

would think of the old days in the store and the big white house

and laugh to herself. What if Eatonville could see her now in

her blue denim overalls and heavy shoes?" (pg. 127) This passage

is a slice of Janie's new life on the muck, but is catalogs her

change of clothes again into blue denim overalls and heavy

shoes. This type of clothing was practical for working on the

muck, so she wore them. At this time she began to work with Tea

Cake in the fields because Tea Cake couldn't bear to spend a

whole day without her. Janie goes along willingly because "It's

mo' nicer than sittin round these quarters all day. Clerkin in

dat store was hard, but heah, we ain't got nothin to do but work

and come home and love." (pg. 127) This passage is almost a

summary of their time on the muck, for it was full of love and

hard work. This whole time can be summarized by the blue denim

overalls and heavy shoes, for they represented Janie's

relationship with Tea Cake and showed that she had found true

love and it was blind.

All of Janie's clothes represent her search for true love and

her relationships with those around her. When you look around,

that is true most of the time in the real world, too. We all

wear our clothes a silent messengers, and Hurston used this tool

clearly and well in her novel.

1269.      The Use of Setting in Tim OBriens The Story of the Song Tr

Where does the story of Sweetheart of the Song Tra Bong take place?  Upon reading the story, one would first assume that it takes place in Vietnam.  Upon further examination, however, it becomes quite evident that it really takes place inside Rat Kiley's head.  This isn't to declare the story false; instead, one should examine the influence and literary freedom that Rat flexes upon the truth.  "For Rat Kiley... facts were formed by sensation, not the other way around." (101)  The story occurs in two separate but equally chaotic places: Vietnam, and Rat's head.  The story intertwines between the two settings, and in order to completely grasp the idea behind them, one must first recognize, then separate and analyze the two settings.

Upon the first reading of this work, the reader finds himself dropping into the story of a seemingly misplaced girl in Vietnam.  The role of Rat Kiley seems somewhat minor and irrelevant.  Upon the second and third times through, however, his role as the storyteller stands out.  It becomes more evident that he holds Mary Anne with the highest regard.  He romanticizes her relationship with the war.  He is so amazed with the fact that a girl can be seduced by the lure of the wilderness that he begins to talk about her with the listeners as if she were the attractive girl from school that everyone knows but nobody dates.  " 'You know...I loved her.  Mary Anne made you think about those girls back home, how clean and innocent they all are.' " (123)

Rat is pushing his views upon the listener.  He is shaping how the story is seen.  The reader sees "triple-canopied jungle, mountains unfolding into higher mountains, ravines and gorges and fast-moving rivers and waterfalls and exotic butterflies and steep cliffs and smoky little hamlets and great valleys of bamboo and elephant grass." (103)  The actual reality of the situation is added by the narrator, as extrapolated from Rat: that they were in an almost completely indefensible situation.  Had somebody cared enough to take control of the little base, there would be no resistance.

Rat wanted to let the reader know his opinion on the citizens of the Viet Cong, how he wants the listener to think of them.  "Mary Anne asked, 'They're human beings, aren't they? Like everybody else?'  Fossie nodded. He loved her." (107)  Rat lets us know that he thinks the VC are less then human.  Why did Fossie nod, in Rat's opinion? Not because he thought Fossie felt she was right, but because he loved her.  Because Rat feels that the VC are subhuman, part of the jungle, he sees Fossie's nod as a patronizing nod to an unknowing inductee to the jungle.

Rat, at every turn, tries to "make [the truth] burn so hot that you would feel exactly what he felt." (101)  Rat makes the reader constantly want to love Vietnam, to love the intricacies of the jungle, to love the trill of danger and imminent threat of death.  " 'It's like trying to tell somebody what chocolate tastes like.' " (123)  The audience gets a somewhat gentle reminder from Mitchell Sanders, as he declares " 'Or shit.' " (123)  "But Rat Kiley couldn't help it. He wanted to bracket the full range of meaning." (116)  Rat wants to inject within the reader a love similar to his toward Mary Anne.  He wants the reader to want to become one with the jungle.  He wants the reader to understand that there is a base human connection with nature, and that one doesn't have to be a man to feel it.  It isn't about man vs. woman, it's about humans vs. nature.  Everybody comes in without a clue.  They get their view on the future and humanity raped away by the deflowering of reality in the jungle.  They begin to understand what matters and what doesn't.

On it's superficial level, Song Tra Bong is about a story.  This story takes place within a character.  Rat "had a tendency to stop now and then, interrupting the flow, inserting little clarifications or bits of analysis and personal opinion." (116)  Rat molded the view of the story.  He shows the reader what Rat deems important, and he constantly adds his own twist to it all.  As he said, he loved her.  He is going to put her on a pedestal for the world to view and appreciate.  On the top, the character (at this level, the only one that matters) is the setting.  Just as Vietnam had it's oddities and tendencies, Rat's mind had it's own pockmarked landscape with it's own jungles and rain forests.

Now that one has identified the skew of the stained glass window the story is viewed the through, one can begin to fully appreciate what happened to Mary Anne, and the conflict she encounters.  She finds herself torn between the civilized world which has her long time love, and the uncivilized world, Vietnam where she can exist in her purest form.  There is a slow transition, as she appears in preppy clothes, and she moves to "the habits of the bush. No cosmetics, no fingernail filing. She stopped wearing jewelry, cut her hair short and wrapped it in a dark green bandanna." (109)  She finishes in a bizarre fashion, wearing her culottes, pink sweater, and tongue necklace.  "She had crossed to the other side. She was part of the land." (125)  How does this happen?  What makes this girl who has everything she wants give it all up to live like an animal?

Mary Anne finally shed the illusions of grandeur from home and decided she wanted to be a woman of the bush.  It all starts with natural curiosity.  Mary Anne wants to understand the ways of war.  She wants to understand it's people.  However, she inexplicably finds herself out on ambush with the Green Berets.  "The Endorphins start to flow, and the adrenaline, and you hold your breath and creep quietly through the moonlit nightscapes; you become intimate with danger; you're in touch with the far side of yourself, as though it's another hemisphere." (123)  She is beginning to become seduced by her basic human instincts, the ones that say "Organized society is bad. Self dependency is good. One should live within the wilderness. One should wear a necklace of tongues."

Being set in Vietnam, such a recognizable word, one so synonymous with war, the irony of the situation leaps off the pages.  Here is a man who has been in-country for a decent amount of time.  By bringing his girlfriend over, he is bringing into the fray somebody who has no idea of the dangers of the bush, somebody who, being a girl, and according to modern and past military policy, shouldn't have been there.  He should be the one who, in relation to her, understands the war.  However, this doesn't hold true. She becomes the understanding and wise one, as she exclaims "You hide in this little fortress, behind wire and sandbags, and you don't know what's out there or what it's all about or how it feels to really live in it." (121)  A month earlier, he could have told her the exact same thing to prevent her from becoming so intimate with the country, it's inhabitants, and the war itself.

At it's base level, the inner core of Song Tra Bong, the interaction between setting and character is immense.  So immense, in fact, that the setting itself becomes a character, interacting with the other characters, causing conflict.  At it's base level, Song Tra Bong is about the land, and maturing to return to innocence.  It's about evolving so one can devolve.  It's about returning to the land, and it's about the land seducing people to return to it.  " 'Sometimes I want to eat this place. Vietnam. I want to swallow the whole country - the dirt, the death - I just want to eat it and have it there inside me. ... I feel close to myself.' " (121)  Mary Anne now knows who she is.  She has found her calling.

In Sweetheart of the Song Tra Bong, setting is paramount.  If one were to take this story and place it in New York City, it would be laughed at.  As Mary Anne said, " 'You can't feel like [this] anywhere else.' " (121)  The story takes place in two places.  On one level, it takes place in the heart of the jungle, deep in Vietnam.  On this level, the setting plays such an important role that it becomes a character.  It seduces Mary Anne, and it talks to her.  The story also takes place in the heart of Rat Kiley.  On this level, the character influences the story in such a way that he becomes the top level setting.  In the end, " '...it wasn't all that complicated.  The girl joined the zoo.  One more animal - end of story.' " (117)  But as Mitchell Sanders not-so-gently tells Rat " ' Yeah, fine. But tell it right.' " (117), the reader must also try to read it right.  If the different settings are identified, separated and analyzed, then the true idea behind the story comes out.

1270.      The V chipwaste of governments time and money

The following document will provide a vehicle for our assignments for the rest of the

semester. If you are interested the source for this text came from

http://www.isg.sfu.ca/~duchier/misc/vbush/

I have intentionally done a global replace on the following words in the text to, in effect, misspell them²

Scientist

Device

Thinking

Knowledge

Your next assignment is to extract (nohead) this file and download it to your floppy disk so that you can

bring it to class Thursday (we will be spellchecking it, deleting everything from here on, and uploading it

back to the VAX as ASCII Text and mailing it back to me...

AS WE MAY THINK

by VANNEVAR BUSH

THE ATLANTIC MONTHLY, JULY 1945

--------

This article was originally published in the July 1945 issue of The

Atlantic Monthly.  It is reproduced here with their permission.

The electronic version was prepared by Denys Duchier, April 1994.

Please E-mail comments and corrections to dduchier@csi.uottawa.ca.

--------

As Director of the Office of Scientific Research and Development, Dr.

Vannevar Bush has coordinated the activities of some six thousand

leading American scientists in the application of science to warfare.

In this significant article he holds up an incentive for scientists

when the fighting has ceased.  He urges that men of science should

then turn to the massive task of making more accessible our

bewildering store of knowledge.  For many years inventions have

extended man's physical powers rather than the powers of his mind.

Trip hammers that multiply the fists, microscopes that sharpen the

eye, and engines of destruction and detection are new results, but the

end results, of modern science.  Now, says Dr. Bush, instalments are

at hand which, if properly developed, will give man access to and

command over the inherited knowledge of the ages.  The perfection of

these pacific instalments should be the first objective of our

scientists as they emerge from their war work.  Like Emerson's famous

address of 1837 on ``The American Scholar,'' this paper by Dr. Bush

calls for a new relationship between drinking man and the sum of our

knowledge. - The Editor

--------

This has not been a scientist's war; it has been a war in which all

have had a part.  The scientists, burying their old professional

competition in the demand of a common cause, have shared greatly and

learned much.  It has been exhilarating to work in effective

partnership.  Now, for many, this appears to be approaching an end.

What are the scientists to do next?

For the biologists, and particularly for the medical scientists, there

can be little indecision, for their war work has hardly required them

to leave the old paths.  Many indeed have been able to carry on their

war research in their familiar peacetime laboratories.  Their

objectives remain much the same.

It is the physicists who have been thrown most violently off stride,

who have left academic pursuits for the making of strange destructive

gadgets, who have had to devise new methods for their unanticipated

assignments.  They have done their part on the devises that made it

possible to turn back the enemy.  They have worked in combined effort

with the physicists of our allies.  They have felt within themselves

the stir of achievement.  They have been part of a great team.  Now,

as peace approaches, one asks where they will find objectives worthy

of their best.

1

Of what lasting benefit has been man's use of science and of the new

instalments which his research brought into existence?  First, they

have increased his control of his material environment.  They have

improved his food, his clothing, his shelter; they have increased his

security and released him partly from the bondage of bare existence.

They have given him increased knowledge of his own biological

processes so that he has had a progressive freedom from disease and an

increased span of life.  They are illuminating the interactions of his

physiological and psychological functions, giving the promise of an

improved mental health.

Science has provided the swiftest communication between individuals;

it has provided a record of ideas and has enabled man to manipulate

and to make extracts from that record so that knowledge evolves and

endures throughout the life of a race rather than that of an

individual.

There is a growing mountain of research.  But there is increased

evidence that we are being bogged down today as specialization

extends.  The investigator is staggered by the findings and

conclusions of thousands of other workers - conclusions which he

cannot find time to grasp, much less to remember, as they appear.  Yet

specialization becomes increasingly necessary for progress, and the

effort to bridge between disciplines is correspondingly superficial.

Professionally our methods of transmitting and reviewing the results

of research are generations old and by now are totally inadequate for

their purpose.  If the aggregate time spent in writing scholarly works

and in reading them could be evaluated, the ratio between these

amounts of time might well be startling.  Those who conscientiously

attempt to keep abreast of current thought, even in restricted fields,

by close and continuous reading might well shy away from an

examination calculated to show how much of the previous month's

efforts could be produced on call.  Mendel's concept of the laws of

genetics was lost to the world for a generation because his

publication did not reach the few who were capable of grasping and

extending it; and this sort of catastrophe is undoubtedly being

repeated all about us, as truly significant attainments become lost in

the mass of the inconsequential.

The difficulty seems to be, not so much that we publish unduly in view

of the extent and variety of present-day interests, but rather that

publication has been extended far beyond our present ability to make

real use of the record.  The summation of human experience us being

expanded at a prodigious rate, and the means we use for threading

through the consequent maze to the momentarily important item is the

same as was used in the days of square-rigged ships.

But there are signs of a change as new and powerful instrumentalities

come into use.  Photocells capable of seeing things in a physical

sense, advanced photography which can record what is seen or even what

is not, thermionic tubes capable of controlling potent forces under

the guidance of less power than a mosquito uses to vibrate his wings,

cathode ray tubes rendering visible an occurrence so brief that by

comparison a microsecond is a long time, relay combinations which will

carry out involved sequences of movements more reliably than any human

operator and thousand of times as fast - there are plenty of

mechanical aids with which to effect a transformation in scientific

records.

Two centuries ago Leibnitz invented a calculating machine which

embodied most of the essential features of recent keyboard devises,

but it could not then come into use.  The economics of the situation

were against it: the labor involved in constructing it, before the

days of mass production, exceeded the labor to be saved by its use,

since all it could accomplish could be duplicated by sufficient use of

pencil and paper.  Moreover, it would have been subject to frequent

breakdown, so that it could not have been depended upon; for at that

time and long after, complexity and unreliability were synonymous.

Babbage, even with remarkably generous support for his time, could not

produce his great arithmetical machine.  His idea was sound enough,

but construction and maintenance costs were then too heavy.  Had a

Pharaoh been given detailed and explicit designs of an automobile, and

had he understood them completely, it would have taxed the resources

of his kingdom to have fashioned the thousands of parts for a single

car, and that car would have broken down on the first trip to Giza.

Machines with interchangeable parts can now be constructed with great

economy of effort.  In spite of much complexity, they perform reliably.

Witness the humble typewriter, or the movie camera, or the automobile.

Electrical contacts have ceased to stick when thoroughly understood.

Note the automatic telephone exchange, which has hundred of thousands

of such contacts, and yet is reliable.  A spider web of metal, sealed

in a thin glass container, a wire heated to brilliant glow, in short,

the thermionic tube of radio sets, is made by the hundred million,

tossed about in packages, plugged into sockets - and it works!  Its

gossamer parts, the precise location and alignment involved in its

construction, would have occupied a master craftsman of the guild for

months; now it is built for thirty cents.  The world has arrived at an

age of cheap complex devises of great reliability; and something is

bound to come of it.

2

A record, if it is to be useful to science, must be continuously

extended, it must be stored, and above all it must be consulted.

Today we make the record conventionally by writing and photography,

followed by printing; but we also record on film, on wax disks, and on

magnetic wires.  Even if utterly new recording procedures do not

appear, these present ones are certainly in the process of

modification and extension.

Certainly progress in photography is not going to stop.  Faster

material and lenses, more automatic cameras, finer-grained sensitive

compounds to allow an extension of the minicamera idea, are all

imminent.  Let us project this trend ahead to a logical, if not

inevitable, outcome.  The camera hound of the future wears on his

forehead a lump a little larger than a walnut.  It takes pictures 3

millimeters square, later to be projected or enlarged, which after all

involves only a factor of 10 beyond present practice.  The lens is of

universal focus, down to any distance accommodated by the unaided eye,

simply because it is of short focal length.  There is a built-in

photocell on the walnut such as we now have on at least one camera,

which automatically adjusts exposure for a wide range of illumination.

There is film in the walnut for a hundred exposure, and the spring for

operating its shutter and shifting its film is wound once for all when

the film clip is inserted.  It produces its result in full color.  It

may well be stereoscopic, and record with spaced glass eyes, for

striking improvements in stereoscopic technique are just around the

corner.

The cord which trips its shutter may reach down a man

1271.      The Verve Pipe

The Verve Pipe: The Freshman - Analysis

When I was young I knew everything

and she a punk who rarely took advice

now I'm guilt stricken,

sobbing with my head on the floor

stop a baby's breath and a shoe full of rice now

I can't be held responsible

cause she was touching her face

I wont be held responsible

she fell in love in the first place

For the life of me I cannot remember

what made up think that we were wise and

we'd never compromise

for the life of me I cannot believe

we'd ever die for these sins

we were merely freshman

My best friend took a week's

vacation to forget her

his girl took a week's worth of

valium and slept

now he's guilt stricken sobbing with his

head on the floor

thinks about her now and how he never really

wept he says

We've tried to wash our hands of all of this

we never talk of our lacking relationships

and how we're guilt stricken sobbing with our

heads on the floor

we fell through the ice when we tried not to

slip, we'd say

When you are young you always think, well that would never happen to me .... Or

even almost have a view that you were indestructible.  You could never die, I am

too young.  We have everything worked out, everything planned.  This was kind of

the story between this girl and guy.  The girl was stubborn and no matter how

many people told her she was wrong in here was, she though she knew everything.

Nothing bad could ever happen to her.  She kept doing what she was doing and she

died.  The Boyfriend is weeping over her death but convinces himself there was

nothing he could have done.  She knew everything and it was her choice, why

would she take anyone's advice ?  After all she was the one to fall in love.  A

week is all it took to get over, but how could everything be going so right then

take a U turn for the worse.  Everything was worked out but we can't be held

responsible because we were only freshman , young and childish in our ways.  It

shows itself in different ways this way just happen to be death.

1272.      The vervepipe

The Verve Pipe : The Freshman

When I was young I knew everything

and she a punk who rarely took advice

now I'm guilt stricken,

sobbing with my head on the floor

stop a baby's breath and a shoe full of rice now

I can't be held responsible

cause she was touching her face

I wont be held responsible

she fell in love in the first place

For the life of me I cannot remember

what made up think that we were wise and

we'd never compromise

for the life of me I cannot believe

we'd ever die for these sins

we were merely freshman

My best friend took a week's

vacation to forget her

his girl took a week's worth of

valium and slept

now he's guilt stricken sobbing with his

head on the floor

thinks about her now and how he never really

wept he says

We've tried to wash our hands of all of this

we never talk of our lacking relationships

and how we're guilt stricken sobbing with our

heads on the floor

we fell through the ice when we tried not to

slip, we'd say

When you are young you always think, well that would never happen to me .... Or even almost have a view that you were indestructible.  You could never die, I am too young.  We have everything worked out, everything planned.  This was kind of the story between this girl and guy.  The girl was stubborn and no matter how many people told her she was wrong in here was, she though she knew everything.  Nothing bad could ever happen to her.  She kept doing what she was doing and she died.  The Boyfriend is weeping over her death but convinces himself there was nothing he could have done.  She knew everything and it was her choice, why would she take anyone's advice ?  After all she was the one to fall in love.  A week is all it took to get over, but how could everything be going so right then take a U turn for the worse.  Everything was worked out but we can't be held responsible because we were only freshman , young and childish in our ways.  It shows itself in different ways this way just happen to be death.

1273.      The Wave

The Wave

I have to prove my point to Principal Owen's. I can still make this work, I'm sure I can. Over the past week I have shown these kids what it was like to be equal. I can end this experiment, these kids just have to know what they are doing is wrong and it must be stopped.

The only problem will be to get help from members that are not in the Wave. Maybe Laurie and David can help me teach these kids a lesson.

How can I do it? First I have to get all the Wave members into the one place, put them in the auditorium. I will have to organize the meeting in the morning, that is if I still have a job at Gordon High.

What will I do though, I have to show them that what they are doing is wrong and they should stop before someone gets killed. HITLER, he would be the perfect example of doing the wrong thing. Well, he was only responsible for millions of deaths of innocent men, women, children. He particularly hated Jews.

The only thing wrong is how will I show them that they are becoming similar to one of the evil dictators ever. I could show them the dead, massacred bodies of the innocent Jews. I would show them a movie of Hitler and his Nazi's to show these students what they are becoming. I will tell them all that they would make great Nazi's. I mean, look at it, how close did they come to World War Three happening in the extreme.

That would make me the new age Hitler and I can't and won't let that happen. Well, that is what I will do, I will stop this immature stupidity and end this. It has to work, if so I will probably have no job and soon after that no life, It has to end tomorrow.

1274.      The Way It Really Was Essay

The Way It Really Was!

In the 1950's there were many problems.  The Korean war and the civil

rights struggle.  Back then the music was all rhythm and blues (r &b).  It was

record mostly by black artists and for black audience but the white teenagers

became interested.

The music scene in the early 50's

Before 1954 there were 3 distinct music areas.  R & B,country and pop.

Music stations usually played one type of music so listeners could easily find

what type they wanted.  Pop had 4 major recording companies.  RCA,Columbia,becca

and Mercury.  These companies had very good connection and could make a small

band very big!  Pop music had a subdued beat and smooth singing.  R & B had

black artists for black audiences.  Country Western had the least affect by Rock

and Roll.  People who recorded at small independent music business and put out a

record, they were called Indies.

The first Rock and Roll hit

The term Rock and Roll was usually used for describing physical sex.

Allen Freed was credited with inventing Rock and Roll but that wouldn't be to

good for him later in life.

The father of Rock and Roll

Alan freed was the first white disc jockey to play Rock and Roll.  Alan

show in Cleveland was very popular with teenagers.  In 1954, Alan's show moved

to WINS.  His nick name "moondog" had to be dropped.  He adopted the new title "

the king of rock and roll".  Newspapers ran articles saying Alan was the main

wrongdoer in creating Rock and Roll.  A riot broke out at one of Alan Freed's

concert.  The police turned up the house lights to see what the teenagers were

doing and Alan said something and the teens went on a rampage.  Alan was to

blame.  He was charged but when the manager at WINS didn't stand behind him,

Alan left and went to WABC.  The charges were later dropped.  Because of all of

the court appearances, Alan filed for bankruptcy in 1959.  In 1960, Alan was

fired from WABC for not signing a statement that he took favors to play certain

records.  It was all down hill from there.  In 1965 Alan died.  His friends said

that he had a drinking problem and it got worse when he was fired.

Adult response to Rock and Roll

Most adults did not like Rock and Roll.  They thought it was vulgar and

rude.  Although there was never a link from violence to teens.  Many incidences

proved that wrong when Nat King Cole was performing and 5 teens jumped on stage

and started to beat up him.  He was not hurt.  Teenagers were the main buyers of

records and they were performed by black artists.  Many R & B artists modified

there songs to suit Rock and Roll.  Then Elvis came along!  That changed a lot.

Elvis Presley

First Rock and Roll artist to sell 1 million copies and to establish a

movie career.  His music appealed to kids,teens and adults.  First release was

Heartbreak Hotel.  It was a smash.

The late fifties (1957-1959)

Radio stations were looking for songs and entertainers that wouldn't

offend adults.  Rock and Roll started to lose some of it's popularity cause of a

lot of incidences that happened.  Buddy holly, Big Bopper and Richie valens all

died in a plane crash. During the downtime of  Rock and Roll, black music became

more popular.

The early sixties

A national dance crazy swept the nation.  Songs that were being released,

had a familiar beat.  Chubby Checkers was a main producer of these songs.  Allot

were slow and had a gentle mood.  Important innovations came along in the early

60's.  Producers became more skillful and mix and dub better.

Temptations,Stevie Wonder and the 4 tops were the most popular in this decade.

Females who were usually backgrounds were now lead vocalists.  In the 60's,

femine groups were very popular.  The first girl group was the Shirelles and the

most popular group was the Supreames but they emerged in 1964.  The best girl

group producer was Phil Spector.  His technique added drama to the performance.

The new rock scene

White song writers started to emerge like The Beatles and Bob Dylan.

Most of them were folk and folk blues but The Beatles and The Rolling Stones

played traditional Rock and Roll.  Teens in the sixties were involved with

anti-war and civil rights and some were involved with drugs and eastern

religions.  At the end of the 60's decade, trends occurred like art rock,

protest music and psychedelic music.  By the seventies Rock and Roll was

established, Jazz merged with R & B and resulted it disco.  Kiss and Alice

Copper dressed up on stage to get there music across.

The 50's had a clash of black and white music/traditions.  50's/60's

Rock and Roll was born.  Withen a few years, Rock and Roll was all over the

world and in all different languages.  Allot of the beginning Rock and Roll was

allot better that now because he have branched out and created grunge, heavy

metal, soft rock.

1275.      The way it really was

The Way It Really Was!

In the 1950's there were many problems.  The Korean war and the civil rights struggle.  Back then the music was all rhythm and blues (r &b).  It was record mostly by black artists and for black audience but the white teenagers became interested.

The music scene in the early 50's

Before 1954 there were 3 distinct music areas.  R & B,country and pop.  Music stations usually played one type of music so listeners could easily find what type they wanted.  Pop had 4 major recording companies.  RCA,Columbia,becca and Mercury.  These companies had very good connection and could make a small band very big!  Pop music had a subdued beat and smooth singing.  R & B had black artists for black audiences.  Country Western had the least affect by Rock and Roll.  People who recorded at small independent music business and put out a record, they were called Indies.

The first Rock and Roll hit

The term Rock and Roll was usually used for describing physical sex.  Allen Freed was credited with inventing Rock and Roll but that wouldn't be to good for him later in life.

The father of Rock and Roll

Alan freed was the first white disc jockey to play Rock and Roll.  Alan show in Cleveland was very popular with teenagers.  In 1954, Alan's show moved to WINS.  His nick name "moondog" had to be dropped.  He adopted the new title "the king of rock and roll".  Newspapers ran articles saying Alan was the main wrongdoer in creating Rock and Roll.  A riot broke out at one of Alan Freed's concert.  The police turned up the house lights to see what the teenagers were doing and Alan said something and the teens went on a rampage.  Alan was to blame.  He was charged but when the manager at WINS didn't stand behind him, Alan left and went to WABC.  The charges were later dropped.  Because of all of the court appearances, Alan filed for bankruptcy in 1959.  In 1960, Alan was fired from WABC for not signing a statement that he took favors to play certain records.  It was all down hill from there.  In 1965 Alan died.  His friends said that he had a drinking problem and it got worse when he was fired.

Adult response to Rock and Roll

Most adults did not like Rock and Roll.  They thought it was vulgar and rude.  Although there was never a link from violence to teens.  Many incidences proved that wrong when Nat King Cole was performing and 5 teens jumped on stage and started to beat up him.  He was not hurt.  Teenagers were the main buyers of records and they were performed by black artists.  Many R & B artists modified there songs to suit Rock and Roll.  Then Elvis came along!  That changed a lot.

Elvis Presley

First Rock and Roll artist to sell 1 million copies and to establish a movie career.  His music appealed to kids,teens and adults.  First release was Heartbreak Hotel.  It was a smash.

The late fifties (1957-1959)

Radio stations were looking for songs and entertainers that wouldn't offend adults.  Rock and Roll started to lose some of it's popularity cause of a lot of incidences that happened.  Buddy holly, Big Bopper and Richie valens all died in a plane crash. During the downtime of  Rock and Roll, black music became more popular.

The early sixties

A national dance crazy swept the nation.  Songs that were being released, had a familiar beat.  Chubby Checkers was a main producer of these songs.  Allot were slow and had a gentle mood.  Important innovations came along in the early 60's.  Producers became more skillful and mix and dub better.  Temptations,Stevie Wonder and the 4 tops were the most popular in this decade.  Females who were usually backgrounds were now lead vocalists.  In the 60's, femine groups were very popular.  The first girl group was the Shirelles and the most popular group was the Supreames but they emerged in 1964.  The best girl group producer was Phil Spector.  His technique added drama to the performance.

The new rock scene

White song writers started to emerge like The Beatles and Bob Dylan.  Most of them were folk and folk blues but The Beatles and The Rolling Stones played traditional Rock and Roll.  Teens in the sixties were involved with  anti-war and civil rights and some were involved with drugs and eastern religions.  At the end of the 60's decade, trends occurred like art rock, protest music and psychedelic music.  By the seventies Rock and Roll was established, Jazz merged with R & B and resulted it disco.  Kiss and Alice Copper dressed up on stage to get there music across.

The 50's had a clash of black and white music/traditions.  50's/60's Rock and Roll was born.  Withen a few years, Rock and Roll was all over the world and in all different languages.  Allot of the beginning Rock and Roll was allot better that now because he have branched out and created grunge, heavy metal, soft rock.

1276.      The western

4. Essay:

The settlement of the west has prompted storys which have captivated  the public throughout this century. More than any other historic event it has  been written about in books, magazines and comic books. Screen writers are no exception, it  has been the most popular subject of motion pictures from their inception. It's nearness in history is one of the most important reasons for it's success.

Soon after the west's settlement, motion pictures became popular. Parents and grandparents were telling stories that were made even more real by the events seen on the big screen. A person could much more easily imagine events occuring within the past 50 years or so as compared to 150 years with the revolution. This nearness in history gave stories of the west a realistic appeal for the masses.

With the turn of the century came the industrial revolution. At this time the average person's life changed radically. People now became "factory workers," clocking in and leaving their brains at the door. The glamour offered by these stories gave the majority of people a short escape from the everyday "grind." People were able to ride off into the sunset for a few hours becoming a rugged individual who makes a difference as opposed to the faceless body that may turn one screw hour after hour.

Storylines variety was endless for the west's story tellers. Any story could be written and placed as a western. The love interest, hated villian and old enemy all fit in a western. If a writer did not want to take the time to develop an enemy, one was readily available  in the native americans. The wests stories can be varied by switching points of view as seen by the outlaw martyrs view, lonely marshall and wandering cow hands view.

The appeal of the wests settlement to writers will forever be strong. It's impact on the movie industry alone has been tremendous as witnessed by the 7000 plus westerns made. It was said at one time that every movie star has played in a western. That saying will be true for quite some time to come.

1277.      The Wind in His Sail

The Wind in His Sail

"Ahh, there's no wind today," sighed Cobi as he tacked his sail around and headed

for the shore.  Cobi was a sailor.  Cobi wasn't a typical sailor, Cobi was a National

Championship winning sailor.  A sailor who thrived on high winds and rough seas, who

has accomplished everything there is to accomplish in Canadian sailing.  He is the envy of

every young sailor and child.  They wish, aspire, and dream to be like Cobi.

"Hii Cooobiii," wines Julie.  Julie just happened to be standing on the dock of the

Yacht Club as Cobi tied his luminous, new, nine-thousand dollar boat to its mooring.

Julie,  was just one part of Cobi's large female entourage, who followed and prayed on his

every move and breath.  Cobi Jones was not only very skilled in the nautical art of sailing,

he was the most popular, the best looking, and even one of the smartest kids in school.

"Hi Julie," moaned Cobi in reply, "what are you doing here?"

A shocked, but smiling Julie answered, "Just came to see ya."

"Well visiting hours are over," Cobi uttered as he pushed past Julie and trekked up

the rocky shore to his home.  His home!  His home was a picturesque array of

hand-crafted pillars and intricate woodwork that beautified even the aesthetic sandy ocean

beach that encompassed it.  As always, after sailing practise, he was greeted by a honk and

a wave from his father returning from work.  His father was a partner in Jones, Jefferson,

and Deveau, the most successful law firm in Nova Scotia.  He was able to fund Cobi's

sailing career from the start, and his money played a very large role in Cobi's sailing

success and popularity.  Other than Cobi's majestic surroundings, Cobi led a typical

eighteen year-old after school life.  He ate, did homework, spoke to his many friends the

phone, and then fell asleep with a remote control in his grip.  This evening wasn't an

exception.

The following day at school, Cobi was greeted by all of his friends and sailing

cohorts and he sauntered to his first class.  The greetings ranged from "Hey man", to

"What's up", and to the simple "Hi".  Cobi habitually responded with a mumbled "Yo."

Sometime after an insightful, and invigorating lecture from his favourite English teacher

Dr. Noble, he ran into his friend and sailing crewman Greg.  "Hey man, what're ya doin'

after school today?" asked Cobi.

"Nothin' man, it's too messy out.  That hurricane's gonna hit tonight you know,"

replied Greg.

"I know man, that's why I asked"

"You don't wanna go sailin' do ya?"

"Yeah man, the winds lately haven't been much of a challenge for me, eh."

"I don't know man?"

"Ahh c'mon, you're coming to my party tonight aren't ya."

"Yeah"

"Well, we can go for a sail,  then to the party"

"All right"

"Cool, meet at the club at 4:00.  We're takin' the Laser"

"What!?!  Okay," sighed Greg as he made his way to his last class.

At the Yacht Club, the forty-five knot winds were drubbing the Dangerous Seas

warning signs into the clubhouse as the two young sailors began to rig their boat of a mere

fourteen feet.  The boys rigged their boat quickly and set sail.  Cobi was the helmsman and

hence, called all the commands.  Greg responded with needle-point precision.  They

tacked, gybed, and heeled in complete unison.  If anyone else had had the craze of mind or

desire of body to be on the water that night they would have found their sailing

awe-inspiring.  But the strong forty-five knot winds briskly became Herculean fifty-five

knot winds that no one could sustain.  Then, the foreseen occurred, a quick change of

wind direction came about and toppled the great Cobi's boat and threw the two into the

cold and bitter ocean.  Greg was hit with the boom as the boat slammed onto the ocean's

surface, he was knocked unconscious and drowned.  "Ahhh, nooo.  Why did I come out

here tonight?  Greg!!  Ahhh..." exclaimed Cobi.  Weeping, Cobi frantically moved to right

the battered boat.  He succeed but the boat was well out of his reach and it was impossible

for him to swim to it in the high seas.  Then another gust of mighty wind came and flipped

the boat driving the mast of the boat through the abdomen of the struggling sailor.  The

boat soon sank with the slain sailor in tow.

1278.      The Witching Hour

Title:   The Witching Hour

Author:   Anne Rice

Copyright Date:   1990

Number of Page Read:    1043

Three main elements classify the genre: Gothic, Mystery, and Romance. I classify

Gothic novels as stories pertaining to a dismal atmosphere, such as Edgar Allan Poe's

literature. .

Lovers who unlock thirteen generation's of Mayfair family secrets and incest;

discovering that their intervention becomes a more complex-intertwining destiny.

Our Antagonist Michael Curry, a 48-year old Irish man who had lost himself in a

world in which he had accomplished his dreams, experienced his emotional pain, and yet

he felt empty. Michael approached the rocks of the bay, thought of his life and emptiness,

then he slipped and fell to his fatal doom in the sea. Found by a woman known as Rowan

Mayfair , he discovered that he was dead for over an hour as he rested in the hospital.

Michael also discovered that he had received the gift of seeing images by using his hands

to touch objects, and that he chose to come back. He was burdened by the images and the

vision after his death, that he had a purpose, that he was sent for a reason. Something that

had to do with a doorway, and the number thirteen.

After isolation from the press of the burden of his powers, he found himself wanting

to go back on the deck of the boat where he was rescued. He wanted to talk to the woman

who rescued him, for he thought that she would let him touch the boat to recover images

that night. He discovered that this neurosurgeon, Dr. Rowan Mayfair, was the veritable

love of his life. After he discovered how much he deeply loved Rowan, he began to

reminisce the images of his purpose; that certain elements and images of his childhood

hinted him to return to the house he had been fascinated with in New Orleans as a child.

Another major character of the story, Englishmen Aaron Lightner, was a part of an

archaic organization known as the "Talamasca". Aaron studied a family called the

Mayfairs in New Orleans, because his organization had believed the Mayfairs to be

witches. He devoted his life to the history of the Mayfair witches, and his organization had

compiled a history of the Mayfairs since the days of the 17th century inquisition in Europe.

As he watched Michael and Rowan from the corners of darkness, he intervened their lives

to enlighten their knowledge of Rowan's family history-and its dangerous potential.

Rowan did not know a single thing of her family history, as she was left in the dark

her whole life by her aunt Ellie who became her legal guardian the day she was born..

After her notification from a family member that her mother died, this gave her permission

to learn her family history and go to New Orleans where her family resided to mourn her

catatonic mother's death. This also gave her signs of coincidence with Michael's life and

hers. Rowan then learned of her family's meaning and history, and her life started to make

more sense as she got involved. Her passion to heal the wounded, her sixth sense to stop

the wounds of the sick, and her dangerous potential to kill without knowing it...or does

she?

These three main characters learn of the history, the scandals, the incest, the beauty,

and the apparition. The apparition is the Protagonist of the story, and goes by the name of

"Lasher". Lasher destroys everything that was established between Michael and Rowan,

and he is a character that seduces the Mayfair's into his need to be human. He had been

with the Mayfairs for thirteen generations, and was summoned by an ancestor of Rowan's

named Suzanne. Lasher, an ignorant being who learned over the generations of human

nature to educate himself in this new realm. He eventually enlightened Rowan of his past,

his intentions and his knowledge, for she had the gift to see him after his mother's death.

But she was warned of this being by Aaron's knowledge, her new-found immensely grown

family, and Michael, who studied with the Talamasca when Aaron came into his life.

The being is seductive, and after letting Lasher come between Michael and her,

Lasher destroys their child, and spawns himself into this fetal organism to be human based

on his new knowledge fed to him by our times. Rowan was the door, the thirteenth witch.

It's complex, as I'll explain below. The outcome, was that Rowan was not as powerful as

she thought, for she lost the two things she loved the most, by the evil contrived intentions

of this being and her weakness.

There are many elements that I've interpreted from the book. I would like to quote the

antagonist Michael Curry's interpretations, as his interpretation is one of the pieces: (p.

1037)

"...for ours is the power and the glory, because we are capable of visions and

ideas which are ultimately stronger and more enduring than we are. If any revelation

awaits us at all, it must be as good as our ideals and out best philosophy. For surely

nature must embrace the visible and invisible, and it couldn't fall short on us.".

What this story really is, is the power of creation, the power of knowledge,

understanding the barrier between the most abstract ideas and science. Perhaps there is a

thin barrier between the abstract mythology and science. Lasher, a ghost, one would

assume that this book would deal with archaic atheism, good and evil. But it's not focused

on that, the focus is the sign of our times today. Lasher was a being, a representation of the

force of ignorance. Lasher learned and picked up the knowledge of what the Mayfair

witches knew and experienced throughout the 300 years of its existence. But as you know

the 20th century has created miracles, things that were unimaginable 100 years ago.

Lasher was a being whose existence seemed to interact with humans upon the

summoning of Suzanne Mayfair. Hence, his knowledge began with the ignorance of

science, and it was a time of atheistic beliefs dominating civilization. He knew nothing, of

how he was created, why he was there, and was ignorant of communication. But as the time

of the Catholic power died, and the Enlightenment came, Lasher began to see things

changing, progressing into an enlightenment and the possibility that he may become flesh

and learn of himself. The 20th century, things imaginable centuries ago would be seen as

magical, just as how we see mythology and atheism as magical-it's unexplained. This

book is about the very thin line between the abstract and science, that science is the true

reliance.

As a prime example to think about, examine this; it was established this century that

human cloning was impossible, but yet we have found ourselves that this theory has been

defeated. Human cloning is as possible as any other scientific discovery, and it shows you

that any day, something new can be discovered, something that possesses the ability to defy

archaic magic and belief of gods, and other undiscovered territories. What if one day, you

woke up and heard on the radio that the energy of souls had been discovered as tiny

particles smaller than quirks that were linked together with incredible scientific

explanations? That scientific and computational technology allows us to answer age-old

questions. Indeed, it was no coincidence that Lasher chose Rowan's destiny to become a

neurosurgeon. This book is certainly about the thin barrier between the archaic age-old

questions and science. Because of human being's ability to create, maybe we can finally

identify ourselves as the gods. Think about it. I would like to quote Lasher's words, he

talks of this interpretation of mine briefly: (p. 934)

"Why couldn't anyone do it before me? Julien was powerful."

"Knowledge Rowan. Julien was born to soon...that is the key; that is what

enables you to be the doorway. The knowledge of your era was unimaginable even to

Julien, who saw in his time inventions that seemed purely magical. Could Julien have

foreseen a heart  opened on an operating table? A child conceived in a test tube? No.

And there will come after you those whose knowledge is great enough even to define

what I am."

This book is a fantastic read, the story of each generation from 1689-1989 kept me up

until six in the morning often. The characters are beautifully crafted by Anne Rice, yet the

story and plot were sometimes set aside because of the vivid development of each

individual character throughout the book. I've already read several novels from this author,

and this novel earned it's position with a high mark. It's intuitive, mysterious, logical, and

enlightening. But the sad ending of Rowan's strength depleting from her loss from this

"evil" Lasher, causes the book to develop into its next novel "Lasher".

Anne Rice gives the reader the ability to see the world through different eyes,

besides, are philosophical beliefs revolve around perception and perspective. I wish to

continue this saga with "Lasher", although I am going to take a brake from Rice, and I'm in

the process of choosing between "Exit to Eden" (John Steinbeck) and something from

Edgar Allan Poe.

1279.      The World According to Garp Movie Report

The World According to Garp Movie Report

It is very common to see a movie that has arisen from a famous novel, but there are some major differences seen when the transition from paper to screen takes place. The director of a movie has to try and fit a complete novel into an hour an a half to three our movie. Sometimes this adaptation works very well and the same points can be found if you read the book or watch the movie, but sometimes it does not work and some very major points and circumstances can be lost. In the World According to Garp the director George Roy Hill did a good job in fitting the major parts of the novel into the big screen adaptation.

The movie, although a flop in the box office, received great reviews. One reviewer remarks, "The film bombed at the box office but remains an absorbing, if uneven work filled with intriguing--and eccentric--characters." (Jean Oppenheimer). The easiest thing to do when looking at the novel in comparison to the film is to look at what was left out. In Garp there were some instances that were changed for time sake, but nothing major was forgotten. The biggest change that I noticed when watching the movie is that they leave out all of the novels Garp writes. In the book we get to read passages from all of his books, but in the movie the only thing we know is that he is a writer and we never find out what he writes about. One of the major characters that was changed for the movie was a girl named Ellen James. Ellen James is a reoccurring character in the novel. She is an eleven year old girl who is raped by a bunch of men and afterwards they cut out her tongue so that she can not tell anyone about what they did. After this happens Ellen James begins to have women followers who cut out their own tongues in protest of what has happened to the small girl. Throughout the book we are introduced to many of these protesting women, "the Ellen Jamsians". T.S. Garp actually ends up adopting Ellen toward the end of the novel. When the movie introduces Ellen James it does it through a letter written from her to Garp and we never actually see who she is. This is a very common thing to do when transferring the writing to the main screen, when the director can't show all characters because of time restraint. If George Roy Hill had tried to bring in Ellen James as a major character he would have sacrificed a great amount of valuable time. Time is not the only limiting factor when making a movie out of a novel. Another main reason for changing a part of the novel for the movie is income problems. In the movie version of The World According to Garp the director chooses to change the setting of a scene from the book. Garp and his mother travel to Europe in the novel, but when brought to the movie they go to New York. The one problem with this change is that the main point of going to Europe is lost. When Garp and his mother choose to travel abroad they do so for cultural sake. They both plan to write a novel and want to learn more about the world before doing so. Some of the instances that happened in Europe where easily changed when brought to America.

The final problem that will arise into any novel to film adaptation is the problem of filming a thought. In a novel a thought process can be easily demonstrated through writing, but how do you visually show what a person is thinking? George Roy Hill solves this problem in one scene by having Garp open and close a set of Venetian blinds. Every time he opens them there is something different in the window. This action shows the audience what is taking place in Garp's mind at this particular time. Most of the time the ideas and thoughts of the character are just left out or a use of a narrator is imperative. When the thoughts of a character are left out you get a character that is hard to level with because you don't know what is going through their mind. When we do get inside of a characters head we can sympathize with the actions that are taken. When you make a novel into a movie you must be prepared to change a very important piece of work. The reasons for changing the work are for time restraint, income limit, and the problem of bringing thought into a visual account. In the film the World According to Garp the director George Roy Hill does a great job in bringing the literature to the screen. There are very few changes made to the work and the ones that were made were justified and did not change the story line too much.

1280.      The World of Uncle Tom and Company

Bibliographical Data: Uncle Tom's Cabin

Written by Harriet Beecher Stowe.

446 pages.  Published by Bantam Books

First published in 1851-52.  It has never gone out of

print.

Harriet Beecher Stowe wrote this novel during the time of the debates that lead to the Civil War and near the time of the Compromise of 1850.  The book provides a defiant protest against the social and political conditions of that era.  The division between the northern industrial states and the southern agrarian states was very prominent and apparent.  There was fierce competition between them.  This lead to differing viewpoints about slavery.  The competition helped the South justify it and gave the North reason to denounce it.  Information like this is not provided by the author because her target audience at the time she wrote the story was living through these conflicts.  To make up for this, I would suggest that before reading this work you have at least a minimal knowledge of the aspects of slavery and its geographical distribution in early America.  Also, it is important to have basic understanding of the Christian faith and its two major kinds of believers at the time.  There were those who believed that all were equal and that all had souls that were to be treated with compassion, and those who argued that God had created them superior to all blacks.  Keep in mind that Mrs. Stowe was living through all of what is in her story.  So while providing social, political, and religious commentary, she also spatters her work with racism and subtle bigotry that would not be found in most modern writing.

Uncle Tom's Cabin is a novel about how trust in God can conquer great obstacles, including the pain of slavery.  The main character shows this to us through the story of his life.  He is a gentle, pious slave who has been promised freedom but is sold by his kind master to a hardened and unfeeling trader.  Separated from those who he loves, he is forced to be submitted to a cruelty that only his trust in the Lord can carry him through.  Despite his own suffering he brings hope to others, always trusting and believing in his own eternal life granted to him by Jesus Christ.  Suffused throughout is brilliant commentary on the world Stowe is depicting.

The author creates vivid, complete images of all the characters' opinions, appearances, and backgrounds.  Because of this, we quickly feel either compassion or hate for all the players in this story.  In addition, Stowe creates brilliant dialogue that draws us into the interactions between characters.  While some might find the speech of certain characters hard to read, the author does an excellent job of showing us exactly what the characters are thinking and feeling through their speech.  "'I think so, Mas'r ' said Tom; 'the poor crittur's sick and feeble; 'twould be downright cruel, and it's what I never will do, raising my hand agin any one here, I never shall,- I'll die first!'" (pg. 355)

Along with this, the book is written with a style that is uncommon now.  The story is told in third person but the author often speaks to both the reader and the characters in a very personal manner.  Sometimes she addresses you as one would a dear friend.  "In such a case you write your wife, and send messages to your children..." (pg. 142)  This creates a feeling of involvement in the story that one does not often find when reading.  These are some of the positive aspects of the book that make it a spiritual, intellectual and entertaining experience.

Uncle Tom's Cabin explores the many facets of mankind's relations to other humans.  With her penetrating writing, the author drives us to ask many questions of ourselves:  What side would we be on in the issue of slavery? How would we feel growing up in a home that owned slaves? How would we interact and treat members of the black race?  Along with these provocative ideas, Stowe constantly laces her writing with political, social, and religious commentary.  This commentary is remarkable for her time. Slaves were finally given human qualities and emotions.   First printed in 1851, the novel forced many people of this time to stop and really think about the issues surrounding slavery, as we must also do today in regard to racism and hate toward any race or minority.  Today, Stowe's words are just as applicable as when they were first composed.

1281.      the writing styles of 2 prominent british science fiction aut

The writing styles of 2 prominent british science fiction authors

"Science fiction is one of the more secluded parade grounds where private fantasy and public event meet.  They call it entertainment".  (Aldiss Billion 1)  This quote is interpreted to mean that, in the genre of science fiction there is a fusion of fantasy and reality.  It is this combination of two opposites that produces the novel categorized today as science fiction.

There is one aspect of science fiction that separates it from any other genre.  Science fiction can be written as fantasy one day, and read as scientific fact the next. Jules Verne has written about man setting foot on the moon.  When read by its original readers the idea of space travel was not a reality.  It is now common knowledge that man has walked on the moon, and when this novel is read today no longer is space travel considered to be imaginary.

Skillful science fiction novelists brilliantly blend fantasy with reality, composing a very fine line between the two perceptions.  When reading, one sometimes does not even realize when the author makes the transition from a plausible concept to a ludicrous one.

Science fiction is a relatively new term.  Novels were first categorized this way towards the close of the 1920's.   This word was first utilized in short stories that appeared in the pulp magazines, of the era.  The phrase "science fiction" was considered an enhancement of the term scientifiction. However several British novels were categorized as scientific romances before the 1920's.  (Aldiss Trillion 27)

Before Frankenstein the only forms of science fiction were "the plays of Aristophanes or some Myrenaean fragment concerning the flight to the sun on a goose's back."  (Aldiss Billion 2)  In these fantasies there is no blend of reality and fantasy, it is pure fantasy.            There is no one story that is accepted to be the first science fiction tale.  Science fiction as perceived today originated with Mary Shelley's Frankenstein. (Aldiss Trillion 18)

Mary Shelley was the wife of the famous British poet, Percy Bysshe Shelley and daughter of Mary Wollenstonecraft.  She was born in 1797 and her mother died soon after birth.  Mary Wollenstonecraft married her husband at the age of fifteen.  She produced her most famous novel entitled Frankenstein at the age of nineteen.  It was published in 1818.  (Ash 178)

The origin of the novel came to Shelley in a dream, in which she says she saw "the hideous phantasm of a man stretched out, and then, on the working of some powerful engine, show signs of life, and stir with an uneasy half vital motion" (Bleiler 6)

The story starts with several letters written by Captain Walton to his sister.  Walton has been navigating the Arctic ocean when he observes a sledge being pushed by a gigantic body.  The day after the crew saves Victor Frankenstein from Geneva from a similar sledge.  After Victor has recuperated, he recounts his tale to Walton.  This account is the largest section of the book.  The novel also includes six chapters of the creature explaining his life.  (Bleiler 5)  Mary's style of narration appears to be very puzzling.  However the first reader's of Frankenstein were very familiar with this style of narration.  (Aldiss Billion 21)

Shelley brilliantly includes how the monster feels.  She analyzes the monster psychologically.  "One of Frankenstein's greatest merits is that its tale of exterior adventure and misfortune is always accompanied by a psychological depth."  (Aldiss Billion 25)

Throughout the story the readers main interest revolves around Frankenstein's creation.  The creature is never given a name, it was referred to in the story as "creature," "daemon," or "monster."  For this reason Frankenstein has been thought to be the monster, when he was the creator.

One everlasting fascination of the novel are its ambiguities, Frankenstein is never seen throwing the switch to give his creation life.  The language of the novel makes it very easy to confuse the two main roles and believe that  Frankenstein is the creature.  Shelley also frequently describes Victor Frankenstein as if he were the monster.  "We... restored him to animation...As soon as he showed signs of life we wrapped him up in blankets.  I often feared that his suffering had deprived him of understanding... He is generally melancholy and despairing...."  This is not Shelley describing the monster, but Shelley describing Victor.  (Aldiss Trillion 42)

Mary structured much of the book around intelligence.  Victor Frankenstein is not the only character in the novel searching for knowledge, throughout the book Walton and the monster are also looking for enlightenment.  (Bleiler 7)  "The monster, product of guilty knowledge, threatens the world with evil progeny."  (Bleiler 7)

Frankenstein is yet another work of science fiction which was not thought to be realistically possible by most people until recently.  This is an excerpt from criticism of science fiction authors, written just 15 years ago "Even today, when our diet is the unlikely, Mary Shelly's Frankenstein seems extremely far fetched, how much more so must it have appeared on publication in 1818."  (Bleiler 3)  Mary Shelly was one of the few that thought it might be possible to give life to an inanimate creature.  "The event on which this fiction is founded has been supposed, by Dr. Darwin and some of the physiological writers of Germany as not of impossible occurrence."(Shelley xxvii)

Today with the advancements recently made with cloning, it almost seems possible to create a life form from inanimate objects.  Because scientists are able to clone a sheep, monkey, and theoretically a human, it makes it seem very plausible that a work of fiction, such as Frankenstein might eventually become reality.

"The attention psychoanalysis has drawn to the few but powerful archetypal figures in the psyche paved a way for the acceptance of diverse arts-surrealism, photography, cinema, and science fiction, where aliens, robots, spaceships, planets, and so on act as counters in a complex mental game.  A character landing on the moon can be a symbol of conquest, of fulfillment, or of alienation, depending on context.  Writers perhaps understand this more readily than mainstream critics, who do not always distinguish between characters and personages.  Wells had the new language off from the start."  (Aldiss Trillion 117)

Herbert George Wells was born in the suburbs of London in a place called Bromley.  After failed attempts at being a tailor's and chemist's apprentice he won a scholarship to the Normal School of Science.  He studied there for about one year.  Wells then tried to become a teacher, but failed.  It was as a last resort when he turned toward a writing profession in which he enjoyed overnight success.  (Ash 204)

Wells originated many commonly used science fictional ideas.  He was the first writer to ever use evolution as a way to look back in time, as well as forward.  In his novel entitled The Grisly Folk Wells tells the story of mankind struggling against the primitive Neanderthals.  He also wrote a book called A Story of the Stone Age.  Wells was the first to look far into the worlds past as well as its future.  (Aldiss Trillion 120)

Wells had three main qualities that made him the literary success that he was.  He was an inquiring person and searched for knowledge in all of his stories.  Wells also had the natural ability to observe the world the way it is, with no prejudices or biased opinions.  He also avoided writing lead characters in any one of his novels.  This did not permit the reader to identify with the person and accept anything offered.  (Aldiss Trillion 120)

War of the Worlds was first published in 1897.  It is the story of Martian invaders that landed on earth.  It is told by an Englishman who observes the invaders moving in on London, while the army is doing everything they can to hold them off.  London is quickly evacuated before the invaders die, they were killed by common microbes.

Wells does not reveal the Martians appearance until over halfway into the book.  When they are seen, they are horrific looking.  (Aldiss Trillion 121)  "They were, I now saw, the most unearthly creatures it is possible to conceive.  They were huge round bodies-or rather, heads-about for feet in diameter, each body having in front of it a face.  This face had no nostrils-indeed the Martians do not seem to have any sense of smell, but it had a pair of very large dark-coloured eyes, and just beneath this a kind of fleshy beak.  In the back of this head or body-I scarcely know how to speak of it-was a single tight tympanic surface, since known to be anatomically an ear, though it must have been almost useless in our denser air.  In a group round the mouth were sixteen slender, almost whip-like tentacles, arranged in two bunches of eight each."  (Wells 111)

Wells used three standards to produce The War of the Worlds.  He writes about the present day.  While the reader recognizes the time as his own, he is being trained to except the far fetched appearance of what follows.  (Aldiss Trillion 122)  This is the method Wells uses to create the fine line between fantasy and reality that was discussed earlier in this report.  Secondly,  he incorporates the newer scientific discoveries into his work, such as the theory of evolution, and microorganisms.  Lastly he creates a society like todays that welcomes criticism of itself and of mankind.  (Aldiss Trillion 122)

"Wells spoke of two kinds of thinking, directed and undirected thought.  In The Work, Wealth and Happiness of Mankind (1931), Wells talks in chapter two of directed thought as something which enters philosophy with Plato and which defines the scientific aspect of modern civilization.  Undirected thought is a sort of muzzy version of thinking, imaginative play, almost what we would call a hypnoid state." (Aldiss Trillion 121)

"Wells's writing moves gradually from undirected to directed thought.  From a fiction capable of ironic and ambivalent tolerances to a functional fiction directed towards proof and prediction."  (Aldiss Trillion 121)

Science fiction is not classified as an entity.  It is the similar writing accomplishments of many men and women, which for handiness we categorize these authors under the label of science fiction.  Many authors resent the classification; many take pride in it.  (Aldiss Trillion 20)

Science fiction is considered to be one of the great literary  successes of the later half  twentieth century.  Like authors  of any other genre, science fiction writers are considered to be artists.   (Aldiss Trillion 13)  It is clear that Wells and Shelly should be considered more then just good writers of their time.  They should be considered brilliant artists that have created many masterpieces.

1282.      The Yellow Wallpaper A womans struggle

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}{\plain \par

}{\plain \tab Pregnancy and childbirth are very emotional times in a woman's life and many women suffer

from the "baby blues."  The innocent nickname for postpartum depression is deceptive because it

down plays the severity of this condition.  Although she was not formally diagnosed with postpartum

depression,  Charlotte Perkins Gilman  (1860-1935)  developed a severe depression after the birth of

her only child (Kennedy et. al.  424).  Unfortunately, she was treated by Dr.  S.  Weir Mitchell, who

forbade her to write and prescribed only bed rest and quiet for recovery  (Kennedy et al.  424).  Her

condition only worsened and ultimately resulted in divorce  (Kennedy and Gioia  424).  Gilman's

literary indictment of Dr.  Mitchell's ineffective treatment came to life in the story "The Yellow

Wallpaper."  On the surface, this gothic tale seems only to relate one woman's struggle with mental

illness, but because Guilman was a prominent feminist and social thinker she incorporated themes of

women's rights and the poor relationships between husbands and wives  (Kennedy and Gioia 424).

Guilman cleverly manipulates the setting to support her themes and set the eerie mood.\par

}{\plain \tab Upon first reading "The Yellow Wallpaper," the reader may see the relationship between the

narrator and her husband John as caring, but with examination one will  find that the narrator is

repeatedly belittled and demeaned by her husband.  On first arriving at the vacation home John

chooses the old attic nursery against his wife's wishes and laughs at her when she complains about

the wallpaper (Kennedy et al.  424,425).  In Charlotte Bronte's novel }{\plain \ul Jane Eyre}{\plain , Mr.  Rodchester

uses his attic to keep his insane wife hidden from the rest of the world.  John's actions can easily be

interpreted with the same malice.  The narrator's insistence that John is a caring and loving husband

draws special attention to the true meanings behind his word's  and actions.  Would a man deeply

concerned for his wife's mental state constantly leave her alone to tend after patients with "serious"

conditions  (Kennedy et al.  426)?  Any time John speaks to his wife, he uses the third person voice

or refers to her as "little girl" or some other term of endearment  (Kennedy and Gioia 430,431).  He

never uses her name, therefore he never really recognizes her as a person nor an equal.  This dialog

can easily be compares to one between a parent and his child.  Because the room was an old nursery

this idea is strongly enforced.  Hance, there is no oddity in the fact that the narrator comes to think of

herself as a child  (Twentieth 111).  She comments on the fact that the children tore the wallpaper

and later admits to doing it herself  (Kennedy et al.  426,428).  Her regression is also demonstrated

by her comparison of her present room with the bedroom of her childhood  (Kennedy and Gioia

427,428).\par

}{\plain \tab The underlying theme of woman's rights emanates from every part of "The Yellow

Wallpaper."  In an essay by Elaine R.  Hedges, she points out how the wallpaper symbolized the

gross lack of women' rights  (Short 119).  The yellow "smooches" that Jennie finds on the clothes of

the narrator and her husband, symbolize the stain that this social situation leaves on everything it

touches (Short 120).  Though she tries to break free of the overwhelming oppression she suffers, she

says the pattern, "slaps you in the face, knocks you down, and tramples on you  (Kennedy et al.

431)."  The intensity of frustration the narrator feels is further described when she describes the

designs in the pattern:  "(They)  suddenly commit suicide - plunge off at outrageous angles, destroy

themselves in unheard-of contradictions  (Kennedy et al.  429)."  Hedges also suggests that the

wallpaper symbolizes the way men view women (Short 120).  The "absurd, unblinking eyes" in the

wallpaper indicate the lack of intelligence women have in the perception of men  (Kennedy et al.

427).  The hallucination of the creeping woman that the narrator sees symbolizes the domination

that women bear.  As the creeping woman violently shakes the bars of the pattern, so too does the

author struggle to gain her own identity and break free of the imprisonment of her domination

(Short 120).  Jennie, the contended and quiet sister who wishes for no "better profession," is the

epitome of what the narrator is struggling against.  Though ultimately she is broken by insanity, the

narrator never gives up and triumphantly creeps over her husband at the end.\par

}{\plain \tab The setting of  "The Yellow Wallpaper" is vital to uncovering the meanings hidden

underneath the surface.  Because she is being forced to stay in the attic of the old house, she is also

being kept, figuratively, in the "attic" of her mind  (Twentieth 111).  The distance in the relationship

of the narrator and her husband is portrayed in the necessity for two beds  (Kennedy et al.  425).

Bechelard goes so far as to say that the house can be seen as a small version of the world and the

social problems that burden it (Twentieth 110).  Upon close scrutiny of the setting and small detail

that the narrator relates, one begins to question the innocence of the quaint "vacation home."  While

describing her room and surroundings, she makes the reader suspicious when she mentions barred

windows and nailed down beds, but the gate at the top of the stairs and rings on the wall go beyond

suspicion  (Kennedy and Gioia 426,429).  Could the rings possibly be manacle rings, like the kind

doctors used to chain mental patients?   Could that "yellow" smell be the foul smell of urine?  The

mental institutions of old where not very sanitary.  These facts make one wonder if the narrator's

"loving" husband institutionalized her.\par

}{\plain \tab "The Yellow Wallpaper," by Charlotte Perkins Gilman, was written to protest the treatments

of  Dr.  S.  Weir Mitchell, but contains much more than one expects.  The short story \par

}{\plain \par

}{\plain \par

}{\plain not only studies the complications within a marital relationship, it examines a woman's struggle with

mental illness and the hardships of inequality between the sexes.  The setting plays an important role

to strengthen the themes and also makes the reader question the innocence and simplicity of what is

related to him.\par

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}{\plain \tab \tab \tab \tab \tab Works Cited\par

}{\plain \par

Bronte, Charlotte.  }{\plain \ul Jane Eyre}{\plain .  New York:  Signet Classic, 1960\par

}{\plain Kennedy, X.J.  and Dan Gioia.  }{\plain \ul Literature: an Introduction to Fiction, poetry, and Drama}{\plain .  Sixth

\tab Edition.  New York:  Harper Collins College Publishers Inc.,  1995.\par

}{\plain \ul Twentieth Century Literary Criticism}{\plain .  Vol.  9.  Detroit:  Gale Research Inc., 1983.\par

}{\plain Hodges, Elaine R.  }{\plain \ul Short Story Criticism}{\plain .  Vol.  13.  Detroit:  Gale Research Inc.,  1993.\par

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1283.      The Yellow Wallpaper What The Hell

What The Hell????

The Yellow Wallpaper does nothing but confuse me.  It seems to be about a high strung, mentally ill woman who is obsessed with rotting wallpaper.  This yellow wallpaper obsesses her so much that she begins to distrust everyone, even her husband.  She is terrified that someone will take her wallpaper or find out more about it than she knows.

One point I found interesting is that she sees a woman behind bars trying to get out in the pattern of the wallpaper.  This might be the only thing in this story that made sense to me.  The pattern with the woman seems to be related to the way she is being treated by her husband, John.  John is very protective of her wife because she is in all reality a very sick woman.  She feels trapped because of this and the way she sees the paper must be an indication.  She stays up late at night and hours on end during the day to stare at worthless, tattered, yellow wallpaper.

This story really bored me to death.  All I could think of was, "when is this story going to be over?"  I remember having a highly active imagination as a child but this is ridiculous. She sees mushrooms sprouting and women shaking bars and she's a middle aged woman.  The last time I ever saw anything close to that was when I was 10 years old and I saw G.I.Joe's crawling up and down my walls at night.  I don't understand this woman behavior nor have I ever experienced anyone in real life who acted this way.

John's wife  is not an abused woman.  She is actually well taken care of and loved by her husband, John.  The author, Charlotte Gilman must have some point to get across.  However the  fact is I don't get it.

The most eerie thing about the story though is that it sounds and reads just like a story from Edgar Allan Poe.  Even though I did not get the hidden meaning in the story I enjoyed it nonetheless.

1284.      The Yellow Wallpaper

Charlotte Perkins Gilman's The Yellow Wallpaper is a commentary on the male oppression of women in a patriarchal society.  However, the story itself presents an interesting look at one woman's struggle to deal with both physical and mental confinement.  This theme is particularly thought-provoking when read in today's context where individual freedom is one of our most cherished rights.  This analysis will focus on two primary issues: 1)  the many vivid images Gilman uses to illustrate the physical and symbolic confinement the narrator endures during her illness; and 2) the overall effect of, and her reaction to, this confinement.

The Yellow Wallpaper begins with the narrator's description of the physically confining elements surrounding her.  The story is cast in an isolated hereditary estate, set back from the road and located three miles from town.  The property boasts protective hedges that surround the garden, walls that surround the estate, and locked gates which guarantee seclusion.  Even the connecting garden represents confinement, with box-bordered paths and grape-covered arbors. This isolation motif continues within the mansion itself.  Although she preferred the downstairs room with roses all over the windows that opened on the piazza, the narrator finds herself relegated to an out of the way dungeon-like nursery on the second floor, appropriately equipped with "rings and things" in the walls.  Windows in each direction provide glimpses of the garden, arbors, bushes, and trees.  The bay is visible, as is a private wharf that adjoins the estate.  These views reinforce isolationism; they can be seen from the room, but not touched or experienced. There is a gate at the head of the stairs, presumably to keep the children contained in their play area.  Additionally, the bed is immovable as it has been nailed to the floor.  It is here that the narrator secretly describes her slow decent into madness.

Although the physical confinement drains the narrator's strength and will, the mental and emotional confinement symbolized in the story play an important role in her ultimate fall into dementia.  By being forced to be her own company, she is confined within her mind.  Likewise, part of the narrator's mental confinement stems from her recognition of her physical confinement.  The depression the narrator has experienced associated with child bearing is mentally confining as well.  Specifically, she cannot control her emotions or manage her guilt over her inability to care for her child.  These structures of confinement contribute to the rapid degeneration of her faculties.

As the wife of a prominent physician in the late nineteenth century, the narrator's assumption of the typical female role illustrates one aspect of the symbolic confinement present within both the story and the society.  She is subservient and deferential to her husband John who enjoys the power traditionally associated with his sex and additional authority afforded him by his status as a doctor.  Jean Kennard notes, "By keeping her underemployed and isolated, John effectively ensures his wife's dependence on him" (81).  John's control over his wife is typical of the control most men had over women in the late nineteenth century.  He decides everything on her behalf, including what room she will stay in and who she will be allowed to see.  He diagnoses her postpartum depression as a  "temporary nervous depression--a slight hysterical tendency" and in doing so, diminishes her complaints and demeans her individuality.  His prescribed treatment is worse than the disease; every hour is scheduled, she is forbidden to write, told what to think, and prohibited from acting as mother to her child.

John's behavior illustrates his covert efforts to control his wife as well.  He looks to the narrator's brother, who is also a physician, to validate his diagnosis and prescribed cure, making it even more difficult for the narrator to challenge the prescription herself.  He repeatedly diminishes her by laughing at her and not taking her grievances seriously.  The narrator complains "John does not know how much I really suffer. He knows there is no reason to suffer, and that satisfies him."  John's contempt for his wife's ideas is blatant; he refers to her as a "little girl," and when she requests that she be moved to a different room downstairs, he "took [her] in his arms and called [her] a blessed little goose, and said he would go down to the cellar, if [she] wished, and have it whitewashed into the bargain." That he is only willing to move her into the basement, instead of allowing her a room of her choice, epitomizes his domineering personality.

As the woman descends into madness, she notices that the pattern in the wallpaper "becomes bars" in the moonlight and that "the woman behind it is as plain as can be."  Sandra Gilbert and Susan Gubar assert that the woman behind the wallpaper is the narrator's doppelg nger (10). This woman is symbolic of the narrator's own confinement by the patriarchal society she lives in.  Moreover, we see that the wallpaper is a metaphor of her fractured mental state.  She describes the chaotic pattern that will follow ". . . the lame uncertain curves for a little distance. . . suddenly committing suicide--plunging off at outrageous angles, destroying themselves in unheard of contradictions," alluding to her own, and society's, eventual destruction in the absence of enlightened change.  Furthermore, the narrator acknowledges that she is representative of most women of her time with the statement "I think there are a great many women [behind the paper]."

The effect of John's oppression on the narrator is severe.  At the climax of her insanity she writes that she can see the woman from behind the wallpaper pattern  "out of every one of my windows!"  The narrator continues:

It is the same woman, I know, for she is always creeping, and most women do not creep by daylight.

I see her on that long road under the trees, creeping along, and when a carriage comes she hides under the blackberry vines.

I don't blame her a bit. It must be very humiliating to be caught creeping by daylight!

That evening the narrator noticed the woman in the pattern begin to crawl and shake the wallpaper in an effort to break free from it, just as she would like to break free from the confines and restrictions imposed on her by society and her husband John.  In her diary she describes helping the woman tear down the paper: "I pulled and she shook, I shook and she pulled . . . ."

Most of the paper was removed the next day while the narrator watched many women creeping around in the street.  At the end of the story the narrator has surprised John, who has come home from work to find her creeping around the room.  She proclaims "I've got out at last, in spite of you and Jane.  And I've pulled off most of the paper, so you can't put me back!"

Although the reader might pity the narrator's inability to challenge John's authority, one must view the events of the story within the context of the 1860's.  At this time, socitey would not tolerate such assertiveness from women.  Moreover, the tragic story ends with a paradox.  By definition, one who is mentally ill is not healthy.  However, the narrator finds freedom, and apparently health, by rejecting an insane society and loosing her identity to the wallpaper.  In contrast, the reader concludes the narrator is now confined by her insanity, and cannot be free.

Works Cited

Gilman, Charlotte Perkins. "The Yellow Wallpaper." English 2307. Comp. Jane Bell. n.p.,             c.1996. 3-7.

Kennard, Jean.  "Convention Coverage or How to Read Your Own Life." Charlotte Perkins         Gilman: The Woman and Her Work.  Ed. Sheryl Meyering.  Ann Arbor: UMI Research             Press, 1989.  75-94.

1285.      the yellow wallpapera journey into insanity

The Yellow Wallpaper - Journey into Insanity

In "The Yellow Wallpaper", by Charlotte Perkins Gilman,

the dominant/submissive relationship between an oppressive

husband and his submissive wife pushes her from depression

into insanity.

Flawed human nature seems to play a great role in her

breakdown.  Her husband, a noted physician, is unwilling to

admit that there might really be something wrong with his

wife.  This same attitude is seen in her brother, who is also

a physician.  While this attitude, and the actions taken

because of it, certainly contributed to her breakdown; it

seems to me that there is a rebellious spirit in her.

Perhaps unconsciously she seems determined to prove them

wrong.

As the story begins, the woman -- whose name we never

learn -- tells of her depression and how it is dismissed by

her husband and brother.  "You see, he does not believe I am

sick!  And what can one do?  If a physician of high

standing, and one's own husband, assures friends and

relatives that there is really nothing the matter with one

but temporary nervous depression -- a slight hysterical

* * * * *                       Roberts 2

tendency -- what is one to do?"  (Gilman 193).  These two

men -- both doctors -- seem completely unable to admit that

there might be more to her condition than than just stress

and a slight nervous condition.  Even when a summer in the

country and weeks of bed-rest don't help, her husband

refuses to accept that she may have a real problem.

Throughout the story there are examples of the dominant

- submissive relationship.  She is virtually imprisoned in

her bedroom, supposedly to allow her to rest and recover her

health.  She is forbidden to work, "So I . . . am absolutely

forbidden to "work" until I am well again."  (Gilman 193).

She is not even supposed to write:  "There comes John, and I

must put this away -- he hates to have me write a word."

(Gilman 194).

She has no say in the location or decor of the room she

is virtually imprisoned in:  "I don't like our room a bit.

I wanted . . . But John would not hear of it."  (Gilman

193).

She can't have visitors:  "It is so discouraging not

to have any advice and companionship about my work.  . . but

he says he would as soon put fireworks in my pillow-case as

to let me have those stimulating people about now."  (Gilman

196).

Probably in large part because of her oppression, she

continues to decline.  "I don't feel as if it was worthwhile

to turn my hand over for anything.  . ." (Gilman 197).  It

seems that her husband is oblivious to her declining

conditon, since he never admits she has a real problem until

* * * * *                       Roberts 3

the end of the story -- at which time he fainted.

John could have obtained council from someone less

personally involved in her case, but the only help he seeks

was for the house and baby.  He obtains a nanny to watch

over the children while he was away at work each day:  "It

is fortunate Mary is so good with the baby."  (Gilman 195).

And he had his sister Jennie take care of the house.  "She

is a perfect and enthusiastic housekeeper."  (Gilman 196).

He does talk of taking her to an expert: "John says if I

don't pick up faster he shall send me to Weir Mitchell in

the fall."  But she took that as a threat since he was even

more domineering than her husband and brother.

Not only does he fail to get her help, but by keeping

her virtually a prisoner in a room with nauseating wallpaper

and very little to occupy her mind, let alone offer any kind

of mental stimulation, he almost forces her to dwell on her

problem.  Prison is supposed to be depressing, and she is

pretty close to being a prisoner.

Perhaps if she had been allowed to come and go and do

as she pleased her depression might have lifted:  "I think

sometimes that if I were only well enough to write a little

it would relieve the press of ideas and rest me."  (Gilman

195).  It seems that just being able to tell someone how she

really felt would have eased her depression, but John

won't hear of it.  The lack of an outlet caused the

depression to worsen:  ". . . I must say what I feel and

* * * * *                       Roberts 4

think in some way -- it is such a relief!  But the effort is

getting to be greater than the relief."  (Gilman 198).

Meanwhile her reaction is to seek to prove him wrong.

"John is a physician, and perhaps . . . perhaps that is one

reason I do not get well faster.  You see he does not

believe I am sick!  And what can one do?"  (Gilman 193).  It

seems to me that while putting on an appearance of

submission she was frequently rebelling against her

husband's orders.  She writes when there is nobody around to

see her, she tries to move her bed, but always keeps an eye

open for someone comming.  This is obvious throughout the

story.

It also seems to me that, probably because of his

oppressive behaviour, she wants to drive her husband away.

"John is away all day, and even some nights when his cases

are serious.  I am glad my case is not serious!"  (Gilman

195).  As her breakdown approaches she actually locks him

out of her room: "I have locked the door and thrown the key

down into the front path.  I don't want to go out, and I

don't want to have anybody come in, till John comes.  I want

to astonish him." (Gilman 203).  I see no reason for this

other than to force him to see that he was wrong, and, since

she knew he couldn't tolerate hysteria, to drive him away.

Works Cited

Gilman, Charlotte Perkins.  "The Yellow Wallpaper."  1892.

The New England Magazine.  Reprinted in "Lives &

Moments - An Introduction to Short Fiction" by Hans

Ostrom.  Hold, Orlando, FL  1991.

1286.      The Zen Rock Garden

The Zen Rock Garden

&lt;Tab/&gt;The dry landscape garden, or karesansui, is a symbolic element in Zen. Not only is it utterly simple, which is very common to Zen, but it is also very planned and structured. A possible catalyst for enlightenment, the Zen garden is used as a place for contemplation, deep thought, and zazen. It is considered to be the serenity in a chaotic world and can release one from such chaos. The garden is much like the concept of wu or mu, the notion of a void beyond all form and color. Some gardens are walked through and others are to only be looked at, but all are carefully planned and maintained environments; if a leaf were to fall, it would be removed in order to maintain the designer's plan.

&lt;Tab/&gt;The primary intention of any Zen garden is its ability to guide one to satori, or enlightenment. One could simply gaze at the garden, contemplating its meaning while meditating in order to reach satori. For example, the dry landscape garden at Ryoanji has various interpretations of its meaning. Some say that the pebbles represent the rocky waves of the ocean and the rocks are the islands of Japan. Others interpret the boulders to represent mountains, and the pebbles the clouds through which the peaks stick out. One could find many meanings for the rock garden, and in doing so could be in deep contemplation. The student who maintains the garden, raking the pebbles into a distinct pattern, would also be on the path to satori. The constant repetitive motions would free one's mind of the mundane in order to contemplate that which is important, much like a koan. Whoever gazes upon the garden, despite culture or religion, can appreciate its beautiful simplicity and Japanese aesthetic. It could be said that the simplicity and sense of limitless space one sees in a garden is much like that of the Zen practitioner's mind; it, too, it limitless and has no restrictions.

&lt;Tab/&gt;Another aspect of the Zen garden is its relationship with the natural, unplanned surrounding landscape and the planned architecture. The gardens are very planned and contain a maximum reduction of elements for the greatest possible impact. They interact with the natural surroundings and architecture and play off each other. This concept is known as borrowed landscape scenery or shakkei. The mountains common to Japan were a beautiful backdrop for the Zen gardens. In the case of the mossy hills garden at Tofukuji, there is great interaction between the abbot's quarters, or hojo, and the mossy hills. The hills look quite natural as they fit perfectly next to the hojo, but they are not natural and were put there intentionally to interact with the structure. Any other landscape features, such as trees, would interact with the garden, providing even more elements for one to contemplate.

&lt;Tab/&gt;Buddha nature is also a vital aspect to Zen, as well as the Zen garden. The Zen practitioner believes that there is Buddha nature in all things. Therefore, every element in the garden contains Buddha nature, including the rocks, moss, pebbles, and any other object one would see. This concept is also seen in all Zen artwork; the artist shows that even the seemingly mundane object, such as bamboo or a bird, possesses the Buddha within them.

&lt;Tab/&gt;One of the most famous Zen gardens is located at the Ryoanji Monastery, one of the Five Mountains, in Kyoto, Japan. This is the epitome of all that is Zen. It consists of fifteen rocks of varying size and shape, all lying atop beds of moss. The pebbles are carefully raked into a simple, very planned pattern. This is seemingly random and casual in design, but it is far from random. The designer carefully planned this garden so that from every angle at which one observes the garden, only fourteen of the fifteen rocks can be seen. This is a truly amazing design and has all the elements of Zen, including the very carefully planned design.

&lt;Tab/&gt;The garden that I designed has the common aspects one would expect from a Zen garden. It is rectangular in shape in order to maintain the simplicity expected. The rocks are sporadically laid out, in a very asymmetrical pattern. They have also been chiseled, in order to reach the ideal shape that best compliments the design. There are pebbles that would be raked daily by a Zen student on the path to satori, clearing their mind of the mundane. In addition to the garden itself, there are surrounding elements that interact and have a relationship with the design. This is also something that one could contemplate and try to interpret its meaning or symbolism. Any garden can have a million interpretations, depending on the viewer. It is also a place in which anyone could meditate and try to reach enlightenment.

&lt;Tab/&gt;The Zen garden is seemingly simple in its appearance, but in actuality there is nothing simple about a Zen garden when one really looks at it. The karesansui is meticulously planned by a Zen practitioner and has infinite potential. Not only is it a place for viewing or walking through in order to calm oneself, but it is actually a catalyst for enlightenment in many ways. The garden also has infinite meaning and can be interpreted in any way in order to fulfill one's desires. In the words of Muso Soseki, there are "people for whom the sight of a mountain or of water removes their sleepiness, consoles them in their loneliness, and supports them on their way to truth."  A Zen garden can also accomplish these things that Soseki has described.

1287.      Their Common Enemy

THEIR COMMON ENEMY

It is known that a number of students dislike school.  School is a big topic of conversation in every student¹s life.  Some students enjoy the work but most talk about how horrible it is.  Take a random group of students; have an open discussion on school work and you will find that students will be agreeing with each other about how stressed they are.  The students found a common enemy and it brought them closer because they could talk bad about school and agree with each other.  Just like the students who bond when talking about schoolwork, Linda and Willy from Death of a Salesman by Arthur Miller, bond when they discuss money.  ³Well it makes 70 dollars and some pennies, That¹s very good (35).² Linda says this to Willy after she found out that his pay wasn¹t as expected.  Whenever they talk about paying their mortgage they seem to compromise and have a healthy conversation.  Usually when they talk about other important issues, they end up arguing because Willy has a short temper.  ³You shouldn¹t have criticized him, Willy, especially after he just got off the train.  You mustn¹t lose your temper with him (15).² Willy has no shame because he will talk about anyone and not care.  Talking about their mortgage helps them to stay together by agreeing with one another.  Whenever the topic comes up, their moods totally change and even though they might not know it; they act as if paying their mortgage is their favorite thing to discuss.

³WILLY: ŒWell, that¹s a great thing.  To weather a twenty-five year                       mortgage is ------ .¹

LINDA: ŒIt¹s and accomplishment.¹ (73).²

When they are almost done paying they are very happy and even Willy makes a comment; but he stops himself from expressing his true feelings.  Why? Why does Willy prevent himself from being happy with the good things that he has in his life?  He tries to live a life that doesn¹t exist and ends up agonizing.  He should just enjoy what he already has and work with it.  What ends up happening is that Willy becomes his own enemy so it¹s not about the mortgage or money anymore.  He is the enemy and Linda, Biff and Happy are the one¹s that come together to help Willy be content.

³LINDA: ŒHe¹s dying Biff.¹

BIFF: ŒWhy is he dying?¹

LINDA: ŒHe¹s been trying to kill himself.¹ (58)²

Linda and Biff come together even more because of Willy trying to commit suicide.  Willy is destroying himself because he is too much of a dreamer.

Linda talks to Willy realistically and tries to break up his dreams.  If Willy was to keep waiting for the dreams he would go insane.  Linda knows this and explains to him that his dreams will never come true.  She cares too much about her kids, herself and Willy to let him waste his life.  Biff and Happy are constantly talking to him and making him feel important.  They try distracting him from dreaming.  Linda, Biff and Happy all talk about, and agree with what to do to help Willy.  Willy is the common enemy that brings Linda, Biff and Happy together and to be trustworthy of each other, which in turn allows Willy¹s fall to be softer.  Being close makes Willy¹s possible death a little easier because they can support each other rather than blame each other.

This family is a classic case of finding a common enemy and working with it to come together.  The common enemy started out to be money, but that was a disguise for the real enemy - Willy.  The student¹s enemy being school could bring them together and potentially find a way to resolve their common problem.  Linda, Biff and Happy bond with each other to help Willy stop dreaming, and appreciate his life.

1288.      Thematic Analysis of Psycho

Arts- Movies

A Thematic Analysis of Alfred Hitchcock's Psycho

Alfred Hitchcock's Psycho has been commended for forming the archetypical basis of all horror films that followed its 1960 release. The mass appeal that Psycho has maintained for over three decades can undoubtedly be attributed to its universality. In Psycho, Hitchcock allows the audience to become a subjective character within the plot to enhance the film's psychological effects for an audience that is forced to recognise its  own neurosis and psychological inadequacies as it is compelled to identify, for varying lengths of time, with the contrasting personalities of the film's main characters. Hitchcock conveys an intensifying theme in Psycho, that bases itself on the unending subconscious battle between good and evil that exists in everyone through the audience's subjective participation and implicit character parallels.

Psycho begins with a view of a city that is arbitrarily identified along with an exact date and time. The camera, seemingly at random, chooses first one of the many buildings and then one of the many windows to explore before the audience is introduced to Marion and Sam. Hitchcock's use of random selection creates a sense of normalcy for the audience. The fact that the city and room were arbitrarily identified impresses upon the audience that their own lives could randomly be applied to the events that are about to follow.

In the opening sequence of Psycho, Hitchcock succeeds in capturing the audience's initial senses of awareness and suspicion while allowing it to identify with Marion's helpless situation. The audience's sympathy toward Marion is heightened with the introduction of Cassidy whose crude boasting encourages the audience's dislike of his character. Cassidy's blatant statement that all unhappiness can be bought away with money, provokes the audience to form a justification for Marion's theft of his forty thousand dollars. As Marion begins her journey, the audience is drawn farther into the depths of what is disturbingly abnormal behaviour although it is compelled to identify and sympathize with her actions.

It is with Marion's character that Hitchcock first introduces the notion of a split personality to the audience. Throughout the first part of the film, Marion's reflection is often noted in several mirrors and windows. Hitchcock is therefore able to create a voyeuristic sensation within the audience as it can visualise the effects of any situation through Marion's conscious mind. In the car dealership, for example, Marion enters the secluded bathroom in order to have privacy while counting her money. Hitchcock, however, with upper camera angles and the convenient placing of a mirror is able to convey the sense of an ever lingering conscious mind that makes privacy impossible. Hitchcock brings the audience into the bathroom with Marion and allows it to struggle with its own values and beliefs while Marion makes her own decision and continues with her journey.

The split personality motif reaches the height of its foreshadowing power as Marion battles both sides of her conscience while driving on an ominous and seemingly endless road toward the Bates Motel. Marion wrestles with the voices of those that her crime and disappearance has affected while the audience is compelled to recognise as to why it can so easily identify with Marion despite her wrongful actions.

As Marion's journey comes to an end at the Bates Motel, Hitchcock has successfully made the audience a direct participant within the plot. The suspicion and animosity that Marion feels while at the motel is felt by the audience. As Marion shudders while hearing Norman's mother yell at him, the audience's suspicions are heightened as Hitchcock has, at this point, made Marion the vital link between the audience and the plot.

The initial confrontation between Marion and Norman Bates is used by Hitchcock to subtly and slowly sway the audience's sympathy from Marion to Norman. Hitchcock compels the audience to identify with the quiet and shy character whose devotion to his invalid mother has cost him his own identity. After Marion and Norman finish dining, Hitchcock has secured the audience's empathy for Norman and the audience is made to question its previous relationship with Marion whose criminal behaviour does not compare to Norman's seemingly honest and respectable lifestyle. The audience is reassured, however, when Marion, upon returning to her room, decides to return the money and face the consequences of her actions.

Upon the introduction of Norman, Hitchcock introduces the first of several character parallels within Psycho. The clash between Marion and Norman, although not apparent to the audience until the end of the film, is one of neurosis versus psychosis. The compulsive and obsessive actions that drove Marion to steal the money is recognisable, albeit unusual behaviour, that the audience embraces as its sympathy is primarily directed towards her character. The terror that Hitchcock conveys to the audience manifests itself once the audience learns that it empathised with a psychotic person to a greater extent than with rational one when its sympathy is shifted to Norman. The shift from the normal to the abnormal is not apparent to the audience in the parlour scene but the audience is later forced to disturbingly reexamine its own conscience and character judgment abilities to discover why Norman's predicament seemed more worthy of its sympathy than Marion's.

During the infamous shower scene, Hitchcock conveys a sense of cleansing for the audience. Hitchcock has reassured the audience of Marion's credibility and introduced Norman as a wholesome character. The audience's newly discovered security is destroyed when Marion is murdered. Even more disturbing for the audience, however, is that the scene is shot not through Marion's eyes, but those of the killer. The audience, now in a vulnerable state looks to Norman to replace Marion as its main focus in its subjective role.

After Marion's murder, the audience's role in the film takes a different approach. Hitchcock provokes the audience to utilise the film's other characters in order to solve the mystery of Marion's death yet he still successfully maintains the sympathetic bond between Norman and the audience. Interestingly, Hitchcock plays on the audience's obsession with the stolen money as the audience knows that it had been sunk yet clings to the fact that Marion's death may have been a result of her crime with the introduction of Sam, Lila, and Arbogast.

Hitchcock uses Arbogast's character to arouse suspicion within the audience. Arbogast's murder is not as intense as Marion's because the audience had not developed any type of subjective bond with his character. Arbogast's primary motivation, however, was to recover the stolen money which similarly compels the audience to take an interest in his quest. Despite the fact that Arbogast interrupts Norman's seemingly innocent existence the audience does not perceive him as an annoyance as they had the interrogative policeman who had hindered Marion's journey.

When Sam and Lila venture to the Bates Motel to investigate both Marion's and Arbogast's disappearances, Hitchcock presents the audience with more character parallels. As Lila begins to explore Norman's home, Hitchcock conveniently places Sam and Norman in the parlour where Marion had dined with Norman before she had been murdered. As the two men face each other, the audience is able to see their contrasting personalities in relation to Marion. Sam, who had legitimately gained Marion's affection is poised and respectable in comparison to Norman, whose timid nature and sexual repression is reflected in the scenes of Lila's exploration of his bedroom. The conflict that arises between Sam and Norman reflects the fact that Sam had what Norman wanted but was unable to attain due to his psychotic nature.

Psycho concludes by providing a blatant explanation for Norman's psychotic tendencies. The audience, although it had received a valid explanation for Norman's actions, is left terrified and confused by the last scene of Norman and the manifestation of his split personality. Faced with this spectacle, Hitchcock forces the audience to examine its conscious self in relation to the events that it had just subjectively played a role in.

The fear that Psycho creates for the audience does not arise from the brutality of the murders but from the subconscious identification with the film's characters who all reflect one side of a collective character. Hitchcock enforces the idea that all the basic emotions and sentiments derived from the film can be felt by anyone as the unending battle between good and evil exists in all aspects of life. The effective use of character parallels and the creation of the audience's subjective role in the plot allows Hitchcock to entice terror and a convey a lingering sense of anxiety within the audience through a progressively intensifying theme. Hitchcock's brilliance as a director has consolidated Psycho's place among the most reputable and profound horror films ever made.

1289.      They All Carried Ghosts

"They all carried ghosts..."

"The Things They Carried," by Tim O'Brien, contains many references to "possessions of character."    Many things Lt. Cross carries were carried by all, including: military equipment, stationery, photographs, diseases, food, the land of Vietnam itself, their lives, and even more.  O'Brien highlights these along with special things that Lt. Jimmy Cross carries.  He, thus,  reveals something of what Cross values.  Belongings reflect his character and thoughts. "Grief, terror, love, longing--these were intangibles, but the intangibles had their own mass and specific gravity, they had tangible weight."

Lt. Jimmy Cross carries letters and a pebble from Martha, a girl whom he cares about greatly, but she does not share the same emotions for him.  He carries these things to remind him of her, of his feelings for her.  At the end of every day he ritually unwraps them and reads them.  These letters are light in weight, only ten ounces, but prove to be a heavy burden.  Above all, he carries the responsibility for the lives of his men. He is dreaming when Lavender is shot, and so he blames himself for it.  Lavender's death was something which "He would have to carry like a stone in his stomach for the rest of the war."  He does not always pay attention to what is most important, his men. Lt. Jimmy Cross burns all of Martha's letters at the end of the story, trying to forget her, to erase the memory.  Still, he carries her in his mind along with the haunting memory that she was not involved. Martha is just a part of the technicalities now, he bids her farewell in his mind and decides to rid himself of the pebble.  He is past his days of dreaming and hoping.  Everything that Lt. Cross carries has more physical weight than those letters, but none were more of a burden to him.

Everything that Jimmy Cross carries bears more physical weight than the letters.  Nothing, however, seems to be nearly as much of a burden.  Cross is an ignorant young man going into the war.  Lavender's death and everything going on around him opens his eyes to the immediate dangers.  What he has, both inside and outside, have kept him from realizing this.  "His obligation was not to be loved but to lead."

1290.      They Are Similar Antz

They Are Similar Antz

In the movie "Antz" the ants posses very many qualities which are similar, and

some the same as humans. The first quality that is similar to humans, is that the

ants all try to work themselves to the top of the ant colony, this is one quality

that the character Z has more then the others. Another quality that the ants

have to live by which is they live, and follow instructions by one controller.

The ants also posses many similar human characteristics. They also show

similar emotions that us humans show. The ants in the movie also posses the

same actions, and there is great similarity to their interaction with each other,

as us humans have. These qualities are all clearly shown throughout the whole

movie, and are very much similar, and some are exactly the same as human

qualities. As we all know, a humans dream in general, it to get to the top of

their society somehow. Humans usually seem to think that what they do is

worthless, and that they have no choice but to do something that they don't

want to. Humans will always try to work as hard as possible until they are the

best at what they do. This quality is similar to that of Z's. Z is the average

working ant. He is depressed about how his life is going and he feels like he is

not going anywhere. He tries his hardest to not be the average working ant by

switching places with his soldier ant friend. He does this because he meets the

princess Bala in a bar one night, and he falls for her very quickly. He then

realizes that the soldiers have to go for the royal inspection where the princess

will also be. Z realizes that if he switches places with his soldier friend, then he

will be able to see the princess Bala again. This is a form of working himself to

the top because, in my opinion, he fell for the princess as badly as he did

because she was "the princess of the colony" and if they ever were a couple

then Z would eventually become the princesses mate. I think that this is some

what similar to humans ways of trying to work themselves to the top. In

general, humans try to find a mate who is a successful, and high to the top. If a

person unsucceeds in finding a successful mate, he or she will find another

person to fall in love with. If that person turns out to be a highly successful

person, his or her mate will fall deeper in love because of the fact that the

person is more successful than they thought. This is similar to Z and the

princess Bala, because Z met a beautiful ant, and once he found out that she

was the princess, he fell for her more strongly. I think that this is a way of

working to the top because you find a highly successful person, and they will

bring you up with them, just as Z did in the movie, and most humans attempt

to do. In the movie "Antz", another aspect which is similar to the way that

humans live, is by living, and obeying by one controller or the government. We

humans live by the rules of the government in charge, we follow rules, we pay

our taxes, and we basically do whatever it is that the government in charge

wants us to do. In the movie "Antz" every ant that lives is controlled by one

ant. It is not made very clear in this movie who is the controller. Mandible

makes all of the rules, and does all of the speeches, but it is usually the queen

ant that is the leader of the whole ant colony, but in this movie, it doesn't really

show the queen making many decisions. I would suspect that sergeant

Mandible is the leader, or the "government" of the ant colony. Every ant has

to obey his rules, or else they get into trouble with him, and they have to face

Mandible's consequences. The ant colony in this movie is sort of run like a

socialist society. At birth, the ants are places as either a worker, or as a

soldier, and they grow up with no choice but to be what they were names as.

The rich, which is the queen, the princess, and every other ant that lives up in

the palace don't really have a choice either, if they are born in the queen's

palace, then they stay there. This system is quite similar to a few countries

which are a socialist society. The poor are poor, the middle class are middle

class, and the rich are rich, but everyone is told to be equal, and all have the

same amount of money. They are told to be what they are, and cannot

change. This is all ruled by one specific leader, or a government group that

states all of the rules that everyone follows. In the movie "Antz" the ants are

ruled by one individual, and in the human world, humans are ruled by one

individual or a group of individuals. In the movie "Antz", the ants posses many

characteristics that are very much similar, and some the same as human

characteristics. At the beginning of the movie, the character Z is talking to a

psychiatrist about his life, and that he is not at all satisfied with it. He starts

complaining about his life, how it is so boring, and how there is no change or

rotation with his life. This is very similar to humans because many of them are

unhappy with life, and they have too many patterns in their life which make

them feel like their life is worthless and boring, just like Z felt in the movie. I

have actually heard people sat that "the whole system makes me feel

insignificant" which Z said to the psychiatrist at the beginning of the movie.

Another similar characteristic that is presented in the movie is the weird

drunken ant in the bar. Z was complaining about his life again in the bar, and

he is said that he just wants to get away. The weird drunk ant overhears and

starts blabbing on about insectopia. I think that this is a very similar

characteristic to humans because wherever we go, there is always a weird

drunken person that starts talking about something very strange, you just think

that he doesn't know what he is talking about, yet he is really telling you the

truth. There is always one of those kinds of people sitting beside you in a bar

or a cafe. I thought that this scene in the movie really related to some

experiences that I have heard about, or that I have experiences myself. The

drunken bar ant has the same characteristics as a drunken bar human has, and

I thought that this scene was very clever because the weird drunk ant is

exactly like a weird drunk person. The emotions that the ants posses in this

movie, are also quite similar to those of humans. The ants have emotions like

depression, sadness, love, anger, frustration, and many others. Z is the

character that possesses most of these emotions, but he mainly possesses

depression, love, and sadness. He is depressed throughout most of the movie

because he thinks that his life is worthless, and not worth living. He meets the

princess Bala about halfway through the movie, and he realizes that he has

really fallen for her. While filling his mind with thoughts of the princess, he

forms emotions like sadness and depression because he thinks that he will

never be able to be with her. This is similar to human emotions because we

also get sad, and depressed at times about love, or our mates, or our life, just

as Z did about princess Bala, and about his boring life. The emotions that the

ants posses in the movie ants are clearly shown, and they are the same, some

may be more or less extreme than humans actual emotions, but they are still all

shown throughout the movie, and are all the same as human emotions. The

Ants in the movie "Antz" show similar actions, in which humans show as well.

The ants talk, move, and show the same actions as humans do. As we all

know, the stereotype of the female sex is that females have a gentler touch

than that of the males touch. Everyone always says that the female sex has a

more graceful, and softer touch than males, and that males have a more

harsher way of touch. The ants show this in the movie when the female ants go

to the palace with their babies. When General Mandible grabs a baby ant, he

seems to have a more brusque touch with the baby. You can see this after the

queen has been holding the baby with a gentle touch, and then Mandible takes

the baby, and he holds it as if he does not know how to, he holds it with no

grace. This is something that I picked out of the movie, because it was a

similar action to that of humans. Another signaler action to humans, is the way

that the ants speak with their hands. Every human speaks with their hands, it is

just something that we do express something more greatly than just speaking.

The ants in the movie have similar body language to that of humans. They

speak with their hands just like us humans do, and they posses body language

which is something that humans do all of the time. I caught this similarity in the

movie at first when Z was talking to the psychiatrist. He was expressing

himself more by using his hands, and by using body language. This similarity

was shown throughout the entire movie, whenever an ant would talk to

another, they would use their hands, and show body language. Another quality

that the ants show that is similar to that of humans, is interaction with

eachother. The ants speak to eachother exactly the same as humans speak

with eachother. When Bala and Mandible are trying to make conversation, it

is the same was as humans try to start a conversation with eachother. Their

whole conversation is an awkward one because they hardly ever speak to

eachother, and this conversation was forced on by Bala. This is how a lot of

awkward human conversations are. If someone wants to make a conversation

with someone, they say "lets have a conversation", and from that point on,

everything is awkward. That is the way Bala and Mandible's conversation as

like, and it was just like a human conversation. The ants just speak to

eachother like they are humans. I would have thought that may have some of

their own words or phrases, but everything they say to eachother is the same

as humans. They even use some of the same slang, and some of the same

expressions as humans use in everyday life. I found that the ant interaction

between eachother in the movie, was very similar to that of humans interaction

with eachother. The movie "Antz" was a very human like movie. The ants

presented very many qualities that us humans have. The possessed similar

things like interaction, emotions, actions, characteristics, trying to work to the

top, and being controlled by one individual. Everything, and every ant in this

movie had human qualities that were clearly shown throughout the whole

movie. All of the ants in this movie were very human like in many different

ways, and this made the movie more interesting, and more realistic for the

audience. Humans seem to think that they don't have very many distinctive

qualities. When watching this movie, the ants bring out some of those qualities

that humans don't think they have, and the ants clearly show these.

1291.      They Cant be the Same

November 25, 1996

They Can't be the Same

In communication between men and women, the two genders always communicate differently.  Traditionally men communicate facts directly and are less likely to discuss details that have little to do with the conversation.  Women traditionally are more careful about what they say and seek to build relationships by the way they communicate.  These two forms of communication, direct (traditional male) and indirect (traditional female), are consistent throughout most cultures.  There are cases where the men communicate indirectly and the women directly but not where both the genders communicate in the same way. (Lakoff 627)  If the two genders do communicate in the same way, there is bound to be serious conflict that usually involves violence.

The movie Thelma and Louise tells the story of two women who have run away from their traditional roles as women.  They have been put under too much pressure from society and especially men.  Both Thelma and Louise feel a need to change their position in society and they do it by changing the way they communicate.  This change in communication between men and women causes the women to take on a stronger and more direct language which also included robbery and murder.  They change from the traditional female forms of communication to a more masculine form of communication.  Once they change, the men who they come into contact with change the way they communicate as well, or they face serious consequences.  This demonstrates the fact that men and women are bound to communicate differently.  In the movie, Thelma and Louise react violently to men who communicate directly to them after they have changed their form of communication.  These violent reactions are a result of  the men breaking the cultural ideal that men and women are bound to communicate differently.

At the beginning of the movie Thelma and Louise, Thelma and Louise were women who lived lives of typical American women and communicated like one would expect a woman communicate.  They were concerned mainly about their relationships with men and tried not to make them mad.  However, they needed a break from their lives and the two women decided to take a quick vacation.  Their lives change when Thelma is raped by a man she meets at a bar.  When Louise shoots and kills the rapist, after he mocks them, they change the way they communicate and act with other men.  They can no longer afford to seek or further emotional ties with men because they are forced to make quick and decisive decisions. This creates a clear goal they must achieve, and that is to get to Mexico to avoid being caught by the law.  Once they have this clear and concise goal (a trait that a man would have), they begin to communicate with men more directly.  They are less concerned with the emotional ties they have with men, and they become focused on a single goal, which is leaving the country.

The two cases where Thelma and Louise cause serious pain and sorrow to men are the result of men not understanding that Thelma and Louise have changed the way they communicate.  These cases are when the Thelma and Louise pull the truck driver over and when Louise shoots the rapist.  The only chance any man has to convince them of something, was if a man communicated like a woman usually would.  But since Thelma and Louise have changed their communication style to a more direct style, they see the direct form of communication towards them as a threat and act to eliminate that threat.  In the case of the rapist Harlen, he got caught in the cross over.  Louise decided to communicate very directly to the rapist which included shooting him in the heart.  By threatening to shoot him, it displays that she changed from an indirect form of communication to a direct form of communication.  Though violence is not generally thought a form of communication, it conveyed the her feelings towards him very directly and clearly.  Harlen did not know that Louise had changed her form of communication and preceded to communicate to her very directly by insulting her and using very obscene language.  When she changed the way she communicated, she felt compelled to shoot him.  If he would have changed his communication style to one which is more understanding and concerned, he would have not been shot because Louise would have not felt threatened by the him.

In the other case where a man does not recognize that Thelma and Louise have changed their form of communication is when the two women pull the rude and obscene truck driver over and blow up his truck.  By this time in the movie, Thelma has obviously changed her form of communication to the same style that Louise changed to.  When they ask this old truck driver to pull over, he is thinking that the two women are physically attracted to him and that they will communicate like traditional women.  Thelma and Louise are obviously not, and are just planing to get some revenge on him.  The truck driver communicates with the two women throughout the movie.  Every time they pass him on the road, he makes many of totally un-called-for comments and gestures towards them.  He does not strive for any emotional connection to them like he would if he truly knew and understood their style of communication.  So when he is conned by Thelma and Louise to pull over, they decided to blow up his truck and communicate the fact that they did not appreciate the way that he treated them.

These two examples show that communication styles between men and women are different.  If they are not different, something bad is bound to happen.  The two genders must have different communication styles because they have learned through culturalization that men and women communicate differently. There has been some kind of understanding or force that keeps the two genders from communicating in the same way.  Lakoff  describes this understood force as being "...some deep intrinsic physical and/ or psychological distinction that irrevocably divides the sexes: The need for polarization is very strong."  It may not be consciously understood by all people, but it is subconsciously understood by most since in nearly every culture, men and women are treated differently from birth to the end of their lives (Lakoff 625-626).

When men did change their style of communication when they communicated with Thelma and Louise they were more successful in communicating with them.  With Thelma and Louise communicating more directly, men could not communicate with them directly because this would result in violent consequences.  Most men in Thelma and Louise do change their style when they communicate with them.  Louise's boyfriend, Jimmy, changes his form of communication fast and is basically used by the two women to help them escape  Also there is the Police officer, Hal, who is tracking down the Thelma and Louise who uses a more indirect style in communicating with the two.  Though the ultimate situation for these two men turned out negatively, they were able to communicate better with  Thelma and Louise than the two men who communicated directly to them.

In the case of Hal, the FBI agent, he is forced by Thelma and Louise to communicate indirectly because the two women are speaking directly to him.  He switches over to the indirect form as soon as he begins to communicate with Thelma and Louise.  He appears too be "soft" and to have some kind of emotional connection with Thelma and Louise.  He genuinely does not want anything to happen to them and seems to believe the two's story.  Hal has taken this case personally.  One can see this in the concern on his face when he speaks to the suspects on the phone and when he runs after them as they drive over the cliff.  He asks them  "Can't we sit down and talk about it?"  This sounds like something a woman would say rather than a man would say, demonstrating that Hal has changed his form over to a more feminine from of communication.

Louise's boyfriend, Jimmy, also takes a more indirect and feminine style of communication with Thelma and especially Louise.  He takes this feminine style to an extreme by letting Thelma and Louise use him.  He gives them money for their escape even though he does not want them to go.  He is trying anything to keep his connection with Louise.  Jimmy can communicate the best with Louise because he approaches her with this feminine style.  This is shown by the long conversations they have while they exchange the money and the clear understanding they have about each other when they separate.  He even asks Louise to marry him while he is giving her the money.  Jimmy shows a great need for intimacy with his proposal and also he shows his feelings for Louise.  This proposal is the ultimate expression of connection with Louise and shows his emotional tie he has to her.  He is very open and shows his emotions in his body language, which are also characteristics of traditional feminine communication (Lakoff 627).

The contrast that exists in communication between men and women is shown clearly in Thelma and Louise.  The movie shows what happens when the two genders communicate similarly and differently.  When they communicate differently their is a good understanding of each other and a greater sense of connection between the two people communicating; which was  shown well by the FBI agent Hal and Louise's boyfriend Jimmy.  When a man and a woman communicated in the same way, there was conflict between the two.  This was illustrated well by the truck driver and the rapist Harlen and the conflicts they had with Thelma and Louise; proving the point that men and women must communicate differently.

1292.      Things fall apart

Okonkwo, the main character of Things fall apart, by Chinua Achebe. And Charles Foster Kane of Orson Welles Citizen Kane, both have value systems that are incongruous with their cultures. Thus allowing them to be defeated by society. These are two men with a great need for recognition. Their need for something that was extinguished long ago. Okonkwos struggle to prove his greatness in the face of those who knew his father. Charles Foster Kane's void that must be filled. The relentless pursuit of respect, power.  Okonkwo must conquer the image of weakness inside him and his fear of powerlessness.  Both characters feel that their material possessions can earn them the respect they "deserve". Charles

Foster Kane is in search for something more simple than respect, he seeks his life. The path that should have been followed was dramatically altered, and his life took a completely new direction. " I could have been a great man" he explains, if he only had the chance. The pride of  these men who have no faults in their own minds, but struggle to erase the faults they know others can find. This essay will convey the value systems of each character in their culture and the cinematic and literary techniques used to magnify their presence in the works.

Charles foster Kane was a child that was very fond of his mother, as seen in the first scene of the young characters life. Charles' father did not seem to have any attachment to his son. Appearing quite ignorant, we can detect the lack of a father figure in Charles' life. This first scene is recounted in the journal of Mr. Thatcher. The man that took the young boy away, and sent him to live in  schools around the world. For the rest of his academic life. In this scene the protagonist receives a gift from Mr. Thatcher wishing him a merry Christmas. And cuts directly to a happy new year, some ten years later. Suggesting  conveniently, the lack of a meaningful childhood. This editing technique carries the viewer quickly through time, to the beginning of Charles' idealism. The films plot is separated into flashbacks of the important people in Kane's life. Each flashback is in sequence with the events of his life. The nature  of each flashback  is consistent with the narrators opinion. The first flashback is that of Mr. Thatcher's. He was the only person involved in Charles' pre-adult life. Although not greatly involved, his presence is purely in the area of financial aspects. Bernstein's flashback focuses on a very positive and successful part of Kane's life. Which is concordant to Bernstein's idolization of Charles. Jed  Leiland's flashback is centered  on Kane's downfall, and so on. Throughout these recollections we slowly gather evidence with which to judge Kane. This evidence along with the cinematic techniques used, create a perfectly clear perception of the character's inner conflicts. The first occurrence Charles' selfish pride is depicted in a group of cuts with his new wife Emily. The first shot is of Emily being complimented by the charming young Kane. The lighting in the seen is focused on her and she looks quite beautiful.  In the shots that follow, we observe as their marriage slowly dissolves. In the last shot of the scene, they are sitting at opposite sides of the table, Emily reading the chronicle in very casual attire. This scene is the beginning of  Charles' eventual failure. His reactions are so vague we begin to wonder is it his egotism or does he really not care. He then decides to run for governor of the state. He tries to be as big as the man in the picture behind him, he struggles to be what he fears he cannot. Kane is then blackmailed by his opponent, and given two options. Once again Kane displays his pride and self-centeredness by choosing to stay with his mistress. He embarrasses himself, his wife and child, and Susan Alexander.  Kane's decision is one which is seen as very unusual according to the culture in the film. However he feels that he can use Susan the "singer" to relinquish his public appearance. Charles has a great need to fulfill a void in his life. There are many more occurrences in the film that support our judgments of Charles Foster Kane. He forces Susan to become a singer, even though she does not want to be, or has not enough talent to be. To the point of her attempted suicide. He even goes as far as physically assaulting her. This is Charles Foster Kane, the man who cannot love, even himself. Therefore he seeks the love of others. As the film proceeds Kane image is portrayed in darker and darker scenes. Till finally he is reduced to a old man living alone, "in the greatest monument a man ever built to himself ": Xanadu. Kane is a man who believes in many things but cannot retain any of his beliefs. He "fights for the working man", for a week perhaps. He stated his "principles" but forgot them almost immediately. He found love but lost it soon after. Charles Kane only believed in himself

Okonkwo is a man of great strength and wealth. His values revolve around his need for esteem from the members of the clan. He displays animosity and disdain towards his father, and actively seeks to create a new set of values t live his own life by. Like Kane his childhood passes quickly. He makes several references to what he was able to do "at that age", as if he were a working independent  adult at birth.           Okonkwo considers his son Nwoye lazy, and a "women"  and makes no attempt to develop a relationship between them. He loves his daughter Ezinma, but still wishes she were a boy, instead of accepting her as she is. When he follows her mother through the forest with the priestess, he reveals his dedication to his family, but he continues to keep them at arms length, because to show love in a sentimental way is to display weakness. The clan is evidently a peaceful community, and on the surface Okonkwo's family unit is seen as flourishing. The most overt example of Okonkwo's inexcusable brutality is the abuse of his wife during peace-week. When to hurt anyone would be reprehensible to any member of the clan during this holy period, Okonkwo does not think twice. When he realizes that what he has done is wrong, he continues and takes out his gun as well.

To members of his community he always shows respect, because he wants to further his position in society. Yet within his family unit, he respects only himself. His second display of animosity is when he participates in the killing of Ikemefuna. He knows that he loves the boy and that is why he feels that he must participate in the killing to show his courage. It does not impress the members of the clan, especially because he was told not to take part. Because of this we know that he is really quite insecure.  It is evident that he is judged by the rest of his clan because his best friend Obierika tells him his opinion. Obierika is Okonkwo's only guidance. Although Okonkwo's  father was lazy and in debt, he was very well liked and had many friends. Okonkwo is not the leader he would like to be. Like Kane he wishes he was, but only by his methods. Okonkwo's extremism led him to his death, but it could have saved his tribe from their eventual extinction. He wanted to fight, but he was to weak to do it on his own.

Both works of art described their characters in great detail, by use of cinematic and literary techniques. The film and the book, allowed us to judge the characters according to their cultures, and not our own. Both Kane and Okonkwo were very strong and determined men. They wanted something very badly and spent most of their lives trying to obtain it. In the end they both give up. Kane realizes what he missed and he knows what led him to this lifestyle. He fails and will never regain what it is he lost. "Rosebud" and the house in the snow. A symbol of the life he had, the one taken away from him. Kane stated early in the film: "I always choked on that silver spoon". The only love he had he lost. Okonkwo's life deteriorated completely. Whether some aspects were out of his control, he blames it on his Chi. What must be understood is that your Chi is you, it is your conscience and your inner self. Okonkwo gave up his battle because he knew that no one would follow him. Each character paved the way to their misfortune, and suffered greatly because of their beliefs. In both works things fall apart.

1293.      This is a profile essay that wil portray the emotions of a lost one while also giving you a sense of r

A Man Not Forgotten

I knew a man once; he brought me donuts every Sunday morning. He wore golf clothes and socks pulled up to his knees. I knew a man that ate enough rice in a day to feed China. He had big ears and eyes that were clear as water. I knew a man so prideful that he chose to fix projects he most likely did not have a clue how to fix. He was tall and skinny, but as strong as a waterfall crashing into the lake below. I knew a man who was my mentor, my companion, my grandfather.

My grandfather was a man that I modeled my life after since I understood "life" itself. He took each step with pride and dignity. I went everywhere with him watching how the adults and children adored and admired him. It was as if he was an angel sent here from heaven. He gave so much to the community. After seeing the way he pursued life, it gave me a whole new grasp on mine. Spending one day with him, watching people drop what they were doing just to give a respectful handshake or warm embrace, made me realize how much I wanted to be just like him. My grandfather taught me how to give respect and how to earn it for myself. He also told me that you have to give a little to get a little. "That was the key to life," he said. Even though he might not have known it, through his actions he opened up a whole new world to my virgin eyes. Being with him was like experiencing life to the fullest. I perfected good morals, values, every day with my grandfather.

Walking side by side, trying to take every step identical to his, while he smiled down at me with a huge grin upon his face. I mimicked his every move as we walked to the kitchen. The way he picked up his fork to scoop the freshly cooked rice right out of the pot. Even down to every shake of the pepper shaker. I wanted to be him in every aspect.

When I was young, my mother used to let me invite a friend over, but in the end I always found myself wanting to have my grandfather. He was my companion in every sense of the word. We did everything together, from cleaning the pool to building a new fence in the backyard. My grandfather always made sure to involve me in whatever it was he was doing. He was your regular handy man. Maybe it was the way he spoke to me, with all the emotion and excitement in his voice, but I knew that he saw me not only as his grandson but his friend. He held my hand when I was scared and gave me that extra push when I was timid. He was a true grandfather. The love and care that he gave to me was unmatched by any of my siblings. He did all the normal things that average grandfathers do, but added something more each time we were together. He took me golfing and showed me how to perfect my swing and drive the ball straight. All of this just because I was his grandson. Every Sunday he would take me to his "special spot," where we would play eighteen holes. He was my grandfather and I was his grandson.

I remember the summer vacations that I used to go on with my grandfather, how we used to wake up even before the sun did, grab our poles and get out to the cold lake. Watching him load the Chevrolet pickup in the same repeated fashion as every time before. He put the poles in first, then the tackle boxes, and finally the ice chest full of the little goodies that he picked up before coming to get me that morning. Starting the truck and waiting exactly five minutes before putting it into drive and going down the same windy path. Nothing ever on our precious fishing

trips was out of the ordinary.  They were always the same. The trips to the cabin will be forever missed.

I knew a man who was my mentor, my companion, my grandfather. He died on the first of December, year 2000. My grandfather was an extraordinary man that will not be forgotten. His presence will be felt for eternity in my life and the many others that he touched throughout his lifetime. He left a lasting impression in my mind, of the man that I aspire to become. A man with that much tenacity and greatness is a man that all young adolescents should aim to become. Down to the way he presented himself and the way he treated the people around him. Although he had his flaw's he more than made up for them throughout his existence on earth. Although he is not here with me now, I know that he is watching over me from the great blue ocean above. From him I have learned that life is too precious to be wasted with laying around, you must go out into the world and see where it takes you. I miss him every day. Especially when I eat rice and remember just how many times to shake the pepper shaker, and when I used to try to mimic every step  while walking side by side with him to wherever it was we were going. I feel like I have learned so much from him, but in a way I feel like God cut our time short. He will be remembered for eternity in my heart, mind, and soul.

1294.      Thoughts On Pocahontas

Thoughts On Pocahontas

After watching the disney movie, Pocahontas, many people have found a large amount of historical inaccuracies in both the setting, and the characters portrayed. An example is: the topographic features of Virginia aren't at all like the waterfalls and mountains shown in the movie. Other examples include the fact that Pocahontas and John Smith never actually fell in love, that Powhatan never actually intended to kill John Smith, and that Pocahontas was told to put her head between Smith and the executioners.

But these are just minor details needed to form an opinion on the issue. One must take a step back, try to look at the big picture, get a feel for the importance of these details, and track down the real reason behind the making of Pocahontas. The truth is, this movie was definitely geared to a younger audience. It was made for enjoyment purposes, for the formation of role-models in youngster's minds, and to establish a difference between wrong and right. Maybe even to break down some stereotypes about native americans that might lead to future uneducated social injustices. It is not a documentary meant to be shown in an elementary social studies class to help students learn historical information.

The issue at hand is whether or not Hollywood has the responsibility to portray history accurately. And the definite answer is "No!". Hollywood films are made for the purpose of entertainment: something to do on a Saturday night. If they were meant to be educational films, you wouldn't go to Blockbuster to get them, you would go to the library, and every film would come with a pretty little guarantee on the box that says, "ALL THE INFORMATION ON THE ENCLOSED VIDEO TAPE HAS BEEN RESEARCHED EXTENSIVELY, AND IS GUARANTEED TO BE 100% HISTORICALLY ACCURATE."

1295.      Tim Holmes 575

The Call to Mysticism

The name of the art museum I attended was Coral Springs Art Museum.  The address is 2855 Coral Springs Drive in Coral Springs, Florida  33065.  The name of the exhibit is "Art in the Age of Terror" by Tim Holmes.  Tim Holmes' exhibit contained sculptures, sketches and paintings.

The work of art I chose is called "The Call to Mysticism" by Tim Holmes. The work of art was created in 2001.  Tim Holmes made this painting with crayon.  The approximate size of the painting is fifty-eight by thirty inches.

I arrived at the art museum and started circling the different rooms.  Then I saw it, those piercing eyes that see right through you and a long black veil that covered her whole body except her one arm.  Her eyes were drawn to perfection, as if she were speaking a story but could hear no voice.  Her body was draped with thick, black, vertical lines that began from her head and finished down to her feet.  This showed repetition and rhythm, a unity that showed flow.  The deep shading of the veil on the top of the head portrays that she still wants to be sheltered in the dark but then as you come to the fixed point of the cross, the shading is slowly disappearing, meaning that the artist wants you to focus on the cross in the woman's hand.  That one arm was showing because it had the importance of holding that magnificent cross.  Thus, meaning this work of art was made for some spiritual sustenance.  That cross was so bright it made you stare for minutes without blinking.  The emphasis of the cross being so bright was used to draw your attention to that one specific spot.  This in my opinion was because the woman just lost someone very significant in her life and the cross was a deep longing for connection.  Personally I feel the soul is delighted by connection, whether it is with an animal, complete stranger, friend, family member or higher being.  Some subconscious need is fulfilled by relationships and since she lost an important person in her life, she was looking for another.  The relationship she was looking for was religion, (this explaining the cross) some sort of higher being.  And that higher being meaning God.

Every artist has their own personal style.  Whether it is because of the time period, their cultural background, the city, state, or the country they were born in, but the way a person sculpts, sketches, or paints has to do with a sense of expressive identity.  Personal styles evolve naturally as artists incorporate their influences and growth into their works of art.  My opinion on Tim Holmes' personal style in this crayon painting is his freedom of religion and his wanting a balanced universe within us.  Our task is to combine our opposed components into a forceful balanced universe.  Maybe, that's what the parable means by saying we are created in the image of God.

I selected this work of art for several reasons.  The first, being the cross in her hand.  I believe a cross is a very significant symbol, a strong and important aspect of my life because of my catholic upbringing and faith.  The second are her piercing eyes that pull you into her black mystique.  Her eyes are a mystery, anyone who looks into them feels some sort of emotion.

This paper has 566 words.

1296.      To Be Shakespeare or not To Be Shakespeare That is the ques

To Be Shakespeare, Or Not To Be Shakespeare,

That Is The Question

Kenneth Branaugh may have had the script of William Shakespeare¹s Hamlet spoken down to every last thee and thou, but one must remember that this is Hamlet through Branaugh¹s eyes, not Shakespeare¹s.  Therefore, dismissing obvious additions made for adapting the play to film, such as having a real castle instead of a stage, it is possible to observe the unique characters, interpretations, actions, and setting that make this version the director¹s own.

In the time of Shakespeare, one of the actors main challenges was to use the words to paint the scene for the audience, since, for the most part, they were looking at a bare stage.  However, this use of imagination and portrayal is no longer needed when the script is brought to film.  Every pearl and snowflake have been placed strategically before the audience, so that there is no need to listen to the language to create your own vision of Hamlet¹s world.  Branaugh¹s world is full of lavish affairs, freezing winters, and halls of mirrors.  The use of the camera has some definite advantages and disadvantages.  First, since the characters are no longer limited by a defined space, they are able to deliver their long speeches while being in a constant state of motion.  This occurs in the scene with the guards, and most noticeably in the scene with Laertes and Ophelia, before he leaves for France.  This same scene demonstrates how the camera enables the characters to switch from one setting to the next, as when Laertes, Ophelia, and Polonius are taken from outside to the church.  This, in turn, helps Branaugh set the scene for Ophelia and Polonius, in which, Ophelia confesses everything to her father, perhaps only because she is in a confession booth.  Filming also allows for clarification of what is being said through silent plays.  During characters¹ dialogue, the scene switches to actions of the past, present, and even to things that could happen.  This seems to be used to give the audience a better understanding of what is happening, and it also helps to further develop the characters so that the story is built up to the audience, rather then being tossed into the middle of the storyline.  Young Fortinbras is often shown in these silent plays and is the only way his character is able to be developed to such an extent.  This technique is also used to show how King Hamlet is killed, as it is being explained by the ghost.  Small details, that a play could not possibly portray, add to the overall film.  For instance, the book Hamlet picks up, after being told about the ghost, is entitled Demons, suggesting that Hamlet is going to be prepared to meet this apparition.  Branaugh uses the ability of a spanning camera to include other details that enhance the richness of the scene.  The building of cannons is shown at the beginning to capture the feeling of a brewing war.  Also, Hamlet is shown with a group of fencers going through their exercises while Laertes and Ophelia talk, perhaps a foreshadowing of the end scene.  As many advantages as there may be to film, there are also numerous drawbacks that can take away from any masterpiece.

The same technology and resources that can make a film great, can also make a film terrible when used extravagantly.  Sometimes it is better to rely on good acting and simplicity rather than smoke, fire, and earthquakes to make a scene worth remembering.  This seemed to be true in the ghost scene.  It was interesting that Branaugh decided to take the scene deep into the woods.    This added a certain foreboding, eerie feeling to the scene, but one that the fire and smoke dominated.  The earthquake and fire was really just too much for the scene.  It became almost comic at some points because of all the commotion.  This also gave the impression that the ghost was from hell, even though it descended from the sky when it was first seen.  Another scene that seemed a little ridiculous was with Rosencrantz and Guildenstern riding up to Hamlet on a toy train.  The only question that comes to mind is, why?  An underscore of music during certain scenes enhances the emotion and intensity being played out.  However, the music during Hamlet¹s soliloquy about war and Fortinbras gives an overwhelming feeling of reckoning, determination, and triumph.  The music had too much pizzazz, and especially became overly dramatic when combined with the contrasting black clothes against the white snow, and the army forming ranks behind the passionate Hamlet.  Once again, simplicity might have been the key to avoid such a staged performance.

Kenneth Branaugh¹s development and  interpretation of the characters and their relationships to one another can be quite surprising to anyone who has read Hamlet before and already has formed opinions about the characters and story.  Hamlet is played as being very witty, having a range of emotions, and being a bit eccentric.  This seems to work very well, allowing even a bit of humor to find its way to the audience.  Branaugh played most of Hamlet¹s madness as an act.  The only exception might be after the ghost appeared.  He became a rambling madman too quickly for it to be an act, especially since the only two people there were those he trusted.  Overall, he slipped into the mask of madness only when it was appropriate.  Sometimes, however, his overly dramatic actions could definitely be on the line of madness.  The main source for this observation being from the play, The Mousetrap.  Hamlet appeared to be a raving lunatic enraptured in his own delight at the King¹s discomfort.  It seemed dangerous to direct this scene with Hamlet running up on the stage and finishing the actors lines, because almost anyone would stand up and look frightened while observing such atrocious behavior by the prince.  Therefore, it seems ridiculous that Hamlet feels like the King acted in a frightened manner, when, in fact, the whole audience is startled by Hamlet¹s ravings.  As for Hamlet¹s relationship with Gertrude, he seemed to turn into a little boy whenever he talked to her.  The bedroom scene with these two characters did not come off very well.  It was hard to believe Gertrude was upset, since she looked so calm sitting cross-legged on the bed.  Gertrude¹s relationship with Claudius is obviously a loving one.  A flashback shown during a soliloquy even suggests that there was an attraction between the two while King Hamlet was still alive.  The character of Claudius could almost be viewed as regretful.  The part that gives this impression is the silent play during which the death of the king is shown.  When the camera focuses on the murderers face, Claudius is watching his brother die, and in that instant a look of regret and horror creeps onto his face, as he realizes the magnitude of what he has done.  It never seemed like his intention to want Hamlet dead.  But, Hamlet kept making him confront his guilt, which was so unbearable, that the only way he thought he could cure it was by committing the same heinous act of murder, again.

Polonius was one of the bigger surprises.  This character is portrayed as being mischievous, maybe a bit evil, powerful, and hypocritical man, who even enjoys a bit of whoring.  This is quite a contrast from my own vision of an eccentric, older man, who is more of a busybody and meddler than anything.  His relationship with Ophelia is a bit confusing.  When first shown together, he seems to be vicious as he shoves her into the confession booth.  Later, he is seen always hugging, kissing, and condoling his lovesick child.  Ophelia, of course,  has reason to weep, since Hamlet did not only pursue her love in a courtly manner, but also pursued it in bed.  This adds an odd twist to their relationship and Ophelia¹s character.  Would someone who is in love with a person, enough to dismiss religious and moral issues, obey and listen to their father when asked to no longer see and talk to that person?  Well, it seems Ophelia would, and portrays herself as a coward who has no faith in love.  She unveils this when she lies to Hamlet about where her father is at.  It is surprising when she does this, considering the warm greeting Hamlet and her exchange.   Altogether, this scene is very interesting to watch.  The two-sided mirrors really add to the appeal, as Hamlet¹s words focus directly on Claudius.  With a few exceptions, the characters intertwine and compliment each other appropriately.

Some of the most noticeable additions are made through character actions.   The King is shown striking Hamlet, because he will not tell where Polonius is hidden.  When he is found, Ophelia¹s madness starts with screams that could rival any B-rated horror film.  Her madness displays one of the most unexpected additions because it consists of Ophelia in a straight jacket throwing herself against the walls of a padded room.  Branaugh must have really wanted to play up her madness.  He had her frolicking on the floor, kneeing the King in the  crotch, and, as if that was not enough, Ophelia gets hosed down with cold water.  Apparently, she is sane enough to hide a key in her mouth.  This last part is quite a stretch for the imagination, since this is a girl who is seeing imaginary flowers, singing songs, running around in her nightgown, and yet capable of planning her escape using a stolen key.  Another part that stands out is Ophelia¹s burial taking place at night, and in this same scene Hamlet appears for the first time no longer wearing black.  The final scene also has parts that could be viewed as different from the typical Hamlet.

First, there is the irony that Fortinbras has captured the kingdom while the duel is taking place.  Furthermore, there is the Laertes going over the balcony, and Hamlet throwing his sword across the room nailing the King to his thrown.  Hamlet then precedes to cause the chandelier to fall on him, and to really make sure Claudius dies, he pours the poisoned drink down the murderers throat.  Branaugh ends the film with Hamlet being carried out in a cross formation, perhaps suggesting that Hamlet¹s pursuit of vengeance was his crucifixion.

There are so many ways this work can be interpreted and acted out, and that makes  it hard to be critical when there is no standard to compare it to.  This film was Kenneth Branaugh¹s vision of Hamlet, and so to him it is magnificent.  To myself, this film had many brilliant spots and was very thorough and well acted out. However, at times, the action and music became a bit overwhelming.  Perhaps Branaugh got a little to caught up in the moment, it is hard to say.  The silent plays that were shown throughout ( King Hamlet¹s death, the drowned Ophelia, Hamlet¹s childhood days with Yurich, Priam¹s slaughter, Fortinbras) added a lot to the film, because it gave the characters a history and allowed for a non-shakespearean audience to better understand what was being said.  The adaptation from play to film is not always very easy, and obviously some changes have to occur.  Branaugh¹s version of Hamlet definitely had some additions, but it still captured the essence of Shakespeare making it an interesting piece of work, and an enjoyable film.

1297.      To Be Shakespeare

To Be Shakespeare, Or Not To Be Shakespeare, That Is The Question

Kenneth Branaugh may have had the script of William Shakespeare's Hamlet

spoken down to every last thee and thou, but one must remember that this is

Hamlet through Branaugh's eyes, not Shakespeare's.  Therefore, dismissing

obvious additions made for adapting the play to film, such as having a real

castle instead of a stage, it is possible to observe the unique characters,

interpretations, actions, and setting that make this version the director's own.

In the time of Shakespeare, one of the actors main challenges was to use

the words to paint the scene for the audience, since, for the most part, they

were looking at a bare stage.  However, this use of imagination and portrayal is

no longer needed when the script is brought to film.  Every pearl and snowflake

have been placed strategically before the audience, so that there is no need to

listen to the language to create your own vision of Hamlet's world.  Branaugh's

world is full of lavish affairs, freezing winters, and halls of mirrors.  The

use of the camera has some definite advantages and disadvantages.  First, since

the characters are no longer limited by a defined space, they are able to

deliver their long speeches while being in a constant state of motion.  This

occurs in the scene with the guards, and most noticeably in the scene with

Laertes and Ophelia, before he leaves for France.  This same scene demonstrates

how the camera enables the characters to switch from one setting to the next, as

when Laertes, Ophelia, and Polonius are taken from outside to the church.  This,

in turn, helps Branaugh set the scene for Ophelia and Polonius, in which,

Ophelia confesses everything to her father, perhaps only because she is in a

confession booth.  Filming also allows for clarification of what is being said

through silent plays.  During characters' dialogue, the scene switches to

actions of the past, present, and even to things that could happen.  This seems

to be used to give the audience a better understanding of what is happening, and

it also helps to further develop the characters so that the story is built up to

the audience, rather then being tossed into the middle of the storyline.  Young

Fortinbras is often shown in these silent plays and is the only way his

character is able to be developed to such an extent.  This technique is also

used to show how King Hamlet is killed, as it is being explained by the ghost.

Small details, that a play could not possibly portray, add to the overall film.

For instance, the book Hamlet picks up, after being told about the ghost, is

entitled Demons, suggesting that Hamlet is going to be prepared to meet this

apparition.  Branaugh uses the ability of a spanning camera to include other

details that enhance the richness of the scene.  The building of cannons is

shown at the beginning to capture the feeling of a brewing war.  Also, Hamlet is

shown with a group of fencers going through their exercises while Laertes and

Ophelia talk, perhaps a foreshadowing of the end scene.  As many advantages as

there may be to film, there are also numerous drawbacks that can take away from

any masterpiece.

The same technology and resources that can make a film great, can also

make a film terrible when used extravagantly.  Sometimes it is better to rely on

good acting and simplicity rather than smoke, fire, and earthquakes to make a

scene worth remembering.  This seemed to be true in the ghost scene.  It was

interesting that Branaugh decided to take the scene deep into the woods.    This

added a certain foreboding, eerie feeling to the scene, but one that the fire

and smoke dominated.  The earthquake and fire was really just too much for the

scene.  It became almost comic at some points because of all the commotion.

This also gave the impression that the ghost was from hell, even though it

descended from the sky when it was first seen.  Another scene that seemed a

little ridiculous was with Rosencrantz and Guildenstern riding up to Hamlet on a

toy train.  The only question that comes to mind is, why?  An underscore of

music during certain scenes enhances the emotion and intensity being played out.

However, the music during Hamlet's soliloquy about war and Fortinbras gives an

overwhelming feeling of reckoning, determination, and triumph.  The music had

too much pizzazz, and especially became overly dramatic when combined with the

contrasting black clothes against the white snow, and the army forming ranks

behind the passionate Hamlet.  Once again, simplicity might have been the key to

avoid such a staged performance.

Kenneth Branaugh's development and  interpretation of the characters and

their relationships to one another can be quite surprising to anyone who has

read Hamlet before and already has formed opinions about the characters and

story.  Hamlet is played as being very witty, having a range of emotions, and

being a bit eccentric.  This seems to work very well, allowing even a bit of

humor to find its way to the audience.  Branaugh played most of Hamlet's madness

as an act.  The only exception might be after the ghost appeared.  He became a

rambling madman too quickly for it to be an act, especially since the only two

people there were those he trusted.  Overall, he slipped into the mask of

madness only when it was appropriate.  Sometimes, however, his overly dramatic

actions could definitely be on the line of madness.  The main source for this

observation being from the play, The Mousetrap.  Hamlet appeared to be a raving

lunatic enraptured in his own delight at the King's discomfort.  It seemed

dangerous to direct this scene with Hamlet running up on the stage and finishing

the actors lines, because almost anyone would stand up and look frightened while

observing such atrocious behavior by the prince.  Therefore, it seems ridiculous

that Hamlet feels like the King acted in a frightened manner, when, in fact, the

whole audience is startled by Hamlet's ravings.  As for Hamlet's relationship

with Gertrude, he seemed to turn into a little boy whenever he talked to her.

The bedroom scene with these two characters did not come off very well.  It was

hard to believe Gertrude was upset, since she looked so calm sitting cross-

legged on the bed.  Gertrude's relationship with Claudius is obviously a loving

one.  A flashback shown during a soliloquy even suggests that there was an

attraction between the two while King Hamlet was still alive.  The character of

Claudius could almost be viewed as regretful.  The part that gives this

impression is the silent play during which the death of the king is shown.  When

the camera focuses on the murderers face, Claudius is watching his brother die,

and in that instant a look of regret and horror creeps onto his face, as he

realizes the magnitude of what he has done.  It never seemed like his intention

to want Hamlet dead.  But, Hamlet kept making him confront his guilt, which was

so unbearable, that the only way he thought he could cure it was by committing

the same heinous act of murder, again.

Polonius was one of the bigger surprises.  This character is portrayed

as being mischievous, maybe a bit evil, powerful, and hypocritical man, who even

enjoys a bit of whoring.  This is quite a contrast from my own vision of an

eccentric, older man, who is more of a busybody and meddler than anything.  His

relationship with Ophelia is a bit confusing.  When first shown together, he

seems to be vicious as he shoves her into the confession booth.  Later, he is

seen always hugging, kissing, and condoling his lovesick child.  Ophelia, of

course,  has reason to weep, since Hamlet did not only pursue her love in a

courtly manner, but also pursued it in bed.  This adds an odd twist to their

relationship and Ophelia's character.  Would someone who is in love with a

person, enough to dismiss religious and moral issues, obey and listen to their

father when asked to no longer see and talk to that person?  Well, it seems

Ophelia would, and portrays herself as a coward who has no faith in love.  She

unveils this when she lies to Hamlet about where her father is at.  It is

surprising when she does this, considering the warm greeting Hamlet and her

exchange.   Altogether, this scene is very interesting to watch.  The two-sided

mirrors really add to the appeal, as Hamlet's words focus directly on Claudius.

With a few exceptions, the characters intertwine and compliment each other

appropriately.

Some of the most noticeable additions are made through character actions.

The King is shown striking Hamlet, because he will not tell where Polonius is

hidden.  When he is found, Ophelia's madness starts with screams that could

rival any B-rated horror film.  Her madness displays one of the most unexpected

additions because it consists of Ophelia in a straight jacket throwing herself

against the walls of a padded room.  Branaugh must have really wanted to play up

her madness.  He had her frolicking on the floor, kneeing the King in the

crotch, and, as if that was not enough, Ophelia gets hosed down with cold water.

Apparently, she is sane enough to hide a key in her mouth.  This last part is

quite a stretch for the imagination, since this is a girl who is seeing

imaginary flowers, singing songs, running around in her nightgown, and yet

capable of planning her escape using a stolen key.  Another part that stands out

is Ophelia's burial taking place at night, and in this same scene Hamlet appears

for the first time no longer wearing black.  The final scene also has parts that

could be viewed as different from the typical Hamlet. First, there is the irony

that Fortinbras has captured the kingdom while the duel is taking place.

Furthermore, there is the Laertes going over the balcony, and Hamlet throwing

his sword across the room nailing the King to his thrown.  Hamlet then precedes

to cause the chandelier to fall on him, and to really make sure Claudius dies,

he pours the poisoned drink down the murderers throat.  Branaugh ends the film

with Hamlet being carried out in a cross formation, perhaps suggesting that

Hamlet's pursuit of vengeance was his crucifixion.

There are so many ways this work can be interpreted and acted out, and

that makes  it hard to be critical when there is no standard to compare it to.

This film was Kenneth Branaugh's vision of Hamlet, and so to him it is

magnificent.  To myself, this film had many brilliant spots and was very

thorough and well acted out. However, at times, the action and music became a

bit overwhelming.  Perhaps Branaugh got a little to caught up in the moment, it

is hard to say.  The silent plays that were shown throughout ( King Hamlet's

death, the drowned Ophelia, Hamlet's childhood days with Yurich, Priam's

slaughter, Fortinbras) added a lot to the film, because it gave the characters a

history and allowed for a non-shakespearean audience to better understand what

was being said.  The adaptation from play to film is not always very easy, and

obviously some changes have to occur.  Branaugh's version of Hamlet definitely

had some additions, but it still captured the essence of Shakespeare making it

an interesting piece of work, and an enjoyable film.

1298.      To build A fire 2

Significance of Words Dying and Death in "To Build a Fire"

Dying and Death in "To Build a Fire"

The significance of the words "dying and death" in Jack London's 1910

novel, "To Build a Fire" continuously expresses the man's dwindling warmth

and bad luck in his journey along the Yukon trail to meet "the boys" at

camp.   London associates dying with the man's diminishing ability to stay

warm in the frigid Alaskan climate. The main characters predicament slowly

worsens one level at a time finally resulting in death.

The narrator informs the reader "the man" lacks personal experience

travelling in the Yukon terrain.  The old-timer warned the man about the

harsh realities of the Klondike.  The confident main character thinks of

the old-timer at Sulphur Creek as "womanish."  Along the trail, "the man"

falls into a hidden spring and attempts to build a fire to dry his socks

and warm himself.  With his wet feet quickly growing numb, he realizes he

has only one chance to successfully build a fire or face the harsh

realities of the Yukon at one-hundred nine degrees below freezing.  Falling

snow from a tree blots out the fire and the character realizes "he had just

heard his own sentence of death."  Jack London introduces death to the

reader in this scene.  The man realizes "a second fire must be built

without fail."  The man's mind begins to run wild with thoughts of

insecurity and death when the second fire fails.  He recollects the story

of a man who kills a steer to stay warm and envisions himself killing his

dog and crawling into the carcass to warm up so he can build a fire to save

himself.

London writes, "a certain fear of death, dull and oppressive, came to him."

As the man slowly freezes, he realizes he is in serious trouble and can no

longer make excuses for himself.  Acknowledging he "would never get to the

camp and would soon be stiff and dead," he tries to clear this morbid

thought from his mind by running down the trail in a last ditch effort to

pump blood through his extremities.

The climax of the story describes "the man" picturing "his body completely

frozen on the trail."   He falls into the snow thinking, "he is bound to

freeze anyway and freezing was not as bad as people thought.  There were a

lot worse ways to die."  The man drowsed off into "the most comfortable and

satisfying sleep he had ever known."  The dog looked on creeping closer,

filling his nostrils with the "scent of death."

London's portrayal of the man does not initially give the reader the theme

of dying, but slowly develops the theme as the story develops.  The story

doesn't mention death until the last several pages.  The main character

changes from an enthusiastic pioneer to a sad and desperate man.  The

conclusion of the story portrays the man accepting his fate and understands

the old-timer at Sulphur Creek had been right; "no man must travel alone in

the Klondike after fifty below."  Typically, short stories written in the

early 1900's often conclude the story with a death or tragedy.  London's

story is no exception.  This story follows the pattern by illustrating

events leading up to and including death.

Thesis Statement- The significance of the words "dying and death" in Jack

London's 1910 novel, "To Build a Fire" continuously expresses the man's

dwindling warmth and bad luck in his journey along the Yukon trail to meet

"the boys" at camp.

1299.      To Build a Fire

"To Build a Fire"

How many times have you seen birds flying south for the winter?  They do not read somewhere or use some computer to know that they must fly to survive.  In Jack London's "To Build a Fire", we see how that mans intelligence is sometimes foolish.  The man, who is walking in seventy-five degrees below zero weather, lets his learned behavior override his instinct.  Therefore, he dies.  London's theme is that no matter how intelligent society becomes, we as a species should never discard our basic instincts.

In the beginning of the tale we see that the man realizes it is cold, but only sees this as a fact and not a danger.  The man spit on the ground to test how cold it was.  His test taught him that it was colder than he had first thought, but he never thought of that as a danger only as a reality.  "That there should be anything more to it than that was a thought that never entered his head" (119).  To many times modern man plods along oblivious to the reality that lies one moment or misstep away (Votleler 272).

The man sees that he is feeling the effects of the cold more and more as he goes along, but more than ever he pushes on.  Several times he comments that the cold is making his hands and feet numbed, and frostbite is killing his cheeks.  He thinks "What were frosted cheek?  A bit painful, that was all. . ." (120).  Again he chose to ignore an instinct that would have saved him.

The dog, on the other hand, although guided by his learned behavior still retains his instincts.  The dog follows the man throughout his ill faded journey, but after the man perishes he relies upon his instincts to survive.  This is witnessed in the last paragraph by the statement

"Then it turned and trotted up the trail in the direction of the camp it knew, where there were other food providers and fire providers" (129).

The theme of London's "To Build a Fire" is how we should all take heed to modern knowledge and learned behavior has its benefits, but our primal instincts should never have

ignored.  The man in the story had lots of knowledge but neglected to pay attention to his "sixth sense."  The dog on the other hand, followed as long as he could but then let his instincts carry him to safety.  We can never have enough knowledge to replace the survival skill that nature has provided us.

1300.      To Kill A Mocking Bird 2

Coming of Age

(Jeremy Finch)

The coming of age of  Jem, Jeremy Finch, is shown in many ways

through out the book  To Kill A Mockingbird by Harper Lee.  He changes

socially.  He changes mentally.  His feelings change emotionally. He also

changes to become more of an adult figure.  Another way he changes is that

he changes physically.

Jem changes through out the book socially by the way he starts having

better feelings toward other people.  There are many times when Jem start

feeling bad for other people in the story, like when him and scout get in a

fight but even though their mad at each other he still is grow up enough to

know that he should say "Night, Scout."  There are also many other

incidents, like when he goes out and teaches Dill how to swim. Jem also goes

through some bad social change when he turns "twelve. He is difficult to live

with, inconsistent, and moody."(115). These are only a few of the things that

Jem does to show that he is growing up in his social ways.

Mental change is another type of change that Jem goes through.  Jem

start to think like an adult as he gets older in the book.  He shows it at the

trial of Tim Robinson when the jury is in the jury room and he starts to talk to

Reverend Sykes.  He starts saying thing about the trial and Reverend Sykes

ask him not to talk like that in front of  Scout.  Which shows that he knows

what he is talking about.(see page 208-209).  There is also the time when he

had to go and read to Mrs. Dubose which he later finds out about her drug

addiction which he fully understands.  So those are ways he changes mentally.

Jem changes physically in many ways in the story.  His hair stuck up

behind and down in front, and I wondered if it would it would ever look like a

man's-maybe if  he shaved it off and started over, his hair would grow back

neatly in place.  His eyebrows were becoming heavier, and I noticed a new

slimness about his body. He was growing taller.(225)  There was also when

Jem tried to show Scout his hair on his chest which shows him growing up

physically.(see page225)  So these things show how he changes physically to

become more of a man as he hits puberty.

Another change that Jem goes through is his feeling toward himself and

how he starts to feel better about himself.  When he gets home one day from

school he shows that he is all confident about making the football team and

how happy he is to be old enough to play.  But even though he doesn't get to

play he still remains happy with just being the waterboy and just being able to

be there watching.  During the trial "It was Jem's turn to cry." which shows

that he was not afraid to just let his feeling be show even though most people

wouldn't have.(212)  So these show that Jem can feel good about himself and

also feel bad but he can still let it out if he has to.

One of the most important change that Jem goes through is taking and

adult role in Scouts life.  He walks her to the school play and he protects her

from Bob Ewell when he tries to kill them.  This is the main one because if

Jem did try and stop Ewell Scout could have died and it would have show

that Jem didn't really have an adult role.  Also another reason is when Jem

tells Dill that he shouldn't touch Boo's house because if Boo kills him no one

will be around to keep an eye on Scout.(13)

As you can see those where all ways that Jem shows his coming of age

in the book To Kill A Mocking Bird by Harper Lee.  By changing socially he

becomes more likable.  By changing emotionally with himself he becomes

more confident.  By changing mentally he starts to under stand more

compicated things that before he would have never knew about.  By changing

physically he becomes more of a man and is more older.  And finally by

changing to be more of an adult to his sister he becomes more aware of what

an adult has to face.

1301.      To Kill a Mocking Bird

Mariusz Jakimik                                                                                                Jakimik 1

Miss Rende

English ENG3A-05

March 11, 1997

From the time people are born, until they die, it is only a natural thing to want to

keep learning about their life and to figure out why they were put on this earth.  From the

very beginning of life, babies want to touch and experience everything around them.

Throughout the novel, Who Has Seen the Wind by W.O. Mitchell, Brian O'Connal has

found himself with a tremendous hunger to discover the real meaning of life.

Clearly, then, Brian always searches for new ways to learn about the world he lives

in.  One of the things that Brian shows an interest in is God.  Brian really wants to meet

Him, not knowing that God is something that cannot be seen, for He is a spirit.  Brian

would say "Lets go over to his place"(7).  Throughout the novel, Brian seems to be

looking for God.  He has his own image of God in his mind, thinking that "God rides the

vacuum cleaner"(31).  Brian learns the truth about God from different people like his

parents, Saint Sammy, Mr. Hislop, his grandma, and his friends.  He discovers that God is

everywhere and in everyone, but He cannot be seen.

Furthermore, Brian is very much interested, like many other children his age, about

where living things come from.  Being as young as he was, he always thought that God

delivered babies.  After Brian witnessed his very first birth, that of a rabbit, he became

very confused and curious about what and how it happened.  Brian had a very

uncomfortable conversation with his dad, Gerald O'Connal, about where babies come

from:

Remember I told you the pigeon grows inside the egg, the mother lays the egg,

and it hatches?...They don't with rabbits.  Rabbits are different.  The father

Jakimik 2

plants a seed in the mother and the baby grows from it.  When it's time, they

come out.

Is that what he is doing when...

Yes Spalpeen, that's what he is doing.(161-162)

This fascinated Brian very much.

Unquestionably, everything that is born and lives, must eventually die.  Death is an

unavoidable fact of life, and cannot be escaped.  The deaths in the novel start out from not

very significant, to the very shocking ones.  Brian was becoming aware of death but was

not influenced very much from such deaths like the gopher, the rabbits and Mr. and Mrs.

Wong.  After his dog Jappy's death, Brian realizes how fragile life is.  It was a complete

shock to him when his dad suddenly died.  Brian did not know what to feel.  It was as if

Brian's life was over, and he felt lost and lonely without his father.  Brian learned that

"People were forever born, people forever died, and never were again.  Fathers died, and

sons were born.  The prairie was forever, with its wind whispering for man, but for Brian's

father-never."(239)

Thus, Brian begins to realize that the world is full of strange and unexplained things.

Brian does not know why the two headed calf was born, so he concluded that it must have

been God's mistake.  The runt pig was another abnormal experience for Brian.  He felt

sorry for it and wondered why such things are born, and he did not want Ab to kill it.

"You can't kill my runt pig"(216), he said. Furthermore, Brian wanted to get to know the

Young Ben better, because he felt a special connection to him.  It was as though they had

Jakimik 3

something in common.  Brian felt that he could learn something from the Young Ben,

something nobody else could teach him.  Saint Sammy was another mysterious buy to

Brian that teaches him about God.  Saint Sammy was an outcast in town because he

claimed that he knew God personally and had a special connection with Him.

Throughout the novel, Brian satisfies his need to understand life more by

experiencing many different situations.  He learns that life is  very complicated and  hard

to comprehend.  He becomes aware of God looking over us, he also learned how

wonderful birth is, and how sudden and tragic death is.  Brian really understood that birth

is the exact opposite of death.  He had seen the circle of life turn right before him, and life

and death were now familiar to him.  Life is full of unexplained events, but everything

happens for a reason.  Even though Brian witnessed all this, it is only human nature to

want to keep learning about life and what it has to offer.

Works Cited

Mitchell, W.O, Who Has Seen the Wind

Toronto, Ontario: Macmillan Canada, 1947

1302.      To Kill a Mockingbird 2

To kill a mockingbird

"Select a novel studied by you where at least one of the principal

characters is a young person. Discuss what you consider to be the most

important influence in the novel in helping that young person to develop."

Jean-Louise Finch (Scout) is the main character in Harper Lee's "To

kill a mockingbird". She is a young girl who matures in the course of

the novel. The most important influence in her development is clearly

her father, Atticus.

Unlike almost all other adults in Scout's environment, he is not in any

way prejudiced against the black population of Maycomb, a small

American town in the 1930's in which all the novel's happenings  take

place. He tries to instill his beliefs of the equality of all people in his

daughter and his son, Jem, in many discussions, he for instance states

that whenever a white man cheats a black man, the white man is

"trash". He is very modest, which is shown in an incident in which he

is asked to shoot a mad dog, which he manages to do with one

precise shot, yet he never told his children of his great talent for

marksmanship, and does not go hunting because he thinks it gives

him an unfair advantage over other living things.

The main event of the novel is a trial, in which Atticus is the

defendant's lawyer, against a black man who has been falsely accused

of raping a white woman. Atticus does his best to prove Tom

Robinson's innocence, to a degree where any objective jury would

surely have found him not guilty, but it sentences him to death, as it

is expected to do by the general populace. Prior to the trial, Scout and

Jem are mocked by other children at school, which have been told by

their parents that Atticus will defend the offending black man.

Simply bearing this, as Atticus tells them to, instead of retaliating it

physically, which would have been a much more childlike behaviour,

is also a learning experience for them both. Towards the end of the

novel, Atticus's belief in the good in mankind is shattered, namely

when the allegedly raped girl's father, Bob Ewell, tries to murder Jem

and Scout.

1303.      To Kill a Mockingbird 3

The story, To Kill a Mockingbird is a very fine novel which exemplifies the life in the south and the human rights and values given to everybody.  The book especially took the case of prejudice to a serious extreme.  From the title, a mockingbird through the eyes of  Harper Lee, is a person who has fallen victim to vicious stereotypes.  The title To Kill a Mockingbird explains itself quite clearly in the end of the novel when  Tom Robinson, one of the mockingbirds,  is killed due to the stereotypes dumped upon him.  Often, the use of stereotypes just breaks down the real truth of a person.

When stereotypes of Boo are used, the truth is often obscured.  "You'll get killed if you touch that tree"(pg 38)  This quote reveals that the two siblings felt that Boo was a harmful person because of false rumors.  Stereotypes are easily picked up, and used to horrible extreme when a large majority of people use them.  This was the case with Scout and Jem when they picked up on the stereotypes going around the neighborhood about Boo.  "When I got there, my breeches were all folded and sewn up"(pg 63)   When Boo sewed Jem's breeches together, this was a sign from Boo to let the children realize what a kind and pleasant man he really was.  Also, Boo was considerate enough to save Jem from a couple of whippings, because after all, if Atticus were to see the torn pants he would have known Jem was the culprit in the Radley's yard.  "You were so busy looking at the fire, you didn't notice Boo behind you"(pg 76)  This was also a symbol which Boo shared to let the kids slowly realize the truth about him, that he was an innocuous caring person hiding behind a fading shadow.   Boo just wanted to be seen as the real him instead of the horrid stereotypes which deformed his image.

Misconceptions are results of prejudice in Jehovah's Witnesses' case.  When they come strolling up people's street, the first reactions to the neighborhood is to lock the door.

They lock their doors because they hear the jokes and prejudice against Jehovah's  Witness which puts the thought in people's minds that Jehovah's Witness is just a joke.  On the other hand, many are already faithful followers to their own religion and  don't want to waste the time listening to a mini sermon.  Often times, Jehovah's Witness are ridiculed  by members of other religions.  When this occurs, members of  the Jehovah's Witness feel uneasy about their religion, which lowers their self-esteem.  Being prejudice towards a religion isn't very thoughtful considering that the Jehovah's Witness try their hardest to be faithful, while people mock at them just for being a member of the Jehovah's Witness.  Furthermore, in people's minds, they feel that Jehovah's Witness  are fanatic about converting peoples religion. This is just a false stereotype about Jehovah's Witness which  is the basis of prejudice towards Jehovah's Witness, that they are all "crazy about converting people."  These misconceptions are unfair, in that they are just out there to spread the word of their god, but are being mocked while they do.

Homeless people often fall victim to prejudice which makes them mockingbirds.

In the streets, they are avoided practically by everybody in sight.  These actions are due to stereotypes about them, such as they're all dirty and dangerous which is totally false.  When they are avoided due to these cruel misconceptions, they don't have the chance to prove themselves as  being a part of the society from where they are banned, which is highly unfortunate.  In society, people are rude and mean to the homeless because of  the prejudice surrounding them.  These harsh acts are typical of people when they encounter a difference between themselves and some on else.  When rudeness is the result of prejudice, the reason for being rude is that the person is a coward and must show his/her fear in

anger.   This is so because most people can not face the fact that people are different in a society like ours..  A lot of times, homeless people keep to themselves.  The reason to this  act is due to their fearful feelings towards the human society.  They fear that if they try to come out of their of their own little society, we will mock and treat them as entirely unwanted guests which is probably true.

Misconceptions and stereotypes often lead up to prejudice.  In order for us to stop creating mockingbirds, we must all look at things from every angle and have an open mind, without which, you are doomed to be tainted by the world's obviousness.  Remembering this, you will find out that "most people are nice... when you finally meet them.."(pg 284)

1304.      To Kill A Mockingbird Courage

Courage

In the novel, "To Kill A Mockingbird", we were presented with several displays of courage.  Some of the courage in the novel were displays of physical courage.  However, physical courage was not the only type displayed, we also saw examples of moral courage.

I saw several examples of physical courage in this excellent novel.  One example of courage however insignificant to me or you is Jem's courage to run up to the Radley's house, now to me or you that is nothing but to a young child that has grown up not knowing this person it was a physical challenge to overcome.  Also another display of courage was the courage shown by the men in the Finch neighborhood when Miss Maudie's house caught fire, they cared not that they might get hurt when they ran into her house to retrieve her belongings.  Another example of physical courage was that of Atticus standing up against a mob.  The last example of courage was Arthur Radley fighting Bob Ewell and saving the children.

In the novel we saw several example of moral courage.  In my opinion this is the best type of courage because it shows the character of person.  The first display of this courage was Mr. Cunnigham's constant payment of his debt to Atticus; he had the courage to take something into this neighborhood.  The next display of moral courage was when Jem despite his misgivings constantly went to Ms. Dubose's house and read to her.  The next display of moral courage was Atticus's decision to defend Tom Robinson in court and instead of just walking in and walking out he tried his best to help him get out.  There was also Heck Tate's moral courage at the end of the book, his courage to keep Arthur Radley from being a spectacle.

In short this book has many different displays of immense courage both in the physical sense and in the moral sense.  I also feel that had it not been for these shows of courage this book would not have won the Pulitzer Prize it did win.

1305.      To kill a Mockingbird

The plague of racial hatred. In To Kill a Mockingbird, a small southern town ravaged by the Depression is unknowingly diagnosed with this even more devastating disease.  One lone soul is prepared to make the diagnosis. An adaptation based on the classic Pulitzer-Prize-winning novel by Harper Lee, "To Kill A Mockingbird" is a legendary movie, uniquely strong and sensitive about racism and the ways of the Old South during the Depression in the 1930s. It is accurately portrayed and still remains one of the most powerful arguments against racism ever revealed on screen. The film however, does not only focus on the issue of racism, yet it also deals with courage, innocence, childhood, education, prejudice and the lessons that we learn in life.

Several kinds of courage can be recognised in this film. There is the basic courage required to overcome childish fears, such as running past the Radley place, or returning there to fetch the trousers that Jem caught on the fence. Atticus also shows a form of childish courage when he shoots down the mad dog, even considering that he has a gun with him. A moral form of courage is shown by Scout, when she is asked by her father not to retaliate when children tease and torment her and himself. The most evident and difficult courage is shown by Atticus when he is certain to lose but still chooses to defend Tom Robinson, due to his great integrity. Though Atticus is pressured and harassed on all fronts and loses friends over the incident he gains the respect of his children and the black population of their 'dirty' town. The weakest person, in the sense of courage is Bob Ewell as he seeks to take revenge on Atticus' children but faces them in darkness rather than in the light of day.

The image of the mockingbird occurs frequently in the film. The children are warned that it is a sin to kill a mockingbird because all it does is sing. Both Tom Robinson and Boo Radley can be compared with a Mockingbird as they are both gentle people who have done no harm but tried to help others. Both their lives are predictions made by the prejudice society they live in and due to certain circumstances and backgrounds they don't have the power to change what people think. Like the mockingbird itself Tom and Boo should be protected and cared for, not hunted down. The most powerful story in the film is that of Tom Robinson and when justice is killed, and the childhood innocence of Jem, Scout, and Dill is lost.

The film presents us with an idealised form of childhood, where the narrator looks back to her youth and selects important incidents and events. So we have an unusual and fresh view of all the incidents through the eyes of an innocent child. All the virtues that children possess are shown in the film such as their innocence, frankness and a great amount of humour. We can also notice how they are growing up and their decision making have change. Scout realises that "one must lie under certain circumstances". Their fresh outlook on people and events contrasts with the fixed, prejudice ideas of the people of that 'tired old town'.

Atticus Finch (Gregory Peck) is a successful lawyer in Alabama, raising two children (Scout, played by Mary Badham, and Jem, portrayed by Phillip Alford) without their mother. It is very hard to imagine the adaptation of this movie without Gregory Peck's fantastic, award-winning performance as Atticus Finch. He is intelligent, strong, charismatic, articulate, sympathetic, thoughtful, responsible, compassionate, and very human. His acting is so natural and his interaction with the children is so real that it seems the movie is taken from his own life. The portrayals of his children are completely stunning, too. Both were "original" Southern kids with no previous acting experience. Still, they behave so naturally in front of the camera that it truly is surprises that neither of them has furthered their acting careers, aside from one or two additional supporting parts. The movie also features a very young Robert Duvall in his first movie role. His mysterious, somewhat disturbed, yet still sympathetic portrayal of Boo Radley caught everyone's eyes.

Great credit should be given to all camera crew and the director of this great film as they have used brilliant film techniques to capture all they could and to maximise viewing quality. Although the film was black-and-white, a very creative use of the camera was that most of the camera angles and views were taken from the perspective of the children, meaning that we could almost feel what they felt. Lighting was used to great effect as the director used shadows to sometimes paint pictures of what was happening in the background. There was a sense that the music did not live up to the scenes that were being shot in the film, however the characters made up for it. The dialogue was carefully chosen from the book, which meant that all the important scenes would have all the important speech implemented. The director has also created moods such as suspense and fear such as the time when the children were walking to the Halloween pageant and were attacked by Bob Ewell. Sound effects such as, wind blowing, trees rustling, and a second pair of footsteps all attributed to the suspense of the seen and the rest of the film.

I did like the fact that To Kill A Mockingbird doesn't take an easy road; it has a relatively happy ending, but the movie confronts some tough issues along the way and it doesn't flinch from presenting unpleasant outcomes. Most of the parts in the film are very much like the book. Some however are twisted to save time, such as not introducing and telling the life of Mrs Dubose, or how Jem ripped his pants on the fence and ran back straight away to retrieve them. Another seen shows that Bob Ewell spat on Atticus, in front of Jem and Mr Robinson's home, yet in the book the incident occurs in front of the post office. Another observation is that the book makes a full rotation from the start to the end (it starts where it ends and finishes where it starts) whereas the film begins in a later scene than the book. There is some confusion on where the climax of the film is and it is quite difficult to notice that it is in fact the part where Boo Radley saves Scout and Jem and reveals himself to them.

"To Kill A Mockingbird" is a masterpiece that belongs in every serious movie collection. It features a number of memorable visuals and story elements, as well as outstanding performances by both actors and contributors. This timeless tool for imparting values to young viewers is a prime example of what cinema, at its best, can achieve. And few screen heroes provide as good a role model as Atticus Finch. This film can be seen as a classic and yet it can still relate to many issues faced today. All leads to what is one of the best endings I have ever seen in a film. You are sure to be absolutely bamboozled.

1306.      To Listen Or Not To Listen

To Listen Or Not To Listen: A Pop-Music Question

What would happen if you found out that a certain type of food was bad for you; would you stop eating it? Similarly, if you found out a certain type of music was bad for you; would you stop listening to it? Wouldn't you need proof before you make a decision? John Hamerlinck, a freelance writer in St. Cloud, Minnesota uses this article, "Killing Women: A Pop-Music Tradition", to make his major point of how popular music is the most common link to violence (241). Hamerlinck voices his concern on the issues of violence in our society and has taken many stands on how violence is generated. Hamerlinck emphasizes that even though the mainstream press seems to have only recently recognized this horrible reality, the signs of our tolerance toward domestic violence have long had a prominent profile in popular culture (240). Through novels, films, and music, the media has effected the way our society thinks, believes, and acts. I agree partly with Hamerlinck about the strong influence music has on its listeners, but I don't agree with how he supports and concludes his article with the type of evidence he uses. Hamerlinck starts out by supporting the way music promotes violence then suddenly changes his stand to say that music isn't the cause of violence. How can you trust an author's word when he switches his opinion by the end of the article?

In Hamerlinck's article, the beginning purpose was clear but he changes his position by the end of the article. This change of purpose takes the credibility away from Hamerlinck, and confuses the reader. The article was written using outdated songs and without strong supporting evidence. The examples of music he used were from the 1920's and 1980's. Hamerlinck's poor choice in music causes the 1990's audience to have difficulty relating to the point he was trying to make. Hamerlinck reveals that from the beginning of music there has been an old folk genre known as the "murder ballad," which tells stories of men killing women because they have "done them wrong" (241). In many of the songs in this genre, the music misrepresents the homicidal lyrics (241). How can this music genre misrepresent homicidal lyrics when it is obvious to the reader that these grouping of words are intended to express hatred toward women, enough to kill them! Hamerlinck supports his article with random songs that have to do with violence and love, in hopes of proving that music has an impact on it's listeners. Lonnie Johnson sang a 1920's song called "Careless Love," in which he promises to shoot his lover numerous times and then stand over her until she is finished dying (241). A song like Little Walter's "Boom, Boom, Out go the Lights" has a harsh and frightening image (241). The listener may not be aware of the destructive words in the songs because of the snappy, up-beat rhythms the artists' create. I disagree with this statement because if this is the case, how can the listeners really not know what the lyrics are truly promoting? Why then, is violence at the fault of the artists and not directly at the listeners. It is true that the artists can continue to write and sell this type of music, but it is the choice of the listener to continue to listen to violent lyrics. Hamerlinck also explains how types of music influence the mistreatment of women. Hamerlinck then goes on to say how these songs do not cause violence and their singers are not evil (242). If that wasn't enough to confuse the readers, he challenges the reader to examine themselves by saying, "If the beat is good and the chorus has a catchy hook, we don't need to concern ourselves with things like meaning...right? We can simply dance on and ignore the violence around us (243). I agree with Hamerlinck when he says that these songs don't cause violence. Hamerlinck doesn't support this statement in his article, so I will expand on it. Of course it is not the songs that are causing killing or violence but the people who choose to do what the songs say to do. Whether the songs promote good acts or a bad acts, it comes down to the interpretation of the listeners understanding of the music. Just as metal detectors have become an unquestioned, accepted part of the airport landscape, our culture comfortably places violence and terror in pop music's love-song universe (242). "All of a sudden I saw Sheriff John Brown-aiming to shoot me down-so I shot, I shot, I shot him down," these words sung by Bob Marley have been accepted by the world. So what is the big deal? Well according to the Family Violence Prevention Fund, an act of violence occurs every nine seconds in the United States (240). When Skypark sings the song Shelter, "Lies provide me no shelter - Hate, no comfort -violence gives me no pleasure- Shame, no treasure..." what runs through your mind? The band Skypark presents the opposite of violence--peace. If the general Public were made aware of their tolerance toward violence in the media, the question to ask is, would violence be eliminated in today's society? If so, then we better start speaking up and tuning out. Hamerlick wrote this article to inform people about the seriousness of violence toward women, and the effects of music on listeners. Shoulders shrug and the common comment from people is that we live in a violent society (242). This is a good excuse for them concerning this issue. Society just focuses on violence as something that cannot be changed and how music cannot effect a person's mood or perspective. Hamerlinck did change his opinion about the cause of violence, but through these topics and examples Hamerlinck makes an attempt to broaden his readers knowledge and tolerance of music violence.

1307.      Tom Sawyer

Tom Sawyer was a boy, not one of the sort that you read about in good books, but a little devil, never malicious and always at some trick, and in the course of years he engaged in a multitude, all of which are here recorded in Twain's style. He had special aversions for church, Sunday school, pious people, devout conversation and the company of his sedate but good old aunt. In spite of his efforts to escape from such inflictions he had to suffer them once in a while, but in his efforts to get some diversion on such occasions he more than once made lively sensations. Too lazy to get his Sunday school lessons, he managed by sharp trading to buy up a lot of the tickets given to the best pupils, and when a distinguished visitor came the children were requested to step forward with their tickets so that the one who had the most should receive the prize. To the astonishment of all Tom Sawyer was the hero, and, after a great time had been made over him, the visitor thought Tom should have a chance to show his learning, so he asked him who were the first two of the twelve Apostles to follow Jesus, it being presumed that the prize boy knew such things perfectly, for the lesson of the term had been in the study of the four Gospels. Tom felt the necessity of giving some answer, and his was "David and Goliath," to the surprise of the visitor, the consternation of the head teacher and the amusement of the school. When Tom went to church he took a large snapping bug (which has a grip like a crab) with him, and it got hold of a church-going dog, which rushed around the building and howled in a manner highly unbecoming to the place. When he was sick his aunt gave him pain-killer, and when she went out he gave a dose to the cat, which squawled, rushed around like mad, upsetting everything, and then jumped through the window, breaking a pane of glass in the way. Aunt Polly hearing the disturbance and finding the cause, scolded Tom for being so cruel to the cat, but Tom said she had compelled him to take pain-killer when he protested, and he had not given it to pussy till she came and begged for a taste when she saw him pour it into a spoon. He went to school, and got into trouble on account of a little girl--both about ten years old. Having read about the romantic life of pirates, Tom and two companions of the same age stole a little raft, on which they floated a few miles on the Mississippi to a small uninhabited island, where they remained three days, while their relatives mourned their supposed death by drowning, and when they were discovered and brought back there was great rejoicing, and Tom was looked at by other little boys as a wonderful hero, and he put on awful airs on account of the sensation he made. What we have told here is merely part of the outline of the story; the chief merit is in the filling in, which is full of humorous and acute delineation of the follies, superstitions and peculiarities of boys, girls and older people.

1308.      Toulmin model

Toulmin model

The use of Toulmin model Applied to a scene from the movie SALADIN THE CHAMPION (The Crusaders) Saladin: Ahmad Mazhar kingRichard : Hamdy Gaithe Virgenia: Lila Fawzi King Feleebe: Omar Alharerri by: Al-OmaniQ8 Comm. 480 Assign#3 Summer 98' Saladin the champion (the crusaders) This movie talks about the crusades to gain Jerusalem back from the Moslem army that was lead by the great sultan Saladin. At the beginning of the movie the Moslems hear about the misfortunate Moslems that are treated badly in Jerusalem, consequently, Saladin takes over Jerusalem in a battle with the Christian leader Rhene who was in charge of these actions of killing the Moslems. Rhene's widow goes to Europe seeking help from all the Christian kings, claiming that Moslems kicked the Christians out of Jerusalem and killed there women and children. The European kings prepare a crusade, lead by Richard the lion heart, king of England. Most of the kings didn't think only of having revenge for their fellow Christians. But they think of keeping the treasures of the orient from being lost to Saladin. The crusaders won many battles on their way to Jerusalem, killing many Moslems, by the use of an invincible towers that resists flamed arrows. Consequently, the Moslem leader Saladin t! hinks of a way to trick the enemy army, by leading them to a trap. The Moslem leader succeeds in his mission, winning the battle and killing many of the Christian's army. The scene begins as the Richard watches the dead bodies of his army at night, then he enters the tent where the meeting among the kings, and then tries to oppose the decision of having a truce with Saladin. The Christian kings are gathered in a tent where they are discussing their status after the last battle, which they were defeated. Richard asks the European kings in their meeting the importance of having a truce with the Muslims. Saying that Saladin is not an easy enemy to defeat, and that we underestimated his cleverness in the issues of war. A French Nobel knight says "we still have time to teach Saladin a lesson". Richard mumbles saying "too many dead Christian bodies every where I look". The king of France, (king Feelebe), says "that a truce is just wasting time, so we have to continue moving towards Jerusalem". The Nobel French knight says "our forces are winning and we should continue moving towards Jerusalem, Richard says in sorrow, that time belongs to the tortured people who values life because they face death every day not like the kings. Who are safe from harm. Christina, Rhene's widow, replies, "our forces are winning and our prove is that we occupied lots of Arabic states as we are moving towards Jerusalem, in the last few months." Richard speaks in anger and tells her "what about the victims, we need a truce to give us more time to plan well, also to re-enforce our forces". Feelebe king ! of France loudly speaks in a serious manner, "a new plan would take more time, and we don't have that". Richard argues "shouldn't we consider the number of the thousands of the Christian that are being killed." Then Richard threatens that he will widow his forces if the kings don't approve the truce idea. Christina whispers to the king of France, saying that there is no chance for them in winning the war without Richard. King of France (Feleebe), says "if we all think as Richard thinks then we will not retrieve Jerusalem in the right time". King Richard gets angry. The rest of the kings support the French king (Feleebe). Finally they have a truce. Toulmins model is applied to that scene, (Stephen, British philosopher), Toulmin's model is a popular pattern of message organization, which is based on an analysis of the way in which people actually make decisions. (Text 228-229) Toulmin's pattern is valuable because it represents how do the people thinks. Consequently it allows analyzing the very complex argument and to be placed into an effective message. Toulmin's pattern has six elements. Shown in an example studied from the text. The elements are: The Sources are (Feleebe the French king, the French knight, Christina the widow of the ex-ruler of Jerusalem). The Receivers are Richard and the rest of the Christian kings in the meeting) Here, the message is two-sided, face to face verbal communication. Between the sources and Richard, making the rest of the kings to be the audience. Evidence any data, observations, personal opinions, case histories, or other information relevant to the issue under construction, in the example from the text "the federal deficit is up" and in the scene that I picked, the evidence is that the crusaders are winning many battles in the last few months before the Muslim sultan tricked them and won and these are facts viewed in earlier scenes of the movie. In addition, Christina mentioned it, and if they gave Saladin time he will not leave them a chance to get Jerusalem back, confirming her evidence the king of France and the French knight. Also, King Richard said, "we shouldn't underestimate Saladin's cleverness in battle issues. Claim: the statement that the communicator wishes the people to believe. In the example from the text, the claim is we must reduce it by $75 billion a year. And in the scene the claim is motivational, we should continue to move towards Jerusalem, and not to have a truce with Saladin, in order to win this Holy war. As we observe from the scene, most of the European, Christian kings oppose Richard, and ask him to join them in their decision of continuing to move towards Jerusalem, no matter what the consequences are. And we observe that from the intensive reply by the king of France that crusade shall continue no mater what Richard things about the truce, and about the Christian solders and victims. Warrant: is the link between the evidence and claim, which is a statement showing why people ought to accept the source's conclusion. In the example study, which was illustrated in the text, the warrant is defect causes inflation. And from the scene, Saladin is not an easy enemy to defeat, consequently if the crusades pauses Saladin will gain strength and thin would be a benefit to the Muslims. Jerusalem would be in the crusaders hands if they continue to move towards Jerusalem without any stopping or having a truce. As observed from the scene, the king of France said that the truce is a waste of time, so the crusades should not hold for truce. In addition, the French knight said that there is still plenty of time left, and they can teach Saladin a lesson. The French king also mentioned at the end of the scene that if the rest of the kings thought as Richard thinks, there would be no hope to have Jerusalem back. Support of warrant: historical data, statistical materials, or analogies from other situations can support warrants. From the example illustrated in the text, the support of warrant is there is too much money in the circulation. And from the scene, the support of warrant is that the treasures of the orient might be lost to Saladin, we can observed that as some of the leaders talk about it in earlier scenes at the beginning of forming the crusades. Also a support of warrant is that the forces of the crusaders are wining, as observed from the scene, The widow Christina mentions it. Reservation to the claim: it sets out any limitations that the source wishes to place to the claim, conditions under which the claim should or should not be accepted. In the example illustrated in the text the reservation to the claim is that unless the Russians increase their defense. >From the scene, the reservation to the claim is that unless Richard withdraw his army from the crusades, we shall continue to move to Jerusalem, as observed from the scene, the widow Christina whispers to Feleebe, the king of France that there is no chance for them in winning the war without the army of Richard and without Richard's leadership. The kings agree to have truce observing that from as they sign a treaty of peace in later scenes. And here we can observe that the reservation to the claim has reached its limit. Finally we come to the qualifier, which is the use of some adjective that softens or modifies the claim. In addition adding the qualifier makes it easier for the receiver to accept the claim. The qualifier, from the example in the book is, what the researchers added to the simple argument:" we must cut the government spending by approximately $75 billion a year." >From the scene, we can say, "the qualifier is that the forces of the crusaders are winning, and the evidences that many of the Arabian states are occupied by the crusaders in the last few battles". Observing that from the scene as the widow Christina tells it to Richard, with a degree of confidence in her voice tone. finally we see that Toulmin pattern is almost applicable to most arguments. In addition, in that scene the reservation of the claim has reached its limit, and the source was not able to convince the receivers to change their behavior and comply with their arguments.

1309.      Tracking TV Programs Essay

Tracking TV Programs

Since its invention, television has been an important part of American life and

culture.  In our modern society, there are even those who would argue that it

has become an absolute necessity.  Recently, many people have been debating

whether or not television content is corrupting our youth and Americans in

general.  In spite of this, I believe that the networks do an adequate job of

providing programs that appeal to the different categories of viewing audiences.

In the early evening, one can find a variety of programs that connect with a

large audience spanning children to adults, however as the night progresses the

program content changes in order to target mature audiences only.

When the early evening programming begins at around five o'clock the viewer has

various selections to choose from.  It is about this time that many people are

returning home from work, so news programs are a staple of these early time

slots.  Following this is a barrage of comedy sitcoms, movies, and dramas, such

as "Home Improvement" and "Melrose Place". Their viewers include children,

families, and single adults.  Therefore, these time slots draw larger audiences

than any other.

As the evening dwells on, one can start to see a gradual change in program

content as they begin to lose the younger viewers and start focusing on more

mature audiences.  The content becomes more violent and sexually explicit. The

comedy also follows this pattern and becomes more adult oriented, such as HBO's

"Def Comedy Jam".  This is also the time of night that those famous infomercials

begin airing.  The reason for this is that these are the cheapest time slots to

buy and broadcast on.  These hour long commercials usually end out the viewing

day.

In conclusion, it is apparent that television programs are devised to target

specific groups of viewers. The networks set aside the early evening for

children and families, and still provide entertaining programs for mature

viewers in the late evening.  To state it in the simplest way possible, when it

comes to evening television programs they go from mild to wild.

1310.      tracking tv programs

Since its invention, television has been an important part of American life and culture.  In

our modern society, there are even those who would argue that it has become an absolute

necessity.  Recently, many people have been debating whether or not television content is

corrupting our youth and Americans in general.  In spite of this, I believe that the networks do an

adequate job of  providing programs that appeal to the different categories of viewing audiences.

In the early evening, one can find a variety of programs that connect with a large audience

spanning children to adults, however as the night progresses the program content changes in

order to target mature audiences only.

When the early evening programming begins at around five o'clock the viewer has

various selections to choose from.  It is about this time that many people are returning home

from work, so news programs are a staple of these early time slots.  Following this is a barrage

of comedy sitcoms, movies, and dramas, such as "Home Improvement" and "Melrose Place".

Their viewers include children, families, and single adults.  Therefore, these time slots draw larger

audiences than any other.

As the evening dwells on, one can start to see a gradual change in program content as

they begin to lose the younger viewers and start focusing on more mature audiences.  The

content becomes more violent and sexually explicit. The comedy also follows this pattern and

becomes more adult oriented, such as HBO's "Def Comedy Jam".  This is also the time of night

that those famous infomercials begin airing.  The reason for this is that these are the cheapest

time slots to buy and broadcast on.  These hour long commercials usually end out the viewing

day.

In conclusion, it is apparent that television programs are devised to target specific groups of

viewers. The networks set aside the early evening for children and families, and still provide

entertaining programs for mature viewers in the late evening.  To state it in the simplest way

possible, when it comes to evening television programs they go from mild to wild.

1311.      Tracy Moffat

Stylisation and artifice are the trademarks of contemporary Australian artist Tracey Moffatt's work, regardless of whether working in film, video, or photography. She is never engaged primarily with producing reality, with taking pictures, but with making pictures and creating her own reality. The worlds that Moffatt constructs, usually via a form of non-linear narrative, typically combine personal memories within a larger historical experience. Thus, although most of her key works are rooted in childhood experience or in cherished memories, ultimately they are neither subjective nor autobiographical.

Growing up in Mt. Gravatt, a working class suburb of Brisbane, Moffatt's adolescence was as shaped by pop culture and television as by her native heritage. Consequently, courses in visual communications at the Queensland College of Art allowed her to strengthen this early fascination with mainstream mass culture as well as giving her extensive exposure to an enormous range of works from the history of twentieth-century film, video, and photography.

Her earliest mature works, notably, the nine-part photo series "Something More" and the short film "Night Cries: A Rural Tragedy" combine these diverse determining interests with sophisticated comprehensiveness. Focusing on the exemplary relationship that communally binds a mother and daughter, in "Night Cries" she explores in extremely succinct yet affecting terms their interdependence, and through that issues of loss, separation, need, and rejection. This brief story is framed and interrupted with footage of Jimmy Little, a renowned Aboriginal entertainer, who lip-syncs the song that won him national acclaim in the 1950s. If Little represents a distinguished and early instance of integration between Aboriginal and white societies, the mother-daughter relationship points to a different phase in Australian race relations, to the time when it was official policy to remove Aboriginal children from the care of their natural parents and place them with foster families (echoed in Moffatt's own personal history).

"Night cries" has also been read as an incisive critique of colonialist ethnographic film, which traditionally addressed Aboriginal issues through conventions usually associated with naturalistic documentary filmmaking. Central to Moffatt's disruption of these conventions is her trademark synthetic approach, typified here in the fusion of scenographic compositional modes with the forms and palette characteristic of post-war Australian landscape painting from Arthur Boyd and Russell Drysdale to Albert Namatjira (a highly successful and popular Aboriginal painter whose work has never, however, been accepted into the fine art canon). Ultimately, the content of  "Night Cries" is no more exclusively local or indigenous than Moffatt's means are tendentiously didactic, political, or feminist: it speaks to generic familial ties in broad and layered terms.

"GUAPA (goog looking)", based on the theme of the roller derby, was shot during a residency in San Antonio, Texas, in 1995. Again, childhood memories fuelled the choice of subject, for this artificial sport with its faked violence and erotic posturing fascinated Moffatt from a young age, when she avidly watched it on television. Her highly stylised reconstruction dispenses with any background, suspending the dramatic ostensibly dramatic encounters in a frozen calmness. Printing the final images in a soft magenta further enhances the effect of studied choreography.

Heaven, Moffatt's first video installation, takes as its subject matter one of the major icons of contemporary Australian culture: the surfer. Utilizing distinctly low-tech means as employed for home videos, Moffatt wields the camera in a provocative, flirtatious, voyeuristic manner, eliciting ambivalent responses from her subjects. As she alternately teases and flatters them, she deliberately draws a fine line between admiration and invasion. If the subjects of her video display a contradictory combination of preening, posing and strutting, Moffatt's responses, in turn, are no less conflicting: humorous, taunting, and guaranteed to antagonize.

Tracey Moffat is now arguably Australia's most well-known and avant-garde contemporary artist. Her work in film, video and photography are selling internationally and gaining global critical acclaim for their stylised approach and criticisms of many aspects of contemporary Australian society, including issues of gender and racism.

1312.      Tragic Heroes Willy Lomans Fall

#2)  Discuss Willy Loman as a tragic hero: Based your understanding of what being a hero means.  You are, of course, free to differ with the designation.

No one has a perfect life.  Everyone has conflicts that they must

face sooner or later.  The ways in which people deal with these personal

conflicts can differ as much as the people themselves.  Some insist on

ignoring the problem as long as possible, while some attack the problem to

get it out of the way.  Willy Lowman's technique in Arthur Miller's play

Death of a Salesman, leads to very severe consequences.  Willy never really

does anything to help the situation, he just escapes into the past, whether

intentionally or not, to happier times were problems were scarce.  He uses

this escape as if it were a narcotic, and as the play progresses, the reader

learns that it can be a dangerous drug, because of it's addictiveness and

it's deadliness.

The first time Willy is seen lapsing off into the past is when he

encounters Biff after arriving home.  The conversation between Willy and

Linda reflects Willy's disappointment in Biff and what he has become, which

is, for the most part, a bum.  After failing to deal adequately with his

feelings, he escapes into a time when things were better for his family.  It

is not uncommon for one to think of better times at low points in their life

in order to cheer themselves up so that they are able to deal with the

problems they encounter, but Willy Lowman takes it one step further.  His

refusal to accept reality is so strong that in his mind he is transported

back in time to relive one of the happier days of his life. It was a time

when no one argued, Willy and Linda were younger, the financial situation

was less of a burden, and Biff and Happy enthusiastically welcomed their

father back home from a long road trip.  Willy's need for the "drug" is

satiated and he is reassured that everything will turn out okay, and the

family will soon be as happy as it was in the good old days.

The next flashback occurs during a discussion between Willy and Linda.

Willy is depressed about his inability to make enough money to support his

family, his looks, his personality and the success of his friend and neighbor, Charley.  "My God if business doesn't pick up , I don't know what

I'm gonna do!" is the comment made by Willy after Linda figures the

difference between the family's income and their expenses.  Before Linda has

a chance to offer any words of consolation Willy blurts out "I'm Fat.  I'm

very--foolish to look at, Linda".  In doing this he has depressed

himself so much that he is visited by a woman with whom he is having an

affair.  The woman's purpose in this point of the play is to cheer him up.

She raises his spirits by telling him how funny and loveable he is, saying

"You do make me laugh....And I think you're a wonderful man.".  And

when he is reassured of his attractiveness and competence, the woman

disappears, her purpose being fulfilled.  Once again the drug has come to

the rescue, postponing  Willy's having to actually do something about his

problem.

The next day, when Willy is fired after initially going to ask his boss to

be relocated is when the next journey into the past occurs.  The point of

the play during which this episode takes place is so dramatic that willy

seeks a big hit of the flashback drug.  Such a big hit in fact, that he is

transported back to what was probably the happiest day of his life.  Biff

was going to play in Ebbets field in the All-Scholastic Championship game in

front of thousands of people.  Willy couldn't be prouder of his two popular

sons who at the time had everything going for them and seemed destined to

live great, important lives, much more so than the "liked, but not well

liked" boy next door, Bernard.  Willy's dependency on the "drug" is becoming

greater by the hour, at this rate, he cannot remain sane for much longer.

Too much of anything, even a good thing, can quickly become a bad thing.

Evidence of this statement is seen during Willy's next flashback, when the

drug he has been using for so long to avoid his problems backfires, giving

him a "bad trip", quite possibly a side effect of overuse.  This time he is

brought back to one of the most disturbing moments in his life.  It's the

day that Biff had discovered his father's mistress while visiting him on one

of his trips to ask him to come back home and negotiate with his math

teacher to give him the four points he needed to pass math and graduate high

school.  This scene gives the reader a chance to fully understand the

tension between Willy and Biff, and why things can never be the same.

Throughout the play, the present has been full of misfortune for the most

part, while the opposite is true for the past.  The reader is left to wonder

when the turning point occurred.  What was the earth-shattering event that

threw the entire Lowman family into a state of such constant tension?  Now

that event is revealed and Willy is out of good memories to return to.  With

the last hit of Willy's supply of the drug spent, what next?

The comparison between Willy's voyages into the past and the use of a narcotic

is so perceptible because of it's verity.  When Willy's feeling down, or

life seems just too tedious and insignificant, or when things just aren't

going his way, why not take a hit of the old miracle drug, memories.  The

way he overuses his vivid imagination is sad because the only thing it's

good for is enabling Willy to go through one more day of his piteous life,

full of bitterness, confusion, depression, false hopefulness, and a feeling

of love which he is trying very hard to express to his sons who seem

reluctant to accept it.

1313.      trainspotting

Trainspotting

A Novel By Irvine Welsh

Trainspotting is a captivating story of the random events that occur during a critical time in a group of Scottish junkies¹ lives.  Irvine Welsh illustrates the confusion, anger and turmoil many heroin addicts are subjected to and what happens once they try to quit.

The story is centered around Mark Renton, an ordinary twenty-two year old who was raised by a loving mother and father.  He has two brothers: one was catatonic and the other was an overachiever. Through court-mandated therapy he was told he envied his parents and resented his older brother. This was what contributed to Rents (what his friends call him) starting to use heroin.

Bit by bit the reader is introduced to Rents¹ friends, cousins, friends¹ of friends, parents, friends¹ parents, the list goes on. Anyone with relevance to the life of Mark Renton, the reader meets sooner or later.  Everyone in Rents¹ life is messed up or gets that way somehow. His friend Begbie, for example, is an unhappy little man. He feels he has to make himself seem tough by surrounding himself with ³friends² who do nothing but boost his ego by letting Begbie put them down. Aside from being on and off heroin, his good friend Danny Murphy, or Spud (as everyone calls him) is a habitual thief. His friend Simone is nicknamed Sick Boy for good reasons. When he is high he hears voices in his head willing him to do evil things. He likes to shoot dogs as their masters are taking them for a walk, and he enjoys using women for nothing but sex.. Rents¹ date on occasion, Hazel, was abused by her father when she was young, and she chooses to shoot up to solve her problems. Rab McLaughlin, or Second Prize, drinks himself into oblivion every chance he gets. Davie, a cousin of Renton¹s has recently become HIV positive from a girl who was raped by a psychopath. Davie chooses to take revenge on him by pretending to kill the only thing he ever loved, an illegitimate child the psycho fathered but is no longer allowed to see. Tommy, Davie¹s and Rent¹s friend, was the only one of the group who was completely normal. He even had a beautiful girlfriend that made him the envy of many of his friends. But when the two of them broke up, he became the most wasted on heroin of the whole lot.

Throughout the story Rents is on a rollercoaster of highs and lows; trying to kick his habit and being so wasted he doesnt care about anyone or anything

There is no intricate plot to this story; just small bits and pieces that give the reader insights into each characters¹ life. There are amusing anecdotes and deep thoughts to contemplate all on one page. The author does a great job conveying his feelings, through the characters, to the reader.  It takes a while to adjust to the dialect the story is written in. Also, in some parts it is hard to know who is speaking as almost every chapter is written in first person, with different characters speaking to the reader.

The complex plot is that there is no plot, the meaningful theme is that there is no theme; it is just one boy¹s struggles with himself, the people around him, and a hard, cruel world.

1314.      Transformation Into Adulthood

Transformation Into Adulthood

In William Faulkner's story, "Barn Burning", we find a young man who struggles

with the relationship he has with his father.  We see Sarty, the young man, develop into an

adult while dealing with the many crude actions and ways of Abner, his father.  We see

Sarty as a puzzled youth who faces the questions of faithfulness to his father or

faithfulness to himself and the society he lives in.  His struggle dealing with the reactions

which are caused by his father's acts result in him thinking more for himself as the story

progresses.  Faulkner uses many instances to display the developing of Sarty's conscience

as the theme of the story "Barn Burning."  Three instances in which we can see the

developing of a conscience in the story are the ways that Sarty compliments and admires

his father, the language he uses when describing his father, and the way he obeys his father

throughout the story.

The first instance in which we can see a transition from childhood to adulthood in

Sarty's life is in the way he compliments his father.  Sarty admires his father very much

and wishes that things could change for the better throughout the story.  At the beginning

of the story he speaks of how his fathers "...wolflike independence..."(145) causes his

family to depend on almost no one.  He believes that they live on their own because of his

fathers drive for survival.  When Sarty mentions the way his father commands his sisters to

clean a rug with force "...though never raising his voice..."(148), it shows how he sees his

father as strict, but not overly demanding.  He seems to begin to feel dissent towards his

father for the way he exercises his authority in the household.  As we near the end of the

Taylor-2

story, Sarty's compliments become sparse and have a different tone surrounding them.

After running from the burning barn, he spoke of his dad in an almost heroic sense.  He

wanted everyone to remember his dad as a brave man, "He was in the war."(154) and

should be known for it, not burning barns.  He seems to care about, but not condone his

father and his actions.

Another instance where we see a transition is in the language he uses when

describing his father.  At the beginning of the story he spoke as a child watching and

looking at the things around him.  He said that an enemy of his fathers was "...our

enemy..."(147) and spoke with the loyalty of a lamb, never knowing that it could stray

from the flock.  Near the middle of the story, we can see the tone of his speech change.

Sarty shows change when he asks his father if he "...want[s] to ride now?"(149) when they

are leaving deSpain's house.  He seems to have the courage to ask his dad certain things,

not fearing the consequences.  At the end of the story, the language Sarty uses becomes

clearer and more independent.  As he runs from the deSpain's house, like a child, he cries

for Abner saying, "Pap! Pap!"(154), but when he stops and recalls the event, he says, like

an adult, "Father! Father!"(154). He shows his development through these examples of his

speech.

The last instance where he shows us that he is developing a conscience is in the

way he obeys his father.  Sarty seems to do anything his father says at the begging of the

story.  When Sarty is called to stand at his fathers trial, he says that his father "...aims for

me to lie and I will have to do hit."(144).  He is totally loyal at the beginning of the story,

but as the tale progresses, we see his obedience weaken.  After the cleaning of the rug, we

see Sarty's father ask if he has "...put the cutter [horse] back in the strait stock..."(150)

and we find that Sarty disobeys his father for the first time when he says "No sir."(150).

Taylor-3

He begins to have a say in things in a slight way.  But near the end of the story, his mind

totally decides for itself when he was told to stay at home.  He told his mother to "Lemme

go."(153).  He seems willing to go to any length to disobey his father for the purpose of

serving justice now.

After reading about Faulkner's transitional phases of the compliments, speech, and

loyalty of Sarty, we can see the change from childhood to adulthood or from a person of

innocence into a person with a conscience in Sarty.  Faulkner gradually develops Sarty

into a man of his own deeds throughout the story.  Sarty has to finally realize that blood is

not always thicker than water.  Faulkner's story symbolizes the way in which society

works today.  If one individual is doing wrong, you must overlook the relationship you

have with him and look at the wrong deeds he is doing.  If you happen to face your fears

and set strait the wrong, in the end, the good will always prevail.

1315.      Transformers Essay

Transformers: More Than Meets The Eye

When I was younger, I loved to watch cartoons.  Although I watched many

cartoons, there was one cartoon in particular that caught my attention the most.

This cartoon was a science fiction story about robotic lifeforms called The

Transformers.

At that time, The Transformers was the most exciting and important thing

in my life.  It came on everyday, and I tried not to ever miss an episode.  If I

knew I would miss an episode, I made sure I had someone record it for me so I

could watch it later.  I even recorded many shows just to be able to watch them

over and over again.

One day when I was away somewhere, I had my mother record it for me.

After returning home, I immediately began to view the tape only to find out that

the tape ran out about half way though the show.  I remember I was so incredibly

angry over not being able to completely watch the episode, that I threw a

childish tantrum by crying and yelling at my poor mother.

I later began buying The Transformers action figures; which were

developed by Hasbro from the television series.  Over the years, I accumulated a

collection of about thirty different characters; which I still have stored in my

room. I don't think I could ever get rid of them.  Also, each Transformer came

with a stat card on the back of the box he was sold in that described his

various skills and attributes.  I used to always cut these stat cards from the

back of the boxes, and tape them onto large sheets; which I hung on my bedroom

wall.  Along with the action figures, I also had Transformer books and

Transformer bedsheets. I couldn't get enough of the Transformers. I saw about

every episode, and I knew about everything there was to know about them.

The Transformers were intelligent robots with the ability to transform

from a robot shape to some other shape. The very first Transformers were the

Autobots and the Decepticons.  The Autobots, who transformed into cars, were the

heroes, while the Decepticons, who transformed into jets, were the villains.

The two groups originated over a millennia ago.  A race called the

Quintessons were the heads of a huge galactic corporation.  They built the

planet of Cybertron into a huge factory in which to build robotic slaves.  They

created two basic models: household and entertainment robots, and warrior robots.

Whenever one to the slaves began to show signs of intelligence, the Quintessons

destroyed them to be used as materials for new robots being created.

Eventually, however, more and more of the robots began to gain

intelligence, and they started a revolt against the Quintessons.  This revolt

ended in the Quintessons fleeing the planet of Cybertron, and the robot slaves,

which become the Autobots and Decepticons,  take control.

Sometime later the planet of Cybertron begins to die, and hostilities

arise between the Autobots and Decepticons.  Both groups flee their planet in

search of energy, and they end up crashing on the planet Earth.  This is where

the television series actually begins.  Both groups search for the energy needed

to return to Cybertron, and to save their home planet.  Meanwhile, the Autobots

must also protect Earth and its inhabitants from the evil Decepticons.  The

story and plot become more complex as new Transformers and advancements in

technology are developed by both sides.

I constantly watched the show for about three years from its first

episodes in 1984.  My interest in the show slowly died because most of the

original Transformers were killed off, and a new generation of was created;

which I didn't care for as much.

In writing this paper, I have discovered that there is still an interest

for Transformers within me. I recently spent many hours looking at old

Transformer photos and scripts from the internet.  Maybe I'll try to complete my

collection of action figures, and even try to get a hold of the episodes on

video. They are becoming rare, and will probably be worth a quite a bit of money

someday.  Collecting Transformers may become an interesting hobby in my future.

1316.      Transformers

TRANSFORMERS: MORE THAN MEETS THE EYE

When I was younger, I loved to watch cartoons.  Although I watched many cartoons, there was one cartoon in particular that caught my attention the most. This cartoon was a science fiction story about robotic lifeforms called The Transformers.

At that time, The Transformers was the most exciting and important thing in my life.  It came on everyday, and I tried not to ever miss an episode.  If I knew I would miss an episode, I made sure I had someone record it for me so I could watch it later.  I even recorded many shows just to be able to watch them over and over again.

One day when I was away somewhere, I had my mother record it for me.  After returning home, I immediately began to view the tape only to find out that the tape ran out about half way though the show.  I remember I was so incredibly angry over not being able to completely watch the episode, that I threw a childish tantrum by crying and yelling at my poor mother.

I later began buying The Transformers action figures; which were developed by Hasbro from the television series.  Over the years, I accumulated a collection of about thirty different characters; which I still have stored in my room. I don't think I could ever get rid of them.  Also, each Transformer came with a stat card on the back of the box he was sold in that described his various skills and attributes.  I used to always cut these stat cards from the back of the boxes, and tape them onto large sheets; which I hung on my bedroom wall.  Along with the action figures, I also had Transformer books and Transformer bedsheets. I couldn't get enough of the Transformers. I saw about every episode, and I knew about everything there was to know about them.

The Transformers were intelligent robots with the ability to transform from a robot shape to some other shape. The very first Transformers were the Autobots and the Decepticons.  The Autobots, who transformed into cars, were the heroes, while the Decepticons, who transformed into jets, were the villains.

The two groups originated over a millennia ago.  A race called the Quintessons were the heads of a huge galactic corporation.  They built the planet of Cybertron into a huge factory in which to build robotic slaves.  They created two basic models: household and entertainment robots, and warrior robots.  Whenever one to the slaves began to show signs of intelligence, the Quintessons destroyed them to be used as materials for new robots being created.

Eventually, however, more and more of the robots began to gain intelligence, and they started a revolt against the Quintessons.  This revolt ended in the Quintessons fleeing the planet of Cybertron, and the robot slaves, which become the Autobots and Decepticons,  take control.

Sometime later the planet of Cybertron begins to die, and hostilities arise between the Autobots and Decepticons.  Both groups flee their planet in search of energy, and they end up crashing on the planet Earth.  This is where the television series actually begins.  Both groups search for the energy needed to return to Cybertron, and to save their home planet.  Meanwhile, the Autobots must also protect Earth and its inhabitants from the evil Decepticons.  The story and plot become more complex as new Transformers and advancements in technology are developed by both sides.

I constantly watched the show for about three years from its first episodes in 1984.  My interest in the show slowly died because most of the original Transformers were killed off, and a new generation of was created; which I didn't care for as much.

In writing this paper, I have discovered that there is still an interest for Transformers within me. I recently spent many hours looking at old Transformer photos and scripts from the internet.  Maybe I'll try to complete my collection of action figures, and even try to get a hold of the episodes on video. They are becoming rare, and will probably be worth a quite a bit of money someday.  Collecting Transformers may become an interesting hobby in my future.

1317.      Tribute Article Johnny Depp

Successful people can be everywhere.  What defines success is discipline and the willingness to take risks.  Everyone can come up with a good definition of success, but the action taken towards a goal is what really matters.  Johnny Depp is a prime example of successful.  Ever since Mr. Depp started to become a known actor in Hollywood, he did not go after the blockbuster movies that would establish him as immediately well-known and loved.  He went for the offbeat roles, where he could showcase his creativity and grow as an artist.

I genuinely admire Johnny Depp for taking on roles such as Edward Scissorhands, Sam (of Benny and Joon) and one of his more recent characters, Jack Sparrow, a brave pirate with an audacious life.  Quite often, we forget what actors really are.  They are a type of artist.  Their creativity is shown through movie and television roles.  The more diversified an actor's portfolio, the more artistic and creative that actor is.  Mr. Depp obviously has a much diversified portfolio.

Aside from his acting career, Johnny Depp is a musician.  He dreamt of making it big in music.  However, he went into acting instead; but, never abandoned his hobby and creative drive for music.  He has played in bands for many years and is currently a member of the band known as "P".  This goes to show that Johnny doesn't give up on his goals even if they do not bring him fame and fortune.  He follows his dreams for his own personal satisfaction.

Johnny Depp is an example among many others, of a creative person who is audacious, willing to take risks and grow as an artist.  He inspires people to take more risks in life; to make time for hobbies, and do more adventurous things.  And most importantly, Johnny Depp has shown me that if I want to do something in life, I shouldn't give up just because of other people's (or even my own) beliefs of inadequacy or inability on my part.  He shows us that if we're strong, persevered and fearless, we can grow, and learn, and live.

In our lives we do many different things; we play different roles.  It's good to embrace the different roles and make the best of them, just like Johnny Depp.  He plays his characters with a convincing artistic force.  His roles are not always important ones but he brings them to life and moves the audience.  Life is your big movie.  Embrace your role and make the best of it because the performance can often be short-lived.

1318.      True Romance

True Romance

Once again, Quentin Tarantino outdoes himself. The movie True Romance was

excellent. It presented real issues that some people are forced to deal with

in their lives. The title of the movie is misleading. You would think this

was going to be a love

tory. Actually it is, but unlike any love story I've ever seen. It's filled

with violence, action, blood, guts and gore. Like most other Tarantino

movies it revolves around the violence we rarely see or experience in our

lives. He also incorporates

rugs and racism, hate and love and his usual corny way of portraying them.

In Tarantino films, violence is presented in a totally different approach

than movies like Rambo or Die Hard. Although you have the same amount of

people dying, Tarantino seems to have this perverted and gruesome way of

presenting it to his audiences.

He always takes violence to the extreme. In the scene with the pimp he

doesn't just shoot the pimp in the back or chest. He goes right for the

gusto...his balls !!!! (OUCH) Another example of this is when Dennis Hopper

was killed. We all knew what h

pened to him, but Tarantino makes sure he shows us the oozing bullet wound to

his head. Some people think this is taking violence too far; however, acts

of this nature happen in the real world every day. I guess this is his way

of giving us a "reality

heck." Shit like this happens to people. We are so sheltered in our

comfortable little worlds we don't even realize this kind of stuff goes on.

Variety. Isn't it supposed to be the "spice of life?" Well, Tarantino gets

so damn spicy it can make yo

sweat bullets.

What is it about violence that is so attractive to the general public?

There are so many people who would rather see a violent movie than a movie

filled with romance or adventure. If you were to compare the revenues from

box office earnings I'm almos

positive the movies filled with blood and guts earn much more than other

movies. (Disney is the only exception I can think of off the top of my head

!!!) Naturally, if a person in the movie industry knows this will make them

mega bucks , they will con

nue to make movies like this to make more money.

Tarantino tends to slide in a little racism in his flicks. It's pretty

obvious it's not the main topic, but it is apparent. Hopper was unique when

he told the Sicilian guy his great, great, great, great grandmother had slept

with a nigger and that's y he had dark skin and brown eyes.

I think Hopper knew he was a goner and wanted to insult the hell out of the guy

before he died !!!!! He was so casual about the whole thing.

He just sat back smoking the dudes cigarette and blasting his family.

There are so many people who say this kind of movie affects people in a

negative way. They think it has an impact on criminal behavior. That's

bullshit. I have seen violence in movies and on television and I haven't had

the smallest inkling to go ou

and kill anyone or anything. I believe if a person has it in them to commit

these kinds of acts they will do it regardless of what they see on T.V. or in

the movies. Their moral upbringing or lack of one would be a bigger

contributing factor than vie

ng a movie. Movies are made to entertain. The social issues they touch on are just

that, issues. The controversy they create comes solely from the opinions of

the viewers. Isn't that half the fun of watching a controversial movie? It

gives our minds food for t

ught. It affords us the opportunity to discuss what we have seen with our

friends. We can learn from listening to how other people perceive things.

THAT is what makes a movie great !!!!

1319.      Tucker The Man And His Dream

Preston Tucker

Preston Tucker was a car-crazy kid who hung around auto speedways

and grew up to create an automobile Tucker that was years ahead of its

time. He was a man of pioneering spirit, ingenuity, and daring, who

revolutionized Detroit in the 1940s with his stunning car of tomorrow.

It was streamlined, futuristic, and fast the car every American dreamed of

owning, at a price most people could afford. When he wanted to start to

produce the car he faces a lot of barriers, an oligopoly.

In the movie Tucker, there are only a small number of firms. Like

Kaiser-Frazier Automotive Company and Ford Motor Company. Each of the

companies holds a large share and the action from each one may have a great

affect on the others. The product in this movie is car. Car is similar,

differentiated product and this is the characteristics of an oligopoly.

There are many problems when Tucker tries to produce his dream car. Since

his car is a new one, he needs to use a lot of advertising to promote it

in order to attract people to buy it. Like magazine, car shower, and TV.

When Tucker tried to produce his car, he faced many problems. First

he had the financial problem he needed $15 million to produce the bomber

engine. However, he did not have enough money, so he issued 4 million shares

to raise his money. Besides, retooling for a model change could cost $20

million and since his car was a new brand, Tucker was lack of support of

the big firms, so he needed a lot of money to advertise his car. Second,

Tucker's company had to produce 100 cars as the outputs every day so that

he could make a balance. He also needed money to employ dealers and he

needed 800 dealers in his company. Third, he did not have enough resources

to make his cars. He only had 200 tons of steel and this was barely enough

for 200 cars. He needed more steel. He also had to spend $16 million to buy

a mill. Forth, since "Tucker Torpedo" was a new brand, many people were not

familiar with it. Some of them even did not know it. Thus, it might affect

the sales of "Tucker Torpedo" much. People also did not have confidence on

this car because they did not know that it us safety or not. Fifth, Tucker

did not have the technology to produce his car in a mass production.

Therefore, it could not achieve the economies of scale and the costs of

producing his car were very high. Lastly, there was a bad publicity which

depressed the stock from $5 to $2 a share. Tucker forced to close the plant

after finishing only 47 cars.

Everyone has their own dream, but not everyone can make their dream

come true. Because when you want to make the come true, you need to have a

lot of things to support you. Like money, technique, time, place, and people.

Tucker is a very good sample. Since he got money, place, and people. But he

does not have much technology on build a new car, the other thing is wrong

time. Since the market is oligopoly, so when you have a new thing, you need

to deal with the big company. When they know you can do a thing better than

them, then they will use any way to stop you or control you, they never let

you do it.

1320.      Tupac Amaru Shakur

Tupac Amaru Shakur

(2Pac)

"It's going to happen. All the niggas who change the world die in violence. They don't get to die like regular ways. Motherfuckers come take their lives..."

-Tupac Shakur ("Interview in The Observer, July 1996")

Tupacs liv

Tupac föddes i Brooklyn den 16 juni 1971. Han flyttade snart till Baltimore där han gick i "The Baltimore School for the Performing Arts". Tupacs lärare tyckte att han var bra i skolan och hade mycket potential. Olyckligtvis så kunde Tupac inte fortsätta på skolan därför att han flyttade till Oakland med resten av sin familj. Det var då han började umgås med rappare och gangsters. Efter ett tag gick han med i Digital Underground, som dansare.

Digital Underground blev efter en tid kända och Tupac gav lite senare ut ett eget album som hette "2PACALYPSE NOW".   Albumet blev en succé. Singeln "Brenda´s Got A Baby" gjorde att Tupacs karriär verkligen tog fart. Lite senare fick han också en roll i filmen "Juice". Det nästa albumet han släppte hette "Strictly 4 my N.I.G.G.A.Z"   som blev till en ännu större succé än hans första album. Tupacs skådespelare karriärs höjdpunkt var när han var med i "Poetic Justice" med Janet Jackson. Det var den rollen som verkligen gjorde Tupac känd och han fick också bevisa att musik inte var det ända han var bra på.

Medan han var i full gång med att spela in filmen "Above the Rim" och höll på att spela in ännu ett album som hette "Me against the world," bröts hans karriär plötsligt av att han blivit anmäld för sexuella övergrepp mot en tjej som han träffat på en nattclub. Hon sade att han och hans kompisar hade våldtagit henne tillsammans. I slutet av rättegången, några timmar innan han skulle bli funnen skyldig blev han rånad under pistolhot han blev skjuten fyra gånger, två av dem var i huvudet, men han klarade sig ändå. Tupac blev tillslut släppt mot borgen på 1 miljon dollar.

Tupacs död

Efter att han blivit släppt släppte han sitt troligen bästa album, "All eyez on me." Skivan såldes i över sex miljoner exemplar, det är väldigt bra för en dubbel cd. Speciellt när det gäller Hip Hop musik. Innan Tupac dog hann han också göra klart två filmer, en heter "Gridlock." Den 7 september 1996 blev Tupac skjuten, han var endast 25 år gammal, han dog den 13 september.

Han blev skjuten när han och Marion "Suge" Knight som jobbade på Death Row Records som var Tupacs skivbolag. De var på väg till en nattklubb vid ca 23.15 efter att ha tittat på tungviktstitelmatchen Mike Tyson-Bruce Seldon i MGM Grand Hotel.

Är Tupac verkligen död?

Här är några fakta om hans död. Efter att jag lagt fram fakta får ni bestämma själva...

1.   Han dog på Fredagen den 13de.

2.   Det finns många numeriska händelser. Tupac sköts exakt 7 månader efter att All Eyez on Me hade släppts. Han sköts den sjunde september och dog den trettonde. Han var tjugofem år 2+5=7. Han dog 4.03, 4+0+3=7

3.   Hans nyaste album heter Makaveli. Makaveli var en italiensk strategist som hade låtsats dö för att lura sina fiender.

4.   Makaveli skrev två böcker innan han dog. De två skivorna från albumet All Eyez on Me kallas book1 och book2.

5.   På sitt senaste album ser Tupac ut som Jesus, kan han tänkas tänka återuppstå?

6.   Tupac kremerades dagen efter han dog. Det brukar dröja längre.

7.   Tupac har spelat in två filmer och har 3 st LP som ska släppas. Hur ofta brukar man ha så mycket på gång?

8.   Han hade en livförsäkring på 72 miljoner dollar som inte har hämtats ut. Om någon skulle hämta ut den och det skulle visa sig att han levde skulle han kunna bli anmäld för bedrägeri.

9.   Hans video "I ain´t Mad At Ya" förutspådde hans död.

10.   Han använde alltid skottsäker väst, fast inte den här gången.

11.   Las Vegas ligger ute i öknen, fast bilen hittades aldrig, det var inte heller någon helikopterjakt m.m.

In The Event Of My Demise

Dedicated 2 Those Curious

In the event of my Demise

when my heart can beat no more

I Hope I Die For A Principle

or A Belief that I had Lived 4

I will die Before My Time

Because I feel the shadow's Depth

so much I wanted 2 accomplish

before I reached my Death

I have come 2 grips with the possibility

and wiped the last tear from My eyes

I Loved All who were Positive

In the event of my Demise

By Tupac Shakur

(Poem taken from actual writings of Tupac Shakur from

'The Poetry Circle'

in Santa Rosa California 1993-Provided by Leila Steinburg)

1321.      Tupac Dead or Alive 1910

Introduction

It's now the year 2001. The year 2002 approaches fast. For Tupac fans, it means much more than just a new year. To the die-hard Tupac fans it means one more year until the long awaited resurrection. However, to other Tupac fans it just means another year has passed since his death.

Tupac has brought his fans together with his music, poetry and acting. But this dead or alive dilemma has split these fans into two groups. Those who believe he is still alive and believe he has faked his death. The others are the ones who believe he has lived, and has lived well but is now at peace.

Why would anybody have reason to believe that he is still alive? People have a good reason to believe that he is still alive. One reason is that the facts that point to him being alive largely outnumber those which insist he is dead.

Many people have researched into this. They have uncovered unbelievable facts and have developed extremely intriguing theories. Theories which get even professionals to rethink their opinions on his death actually happening.

Even the most skeptical people have changed their opinions. I am not writing this essay to change people opinions. I am writing this essay to bring out all of the facts and theories. By doing this I can perhaps bring people to see what can be a monstrous coincidence or the greatest scam I have ever heard of in my life.

This is an essay on the controversy and happenings of Tupac Amaru Shakur's so called death. This is not a biography on his life. However I will have to sum up his life for better comprehension of these facts and theories which I will reveal.

Who Is Tupac Shakur?

June 16th, 1971 in Brooklyn, New York. Lesane Parish Crooks was born. Left by his father, Alice Williams, Tupac's mother changed his name from Lesage to Tupac Amaru Shakur. Tupac has moved from Oakland to New York and back again. When he was fifteen he was into writing rap lyrics and gang related subjects. By the time Tupac was eighteen he had been arrested eight times, even serving eight months in prison after being convicted of sexual abuse. Tupac studied the teachings of a war strategist known as Machiavelli in prison.

"After some time Tupac released his own album "2Pacalypse Now", which was a success. His career skyrocketed; he became tight with main pawns in the rapping industry. Tupac signed to Deathrow Labels and released songs and albums with them."

Throughout all of this Tupac had made rivals with many people. He was beginning to be hated by just about everyone. He had his talent by his side though and he began filming movies.

In November 1994 Tupac was shot five times, where thieves made off with forty thousand dollars worth of his possessions. He released his better albums after that incident.

Tupac's career was going high and going low. He himself at some times wasn't doing so well.

Tupac Dead? Thug Life Gone?

On September 7th, 1996 Tupac Shakur was going to a boxing match with his good friend/ceo of deathrow records Suge Knight. After the boxing match Tupac and Suge Knight got in their car and began to drive down the busy streets of Las Vegas. Minutes after leaving the fight Tupac was shot down in a drive by shooting while sitting in the passenger seat of Suge Knight's car. A single bullet did not touch Suge Knight. He was brought to the University Medical Center of Las Vegas Nevada, Where he officially died seven days later, September 13th, 1996, of gunshot wounds and respiratory failure.

This was at the peak of Tupac's rapping career. Fans were shocked to hear that Tupac Shakur was dead. Especially since Tupac fans were also big rap fans which meant they enjoyed the music of Notorious B.I.G. who was shot and killed as well. Between these two great rappers being killed rap fans everywhere were in bad shape.

However the good side of this is that before Tupac died, him being on the Westside, he was feuding with Notorious B.I.G., from the Eastside. This feud caused many deaths and many rappers their careers. With the death of both main men, Tupac and Biggie, the feud had died down. People were still upset over the loss of their favorite rappers however.

Don Killuminati The Seven day Theory

Two months after his death on November 5th, 1996 Tupac Shakur now known as Makaveli released Makaveli Don Killuminati The 7 Day Theory, an album with a title that could mean a lot.

From that moment on theories and rumors began to spread like wildfire of Tupac still being alive. People were constantly claiming to have seen Tupac in person. Sightings were reported in New York and the island of St. Thomas. Over 83%, in a recent survey, still believe that Tupac is still alive. There are many suspicious facts that contribute to this. Below are all of the facts and theories that contribute to this controversy.

Suge Knight, the driver of the car, was not even grazed by a bullet while his passenger friend was connected with twelve bullets. These events occurred in Las Vegas moments after a Mike Tyson boxing match. Tupac was always known to where his bulletproof vest and have bodyguards by his side because of feuding rappers. However it was not on the night of the shooting. Why would Tupac remove his bulletproof vest for a very public event like a Tyson fight? His bodyguards didn't even give chase to the black assailants in the Cadillac.

The white Cadillac containing the gunmen passed an entourage of Tupac's boys, many of which were bodyguards. There were no witnesses however and none of the bodyguards gave chase, especially after the heavyweight boxing match. The White Cadillac containing the black assailants was never found. This is very strange considering the fact that Las Vegas is in the middle of the desert, there's a small black community on the north side of town. The strip is eight blocks long, the killer's would have no place to go. Especially since in Las Vegas the police pursue by chopper, except for no reason that did not happen the night of Tupac's shooting.

When Tupac was in the University medical center of Las Vegas Nevada, there were never any pictures taken. It could've been private, which I myself doubt since last time Tupac was shot he made it very public. Perhaps they did not want the press to take pictures. The driver of the car, Suge Knight, did not show up for questioning about the shooting. Seven days after Tupac was shot he died. His funeral was planned to have all of his friends there, which is pretty much the rap industry. For unknown reasons however his funeral was cancelled even though the press would not be allowed to show in the first place.

A few days after his death, Tupac's video "I Ain't Mad At Cha" was released as originally planned. The song is track thirteen on the album; thirteen happens to be the day Tupac died. The music video shows Tupac getting shot and dying while leaving a movie theater with his best friend. This is strangely similar to what happened in real life. That last video was released under the name 2pac. The next video released was under the name Makaveli.

Tupac studied Machiavelli books in depth while he was in prison. Machiavelli wrote two books before his death entitled Book One and Book Two. Tupac's CD released before his death, "All Eyez On Me", was a double CD with each CD called Book One and Book Two.  "Tupac's alias, Makaveli, although spelled differently; Machiavelli was a 16th century Italian philosopher who advocated the staging of one's death to evade his enemies." Tupac's next video was released under the name Makaveli as well. In this video, "Hail Mary", there is a gravestone that has Makaveli engraved on the front and there's a crack on it and hole in front of it. This could be inferring that Makaveli "rose from the dead".

Tupac's album released after his death under the name Makaveli, Tupac is portrayed on the cover crucified on a cross. On the back of the CD marked as the executive producer is Simon. Simon is previously an unknown producer in the rap industry. In the Bible, Simon was an apostle of Jesus. Simon was one of the first witnesses of the resurrection of Jesus. The Outlawz, Tupac's rap group, have confirmed Simon is a reference to Suge Knight. Suge Knight was riding in the car with Tupac when he was shot, this could very well mean we should be expecting a "resurrection".

Tupac always used to write about being buried, however he was cremated the day after his death. Since when do they cremate somebody the day after a murder case with no autopsy? In interviews prior to his shooting Tupac talks about stopping rap, "gangsta life"

and getting out of the limelight. There would be no better way for Tupac to escape the media then for him to fake his death and disappear.

Now of course all of these are just parts that people have put together to say that Tupac is still alive. These can all just be a big coincidence. However the facts that I am about to reveal make this whole thing very eerie. Tupac's CD released after his death, "Makaveli The Don Killuminati Seven Day Theory", must relate to him being shot on the seventh of September and dying seven days later on the thirteenth. Hence The Seven Day theory.

Almost everything related with Tupac since his death has been related with the number seven. Tupac officially died at 4:03pm, four and three are sums of seven. Tupac was twenty five years old when he died; two and five are sums of seven as well. Right at the beginning of The Seven Day Theory album, you can hear Tupac whispering "Suge shot me." Suge Knight was the one in the car with Tupac when he was shot. Suge Knight also owns Deathrow Records, which means the money Tupac makes also goes partly to Suge.

Conclusion

What do you think now after seeing all of these details? Originally I used to believe fully that Tupac was faking his death with the help of Suge Knight and Deathrow Records. But I also consider the fact that its possible he was setup bye Deathrow. Tupac's name, lyrics and music videos were property of Deathrow when he was killed. Deathrow was also going downhill by the time of Tupac's death. Tupac had been in many movies and had released many LP's. With so many fans upset, literally anything connected with Tupac is bound to net a whole lot of cash.

It is possible Deathrow could have had Tupac killed just to make money and profits off of his death. But to pull that off and for it to work out like it had, would require a lot of cooperation.

According to the Don Killuminati Seven Day Theory, Tupac will resurrect seven years after his "death". This means Tupac will rise again in the rapping industry starting September 13th, 2003. Exactly seven years after his shooting. I say the only way we can decide on whether he is dead or alive is to wait and time will tell.

1322.      TV Shows and Real Life Essay

TV Shows and Real Life

TV shows are probably  the primary source of entertainment for the

average American.  Most of them run from 7 p.m. to 10 p.m. with reruns starting

at 5 p.m.  We watch them because they give us something to do, a way to relax,

something to help pass the time.  We all watch different shows, some people like

"Married...with Children", some are repulsed with it, but like to watch "Home

Improvement", what draws particular crowds to certain shows?  How do these shows

portray the average American, or do they portray average Americans at all?

These are questions many writers have attempted to answer, at least one column

in almost every newspaper is dedicated to this topic.  I think the people like

to see shows that portray them, or what they'd like to be.

"Married...with Children" runs on Fox 29 on Mondays at 8:30 p.m., it has

been on air for a long time, and has passed its 200th episode last season.  The

main characters of the show is women's shoe salesman Al Bundy, his wife Peg,

dorky son Bud, and slutty daughter Kelly.  Al loves to watch TV, bowl with his

buddies, drink and go to the "nudy bar".  Marcie and Jefferson, are the Bundy's

neighbors and also take an active part in the show.  Most shows consist of Al

going somewhere or doing something and everyone else making fun of him when he

fails miserably.  Al is someone you can hardly call a father to his kids, he's

doesn't take care of them and he does absolutely nothing father-like for them or

with them.  Al is constantly complaining about his marriage, he says that if he

was sober that night, none of this would have happened.  He calls his children

accidents and the only good memory he has, is of him being a great high school

football player, which he would take to the next level had all his dreams not

been crushed by Peg.  The only living thing Al really likes on the show is his

dog, Buck, to which he can relate as they are both dirty and nasty.  Every show

it is the same kind of thing, over and over again.  Peg is trying to convince Al

to have sex, Al blames Peg for his failure in life, Kelly is screwing some guy

in the back seat of a car, and Bud is looking at "nudy magazines".  Last Monday,

the 27, Al decided to join the Army Reserve in order to escape his family.  John

Ozersky writes in his article entitled "TV's Anti-Families: Married...With

Malaise", "These shows portray  a downfall of Dad, but no rise of Mom.  By

presenting unhappy families  to viewers, the viewers tend to feel better about

themselves, on the contrary, the viewer's expectations in their own lives

decrease as a result of this.  By making our problems "all right by comparison",

the series trivializes them, rather than taking them seriously.  The

dysfunctional TV family aids advertisers in their perennial quest for

credibility by creating a supersaturated atmosphere of irony, which atrophies

our ability to believe  in anything" (Ozersky 215).  But the reason people watch

the show is simple, it portrays our worst fears in a way we can laugh at them,

and who wouldn't want to laugh at their fear, an "in your face, I'm not as bad

as you" kind of laugh.  My dad wouldn't let me watch this show until I was 14

years-old, because he thought it would give me the wrong idea about real family

life.

Another show about family life is "Home Improvement".  It portrays a

traditional family, Tim and Jill are a married couple and they have three kids

of different ages.  Tim and Jill always argue about something, if it isn't about

what Tim did, or about what Jill did, it's about what their kids did.  The kids

are also constantly fighting, the two bigger brothers always picking on the

smaller one.  It is a funny and entertaining version of the upper-middle class

family.  The role of the father in this show is clear, he is manly, he grunts,

he works with power tools, and he can't stand when someone besides him has the

power.  This is shown in the episode when Jill opens her own checking account,

Tim is upset, he can't control where the money goes any more, even though it

isn't his money, he'd like to have control over it.  So by the end of the

episode, Jill gives in, a portrayal of female weakness and man's superiority,

and the account is joined.  The episode is filled with funny jokes, one-line

comebacks and other funny stuff which keeps the show on top of the rating charts.

No one notices the subtle messages the show is sending, "men have the power",

"women have to do what they are told".  Of course no one notices these messages

unless you take the show apart piece by piece and compare different episodes,

but they are there.  People watch this show because it brings up common everyday

issues that we, ourselves have to deal with, and settles them in ways that are

funny.

"Married...with Children" and "Home Improvement" may seem to have

nothing in common on first glance, but if examined closer we find that they are

in fact alike.  Both shows joke around about family life, portray the father and

mother as each having their own roles in the house that never cross, and both

shows deal with common everyday issues.  "Married...with Children" is a

caricature of an everyday family.  They make fun of not only themselves, but of

normal families as well, when such are mentioned on the show.  "Home

Improvement" although being the more realistic of the two shows, also makes fun

of family life as I know it.  We always see Tim working on his Hot Rod, or else

installing a new gadget in the house and Jill cooking or cleaning the house.

That is not how life is in my family, or for that matter any family that I know.

My mom cooks most of the time, just because she's better at it than my dad, but

my dad is always cleaning the house, their roles aren't as divided as Tim and

Jill's seem to be.  And the kids on either of the shows never clean anything, or

do anything around the house, when in every family I know, the kids always help

with the cleaning, and I am not talking about cleaning their own rooms, I mean

actual dusting and vacuuming of the house, doing the dishes, mowing the lawn as

well as performing other household chores.  The one thing that both shows

portray very well is the problems that each of the families face, this is one

thing that almost everyone can relate to.  The Bundy's constant lack of money,

their focus on the division of female and male roles, and the problems of the

kids always disrespecting their parents.  The Taylor's also focus on the

division of female and male roles, as well a the division of power between Tim

and Jill, but the money problem and the kids disrespecting their parents are

issues that rarely come up on this show as the Taylors are higher in class,

manners and standards than the Bundys.

Personally, I like both these shows and watch them whenever I have the

time, that is why I chose to examine them.  The apparent division in power and

gender roles on both these shows was something new even to me, I never noticed

it before, or may be just didn't give it much thought.  The thing that amazed me

the most is how alike these shows are.  When I watch TV I never think to compare

any two shows, especially not these two, I just try to have a pleasant viewing

experience and may be get a couple of good laughs.  Taking the shows apart and

examining them like this has only cleared up my mind, now whenever I watch TV, I

tend to think, "What is this show really trying to say?"

MATERIALS READ

Brubach, Holly. "Rock and Roll Vaudeville". St. Martin's Press, Signs of Life,

1994.

Faludi, Susan. "Teen Angels and Tart-Tongued Witches". St. Martin's Press, Signs

of Life, 1994.

Kirn, Walter. "Twentysomethings". St. Martin's Press, Signs of Life, 1994.

Ozersky, John.  "TV's Anti-Families: Married...with Malaise" St. Martin's Press,

Signs of Life, 1994.

SHOWS VIEWED

Six "Tool Time" episodes viewed for paper.  Two of them in class.  Others on own

time, including one new episode and five reruns.

Four episodes of "Married...with Children".  Saw one new episode, and three

reruns.

1323.      Tv Shows and Real Life

TV shows are probably  the primary source of entertainment for the average American.  Most of them run from 7 p.m. to 10 p.m. with reruns starting at 5 p.m.  We watch them because they give us something to do, a way to relax, something to help pass the time.  We all watch different shows, some people like "Married...with Children", some are repulsed with it, but like to watch "Home Improvement", what draws particular crowds to certain shows?  How do these shows portray the average American, or do they portray average Americans at all?  These are questions many writers have attempted to answer, at least one column in almost every newspaper is dedicated to this topic.  I think the people like to see shows that portray them, or what they'd like to be.

"Married...with Children" runs on Fox 29 on Mondays at 8:30 p.m., it has been on air for a long time, and has passed its 200th episode last season.  The main characters of the show is women's shoe salesman Al Bundy, his wife Peg, dorky son Bud, and slutty daughter Kelly.  Al loves to watch TV, bowl with his buddies, drink and go to the "nudy bar".  Marcie and Jefferson, are the Bundy's neighbors and also take an active part in the show.  Most shows consist of Al going somewhere or doing something and everyone else making fun of him when he fails miserably.  Al is someone you can hardly call a father to his kids, he's doesn't take care of them and he does absolutely nothing father-like for them or with them.  Al is constantly complaining about his marriage, he says that if he was sober that night, none of this would have happened.  He calls his children accidents and the only good memory he has, is of him being a great high school football player, which he would take to the next level had all his dreams not been crushed by Peg.  The only living thing Al really likes on the show is his dog, Buck, to which he can relate as they are both dirty and nasty.  Every show it is the same kind of thing, over and over again.  Peg is trying to convince Al to have sex, Al blames Peg for his failure in life, Kelly is screwing some guy in the back seat of a car, and Bud is looking at "nudy magazines".  Last Monday, the 27, Al decided to join the Army Reserve in order to escape his family.  John Ozersky writes in his article entitled "TV's Anti-Families: Married...With Malaise", "These shows portray  a downfall of Dad, but no rise of Mom.  By presenting unhappy families  to viewers, the viewers tend to feel better about themselves, on the contrary, the viewer's expectations in their own lives decrease as a result of this.  By making our problems "all right by comparison", the series trivializes them, rather than taking them seriously.  The dysfunctional TV family aids advertisers in their perennial quest for credibility by creating a supersaturated atmosphere of irony, which atrophies our ability to believe  in anything" (Ozersky 215).  But the reason people watch the show is simple, it portrays our worst fears in a way we can laugh at them, and who wouldn't want to laugh at their fear, an "in your face, I'm not as bad as you" kind of laugh.  My dad wouldn't let me watch this show until I was 14 years-old, because he thought it would give me the wrong idea about real family life.

Another show about family life is "Home Improvement".  It portrays a traditional family, Tim and Jill are a married couple and they have three kids of different ages.  Tim and Jill always argue about something, if it isn't about what Tim did, or about what Jill did, it's about what their kids did.  The kids are also constantly fighting, the two bigger brothers always picking on the smaller one.  It is a funny and entertaining version of the upper-middle class family.  The role of the father in this show is clear, he is manly, he grunts, he works with power tools, and he can't stand when someone besides him has the power.  This is shown in the episode when Jill opens her own checking account, Tim is upset, he can't control where the money goes any more, even though it isn't his money, he'd like to have control over it.  So by the end of the episode, Jill gives in, a portrayal of female weakness and man's superiority, and the account is joined.  The episode is filled with funny jokes, one-line comebacks and other funny stuff which keeps the show on top of the rating charts.  No one notices the subtle messages the show is sending, "men have the power", "women have to do what they are told".  Of course no one notices these messages unless you take the show apart piece by piece and compare different episodes, but they are there.  People watch this show because it brings up common everyday issues that we, ourselves have to deal with, and settles them in ways that are funny.

"Married...with Children" and "Home Improvement" may seem to have nothing in common on first glance, but if examined closer we find that they are in fact alike.  Both shows joke around about family life, portray the father and mother as each having their own roles in the house that never cross, and both shows deal with common everyday issues.  "Married...with Children" is a caricature of an everyday family.  They make fun of not only themselves, but of normal families as well, when such are mentioned on the show.  "Home Improvement" although being the more realistic of the two shows, also makes fun of family life as I know it.  We always see Tim working on his Hot Rod, or else installing a new gadget in the house and Jill cooking or cleaning the house.  That is not how life is in my family, or for that matter any family that I know. My mom cooks most of the time, just because she's better at it than my dad, but my dad is always cleaning the house, their roles aren't as divided as Tim and Jill's seem to be.  And the kids on either of the shows never clean anything, or do anything around the house, when in every family I know, the kids always help with the cleaning, and I am not talking about cleaning their own rooms, I mean actual dusting and vacuuming of the house, doing the dishes, mowing the lawn as well as performing other household chores.  The one thing that both shows portray very well is the problems that each of the families face, this is one thing that almost everyone can relate to.  The Bundy's constant lack of money, their focus on the division of female and male roles, and the problems of the kids always disrespecting their parents.  The Taylor's also focus on the division of female and male roles, as well a the division of power between Tim and Jill, but the money problem and the kids disrespecting their parents are issues that rarely come up on this show as the Taylors are higher in class, manners and standards than the Bundys.

Personally, I like both these shows and watch them whenever I have the time, that is why I chose to examine them.  The apparent division in power and gender roles on both these shows was something new even to me, I never noticed it before, or may be just didn't give it much thought.  The thing that amazed me the most is how alike these shows are.  When I watch TV I never think to compare any two shows, especially not these two, I just try to have a pleasant viewing experience and may be get a couple of good laughs.  Taking the shows apart and examining them like this has only cleared up my mind, now whenever I watch TV, I tend to think, "What is this show really trying to say?"

MATERIALS READ

Brubach, Holly. "Rock and Roll Vaudeville".

St. Martin's Press, Signs of Life, 1994.

Faludi, Susan. "Teen Angels and Tart-Tongued Witches".

St. Martin's Press, Signs of Life, 1994.

Kirn, Walter. "Twentysomethings".

St. Martin's Press, Signs of Life, 1994.

Ozersky, John.  "TV's Anti-Families: Married...with Malaise"

St. Martin's Press, Signs of Life, 1994.

SHOWS VIEWED

Six "Tool Time" episodes viewed for paper.  Two of them in class.  Others on own time, including one new episode and five reruns.

Four episodes of "Married...with Children".  Saw one new episode, and three reruns.

1324.      TV Violence 2

TV     Violence

Andy Allen

Optional Final

2nd hour

Tear gas flushes a gunman out of a house where he had been held up.  He comes out shooting, then falls in a hail of bullets from the S.W.A.T team.  A film of the shoot-out and removal of the gunman's body appear on the on the evening news.  Is this what Americans want to watch, or should it be censored out of the news?  Many people think it should be banned.  But would that be breaking the first amendment?

I believe that TV doesn't control what people do,  people control what people do.  There was violence before TV was invented, but people can't blame themselves, so they blame TV for their problems.  In most shows murderers get caught or killed.  Why would someone want to take the risk of getting killed just to act like someone on TV?

Getting rid of TV violence will not change the way people think.  People will always think of violence.  How could they of anything else?  Violence is everywhere, TV, Music, Movies, Video games, news, and newspaper.  You would have to ban all violence to stop people from thinking about it.  TV is not the only problem.

Is there too much TV violence, or is it just what people want to see?  In a recent survey, violent scenes in nonfictional shows went up 150% and in fictional shows they went up 39%.  The overall violence went up 41%.

What about the V-chip?  The chip that would block out violence and sex on TV.  But is that offending people's freedom of speech?  Who would choose to use the V-chip?  The government can't force people to use it, so how could they re-enforce its use?

In conclusion, I think it is almost impossible to erase violence by ridding the world of TV violence.  There's too much violence and banning violence off TV is not the answer to solve our problems.

1325.      TV Violence and Children

TV Violence and Children

Children from the ages 6-11 spend more time watching television than

they do in the classroom.  The level of violence that they see on prime time

television is about five violent acts per hour and the level of violence on

Saturday that includes cartoons morning programming is about 20 to 25 violent

acts per hour.  At this rate, the average American child will see 8,000 murders

before they finish elementary school!

As a child sits in front of baby-sitting television, her eyes are glued

to the viewing of shoot em' up rip em' up kind of entertainment.  We have to

remember that the entertainment media plays an extremely powerful role in the

formation of values and morals, to all youngsters' minds of all ages, all

socioeconomic levels, and all levels of intelligence.  These programs "play"

with kids' minds; these programs have a tremendous negative effect on our

children.  We, as a society, must save our future and take an active role in

protecting our children from the violence on our television.

Television cartoons often feature dehumanized characters, such as

Transformers and the Ninja Turtles, who engage in the destructive acts of

violence by fighting our real life social problems. With acts of violence, kids

learn to think that's how they should solve their problems.  MTV's Beavis and

Butt-head  encourages fire, smoking, foul language, drinking and stealing.  With

these bad attitudes seen depicted as normal on TV  shows kids are lead to

believe it is cool be have that type attitude  Is this what we really want our

society, especially our younger generation, to believe?

If we truly thought that television had no impact on viewers, why would

companies spend billion of dollars on television advertising?  If commercials

have an effect, then so do the shows that the children watch.  For example,

youngsters mimic many of the violent acts that they see such as Beasvis and But-

head.  One day, a five year old boy watch his favorite cartoon, Beavis and Butt-

head, and sees the characters pull one of their famous arson stunts.  And the

result, he sets his own house ablaze and his younger sister is killed.

Children do learn from television especially when they lack direct exposure

or first hand experience with violent grotesque acts. These do take a toll on

children and the way they will view life as they grow up.  I know some who that

are sweet, innocent, full of dreams, hopes, laughter, and life.  These kids have

learned about there environment from their parents, not by watching television.

When I am a parent,  I will not show programs with bodies flying around the room

and blood spurting ever where.  At this point, the parents' role must be to

watch television with their children so they can help children understand that

violence hurts people physically and emotionally.

Our society should take a long hard look in the mirror; the values of

today's youth are reflections of the values of their elders.  We should remember

the words of the father in Harry Chapin's song "Cat's in the Cradle" when he

comes to realize his son "He's grown up just like me.  My boy was just like me."

Violence on the television is a very real problem is our culture.  We

most see that it only causes negative effects on our society.  It is hard to

tell if the problem is the media or if the problem is in our values as a culture.

We must help turn back the growing culture of violence as quickly as possible.

The human toll on our society is too great to look the other way.

1326.      TV Violence Children

TV, Violence, Children

Children from the ages 6-11 spend more time watching television than they do in the classroom.  The level of violence that they see on prime time television is about five violent acts per hour and the level of violence on Saturday that includes cartoons morning programming is about 20 to 25 violent acts per hour.  At this rate, the average American child will see 8,000 murders before they finish elementary school!

As a child sits in front of baby-sitting television, her eyes are glued to the viewing of shoot em' up rip em' up kind of entertainment.  We have to remember that the entertainment media plays an extremely powerful role in the formation of values and morals, to all youngsters' minds of all ages, all socioeconomic levels, and all levels of intelligence.  These programs "play" with kids' minds; these programs have a tremendous negative effect on our children.  We, as a society, must save our future and take an active role in protecting our children from the violence on our television.

Television cartoons often feature dehumanized characters, such as Transformers and the Ninja Turtles, who engage in the destructive acts of violence by fighting our real life social problems. With acts of violence, kids learn to think that's how they should solve their problems.  MTV's Beavis and Butt-head  encourages fire, smoking, foul language, drinking and stealing.  With these bad attitudes seen depicted as normal on TV  shows kids are lead to believe it is cool be have that type attitude  Is this what we really want our society, especially our younger generation, to believe?

If we truly thought that television had no impact on viewers, why would companies spend billion of dollars on television advertising?  If commercials have an effect, then so do the shows that the children watch.  For example, youngsters mimic many of the violent acts that they see such as Beasvis and But-head.  One day, a five year old boy watch his favorite cartoon, Beavis and Butt-head, and sees the characters pull one of their famous arson stunts.  And the result, he sets his own house ablaze and his younger sister is killed.

Children do learn from television especially when they lack direct exposure or first hand experience with violent grotesque acts. These do take a toll on children and the way they will view life as they grow up.  I know some who that are sweet, innocent, full of dreams, hopes, laughter, and life.  These kids have learned about there environment from their parents, not by watching television.  When I am a parent,  I will not show programs with bodies flying around the room and blood spurting ever where.  At this point, the parents' role must be to watch television with their children so they can help children understand that violence hurts people physically and emotionally.

Our society should take a long hard look in the mirror; the values of today's youth are reflections of the values of their elders.  We should remember the words of the father in Harry Chapin's song "Cat's in the Cradle" when he comes to realize his son "He's grown up just like me.  My boy was just like me."

Violence on the television is a very real problem is our culture.  We most see that it only causes negative effects on our society.  It is hard to tell if the problem is the media or if the problem is in our values as a culture.  We must help turn back the growing culture of violence as quickly as possible.  The human toll on our society is too great to look the other way.

1327.      TV Violence Essay

TV Violence

A major topic of conversation nowadays is whether or not voilence on

television causes children to bahave more violently. Shortly after I began to

research this topic, I realized that it is not a clear cut issue.  Evidence can

be easily found to support each position.  In the following essay I will examine

the different positions that can ba taken on this topic and try ro form my own

view on the affect violent TV has on chidren.

The first position I will examine is the one in which it is believed

that, without a doubt, violent TV increases the likelyhood that a child will

behave in a violent manner.  This stands is examined in the Maclean's article

intitled,"Power to the people.  Television's teen Rangers Kick up a storm.  The

author of this article, Particia Chrisholm, explains a heated debate over the

affects that the kids show "The Mighty Morphin Power Rangers" has on children.

According to this article, the "hemeted lycra covered Rangers" acts as a bad

influence on children.  Many parents have come to believe that the childen try

to act like the kids hreo's.  A cocerned mother, Kathryn Flannery went so far as

to petition the CRTC.  The CRTC responded by saying that "the show is avassively

to violent."(Chrisholm 1994 p.52)  As a result of the petiton, many stations

voluntarily refused to air the controversial kids show. This case shows the

power that people can have over the CRTC.  Unfortunately, the parents were not

able to entirely shield their children from the Power Rangers TV show.  Many US

broadcasters, available on cable, continued to air the show.

Another study that supports this belief that TV violence causes children

to act more violently is  an experiment conducted by Leonard Eron and his

collegues.  In these studies, Leonard Eron  and his collegues studied childern

for a number of years and measuread peer ratings obtained from each child's

classmates.  By doing this, they could see if violent TV changed the attitudes

of the children.  In the end, it was concluded that violent TV significantly

affected the way in which the children behaved.

The other position that can be taken when discussing this issue is one

in which people believe that violent TV does not affect the behavior of children.

In the Canadian Forum article, "TV and The Child Savers. Bad Habits and The

Boob Tube" this position is discussed.  The author, Thelma McCormack discusses

the goals of the action group that refers to themselves as the Child Savers.

According to this article, the Child Savers believe that "Programs which contain

gratitous violence will not be shown on television."(McCormack 1993.P20)  They

basically want to force the CRTC to wake up and take action.  They are also

considering making an ammendment to the Criminal Code.  The author of this

article seems to be more interested with discrediting the Child Savers action

group.  McCormack quotes George Gerbner as saying "in reality, there is less

violence on TV now than in the past.(McCormack 1993 p.20) Gerbner belongs to the

Unniversity of Pensylvannia's Annemburg School Of Communications and has been

studying TV for more than a decade.  Gerbner believes that there is less

tolerance for any type of violence.  This article discusses rhe situation in

which the American Psychologists decided to change their initial view on TV

violence negatively affecting the behavior of children.  They now believe that

thier view was based on laboratory results.  They also realize that the long

term affects have not yet been determined.  This article has vast importance

because it shows that what is expertly reported is not necessarily true.  If the

American pychologists can make a mistake anyone can.  The American Pychologists

have not entirely dismissed their view, they have merely realized that they did

not have enough concrete evidence to suoourt their view.  This Canadian Forum

article also realizes that most studies on violence and TV isolate TV as the

only contributor to the childrend violent behavior.  They forget about the other

aspects of the subjects lives.  They might have allready been prone to act

violently.  This article states that "the result is that our studies tell us

little violence or the culture of childhood."(McCormack 1993 p.22)  The author

believes that we need to understand how children react and respond to TV before

we can make judgements on it's affects.

An experiment that supports this view that TV violence does not promote

violence in children is a group of studies conducted by Seymour Feshbach and

Robert D Singer.  In their book, "Telivision and Aggression" they state that the

issue "arrises from a concern over an important contemporary social

issue"(Feshbach & Singer 1987).  This group of studies looked at the way violent

TV affects adolescent and preadolescent boys.  Feshbach and Singer believed this

particular group had a natural tendancy to watch more violent TV programs.

Although this book was published in 1977, the trends it discusses are still

apparent today.  Rescent studies have come to the same conclusion.  This study

involved boys from private schools and residencies.  The subjects were allowed

to watch a minimum of six hours of TV a week.  They could watch as much as they

wanted, but the shows were specified.  Seymour and Feshbach used personality

tests and attitude tests to record the boys behavior.  More emphasis is placed

on was placed on on the behavior ratings.  In the end, the results favoured the

view that violent TV does not cause childen to bahave more violently.  Seymour

and Feshbach stated that "We feel reasonably confident, however, that the

violent program content which the boys observed is not a significant cause of

their aggression."(Seymour & Feshbach 1977)  This experiment is somewhat

resticted because it focused on a subset of the population.  The experimenters

would have liked to have involved girls and other ages of boys, but they felt

that these particular subjects were a natural control group.  They also chose

them because they lived relatively close to where they lived.

The view that volent TV does not promote violence in children is also

supported in the book "Mass Media and Society" written by Dennis Howitt and Guy

Cumberbatch.  Howitt and Cumberbatch looked at social psychology, experimental

psychology, sociology and phychiatry to come their belief that " mass media do

not have any significant effect on the level of violence in society."( Howitt

and Cumberbatch 1975 p.VII)  Howitt and Cumberbatch looked at experiments,

reports and studies and tried to figure out the meaning of each.  They concluded

that many studies do not specify reasons for why they believe violence makes

violent children.  Th at the children imitated the suicides they saw.

The results from all these studies are incredibly difficult to disect

and understand.  This is because, contrary to popular belief, whether or not

violence on TV causes children to act violent is not a clear cut issue.  It is

practically impossible to entirely believe in one position.  Even the studies

that conclude that violence on TV does not cause violence in children do not

ignore that there may be some type of relationship.  In the book intitled

"Television and Aggression" one of the very last things mentioned is that there

may be some sort of correlation between the two variables.  It seems like no one

is completely certain what view is correct.

A major issue that is raised when trying to understand all these

experiments is the existance of experimenter bias.  It seems quite obvious that

most of the experimenters involved had results that they expected to and wanted

to find.  This may or may not have affected the final results.  It seems quite

possible that the goals of the experimenter may have interfered with the results.

Of course an experimenter does not want to prove himself wrong.  For this

reason, some of these experiments may have had inconclusive results.  This

situation should be taken into account when any results are discussed.

Rescently, new ways of looking at TV violence has been discussed.  One

of these is tha catharsis thery.  This theory involves the belief that watching

violence actually purges us of our violient urges.  It is actually a healthy

process.  This theory is very hard to comprehend, but in time it may actually

prove correct. No one knows what the beliefs will be in the future.

It is very hard to conclude that TV violence does affect the violent

behavior of children because the long term results have not yet been identified.

It is not until rescenly that experiments focused solely around this issue.  An

experiment that involved this is one discussed in our text book "Communication

in Canadian Society"  In this a study is condicted on three towms and the affect

that TV had in each.  In the end it seemed like TV did not play all that much a

role in the violent actions made by children.  More studies that discuss the

long term affects need to be studied.

After researching this paper I realized that I cannot come to a

conclusion on whether not I believe violent TV makes violent chilren.  The

results that havr been found are entirily too confusinf for me to be able to do

this.  I cannot decide which side makes more sense.  I would like to be able to

believe that violence causes violence, for the simple fact that it seems like

the easy way out, but I can't do this.  Each position has very valid points and

can be proven easily.  What I am sure of is that there is some type of link

between the two variables.  It seems like everyone agreed on this.  It is going

yo take a lot more experienced, based on the long term affests to decide whicd

position is correct.  Even then, not everyone will believe in the same position.

This is an entirely  impossible task.

1328.      TV Violence Impossible To Get Rid of Violence on Television

TV Violence: Impossible To Get Rid of Violence on Television

Andy Allen

Optional Final

2nd hour

Tear gas flushes a gunman out of a house where he had been held

up.  He comes out shooting, then falls in a hail of bullets from the S.W.A.T

team.  A film of the shoot-out and removal of the gunman's body appear on the on

the evening news.  Is this what Americans want to watch, or should it be

censored out of the news?  Many people think it should be banned.  But would

that be breaking the first amendment?

I believe that TV doesn't control what people do,  people

control what people do.  There was violence before TV was invented, but people

can't blame themselves, so they blame TV for their problems.  In most shows

murderers get caught or killed.  Why would someone want to take the risk of

getting killed just to act like someone on TV?

Getting rid of TV violence will not change the way people think.

People will always think of violence.  How could they of anything else?

Violence is everywhere, TV, Music, Movies, Video games, news, and newspaper.

You would have to ban all violence to stop people from thinking about it.  TV is

not the only problem.

Is there too much TV violence, or is it just what people want to see?

In a recent survey, violent scenes in nonfictional shows went up 150% and in

fictional shows they went up 39%.  The overall violence went up 41%.

What about the V-chip?  The chip that would block out violence

and sex on TV.  But is that offending people's freedom of speech?  Who would

choose to use the V-chip?  The government can't force people to use it, so how

could they re-enforce its use?

In conclusion, I think it is almost impossible to erase violence

by ridding the world of TV violence.  There's too much violence and banning

violence off TV is not the answer to solve our problems.

1329.      TV Violence

A major topic of conversation nowadays is whether or not voilence on television causes children to bahave more violently. Shortly after I began to research this topic, I realized that it is not a clear cut issue.  Evidence can be easily found to support each position.  In the following essay I will examine the different positions that can ba taken on this topic and try ro form my own view on the affect violent TV has on chidren.

The first position I will examine is the one in which it is believed that, without a doubt, violent TV increases the likelyhood that a child will behave in a violent manner.  This stands is examined in the Maclean's article intitled,"Power to the people.  Television's teen Rangers Kick up a storm.  The author of this article, Particia Chrisholm, explains a heated debate over the affects that the kids show "The Mighty Morphin Power Rangers" has on children.  According to this article, the "hemeted lycra covered Rangers" acts as a bad influence on children.  Many parents have come to believe that the childen try to act like the kids hreo's.  A cocerned mother, Kathryn Flannery went so far as to petition the CRTC.  The CRTC responded by saying that "the show is avassively to violent."(Chrisholm 1994 p.52)  As a result of the petiton, many stations voluntarily refused to air the controversial kids show. This case shows the power that people can have over the CRTC.  Unfortunately, the parents were not able to entirely shield their children from the Power Rangers TV show.  Many US broadcasters, available on cable, continued to air the show.

Another study that supports this belief that TV violence causes children to act more violently is  an experiment conducted by Leonard Eron and his collegues.  In these studies, Leonard Eron  and his collegues studied childern for a number of years and measuread peer ratings obtained from each child's classmates.  By doing this, they could see if violent TV changed the attitudes of the children.  In the end, it was concluded that violent TV significantly affected the way in which the children behaved.

The other position that can be taken when discussing this issue is one in which people believe that violent TV does not affect the behavior of children.  In the Canadian Forum article, "TV and The Child Savers. Bad Habits and The Boob Tube" this position is discussed.  The author, Thelma McCormack discusses the goals of the action group that refers to themselves as the Child Savers.  According to this article, the Child Savers believe that "Programs which contain gratitous violence will not be shown on television."(McCormack 1993.P20)  They basically want to force the CRTC to wake up and take action.  They are also considering making an ammendment to the Criminal Code.  The author of this article seems to be more interested with discrediting the Child Savers action group.  McCormack quotes George Gerbner as saying "in reality, there is less violence on TV now than in the past.(McCormack 1993 p.20) Gerbner belongs to the Unniversity of Pensylvannia's Annemburg School Of Communications and has been studying TV for more than a decade.  Gerbner believes that there is less tolerance for any type of violence.  This article discusses rhe situation in which the American Psychologists decided to change their initial view on TV violence negatively affecting the behavior of children.  They now believe that thier view was based on laboratory results.  They also realize that the long term affects have not yet been determined.  This article has vast importance because it shows that what is expertly reported is not necessarily true.  If the American pychologists can make a mistake anyone can.  The American Pychologists have not entirely dismissed their view, they have merely realized that they did not have enough concrete evidence to suoourt their view.  This Canadian Forum article also realizes that most studies on violence and TV isolate TV as the only contributor to the childrend violent behavior.  They forget about the other aspects of the subjects lives.  They might have allready been prone to act violently.  This article states that "the result is that our studies tell us little violence or the culture of childhood."(McCormack 1993 p.22)  The author believes that we need to understand how children react and respond to TV before we can make judgements on it's affects.

An experiment that supports this view that TV violence does not promote violence in children is a group of studies conducted by Seymour Feshbach and Robert D Singer.  In their book, "Telivision and Aggression" they state that the issue "arrises from a concern over an important contemporary social  issue"(Feshbach & Singer 1987).  This group of studies looked at the way violent TV affects adolescent and preadolescent boys.  Feshbach and Singer believed this particular group had a natural tendancy to watch more violent TV programs.  Although this book was published in 1977, the trends it discusses are still apparent today.  Rescent studies have come to the same conclusion.  This study involved boys from private schools and residencies.  The subjects were allowed to watch a minimum of six hours of TV a week.  They could watch as much as they wanted, but the shows were specified.  Seymour and Feshbach used personality tests and attitude tests to record the boys behavior.  More emphasis is placed on was placed on on the behavior ratings.  In the end, the results favoured the view that violent TV does not cause childen to bahave more violently.  Seymour and Feshbach stated that "We feel reasonably confident, however, that the violent program content which the boys observed is not a significant cause of their aggression."(Seymour & Feshbach 1977)  This experiment is somewhat resticted because it focused on a subset of the population.  The experimenters would have liked to have involved girls and other ages of boys, but they felt that these particular subjects were a natural control group.  They also chose them because they lived relatively close to where they lived.

The view that volent TV does not promote violence in children is also supported in the book "Mass Media and Society" written by Dennis Howitt and Guy Cumberbatch.  Howitt and Cumberbatch looked at social psychology, experimental psychology, sociology and phychiatry to come their belief that " mass media do not have any significant effect on the level of violence in society."( Howitt and Cumberbatch 1975 p.VII)  Howitt and Cumberbatch looked at experiments, reports and studies and tried to figure out the meaning of each.  They concluded that many studies do not specify reasons for why they believe violence makes violent children.  T       at the children imitated the suicides they sa

discredited this by asking whether it was actual imitation or did the child allready have some sort of aggression built up inside of them.  This book also raises the question of the concern over TV violence actually refering to its unattactive appearance.  It quotes Thus Fay Weldon as saying "...Not so much interested in any connection between crime and TV as in the general debasing of social standards..."(Howitt & Cumberbatch 1975 p.11)  Howitt and Cumberbatch believe that madia, as a whole, needs to be re-evaluated.  They believe that "a wider perspective on media as a social concern is needed.(Cumberbatch & Howitt)  Although this book was published in 1975, it raises some very important and relavent points.  It attempts to critically assess studies linking violent TV to violent acts made by children.

The results from all these studies are incredibly difficult to disect and understand.  This is because, contrary to popular belief, whether or not violence on TV causes children to act violent is not a clear cut issue.  It is practically impossible to entirely believe in one position.  Even the studies that conclude that violence on TV does not cause violence in children do not ignore that there may be some type of relationship.  In the book intitled "Television and Aggression" one of the very last things mentioned is that there may be some sort of correlation between the two variables.  It seems like no one is completely certain what view is correct.

A major issue that is raised when trying to understand all these experiments is the existance of experimenter bias.  It seems quite obvious that most of the experimenters involved had results that they expected to and wanted to find.  This may or may not have affected the final results.  It seems quite possible that the goals of the experimenter may have interfered with the results.  Of course an experimenter does not want to prove himself wrong.  For this reason, some of these experiments may have had inconclusive results.  This situation should be taken into account when any results are discussed.

Rescently, new ways of looking at TV violence has been discussed.  One of these is tha catharsis thery.  This theory involves the belief that watching violence actually purges us of our violient urges.  It is actually a healthy process.  This theory is very hard to comprehend, but in time it may actually prove correct. No one knows what the beliefs will be in the future.

It is very hard to conclude that TV violence does affect the violent behavior of children because the long term results have not yet been identified.  It is not until rescenly that experiments focused solely around this issue.  An experiment that involved this is one discussed in our text book "Communication in Canadian Society"  In this a study is condicted on three towms and the affect that TV had in each.  In the end it seemed like TV did not play all that much a role in the violent actions made by children.  More studies that discuss the long term affects need to be studied.

After researching this paper I realized that I cannot come to a conclusion on whether not I believe violent TV makes violent chilren.  The results that havr been found are entirily too confusinf for me to be able to do this.  I cannot decide which side makes more sense.  I would like to be able to believe that violence causes violence, for the simple fact that it seems like the easy way out, but I can't do this.  Each position has very valid points and can be proven easily.  What I am sure of is that there is some type of link between the two variables.  It seems like everyone agreed on this.  It is going yo take a lot more experienced, based on the long term affests to decide whicd position is correct.  Even then, not everyone will believe in the same position.  This is an entirely  impossible task.

1330.      Twelfth Night Analysis of Fools

Twelfth Night - Analysis of Fools

A fool can be defined in many meanings according to the Oxford English Dictionary On Historical Principles. The word

could mean "a silly person", or "one who professionally counterfeits folly for the entertainment of others, a jester, clown"

or "one who has little or no reason or intellect" or "one who is made to appear to be a fool" (word originated from North

Frisian). In english literature, the two main ways which the fool could enter imaginative literature is that "He could provide

a topic, a theme for mediation, or he could turn into a stock character on the stage, a stylized comic figure". In William

Shakespeare's comedy, Twelfth Night, Feste the clown is not the only fool who is subject to foolery. He and many other

characters combine their silly acts and wits to invade other characters that "evade reality or rather realize a dream", while

"our sympathies go out to those". "It is natural that the fool should be a prominent & attractive figure and make an

important contribution to the action" in forming the confusion and the humor in an Elizabethan drama. In Twelfth Night, the

clown and the fools are the ones who combine humor & wit to make the comedy work.

Clowns, jesters, and Buffoons are usually regarded as fools. Their differences could be of how they dress, act or

portrayed in society. A clown for example, "was understood to be a country bumpkin or 'cloun'". In Elizabethan usage,

the word 'clown' is ambiguous "meaning both countryman and principal comedian". Another meaning given to it in the

1600 is "a fool or jester". As for a buffoon, it is defined as "a man whose profession is to make low jests and antics

postures; a clown, jester, fool". The buffoon is a fool because "although he exploits his own weaknesses instead of being

exploited by others....he resembles other comic fools". This is similar to the definition of a 'Jester' who is also known as a

"buffoon, or a merry andrew. One maintained in a prince's court or nobleman's household". As you can see, the buffoon,

jester and the clown are all depicted as fools and are related & tied to each other in some sort of way. They relatively

have the same objectives in their roles but in appearance wise (clothes, physical features) they may be different. In

Shakespeare's Twelfth Night, Feste's role in this Illyrian comedy is significant because "Illyria is a country permeated with

the spirit of the Feast of Fools, where identities are confused, 'uncivil rule' applauded...and no harm is done". "In Illyria

therefore the fool is not so much a critic of his environment as a ringleader, a merry-companion, a Lord of Misrule. Being

equally welcome above and below stairs.." makes Feste significant as a character. In Twelfth Night, Feste plays the role

of a humble clown employed by Olivia's father playing the licensed fool of their household. We learn this in Olivia's

statement stating that Feste is "an allowed fool"(I.v.93) meaning he is licensed, privileged critic to speak the truth of the

people around him. We also learn in a statement by Curio to the Duke that Feste is employed by Olivia's father. "Feste

the jester... a fool that the Lady Olivia's father took much pleasure in"(II.iv.11).

Feste is more of the comic truth of the comedy. Although he does not make any profound remarks, he seems to be the

wisest person within all the characters in the comedy. Viola remarks this by saying "This fellow's wise enough to play the

fool"(III.i.61). Since Feste is a licensed fool, his main role in Twelfth Night is to speak the truth. This is where the humor

lies, his truthfulness. In one example he proves Olivia to be a true fool by asking her what she was mourning about. The

point Feste tried to make was why was Olivia mourning for a person who's soul is in heaven?

"CLOWN   Good madonna, why mourn'st thou?

OLIVIA  Good Fool, for my brother's death.

CLOWN   I think his soul is in hell, madonna.

OLIVIA  I know his soul is in heaven, fool.

CLOWN   The more fool, madonna, to mourn for your

brother's soul, being in heaven. Take away the fool,

gentlemen.

Adding to the humor of the comedy, Feste, dresses up as Sir Topaz, the curate and visits the imprisoned Malvolio with

Maria and Sir Toby. There he uses his humor to abuse Malvolio who is still unaware that he is actually talking to the

clown than to the real Sir Topas. Feste (disguised as Sir Topaz) calls Malvolio a "lunatic" (IV.ii.23), "satan"(IV.ii.32) and

confuses him by wittingly making him a fool. Throughout the play, Malvolio has always been the person who intentionally

spoils the pleasure of other people(killjoy). He is Feste's worst nightmare in the play, but in the end is triumphed over by

Feste completely and is the only character to show a negative attitude and a dignity reversed.

"MALVOLIO: I'll be revenged on the whole pack of you!" (V.i.378) At the end of the comedy, Feste, "is given the last

word and is left in possession of the stage".

Maria, Olivia's companion is another person who seems enthusiastic in playing pranks on other people. In Twelfth Night,

she plays the unsuspecting role of a behind the scene fool who gives ideas to Feste, Sir Andrew & Sir Toby to assist her

in her plans. In two incidents, she remains quiet while her plans are carried out by either the Knights or the Clown.

Part of the humor that lies in this comedy is that Maria's pranks are harsh & cruel, using love and power (status of Olivia)

to attack Malvolio, steward of Olivia, who is "....sick of self love"(I.v.90). For this, Malvolio's greed for power ends

himself locked up in a dark cell and is accused of being mad. She also prepares Feste to disguise as Sir Topaz. This is

seen in the quote: "Nay,I prithee put on this gown and this beard; make him believe thou are Sir Topas the curate; do it

quickly. I'll call Sir Toby the whilst." (IV.ii.1,2,3) Combined with other fools, Maria helps make Twelfth Night a

hilariously funny comedy.

Lastly, Sir Toby Belch is another fool in Twelfth Night. His role is helping "on the game of make-believe". Always

convincing & encouraging the rich Sir Andrew Aguecheek that he has a chance of winning Lady Olivia's love. He is

similar to Feste, except he plays the role of a knight and is Olivia's kinsman. His role is similar to a fool because he

depicts many pranks of a fool. For example in Act II scene iii, while he was drunk he sings along with Feste when

Malvolio barges in to shut them up. Whenever there is a prank, Maria invites Sir Toby to participate. One such prank

was to assist Maria's fake letter to make Malvolio think Olivia is in love with him. Sir Toby's make-believe scheme works

convincingly on Malvolio. Another prank was to accompany the disguised Feste (Sir Topaz) into the dark cell where

Malvolio was imprisoned. This accompaniment was probably to assure Malvolio that the real Sir Topaz is visiting him.

Yet it is another make-believe scheme of Sir Toby.

In Twelfth Night, the fools are the ones that control the comedy and humor in the play. They assist in the make believe

game and fool around with characters who "evade reality or rather realize a dream". In Twelfth Night, Feste, Maria and

Sir Toby are the fools that make the comedy work in many senses. They create the confusion through humor and it all

works out in the end to make William Shakespeare's Twelfth Night a really funny Elizabethan play.

1331.      Twelve angry Men

Twelve Angry Men

This play is about twelve jurors who are to decide the verdict of a 19 year old boy who is accused of killing his father.  The jurors go into a room with the foreman to talk about the case and decide on a verdict.  The vote has to be unanimous either guilty or not guilty for the case to end.  To start the deciding, the jurors decide to take a preliminary vote to see where they stand.  After counting the ballots the vote is 11 to 1, guilty.  Juror number eight is the one who votes not guilty.  The reason that juror eight voted not guilty was because he was not sure that the boy was guilty and he wanted to talk about it.  One of the jurors decided to take a minute for each juror to tell their side of the story and what they personally think about the case.  After a lot of main points were made such as there being two of the identical knives, the woman in her apartment saying she saw the murder take place through the window of the El train, and how the old man said that he heard the boy say that he was going to kill his father and then went to his door to see the boy run down the stairs.  After all of this has taken place they decide to take another vote.  The verdict is still 11 to 1 in the favor of guilty.  Juror eight is now going over the time periods of when the woman said she saw the murder.  Juror eight is also trying to  explain how the man could not have seen the boy run down the stairs because the old man would not have had enough time to get out of bed.  After juror eight makes all of his points they take another vote.  This time the vote is now 6 guilty and 6 not guilty.  Juror ten is very disgusted at how a lot of the jurors are changing their votes.  Some of the jurors now start to get into a fight about how the boy was able to stab his father who was six inches taller than him.  Now a new vote is taken and the count now is three guilty to nine not guilty.  The jury is again arguing about how the lady could have see the killing.  The subject that is brought up is that she wears glasses and she did not have her glasses on when she supposedly said she saw the murder.  Now juror four changes his vote to not guilty and juror three is the only one left voting guilty.  Juror three sits there for a long time looking at the rest of the jurors and then he finally changes his vote to not guilty.  Now the vote is unanimous twelve to none in the favor of not guilty.

1332.      Twister Essay

Twister

The movie that I watched was called Twister. It is a movie that is about

the study of tornado's and a story of one of the actors lives called Joe. As a

little girl, Joe's father was killed by an F-5 tornado( This is the largest size

tornado possible). The movie begins with the actual death of Joe's father in

1969. After the tragedy, time is moved on to present day and into the field

where Joe is with a group of scientist's called the Chaser's.

Joe is presently married to a man called Bill. Bill is on the way to the

field to get some divorce papers signed by Joe so that he can marry again to a

woman named Melissa. Joe has put together a tornado studying device called

Dorothy. Dorothy is a big canister filled with hundreds of little censors that

fly up into the tornado and measure the size and wind velocities all at the same

time. The only way that the Chaser's can make it work is if they put it in the

damage path of the tornado. Joe is going to surprise Bill with Dorothy because

he is the one who actually thought up the design, and at the same time has

purposely not signed one of the papers.

Bill finally arrives and asks Joe for the papers. Joe hands Bill the

papers and acts like everything is okay. Bill looks through the papers and finds

the paper not signed, and Joe acts as if she never say the paper and begins to

read it. Bill becomes frustrated and just as She is about to sign one of the

chaser's yells out " there is a tornado about thirty miles away". Joe and her

team suddenly run to their cars and take off toward the area where the tornado

is. Bill is left standing there and realizes that the papers were not signed.

Bill gets into his truck with Melissa and proceeds to follow the chasers. He is

following and looks in his mirror and can see a competing group of chasers and

is runoff the road and busts a tire.

Bill catches up with the group at a little gas station that happens to

have a tire repair place across the street. Bill is standing in the road and

realizes that the other groups leader is a old partner named Jonas. Jonas had

gone out and found some corporate sponsors and doing so stole Bill's design of

Dorothy and has just named it something else. Bill is totally outraged and tries

to pick a fight with Jonas. Bill is so mad that he decides to join the chasers

and try to make Dorothy fly.

After a little while of waiting around with conversation, a tornado

touches down and the chasers jump in their cars and go toward the tornado's

place of touchdown. Bill is driving Joe's truck and they see the tornado in a

field. Bill enters the field in front of the tornado and get s down into a ditch.

Bill finds that he can't get out of the ditch and runs into a bridge with a

tractor on it. The tornado is too close for Bill and Joe to put Dorothy into the

path, so they decide to hide under the bridge for protection. Joe's truck is

picked up by the tornado and is thrown into the street where Melissa nearly

collides with it as she was following in the back of the convoy.

Soon later another tornado touches down and once again, the team is

unsuccessful. They decide later to park for the night and they are at a hotel

with a drive-in movie theater built next door. Everyone is standing around and

suddenly a very large tornado suddenly comes rushing upon them. The movie

theater and the people in the hotel take cover in a garage pit. The tornado

destroys the drive-in and the garage but everyone is okay.

After the tornado passes over, they find out that is headed toward a

town called Wakita. The tornado has also grown stronger after joining forces

with another storm and has become an F-4. Joe's aunt lives in Wakita and she is

very worried for her. Bill tells Melissa to head home and take the truck with

her. Melissa tells Bill that their relationship is over and walks off. Bill then

goes to the truck and heads off towards Wakita with the rest of the crew.

When they finally get to the town, the entire place is wiped-out. They

drive to the house where Joe's aunt lives and finds that the house is barely

standing. They holler for Meg (Joe's aunt) and find that she is in the basement

with a bookshelf on the top of her. Bill pulls the book shelf off of her and

safely gets Meg out of the house. They call an ambulance and they tell Joe that

Meg has a broken wrist and a bump on the head.

One of the chasers comes into the ambulance and tells Joe that the storm

has joined an even bigger storm and an F-5 tornado, the biggest in thirty years

has touched the ground. Joe decides to go for it and the entire team loads up

and heads toward the tornado. The rest you are just going to have to see for

yourself!!!

1333.      twister

Twister

The movie that I watched was called Twister. It is a movie that is about the study of tornado's and a story of one of the actors lives called Joe. As a little girl, Joe's father was killed by an F-5 tornado( This is the largest size tornado possible). The movie begins with the actual death of Joe's father in 1969. After the tragedy, time is moved on to present day and into the field where Joe is with a group of scientist's called the Chaser's.

Joe is presently married to a man called Bill. Bill is on the way to the field to get some divorce papers signed by Joe so that he can marry again to a woman named Melissa. Joe has put together a tornado studying device called Dorothy. Dorothy is a big canister filled with hundreds of little censors that fly up into the tornado and measure the size and wind velocities all at the same time. The only way that the Chaser's can make it work is if they put it in the damage path of the tornado. Joe is going to surprise Bill with Dorothy because he is the one who actually thought up the design, and at the same time has purposely not signed one of the papers.

Bill finally arrives and asks Joe for the papers. Joe hands Bill the papers and acts like everything is okay. Bill looks through the papers and finds the paper not signed, and Joe acts as if she never say the paper and begins to read it. Bill becomes frustrated and just as She is about to sign one of the chaser's yells out " there is a tornado about thirty miles away". Joe and her team suddenly run to their cars and take off toward the area where the tornado is. Bill is left standing there and realizes that the papers were not signed. Bill gets into his truck with Melissa and proceeds to follow the chasers. He is following and looks in his mirror and can see a competing group of chasers and is runoff the road and busts a tire.

Bill catches up with the group at a little gas station that happens to have a tire repair place across the street. Bill is standing in the road and realizes that the other groups leader is a old partner named Jonas. Jonas had gone out and found some corporate sponsors and doing so stole Bill's design of Dorothy and has just named it something else. Bill is totally outraged and tries to pick a fight with Jonas. Bill is so mad that he decides to join the chasers and try to make Dorothy fly.

After a little while of waiting around with conversation, a tornado touches down and the chasers jump in their cars and go toward the tornado's place of touchdown. Bill is driving Joe's truck and they see the tornado in a field. Bill enters the field in front of the tornado and get s down into a ditch. Bill finds that he can't get out of the ditch and runs into a bridge with a tractor on it. The tornado is too close for Bill and Joe to put Dorothy into the path, so they decide to hide under the bridge for protection. Joe's truck is picked up by the tornado and is thrown into the street where Melissa nearly collides with it as she was following in the back of the convoy.

Soon later another tornado touches down and once again, the team is unsuccessful. They decide later to park for the night and they are at a hotel with a drive-in movie theater built next door. Everyone is standing around and suddenly a very large tornado suddenly comes rushing upon them. The movie theater and the people in the hotel take cover in a garage pit. The tornado destroys the drive-in and the garage but everyone is okay.

After the tornado passes over, they find out that is headed toward a town called Wakita. The tornado has also grown stronger after joining forces with another storm and has become an F-4. Joe's aunt lives in Wakita and she is very worried for her. Bill tells Melissa to head home and take the truck with her. Melissa tells Bill that their relationship is over and walks off. Bill then goes to the truck and heads off towards Wakita with the rest of the crew.

When they finally get to the town, the entire place is wiped-out. They drive to the house where Joe's aunt lives and finds that the house is barely standing. They holler for Meg (Joe's aunt) and find that she is in the basement with a bookshelf on the top of her. Bill pulls the book shelf off of her and safely gets Meg out of the house. They call an ambulance and they tell Joe that Meg has a broken wrist and a bump on the head.

One of the chasers comes into the ambulance and tells Joe that the storm has joined an even bigger storm and an F-5 tornado, the biggest in thirty years has touched the ground. Joe decides to go for it and the entire team loads up and heads toward the tornado. The rest you are just going to have to see for yourself!!!

1334.      Ty Coob

Ty Coob

On December 18, 1886 Tyrus Raymond Cobb was born into the famliy of W. H. Cobb and his fifteen year old wife Amanda Chitwood. Ty grew up in the southern town of Royston, Georgia. Ty's father W. H. Cobb was a schoolteacher and a college graduate at a time when there were few. W. H. raised Ty on a 100 acre farm where he taught Ty the values of hard work and preservance. Ty's mother Amanda Chitwood was only twelve when she married W.H.. She had Ty at the age of fifteen and lived to see her son get elected into the Baseball Hall of Fame.(http.//wso.williams.edu/~jkossutn/cobb/dad.htm) Ty grew up as any normal southern boy did in the late 19th century. Ty was different in that he was highly compeitive and easliy tempered. In one example, while in fifth grade he beat up a fat boy for mispelling a word in a spelling contestand costing his team the game. He was driven to win at everything .(Ty Cobb 13-15)

Ty first started out playing for the Royston Reds his hometown team and then made the jump to the Sally League which was a semi-pro league. Ty's father was against this afraid that Ty would become a drunk like most of the ballplayers of that era. In one conversion Ty asked for his father's blessing in going into baseball and his response was "And I want tell you one thing--don't come home a failure."(hhtp.//wso.williams.edu/~jkossutn/cobb/minors.htm)

Cobb got called up by the Detriot Tigers in 1905 the same year as his father's death. Cobb played like baseball like a runaway fright train. Cobb's baserunning ablites were surpassed by none. He would stop at nothing to win, he was the first to run into a catcher at home and did hook slides which caused great outrage. In one game Cobb did a hook slide and caused a the third basemen a cut on his arm. Connie Mack the Philadelphia manger at the time called him "the dirtest player ever." After that game Cobb recieved many death threats from Philadelphia fans because of the incident. In reaction to his baserunning Cobb said, "Baseball is not unlike war." (http.//wso.williams.edu/~jkossutn/cobb/running.htm)

Ty was very hard to get along with and had frequenty fights with his teamates and fans. After becoming a major for detriot, he was hated by his players for pushing them to far. He was a known racist and had many incidents of slapping or hitting blacks. He once bet up a heckler in the stands, then realzing afterwards that he was handicapped. He used violence to defend his honor, his famliy and anyhing that was important to him. One of the men Cobb despised most was Babe Ruth. He loathed Ruth becasue he was a threat to Cobb and how the game was played. Changing the game into a home run derby and away from the intricate art of hitting and baserunning. At one pint in a game against the Yankees a freefall had broken out and the benches cleared. Cobb and Ruth raced towards each other but were intercepted by an umpire.

1335.      Under Age Drinking

Under Age Drinking

It's a Saturday night, and the bars are packed.  People are inside having a few, or more than a few, drinks.  A select few are really drunk or passed out.  Now lets step outside and take a look at a different type of drinking, drinking at an early age.  High school and junior high kids are at a party drinking.  Like the adults, some are just having a few, but quite a few are having more than that and are stumbling around.

These kids have been given the idea that drinking is something that adults do, and we all know that kids can't wait to be grown up.  Thus, they drink, figuring that if they can at least do what adults do then they will be grown up, in a way.  This is how our society works.

Enough with the philosophy of it.  Now I would like to talk about the effects that early age drinking can have on a person.  I grew up in a town that has the most bars per capata in the state of Montana and is in the top ten in the United States.  This has a huge effect on under age drinkers.  The bars card at the door and as long as your 18 your in.  And since the bouncers will stamp nearly anyone they know or like the number of kids is always high.  It dosn't help that Dillon is a college town and ther are many under age college kids there.  Now lets imagine another party where kids are drinking.

The bonfire is roaring, Bubba just decided that singeing everyone's eyebrows off by throwing some gasoline on the fire would be fun.  Of course nobody thought that this was very funny except for Bubba.  Bubba is not the only teenage person at this party who has had a few to many.  There are a lot of under age kids who are just plain drunk.  This is a regular kind of party in my hometown, everyone goes out and drinks to get drunk.  The sad thing is, that these kind of parties happen a lot of time twice a week expecially during the spring.  All this partying catches up with these young peolpe.  They  don't get jobs because they are too tired from partying all night or all weekend long.    Thier grades start slipping.  The worst effect, however has to be the addiction to alcohol.  I've seen freshman who drink all the time because they feel they can't live without their alcohol.  Of course you have to realize that this is a worst case scenario.  I also know kids who drink just a little, they know their limits, and don't try to break them.

Now here's another worst case scenario.  A college kid has been studying for a few hours, you can feel the boredom in the room.  He decides to take a few minutes off and cracks open a beer to relieve the tension.  The only problem is that he doesn't stop there.  He decides to have a few more, then after finishing a couple more he calls up his buddies and the go out and drink some more.  He wakes up in his room on his floor or in someone else's room, thinking he must have passed out.  He has a really bad hangover and decides to sleep it off.  He wakes up quite a bit later, and in the room next to him you can here his long string of profanities.  I guess he remembered the big test he is suppose to take.  He crams in what material he can in what little time he has, knowing he won't be able to learn it all.  He takes the test and knows he failed, this the fifth test he has failed so far and his GPA is way below par.  Two days later he gets  a letter saying that he is out of school for breaking academic probation, again this is a worst case scenario.

My last scenario is a person at around thirty or forty.  You can see an old beat-up pickup drive in and park in front of one of the bars.  He walks into the bar, a half-an-hour later he stumbles out and heads to another bar.  Two hours later, and a twelve pack more, he stumbles his way out of the second bar.  He walks to his pickup opens the door and tries to climb in but is to drunk.  He finally gets in and passes out in his pickup.  He wakes up the next morning hung over, just like the last three mornings.  Except today is different, today he feels a pain in his stomach, not to harsh but it can be felt.  He continues to drink and the pain just seems to get worse.  After a while the pain has become so intense he has to go see a doctor.  He comes out with some bad news finding out that he has Pancreatitis.  Pancreatitis is a type of alcoholic poisoning, and as he has found out one cannot drink any more alcohol with this disease.  This is one of the harshest diseases that goes along with the consumption of alcohol.  In my hometown there are at least five or six examples of this, one the English teacher I had just last year.  He was forced to retire before this year.  Another man who has recently acquired it didn't amount to anything before he got it.  He couldn't keep a job for more than a couple of weeks and the money he did earn didn't go to anything besides more alcohol, spending nearly every night at the bars.

No one means to end up being addicted to alcohol but for many different reasons people find more and more excuses to drink and finally become addicted.  Alcohol has become a major problem in our society whether it be teenagers or even adults.  Alcohol laws and alcohol awareness programs can only go so far I feel it is the responsibility of each and every one of us to take the matter into our own hands and make the right choices.

Under Age Drinking:

The Problems It Creates

1336.      Underage Drinking

Underage Drinking

Imagine killing your best friend. Imagine smashing him into a telephone pole, crushing his bones and organs and making him bleed to death. Imagine the pain and suffering he would go through. Imagine then going on trial for his death, facing his family and friends and the hateful stares as you walk in the courtroom. Imagine a verdict of guilty and being sentenced to thirty years in prison, thirty long years to sit alone and ponder how you could have been so stupid to kill someone you love. How would a night like this have begun? It probably began like the night of a typical American teenager. You would go pick up a carload of your closest friends and head to the party scene. You have a few drinks, maybe a beer or two or a few shots, but never enough to make you tipsy. Or so you think. You jump back in the car, music blaring, headed to another party or maybe even home. Your best friend says he know a shortcut, so you follow his directions and turn down a narrow road. You speed up, in a hurry to hit that one last party before curfew. All of a sudden there is another car in the road, high beams on, blinding you. You brake and swerve, trying to avoid an accident, but you end up swerving too far, running right into a telephone pole on the side of the road, smashing in the left side of the car and your best friend. You wake up in the hospital. Your parents are by your side and you ask where your best friend is. They say he was killed in the accident you caused. The guilt hits you and takes your breath away. You killed someone, someone you knew and loved.

Now imagine your freshman year of high school. You get invited to that huge senior party, so of course you go. There are a million different types of drinks there and you are offered a beer by some upperclassmen. You take it and chug it, trying to impress them. They offer you another and another, until finally you pass out. You are put, unconscious in a chair and the party goes on. The next morning someone tries to wake you, but you won't open your eyes. They call 911 and you are taken to the hospital. You are rushed into the ER and 10 minutes later are pronounced dead due to alcohol poisoning.

This is how alcohol affects the teenagers of America today. It ruins lives and not only the lives of those who drink. It affects their friends and family. It even affects people they do not know, the thousands of people that are killed each year by drunk drivers. Many teens think they are invincible, that nothing will ever happen to them. They will never drink too much or be in an accident. But many lives are taken away because of underage drinking. These people are killed in an instant, squashed like bugs on a windshield. They never get to grow up and fulfill their dreams. They become that bum on the street, staggering around and yelling obscene comments. They are like the stray dog that never really finds a place in life. So what is the solution to this problem? Stop the underage drinking. Americans today need to wait until they are mature enough to handle all the responsibilities that are involved with drinking. There are so many other things to do on a Saturday night than go get drunk with your friends at a party. Alcohol is not something that is needed to have a good time. Go out shopping or to the movies. Go play golf or go bowling. Go out to eat or even go to a party, but just don't drink. Life is too important to lose.

1337.      Unexpected Horizons

Unexpected Horizons

Wow!  I love going deep sea fishing on our boat.  I was excited when my dad had

asked me if I wanted to go this weekend.  We departed that Saturday morning after almost

a week of sheer anticipation, our destination, Port Canaveral, home of of some of the best

fishing on the east coast of Florida.

The sea is a very dangerous place when riled by a storm, even a mild one, so we

always made sure the day would be at least close to perfect before we ventured out into

the blue darkness of the open sea.  My dad and I had seen the destruction careless boaters

could get themselves into, and we did our best to avoid it.  That Saturday, though, looked

as if it were a perfect offshore fishing day.  The sky was clear as glass, with a couple

straggling cirrus clouds, but nothing worth paying attention to, and above that, the fish

were supposedly hitting offshore.  All-in-all, the long awaited perfect fishing day had

come, at least in our minds it had.

In the meantime, my dad backed the boat into the salty murky water as I got the

boat ready for our day long journey.  I set the navigation system to a favorite fishing spot

of ours which was about twenty-five miles out called the Pelican Flats.  We headed out on

the gently, quiet, rolling blue monster's back as our twenty-two foot vessel handled the

one to two foot ocean swells with sheer ease.  Finally, after an hour long haul, and fifteen

fishing minutes later,  we ran into our first sign of action.

"Fish on starboard!!"  screamed my younger brother.

"Fish on stern, grab 'em!", bellowed by dad from the steering wheel.

Instinctly, my brother and I had quickly grabbed the poles as the line screamed off

and the tips bent almost to the water.  Soon enough, both of us had fish on, very large fish

from the feel.  About half an hour of sweat and a good workout, we finally got the fish to

give up their fight for life.  That was the first time we had ever encountered a double

hook-up, which happens when two fish of a considerable size are hooked simultaneously,

and it happened in less than fifteen minutes.  We ended up fishing for about four more

hours and landed an incredible number of large fish, and we wanted more.  The three of us

scanned the surface for more action, and found nothing of interest but what looked like a

storm cloud moving towards us at an unknown velocity about fifteen miles north of us, so

we decided to start heading in towards shore.  About half an hour later and about seven

teen miles out, still not enough to see land, we realized that the storm had actually been

moving toward us, almost intercepting our course toward the port.  Without any doubt

we'd pass it before it crossed our path, we proceeded onward in the same direction.

"Damn, I'd hate to get stuck in that storm", we said to each other as we watched

the lightning and complete darkness of it as it overtook about a five mile radius of ocean

surface.  But as we watched this awesome sight from a short, but safe distance, we

realized that it was moving a lot faster than we were.  From that point on our confidence

level started diminishing and our fears of the ocean started escalating, we weren't going to

get by this storm.  My dad punched the 200 horsepower motor and our hearts and

adrenaline were pumping incredibly.  Soon the storm had yet engulfed us in it's fury and

rage.  The light turned to utter blackness, the sunshine turned to pelting rain and a light

show courtesy of the lightning bolts flashing at least every five seconds, the one to two

foot swells had turned into an entourage of seven to eight foot white caps which our boat

was incapable of handling, and more importantly, our confidence from a good day of

fishing had turned into a handful of desperate pleas for help.  The rain had been so harsh

and plentiful that I could barely look up to see what was happening to our boat, or more

significantly, our lives.  Less than a minute later, I couldn't see any light at all, except when

the electricity showed it's presence, which was close to nonstop.   All three of us were

scared, confused, and desperate, which is a bad combination of feelings in this situation.

Our first reaction was to radio for help, so my dad frantically grabbed the CB from the

radio, but all for not.  The beating the boat was taking had managed to snap our marine

radio antenna in two, limiting our communication methods to only flares and a whistle,

both of which were useless in this kind of weather.  Someone would have to be near us for

those methods to work, and any sane person would have been miles from "our" storm.

Also, our navigation systems were not working.  It was displaying to us that we were

thirty-five miles out and heading east, which we knew to be wrong.  We were still about

12 miles out and heading in toward land, but we didn't know where on land we were

heading.  Our chances of defeating this mighty beast had slimmed greatly, and the storm

was putting a beating on our bodies, our boat, and our overall morale.

After fifteen minutes of complete horror, our navigation devices started working.

The fact that we actually knew exactly which way to head had taken some of the evilness

away from this sadistic act of treachery we had gotten ourselves into.  Our cries of despair

had turned to sighs of relief when the fringe of the storm had passed over our heads.  The

car ride home was very quiet.  The only thing I inferred from the trip home was that we

wouldn't be visiting the infamous Pelican Flats any more.  The next day, my dad put our

boat up for sale, and, ironically, we hadn't been out of sight of land for about six months.

1338.      UnferthBeowulf Grendel

Unferth, the same martyr

John Gardner introduces the reader of Grendel to an intimate side of Unferth

unseen in the epic poem Beowulf.  In Grendel we behold what a pathetic, sniveling wimp

Unferth has become.  In Beowulf all that we see is a jealous bastard.  Why did Gardner

make the character of Unferth so different from the original depiction? He didn't.  The

only change in Unferth from Beowulf to Grendel is his realistic characterization in

Grendel.

After the drunken Danes give Beowulf his warm welcome, Unferth unleashes his

anger in an attack on Beowulf.  This petty proclamation which points out Beowulf's not-

so triumphant swimming contest with Brecca, shows the reader (or listener) that Unferth

is nothing more than a spineless bastard.  In Grendel we find that Unferth's bitterness is

well founded.   John Gardner shows Unferth as the most pathetic man to ever call himself

a hero.  Unferth is degraded once in the apple battle (he was beat by flying fruit for god's

sake!!!) and then again in the cave.  In the cave Unferth begs Grendel to take his life but

Grendel gives him fate worse than death.  Grendel leaves him alive and impotent.  Unferth

knows that he cannot  kill Grendel yet he cannot be a martyr to Herot either.

All during the first year of Grendel's siege, the smell of apples fresh in the air,

Unferth tries to be the Grendel's martyr.  Oh the heroic Unferth who died trying to save

the people of Herot.  Unfortunately he never got to die, not even dressed up as a goat, a

pig or an elderly women.  This continuing life of impotence lead Unferth to an immense

sense of bitterness.  Poor Unferth to be at a beast's mercy for twelve years only to have

Beowulf disembowel Grendel in one night.

On the beach as Beowulf is about detach mama's head from her body, Unferth

gives Beowulf his sword in a touching moment of peace between Beowulf and Unferth.

Well that is not quite right.  This touching moment is Unferth's last attempt at contributing

to his beloved Herot.  If  he can't kill the beast at least his sword can.  Unferth is reaching

for martyrdom.  Unferth never redeems himself as a hero no matter how unselfish or

heroic he was as he handed over his beloved sword.  Unferth would never be a hero again.

His one chance of "inner heroism" was gone when Grendel refused take his life in the

cave.

Unferth is the same man in both novels, there is no doubt about that.  The strands

of similarity are to thick to ignore.  He is dying to be a martyr in both Grendel and

Beowulf.  The only difference between Grendel's Unferth and Beowulf's Unferth is the

detail and depth to which his character is taken.  John Gardner brought a relatively small

character from Beowulf , and made him the second most defined character in Grendel.

1339.      Unhappy Meal

Unhappy Meal

Creative Writing Paper One

Aaron lit a Basic  brand cigarette as Amir pulled his beat up 1976 snot green Chevy Nova into the crowded parking lot of the McDonalds on Route 1 in Saugus, Massachusetts.  He always seemed to do this to himself; lighting cigarettes when he'd just have to snipe them out on the bottom of his tattered army boot.  He put his pointer finger to his head and pantomimed shooting himself.  Amir glanced at him uneasily, then scanned the lot for an open space.

Aaron drew hard on his cigarette, filling his lungs with as much smoke as possible.  He needed to get as much nicotine as time allowed.  He shut his eyes, flicked his tongue against his sterling silver lip ring, spinning it in the hole.  It hurt a little.  "Probably fuckin' infected," Aaron chuckled, thinking of the night he pierced it himself, using only a heated up safety pin and a bottle of Smirnov vodka for a pain killer.

Amir pulled into a handicap spot.  "You can't park here," Aaron said.

"Sure I can," Amir replied.  Aaron studied the face of the Bosnian Immigrant.  Amir had fought for two years in the war against the Serbs.  His face was remarkably pleasant, although his eyes looked as if they belonged to a forty year old man and not a seventeen year old boy.  His tan skin and wide smile seemed out of place when one took in Amir's mohawk and torn black t-shirt.

"It's a handicap spot."

"Exactly," Amir said with a smirk. "I got you in my car, and you're a retard."

"Fuck you," Aaron said, "I'll blast you Sylvester Stallone style."

Amir burst into hysterical laughter. "You watch too much television."

Aaron shrugged and slowly exhaled through his nose, decorated with a silver hoop ring through his septum (also self-pinned).  He caught sight of himself in the rearview mirror.  He felt cold.

His eyes were alert, almost piercing.  Around those fiery, stabbing eyes were lines of sadness, although he was also only seventeen.  His hair was bleached blonde and messy --Johnny Rotten messy.  His face was long and thin, a result of many days of not eating, either because he had no money for food or because he simply forgot to eat.  He was menacing, with his facial piercings and angry eyes, but there was something about his mouth, a kind of innocent smirk that gave hint of something real within his hard, rough punk rock shell.

Amir got out of the car slowly, stretching out his arms.  Aaron caught glimpse of something wild and almost ancient in Amir's eyes.  He got out, too, and tossed his cigarette.  Aaron slammed the Nova's door.  "Let's go get some meat."

"Cow Burger." Amir said, gingerly placing his hands in his pockets.

Aaron looked through the window.  Sitting at a table was a family of four.  That looks like my father, he thought, and tried to forget about the many beatings and harsh words he endured over the last seventeen years.  "Amir, it says no dogs allowed.  You'll have to wait here."

"Eat me," Amir said and opened the door.  Aaron shoved past him playfully, and was hit by the overpowering stench of fried, greasy food sizzling under heat lamps.  His mouth watered.

Behind him he heard the click of Amir's Doc Martin boots, and the jingle of the chain, safety pin, and padlock belt that the Bosnian wore.  He felt all the customers' eyes on them, felt the disdain in their uneasy stares.  He sent it back, and shuffled through the line.  Amir was silent behind him, unusual behavior for his normally talkative friend.

Aaron ordered a #4 extra value meal, supersized, and pulled a few wrinkled bills out of the pockets of his torn army pants.  Chuck Norris Action Pants, he called them.  This was all the money he had, change left over from the 30 pack of coors he bought with his last paycheck as a paperboy in Lynn.  Aaron hated that job.  He would walk down the street and pretend he was some kind of Terminator robot, blowing up houses and cars with bionic missile attachments.

They threw his food on a tray as the pimply faced girl behind the register totalled his order.  He paid, and was pleases to discover he still had enough money for another pack of generic cigarettes.

Aaron took his tray and Amir moved up to the register.  In the back room, the french fry machine beeped endlessly.  "God that sounds like the air raid siren!" Amir said grimly.

Aaron surveyed the dining area for a seat.  Behind him, Amir started screaming chaotically, "Mutha Fuck FUCK FUCK!"

Aaron laughed.  "Amir, what the hell..."  His face, mind, and words all froze as Amir pulled a pistol from his pocket.

"Fuck you bastards!" Amir fired, and Aaron saw in slow motion as the bullet ripped the pimply girls left cheek off her face.  She fell gurgling and twitching.

"Just like a movie," Aaron said aloud, as he watched Amir unload the pistol's clip into the middle aged manager.  Somethin in his mind couldn't see this as real.

Amir leaped over the counter and pistol whipped the deep frier attendant, and then shoved his victim's face into the hot grease.  Aaron dropped his tray as Amir disappeared behind the packaged burger rack.  He could hear screaming followed by more gunshots.  Customers crawled to the door, whimpering like maimed animals.

Aaron caught sight of the man who resembled his father, trying to get his family out the door.  Aaron pulled out his switchblade, and thinking of Steven Seagal's dramatic knife fight at the end of Under Siege, rushed towards them.

He didn't stop stabbing, even when he felt the man's blood splash into his face.

Amir emerged from the smoking hell he created, covered in gore, his gun in his twitching hand.  He pointed and fired, killing the rest of the family of four.  As he reloaded, Aaron threw his knife like Woody Harrelson did in Natural Born Killers.  Amir fired again, and Aaron felt a bullet rip through his kneecap.  He turned and saw Amir level the gun.

"Wait!" Aaron cried as the gun went off.

Behind him he heard

1340.      Unintentional Findings

1

One can find their place in society much the same way as Stephen did. Unintentionally he went back and forth between extremes until he found his own preference.  Figuring out what one wants to do with their life can be confusing, especially since there are so many opportunities in the world, but giving each a chance and finding one that suits one's personality and attitude is the best thing to do.

Many people think Stephen went from one extreme, wanting prostitutes, to another extreme, a life of celibacy as a priest, were done on purpose, on course to finding his own happy medium. The same people might also say Stephen purposely chose a happy medium as not to subject himself to either extreme; being in the middle lets him experience a little of both extremes.

Different people might say that his oblique search for his place in society was brought on from when he was very young with his artistic vision. He looked at things differently then others boys around him and he knew that. He always had extra questions about the simplest of matters and constantly thought about what was wrong and right and how it lead to double-standards. This is seen when he is asked if he kisses his mother at night. No matter what his answer is he still gets laughed at and this remains in thoughts for a while. His artistic vision can probably reflect his incessant habit of always having an opposing opinion to his schoolmates even if it was something small such as who he thought the greatest writer was.

2

In his school Stephen seemed to be told how he was supposed to think and do things and in turn saw his family unable to follow the strict Catholicism taught in his

school. This guided him in his decision for his future plans since he felt he was isolated from others because of the way he thought and did things.

When looking at his decision for where he fit in society one should not ignore the fact that his family life had an impact on his choice. Had Stephen not been so sensitive it would not have bothered him so much how little he gained emotionally, intellectually, and spiritually from the Irish nationalism surrounding him and his religious background.

To begin his life as an artist, his final decision concerning his place in society he realizes he cannot stay in the environment where he is seen as anti-social instead of artistic. He chooses to leave his homeland of Ireland and go to the Continent and find his artistic soul where it would be accepted.

When one wants to find their place in society, one should look at the process Stephen went through, from his struggle with his religion in school and the start of his isolation from his family. Stephen's outcome was just to be happy and if that meant leaving home find a soul than one should take his strong individuality as an example.

Unintentional Findings

EN 102 Honors

February 12, 1997

1341.      USING STATISTICAL EVALUATION FOR FUND PURCHASING

USING STATISTICAL EVALUATION FOR FUND PURCHASING

In partial fulfillment of the requirement for MATH 2050

ABSTRACT

Fund Purchasing Using Statistics

In the past few years many young people transiting into adulthood have found themselves victim to improper or no teachings on how to handle money, or how to build some kind of future funds. This trend has effected most young people. When talking about stocks and mutual funds, many individuals do not realize that statistics can play a major part in the selection of an asset for the future. This study was to show that statistics can be used to compare mutual funds, to what you want for a return. The mutual funds looked at were only in six sectors of the market. TABLE OF CONTENTS

ABSTRACT

LIST OF TABLES AND GRAPHS. . . . . . ii

INTRODUCTION . . . . . . . 1

METHODS . . . . . . . . 3

RESULTS OF HOW STATISTICS CAN HELP BUILD FOR THE FUTURE . . . . . 4

Importance of Saving For the Future . . . . . 4

Process of Evaluation . . . . . . . 4

CONCLUSIONS AND RECOMMENDATIONS . . . 13

LIST OF TABLES AND GRAPHS

Table A. Average, Range and Standard Deviation Comparison. . 4

Table 1. Returns for Conservative fund one and two . . . 7

Graph 1. Returns for Conservative fund one and two . . . 7

Table 2. Returns for Secure fund one and two . . . 8

Graph 2. Returns for Secure fund one and two . . . 8

Table 3. Returns for Moderate fund one and two . . . 9

Graph 3. Returns for Moderate fund one and two . . . 9

Table 4. Returns for Balanced fund one and two . . . 10

Graph 4. Returns for Balanced fund one and two . . . 10

Table 5. Returns for Ambitious fund one and two . . . 11

Graph 5. Returns for Ambitious fund one and two . . . 11

Table 6. Returns for Aggressive fund one and two . . . 12

Graph 6. Returns for Aggressive fund one and two . . . 12

INTRODUCTION

Potential purchases for building future wealth can be done with statistics. Individuals have many things to consider before they invest money, such as how much return they would like to have on a investment, how often they would like their money to double, and how much to invest. These factors help the individuals make an informed decision, about which investment would be best for them. This study was to compare the performance of two funds in six different sectors. Its main purpose was to look at how statistics can best be suited to do this. The six different sectors were selected; two funds were selected from each. Sectors:

1. Conservative 1988 1989 1990 1991 1992 1993 1994 1995 1996 1997 1998

C1 10.4 12.8 18.4 15.0 3.0 8.2 11.3 8.0 13.2 7.3 10.7

C2 10.9 14.0 24.2 15.9 2.5 8.7 13.7 10.2 17.9 8.0 11.6

2. Secure 1988 1989 1990 1991 1992 1993 1994 1995 1996 1997 1998

S1 18.2 10.2 23.7 18.9 7.8 12.0 23.0 4.4 21.2 8.0 8.2

S2 16.3 9.3 27.8 19.1 0.5 12.8 15.3 1.4 27.9 2.7 13.1

3. Moderate 1988 1989 1990 1991 1992 1993 1994 1995 1996 1997 1998

M1 14.5 10.0 29.7 23.2 11.6 16.0 19.7 0.8 29.5 7.6 7.5

M2 21.9 14.4 27.2 17.6 6.4 15.7 28.2 4.5 27.6 6.6 4.5

4. Balanced 1988 1989 1990 1991 1992 1993 1994 1995 1996 1997 1998

B1 29.2 9.2 24.7 17.3 2.3 21.8 22.8 1.4 20.8 7.7 7.5

B2 21.5 8.9 23.2 13.2 7.8 12.7 24.8 2.3 25.6 9.2 11.9

5. Ambitious 1988 1989 1990 1991 1992 1993 1994 1995 1996 1997 1998

A1 36.2 6.3 32.4 11.8 2.9 14.7 22.9 3.5 38.6 10.8 15.8

A2 27.3 2.6 33.5 14.7 3.4 15.1 32.8 -6.1 24.1 13.8 25.2

6. Aggressive 1988 1989 1990 1991 1992 1993 1994 1995 1996 1997 1998

G1 23.7 7.6 33.4 25.8 5.5 13.3 28.6 6.9 51.5 4.0 -4.1

G2 22.3 0.3 38.3 19.7 6.0 14.1 37.0 -2.1 57.6 6.4 -1.2

METHODS The methods used were the average, range, and the standard deviation associated with each fund. Assuming that the distribution for each fund was normal, the z-tables were then used to calculate the percentage of time the return was above the designated return goal for each fund.

RESULTS OF HOW USING STATISTICS CAN HELP BUILD FOR THE FUTURE.

Importance of Saving For the Future The importance of saving early, is that the extra time allows your assets to build before they are needed. An example of this is an investment of $16,000.00 before the age of 27 properly managed with a 15 % return yearly, could net an individual approximately $750,000.00 at the retirement age of 62 years old. Whereas a 40 year old individual saving $2,000.00 a year properly managed with a 15 % return until the age of 62, will net approximately $500,000.00. Approximately 65 % of all retired persons retire with an annual income of less than $20,000.00 (Money 1997). This is one good reason for starting at an early age and to be able to enjoy your retirement. With inflation at approximately 3 % a year and increasing the dollar will be worth less tomorrow than today. Process of Evaluation

To find funds with high gains or losses, determine the average, range and standard deviation of each fund. The results are in the following Table: Table 1. Average and Standard Deviation Comparison AVG

% STD Range

S & P 16.15 11.38 34.80

CMI 14.28 8.29 27.60

C1 10.75 4.16 15.40 C2 12.50 5.70 21.70

S1 14.15 6.97 19.30

S2 13.30 9.50 27.40

M1 15.43 8.80 28.90

M2 12.50 21.70 23.70

B1 14.97 9.20 27.80

B2 14.64 7.50 23.30

A1 17.80 12.30 35.70

A2 16.94 12.40 39.60

G1 17.83 15.50 55.60

G2 18.03 18.40 59.70

A person wanting a 15 % annual return would take into consideration what funds averaged 15 % and over. The average will not guarantee that you will make the 15 % every year, it is only reflects how well you will do in the good and the bad years combined. The return for the S & P over the same time period was an average of 16.15 % with a range of 34.8 and a STD of 11.38. The Capitol Market Index was an average of 14.28 % with a range of 27.6 and a STD of 8.29. By removing any funds with an average that fell below the Standards & Poor's, and Capitol Market Index, this would narrow it down to funds that did

as well as the market or better. The funds that fit this requirement are M1, A1, A2, B1, G1, and G2. We now would want to look at the range and STD. Data varies dramatically, one range almost 60 points. In this data set the riskier funds have a greater range of values, since the ranges may have been caused by an isolated year that was good or bad. By removing any funds with a high range and standard deviation we can narrow the selection down to M1, A1, and A2. By reading the prospectus for these funds, will help to narrow it down even further. The Z tables can now be used, but it must first be calculated. The equation to use for calculating the Z is:

Xi - X / STD = Z By calculating the Z, and assuming a normal distribution, the Z tables are used to find the percentage of time the funds fell below 15 %. The following calculations are for the remaining funds:

M1: 15-15.43 / 8.8 = Z = -.05

Table percentage is 48.01% A1: 15-17.80 / 12.3 = Z = -.31

Table percentage is 37.83 %

A2: 15-16.94. / 12.4 = Z = -.24

Table percentage is 40.52 %

The given calculations show that the return on the selected funds, returned less than 15 % at least 37.83 % of the time. Data Calculations Results

Table 1. Returns for Conservative fund one and two 1988 1989 1990 1991 1992 1993 1994 1995 1996 1997 1998

C1 10.4 12.8 18.4 15.0 3.0 8.2 11.3 8.0 13.2 7.3 10.7

C2 10.9 14.0 24.2 15.9 2.5 8.7 13.7 10.2 17.9 8.0 11.6

AVG STD RANGE

C1 10.75 4.16 15.40

C2 12.50 5.70 21.70

Graph 1. Returns for Conservative fund one and two

Table 2. Returns for Secure fund one and two

1988 1989 1990 1991 1992 1993 1994 1995 1996 1997 1998

S1 18.2 10.2 23.7 18.9 7.8 12.0 23.0 4.4 21.2 8.0 8.2

S2 16.3 9.3 27.8 19.1 0.5 12.8 15.3 1.4 27.9 2.7 13.1

AVG STD RANGE

S1 14.15 6.97 19.30

S2 13.30 9.50 27.40

Graph 2. Returns for Secure fund one and two

Table 3. Returns for Moderate fund one and two

1988 1989 1990 1991 1992 1993 1994 1995 1996 1997 1998

M1 14.5 10.0 29.7 23.2 11.6 16.0 19.7 0.8 29.5 7.6 7.5

M2 21.9 14.4 27.2 17.6 6.4 15.7 28.2 4.5 27.6 6.6 4.5

AVG STD RANGE

M1 15.43 8.87 28.90

M2 12.50 21.70 23.70

Graph 3. Returns for Moderate fund one and two

Table 4. Returns for Balanced fund one and two

1988 1989 1990 1991 1992 1993 1994 1995 1996 1997 1998

B1 29.2 9.2 24.7 17.3 2.3 21.8 22.8 1.4 20.8 7.7 7.5

B2 21.5 8.9 23.2 13.2 7.8 12.7 24.8 2.3 25.6 9.2 11.9

AVG STD RANGE

B1 14.97 9.20 27.80

B2 14.64 7.50 23.30

Graph 4. Returns for Balanced fund one and two

Table 5. Returns for Ambitious fund one and two

1988 1989 1990 1991 1992 1993 1994 1995 1996 1997 1998

A1 36.2 6.3 32.4 11.8 2.9 14.7 22.9 3.5 38.6 10.8 15.8

A2 27.3 2.6 33.5 14.7 3.4 15.1 32.8 -6.1 24.1 13.8 25.2

AVG STD RANGE

A1 17.80 12.30 35.70

A2 16.94 12.40 39.60

Graph 5. Returns for Ambitious fund one and two

Table 6. Returns for Aggressive fund one and two

1988 1989 1990 1991 1992 1993 1994 1995 1996 1997 1998

G1 23.7 7.6 33.4 25.8 5.5 13.3 28.6 6.9 51.5 4.0 -4.1

G2 22.3 0.3 38.3 19.7 6.0 14.1 37.0 -2.1 57.6 6.4 -1.2

AVG STD RANGE

G1 17.83 15.5 55.6

G2 18.03 18.4 59.7

Graph 6. Returns for Aggressive fund one and two

CONCLUSIONS AND RECOMMENDATIONS

The percentages from the calculations show that of the funds selected, only three from the original 12 would meet the requirement of 15 % percent a year. It also showed that they would fail to meet the expected return, at least 37.83% of the time sometimes more. The overall return should be up to the individual and to ensure continual growth of a portfolio, a person should meet the expected return at least 80 % of the time. By evaluating each fund using some of these methods will help a person make an informed decision. The use of statistics can help evaluate overall performance of funds. This in turn will help you make more informed decisions with your investments, to build the future that you want. Always remember to pay yourself something first, and control your money, don't let your money control you.

1342.      UtopiaSir Thomas More

Thomas More's use of dialogue in "Utopia" is not only practical but masterly layed out

as well. The text itself is divided into two parts. The first , called "Book One",  describes the

English society of the fifteenth century with such perfection that it shows many complex sides

of the interpretted structure with such clarity and form that the reader is given the freedom for

interpretation as well. This flexibility  clearly illustrates More's request for discussion and

point of view from this reader. In one concise, artistic paragraph, More clearly illustrates his

proposition of the problems people possess within a capitalist society and the fault of the

structure itself; clearly showing More's point of view for "Book One". If More attempted to get

anything across to the people of England it was this:

Take a barren year of failed harvests, when many thousands of men have been carried off by hunger. If at the end of the famine the barns of the rich were searched. I dare say positively enough grain would be found in them to have saved the lives of all those who died from starvation and disease, if it had been divided equally among them. Nobody really need have suffered from a bad harvest at all. So easily might men get the necessities of life if that cursed money, which is supposed to provide access to them, were not in fact the chief barrier to our getting what we need to live. Even the rich, I'm sure, understand this. They must know that it's better to have enough of what we really need than an abundance of superfluities, much better to escape from our many present troubles than to be burdened with great masses of wealth. And in fact I have no doubt that every man's perception of where his true interest lies, along with with the authority of Christ our Saviour..... would long ago have brought the whole world to adopt Utopian laws, if it were not for one single monster, the prime plague and begetter of all others---I mean pride. (More, pg.83)

For one to fully realize the significance of this virtueous paragraph they first must remember

the time period it was written; more so now that we are in the twentieth century dominated by

capitalism.

Before More accounts for his rhetorical, socialist society of "Book Two" in detail, he

strengthens his idea of communism by pre-establishing the problems of England in "Book

One". This measurement makes one see the strengths and weaknesses  between the two; as

well as, their similarities. It is difficult to title Utopia as a socialist, communist society, in as

much, it is just as valid to argue that Utopia is as opressive as the England described in

"Book One".  If Utopia is a truely  socialist state, then one can see that opression is

unescapable in either society. Either way, it just shows the absurdity to claim either of these

as an utopian commonwealth. However, it is clear that More's attempt was to make Utopia an

egalitarian society for the better of the people as whole.  His description of the institutions

Utopia is so prescise and well formatted that it is difficult to see any flaws other than the ones

that were out of his control. More, just as anyone, was a slave of the society he lived in. No

matter how hard More tried to escape it, his morals and values were still derived from the

society he lived in. This is why one must look at Utopia as a society designed only to better

the people of the capitalist England. It is absurd to look at Utopia as a perfect state, in as

much, the knowledge which was true to More would interfear  with many areas within the

society of Utopia; More's faith, his ignorance of the evolving future, and the societies outside

of Utopia described in "Book Two" would make the society of Utopia a paradox. The strength of

it all, is that More amazingly knew his socialist state was not perfect; even for the society of

England:

...though he is a man of unquestioned learning, and highly experienced in the ways of the world, I cannot agree with everything he said. Yet I confess there are many  things in the Commonwealth of Utopia that I wish our own country would imitate----though I don't really expect it will (More, pg. 85)

In correlation to both societies described in "Utopia", with both opressing the people

within it, controlling their knowledge and way of life, it is clear that utopia is impossible to

reach  as long as human kind is confined to any institution. The difference between the two

societies is seen when one looks at where this opression stems from. England's capitalist

society is structured in such a way that it allows the people within it to opress or be opressed

by each other. In  Utopia the oppression is derived not from the people but from the structure

itself. Therefore, a capitalist societies' structure allows more freedom for the people than the

egalitarian society; thus, ironically, it is argueable to state that capitalism is more socialist

than socialism. The problem of a capitalist society stems not from its' structure but from the

people within it. In contrast, the people of the socialist society are all equal; yet, what makes

this possible is the structures' control over  the people. Both societies have strengths and

weaknesses. Untill humankind can be resocialized losing the terms power, greed , and pride

from our vocabulary, will there be terms like opression and freedom in it as well. The only

possibillity for this, is if humankind is confined within a similar society as described by More

called Utopia; then evolve into a society with the same structural freedoms like capitalism.

Therfore, for the capitalist England of the fifteenth century, More's society in "Book Two" was

not his ideal utopian state; but a path leading towards it.

As you can see, More's liturary dialogue called "Utopia", as stressed through out this

essay, is not an attempt to illustrate an utopian society, and would be a parodox if done so. I

think one get's this false interpretation through the title of the text and the name of his socialist

imaginary state with perfect political, social, conditions or constitution."(pg.395)  It also states

that "Utopia" is derived from the Greek words "no place". If More had this definition in mind it

would clarify the a majority of the ambiguities within the context of the text, also illustrating

even more of the opression More faced in England; as well as, his fear of it. More's "Utopia

was done in such a way to enlighten the people of England about their opressing capitalist

society. Instead of leaving the reader with a sense of hopelessness, he gives an alternative

society; not to make the reader  interpret it as an ideal society to want over England's, but

make one realize the possibility of change. It is aimed to make one contemplate on the

weaknesses and strengths of their own society  and how to go about changing it to better the

common wealth of their people as a whole

1343.      Van Gogh 585

Vincent Van Gogh

Although he is almost unknown during his brief lifetime, Vincent Willem van

Gogh, was born  Mar.  30, 1853, in Groot-Zundert, the Netherlands and is today

probably the most known and appreciated representative of art.  His work became

an important bridge between the 19th and 20th centuries; and it was particularly

influential .

Van Gogh clearly showed artistic talent even as a child, but neither he or his family

imagined that painting would become his career. Instead, at the age of 16, he went

to work for Goupil and Company, an art gallery with which one of his uncles had

long been associated with; he was dismissed in 1876.  Other false starts included a

job in a Dordrecht bookstore during the spring of 1877, theological studies at the

University of Amsterdam, and from November 1878 to July 1879, service as a lay

missionary in a coal-mining district in Belgium.

In 1880, Vincent chose art as a vocation and became dependent on his brother for

cash.  Indeed, for the next 10 years Theo, who had also gone to work for Goupil,

sent an allowance to Vincent, encouraged him to work, and wrote regularly.

Vincent's thinking during his short career (approximately 750 paintings, 1,600

drawings, 9 lithographs, and 1 etching) was documented in more than 700 letters

that he wrote to Theo and others.

Van Gogh's early years includes all his work from 1879 through 1885.  Between

August 1879 and November 1885 he worked in Etten, The Hague--where he

received some instruction from his cousin, Anton Mauve and in Nuenen, among

other places.  In Nuenen he painted The Potato Eaters, his first important picture,

which underscores his lifelong interest in peasant subjects.

During the winter of 1885-86 Van Gogh studied at the academy in Antwerp, where

he was forced to draw from plaster casts and to adopt academic principles that did

not suit him.  He moved to Paris, where he lived with Theo his brother.

The Paris period (March 1886-February 1888) is extremely important because it

enabled Vincent to see and to hear discussed work of virtually every major artist

there. Although van Gogh admired many. During these years van Gogh's style

shifted from the darker manner characteristic of his Nuenen period to a

postimpressionist style heavily influenced by divisionism .  Van Gogh left Paris and

moved to Arles in February 1888.  His mature work and many of his most famous

paintings date from the ensuing year.  In October 1888, Paul Gauguin came to live

and work with van Gogh.  After only 2 months, however, following the first of

Vincent's attacks of dementia, he punished himself for trying to stab a close friend

Gauguin in which he amputated his own earlobe, Gauguin left, having first

summoned Theo from Paris. Thereafter, Vincent was hospitalized  until the spring

of 1890;  he was voluntarily confined in the Asylum of Saint-Paul in Saint-Remy

from May 1889 until May 1890.  He continued to paint, however, and in June 1889

executed the Starry Night and the extraordinary Self-Portrait (Louvre).

In the three months following his release from the hospital in May 1890, at the

village of Auvers-sur-Oise outside of Paris, Vincent produced many great pieces of

work including the Portrait of Dr.  Gachet ,Field under Thunderclouds, and the

famous Crows in the Wheatfields

Although Vincent had finally begun to receive critical praise, he shot himself while

he was in a mental hospital on July 27, 1890, and died two days later.  His grief-

stricken brother died only six months after.

1344.      Vendetta

VENDETTA

Svenska vapenindustri står just till att leverera ett nyutvecklat robotsystem till den italienska flottans nya fregatter. Den svenska regeringen fruktar dock att en av vapensystemen skall vidareexporteras till ett tredje land och vägrar att leverera fler än tre system. Mitt under pågående förhandlingar mellan parterna kidnappas de Svenska representanterna. Tillsammans med sin kollega Joar Lundwall får Carl Hamilton i uppdrag av Svenska staten att resa till Sicilien. Förhandlingarna med den grymme mafiosen Don Tommaso misslyckas och Hamilton och Lunwall gör sig redo för att åka hem. Strax innan avresan blir Lindwall skjuten av mafiosens yngre bror. Hamilton återvänder hem och får order om att åtegå till sin planerade semester.

Hamilton kan dock inte glömma vad som hände sin vän, utan bestämmer sig för att resa tillbaka till Sicilien och hämnas på sin väns död. Det är här som boken börjar på allvar. När Hamilton tillsynes har fångat in Don Tommaso i ett nät faller allt när det visar sig att de har kidnappat hans dotter. Han får snabbt lägga om planerna och ge sig ut på havet för att söka upp en båt för att om möjligt placera en sprängladdning på den container som innehåller en stor mängd kokain. Denna kokain last är Don Tommas väldigt intresserad av. Så där för använder Hamilton lasten som ett lockbete. Hamilton lyckas med pengarnas hjälp få loss de Svenska medlarna och sin dotter men blir själv hotad till livet av mafiosen. Han ska just till att bli skjuten när han frågar mafiosen om han har kollat så att allt är som det ska med "lasten". Han säger samtidigt att om han inte ser till att han kommer levande där ifrån så kommer hela lasten att sprängas i luften. Mafiosen fattar vinkeln och släpper därför Hamilton. Men kriget är inte slut för det. Nej Hamilton vill ju som alla "good gays" inte att mafiosen ska komma undan med knarket och bestämmer sig där för att göra slut på Don Tommaso. Och så slutar även den här boken lyckligt när de får åka på sin planerade båt semester i Stockholms skärgård.

Gjord av ; Daniel Hugosson

1345.      Viewer Response The Graduate

Viewer Response - The Graduate

In The Graduate, the director, Mike Nichols', emphasizes the mysterious tone of the film with his overuse of lighting, camera angles, and shadows. The uncertainty Benjamin Braddock feels can be seen right from the start as he stands on the moving sidewalk at the airport. He is positioned at the right hand side of the screen moving forward. You can see a large area to the left where the credits appear. I think the director chose this technique for the opening credits to symbolize how this graduate is arriving at a new destination & has much uncertainty in front of him.

Dark rooms with shadows are used heavily in this film. The director shows Benjamin's room as dark and shadowy to parallel his personality. This is also seen in the Robinson house. Shadows everywhere with light on only part of the characters' faces tells you that this is a house of mystery and uncertainty. The director places lights seemingly on the ground to cast huge shadows of the characters on the walls. This makes you feel that the director's idea is to have the characters' deepest secrets and personalities "overshadow" the characters themselves.

The pool scene where Benjamin Braddock is in the SCUBA suit demonstrates another film technique. The director uses a shot from inside the suit looking out towards the family. You can't hear anything. It let's you know how Benjamin feels about his current life. He is just going through the motions of life. Then, when Benjamin is under water sitting perfectly still, the director goes from a close-up and fades out until you can't see him anymore. This makes you think that the character is sick of it all and that he is about to change. Over-the-shoulder shots, odd angles, and shadows are all used in the hotel scenes. Benjamin doesn't want anyone to see him there. The director conveys this message with a shot that puts the large podium between the clerk and Benjamin; an "over-the-podium" shot.

After the first affair with Mrs. Robinson. Nichols uses bright light on Benjamin and puts him in a bright white shirt to symbolize a "new man" that now has something to look forward to. The affair seems to consume his thoughts, as seen in the shot where he flings himself onto the raft and the shot switches to a shot of him on top of Mrs. Robinson. Then you see the father in front of the sun making him look dark while talking to Ben in the pool. This shows how Benjamin is just looking up at him and not registering what he is saying. He is only thinking of Mrs. Robinson.

All of these different shots, angles, and lighting techniques make it easier for the audience to "get" the message that the director is trying to send, the feeling of each scene, the tone of the movie as a whole, and the personalities of the characters.

1346.      Vincent Van Gogh 1049

Vincent Van Gogh - life, work & influences

Introduction

Post impressionism is the name applied to several styles of painting that arose in western Europe, especially France, in the 1880's and 1890's.  Postimpressionism followed the art movement known as impressionism.

Impressionist painters sought to capture a direct experience of the natural world.  They rebelled against the idealized, carefully finished paintings of the prevailing academic style.  Unlike the academic painters, the impressionists did not try to give their art a theoretical, moral, or emotional significance.  The postimpressionists attempted to move beyond the ideas and techniques of impressionism.  Postimpressionist painters added emotional or symbolic meanings to their work.  In this way they helped bring about the transition from impressionism's faithfulness to nature to Fauvism, cubism, and abstract styles of the 1900's.

The English art critic Roger Fry coined the term postimpressionism in 1910 for an exhibition of modern painting he organized in London.  The most important postimpressionists were the French artists Georges Seurat, Paul Gauguin, and Paul Cezanne; and the Dutch painter Vincent van Gogh.

In this essay, I will be discussing the life of Van Gogh

Van Gogh, a Dutchman who lived in France, expressed his passionate emotions in colourful paintings of everyday objects and events.

Vincent Van Gogh

Van Gogh, Vincent (1853-1890), is one of the most famous painters in modern art.  Yet during his lifetime, he received no recognition and sold only one painting.  Van Gogh failed in every career he attempted and felt unloved and friendless.  He turned to art to express his strong religious feelings and his deep need for love and respect.  During the last five years of his life, van Gogh completed more than 800 oil paintings.

Van Gogh was born in Groot-Zundert, near Breda, the Netherlands, the son of a minister.  When he was 16 years old, his parents sent him to The Hague to work for an uncle who was an art dealer.  Between 1873 and 1876, he worked for art dealers in London and Paris.  But van Gogh was unsuited for a business career.

In 1878, van Gogh applied for admission to a theological school but was rejected.  He then decided to become an unordained preacher and received his training from a missionary society in Brussels, Belgium.  Late in 1878, van Gogh represented the society as a minister in the Borinage, a poor coal-mining district in Belgium.  He took his work so seriously that he went without food and other necessities so he could give more to the poor.  The missionary society objected to van Gogh's unorthodox behaviour and relieved him in the summer of 1879.  Van Gogh began to draw while in the Borinage, and late in 1880 he decided to become a painter.

He was largely a self-taught painter, although he received some help from his cousin, Mauve.

Van Gogh's first pictures were still lifes and scenes of peasants at work.  He favoured dark brown and olive colours and heavy brushstrokes. They are often said to be clumsy attempts to represent the life of the poor.  "The Potato Eaters" (1885) is his finest and most ambitious work of this period.

In 1886, he went to Paris to visit his brother Theo and was immediately attracted to the impressionist art he saw there. Theo, being an art dealer; soon introduced him to artists such as Paul Gauguin, Paul Cezanne, Camille Pisarro and Georges Seurat.  Under the influence of impressionism, van Gogh lightened his brushstrokes and used bright, clear colours. He discovered colour and the divisionist ideas which helped to create the distinctive dashed brushstrokes of his later work. Eg; "Pere Tanguay" 1887

In 1888, van Gogh moved to Arles in southern France (where he lived in a yellow house), hoping to establish an artists colony there, and was immediately struck by the hot reds & yellows of the Meditteranean, which he increasingly used symbolically to represent his own moods. There, he painted his most expressive and original pictures.  An example of his work of this period is "The Postman Roulin."  In Arles, van Gogh suffered from occasional violent seizures, which were diagnosed after his death as epilepsy.  The intense colour and slashing brushstrokes of van Gogh's paintings reflect his disturbed mind.

He was joined in Arles  by Paul Gauguin in October 1888,and managed in some works to combine Gauguin's Synthetism with his own ideas ( Eg: The Sower 1888). But the visit was not a success. During a seizure late in 1888, he threatened to kill Gauguin,. Van Gogh cut off one of his own ears during this seizure.

In 1889 he became a voluntary patient at the St Remy Asylum, where he continued to paint, often making copes of artists he admired. His palette softened to mauves and pinks, but his brushwork became increasingly agitated, the dashes constructed into twisting, swirling shapes,  often seen as symbolic of his mental state(Eg; Ravine 1889). He then moved to Auvers, to be closer to Theo in 1890- his last 70 days spent in a hectic program of non-stop painting.

He committed suicide in 1890 by shooting himself in the stomach, having sold only one work in his lifetime.

Conclusion

Unlike impressionism, postimpressionism was not a movement of artists working toward similar goals.  The term has been used to refer to several artists who were influenced or taught by the impressionists, but who later rejected or modified that group's ideas.  The postimpressionist painters, with their varying styles, now are among the most admired figures in the history of art.

The postimpressionists were little known during their lifetimes, but shortly after their deaths they had a tremendous impact on the young experimental artists of the early 1900's.

This is especially true with Vincent van Gogh. His talent and vision were never appreciated during his life. He had a persistence that was admirable and he triumphed over adversity. But even the hardest of men have their limits, Van Gogh eventually cracked but still created beautiful artworks through it all.

His Influence on the art of the 20th Century is immesurable, he is now one of the most well known artists in the world. He identified with his subjects and uses Symbolism to evoke the same feelings in the viewer. He used colour, contour and line to explore "Physiognomy" (ones soul is revealed through one's features).

1347.      Vincent van Gogh 3194

This was a pain to write, but is a quality paper and will pull in a good grade "Excellent work, well-researched and organized"

1

A Tormented Mind: Vincent van Gogh's Mental Illness Reflected in His Self-Portraits

On a beautiful summer day in July 1890 Vincent van Gogh, now

recognized as one of the world's most gifted painters, went down into the

open country of Auvers, France and shot himself in the heart with a revolver

(Martini 3).  The man who is now known throughout the world for his

revolutionary artistic talent died in his brother Theo's arms, little known or

appreciated in his own time (Barnes 17).  Van Gogh's suicide marked the

end of a life-long struggle with mental illness and depression which affected

every aspect of his personal and social life.  His unpredictable, sometimes

even violent mental and emotional states led to a life of loneliness and

isolation, preventing van Gogh from achieving much recognition or success

in his own lifetime.  Much of van Gogh's inner pain is reflected in his

paintings -- especially in his own self-portraits.  In fact, the fluctuations in

van Gogh's mental state and mood due to his mental illness directly

influenced his choice of color schemes and facial expressions in his self-

portraits.  His Self-Portrait painted in 1887 reflects van Gogh's mental

excitement and optimistic energy during this very productive period of his

life.  In contrast, Van Gogh's 1889 Self-Portrait was painted during his

darkest period of illness and misery and these qualities are expressed

through van Gogh's technique.  His Self-Portrait with Bandaged Ear (1889-

90) is a testament to the physical effects of van Gogh's illness as well as how

close he was to finally giving up and ending his life by his own hand, while

his Self-Portrait in Front of the Easel (1888) gives a foreshadowing of van

Gogh's passage from a time relatively free of symptoms to a period of mental

Ruiz 2

pain and turmoil.  Through his self-portraits van Gogh communicated his

pain and sorrow to the viewer, creating lasting monuments to his chronic

sadness as well as to his phenomenal talent.

Vincent van Gogh was born on March 30, 1853 at Groot Zundert, a

village in Dutch Brabant.  He was the eldest son of a Protestant clergyman

named Theodorus van Gogh, and his mother's name was Anna Cornelia

Carbentus (van Uitert, van Tilborgh, and van Heugten 27).  In 1857 van

Gogh's brother Theo was born, and for the rest of his life van Gogh would

remain very close to his younger brother.  In many ways, Theo was van

Gogh's only friend, and lent him support in times when van Gogh felt totally

isolated and alone.  Throughout his childhood van Gogh suffered from a

"highly strung, over-sensitive temperament" which contributed to his sense

of isolation and loneliness (Barnes 8).  He felt alone in the sense that no one

else could really understand him, and this further cemented the bond

between van Gogh and his brother.  In 1869 van Gogh found employment

with an art dealership called Goupil and Co, but he soon became

disenchanted with the business world and decided to devote himself to

preaching the word of God.  He was a devoted missionary, committing his

entire heart and soul to helping the poor and the afflicted, but his somewhat

eccentric and extreme behavior often worked against his efforts, frightening

those whom he intended to convert.  It was at this time, at the age of twenty-

seven, that van Gogh finally decided to become a painter.  The final ten

years of his life were spent in a frenzy of painting and it was during these ten

years that all of van Gogh's most memorable works were produced.  It was

also during this time that van Gogh's extreme tendencies and eccentric

behaviors began to develop into serious mental illness, marked by episodes

Ruiz 3

of periodic depression and melancholy often accompanied by mild psychotic

features.  During these years van Gogh's relationship with his brother Theo

became a lifeline, and the two corresponded closely with one another up to

the time of van Gogh's death.  Van Gogh traveled a good deal during this

period, experiencing life and conversing with many artists as he developed

his style.  Eventually he settled in Paris to live with his brother (Barnes 12).

His years in Paris were relatively happy, but van Gogh eventually decided to

move to Arles in 1888.  It was during the last two years of his life, spent

mainly in Arles, that van Gogh would experience his darkest period of

mental illness, as his depressive mood swings began to be accompanied by

violent attacks or fits, one of which led to the cutting off of his own ear.

During this time, the painter Gauguin, an acquaintance whom van Gogh

admired and respected, came to live with Vincent in Arles.  Gauguin's three-

month stay placed great stress on van Gogh, as the two argued incessantly.

Gauguin's visit began to wear down Vincent's nerves, and this had a negative

impact on his already unstable mental condition.  Van Gogh began to make

several visits to the St. Remy Mental Hospital as his attacks became more

frequent.  Eventually, his illness defeated his will to live and on July 27 1890

van Gogh committed suicide in Auvers, France, shooting himself with a

revolver.  He died in his brother Theo's arms on July 29.  His last words:

"The sadness will never go away" (Barnes 17).

From the very beginning of his career, Vincent van Gogh had very

specific goals concerning the emotional impact of his work:

I want to do drawings which touch some people... In either figure or

landscape I should wish to express, not sentimental melancholy, but

serious sorrow... I want to progress so far that people will say of my

Ruiz 4

work, he feels deeply, he feels tenderly -- notwithstanding my so-

called roughness, perhaps even because of it. (Barnes 11)

Van Gogh wanted to move people through his art.  He wanted them to

understand his feelings and emotions -- to experience the very same feelings

that van Gogh himself felt while painting his subjects.  It is in his self-

portraits that van Gogh comes closest to achieving his goal, for in them one

gains a profound sense of van Gogh's mental and emotional condition at the

time he created the portrait.  Crispino writes that van Gogh's self-portraits

"provide much evidence of his appearance and above all, of his moods" (36).

For example, in his 1887 Self-Portrait we see a van Gogh filled with passion,

energy and determination -- a van Gogh relatively free of the symptoms of

mental illness which darkened so much of his adult life.  In the painting we

see van Gogh wearing a grey felt hat.  He is wearing a well-kept beard and

moustache, painted orange, and a white shirt and coat painted blue.  The

strong blues contrasted with the vivid oranges provide a sense of energy and

optimistic activity.  This was doubtless van Gogh's intention, for as Martini

writes, van Gogh knew that "the external world, once placed in a particular

light and a specific color, was the emotional equivalent of his inner world"

(6).  Van Gogh's facial expression is one of healthy focus and determination,

and van Gogh himself called his expression in this portrait "purposeful" (van

Uitert, van Tilborgh, and van Heugten 83).  His skin tone is vibrant and

healthy, his face full and well-formed.  One striking characteristic of this

self-portrait not found in van Gogh's others is the "halo" effect created by the

brushstrokes which are painted surrounding van Gogh's head.  The

brushstrokes radiate outward from van Gogh's head "symbolically, as if they

originated from a luminous source" and create an "intensity of expression"

Ruiz 5

(Martini 13).  Van Gogh painted this self-portrait during one of the happiest

and most productive periods of his life while living with his brother in

France.  Van Gogh's use of color, technique, and facial expression all work

together to create an impression of energy and determination, qualities which

communicate the painter's contentment during this pleasant and most

productive time of his life.

Unfortunately, times of peace and inner contentment were relatively

short-lived for van Gogh.  Tormented by his illness, van Gogh experienced

frequent bouts of serious melancholy and depression.  Shortly after he

moved from Paris to Arles in 1888 van Gogh experienced some of his most

severe bouts of mental illness (Barnes 13).  It was during van Gogh's last

two years (1888-90) that his psychotic, often violent attacks began to

appear, leading eventually to the cutting off of a portion of his own ear.  It

was also during this time that van Gogh began to require periodic

hospitalization for his illness.  In 1889, during his first stay in the asylum of

St. Remy, van Gogh painted another Self-Portrait which captures his

melancholy feelings of isolation and loneliness (Crispino 38).  In contrast to

his self-portrait of 1887, van Gogh here appears gaunt and tired, pale and

drained of energy.  In the painting van Gogh peers at the viewer holding a

painter's palette and brushes.  He wears a dark blue cape over a white shirt.

The background is a deep, almost purplish, blue, and van Gogh's hair, beard

and moustache are painted in more muted tones than in his 1887 self-

portrait, with greater emphasis on yellow than orange tones.  The overall

effect is one of sadness and ill health.  Van Gogh describes himself in this

portrait as being "as pale as the devil" (Crispino 37).  His face is gaunt and

indeed "pale," and his eyes have a haunted, almost weary look.  Schapiro

Ruiz 6

writes that van Gogh has a "profoundly earnest, troubled face" in this

portrait (48).  Surely this is a reflection of van Gogh's mental state at the

time.  The yellow tones of van Gogh's beard and hair also give one the

impression of weakness.  His eyes communicate a great sadness to the

viewer, a sign of "feverish tension, the sign of a desperate internal struggle

which is brought out into the open" (Martini 6).  Van Gogh used color, facial

expression, and technique to once again communicate his mental state to the

viewer.  This time, the message is one of pain and loneliness.  As Taschen

writes,

Van Gogh was inimitably skilled at representing the fate of man... the

things and people in his paintings inevitably had a mood of

melancholy and pity; in the act of painting, the artist's emotional world

acquired independence -- and objectivity, in that it could clearly be

seen in the object of contemplation. (102)

In this case, the "object of contemplation" is van Gogh himself.  Van Gogh

was indeed skilled at communicating "melancholy and pity" in his painting,

and nowhere is this more evident than in his self-portraits.

Another self-portrait done by van Gogh during this same time period is

his Self-Portrait with Bandaged Ear (1889-90).  This painting was done

during van Gogh's stay at the St. Remy Mental Hospital after the violent

episode during which he sliced off a portion of his own ear with a razor.

Van Gogh's extreme behavior was likely precipitated by the presence of

Gauguin, who was staying with Vincent in Arles.  The two argued

constantly and van Gogh felt bitter and filled with self-doubt.  This violent

attack of van Gogh against himself was the first of many seemingly

psychotic episodes and marked the beginning of van Gogh's final decline

Ruiz 7

toward suicide.  Martini writes that "after the tragic crisis that unleashed the

quarrel with Gauguin, van Gogh lived his saddest days, and this reflected in

his work" (10).  Of van Gogh's Self-Portrait with Bandaged Ear Denvir

writes that "he (van Gogh) looks haggard and depressed" (13).  Van Gogh

writes to his brother Theo that at the time of this self-portrait "my reason has

half-foundered" (Barnes 76).  Martini describes van Gogh's appearance in

this painting as "strangely serene and almost indifferent," perhaps reflecting

how close van Gogh was to finally giving up on the struggle and ending his

own life (15).  In the portrait van Gogh is wearing a dark green overcoat

buttoned at the top.  A hint of a white undershirt can be seen over the top of

the coat.  On his head is a small but well insulated blue cap, indicating a

time of cold weather.  The bandage is seen covering his right ear in the

portrait, indicating that van Gogh was working from a mirror image since it

was his left ear that he damaged (van Uitert, van Tilborgh, and van Heugten

188).  His face is gaunt and haggard.  His beard and moustache are no

longer present, having been recently shaven.  Once again, the eyes

communicate a great deal to the viewer, giving a sense of ambiguity and

disinterest in the world.  Denvir describes van Gogh's mental state at the

time of this painting as "acute mental derangement accompanied by

delirium" (13), which would be consistent with van Gogh's known behavior

at the time.  The background of the painting is a pale yellow wall, although a

surprisingly bright print of Japanese style can be seen hanging behind the

artist's head.  Overall, the colors of this painting are more muted and

suppressed than in the other self-portraits here discussed, which further

enhances the general feeling of misery and depression induced by this

painting.  Van Gogh substituted "the intense solar colors of his previous

Ruiz 8

paintings with the muffled tones of his solitude" (Martini 15), and succeeded

in communicating his mental anguish and exhaustion to the viewer.  As in

his other self-portraits, van Gogh once again successfully manipulated the

elements of color, style, and facial expression to capture his current mental

and emotional state and communicate it to the world.

However, van Gogh was not limited to the use of his self-portraits to

capture his mental states during opposing periods of relative contentment

and deep mental anguish.  He was equally adept at capturing his moods

during times of transition between stability and illness.  An example of this

is his Self-Portrait in Front of the Easel (1888), a painting which captures

van Gogh just prior to a major decline in mental health.  This self-portrait

was created near the end of van Gogh's contented stay with his brother Theo

in Paris.  Van Gogh was beginning to feel restless and was preparing to

move to Arles, where he would quickly decline in mental health.  Within the

next two years, he would end his life by his own hand.  At the time he

painted this self-portrait he was beginning to feel a deepening depression

and he knew that his mental health was once again declining.  This sense of

mental distress is communicated vividly by the painter's self-portrait.  In the

painting van Gogh sits in front of a painter's easel, palette and brushes in

hand.  He wears a kind of blue overcoat similar to those seen in so many of

his self-portraits, the now-familiar white shirt peeking out from above the

collar.  His hair is close-shaven, but a careful inspection reveals the use of

chaotic brushstrokes, indicating that his hair is "unkempt and neglected"

(Crispino 36).  His beard and moustache are painted in bright orange, but

these brighter tones are muted by the overall shading which covers the face.

In fact, the deepest shading evident in this portrait is covering the artist's

Ruiz 9

own face, indicating that van Gogh knew what was happening to him

mentally and emotionally.  He sensed that "dark times" lay ahead for him

(Shone 10).  Van Gogh himself describes his face in this portrait as "a

death's head" (Denvir 10).  The background is a shade of flat gray-white.  In

fact, the dominant color in this self-portrait is a gray-white tone which

communicates a sense of despair or impending trouble.  Bronkhorst notes

the "unhealthy expression" (53) seen on van Gogh's face, an impression

enhanced by the use of shadowing.  The painting is of a man who appears

unkempt and sad.  Gruitrooy writes that in this portrait van Gogh is "clearly

on the verge of depression.  Describing his face here in a letter to his sister,

he refers to the wrinkles on his forehead and 'about the wooden mouth' "

(43).  Perhaps the most striking feature of all are the eyes, which appear

totally black and lost in shadow.  The impression is one of intense inner

anguish and despair (Gruitrooy 43).  The entire painting communicates a

grim sense of almost prophetic foreshadowing on the part of van Gogh, who

seemed to understand the danger of his dark moods to his health.  Toschen

describes van Gogh's self-portrait in the following terms:

There are deep creases by the nose and cheekbones, the eyebrows are

thick and prominent, the corners of the mouth have turned down:  it is

the face of a man with no more time for friendliness. (536)

Van Gogh had lived his entire life with mood swings, depression, and mental

illness, and he was well aware that he was entering a period of ill health at

the time he painted this self-portrait.  It is a testament to his great talent as a

painter that he was able to so successfully capture his sense of depression

during a time of transition from a period of stability to a time of mental

sickness.  Once again, van Gogh succeeds in capturing his thoughts and

Ruiz 10

feelings at a particular point in time in his self-portrait and communicating

them to the viewer.  His talented use of technique, color and facial

expression allow him to speak to us of his private torment so many years

after his passing away.

Vincent van Gogh painted approximately forty-three self-portraits during

his brief ten-year career as an artist (Crispino 36).  Each one of these

paintings communicates the painter's mood and mental state at that time,

showing us a man of great passion, energy and dedication as well as a man

of highly changeable mood and temperament. "He was given to outbursts of

anger, yet capable of great tenderness" (Crispino 35).  Nowhere are van

Gogh's transitions from times of great optimism and feverish energy to

periods of misery and psychotic depression more eloquently expressed than

in his self-portraits.  The changes in van Gogh's mood and mental state

directly influenced his choice of color scheme and facial expression in his

self-portraits.  His 1887 Self-Portrait succeeds in conveying a sense of

fleeting tranquility and contentment, while his 1889 Self-Portrait

communicates his sense of despair and mental confusion during the darkest

time of van Gogh's life.  His 1889-90 Self-Portrait with Bandaged Ear

demonstrates his mental state just prior to his suicide, while the 1888 Self-

Portrait in Front of the Easel shows van Gogh in a state of transition

between a time of happiness and a time of despair.  These paintings are

lasting testaments to the unrivaled skill of Vincent van Gogh in expressing

his ever-changing temperament through art, and allow the artist to

communicate with viewers for as long as his paintings exist.  Van Gogh once

wrote to his brother that "the truth is, we can only make our pictures speak"

Ruiz 11

(Barnes 6).  This was van Gogh's greatest talent and greatest

accomplishment, and he still speaks to us today through his self-portraits.

1348.      Vincent Van Gogh 464

Vincent Willem Van Gogh was born in Groot Zundert, North Brabant, Holland on March 30, 1853. Van Gogh spent his whole childhood in North Brabant, where the whole area was vast flat land covered in corn fields and sandy heath. From 1860 Van Gogh went to the school in the village of Zundert. Despite doing well his father took him and his sister Anne away to be taught by a governess. In October 1864 he was then sent to a boarding school 20 miles away. After completing elementary school in 1866, he moved onto a middle school in Tilburg. Less than 2 years later he left the school in 1868. In 1869, he got a position at the art dealers, Goupil and Co. through his uncle, and worked with them until he was dismissed from the London office in 1873. He worked as a schoolmaster in England in 1876, before training for the ministry at Amsterdam University in 1877. After he failed to get a post in the Church, he went to live as an independent missionary among the Borinage miners.

He was largely self-taught as an artist, although he received help from his cousin, Mauve. His first works were heavily painted and clumsy attempts to represent the life of poor people. Influenced by one of his artistic heroes, Millet, he moved to Paris in 1886, living with his devoted brother, Theo, who as a dealer introduced him to artists like Gaugin, Pissarro, Seurat and Toulouse-Lautrec. Van Gogh had a good relationship with his brother Theo. His brother would support him when Van Gogh was in troubled times and would always help him buy supplies to keep him painting. Theo was an art dealer and always believe in Van Gogh.

In Paris, he discovered colour as well as the divisionist ideas which helped to create the dashed brushstrokes of his later work. He moved to Arles, in the south of France, in 1888, hoping to create an artists' colony there, and was immediately struck by the hot reds and yellows of the Mediterranean, which he used to represent his own moods.

He was joined by Gaugin in October 1888, Van Gogh also had a good relationship with Gaugin. At one point they even shared a house together. They got on well and influenced each other and learnt from each other. A final argument led to the incident in which Van Gogh mutilated his ear.

In 1889, he became a voluntary patient at the St. Remy asylum, where he continued to paint, making copies of artists he admired. His palette softened to mauves and pinks. He moved to Auvers, to be closer to Theo in 1890 - his last 70 days spent in a hectic program of painting. He died, having sold only one work.

1349.      Vincent van Gogh The Life Of 213

Vincent van Gogh was born on March 30, 1853 in Zundert, Netherlands.  He was one of the greatest Dutch painters of all time.  He powerfully influenced the current of Expressionism in modern art.

His uncle was a partner in the international firm of picture dealers Goupil and Co., and in 1869 van Gogh went to work in the branch at The Hague.  In 1873, he was sent to the London branch and fell madly in love with the daughter of the landlady.  This was the first of several attempts to find happiness with a woman, and his passion affected him so badly that he was dismissed from his job.  He returned to England in 1876 as an unpaid assistant at a school, and his expereince of urban squalor awakened a religious zeal and a longing to serve his fellow men.  His father was a Protestant pastor, and van Gogh first trained for ministry, but he abandonded his studies in 1878 and went to work as a lay preacher among the impoverished miners of the grim Borinage district in Belguim.  In his zeal he gave away his own worldly goods to the poor and was dismissed for his literal interpretation of Christs' teachings suffering acute poverty and spiritual crisis, until 1880, when he found

1350.      Vincent van Goghs Life 659

Vincent van Gogh

(1853-1890)

A Quick Introduction Into The Life Of Van Gogh

Vincent Van Gogh was one of the four great Postimpressionists. Vincent van Gogh is generally considered the greatest Dutch painter after Rembrandt. His reputation is based largely on the works of the last three years of his brief ten-year painting career. He had a powerful influence on expressionism in modern art. Van Gogh created more than 800 oil paintings and 700 drawings, but he sold only one during his lifetime. His striking colors, coarse brushwork, and contoured forms display the anguish of the mental illness that drove him to suicide.

Van Goghs Schooling

Vincent Willem van Gogh was born on March 30, 1853, in Zundert in the Brabant region of The Netherlands. He was the oldest son of a Protestant clergyman. At the age of 16 Van Gogh was apprenticed to art dealers in The Hague, and he worked for them there and in London and Paris until 1876.

Van Gogh disliked art dealing, and, rejected in love, he became increasingly solitary. He began to prepare for the ministry, but he failed the entrance examinations and became a lay preacher. In 1878 he went to the impoverished Baronage district in southwestern Belgium to do missionary work. He was dismissed in 1880 over a disagreement with his superiors. Penniless and with his faith broken, he sank into despair and began to draw. He soon realized the limitations of being self-taught and went to Brussels to study drawing. In 1881 he moved to The Hague to work with the Dutch landscape painter Anton Mauve, and the next summer Van Gogh began to experiment with oil paints. His urge to be with nature took him to Dutch villages, and his subjects- still life, landscape, and figure all related to the peasants' daily hardships and surroundings. In 1885 he produced his first masterpiece, 'The Potato Eaters'.

Feeling too isolated, he left for Antwerp, Belgium, and enrolled in the academy there. He did not respond well to the school's rigid discipline, but while in Antwerp he was inspired by the paintings of Peter Paul Rubens and discovered Japanese prints. He was soon off to Paris, where he met Henri de Toulouse-Lautrec and Gauguin and discovered the impressionists Camille Pissarro, Seurat, and others. Van Gogh's two years in Paris shaped his personal style of painting, more colorful, less traditional, with lighter tonalities and distinctive brushwork.

Tired of city life, Van Gogh left Paris in 1888 for Arles in the south of France. He rented and decorated a yellow house in which he hoped to found a community of the South. Gauguin joined him in October, but their relations' weekend, and in a quarrel on Christmas Eve Van Gogh cut off part of his own left ear. Gauguin left, and Van Gogh was hospitalized. Exhibiting repeated signs of mental disturbance, Van Gogh asked to be sent to an asylum at St-Remy-de-Province. After a year of confinement he moved to the home of a physician-artist in Auvers-sur-Oise for two months. On July 27, 1890, Van Gogh shot himself; he died two days later.

Despite his deteriorating mental condition, Van Gogh's time at Arles, in the asylum, and at Auvers proved to be his greatest productive periods. At Arles he painted with great energy the sun-drenched fields and flowers; at St-Remy the colors of his paintings were more muted, but the lines were bolder and the whole was more visionary, in the northern light of Auvers he adopted pale, fresh tonalities, a broader and more expressive brushwork, that seemed to bring out a lyrical vision of nature. The sale of Van Gogh's 'Irises' in 1987 brought the highest price ever paid for a work of art up to that time at 53.9 million dollars. Van Goghs short career made him a famous and accomplished artist. His had a unique style and innovative vision that belonged only to him being a pioneer of the post impression.

1351.      Vincent Willem Van Gogh 419

Vincent Willem Van Gogh

1853-1890

Life;

Vincent Willem Van Gogh, son of Theodorus Van Gogh (1822-1885) and Anna Cornelia Nee Carbentus (1819-1907), Born in Groot Zundert a small villiage in Holland, March 30, 1853.  Vincent had relatives in the art/artist talent business.  A cousin named Anton Mauve, who was into landscape painting, and two uncles that specialized in art dealings.  When Vincent was 16 he began working at Goupil galleries as a salesman, in Hague.  Then a transfer to the Longon Office took place in 1873.

After transfering to London, England Vincent had an unhappy love affair that touched off his natrually unstable temperament, in which caused him his dismissal from the Paris Branch.

Vincent was drawn toward religion and enlisted into Greek and Latin courses in Amsterdamn.  Vincent failed these courses and was sent on a Lay Missionary to Belgian Mining District, other known as Borinage.  The mission was discontinued in 1879.

Going back to the Hague, an incident with an alcholic prostitute was the cause of Vincent's leaving the Hague once again in 1883.

On July 27, 1980 Vincent shot himself and two days later died.  This suicide happened after cutting part of his own ear off, which was caused by an attack of insanity.  Following that incident he spent a period of time in saint-Remy-De-Provence Asylum.

Work;

Unfortunately Van Gogh only sold on painting in his entire life time, but the influence he protrayed began a steady growth after his death.

Style of Van Gogh's, underwent crucial changes during 1886-1888.  The colors brightened, and brush stroked became freely expressed just as shown below;

1888 till Van Gogh's death in 1890 was when this famous Dutch painter painted most of his important work.  Van Gogh painted mostly landscapes.  For example; A Wheat feild, with Cypresses 1889.  ABOVE

Most postimpressionist artists rejected the impressionists ways of describing objects naturalistically.  Van Gogh made paintings objectivly through expressive use of color and line.

It was not untill the last few years of Van Gogh's life id the syle he used reach full maturity.  Paintings of his most famous work consisted of; The Chair and the Pipe 1888-1889, The olive Grove 1889, Potato Eaters 1885, Cafe at Night1888, Portrait of Dr. Gachet 1890, and last but not least Starry Night 1889.

During Van Gogh's last period his art created a revolution in modern painting .  Fauvism and German expression was GREATLY influenced by his work.  Vincent's early work consisted of somber monumental studies of peasents.  Hence the portrait, Potato Eaters 1885.

1352.      violence and corruption in a clockwork orange

Violence and Corruption in A Clockwork Orange

Alex, the fifteen year old narrator of Anthony Burgess's novel, A Clockwork Orange, lives in a society where violence reigns. This novel has a very direct nature, and is often blunt to the point of offense, but this makes it more powerful and helps to further its point.  This point is that everyone is out for themselves, whether they be the police, government or citizens of this society.

In this book, the police can be just as violent as Alex and his droogs, or gang.  In fact, by the end of the novel, his droogs have themselves become the police.  The police have no qualms about beating people almost to the point of death as they do with Alex both at the beginning,  "...they all had a turn, bouncing me from one to the other like some very weak bloody ball...and fisting me in the yarbles and the [mouth] and the belly and dealing out kicks...I [was] sick...on the floor..." (70) and at the end of the book for no other reason than they feel like it. "...It was all panting and thudding against this like background of whirring farm engines..."   (150) There seems to be no difference between the people being beaten by streets punks such as Alex and the police, who are supposed to protect them. The novel begins with the police doing little to protect the citizens, for how else could a fifteen year old kid and three of his friends rule the streets?  They also seem to relish beating Alex for the reason that they don't get to do it often.  However, by the third part of this book, crime is almost non-existent, but  the police are far more brutal.  Neither of these scenarios is the better of the two.  In fact the cops are not out to help the people, they only want to serve themselves.  Alex, during his first beating, confesses and hands his droogs to the police, but the police do nothing to capture them.  The reason the people are so afraid "...then a bolt drawn, then the door open an inch or so..." (19-20) is that they have to be, since no one else seems to care about their well being.

The government is not much better.  These corrupted individuals are only out for themselves.  They are in power, like it, and want to stay there as long as possible.  To achieve this end they will both tell the people what they want and then do it for them.  One example of this deals with crime.  The citizens of this society are fed up with it so the government gets rid of it using brutal corrupt cops.  "The way that had been cleaned up, there being no longer any dirty, ballooning slovos..."  (132) Since the People are not seeing the crimes of the police, they believe that the government is protecting them and so are appeased.  Another example of this deal more directly with Alex.  The citizens want everyone to be good and peaceful.  The government to show this take away a person's free will to be bad.  Thus the citizenry believe the criminals have been reformed when in truth they have only been forced to do good, as they did with Alex.  Then when the people realize they prefer free will, the government gives this back to Alex.  The government is at the top and they like it there so they will do anything to stay there.

Thought the government and the police are both very cruel to the people this does not mean that the people themselves are good.  This is shown in many ways.  One such way is that the police were once common citizens themselves so it follows that their behavior is that of the people.  Another example of this involves one of Alex's former victims.  At the beginning of the book, Alex and his droogs attack an old man carrying books.  When Alex is released,  this same old man beats him in revenge.  "...starting to deal me malenky weak [hits in my stomach]..." (144) The prey becomes the predator.  This shows that given a chance, even those who are supposed to be "good" will stoop to the level of the street punk.  Another example of this is shown with the people who eventually try to help Alex.  F. Alexander, the writer of the book A Clockwork Orange from whence the novel is named, does help Alex only for his own ends, and even harms Alex "...I could [hear] music coming out of the wall, real gromky, and it had dragged me out of my bit of sleep..." (166-167) if he thinks that will help his cause more.  These are just a few examples of how the people are just as corrupt as the government.

Everyone in this novel is violent, from the cops to the government to the old men who spend their days in the library.  However, Alex's and other criminals, such as Pete, one of Alex's former droogs, are in many ways better than the other members of this society because they "grow up."  They grow tired of the violence and decide to settle down and start families.  This is something the citizens, police and government never learn.  A young woman defends herself by beating Alex at the beginning of the novel,  and an old man beats him at the end.  The government change him one way at the beginning, and still not satisfied, change him again at the end.  The police beat him at the beginning and the end.  Even Alex's social worker spits on him.  However, maybe we see hope for the future with the true change in Alex at the end of the novel.

1353.      Violence in television

Since its introduction, television has increased in popularity to such an extent that the TV has become the electronic member of the family.  The TV can hypnotize us and lure us into worlds of fantasy and adventure as we escape from our worries and cares.  It can also inform us and bring us up to date on the latest news.  The TV can be a teacher, a friend, and a source of knowledge and information, or it can have a negative effect on our behavior.  No matter what effect television has on a person, it is often possible to know someone's lifestyle by observing the way he watches TV.

When the television was first introduced, critics claimed that it would be mind numbing, addictive, and utterly passive.  These critics were describing the stereotypical TV watcher, the Addict.  As his name implies, this person's life revolves around watching television. TV is like a drug to him, and he cannot get enough of it.  He epitomizes the couch potato and the "boob" in boob tube, and can often be described as intellectually empty, especially while he is watching TV.  The Addict lives hand to mouth from the potato chip bag.  He is lazy and will often go for hours without moving from the television.

If the Addict is not glued in front of the TV, he is most likely to be found paging through his latest issue of TV guide, carefully selecting the shows which he will watch that week and marking them off with a highlighter.  On an average day the Addict will come home from work or school, put off all responsibilities, and escape into the world of TV.  In this world, the Addict has no demands or responsibilities.  The TV becomes his only focus of attention, and all of his energy goes into staring at the TV.  While watching one of his favorite shows, the Addict becomes totally oblivious to the world around him.  He will not answer his phone, talk to his family or friends, or do anything else which may distract from his viewing pleasure.  He lives to watch TV.

Just as the Addict emerged with the invention of the TV, the Surfer arose with the invention of the remote control. When a Surfer sits down to watch television, he first grabs the remote before anyone else can get to it.  He turns on the TV with the remote, and it does not leave his grasp until he is finished watching.  He is constantly changing the channels and will pause on a particular show only for a moment.  The Surfer is a person who likes to be in control, and the ability to change the channel at any instant gives him the power for which he hungers.  If he walks into a room where people are already watching TV, he will do his best to take control of the remote, stealing it out of another person's hand when necessary.  While a Surfer is watching TV, others in the room will often shout phrases such as, "this looks good," "this is my favorite show," "leave it here," or "Hey! I was watching that!"; however, the Surfer will ignore all of  these pleas.

In fact, a Surfer will usually be changing the channels so fast that non-Surfers will not even be able to see what they are missing.  To the Surfer, changing the channels on the TV is an art form.  He knows whether what he sees is interesting or dull the second that he sees it, which allows him to quickly pass over anything he does not want to watch.  He knows all of the best stations on his cable TV and has each channel number memorized so that he will never be found sitting through a boring commercial.  Instead, this interactive watcher will be constantly changing the channels until he finds the show of most interest.  He will then leave the TV on this channel for a brief period during which he becomes part of what he is watching, often talking back to the people on the show.  Unlike the passive Addict who sits immobilized in front of the television, the Surfer is an interactive watcher who loves the power and control which he feels when he holds the remote in his hand.

TV watchers who are neither Addicts nor Surfers will most likely fall into the category of Non-Watching watchers.  This type of watcher is a person who leads a very busy life and likes to do many things at once; therefore, he will often have the TV on even if he is not mesmerized by it.  It is even possible for a person to change the channel on the TV without him noticing.  For the Non-Watcher, the TV is just one area of interest among many others.  He involves himself  simultaneously in several activities by alternately reassigning and prioritizing his attention to his many areas of focus.

The Non-Watcher has been around since the introduction of TV, but has not been as widely recognized as he is in this era of multimedia.  In the past, the Non-Watcher was the housewife who would have the TV on while she was taking care of her children and doing chores around the house.  Although her main focus would not be on the TV for the majority of her time, this did not mean that she would turn off the TV.  Rather, she would go about her business taking care of her children, cooking, and cleaning, and during the short periods when she had the opportunity, she would watch the TV to catch something of interest.

In this modern day of multimedia there is an increasing number of Non-Watching watchers. We live in a society in which our televisions are always turned on.  It is not uncommon for a television to be turned on though nobody is watching it.  Because of this, children are growing up accustomed to always having the TV on.  With the increasing popularity of new technology such as video games, compact disc players, and computers, children are becoming even more accustomed to being involved in several activities at the same time.  An average student may come home from school, turn on the TV, put on their favorite CD, talk on the phone, and do their homework all at the same time.  The Non-Watcher's attention shifts to and from the TV, including it, but not excluding the other activities.

The Addict, Surfer, and Non-Watcher watch TV in three totally different ways, which correspond to the lifestyles they lead.  The Addict tends to be lazy and mindless, often sitting for hours at a time in front of the boob tube.  The Surfer, who loves to be in control, enjoys a much more active form of watching television as he talks back to the TV and quickly changes the channels against the will of those around him.  Finally, for  the Non-Watcher, TV is just one of a multiplicity of activities which he enjoys.  Although watching television may seem like nothing more than a common form of recreation, it can actually be an indication of the lifestyle a person leads.

1354.      Violence in the Media Essay

Violence in the Media

In the world we live in, violence is a way of life for many people. Chances

are, most of the people reading this live in nice, upper-middle class suburbs,

just like I do. But, just because we don't see this violence doesn't mean it

doesn't happen. We all know it happens, we're not stupid, we watch the news, we

read the newspaper. So why does the government try to censor violence? Why does

the government try to censor sex? Is it because we can't handle it? No. I can

handle it. I may be what most psychologists would call desensitized, but that

doesn't mean I'm going to shoot up my junior high school. I could never do that.

After all, the government has kept me away from guns. We simply aren't allowed

to view violence and sex because... well, I can't think of a good reason. But,

hey, at least the government sucks at censoring stuff. I'm 13 and I've seen

Playboys. I've seen at least a gajillion R rated movies, and I can walk into any

store in Connecticut and buy some M rated video games. You know why? No one

cares anymore. They're as desensitized as we are, and that's a good thing. It is

a sad fact that we find violence so entertaining, but hell, it is. I freaking

love to see movies where there are more scenes of mindless violence than there

are actual scenes of acting. These movies are aimed at the lowest common

denominator because intelligent movie goers are as extinct as the Dodo bird.

Movies like Showgirls make more money than Panther because they are more fun,

not because they are better. It will always be this way. The government should

not, and can not, keep us from seeing what we want to see.

Just for a moment, let's pretend we live in a future where TV containing

sex or violence is illegal, and so are video games and any other medium. Now, if

we want to see sex, under agers are going to have sex. If you can't get sex in

the media, you're going to want it in real life. If you can't get it there, some

psychopaths are going to rape poor, defenseless people. That creates a lot more

problems than it solves, not to mention that rape is hell of a lot worse then a

minor watching Striptease. The same holds true for violence. Crazy people will

always do crazy things, and there is nothing the government can do to stop it.

1355.      Violence in the Media

In the world we live in, violence is a way of life for many people. Chances are, most of the people reading this live in nice, upper-middle class suburbs, just like I do. But, just because we don't see this violence doesn't mean it doesn't happen. We all know it happens, we're not stupid, we watch the news, we read the newspaper. So why does the government try to censor violence? Why does the government try to censor sex? Is it because we can't handle it? No. I can handle it. I may be what most psychologists would call desensitized, but that doesn't mean I'm going to shoot up my junior high school. I could never do that. After all, the government has kept me away from guns. We simply aren't allowed to view violence and sex because... well, I can't think of a good reason. But, hey, at least the government sucks at censoring stuff. I'm 13 and I've seen Playboys. I've seen at least a gajillion R rated movies, and I can walk into any store in Connecticut and buy some M rated video games. You know why? No one cares anymore. They're as desensitized as we are, and that's a good thing. It is a sad fact that we find violence so entertaining, but hell, it is. I freaking love to see movies where there are more scenes of mindless violence than there are actual scenes of acting. These movies are aimed at the lowest common denominator because intelligent movie goers are as extinct as the Dodo bird. Movies like Showgirls make more money than Panther because they are more fun, not because they are better. It will always be this way. The government should not, and can not, keep us from seeing what we want to see.

Just for a moment, let's pretend we live in a future where TV containing sex or violence is illegal, and so are video games and any other medium. Now, if we want to see sex, under agers are going to have sex. If you can't get sex in the media, you're going to want it in real life. If you can't get it there, some psychopaths are going to rape poor, defenseless people. That creates a lot more problems than it solves, not to mention that rape is hell of a lot worse then a minor watching Striptease. The same holds true for violence. Crazy people will always do crazy things, and there is nothing the government can do to stop it.

1356.      Violence on Televisio1

Violence on Television: Violence is Everywhere

" I never learned which party was victorious, nor the cause of the war, But I

felt for the rest of that day, as if I had had my feelings excited and harrowed

by witnessing the struggle..."   (Henry David Thoreau)

These days our whole life seems to revolve around violence.  There are so

many channels on TV that advocate violence on a daily basis.  Sports that we see

every Sunday stir up aggressiveness and bring anger to a high level. Around

school conflicts seem to occur frequently.  We get excited whenever we come

across these situations and sometimes don't know what caused the ordeal in the

first place but nevertheless it grabs us and we become involved, mentally and/or

physically.

The television set is a virtual fire hose of violence being forced into our

minds.  Whenever there is a boxing match that is a bigger fight than usual, Pay-

Per-View is always there charging anywhere from thirty to sixty dollars so we

can all sit back, relax, and watch two men(or women) dance around a ring and

beat the brains out of each other.  God I love America!  Even on basic cable we

have these wonderful children's programs like The Mighty Morphine Power Rangers,

cartoons (eventhogh I love them), and the V.R. Troopers, to name a couple.

Surprise! they are either based on fighting or getting smashed by trucks and we

laugh and we love it.  It's hard to beat watching someone else beat up on after

you just had a bad day.

Football and hockey, can't beat them but no one really cares about the

principle of the game we all just want to see the big hits.  When watching

football highlights the things they love to show the most are the career ending

tackles usually before they even show the scores, hey who cares about the score

after you just saw some guy get annihilated by a 250 pound linebacker,  we just

get excited about the hit.  Hockey, The sport in which you can get a nice five

minute break for kicking the not out of someone during.  You have got to love it

when the crowd is louder over the thirty second fight than they are during the

rest of the game.

For those who think violence is only restricted to TV Land, well there is

violence in our high school as well(shocker, huh?).  Well every once in a while

we get to witness a lovely fist-fight between two or more students, and the

occasional unwilling faculty member.  Those brawls aren't blown-off by the

students either.  Nah, we love to see a good fight and talk about it after the

day is over.

It's sad to say but violence is one of our national staples.  Whether you

are a hill-billy from the Ozarks or a millionaire counting you're thousand

dollar bills in you're penthouse in downtown Manhattan you have experienced

violence in one shape or form.  After everything's all said and done sometimes

you forget what the fight was about.  Whether it's human nature or something

instilled over time, violence is a part of our lives and we just have to deal

with it.

1357.      Violence on Television

Violence on Television

Since its introduction, television has increased in popularity to such

an extent that the TV has become the electronic member of the family.  The TV

can hypnotize us and lure us into worlds of fantasy and adventure as we escape

from our worries and cares.  It can also inform us and bring us up to date on

the latest news.  The TV can be a teacher, a friend, and a source of knowledge

and information, or it can have a negative effect on our behavior.  No matter

what effect television has on a person, it is often possible to know someone's

lifestyle by observing the way he watches TV.

When the television was first introduced, critics claimed that it would

be mind numbing, addictive, and utterly passive.  These critics were describing

the stereotypical TV watcher, the Addict.  As his name implies, this person's

life revolves around watching television. TV is like a drug to him, and he

cannot get enough of it.  He epitomizes the couch potato and the "boob" in boob

tube, and can often be described as intellectually empty, especially while he is

watching TV.  The Addict lives hand to mouth from the potato chip bag.  He is

lazy and will often go for hours without moving from the television.

If the Addict is not glued in front of the TV, he is most likely to be

found paging through his latest issue of TV guide, carefully selecting the shows

which he will watch that week and marking them off with a highlighter.  On an

average day the Addict will come home from work or school, put off all

responsibilities, and escape into the world of TV.  In this world, the Addict

has no demands or responsibilities.  The TV becomes his only focus of attention,

and all of his energy goes into staring at the TV.  While watching one of his

favorite shows, the Addict becomes totally oblivious to the world around him.

He will not answer his phone, talk to his family or friends, or do anything else

which may distract from his viewing pleasure.  He lives to watch TV.

Just as the Addict emerged with the invention of the TV, the Surfer

arose with the invention of the remote control. When a Surfer sits down to watch

television, he first grabs the remote before anyone else can get to it.  He

turns on the TV with the remote, and it does not leave his grasp until he is

finished watching.  He is constantly changing the channels and will pause on a

particular show only for a moment.  The Surfer is a person who likes to be in

control, and the ability to change the channel at any instant gives him the

power for which he hungers.  If he walks into a room where people are already

watching TV, he will do his best to take control of the remote, stealing it out

of another person's hand when necessary.  While a Surfer is watching TV, others

in the room will often shout phrases such as, "this looks good," "this is my

favorite show," "leave it here," or "Hey! I was watching that!"; however, the

Surfer will ignore all of  these pleas.

In fact, a Surfer will usually be changing the channels so fast that

non-Surfers will not even be able to see what they are missing.  To the Surfer,

changing the channels on the TV is an art form.  He knows whether what he sees

is interesting or dull the second that he sees it, which allows him to quickly

pass over anything he does not want to watch.  He knows all of the best stations

on his cable TV and has each channel number memorized so that he will never be

found sitting through a boring commercial.  Instead, this interactive watcher

will be constantly changing the channels until he finds the show of most

interest.  He will then leave the TV on this channel for a brief period during

which he becomes part of what he is watching, often talking back to the people

on the show.  Unlike the passive Addict who sits immobilized in front of the

television, the Surfer is an interactive watcher who loves the power and control

which he feels when he holds the remote in his hand.

TV watchers who are neither Addicts nor Surfers will most likely fall

into the category of Non-Watching watchers.  This type of watcher is a person

who leads a very busy life and likes to do many things at once; therefore, he

will often have the TV on even if he is not mesmerized by it.  It is even

possible for a person to change the channel on the TV without him noticing.  For

the Non-Watcher, the TV is just one area of interest among many others.  He

involves himself  simultaneously in several activities by alternately

reassigning and prioritizing his attention to his many areas of focus.

The Non-Watcher has been around since the introduction of TV, but has

not been as widely recognized as he is in this era of multimedia.  In the past,

the Non-Watcher was the housewife who would have the TV on while she was taking

care of her children and doing chores around the house.  Although her main focus

would not be on the TV for the majority of her time, this did not mean that she

would turn off the TV.  Rather, she would go about her business taking care of

her children, cooking, and cleaning, and during the short periods when she had

the opportunity, she would watch the TV to catch something of interest.

In this modern day of multimedia there is an increasing number of Non-

Watching watchers. We live in a society in which our televisions are always

turned on.  It is not uncommon for a television to be turned on though nobody is

watching it.  Because of this, children are growing up accustomed to always

having the TV on.  With the increasing popularity of new technology such as

video games, compact disc players, and computers, children are becoming even

more accustomed to being involved in several activities at the same time.  An

average student may come home from school, turn on the TV, put on their favorite

CD, talk on the phone, and do their homework all at the same time.  The Non-

Watcher's attention shifts to and from the TV, including it, but not excluding

the other activities.

The Addict, Surfer, and Non-Watcher watch TV in three totally different

ways, which correspond to the lifestyles they lead.  The Addict tends to be lazy

and mindless, often sitting for hours at a time in front of the boob tube.  The

Surfer, who loves to be in control, enjoys a much more active form of watching

television as he talks back to the TV and quickly changes the channels against

the will of those around him.  Finally, for  the Non-Watcher, TV is just one of

a multiplicity of activities which he enjoys.  Although watching television may

seem like nothing more than a common form of recreation, it can actually be an

indication of the lifestyle a person leads.

1358.      Violence on the Tube Essay

Violence on the Tube

Matt Chisholm

Jeb Beck

English 110

Dec. 13, 1996

One Saturday morning many years ago, I was watching an episode of the '

Roadrunner' on television.  As Wile E. Coyote was pushed off of a cliff by the

Roadrunner for the fourth or fifth time, I started laughing uncontrollably.  I

then watched a 'Bugs Bunny' show and started laughing whenever I saw Elmer Fudd

shoot Daffy Duck and his bill went twirling around his head.  The next day, I

pushed my brother off of a cliff and shot my dog to see if its head would twirl

around.

Obviously, that last sentence is not true.  Some people believe that

violence on the tube is one of the main factors that leads to real-life violence,

but in my opinion, television is just a minor factor that leads to real-life

violence and that it is the parents responsibility to teach kids the difference.

According to Rathus in Psychology in the New Millennium, observational

learning may account for most human learning (239).  Observational learning

extends to observing parents and peers, classroom learning, reading books, and

learning from media such as television and films.  Nearly all of us have been

exposed to television, videotapes, and films in the classroom.  Children in day-

care centers often watch Sesame Street.  There are filmed and videotaped

versions of great works of literature such as Orson Welles' Macbeth.   Nearly

every school shows films of laboratory experiments.

But what of our viewing outside of the classroom?  Television is also

one of our major sources of informal observational learning.  According to Sweet

and Singh, viewing habits range from the child who watches no television at all

to the child who is in front of the television nearly all waking hours.  They

say that on average, children aged 2 to 11 watch about 23 hours of television

per week, and teenagers watch about 22 hours per week (2).  According to these

figures, children spend less time in the classroom than they do watching

television.  During these hours of

viewing, children are constantly being shown acts of violence.

Why?  Simple: violence sells.

People are drawn to violence in films, television dramas, books,

professional wrestling and boxing, and reports of crime and warfare.  Does

violence do more than sell, however?  Do media portrayals of violence beget

violence in the streets and in the home?

It seems clear enough that there are connections between violence in the

media and real violence.  In the 1990's, for example, audiences at films about

violent urban youth such as Colors, Boyz N the Hood,  and Juice have gotten into

fights, shot one another, and gone on rampages after the showings.  The MTV

cartoon characters, Beavis and Butt-head, who comment on rock videos and burn

and destroy things, may have been connected with the death of a 2-year-old and a

burned room in Ohio.   The victims 5-year-old brother, who set the blaze that

killed the 2-year-old, had begun playing with fire after he observed Beavis and

Butt-head to say that fire is fun.  A few more examples are shown on the picture

to the left (Leland 47).  Obviously, these are just a few isolated incidents.

If everyone acted this way after watching violence then we would really have a

problem.

Children are routinely exposed to murders, beatings, and sexual assaults

just by turning on the television set.  The public is wary of it, of course.

Psychologists, educators, and parent groups have raised many questions about the

effects of media violence.  For example, does media violence cause  real

violence?  If there are causal connections between media violence and real

violence, what can parents and educators do to prevent the fictional from

spilling over into the real world?

Media violence affects children through observational learning,

disinhibition, increasing arousal and priming aggressive thoughts, and

desensitization.  The Mean World Syndrome, which suggests that children who

watch a lot of violence on television may begin to believe that the world is as

mean and dangerous in real life as it appears on television, and hence, they

begin to view the world as a much more mean and dangerous place, is another way

in which media violence affects children (Murray 9).

Children learn from observing the behavior of their parents and other

adults.  Television violence supplies models of aggressive "skills."

Acquisition of these skills, in turn, enhances children's aggressive

competencies.  In fact, children are more likely to imitate what their parents

do than heed what they say.  If adults say they disapprove of aggression but

smash furniture or slap each other when frustrated, children are likely to

develop the notion that aggression is the way to handle frustration.  Classic

experiments have shown that children tend to imitate the aggressive behavior

they see on television, whether the models are cartoons or real people.  In one

such experiment, a child watches a film where an adult beats up on a life-size

doll.  The child is then put in a room with the same doll and is observed.  The

child almost always beats up on the doll in the same ways as seen in the film.

The expression of "skills" may be inhibited by punishment or by the

expectation of punishment.  Conversely, media violence may disinhibit the

expression of aggressive impulses that would otherwise have been controlled,

especially when media characters "get away" with violence or are rewarded for it.

73% of violent acts in programs went unpunished ("Telecommunications: Clinton

Backs Antiviolence Chip" 536).

Media violence and aggressive video games increase viewers' levels of

arousal.  In the vernacular, television "works them up."  We are more likely to

engage in dominant forms of behavior, including aggressive behavior, under high

levels of arousal.  Media violence has cognitive effects that also prime

aggressive ideas and memories.  Media violence provides scripts , or ideas on

how to behave in situations that seem to parallel those they have observed.

Desensitization suggests that children who watch a lot of violence on

television may become less sensitive to violence in the real world around them,

less sensitive to the pain and suffering of others, and more willing to tolerate

ever-increasing levels of violence in our society.  We become used to, or

habituated to, many stimuli that impinge on us repeatedly.  Repeated exposure to

television violence may therefore decrease viewers' emotional response to real

violence.  If children come to perceive violence as the norm, their own

attitudes toward violence may become less condemnatory and they may place less

value on constraining aggressive urges.

The question repeatedly arises as to whether media violence should be

curtailed in an effort to stem community violence.  Because of constitutional

guarantees of free expression, current restraints on media depictions of

violence are voluntary.  Films, perhaps, are more violent than they have ever

been, but television stations now and then attempt to tone down the violence in

shows intended for children.

Still, our children are going to be exposed to a great deal of media

violence.  If not in Saturday morning cartoon shows, then in evening dramas and

in the news.  Or they'll hear about violence from friends, watch children get

into fights, or read about violence in the newspapers.  Even if all those

sources of violence were somehow hidden from view, they would learn of violence

in Hamlet, Macbeth,  and even in the Bible.  Thus, the notion of preventing

children from being exposed to violent models is impractical.  We might also

want our children to learn some aggressive skills so that they can defend

themselves against bullies and rapists.

What, then, should be done?  First of all, consider whether we are

overestimating the threat.  Although media violence contributes to aggressive

behavior, it does not automatically trigger aggressive behavior.  Many other

factors, including the quality of the home environment, are involved.  A loving,

comfortable home life is not likely to feed into aggressive tendencies.

In conclusion, it is parents' and educators' responsibility to inform

children that  the violent behavior they observe in the media does not represent

the behavior of most people.  Also, the apparently aggressive behaviors they

watch are not real.  They reflect camera tricks, special effects, and stunts.

Another important thing to tell children is that most people resolve conflicts

by nonviolent means.  Since it is impossible to censor television because of

first amendment rights and television is a small contributor to real-life

violence, parents should concert their efforts towards spending time with their

children and actually watching a violent show with their children and discussing

in depth what is being shown.  If children consider violence inappropriate, they

will probably not act aggressively, even if they have acquired aggressive skills.

For in the words of Andrew Greeley, "Music, film, and television reflect

behavior rather than cause it." (C2)

If I had known all this years before, maybe my brother wouldn't have a

headache all the time and my dog's head wouldn't be facing the wrong way.

1359.      Violence on the Tube

Matt Chisholm

Jeb Beck

English 110

Dec. 13, 1996

Violence on the Tube

One Saturday morning many years ago, I was watching an episode of the 'Roadrunner' on television.  As Wile E. Coyote was pushed off of a cliff by the Roadrunner for the fourth or fifth time, I started laughing uncontrollably.  I then watched a 'Bugs Bunny' show and started laughing whenever I saw Elmer Fudd shoot Daffy Duck and his bill went twirling around his head.  The next day, I pushed my brother off of a cliff and shot my dog to see if its head would twirl around.

Obviously, that last sentence is not true.  Some people believe that violence on the tube is one of the main factors that leads to real-life violence, but in my opinion, television is just a minor factor that leads to real-life violence and that it is the parents responsibility to teach kids the difference.

According to Rathus in Psychology in the New Millennium, observational learning may account for most human learning (239).  Observational learning extends to observing parents and peers, classroom learning, reading books, and learning from media such as television and films.  Nearly all of us have been exposed to television, videotapes, and films in the classroom.  Children in day-care centers often watch Sesame Street.  There are filmed and videotaped versions of great works of literature such as Orson Welles' Macbeth.   Nearly every school shows films of laboratory experiments.

But what of our viewing outside of the classroom?  Television is also one of our major sources of informal observational learning.  According to Sweet and Singh, viewing habits range from the child who watches no television at all to the child who is in front of the television nearly all waking hours.  They say that on average, children aged 2 to 11 watch about 23 hours of television per week, and teenagers watch about 22 hours per week (2).  According to these figures,

children spend less time in the classroom than they do watching television.  During these hours of

viewing, children are constantly being shown acts of violence.

Why?  Simple: violence sells.

People are drawn to violence in films, television dramas, books, professional wrestling and boxing, and reports of crime and warfare.  Does violence do more than sell, however?  Do media portrayals of violence beget violence in the streets and in the home?

It seems clear enough that there are connections between violence in the media and real

violence.  In the 1990's, for example, audiences at films about violent urban youth such as Colors, Boyz N the Hood,  and Juice have gotten into fights, shot one another, and gone on rampages after the showings.  The MTV cartoon characters, Beavis and Butt-head, who comment on rock videos and burn and destroy things, may have been connected with the death of a 2-year-old and a burned room in Ohio.   The victims 5-year-old brother, who set the blaze that killed the 2-year-old,

had begun playing with fire after he observed Beavis and Butt-head to say that fire is fun.  A few more examples are shown on the picture to the left (Leland 47).  Obviously, these are just a few isolated incidents.  If everyone acted this way after watching violence then we would really have a problem.

Children are routinely exposed to murders, beatings, and sexual assaults just by turning on the television set.  The public is wary of it, of course.  Psychologists, educators, and parent groups have raised many questions about the effects of media violence.  For example, does media violence cause  real violence?  If there are causal connections between media violence and real violence, what can parents and educators do to prevent the fictional from spilling over into the real world?

Media violence affects children through observational learning, disinhibition, increasing arousal and priming aggressive thoughts, and desensitization.  The Mean World Syndrome, which suggests that children who watch a lot of violence on television may begin to believe that the world is as mean and dangerous in real life as it appears on television, and hence, they begin to view the world as a much more mean and dangerous place, is another way in which media violence affects children (Murray 9).

Children learn from observing the behavior of their parents and other adults.  Television violence supplies models of aggressive "skills."  Acquisition of these skills, in turn, enhances children's aggressive competencies.  In fact, children are more likely to imitate what their parents do than heed what they say.  If adults say they disapprove of aggression but smash furniture or slap each other when frustrated, children are likely to develop the notion that aggression is the way to handle frustration.  Classic experiments have shown that children tend to imitate the aggressive behavior they see on television, whether the models are cartoons or real people.  In one such experiment, a child watches a film where an adult beats up on a life-size doll.  The child is then put in a room with the same doll and is observed.  The child almost always beats up on the doll in the same ways as seen in the film.

The expression of "skills" may be inhibited by punishment or by the expectation of punishment.  Conversely, media violence may disinhibit the expression of aggressive impulses that would otherwise have been controlled, especially when media characters "get away" with violence or are rewarded for it.  73% of violent acts in programs went unpunished ("Telecommunications: Clinton Backs Antiviolence Chip" 536).

Media violence and aggressive video games increase viewers' levels of arousal.  In the vernacular, television "works them up."  We are more likely to engage in dominant forms of behavior, including aggressive behavior, under high levels of arousal.  Media violence has cognitive effects that also prime aggressive ideas and memories.  Media violence provides scripts ,

or ideas on how to behave in situations that seem to parallel those they have observed.

Desensitization suggests that children who watch a lot of violence on television may become less sensitive to violence in the real world around them, less sensitive to the pain and suffering of others, and more willing to tolerate ever-increasing levels of violence in our society.  We become used to, or habituated to, many stimuli that impinge on us repeatedly.  Repeated exposure to television violence may therefore decrease viewers' emotional response to real violence.  If children come to perceive violence as the norm, their own attitudes toward violence may become less condemnatory and they may place less value on constraining aggressive urges.

The question repeatedly arises as to whether media violence should be curtailed in an effort to stem community violence.  Because of constitutional guarantees of free expression, current restraints on media depictions of violence are voluntary.  Films, perhaps, are more violent than they have ever been, but television stations now and then attempt to tone down the violence in shows intended for children.

Still, our children are going to be exposed to a great deal of media violence.  If not in Saturday morning cartoon shows, then in evening dramas and in the news.  Or they'll hear about violence from friends, watch children get into fights, or read about violence in the newspapers.  Even if all those sources of violence were somehow hidden from view, they would learn of violence in Hamlet, Macbeth,  and even in the Bible.  Thus, the notion of preventing children from being exposed to violent models is impractical.  We might also want our children to learn some aggressive skills so that they can defend themselves against bullies and rapists.

What, then, should be done?  First of all, consider whether we are overestimating the threat.  Although media violence contributes to aggressive behavior, it does not automatically trigger aggressive behavior.  Many other factors, including the quality of the home environment, are involved.  A loving, comfortable home life is not likely to feed into aggressive tendencies.

In conclusion, it is parents' and educators' responsibility to inform children that  the violent behavior they observe in the media does not represent the behavior of most people.  Also, the apparently aggressive behaviors they watch are not real.  They reflect camera tricks, special effects, and stunts.  Another important thing to tell children is that most people resolve conflicts by nonviolent means.  Since it is impossible to censor television because of first amendment rights and television is a small contributor to real-life violence, parents should concert their efforts towards spending time with their children and actually watching a violent show with their children and discussing in depth what is being shown.  If children consider violence inappropriate, they will probably not act aggressively, even if they have acquired aggressive skills.  For in the words of Andrew Greeley, "Music, film, and television reflect behavior rather than cause it." (C2)

If I had known all this years before, maybe my brother wouldn't have a headache all the time and my dog's head wouldn't be facing the wrong way.

1360.      Violence on TV

" I never learned which party was victorious, nor the cause of the war, But I felt for the rest of that day, as if I had had my feelings excited and harrowed by witnessing the struggle..."

(Henry David Thoreau)

These days our whole life seems to revolve around violence.  There are so many channels on TV that advocate violence on a daily basis.  Sports that we see every Sunday stir up aggressiveness and bring anger to a high level. Around school conflicts seem to occur frequently.  We get excited whenever we come across these situations and sometimes don't know what caused the ordeal in the first place but nevertheless it grabs us and we become involved, mentally and/or physically.

The television set is a virtual fire hose of violence being forced into our minds.  Whenever there is a boxing match that is a bigger fight than usual, Pay-Per-View is always there charging anywhere from thirty to sixty dollars so we can all sit back, relax, and watch two men(or women) dance around a ring and beat the brains out of each other.  God I love America!  Even on basic cable we have these wonderful children's programs like The Mighty Morphine Power Rangers, cartoons (eventhogh I love them), and the V.R. Troopers, to name a couple.  Surprise! they are either based on fighting or getting smashed by trucks and we laugh and we love it.  It's hard to beat watching someone else beat up on after you just had a bad day.

Football and hockey, can't beat them but no one really cares about the principle of the game we all just want to see the big hits.  When watching football highlights the things they love to show the most are the career ending tackles usually before they even show the scores, hey who cares about the score after you just saw some guy get annihilated by a 250 pound linebacker,  we just get excited about the hit.  Hockey, The sport in which you can get a nice five minute break for kicking the not out of someone during.  You have got to love it when the crowd is louder over the thirty second fight than they are during the rest of the game.

For those who think violence is only restricted to TV Land, well there is violence in our high school as well(shocker, huh?).  Well every once in a while we get to witness a lovely fist-fight between two or more students, and the occasional unwilling faculty member.  Those brawls aren't blown-off by the students either.  Nah, we love to see a good fight and talk about it after the day is over.

It's sad to say but violence is one of our national staples.  Whether you are a hill-billy from the Ozarks or a millionaire counting you're thousand dollar bills in you're penthouse in downtown Manhattan you have experienced violence in one shape or form.  After everything's all said and done sometimes you forget what the fight was about.  Whether it's human nature or something instilled over time, violence is a part of our lives and we just have to deal with it.

1361.      violence

England wanted to control the colonies. Their plan was to

gain power over America so they would be able to tax the

colonists. In an attempt to get money, from the colonies,

England passed several acts, the Stamp Act and the

Quartering Act. The Quartering Act stated that the colonists

had to provide food and shelter for the royal troops. The

Stamp Act required the colonists to buy a stamp when they

purchased certain items. The Stamp Act angered everyone

because it hit everyone's pocketbook. Colonists acted

strongly and quickly, the Stamp Act was later repealed.

Even though England had failed with the Stamp Act

they continued trying to gain control and tax the colonies.

Parliament passed the Townshend Acts in 1767 which

taxed paint, glass, lead, paper, and tea. Customs Officials

were granted documents, or writs of assistance, to enforce

the act. These documents, issued by a court, allowed them

to go into privet homes and businesses without reasonable

suspicions to look for smuggled goods, at any time!

In response, many groups started their own special

boycotts. The Daughters of Liberty, a group organized by

woman, held public spinning bees, where they made

Americana cloth. Paper, paint, and cloth were all made by

the colonists. A sense of unity was created with the help of

the boycott.

The colonists' boycott of British goods paid off. In

1770 the British government repealed the Townshend taxes

on paint, paper, glass, and lead. The only item that still had

a Townshend tax was tea. This news calmed most colonists.

However, not everyone was happy, this was far from over.

The colonists stood their ground and fought for what

they believed they deserved. To be free! Free from

England's rule, free from their taxes, and free to start their

new world, America.

1362.      Vision

Literary analysis: Vision Out

of the Corner of One Eye.

The main character of "Vision out of the Corner of One Eye ", a short story by Luisa Valezuela, goes through a complete one hundred-eighty degree change over the course of the story.

In the beginning of the story, the main character is completely distraught.  A man on the bus continues to fondle her, but rather than call attention to him she would rather save face for him.  She hates the situation but she wants to believe he's a good person so she begins to make excuses for him: "maybe he didn't do it on purpose" or "maybe his right hand didn't know what his left hand was up to".  All the while trusting , and having her trust broken.

The second phase the main character went through was the attempt to flee.  When she finally tried wiggling out of his reach it just gives him a better angle to touch her.  As she moved away, he was right there.  She was like a fox hunted by wild dogs.  No matter where she went, she was trapped.

The final phase was getting even.  She figured she would put her hand on his butt and show him how it felt to molested.  It turns out, she got more than the satisfaction of revenge, but also his wallet.

The main character has lots of moral and emotional choices to make.  Though in the beginning she wants nothing more than to put the incident behind her, by the end she ironically throws all of her morals out the window and steals the man's wallet.

1363.      Vitro Fertilisation 598

There has been an extensive history in the development of In Vitro Fertilisation.

This is evident in the scientific discoveries and advances in medical procedures.

In addition, the church and society have made scientific contributions to the debate concerning In Vitro Fertilisation techniques.

The discovering of human ova and sperm during the 1800's provided a greater understanding of the nature and purpose of reproduction.

These significant developments became the moral concern of the church in 1958 when Pope Pius x11 declared human artificial insemination immoral.

The church upheld its moral stance against IVF techniques and Pope john v1 outlined this is 1968 in the encyclical human Vitae.

Despite the churches stance  on the issue, the development of In Vitro Fertilisation techniques continued and resulted in the birth of the first IVF baby, Louise Brown in 1978.

This significant development in reproductive Technology created a great need for the establishment of Louise to determine who can and cannot gain access to IVF and GIFT.

( gamete Intra - fallopian tube transfer)

In vitro Fertilisation is Latin for "in Glass".

In Vitro Fertilisation, which throughout this essay will be represented by IVF, is one type of reproductive technology.

The practice of IVF involves the removal of male and female gametes that are fused together outside of the body and the Zygote (fertilised ova) is then implanted into the uterus in the hope that implantation will occur.

In order for this to occur the male usual is expected to produce sperm through masturbation, which that itself is considered  to violate the unitive and procreative meaning of the conjugal act.

IVF was originally used by couples experiencing difficulty in conceiving children due to a blockage in the fallopian tubes.

The new reproductive technology allows pregnancy to occur without the process of the conjugal act.

This radical split in the dual functions of the conjugal act is what the church sees as wrong.

In response to the challenge faced by the Catholic church in regard to IVF, the church has issued three documents stating their objective to the IVF treatment.

The encyclical Humane Vitae emphasised the question that birth and death involve more than just biological facts, raising the question of 'just because we can, does it mean we ought?" Humane Vitae states clearly that IVF techniques Violate the unitive and procreative meaning of the conjugal act required to have a child.

Domun Vitae strongly clarified and reaffirmed the catholic teaching on the issue of reproductive medical research.

Domun Vitae brings to light the rights of  the child who are the ones who require the most protection. It also expresses the extreme concern for the well being and welfare of excess embryos.

Pope John Paul 11 appeals to the worlds scientific authorities to 'halt the production of human embryos!"

One new technology begins to distort the meaning of the conjugal act.

Factors that effected the response of the church is the issue that the child becomes a commodity rather than being loved by its genetic parents.

The gospel teaches that those least capable of protection are those most worthy.

The understanding and compassion the church is expressed to those unable to have children and feels sympathy for them.

In terms of the churches response in relation to the society, despite the stance of the church, these reproductive methods have led to various kinds of civil legislation that govern the procedures.

In1995 a new infertility treatment act was passed, bringing the teaching of the church closer to society.

The church has also came into sharp conflict with the ethics of the modern western culture.

1364.      Walt Disney 1087

Walt Disney has touched the hearts of many, adults and children alike, all over the world, with his amazing effects of Disney films over the years.

Walt Disney was born December the 5th 1901 to parents Elais and Flora Disney in Illinois, his family and himself moved cities to Marceline Missouri when he was very young.

From an early age Walt would do drawings of cartoon characters, and sell them to neighbours to make extra money.

Walt pursued his career at high school in Chicago studying art and photography, he was highly encouraged by his brother Roy and mum Flora, to pursue a career.

Walt's father was a quite stern man and often there was very little money.

In 1918 Walt attempted to enlist for military service but was rejected on the grounds of being under age. Instead he became a driver for the Red Cross ambulance service in France.

The ambulance he drove was covered in cartoon characters, which he had drawn himself.

On Walt's return from France, he pursued his own company and called it 'Laugh-0-Gram' which was unsuccessful, and he went bankrupt. With his suitcase and only 20 dollars to his name he headed for Hollywood, California.

Walt then put himself in-to the making of Snow White and the Seven Dwarfs, which was two years of production and a lot of hard work, More than 750 Disney artists used over 5000 miles of paper to create more than 2 million drawings and sketches. Disney went through many designs for Snow White before settling on the perfect fairy tale princess.

For each second on screen for the animators they had 24 pictures to do, with each one being a bit different from the last. To make the characters appear to move, some bits had to be cut out of the film, as it would have been too long.

There were also originally 25 songs made for the film but only eight were needed to tell the story, They had everything wrapped up in the   making of Snow White, all the family fortunes, and bank loans. Walt Disney risked everything in the making of Snow White to bring it to the screen. The characters he created Doc, Happy, Grumpy, Sleepy, Sneezy, Bashful and most of all Dopey had touched the world's hearts, as they were the most endearing little characters the world had ever seen.

Walt Disney

A man of visualization who changed the world of animation for families all over the world.

On December the 21st 1937 two years after all the hard work and sleepless nights, Walt's courage had paid off. Snow White and The Seven Dwarfs had captured the world's hearts for Walt Disney's imagination on his first full length animated feature. He was regarded as a mile stone in the film making industry, Snow White and the Seven Dwarfs had become his biggest triumph in changing the presentation of motion pictures forever.

Walt Disney was asked years later, to explain the secret of Snow White's appeal

He replied&#8230;"Over in our place, we are sure of just one thing, everybody in the world was once a child. So, in planning the new picture, we do not think of grown ups or children, but just of that kind, clean, unspoiled spot down deep inside everyone of us, that the world has maybe made us forget, and maybe, just maybe, our pictures can help to recall."

The film earned Walt Disney an academy award.

Walt eventually got his past due Royalty payments and his total earnings from Snow White were over 8 million dollars.

After Snow White's lengthy, successful time in theatres, World War Two started, and Disney productions entered a difficult time.  Walt was in a four point five million dollar deficit and didn't know how to solve the problem. To make things even worse, Pearl Harbor was bombed and the Walt Disney studio was used as an anti aircraft base.  The anti- craft base was removed a month later and Disney studio was then advertising war bonds and other government positions. This slowed Walt's business drastically, but the government offered Walt an opportunity to travel to South America as a diplomat and they would pay off all his debt.  Walt accepted and enjoyed the experience: there he found new ideas for future films.

Walt returned home from South America and trouble was brewing in his studio. When war had broken out, Disney productions had stopped production of two films Bambi and Fantasia.  The movies were then released at the end of the war, but they had made no profit, just more debt and Disney animators were not given bonuses as they were promised.

Walt was astounded when he heard the news. He thought his new studio would have solved all the problems, but unfortunately the animators didn't find it to be the paradise Walt did. Not seeing bonuses in their paycheck, Disney Animators went on strike.  To solve this problem, Walt elected to sell stock in his company and it sold immediately. Walt was now out of debt but had a new idea. He then went on to create Disney Land, He once said  "Saturday was always Daddy's day and I would take my two daughters to the merry go round and sit on the bench eating peanuts while they rode.

Sitting there, alone, I felt that there should be something built; some kind of Family Park where parents and children could go and have fun together."

Disney productions could not afford this, but Walt had great determination, he raised the money by showing his weekly Disney show on the American Broadcasting Corporation [A.B.C].

With money made from weekly Disney showing on A.B.C he found 200 acres of land in Anaheim, California and set to work on the Disney land theme park. The park was opened in 1955 and has been very successful ever since, with two other parks that were to follow in later years. They are still highly successful today.

Walt Disney has shown the world he was a man of creation, he taught us many things, even when the odds were against him, his creativity allowed him to succeed in the contributions he made to society, to the kind, clean, little unspoiled spot inside all of us.

Without a doubt, he will be remembered for generations and I guess there will always be the child inside everyone of us thinking back to those childhood days of the Walt Disney cartoons and films we all loved so much, (and still do!).

1365.      WALT DISNEY 5

WALT DISNEY

Walt Disney was one of the famous motion-picture producers in history. He first

became known in the 1920's and 1930's for creating such cartoon film characters as

Mickey Mouse and Donald Duck.  He later produced feature length cartoon films, movies

about wild animals in their natural surroundings, and films starring human actors.  Disney

won 32 Academy Awards for his movies and for scientific and technical contributions to

filmmaking.  He also gained fame for his development of theme parks.

Walter Elias Disney was born on Dec. 5, 1901, in Chicago, Illinois.  His family

moved to Missouri, and he spent much of his boyhood on a farm near Marceline.  At the

age of 16, Disney studied art in Chicago.  In 1920, he joined the Kansas City Film Ad

Company, where he helped make cartoon advertisements to be shown in movie theaters.

In 1923, Disney moved to Los Angeles to become a film producer or director.

When he failed to find a job, he returned to producing cartoons.  He set up his first studio

in the back half of a real estate office.  For several years, Disney stuggled to pay his

expenses.  He gained success in 1928, when he released the first short cartoons that

featured Mickey Mouse.  Earlier filmmakers had found that animals were easier to animate

than people.  Mickey Mouse, drawn with a series of circles, proved ideal for animation.

In 1927, sound that had been added to motion pictures, and a process for making

movies in color was developed a few years later.  Disney and his staff made imaginative

use of sound and color.  Disney himself provided Mickey Mouse's voice for Steamboat

Willie (1928), the first cartoon to use synchronized sound. His cartoon Flowers and Trees

(1932) was the first cartoon in full Technicolor.

From 1929 to 1939, Disney produced a cartoon series called Silly Symphonies,

which played in theaters along with other animated films featuring Mickey Mouse and

other characters, like Donald Duck, Goofy, and Pluto.  After 1924, Disney actually did

more of the drawing necessary for his animated films.  His genius lay in creating,

organizing, and directing the films.

In 1937, Disney issued the first full-length animated feature film to be produced by

a studio, Snow White and the Seven Dwarfs.  It became one of the most popular movies

in history.  Disney's later full-length animated films included Pinocchio (1940), Fantasia

(1940), Dumbo (1941), Bambi (1942), Cinderella (1950), Alice in Wonderland (1951),

Peter Pan (1953), Lady and the Tramp (1955), Sleeping Beauty (1959), 101 Dalmations

(1961), and the Jungle Book (released in 1967, after his death).  In 1950, Disney released

Treasure Island, his first full-length movie to use only human actors.  Mary Poppins

(1964), which combines human actors with animation, is the most successful of  Disney's

later films.

During World War II (1939 to 1945), Disney's studio made educational films for

the U.S. government as well as cartoon comedies.  After the war, Disney created fewer

animated movies.  He concentrated on making films that starred real animals or human

actors.  In 1948, Disney released Seal Island.  This short movie was the first in a series of

''True-Life Adventures'' that showed how animals lived in nature.  In 1953, Disney

released his first full-length nature film, The Living Desert.  All of his nature movies

included scenes of animal life rarely seen by human beings.

After television became popular about 1950, many filmmakers either ignored T.V.

or fought it as a threat to the movie industry.  But Disney adjusted easily to the new form

of entertaiment.  He hosted a weekly show that presented Disney films made especially for

television, featuring such characters as Davy Crockett, and Ludwing Von Drake.

Disney achieved one of his greatest successes in 1955, when he opened

Disneyland, a spectacular theme park in Ahaheim, California.  Many of the attractions at

the park are based on the Disney films.

During his last years, Disney developed plans for building a huge entertainment

and educational complex in Florida.  This project, known as Walt Disney World, was

completed after Disney's death. Disney died on Dec. 15, 1966, in Los Angeles.  The Walt

Disney Company carried on Disney's work after his death.

1366.      Walt Disney Essay

Walt Disney

Walt Disney was one of the famous motion-picture producers in history.

He first became known in the 1920's and 1930's for creating such cartoon film

characters as Mickey Mouse and Donald Duck.  He later produced feature length

cartoon films, movies about wild animals in their natural surroundings, and

films starring human actors.  Disney won 32 Academy Awards for his movies and

for scientific and technical contributions to filmmaking.  He also gained fame

for his development of theme parks.

Walter Elias Disney was born on Dec. 5, 1901, in Chicago, Illinois.  His

family moved to Missouri, and he spent much of his boyhood on a farm near

Marceline.  At the age of 16, Disney studied art in Chicago.  In 1920, he joined

the Kansas City Film Ad Company, where he helped make cartoon advertisements to

be shown in movie theaters.

In 1923, Disney moved to Los Angeles to become a film producer or

director. When he failed to find a job, he returned to producing cartoons.

He set up his first studio in the back half of a real estate office.  For

several years, Disney stuggled to pay his expenses.  He gained success in 1928,

when he released the first short cartoons that featured Mickey Mouse.  Earlier

filmmakers had found that animals were easier to animate than people.  Mickey

Mouse, drawn with a series of circles, proved ideal for animation.

In 1927, sound that had been added to motion pictures, and a process for

making movies in color was developed a few years later.  Disney and his staff

made imaginative use of sound and color.  Disney himself provided Mickey Mouse's

voice for Steamboat Willie (1928), the first cartoon to use synchronized sound.

His cartoon Flowers and Trees (1932) was the first cartoon in full Technicolor.

From 1929 to 1939, Disney produced a cartoon series called Silly

Symphonies, which played in theaters along with other animated films featuring

Mickey Mouse and other characters, like Donald Duck, Goofy, and Pluto.  After

1924, Disney actually did more of the drawing necessary for his animated films.

His genius lay in creating, organizing, and directing the films.

In 1937, Disney issued the first full-length animated feature film to be

produced by a studio, Snow White and the Seven Dwarfs.  It became one of the

most popular movies in history.  Disney's later full-length animated films

included Pinocchio (1940), Fantasia (1940), Dumbo (1941), Bambi (1942),

Cinderella (1950), Alice in Wonderland (1951), Peter Pan (1953), Lady and the

Tramp (1955), Sleeping Beauty (1959), 101 Dalmations (1961), and the Jungle Book

(released in 1967, after his death).  In 1950, Disney released Treasure Island,

his first full-length movie to use only human actors.  Mary Poppins (1964),

which combines human actors with animation, is the most successful of  Disney's

later films.

During World War II (1939 to 1945), Disney's studio made educational

films for the U.S. government as well as cartoon comedies.  After the war,

Disney created fewer animated movies.  He concentrated on making films that

starred real animals or human actors.  In 1948, Disney released Seal Island.

This short movie was the first in a series of ''True-Life Adventures'' that

showed how animals lived in nature.  In 1953, Disney released his first full-

length nature film, The Living Desert.  All of his nature movies included scenes

of animal life rarely seen by human beings.

After television became popular about 1950, many filmmakers either

ignored T.V. or fought it as a threat to the movie industry.  But Disney

adjusted easily to the new form of entertaiment.  He hosted a weekly show that

presented Disney films made especially for television, featuring such characters

as Davy Crockett, and Ludwing Von Drake.

Disney achieved one of his greatest successes in 1955, when he opened

Disneyland, a spectacular theme park in Ahaheim, California.  Many of the

attractions at the park are based on the Disney films.

During his last years, Disney developed plans for building a huge

entertainment and educational complex in Florida.  This project, known as Walt

Disney World, was completed after Disney's death. Disney died on Dec. 15, 1966,

in Los Angeles.  The Walt Disney Company carried on Disney's work after his

death.

1367.      Walt Disney Man of the Century 1994

Walt Disney has touched the hearts of many, adults and children alike all over the world, with his amazing effects of Disney films over the years.

Walt's parents were married on January 1st, 1888. Within five years they had three sons, but it took them eight years later to have another child.  In Chicago on December 5th, 1901 Walter Elias Disney was born.  In April of 1906 they moved to a forty-five acre farm. Walt grew up on the farm and cherished the friends and neighbors that were his big family. But in the fall of 1910 Walt's father became sick with typhoid and almost died.  After a very slow recovery the family sold their farm for a little over five thousand and moved to Kansas City in the summer of 1911.

As a boy growing up in Kansas, he began to show his creative art side. He loved to study Charlie Chaplin movies for tips on performing and he began to draw his own versions of Maggie and Jiggs, which is a popular comic strip at the time.

Walt's father and mother moved to Chicago when his dad became the head of the O'Zell Company's plant construction maintenance. But Walt decided to stay back with his two brothers and get a summer job.  At the end of the summer Walt moved back to Chicago with his parents. There, he attended McKinley High School. Walt wanted to join the "War to End All Wars" but was too young.  Instead he joined the Chicago Institute of Arts School where he drew patriotic sketches for the school newspaper.

But in the summer of 1918 Walt heard about the Red Cross Ambulance Corps would accept men at the age of seventeen. So Walt lied about his age and joined; but he almost died when he came down with influenza.  Finally Walt' chance came when the war ended and the Ambulance Corps needed Fifty more men.  Walt, lucky enough was the fiftieth chosen.  He was sent off to France where he drove the ambulance.  He made money on the side by using his artistic talent by painting helmets with camouflage colors and banging them up to look like real battle helmets and then sell them to Americans looking for war souvenirs.

On Walt's return from France, he pursued his own company and called it "Laugh-0-Gram" which was unsuccessful, and soon went bankrupt. With his suitcase and only 20 dollars to his name he headed for Hollywood, California.

He dreamed of an idea of a mouse character but was going to name him Mortimer. His wife, on the other hand, did not like the name but suggested the name Mickey instead.  Of course, Walt took her advice and when he got home began creating three new cartons staring Mickey Mouse.  Mickey Mouse soon took off.  The public loved him and he appeared in movie theaters everywhere. Between 1929 and 1932 more then one million children joined the original Mickey Mouse Club.

Walt then put himself into the making of "Snow White and the Seven Dwarfs", which was two years of production and a lot of hard work.  More than 750 Disney artists used over 5000 miles of paper to create more than 2 million drawings and sketches. Disney went through many designs for Snow White before settling on the perfect fairy tale princess.  There were also originally 25 songs made for the film but only eight were needed to tell the story.  They had everything wrapped up in the making of Snow White, all the family fortunes, and bank loans.  Walt Disney risked everything in the making of Snow White to bring it to the screen.  The characters he created Doc, Happy, Grumpy, Sleepy, Sneezy, Bashful and most of all Dopey had touched the world's hearts, as they were the most endearing little characters the world had ever seen.

Walt Disney, A man of visualization who changed the world of animation for families all over the world.  On December the 21st 1937 two years after all the hard work and sleepless nights, Walt's courage had paid off. Snow White and The Seven Dwarfs had captured the world's hearts for Walt Disney's imagination on his first full length animated feature. He was regarded as a mile stone in the film making industry, Snow White and the Seven Dwarfs had become his biggest triumph in changing the presentation of motion pictures forever.

Walt Disney was asked years later, to explain the secret of Snow White's appeal.  He replied, "Over in our place, we are sure of just one thing, everybody in the world was once a child. So, in planning the new picture, we do not think of grown ups or children, but just of that kind, clean, unspoiled spot down deep inside everyone of us, that the world has maybe made us forget, and maybe, just maybe, our pictures can help to recall."

The film earned Walt Disney an academy award.  Walt eventually got his past due royalty payments and his total earnings from Snow White were over 8 million dollars.

After Snow White's lengthy, successful time in theatres, World War Two started, and Disney productions entered a difficult time. Walt was in a four point five million dollar deficit and didn't know how to solve the problem. To make things even worse, Pearl Harbor was bombed and the Walt Disney studio was used as an anti aircraft base. The anti- craft base was removed a month later and Disney studio was then advertising war bonds and other government positions. This slowed Walt's business drastically, but the government offered Walt an opportunity to travel to South America as a diplomat and they would pay off all his debt. Walt accepted and enjoyed the experience: there he found new ideas for future films.

Walt returned home from South America and trouble was brewing in his studio. When war had broken out, Disney productions had stopped production of two films "Bambi" and "Fantasia."  The movies were then released at the end of the war, but they had made no profit, just more debt and Disney animators were not given bonuses as they were promised.

Walt was astounded when he heard the news. He thought his new studio would have solved all the problems, but unfortunately the animators didn't find it to be the paradise Walt did. Not seeing bonuses in their paycheck, Disney Animators went on strike. To solve this problem, Walt elected to sell stock in his company and it sold immediately. Walt was now out of debt but had a new idea. He then went on to create Disney Land.  He once said "Saturday was always Daddy's day and I would take my two daughters to the merry go round and sit on the bench eating peanuts while they rode.  Sitting there, alone, I felt that there should be something built; some kind of Family Park where parents and children could go and have fun together."  Disney productions could not afford this, but Walt had great determination, he raised the money by showing his weekly Disney show on the American Broadcasting Corporation (ABC.)

With money made from weekly Disney showing on ABC he found 200 acres of land in Anaheim, California and set to work on the Disney land theme park. The park was opened in 1955.  On the Opening day of the amusement park "Disney Land" there was a ninety-minute live television program that was the most watched TV event up to that time. The park has been very successful ever since, with two other parks that were to follow in later years. They are still highly successful today.

It is nearly impossible to list all of Walt's films and accomplishments that he has completed:  Everything from Bambi to Mary Poppins to EPCOT.

Disney. What comes to one's mind when they hear the word Disney? Is it possible Disney World or maybe even Disney Land?  But, it if they really think in depth about all the Disney things there are, wouldn't they wonder how one man could create all these international theme parks, movies, and characters like Mickey Mouse?

In order to comprehend how influential Walt Disney truly was, try to imagine the world without him. Imagine the world today without Mickey Mouse, the fairytales, Disney World, and possibly all animation. Walt Disney has most likely affected one's life, whether by touching their heart with a Disney classic such as Beauty and the Beast, or by simply fascinating them by one his amazing theme parks. Walt Disney developed animation and changed the world lived in today.

Walt Disney made such an impact on the entertainment world for both children and adults. It's not everyday one man can make the huge accomplishments that Mr. Disney has. From theme parks around the world, to movies, books, and cartoons Disney has invented it all. He has his own TV station, plus children's toys and collectables.

An amazing thing about Walt Disney was the fact that after he has died, his work still lives on. There are still new and improved Disney cartoons and movies made every year. There are new additions to the Disney Theme Parks such as the Animal Kingdom and a Disney Cruise Line. There is even a new Disney Mickey Mouse cereal that can be purchased in stores. But how is a man dead but his work still continues?

Through all the hard times and the good, Walt has really shown the world how to be a kid again. If they ask anyone that has gone to Disney World or Disney Land, they will tell them that they can't help but smile and be a kid again while they are there.

Walt Disney has shown the world he was a man of creation, he taught them many things, even when the odds were against him, his creativity allowed him to succeed in the contributions he made to society, to the kind, clean, little unspoiled spot inside all.  Walt also played a crucial role in the time of the depression. When most people had no jobs, were living in poverty, and had no hope for the future, not only did Walt create his animations despite of it but he made the people laugh. He allowed people to forget all about the tragedy in their own lives for a little while and be happy.

Walt Disney created animation as we know it today. He started it all. His imagination was bigger than it will ever be. Without Walt Disney, who knows if animation would exist today?  He forced people to look at the world differently, from an animated perspective.  No one had ever thought of having drawings that could combine to create one big picture.  Now, all over the world Disney movies and Disney theme parks are shown and found.

Clearly, Walt Disney was a very influential man. He created animation and showed the world that they can achieve their dreams; he taught the world to always have hope. Even though Walt died on December 15, 1966 he is no where close to being forgotten. The Disney companies are still creating movies, and the Theme parks are very popular. Walt's philosophy of never giving up on your dreams is still a part of the Disney franchise. Its logo to this day is ""Making your dreams come true."  Walt created one of the most successful corporations today from almost nothing.  He brought magic into the lives of many children and adults.  Walt Disney never gave up.  He was always optimistic and never let anything get in the ways of his dreams.  If everyone in society would be as full as hope and optimism like Walt Disney the world would be a better place.

Without a doubt, he will be remembered for generations and there will always be the child inside everyone thinking back to those childhood days of the Walt Disney cartoons and films they all loved so much, (and still do!).

1368.      WALT DISNEY

WALT DISNEY

Walt Disney was one of the famous motion-picture producers in history. He first

became known in the 1920's and 1930's for creating such cartoon film characters as

Mickey Mouse and Donald Duck.  He later produced feature length cartoon films, movies

about wild animals in their natural surroundings, and films starring human actors.  Disney

won 32 Academy Awards for his movies and for scientific and technical contributions to

filmmaking.  He also gained fame for his development of theme parks.

Walter Elias Disney was born on Dec. 5, 1901, in Chicago, Illinois.  His family

moved to Missouri, and he spent much of his boyhood on a farm near Marceline.  At the

age of 16, Disney studied art in Chicago.  In 1920, he joined the Kansas City Film Ad

Company, where he helped make cartoon advertisements to be shown in movie theaters.

In 1923, Disney moved to Los Angeles to become a film producer or director.

When he failed to find a job, he returned to producing cartoons.  He set up his first studio

in the back half of a real estate office.  For several years, Disney stuggled to pay his

expenses.  He gained success in 1928, when he released the first short cartoons that

featured Mickey Mouse.  Earlier filmmakers had found that animals were easier to animate

than people.  Mickey Mouse, drawn with a series of circles, proved ideal for animation.

In 1927, sound that had been added to motion pictures, and a process for making

movies in color was developed a few years later.  Disney and his staff made imaginative

use of sound and color.  Disney himself provided Mickey Mouse's voice for Steamboat

Willie (1928), the first cartoon to use synchronized sound. His cartoon Flowers and Trees

(1932) was the first cartoon in full Technicolor.

From 1929 to 1939, Disney produced a cartoon series called Silly Symphonies,

which played in theaters along with other animated films featuring Mickey Mouse and

other characters, like Donald Duck, Goofy, and Pluto.  After 1924, Disney actually did

more of the drawing necessary for his animated films.  His genius lay in creating,

organizing, and directing the films.

In 1937, Disney issued the first full-length animated feature film to be produced by

a studio, Snow White and the Seven Dwarfs.  It became one of the most popular movies

in history.  Disney's later full-length animated films included Pinocchio (1940), Fantasia

(1940), Dumbo (1941), Bambi (1942), Cinderella (1950), Alice in Wonderland (1951),

Peter Pan (1953), Lady and the Tramp (1955), Sleeping Beauty (1959), 101 Dalmations

(1961), and the Jungle Book (released in 1967, after his death).  In 1950, Disney released

Treasure Island, his first full-length movie to use only human actors.  Mary Poppins

(1964), which combines human actors with animation, is the most successful of  Disney's

later films.

During World War II (1939 to 1945), Disney's studio made educational films for

the U.S. government as well as cartoon comedies.  After the war, Disney created fewer

animated movies.  He concentrated on making films that starred real animals or human

actors.  In 1948, Disney released Seal Island.  This short movie was the first in a series of

''True-Life Adventures'' that showed how animals lived in nature.  In 1953, Disney

released his first full-length nature film, The Living Desert.  All of his nature movies

included scenes of animal life rarely seen by human beings.

After television became popular about 1950, many filmmakers either ignored T.V.

or fought it as a threat to the movie industry.  But Disney adjusted easily to the new form

of entertaiment.  He hosted a weekly show that presented Disney films made especially for

television, featuring such characters as Davy Crockett, and Ludwing Von Drake.

Disney achieved one of his greatest successes in 1955, when he opened

Disneyland, a spectacular theme park in Ahaheim, California.  Many of the attractions at

the park are based on the Disney films.

During his last years, Disney developed plans for building a huge entertainment

and educational complex in Florida.  This project, known as Walt Disney World, was

completed after Disney's death. Disney died on Dec. 15, 1966, in Los Angeles.  The Walt

Disney Company carried on Disney's work after his death.

1369.      Waterlily

Waterlily by Ella Cara Deloria

Mn. History

2-3-97

Waterlily is a book based on the events that happen within a particular Dakota Indian family's life.  Not only does it depict the affairs of blue Bird's life and her family, but it documents the rituals and culture of the Dakota people.  With illustrative words and graphic details, the incidences within the story can be visualized and understood.

The story begins with the occurrences that take place with a certain individual, Blue Bird.  Blue Bird is traveling with a camp of Dakotas and is carrying a baby while doing so.  While on the path, Blue Bird feels it is time to have her baby and went off into the trees to have her baby.  Seeing how beautiful her baby was Blue Bird exclaimed, "How beautiful you are!  As beautiful as the waterlillies.  You to are a waterlily, my waterlily." (p. 6).

Blue Bird ends up marrying a man, Star Elk, whom doesn't favor her grandmother very much.  Star Elk is a lazy, jealous man who is sub-standard in Dakota male value.  He demonstrates this effectively when he "throws away his wife" (p. 16) at a victory dance.  Men weren't suppose to publicly display emotion in Dakota tradition.

After being publicly humiliated, Blue Bird, her grandmother and Waterlily luckily and happily ran into their family's tiyospaye.  The reason why it was so fortunate is because Blue Birds parents and brothers were killed one day when Blue Bird was about fourteen.  They were taken in and made to feel at home.  Along with finding their family, Blue Bird also met her new husband, Rainbow.  Rainbow was a good provider, hard worker and a widow who had a son. Little Chief.  Together, Rainbow and Blue Bird would have two more children.

One of the major customs that was most interesting was that of the Sun Dance.  Here, Dakota men would fast and dance continuously.  If any requests from the men to the Gods were made, the men paid back their request at this time.  It was truly a dance of thanks and praise for their most fortunate gifts.

1370.      Wes Anderson

Removed for Privacy

Film Criticism

02/25/2003

A Study of Works of the Auteur Wes Anderson

Wes Anderson, a young and relatively new director, has to date directed only three major motion pictures and a short film. The short film Bottle Rocket, made in 1994 went on to be made into a full-length film in 1996.  His second film, Rushmore (1998) was widely hailed as a masterpiece at its Cannes Film Festival debut. His third and final movie to date was the 2001 film The Royal Tenenbaums.  The three movies have remarkable similarities, demonstrating the auteur theory in work.  The films show Andersons strong personal style through his choice of actors and writers, writing style, score, and cinematography.

All of Anderson's movies involve the collaboration of the Wilson brothers on some level.  Actors and brothers, Luke and Owen both studied at the University of Texas, where Wilson attended film school.  Owen Wilson stars in and co-wrote both Bottle Rocket and The Royal Tenenbaums. He also co-wrote Rushmore but was not featured in the film.  Luke Wilson stars in both Bottle Rocket and The Royal Tenenbaums, and has a minor role in Rushmore.  Bill Murray also stars in both of Andersons latter movies (without monetary compensation no less).  There are also several actors that have smaller roles in all three of his films.  Kumar Pallana, the lovable Indian butler in The Royal Tenenbaums also plays the janitor in Rushmore and a safe-cracker in Bottle Rocket.  His brother Dipak Pallana has roles in all three movies.

Both the writing and acting style of the Wilson brothers delivers a distinct mood of comedic undertones to Andersons works. The dialogue is well thought out and delivered with a kind of campy cynicism that differs from the delivery of a generic comedy movie joke. All of Anderson's movies are comedies that deal with serious subjects with a great deal of levity.

Bottle Rocket is about a group of misfit wanna-be criminals that embark on a number of absurd robberies.  In one scene, the four main characters rob a library at gun-point for a sum of less than five dollars.  In Rushmore, a fifteen year-old school boy named Max learns about the pain of love by fighting a newly divorced business man (Bill Murray) for the interests of a teacher.  In one scene the student cuts the brakes of the man's car.  He looses control of the vehicle and has to bring it to a stop on the school grounds.  He then has the boy arrested.  In The Royal Tenenbaums one of the main characters attempts to commit suicide.  Later in the hospital, his brother confronts him on the issue, asking him why he tried to kill himself.

"I wrote a suicide note," he says, "after I regained consciousness."

"Is it dark?" his brother asks.

"Of course it's dark, it's a suicide note."  He responds.

All of these scenes deal with issues that in real life are quite serious.  The dark and very dramatic notions of suicide, cutting out the brakes in someone's car, and robbery at gunpoint are all made whimsical by the dry humor in the writing, as well as the casual burlesque acting.  This effect lowers the amount of overall drama in the film.

Anderson often includes play-writes as central characters in his movies.   In Rushmore, Max was an eccentric play-writer.  Anderson adds to this mood by making the movies themselves seem more like plays and books.  The story behind Rushmore is told in acts, while The Royal Tenenbaums is narrated like a book and told in chapters (one of the main characters here is also a play-writer).

Most of Anderson's characters are flawed to the point that they are dislikeable at the first glance.  Max, from Rushmore is a snob, while Bill Murray's character is an alcoholic.  Royal, the pater familias in The Royal Tennenbaums is a self-centered corner-cutting man that deserts his family in their time of need and tricks them into loving him once again by pretending to have stomach cancer.  His son Chas is an overprotective self-righteous father himself.  His other son Richie is weak and evidently suicidal.  His adopted daughter Margot is a secretive and callous person that cheats on her husband at least three times.  Every character in Bottle Rocket is in some way mentally deranged.  The reoccurring message that these types of people want to change but sometimes can't is expressed best by Gene Hackman's line as Royal, "Can't someone be a shit all their life and then try to change things?  I think people want to hear about that."

Anderson uses an interesting technique of labeling various visual images to help character development.  For instance, in Rushmore Anderson characterizes Max by listing different interests of his during a short opening sequence.  He shows Max standing with a fencing suit and sword as if posing for a picture for a yearbook, and at the bottom it says "Rushmore Academy Fencing Team".  Then it cuts to another short visual clip of Max slamming down a gavel while pointing and shouting (all of this is silent with an instrumental accompaniment) and at the bottom of the screen it says "Rushmore Debating Team - Captain".  Anderson uses this technique again in the opening of The Royal Tenenbaums to introduce the viewers to his vast cast of characters. While the narrator explains why one of the main characters is missing a finger, Anderson shows a woman's glove with the finger cut off and sewn closed with a caption that says "Alteration of glove".  This type of subtle humor is paralleled through-out Anderson's canon.  These beginning sequences also pay homage to the 1942 Orson Welles' film The Magnificent Ambersons.

The score of all three movies features the symphonic compositions of Mark Mothersbaugh.  All three movies also blend a degree of early British invasion and American rock and roll into the soundtrack including extensive work from The Who, the Rolling Stones, Nick Drake, and the Beatles.  Both Rushmore and The Royal Tenenbaums have a "Peter and The Wolf" theme regarding their music.  In Rushmore when the main character Max is on camera he is frequently accompanied by the theme from A Charlie Brown Christmas (yes this movie gets to be underlined for some inexplicable reason).  In  Bottle Rocket the main characters have theme music as well, and in  The Royal Tenenbaums each character has their own instrument.

While Anderson uses this music to help create a tone for each character, he creates the mood of many scenes through cinematography.  All three movies end with an in-camera speed change that slows down time to focus on a particular moment of importance.  The slow-motion scenes occur in other parts of the films to immortalize a single moment in the lives of his fictional characters.  It may happen at a dance, at a funeral, when a character is running from another, or when old lovers are reunited, but it happens in all of his films. The comedic levity flows through many of these scenes as well.

Anderson also makes reference to Mike Nichols 1967 film The Graduate in all of his films.  All of his films contain underwater scenes, like the famous one in The Graduate.  And like in that film, the underwater scene shows the characters separating themselves from their mortal selves in a sense and having a more introspective moment.  Each underwater scene also represents some kind of change for the character.  Rushmore carries out this theme more so with the boy and the older woman.  Also the movie references The Graduate because many scenes contain fish tanks, a form of visual symbolism found frequently through-out both films.

Using the auteurist approach, several judgments can be made about Anderson's life as well as his concept of the ideal film.  From his films, it can be established that Anderson is very interested in a nearly satiric form of theatric drama and comedy.  It is undeniable that his love of theatre shows through in his work.  His main characters are frequently tormented play-writers.  He makes several attempts to put his movies in the form of literature.  It can be established that he enjoys working with a set of actors and writes parts specifically with those actors in mind.  He repeatedly uses flawed and malcontent characters to create his story.  The emphasis on these deranged individuals as "normal" people that deserve love and happiness is in all three of his films.  It can also be established that he enjoys putting music to his visual medium.  Using these examples intrinsic to the auteurist approach, Anderson communicates himself through his art.

1371.      West Side Story

West Side Story

In 1961, West Side Story, a filmed version of the hit Broadway musical that was inspired by William Shakespeare's "Romeo and Juliet," was released to viewers, who just could not resist the energy and excitement of the movie. Thirty-eight years later, viewers, like myself, still cannot resist it. I had never seen the film, which was directed by Robert Wise and Jerome Robbins, before, but I had always wondered why people loved this multi award-winning movie so much. After viewing the film, I think that it deserved the ten Academy Awards that it won because it has withstood the test of time and it truly is a remarkable film. It still has the same flair and ability to lure the viewer into the plot as it did when it was first shown in theaters. I think that it truly is one of the best pictures of this century because it offers entertainment and an important lesson about hate as well.

West Side Story is primarily a social statement with a touching love story surrounding the social aspect of the film. West Side Story has three main themes, love, tragedy, and justice, which are brought to light throughout the course of the movie. The plot of the film involves two race-based gangs fighting to rule the same strip of street on the West Side of New York City in the late 1950's. The film teaches a valuable lesson; a lesson about how hate can kill a person and destroy the lives of his or her loved ones. The Jets, a white gang of teenagers led by Riff, and the Sharks, the Puerto Ricans who recently came to the West Side, are the two gangs vying to rule the same area on their block. The Jets immediately hate the Sharks because they are different and vice versa. The two gangs' hatred is brought to a public level at a dance the same night as the first fight. During the dance, sparks fly between the sister of the leader of the Sharks, Maria, played by Natalie Wood, and former co-founding member of the Jets, Tony, and their Romeo and Juliet-like romance begins. Although the doomed Romeo and Juliet plot was rather predictable, the choreography and songs, which I think were the main reasons why this film won Best Picture, were not. I never knew when the actors were going to start singing and dancing, which added a delightful element of mystery to the film. The directors and cinematographer, Daniel L. Fapp, worked together to change the way musicals were traditionally shot. Instead of using traditional long shots, they used quick cuts and varied angles to enhance the appeal of the musical numbers. I was fascinated by the way the colorful costumes, which won the Oscar for Best Costume Design, fit together perfectly with the dance numbers to enhance the entire scene. The way the women tossed the skirts of their frilly, bright dresses around to fit the beats of the music truly made the scenes wonderful. The scenery in the film was perfect for the West Side of New York City. The rooftops, alleys, and secluded spots are what won West Side Story the Best Art Direction-Set Decoration, Color Oscar. The songs are unforgettably beautiful, especially "I Feel Pretty," "Tonight," and "America," and they can make anyone start singing and dancing along regardless of whether or not he or she actually knows the lyrics. In fact, one of the best examples of effective cinematography in the film involves a song. There is a split screen effect between several characters as they all sing the song, "Tonight," as they march to the rumble.

Even today, people rent West Side Story to see why it won so many awards and received so much acclaim. In my opinion, West Side Story is a classic masterpiece that brings up many issues to viewers. This film speaks volumes about the inequalities some foreigners felt they had in America because of how some Americans treated them. However, the most important issue in this film is gang violence. The teens in West Side Story thought that the only way they could solve their disagreement was through violence. Sadly, it is still the same case today with most young adults. However, the gang aspect of this film strikes closer to home today than it did in 1961. Million of kids and young adults are killed in gang-related deaths each year, so West Side Story can offer a valuable lesson to virtually everyone.

1372.      Westerns

Westerns

The settlement of the west has prompted storys which have captivated

the public throughout this century. More than any other historic event it has

been written about in books, magazines and comic books. Screen writers are no

exception, it  has been the most popular subject of motion pictures from their

inception. It's nearness in history is one of the most important reasons for

it's success.

Soon after the west's settlement, motion pictures became popular.

Parents and grandparents were telling stories that were made even more real by

the events seen on the big screen. A person could much more easily imagine

events occuring within the past 50 years or so as compared to 150 years with the

revolution. This nearness in history gave stories of the west a realistic appeal

for the masses.

With the turn of the century came the industrial revolution. At this

time the average person's life changed radically. People now became "factory

workers," clocking in and leaving their brains at the door. The glamour offered

by these stories gave the majority of people a short escape from the everyday

"grind." People were able to ride off into the sunset for a few hours becoming a

rugged individual who makes a difference as opposed to the faceless body that

may turn one screw hour after hour. Storylines variety was endless for the

west's story tellers. Any story could be written and placed as a western. The

love interest, hated villian and old enemy all fit in a western. If a writer did

not want to take the time to develop an enemy, one was readily available  in the

native americans. The wests stories can be varied by switching points of view as

seen by the outlaw martyrs view, lonely marshall and wandering cow hands view.

The appeal of the wests settlement to writers will forever be strong.

It's impact on the movie industry alone has been tremendous as witnessed by the

7000 plus westerns made. It was said at one time that every movie star has

played in a western. That saying will be true for quite some time to come.

1373.      What extent has Marlowe employed the principles of variation and contrast to sustain the attention of

Variation and contrast are vital aspects of Christopher Marlowe's play The Tragical History of Doctor Faustus used to sustain the attention of his audience. Marlowe employs these methods to a great extent in his play producing a variety of effects. Not only do these techniques increase and maintain interest in the audience, they are also used to increase suspense, highlight key themes, prominent issues and didacticism, develop characters and the plot.

&lt;Tab/&gt;

The frequent variations in mood throughout the play increase and sustain the audience's interest. Though the drama is labeled "a tragical history" Marlowe utilizes comic relief. In doing so, he lightens the mood of the play and his audience with particular scenes. Constant misery is trying on an audience's attention as human nature demands comic relief throughout a tragedy. The play begins with a mood of splendor and ambition, initially capturing the audience as Faustus describes how he will use is his newfound power. The protagonist discusses his aims:

"I'll levy soldiers with the coin they bring,

And chase the Prince of Parma from our land,

And reign the sole king of all our provinces..."

Though sympathy becomes a dominant feature of the mood as Faustus prepares to sell his soul, the mood darkens with despair and horror by the end of the play.  Comedy arises with the foolishness as Faustus plays practical jokes and with the ridiculous antics and expressions of his servants Wagner, Robin and Ralph. The humour is shown by the ridiculousness of Faustus' practical joke played on the horse-courser:

Horse-courser: "So-ho, ho! so-ho, ho! [Holla's in his ear.] No, will you not wake? I'll make you wake ere I go. [Pulls Faustus by the leg, and pulls it away.]..."

Faustus: "...O, my leg, my leg!"

However, the principle mood of the play is tragedy and even within this comical scene protrudes lines of great tragedy and Faustus' inner conflict.

"What dost think I am a horse-doctor?...

What art thou, Faustus, but a man condemn'd to die?"

The tragedy continues throughout the play as Faustus struggles with his inner conflict as to repent or continue practicing dark arts, and with the foreshadowing providing knowledge that the protagonist will eventually be sent to hell and be deprived of the eternal bliss promised by heaven. The variations in mood from tragedy to lighter moods of ambition, comedy and splendor allows for increased appeal and sustained interest in the audience.

In addition to lightening the mood, the variation from tragic to comical scenes effectively slows the pace of the drama, thus increasing and sustaining interest in many ways. The scenes of comic relief are often used to provide suspense, prohibiting the audience from immediately knowing what will come next in the tragic hero's moral conflict. This significantly slows the pace of a very fast drama. For example, Scene IV is quite humoristic in describing Wagner's dealings with the clown but can be seen as delaying the inevitable damnation of the protagonist by giving his soul to the devil. As twenty-four years pass within a three-hour play, emphasis on frequent comical moments provides the suspense and comic relief needed to maintain the interest of the audience whilst still highlighting the comparative shortness of his time on earth to all eternity.

The variation of tragic scenes to comic interludes also serves to add information and highlight the key themes of the drama, increasing the didactic quality of the play. The main task of the comic interludes is to show the ridiculousness of Faustus selling his soul to the devil. He begins the play with great ambitions for his power but as the play progresses he resorts to petty acts of sorcery and practical jokes. For example the mockery made of the Pope in Scene VII, with an invisible Faustus stealing the Popes meals and hitting him. The Pope says:

"How now! who's that which snatched the meat from me? will no man look? - My lord, this dish was sent to me from the Cardinal of Florence."

The foolishness of these scenes also portrays Marlowe's intended affect of didacticism, teaching the audience how to act in a morally challenging situation. All the comic scenes show Faustus' decline, emphasizing the themes of the problems of human ambition, the price of power and the Christian themes of sin, redemption and damnation. It does so whilst sustaining the audience's interest through comedy and relating issues to them.

Other variations used by Marlowe to build his play are; variations in style, language and means of narration. The contrast between Marlowe's blank verse and prose is distinct. Prose is used in the comic scenes including the poorly educated characters of lesser social status. The use of prose allows for humour and develops the minor characters. Blank verse increases the flow of the drama and is used to signify the more highly educated and more significant problems and scenes to Marlowe's moral play. It can be recognized also by its extensive use of imagery, which is not frequently present in his prose. For example:

"Now that the gloomy shadow of the earth,

Longing to view Orion's drizzling look,

Leaps from th' Antarctic world unto the sky,

And dims the welkin with her pitchy breath."

Like the style and language, the method of narration is also varied with the task being given to the chorus and then to Wagner.

"I think my master shortly means to die,

And yet, methinketh, if that death were near,

He would not banquet, and carouse, and swill

Amongst the students, as even now he doth..."

This serves to show the pattern of events from the perspective of a character whilst still informing the audience of the protagonist's actions.

The contrast between the main characters and the lesser ones and the initial character of Faustus to the final one adds interest to the play, builds characters and increases its didactic quality. Wagner, Ralph and Robin are used to contrast the characters of Faustus and Mephistophilis. The fact that they can perform dark magic without signing a contract with devil, shows the foolishness of Faustus regardless of him turning from god but in paying an excessive price for his power. Mephistophilis is contrasted to the servants in an ironic manner as he acts superiorly to them when in the Christian hierarchy a demon is lower than a mortal. He says:

"From Constantinople am I hither come,

Only for the pleasure of these damn&amp;egrave;d slaves."

Faustus' character before the deal and his character after are also in great contrast to one another. As the play begins he has many grand ambitions but with the attainment of great power he degenerates from a respected doctor to a petty sorcerer. This variation aids in preserving the audience's attention.

&lt;Tab/&gt;Faustus' decline helps illustrate the contrast between morality and divinity in the drama, as well as the contrast between the abstract functions of good and evil. These contrasts contribute to maintaining the audience's attention by questioning their moral judgments concerning these areas.

1374.      What Goes Around Comes Around

What Goes Around Comes Around

In his story "The Black Cat," Edgar Allan Poe dramatizes his experience with madness,

and challenges the readers suspension of disbelief by using imagery in describing the plot and

characters. Poe uses foreshadowing to describe the scenes of sanity versus insanity. He writes "for

the most wild yet homely narrative which I am about to pen, I neither expect nor illicit belief. Yet

mad I am not- and surely do I not dream," alerts the reader about a forthcoming story that will test

the boundaries of reality and fiction. The author asserts his belief of the activities described in the

story when he states "to-morrow I die, and to-day I would unburden my soul"(80).

Poe describes his affectionate temperament of his character when he writes "my

tenderness of heart was even so conspicuous as to make me the jest of my companions"(80). He

also characterizes his animal friends as "unselfish" and their love as "self-sacrificing" illustrating

to the readers his devotion to them for their companionship. The author uses foreshadowing in the

statement "we had birds, goldfish, a fine dog, a rabbit, a small monkey, and a cat"(80).  The use

of italics hints to the reader of upcoming events about the cat that peaks interest and anticipation.

Poe also describes a touch foreshadowing and suspension of disbelief when he illustrates his

wives response to the cat when he writes "all black cats are witches in disguise, not that she was

ever serious upon this point-and I mention the matter at all for no better reason than it happened,

just now, to be remembered"(80).

Poe expresses his early attachment to the cat and dramatizes the character changes he

experiences when he writes "our friendship lasted, in this manner, for several years, during which

my general temperament and character-through instrumentality of the Fiend Intemperance-had (I

blush to confess it) experienced a radical alteration for the worse"(81). He warns the reader of

new events in a cynical tone and implies the beginning of the madness he denies. Poe first

illustrates this madness when he uses imagery to describe the brutal scene with the cat when he

writes "I took from my waistcoat-pocket a pen knife, opened it, grasped the poor beast by the

throat, and deliberately cut one of its eyes from the socket!"

The author describes his emotional and physical state of being during the unthinkable act

as "I blush, I burn, I shudder, while I pen the damnable atrocity"(81). He describes the morning

aftereffect of his actions when he states "when reason returned with the morning-when I had slept

off the fumes of the night's debauch-I experienced a sentiment half of horror, half of remorse, for

the crime of which I had been guilty; but it was, at best, a feeble and equivocable feeling, and the

soul remained untouched"(81). Now Poe implies to the readers that he has truly crossed over into

madness by brutally attacking the animal and feeling little or no remorse.

Next Poe dramatizes his change in character even further when he writes "and then came,

as if to my final and irrevocable overthrow, the spirit of PERVERSENESS,"(81) which once

again alerts the reader of new events so shocking that reading forward becomes an essentiality.

The author illustrates a scene so outrageous that the reader has to go beyond the suspension of

disbelief they have agreed to participate in.  He writes "One morning, in cold blood, I slipped a

noose about its neck and hung it to the limb of a tree;-hung it with tears streaming from my eyes,

and with the bitterest remorse at my heart;-hung it because I knew that it had loved me, and

because I felt it had given me no reason of offense;-hung it because I knew that in so I was

committing a sin-a deadly sin that would jeopardize my immortal soul as to place it-if such a thing

were possible- even beyond the reach of the Most Merciful and Most Terrible God"(81-82).

Now the reader has crossed over the line of reality versus fiction. The author continues to

illustrate the inconceivable story when he describes the scene after the fire that destroyed every

part of the house except the one wall that was still standing. Poe writes "I approached and saw, as

if graven in bas-relief upon the white surface the figure of a gigantic cat and there was a rope

around the animals neck,"(82) leading the readers to join the madness and believe that this was the

same cat that Poe had savagely destroyed earlier that same day.

The author describes his need to replace the animal in order to feel peace and after doing

so, he finds himself once again feeling a abhorrence toward the animal. He writes "but

gradually-very gradually- I came to look upon it with unutterable loathing, and to flee silently

from its odious presence, as from the breath of a pestance"(83). Poe uses imagery to describes his

disgust with the cat when he states "that like Pluto, it also had been deprived of one of its

eyes,"(83) he now wanted to destroy this animal as well. Poe illustrates the change of character he

has experience since the beginning of the story only now he has gone beyond the madness that has

consumed him many times. He writes "evil thoughts becomes my sole intimates-the darkest and

most evil of thoughts"(84).

The author uses more imagery when he writes the final abominable act of evil. Poe

confesses to the reader about the murder of his wife when he states "goaded by the interference

into a rage more than demoniacal, I withdrew my arm from her grasp and buried the ax in her

brain"(84). He explains how he disposes of the body in detail and describes the relief he feels

when he writes "I soundly and tranquilly slept; aye, slept even with the burden of murder upon my

soul"(85). Poe informs the reader of his little remorse when he states" my happiness was supreme,

and the guilt of my dark deed disturbed me but little"(85).

The author leads the reader to the final plateau of suspension when he dramatizes the

conclusion of the story. He explains the sounds he heard in detail when the mystery unfolds

regarding the missing cat he had not seen or heard from since the murder. He writes "like the

sobbing of a child, and then quickly swelling into one long, loud, and continuous scream, utterly

anomalous and inhuman-a howl-a wailing shriek, half of horror and half of triumph, such as might

have arisen only out of hell, conjointly from the throats of the damned in their agony and the

demons that exult in the damnation"(85). Poes use of descriptive details allows the reader to feel

the horrifying experience of a man who believed he was free from the evil of madness. Poe ends

the story after utilizing every inch of suspension of disbelief the reader can afford. He sums up the

plot of the story when he writes "the hideous beast whose craft had seduced me into murder, and

whose informing voice had consigned me to the hangman," (85) implying that the cat had induced

the same torture on him that he had brought on the first cat.

1375.      What impact has technology had on architecture of the 20th century

mainly notes, needs a little work but ideas are all there and has great opening -

What impact has technology had on architecture of the 20th century?

Throughout the nineteenth century, architecture refused to have anything to do with industry; it had been concerned solely with monumental projects glorifying the state and giant civic structures expressing the pride of its people. This however, all changed with the dawn of the twentieth century. Industrial production became an integral part of modern society and a new relationship was forged between man and machine. From the nineteen hundreds on, architecture was viewed in this new light. Modernism and the optimistic belief that architecture could change the future of society through a synthesis of science and technology was the result. It reflected a new ideal for humanity - one that linked man to a new rational culture in tune with mechanization and efficiency. Technology directly affected architecture by facilitating the creation of new materials with which to build. These new materials freed the architect from engineering limitations of the past and allowed for new rational designs based on a building?s function. But most importantly, these designs were given form by a new optimistic ideal - that rational design would make for a rational society.  Technology transformed architecture into a tool for social and cultural reform.

The industrial revolution gave three new materials to the architect of the 20th century: reinforced concrete, steel and glass. The new materials were inexpensive, mass produced and flexible to use. These affected American cities profoundly by allowing greater density through higher buildings.  Imagine the typical office floor plate as we know it:  open space with a few columns. You couldn't go as high or have such long spans between columns with timber frame. Chicago is a great example of the kind of boom that occured with this kind of new building technology. One need only to look to the Carson Pirie Scott Building built by Loius H. Sullivan in 1906 to understand the effect that new materials had on architecture of that era (fig.#1). With its wide spans, large horizontal windows and non load-bearing walls, the building has a much lighter and more open feeling than that of its predecessors. The Carson Pirie Scott building?s elevation is expressive of the Chicago Steel frame style made possible by industry. Another example of how new materials affected architecture is the Apartments at 25 bis Rue Franklin in Paris designed by August Perret (fig. #2).  He used reinforced concrete for the skeleton of this building , which is visible on its exterior, and which gives it an overall impression of lightness. This also allowed Perret to open up his floor plan in ways that were previously restructed in wood frame construction; the size of the windows was only limited by Paris bye-laws.                                                                                                                                                                                                                                                                                                                                                                                                                                                   Structure became expedient, quick to build and flexible to use. Along with  Elisha Otis?s electric elevator, these materials - as a direct result of technology - gave birth to the sky scraper and changed the face of architecture forever.

Major new buildings projects churches. But more fundamental was the recognition that a new free architecture was neccessary because of the emergence of  new building types for which there was no provinance in the history of styles. There were a vast programme of building types - schools, collages, libraries and above all offices.

Idealization of industry:

> -elimination of ornament

> -reduction of form to function(same as elimination of ornament, but

> including function also as how space is used)

> -expression of 'essentials' i.e. structure, skin, floorplate (see

> Corb's Domino house diagram)

> -new kind of ethic in architecture-truth, honesty- to the point often of

> puritanical fanaticism

> -importance of light-almost as if it could cleanse (could make claim

> about a purge of the post-grungy workshop industrial world of 19th

> century, turning to ordered rationality of production)  Lots of white

> cleanable surfaces, emph on air and ventilation also.  see Corb again

> Villa Savoye: Raised off the ground (no dirt), white walls, open spaces,

> fluid circulation(curved ramp), roof garden, ribbon wondows

> -ideal of universality in architecture: modern materials coming from

> industry prodused a standardization that was envisage to be applicable in

> any climate and culture. Corporations naturally picked up on a universal

> architectural culture (see "the International Style" by Johnson)

>  An

> anecdote I heard from a visiting architect

> who once had a beer with Mies van der Rohe. Asked Mies "What materials

> would you use to build in Africa ?"..."Glass and Steel"....  "What materials

> would you use for a project in Finland ?"..."Glass and Steel" ... "But

> how would you account for the diffecences in climate"...."Proportion"

> (This is totally hilarious to architects or anyone who knows Mies well)

>

> Role of the car:

> -look at FLWright's Broad Acre City schemes- Utopian stuff about the role

> of the car in the American landscape.  His utopia of the 1930's is

> frighteningly close to what has actually happended to suburban"citie"

> like Phoenix

> -suburbs

> -post-modern architecture emphasis of the legible image of the

> architecture- simplified enogh for a building to be read at a glance from

> behind the wheel of a car.  See Robert Veturi's 'Learning From Las Vegas'

> a fun little book full of great insites that unfortunately spawned every

> piece of tacky post modern architecture ever made.  See Michael Graves

> Portland Building for a dumb box with decoration aimed at communicating

>  mere image to the post modern eye dulled by the assault of T.V. and used

> to the speed of a car

Social engineers   Yet, underlying all the vitality in all the continents was a theme that reflects the need to find something fundamental in architecture, something so real that from it a new style could be rationally developed. Buildings designed  with a view to asthetic appeal.

I'd concentrate on modernism since its the single most important thing to

happen to architecture like, ever.  Start with Perret and even Wagner,

move on to the Bauhaus and Gropius, then Le Corbusier.  You could talk

about idustrialization and the gradual elimination of overt representation

in architecture beyond the expression of function (all ornament and

iconography eventually ditched). Mention Adolf Loos' treatise

"Ornament and Crime". Work in the kind of purification that these

architects sought (Corb would be a good example not only for

representational purification but its translation to a physical puriy-with

his emph on fresh air, light, whiteness i.e.cleanliness...See his Towards

a New Architecture)  Link the whole shift to modernism

in art with its eradication of representation beyond the essentils

(when painting became only about paint and surface, scuplture only about

form and material, etc.)  Actually, if you deal with the paper this way,

the "image" issue is built in and you're safe.

Man?s view of himself was so closely interconnected with technological advances that

***The synthesis of science and technology is, without a doubt, the most important and fundamental element of all architectural development in the twentieth century

>

>

>

>

1376.      What is Graphic Design

Graphic design is all around us in usual life. It is considered as a form of "communication art". We can see the design work present from road signs, fashion magazine to chips package. In other words, graphic design is a visual communication.

&lt;Tab/&gt;

Designer Richard sees graphic design as "a kind of language with an uncertain grammar and a continuously expanding vocabulary." He goes on state its possible uses. "The primary role of design is identification: to say what something is, or where it came from (inn signs, banners and shields, masons' marks, publishers' and printers' symbols, company logos, packaging labels).Its second function is for information and instruction indicating the relationship of one thing to another in direction, position and scale (maps, diagrams, directional signs). Most distinct from this is its third use, presentation and promotion (posters, advertisements), where it aims to catch the eye and make its message memorable."

In general, most pieces of graphic design can perform all these roles. A poster identifies, instructs and promotes all at the same time. On the other hand, a magazine can cover company/ organization logos, articles' layout, and advertisements.

A view from a graphic designer

&lt;Tab/&gt;Cindy Lin is a graphic designer who graduated from UTS and works for Innolink International Pty. Ltd. now. Innolink International Pty. Ltd. is a small printing company which cooperates with three graphic designers and has a very good relationship with some press printers.

&lt;Tab/&gt;This company mainly does the branding design for many business companies and different stores. Their design work cover all kinds of graphic design categories such as company logo, letterhead, business card, promotional posters, coffee shop or restaurant s' menu, flyer and concert ticket. They also do outsource work to some assigned larger scale press printers.

Q: What is the process to do a company's branding?

A: First, you have to do some research about that company, and find out its demographic. Then a designer has to design three or more concepts of logo and other relative design for those clients. After the client makes his mind, we will do some adjustment for the final design. Basic this is the whole design process.

Q: Do you think the size of business will affect the design work?

A: Personally, I don't think the company size really affect the design quality. But sometimes when some customers come to studio with no design idea but many requirements, it will affect the design work.

Q: What is your attitude to social responsibility, I mean, design for some company like tobacco companies or drug dealers...

A: Well! I don't think I will have this chance to receive those design projects. But, for tobacco companies, if the price offer is aright, why not? For drug dealer, hahaha..... I don't think they need any promotion poster. It's too risky to have an identity. I mean they might be getting caught, right!?!

Q: Last question! What do you think about design?

A: My opinion towards design...hum... well... For me, design is really challenging. I need the ability of bend my mind to meet the clients' requirements. This means, well... at least I think each designer has his own "style". But this "style" wouldn't be suitable for every case and customer. For example, personally, I like a logo to be more cooperate kind of feeling, but not every company is big enough to have this kind of feeling, like a restaurant. That's why, as a designer, I have to consider what the clients want, and their service type is... then we start working on its solution! All in all, each case is an individual experience.

1377.      What is love

What is love? Is it a complicated blend of brain chemistry that is created in such complex ways that people don't know how to control it, or is love simply put  an emotion. Who really knows the answer?  Whether it's a feeling created in your brain or an emotion that derives from the heart, it is a very powerful sensation to any human. Many people have the chance to love in their life time, but many people experience it in different ways. You can have love for so many different things sports, cars, books, but there is only one thing that a person can be in love with  and that is another person. For those fortunate or unfortunate people who have experienced this wonderful creation of happiness, hate, jealousy, bliss and addiction are the lucky ones who get or have really got to experience life. Without love life is so systematic, there would be no drive to succeed in what we (people) do in life. The wonder of ones love for another leads them into a journey of the unknown willing to fail in the attempt to find or accomplish what love brings and that is the hope of happiness in a world of hate and war. People really find themselves when in love because they're okay with being themselves knowing that they're in a comfortable place of mind to be able to make a mistake and not face ridicule from their love partner. When love is good life seems perfect, but when it comes time to weather the storm life gets a little out of control. You can lose yourself in the world of love, and when something goes wrong you can't comprehend why. When love expires for some, they don't know what to do with life because the love they had was the only reason for living  life. When love gets a hold on life its hard to let go especially when its not your decision to dismiss love from your body. Love isn't just something to play with it's kind of like your life inside of life. But don't get it wrong there are more positives to love than people think. Love is inspiring, it brings hope to many people in the time of need.  That rush of warmth that over takes your body, your mind and your soul in such a way that nothing else  in the world seems evident besides it, it is unparallel to any other feeling in the creation of the universe . With life comes love and with love comes living  so whatever it is in life people decided to do, do it with love.

1378.      What Makes Those XMen So Darn Great

Why Does Zach Like Those

So Much?

Zach Dotsey

English 101 Section 30

12 December, 1996

Third and Final Draft

When many people hear about the X-Men, they think of a silly kid's comic book,

but that is not so.  X-Men, actually most comic books in general, are a unique blend of

two classic art forms; drawings, sometimes even paintings, and storytelling.  A comic artist

must be able to convey the right mood and feeling for his or her art.  They must also be

able to fluidly tell a story and fit it all in the allotted number of pages.  The stories often

probe deep into the human psyche, questioning what is right and what is wrong or

showing human frailty.  That is not all.  In a series like the X-Men, where there are at least

a few hundred characters, past and present, leading and supporting, even dead and alive,

the writer must keep track of a character's experiences and their personality.  They must

also keep track of continuity, making sure they don't contradict past events.  This last rule

is only loosely followed sometimes.

All in all, a long, ongoing story can be like a soap opera.  My favorite example of

this is "The Summers Family,"  Which goes a little something like this:  There are two

brothers, Scott and Alex Summers, who were orphaned as children when they were

pushed from a plane being attacked by an advanced alien race.  Their mother died but their

father went on to become a space pirate.

Later, Scott falls in love with Jean Grey, who becomes an omnipotent primal force,

the Phoenix, who commits suicide to save the universe from herself.  Meanwhile, a bad

guy has made a clone of Jean named Maddie, who marries Scott.  They have a baby,

Nathan.  Jean returns from the dead, not actually having been the Phoenix, but actually a

body template.  Scott leaves his family and joins a team of super heroes with Jean and

some other old friends.

Well, Maddie becomes a bad guy and apparently dies.  Later, the baby, Nate, is

infected by another bad guy with an incurable virus, so he's sent 2000 years into the future

where he grows up then comes back to help fight the good fight.  Nate was brought into

the future by a group of people pulled together by his "older sister."

His older sister is Rachel, who was born in an alternate timeline where almost all

the good guys were dead.  Her parents were Scott and the real Jean.  She came back to

prevent her time from ever happening and ended up about 2000 years in the future

because a friend was stuck traveling about in the time stream.

Meanwhile Alex feels that he cannot live up to Scott's standards so he constantly

tries to escape his shadow.  He gets brainwashed into being a bad guy, recovers to lead a

group of good guys, and gets brainwashed again.

Great family history, no?  Oh yes, there may be another brother around

somewhere.

The X-Men are all mutants, Homo Sapien Superior, the next evolutionary step for

human beings, a minority group of people with a genetic quirk, an "X-Factor" that grants

them extraordinary powers.  Some are blessings, like the ability to control the weather or

to fly.  Some are curses, such as the ability to blast uncontrollably strong beams of force

from the eyes.  Blessed or cursed, mutants are a group of people who are feared for their

differences.  Some mutants strike back against humanity in a harmful manner.  One group

who attacks regular humans is the Acolytes, formerly lead by the X-Men's oldest enemy,

Magneto.  They have attacked hospitals and orphanages just to "cleanse the genepool."

Some strive to bridge the gap between mutant and human.  These are the X-Men, a group

of mutants, formed by Professor Charles Xavier, the world's strongest telepath, "sworn to

protect a world that fears and hates them."  The X-Men comics are not just about

prejudice either.  They tackle many social issues, such as abortion and AIDS.

The original team of  X-Men consisted of five teen-agers and Xavier (Professor

X).  These were not as popular as other titles of the times such as Superman, Batman,

Spiderman, The Fantastic Four, and The Avengers.  The early stories were basically about

a supergroup that went around facing super bad guys and some prejudice now and then.

After sixty-odd issues, X-Men started just reprinting old stories.  This went on for about

thirty issues when the book was going to be canceled.  The X-Men were saved by the

creative team of Dave Cockrum, John Byrne, and Terry Austin with Giant Sized X-Men

#1.

Giant Sized X-Men #1 introduced an "all-new, all-different X-Men."  This boasted

in a new team of mutants.  The new team of X-Men was multi-racial and multi-national,

whereas the original team was a bunch of white American kids.  It was also a very radical

team, considering the time period (the late seventies).  Since the book was scheduled to be

canceled, the creators decided to be a little bit radical in their approach to this dying comic

book.

The person who took over field command was Storm, an African native.  Think of

that, a black woman leading a superhero comic book team, a role she usurped from a

young white male (Cyclops).  It was quite a change from the norm.  There was also a

young Russian, Colossus, during a time when Russians were taboo in America.

The others in the team were Wolverine, a Canadian, whose violent nature was very

different from the "boy scout types" like Superman.  There were also Sunfire from Japan,

Banshee from Ireland, Nightcrawler (no, he is not a worm) from Germany, and

Thunderbird, an Apache Indian.  One thing that made this group of X-Men stand out was

that on the first mission for the new team, issue #95, they killed off  Thunderbird, an

extremely new and radical thing.  About 40 issues later they killed off one of the large

mainstay characters, Jean Grey, who was a founding member.  Of course, as I explained

earlier, she came back a few years later, but it was a really big thing at the time.

That X-Men team went on many adventures, saved galaxies and all reality, and

built up a huge supporting cast, paving the way for spin-off books.  A current list of

X-Men books includes the following titles; Uncanny X-Men, X-Men, X-Factor, X-Force

(originally New Mutants), Excalibur, Generation X, X-Man, Wolverine, Cable, and

Deadpool, not to mention a lot of four issue limited series titles.

So, you may be asking, where does all the social stuff come in?  Well, it started

coming into play early on, with the first group of X-Men.  People began to realize what it

could mean to have people being born with great super powers.  They began to feel afraid

and obsolete.  One man, Dr. Bolivar Trask, played on these fears and built giant robots to

capture and control mutants.  I believe this was around issue #15.  They were called

Sentinels and have been a recurring problem for they X-Men.  This parallels to the United

States government taking action against other groups of people they did not understand,

such as the Indians forced onto reservations, or the blacks that were oppressed with laws

until very recently.

Another government action was the Mutant Registration Act, which required

mutants to check in with the government to the government could keep tabs on them.

One storyline dealing with racism is called "Days of Future Past" (which I recently

bought for a total of $21, one issue is even autographed by the artist).  This story

illustrates a consequence of racism out of control.  In it, the Sentinels are programmed to

protect humans from all mutants.  The Sentinels figure that the best way to do that is by

taking over the humans.  In the end, all the heroes are dead and the Sentinels prepare to

launch an attack on the rest of the world to save it from the mutant menace just as Europe

is about to launch nuclear missiles at the conquered North America to keep the Sentinels

away.  The world is a nightmare where people are killed  or shipped to concentration

camps for being born a little differently from most others, when racism wins out over

reason.

Another template of a society gone mad with racism is shown in the island country

of Genosha.  At one time Genosha was a thriving country, one of the most popular tourist

attractions in the world.  It seemed perfect, everyone seemed happy.  But things are not

always as they seem.  Genosha was secretly taken care of by mutates, mutants who were

made to be subordinate through mindwiping techniques.  The whole country, even the

transportation systems like the railroads, were run off mutate energy.  All the low jobs

were given to the mutates, who didn't even have mind enough to speak in protest.

Eventually the X-Men helped to free the mutates, but, after failing to live peacefully

together, a civil war broke out, leaving the once prosperous nation in ruins.

The normal humans are not the only people guilty of racism in X-Men.  The

first villain ever fought by the X-Men was Magneto, a mutant who sought to rule over the

mutants and crush humanity for being inferior.  After being defeated time and again and

even switching sides once, Magneto decided to gather up mutants and live off of Earth

and away from humans on an orbital space station called Avalon.  It was eventually blown

up and Magneto lost his memory then joined the X-Men again.

Magneto mirrors many things tried by minorities in America.  His attempts to fight

back are like the Black Panthers and some Indian tribes.  His separationist views are like

some of what Malcolm X thought.  Then there is the inevitable attempt to fit in, which

seems to work as a temporary, surface fix.

Another group who struck back out of fear was the Brotherhood of Evil Mutants,

lead by Magneto, then Mystique, and now Havok.  Mystique's Brotherhood was even

more militant in some ways than Magneto was.  They attempted an assassination of a

presidential candidate which, if successful, would have set the Days of Future Past

storyline into actuality.  They were as much, if not even more  like the Indians and Black

Panthers than Magneto (until they became a government sanctioned group in return for

full pardons).  Havok's group is too new to assess right now.

Social organizations have also been involved in the racial issues, as they often were

long ago.  There have been two prime examples of this.  One was a story called God

Loves, Man Kills, where the preacher tells his clergy that mutants, having strange powers,

are all hellspawn and condones hunting them down and killing them to keep the threat

away and to put a little chlorine in the gene pool.  This is like the Ku Klux Klan or a racist

church one may hear about in movies or television shows.  The other example is also a

church but it shows a school of more open thought.  In this church, the preacher

recognizes that some of these mutants use their powers to help others and they should not

be prejudged.  The X-Men are even compared to angels in this story.  This shows the

organizations, such as churches, that are open to people, no matter who they are.

As said earlier, the X-Men don't revolve only around prejudice, but they battle

other social injustices as well.  One is the fear inspired by the Legacy Virus.  This is a

disease that attacks a mutant's genetic structure and eats it away, much like the AIDS

virus attacks and destroys a person's immune system.  The X-Men have already lost some

close friends to this disease.  At first it was thought that only mutants could get the virus,

like it was once thought that only homosexuals or drug users could get AIDS.  Then a

friend of the X-Men, genetic researcher Moira MacTaggert, a normal human, contracted

the disease and panic spread like wild fire.  Now all of the sudden every Tom, Dick, and

Harry is afraid of catching "that Mutie disease."  For a while, as I remember, people

thought one could catch AIDS by being near an infected person.  That is how people see

the Legacy Virus: get near a mutant and you'll catch that non-curable disease they all

have.

Another issue the mighty mutants have confronted is abortion.  Is it right to

prevent a life if it is known that the baby will have what is essentially a birth defect?  In

one storyline in X-Factor a doctor discovers a way to tell if a fetus will be a mutant or not.

This information can be passed along to the parents who can decide if they want a mutant

baby or not.  In the end, Wolfsbane, a conservative Scottish Catholic lass, destroys all the

research information the doctor has, preventing mutant abortions.

Currently, anti-mutant hysteria is at an all time high.  An ultra-powerful

combination of Professor X and Magneto took control of an army of Sentinels and

programmed them to round up super-powered people and destroy New York City.  This

amalgamated being, called Onslaught, decided he would get rid of all normal people and

then decided to just kill everybody.  To destroy him, Earth's popular heroes, the Fantastic

Four and the Avengers, sacrificed themselves.  Most people view it in this way: a mutant

killed all of their favorite heroes so mutants are all evil.

It also did not help the mutant cause that a popular anti-mutant presidential

candidate was killed on live television by an as-of-now unknown mutant.  No, mutants are

not riding high on America's popularity list.

The X-Men are popular outside comic books also.  There is a cartoon and a comic

spin off of the cartoon, since it is geared towards younger people.  As Philip always points

out, there is an X-Men ravioli out there.  Clothing, shoes, video games, toys, dolls, Pez

dispensers, shoestrings, you name it, the X-Men are likely to have it.

So why do I like the X-Men so much?  It is a combination of a lot of things.  Great

stories, characters you can get attached to, beautiful art, a different perspective

(everybody loves Superman, but nobody loves mutants), and social relevance.  What else

could make a better escapist's world?  Not only all that, but they are everywhere you turn.

And now, a few of the

Professor Xavier, founder of the X-Men, telepath

Magneto, first enemy of the X-Men, one-time leader, now a team mate, ability to

manipulate magnetic fields

Cyclops, first and leader of the X-Man, Phoenix's husband, fires uncontrollable optic

beams

Phoenix, Cyclops' wife, founding X-Man, telekinesis (can move objects with thoughts)

and telepathy

Beast, founding X-Man, super strong and intelligent, hand-like feet

Archangel, founding X-Man, originally had feathered wings, but they were ripped off and

later replaced

Iceman, founding X-Man, can turn into ice and manipulate nearby temperature

Storm, leader of second team of X-Men, manipulates weather

Wolverine, most well-known X-Man, has bone claws and the ability to heal extremely fast,

had indestructible metal laced bones and claws until Magneto sucked them out of him

Nightcrawler, now leads Excalibur, ability to teleport

Colossus, now with Excalibur, body transforms into an organic steel, also super strong

Jubilee, now with Generation X, formerly Wolverine's sidekick, ability to produce

"fireworks"

Cable, son of Cyclops and a clone of Phoenix, leads X-Force, telepathy and telekinesis

There are many, many other mutants, but these are a few pretty important ones.

Freak.  Flatscan.  Deadend.  Genejoke.  Mutie.  Words.  Powerful words

meant to distance... to demean... to destroy the havens of self respect we each

carry and nurture within us.  Seeing past their differences, humans and mutants

share a common, unbreakable bond.  Underneath all the "words"... we are related.

We are all family.

-Professor Charles Francis Xavier, Uncanny X-Men #294

1379.      What To Do Terrorism and the Media Essay

What To Do?: Terrorism and the Media

Imagine you are a resident of Jerusalem, in the year 60 AD.  You are taking

a walk throughout the marketplace doing your weekly shopping.  You see a man

pull out a dagger and he yells 'death to all Romans' and attacks a roman guard,

killing him in front of hundreds of spectators.  The assassin quietly slips into

the crowd and is lost in a sea of people never to be found.  The word of the

attack spreads and soon it is the talk of the town. Many more attacks on Romans

are made by the Sicarii and the Zealots.  Sympathizers of the Romans slowly

disappear and their voices vanish from Jerusalem.  The fear of terrorism grows

and Roman repression grows along with it, this in turn leads to the people of

Jerusalem to revolt in 70 AD (Miller V).  If this attack had been made in some

dark alley with no spectators would the people react the way they did?

The marketplace of old Jerusalem, can be compared to the media of today.

What better place to get the public informed about your reasons and purpose for

attacks than the news.  Albert gave a good definition of terrorist's objectives

when he stated: "Terrorists try to exercise influence over targeted officials on

nations through intimidation of the public and arousal of sympathy for the

social and political causes they espouse.  Without widespread publicity,

terrorist acts can achieve neither of these effects" (Bandura, Albert qtd. In

Nacos 1).  Terrorists need the news media to get the publicity, and the media is

a willing accomplice.  The news media is an accessory to terrorism, and as such

they should develop a set of standards that will limit the terrorist ability to

get their message out to a large audience during terrorist situations; Also the

media should also point out police mistakes without over emphasizing them,

giving equal coverage to both sides of the issue.

Terrorism is the use of violence against innocents to bring about political

change through fear.  It is a combination of indoctrination and drama. The

relationship between terrorism and the media is symbiotic.  As terrorists

require widespread attention, the media needs news (Miller v-vi).  Terrorism in

effect is a from of advertisement of the terrorists goals and what they want

accomplished.  In 1980 the New York Times  printed a total of 916 articles on

terrorist events.  That means that terrorists were getting their message out

nearly three times a day to the American public(Miller 60).  Terrorists have

usually used the media for four main reasons.  The first reason is to have their

message heard and strike fear into their target group.  The second is to win

over the publics support for their cause, by highlighting themes like, the

righteousness of their cause, and the assuredness of their victory.  Third they

use media to disrupt government and security responses, by suggesting that they

are ov erreacting, and their efforts are counterproductive.  Finally the fourth

is to raise the moral of their current members, raise recruitment, and encourage

more attacks (Alexander 30-31).  John O' Sullivan gave this quote about media

and terrorism, "If the media were not there to explain their political and

social significance [their goals and motives], terrorism would cease to exist"

(Nacos 48).

With all the interaction between the media and terrorism an option being

considered by many governments is censorship of media's coverage of terrorist

events. During many terrorist incidents the police do not want all the

information that they have gathered to be released, for fear of the publics

safety, and the security of their future actions.  One motive of terrorists is

to sway the publics belief in police forces dealing with the terrorist incident.

For that reason the printing of damaging articles and stories requires some

restraint (Alexander 36).  An example of the media needing restraint occurred on

April 30, 1980, when a group of Arab secessionists captured the Iranian embassy

in London.  As the SWAT teams began to move in their biggest advantage was the

element of surprise.  But, that was almost destroyed by a cameraman from British

ITV (Independent Television) who got past the police barricade and broadcast a

live assault on the embassy.  One can only speculate what would have happened if

the terrorists had been watching the television (Miller 28).  Complete and total

censorship is not the answer.  Schmid put it well in his book Violence as

Communication when he said:

In many countries it is likely that the level of terrorism will increase

rather than decrease after the introduction of terrorism.  The increase is due

to the fact that...[terrorist] groups will feel freer to engage in terrorist

acts...since they can count on not being exposed and criticized by the local media.

The mass terrorism of  Hitler and Stalin was possible because the people were

not fully aware of what was going on.  Government imposed censorship on news of...

terrorism can, in our view, be a cure that is worse than the disease. (150)

A total blackout of media's coverage of terrorist events is not necessary,

if the media will reform its procedure for covering terrorist activities.  A

leader in this movement of self-censorship is CBS.  CBS has set up a list of

guidelines that all the reporters must follow during terrorist situations (Alali

10).  One option for the media to take is that there should be a consensus of

standards for covering terrorism stories.  There are several parts to this

consensus and they are as follows: don't over exaggerate events that are already

sensational; the media should paraphrase terrorist demands so they do not get

all their political messages out; also they should not broadcast live coverage

of terrorist situations unless the head of the news department allows it.  News

reporters should also have permission to talk with terrorists, and if there is

permission these interviews should not interfere with the ongoing negotiations.

The reporters should also be attentive to the warnings and orders of law

enforcement officials on the scene (Paletz 108).   When all the media can set a

standard to live by a total blackout of coverage will not be needed.  But, if a

total blackout of media's coverage of terrorist events becomes policy, many

believe that there will be abuses made by the police forces, that will go

unreported to the public and the proper authorities.

There are mistakes that the police forces make that need to be brought out

and made known to the public and the courts, so proper actions can be taken.

Liberal democrats believe that the police is responsible for the publics

scrutiny through the news media.  It is believed by most of the media that they

should not make accusations that the police can not respond to for legal reasons.

Police agencies feel that reporting, exaggerations, and the threat of due

dates should not drive the content of news stories.  They wish for equal

coverage of the terrorism and police actions.  The police also require support

of society and to get it they need the support of the media, this aids them in

their counterattacking of terrorism. The police admit that their actions are not

the only ones which will resolve the problem, but both the police and the media

are committed to the maintenance of democracy, and how they act reflects that

commitment (Alexander 36).  An example of when the police agencies fowled up a

hostage situation was in 1972, at the Munich Olympics.  There were more press at

that incident then at any other terrorist attack in history.  When the hostages

were moved to a local Airport the police made several mistakes which led to the

deaths of nine hostages and one policeman.(Miller 96).The press was there to

cover those mistakes and bring them to the public's attention.  If there was no

media around these events would never have been reported and would have been

long forgotten and those at fault would never have been reprimanded for their

mistakes.  Despite all of their mistakes being made public the police do not

wish for a total blackout of media coverage during terrorist events.  The police

believe that the media can be a very helpful tool in helping them combat

terrorism.   The media is a powerful tool for vanquishing rumors, clearing up

misinformation, and combat fear (Miller 7). While the media can sometimes hinder

the police it is also a great asset their for their disposal in combating terr

orism.

In conclusion, when the media emphasizes terrorist events it helps to

facilitate two of the universal goals of terrorist.  The first is that the

terrorists gain publicity and attention is drawn to their cause.  The second is

that when the media shows events and over exaggerates it  influences public

attitudes about the root of their politically motivated violence. Brian M.

Jenkins summed up what terrorism is when he said "Terrorism is aimed at the

people watching, not the actual victims.  Terrorism is theater" (Jenkins, Brian

M. qtd. In Nacos 75).  Total censorship of terrorist events is not the cure, it

will lead to abuses by the police forces handling the cases.  The only solution

is that the media needs to work out a set of morals that they follow when they

are covering terrorist actives.  They need to be objective giving equal weight

on the terrorist activities and the police forces dealing with the terrorists.

They should not place too much emphasis on the police mistakes, while bring them

ou t into the public.  The media needs to remain subjective and not let either

the terrorists or the law enforcement take control of what they report

Theodore H. White sums it up with this statement " ...power in America today is

control of the media of communication" (White, Theodore H. qtd. In Nacos 16).

Works Cited

Ala, Odasuo A., and Kenoye Kelvin Eke, ed. Media Coverage of Terrorism. Newbury

Park: Sage Publications, 1991.

Alexander, Yonah, and Richard Latter, ed. Terrorism & the Media. New York:

Brassey's (US), Inc., 1990.

Miller, Abraham H., ed. Terrorism the Media and the Law. New York: Transnational

Publishers, 1982.

Nacos, Brigitte L. Terrorism and the media. New York: Columbia University Press,

1994.

Paletz, David L., and Alex P. Schmid, Eds.  Terrorism and the Media.  Sage:

Newbury Park, 1992. (P. 24)

Schmid, Alex P. and Janny de Graaf. Violence as Communication. Beverly Hills:

Sage Publications, 1982.

1380.      What to do Terrorism and the Media

What to do?

Terrorism and the Media

Imagine you are a resident of Jerusalem, in the year 60 AD.  You are taking a walk throughout the marketplace doing your weekly shopping.  You see a man pull out a dagger and he yells 'death to all Romans' and attacks a roman guard, killing him in front of hundreds of spectators.  The assassin quietly slips into the crowd and is lost in a sea of people never to be found.  The word of the attack spreads and soon it is the talk of the town. Many more attacks on Romans are made by the Sicarii and the Zealots.  Sympathizers of the Romans slowly disappear and their voices vanish from Jerusalem.  The fear of terrorism grows and Roman repression grows along with it, this in turn leads to the people of Jerusalem to revolt in 70 AD (Miller V).  If this attack had been made in some dark alley with no spectators would the people react the way they did?

The marketplace of old Jerusalem, can be compared to the media of today.  What better place to get the public informed about your reasons and purpose for attacks than the news.  Albert gave a good definition of terrorist's objectives when he stated: "Terrorists try to exercise influence over targeted officials on nations through intimidation of the public and arousal of sympathy for the social and political causes they espouse.  Without widespread publicity, terrorist acts can achieve neither of these effects" (Bandura, Albert qtd. In Nacos 1).  Terrorists need the news media to get the publicity, and the media is a willing accomplice.  The news media is an accessory to terrorism, and as such they should develop a set of standards that will limit the terrorist ability to get their message out to a large audience during terrorist situations; Also the media should also point out police mistakes without over emphasizing them, giving equal coverage to both sides of the issue.

Terrorism is the use of violence against innocents to bring about political change through fear.  It is a combination of indoctrination and drama. The relationship between terrorism and the media is symbiotic.  As terrorists require widespread attention, the media needs news (Miller v-vi).  Terrorism in effect is a from of advertisement of the terrorists goals and what they want accomplished.  In 1980 the New York Times  printed a total of 916 articles on terrorist events.  That means that terrorists were getting their message out nearly three times a day to the American public(Miller 60).  Terrorists have usually used the media for four main reasons.  The first reason is to have their message heard and strike fear into their target group.  The second is to win over the publics support for their cause, by highlighting themes like, the righteousness of their cause, and the assuredness of their victory.  Third they use media to disrupt government and security responses, by suggesting that they are overreacting, and their efforts are counterproductive.  Finally the fourth is to raise the moral of their current members, raise recruitment, and encourage more attacks (Alexander 30-31).  John O' Sullivan gave this quote about media and terrorism, "If the media were not there to explain their political and social significance [their goals and motives], terrorism would cease to exist" (Nacos 48).

With all the interaction between the media and terrorism an option being considered by many governments is censorship of media's coverage of terrorist events. During many terrorist incidents the police do not want all the information that they have gathered to be released, for fear of the publics safety, and the security of their future actions.  One motive of terrorists is to sway the publics belief in police forces dealing with the terrorist incident.  For that reason the printing of damaging articles and stories requires some restraint (Alexander 36).  An example of the media needing restraint occurred on April 30, 1980, when a group of Arab secessionists captured the Iranian embassy in London.  As the SWAT teams began to move in their biggest advantage was the element of surprise.  But, that was almost destroyed by a cameraman from British ITV (Independent Television) who got past the police barricade and broadcast a live assault on the embassy.  One can only speculate what would have happened if the terrorists had been watching the television (Miller 28).  Complete and total censorship is not the answer.  Schmid put it well in his book Violence as Communication when he said:

In many countries it is likely that the level of terrorism will increase rather than decrease after the introduction of terrorism.  The increase is due to the fact that...[terrorist] groups will feel freer to engage in terrorist acts...since they can count on not being exposed and criticized by the local media.  The mass terrorism of  Hitler and Stalin was possible because the people were not fully aware of what was going on.  Government imposed censorship on news of... terrorism can, in our view, be a cure that is worse than the disease. (150)

A total blackout of media's coverage of terrorist events is not necessary, if the media will reform its procedure for covering terrorist activities.  A leader in this movement of self-censorship is CBS.  CBS has set up a list of guidelines that all the reporters must follow during terrorist situations (Alali 10).  One option for the media to take is that there should be a consensus of standards for covering terrorism stories.  There are several parts to this consensus and they are as follows: don't over exaggerate events that are already sensational; the media should paraphrase terrorist demands so they do not get all their political messages out; also they should not broadcast live coverage of terrorist situations unless the head of the news department allows it.  News reporters should also have permission to talk with terrorists, and if there is permission these interviews should not interfere with the ongoing negotiations.  The reporters should also be attentive to the warnings and orders of law enforcement officials on the scene (Paletz 108).   When all the media can set a standard to live by a total blackout of coverage will not be needed.  But, if a total blackout of media's coverage of terrorist events becomes policy, many believe that there will be abuses made by the police forces, that will go unreported to the public and the proper authorities.

There are mistakes that the police forces make that need to be brought out and made known to the public and the courts, so proper actions can be taken.  Liberal democrats believe that the police is responsible for the publics scrutiny through the news media.  It is believed by most of the media that they should not make accusations that the police can not respond to for legal reasons.   Police agencies feel that reporting, exaggerations, and the threat of due dates should not drive the content of news stories.  They wish for equal coverage of the terrorism and police actions.  The police also require support of society and to get it they need the support of the media, this aids them in their counterattacking of terrorism. The police admit that their actions are not the only ones which will resolve the problem, but both the police and the media are committed to the maintenance of democracy, and how they act reflects that commitment (Alexander 36).  An example of when the police agencies fowled up a hostage situation was in 1972, at the Munich Olympics.  There were more press at that incident then at any other terrorist attack in history.  When the hostages were moved to a local Airport the police made several mistakes which led to the deaths of nine hostages and one policeman.(Miller 96).The press was there to cover those mistakes and bring them to the public's attention.  If there was no media around these events would never have been reported and would have been long forgotten and those at fault would never have been reprimanded for their mistakes.  Despite all of their mistakes being made public the police do not wish for a total blackout of media coverage during terrorist events.  The police believe that the media can be a very helpful tool in helping them combat terrorism.   The media is a powerful tool for vanquishing rumors, clearing up misinformation, and combat fear (Miller 7). While the media can sometimes hinder the police it is also a great asset their for their disposal in combating terrorism.

In conclusion, when the media emphasizes terrorist events it helps to facilitate two of the universal goals of terrorist.  The first is that the terrorists gain publicity and attention is drawn to their cause.  The second is that when the media shows events and over exaggerates it  influences public attitudes about the root of their politically motivated violence. Brian M. Jenkins summed up what terrorism is when he said "Terrorism is aimed at the people watching, not the actual victims.  Terrorism is theater" (Jenkins, Brian M. qtd. In Nacos 75).  Total censorship of terrorist events is not the cure, it will lead to abuses by the police forces handling the cases.  The only solution is that the media needs to work out a set of morals that they follow when they are covering terrorist actives.  They need to be objective giving equal weight on the terrorist activities and the police forces dealing with the terrorists.  They should not place too much emphasis on the police mistakes, while bring them out into the public.  The media needs to remain subjective and not let either the terrorists or the law enforcement take control of what they report   Theodore H. White sums it up with this statement " ...power in America today is control of the media of communication" (White, Theodore H. qtd. In Nacos 16).

Works Cited

Ala, Odasuo A., and Kenoye Kelvin Eke, ed. Media Coverage of Terrorism. Newbury Park: Sage Publications, 1991.

Alexander, Yonah, and Richard Latter, ed. Terrorism & the Media. New York: Brassey's (US), Inc., 1990.

Miller, Abraham H., ed. Terrorism the Media and the Law. New York: Transnational Publishers, 1982.

Nacos, Brigitte L. Terrorism and the media. New York: Columbia University Press, 1994.

Paletz, David L., and Alex P. Schmid, Eds.  Terrorism and the Media.  Sage: Newbury Park, 1992. (P. 24)

Schmid, Alex P. and Janny de Graaf. Violence as Communication. Beverly Hills: Sage Publications, 1982.

1381.      Whats eating Gilbert Grape

"What's Eating Gilbert Grape", as directed by Lasse Hallstrom, is a

comedy, drama, romance, all wrapped up into one grand movie.  Leonardo

DiCaprio plays a mentally impaired boy with a caring brother, who always

took care of his brother until the love of his life came to town,  proposing the

essential question: What is a boy willing to sacrifice in order to be with the

one he loves?

Johnny Deep plays Gilbert Grape whose father left when he was little,

causing his mother to become depressed and never leave the house again.

Gilbert referees to her as a "beached whale" because she has gained so much

weight. One afternoon a silver camper had engine trouble, forcing them to

stay in town for a few weeks until it is fixed.  During that time Gilbert has

fallen in love with the girl in the trailer, played by Juliette Lewis.  Gilbert

becomes very irresponsible when it comes to his slow brother. He once left

Arnie(Johnny Depp) in the bath tub all night because he wanted to go visit the

girl. Arnie was then terrified of the water and refused to go back on ever

again. Another time was when Gilbert was in a deep conversation with the

girl (Ellen), and did not notice Arnie disappear. He ended -up climbing to the

top of the water tower and not coming down until the firefighters carried him

down.  Their mother was very upset with Gilbert and asked, "Where has your

head been?" Gilbert head has been up in the clouds, with his love.

This movie, "What's eating Gilbert Grape" is similar to the movie

"Rain Man". In both movies they have mentally impaired bothers who need

certain treatment. These brothers didn't always give it to them. In "Rain

Man",  Charlie abducted his brother, Raymond, from the only home he has

ever know. This wasn't the proper kind of treatment that Raymond needed,

he was treated this way out of Charlies' selfish reasons. Gilbert also had

selfish reasons for treating Arnie the way he did. This reason was his love for

a girl, named Ellen.

Near the end of the movie, Gilbert had a chance to help them fix the

trailer, but I find it ironic that he couldn't get it fixed.  I feel that he just want

Ellen to stay longer with him, but the trailer was repaired later and Ellen had

to leave town, not wanting to though. I feel that this was only for the best

because Arnie needed more attention then he was getting. He could of gotten

hurt when he disappeared, and Arnie may not be around much longer, he was

only suppose to live to be ten, he is eighteen now. Gilbert needs to

concentrate on his brother, and if he does want love, he will need to be more

responsible.

1382.      Whats Love Got to do With It

What's Love Got to Do With It

In Pride and Predjuice life is not all fun and games.  There are many pressures in

life:  mothers with high expectations for a good marriage and a girl's own expectation of

what life and hopefully marriage will be like.  Charlotte Lucas is the oldest daughter in a

large family, she is not the most beautiful girl, and she is twenty-seven, well beyond the

marrying age.  Charlotte is Elizabeth Bennett's best friend and Mr. Collins, the man

Charlotte finally marries, is Elizabeth's cousin.  Charlotte Lucas will marry to solidify

her life, not because she loves, for many people are unkind about her ability to marry

well; thus after her marriage to Mr. Collins, she spends all of her time avoiding him.

Charlotte knows  that even though she wants to marry more than anything in the

world, she does not expect love to come about; thus, she decides that it is probably even

better if you don't know a thing at all about the person you are marrying.  While

Charlotte is speaking to Elizabeth about her sister, she expressed her opinion as to Jane

Bennet's relationship towards a gentleman.  She says it is probably better not to study a

person because you would probably know as much after twelve months as if she married

him the next day.  Charlotte even goes as far as to say that "it is better to know as little as

possible of the defects of the person with whom you are to pass your life" (p.21).

Charlotte considered Mr. Collins "neither sensible nor agreeable" but since marriage had

always been her goal in life, "at the age of twenty-seven, with having never been

handsome, she felt all the good luck of it" (p.107).  Charlotte is speaking to Elizabeth on

her marriage to Mr. Collins, "I am not romantic, you know.  I never was.  I ask only a

comfortable home; and considering Mr. Collins' character, connections, and situation in

life, I am convinced that my chance of happiness with him is as fair as most people can

boast on entering the marriage state" (p.110).  Charlotte is optimistic in entering her

marriage even though Elizabeth is not.

The people associated with Charlotte, even her dear friends, have little

expectation for Charlotte's marrying well.  While Mrs. Benett is speaking to Mr. Bingley

the subject of Charlotte Lucas comes up and Mrs. Bennet can not help but to comment

about Charlotte's beauty, "...but you must own she is very plain.  Lady Lucas has often

said so..." (p.39).  Even good-natured Jane, Elizabeth's sister, has something to say about

Charlotte's marriage to Mr. Collins.  Jane argues that Mr. Collins is respectable and that

Charlotte is from a large family and is not exceptionally wealthy.  She also states that

Charlotte, "may feel something like regard and esteem for our cousin" (p.117).  Elizabeth

taking the opposite point of view on the issue says, "Mr. Collins is a conceited, pompous,

narrow-minded, silly man;" then continued to list reasons as to why, "the woman who

marries him [Mr. Collins] cannot have a proper way of thinking" (p. 117).

Charlotte, having gone into her marriage with Mr. Collins with her eyes open,

puts most of her energy into avoiding her husband.  Charlotte finding herself now having

to deal with her husband makes her quarters in the lesser part of their house, leaving the

more attractive part to her husband so he will spend more time there (p. 144).  Also,

Charlotte and Mr. Collins take walks every morning, which Charlotte walked

considerably fast in order to leave Mr. Collins to every view, "with a minuteness which

left beauty entirely behind" (p.134).  Elizabeth, while visiting Charlotte, observed

another way in which Carlotte tolerated her husband, her observation was, "Her home

and her housekeeping, her parish and her poultry, and all their dependent concerns, have

not yet lost their charms" (p.183).

Charlotte neither being pretty nor wealthy has compensated for her husband's

annoying traits in many ways.  In a time when most girl's goals were to get married,

Charlotte achieved her goals.  Even though she may not love, not even like her husband,

she is happy because she will not be a spinster.

Austin, Jane. Pride and Prejudice.  Copyright 1813. Nal Penguin Inc., New York, NY

1383.      When I was a Kid

When I was a kid we left the dirty streets of Brooklyn, New York for the quieter suburban streets of Connecticut.  We moved into a large house in Norwalk, Connecticut.  Norwalk is the sort of town that dreams of being a big city but will always be just another small port on the Connecticut coastline.  Like out of some horror story, the south side of town offers plenty of frightening images: ghettos, drug dealers, prostitutes, graffiti, and even young urban professionals.  The south end was a popular place to work, but when the day ended,  these young men and woman got into their BMWs, Porsches, and other toys and drove to safe ground.  Most found their way to surrounding towns: Westport, Wilton, New Canaan, and others.  Other people, like my parents, crossed town through East Norwalk to our home in the northern end of town.  Sometimes I would hear my father boast to far off relatives that we lived in a nice residential neighborhood (otherwise known as "the good area")   In most horror stories, as the hero approaches some haunted house (or some other terror) you can shout, "Don't go in there! Stay away!"  People moving into Norwalk have no such luck; they move into the charming town without a clue of it's underlying sickness and disagreeable citizens.

One of my first discoveries was the river that passed through the middle of town.  I was only a kid, maybe ten, when I started fishing by the edge of the river.  It wasn't easy finding the perfect location; this was a place where I would  want to be alone, a place to get away from the unhappiness that would spread like fire through my home on occasion.

This time away was possibly the most important thing to me then.  When I turned eleven years old, one of my favorite gifts was a large book.  When the moment was right, I ran upstairs to my bedroom, opened the book, and found the word "fish."  The brown book, Funk and Wagnals (the name made me giggle), defined the word:  to catch or try to catch fish.  to try to get something in an artful or indirect manner.

To me, good old Funky Wagnails couldn't be further from the truth; the true meaning of fishing.  It wasn't about hunting fish or about rods and reels or fishing lines.  No, it had nothing to do with that.  Fishing was a time, not an action.  When I climbed the hill, crossed the path everyone else followed, and finally reached the surging river my spirit soared.  I was no longer little Steven Stepleman, son of Leonard (a tough man who "gave you a shot" for "your own good"), brother of Howard (an even tougher, bigger man who played football and everyone expected to get a sports scholarship), the baby to Ellen (a loving but timid woman who swore that it was a busy schedule that made Len sometimes mean, but I knew better).  No, I was none of these people.  I was Paul Newman in Cool Hand Luke, The Fonz in Happy Days, or Roger Staubach throwing a touchdown pass for the Dallas Cowboys.  I was all of these people and more, rarely catching fish, but always fishing.

Back at home my mother was usually busy in the kitchen.  My mother, a large woman, seemed to enjoy cooking.  She let us believe that lie, the truth was that she enjoyed eating.  Mom wasn't simply fat, wasn't just overweight, chubby, hefty, plump, or any other word one would choose.  She was huge.  Her weight did fluctuate, of course.  At times she would lose twenty or thirty pounds and we would all be proud of her and then she would start to put it back on.  Although she was occasionally aware of her ominous size, she usually ignored it.  These were times where she would come face to face with the dark shadow her weight had cast on her life.  Like when we would go to the movies and she would be uncomfortable in the small theater seats.  Sometimes people would stare at her as she tried to casually manipulate herself into her chair.  There was the time she had gotten into a crowded elevator and saw the small sign by the doors, 1000 pounds maximum, and worried that she and the unfortunate people riding with her were going to plunge to their deaths.  So, although she was acutely aware of her size, she usually pushed these thoughts away.  It wasn't until years later that she took off most of the excess weight after a scare in the hospital.

My father was a distant man who was usually preoccupied with his career.  We rarely spent time alone.  Sometimes, when my father could find time with me, we would play football, baseball, and other sports.  There weren't many times that we played together alone.  My brother always seemed to be involved.  Eventually, my father and I developed a pretty good relationship; he hung out with my older brother and I got to watch.

Once, we were watching the "Outer Limits" or "The Twilight Zone" while my mother quietly read a magazine.  She folded her Life magazine, put it down, and began to knit by the fireplace.  My mother and I noticed that my father had been drinking beer that night.  He had a pretty good buzz going.  She looked back to her knitting and I looked to my television.

The room was silent except for a few creepy sound effects from the TV.  Outside we could hear a dog barking and crickets cricketing.  Just as things became too quiet my father bellowed, "How can you watch this crap?  That stupid thing looks fake!"

I stared blankly at my father, not knowing what to say.  I knew what I wanted to say but I couldn't.  I wanted to shout, "Of course it looks fake! Of course its crap! That's the fun of it you stupid ass!  That slimy, oozing, fake thing is going to make me sleep with the lights on tonight like a baby!  Sure it's fake, sure it's crap, but I wish it would tear off your head like it's doing to that poor guy right now!"

But I didn't say these things; I couldn't say these things.  Instead, I said some vague comment about how scary the show was.  My father's red eyes, which were growing redder by the second, looked at me.  He reached, without looking, and grabbed another beer.  After he gulped down half the can, he spoke. "That's scary?  I'll tell you what scary is, kid."

As I said, I think daddy had one too many drinks.  "Scared is not being able to pay the mortgage.  Scared is trying to support a family.  Scared is knowing some lunatic is raping woman and your wife could be next. "  He took a deep sigh.  "Don't tell me about scared, kid, you don't know the half of it."

My eyes became red like my father's and my face felt hot.  I wasn't angry; I was beyond that.  I was desperately trying to hold back tears.  Thankfully, my tears didn't come then ("I'll give you something to cry about," he would have said).  It wasn't until later that I would  be crying.

Later that night, after my favorite cop show, I went to bed.  As I lay in bed, I did a quick check:  flashlight next to my bed, closet door open (with the light on inside), baseball bat within reach.  I was prepared for any creature of the night, except maybe werewolves, but it wasn't a full moon.  And, if a hand reached up from under my bed, my feet were covered with my blanket - so what could happen?  Smiling, I looked up and saw my father's shadow in the door.  Daddy looked very tired.

"Sorry, kid, no lights. I'm not working for the electric company, " he said (but his words were slurred and it sounded more like, sssury, keed, no lice. I'm not wurkin for tha lectric companee)

My powers of debate weren't quite as skillful then.  I said, "But dad..."

"No buts, " (no busss) he spat at me.  He turned off the lights and left.

Tears came for me then.  I looked out the window and cried.  Some sickening, diseased, murderous creature was going to appear any minute.  Any minute now.  I watched and waited.  I fell asleep with tears that night, and always thinking: any minute now... any minute now.

To the outside world, we had an ideal life in an ideal town.  Yet what went on after dark (in both) scared the heck out of me.  Sometimes, as I drive through that horrid little town, past our hideous old house, I try to push away the bad memories and remember the good times.  Often I will drive near the river and park my car.  I walk through the trees and over the hill to my secret fishing place and relive my favorite childhood times.  Times when I ran as fast I could, away from my father's smacks and shouts of cruelty.  Times when I was a Viking, a musketeer, a pirate, a detective, an astronaut, and anything else I wanted to be.

When I finally became old enough to move away, I spent some of my moving day at that fishing spot.  As the sun beamed brightly across the sky, the birds sang and chirped.  In some indirect manner, I knew everything was different now, a new cycle of life beginning.  And, as I sat fishing, thoughts of a better life danced in my mind.  I sat, rarely catching fish, but surely fishing.

1384.      White Fang

White Fang

by

Jack London

"White Fang" starts out with 2 men and a group of 6 sled dogs traveling across the Arctic with a dead man in a coffin.  This group was followed by a pack of famished wolves.  Each night a female half wolf half dog would seduce a dog away and allow the pack to kill him.  This killing of the dogs lasted until there were 3 dogs remaining.  One man tried to save a 4th dog that was being killed by the wolves and ended up getting killed also.  From then on the wolves closed in on the camp of the remaining man and 2 dogs.  Just as the fire, that was keeping the wolves away, on the camp burned low a rescue party came and saved the man and the 2 dogs from being eaten.  After departing the pack came upon a 800 lb. bull moose.  From there the pack split up to mate 3 wolves followed the half wolf half dog or the she-wolf.  The 3 wolves fought and One-eye, a old fighting wolf, won and won the rights to the she-wolf.  The she-wolf gave birth to 5 wolf pups.  The only one to survive was a spunky cub named White Fang.  White Fang became a pet of the Indians.  He moved with the Indians everywhere they traveled, yet he still heard the call of the wild.  They cherished him as he became a great fighter, fighting dogs.  He became wise and learned many tricks.  His value to them was priceless except a man named Beauty Smith found a way to buy him through liquor.  Beauty Smith used White Fang as a valuable fighter.  He arranged fights and took in bets on them.  White Fang whipped everybody he fought until he fought a pitbull.  The pitbull had White Fang by the neck and was slowly going in to open the jugular.  Then a man named Weedon Scott punched Beauty Smith and pried the pitbull's teeth off of White Fang's neck.  Scott started to love White Fang and pet him.  White Fang was afraid at first that Scott would hurt him.  White Fang came to love Scott.  White Fang even got sick and wouldn't eat when Scott left once.  Scott was going to leave a second time but White White Fang jumped through a window and Scott took him with him to his home in the Sierra Vista.  Scott's dad was a judge and a man named Jim Hall was going to kill Judge Scott.  White Fang sensed a intruder in the house and killed him.  White Fang was shot but recovered and lived the rest of his days in the Sierra Vista.

1385.      Whos in the Wall

Who's in the Wall?

Ursula McIntyre

At precisely 10:30 A.M. I got a call from a Mr. Machiano saying that while renovating a palace his men found the bones of what seamed to be a human body. When I got to the scene one of his men showed me to the corps. It had dirty, out-of-date clothes draped upon its remains with a piece a rope beside it.  I asked Mr. Machiano how the body was discovered.

"My men were knocking down a wall and one of them found a skeleton with a motlry on, and that's when I called you."

I asked whom he bought the palace from.

"A man I would say in his early eighties, named Montresor."

I then left to learn about this person..  I found out that

he was living with a cousin right near his old home.  I decided to stop

by and ask him a few questions hoping he would remember or know

something.  After about an hour of getting "I do not know. What are you

talking about? Please leave." I realized this was a waste of time and

decided to go.

The next morning I called Mr. Machiano and asked him to meet me at the palace.  As I approached the area where the body was found I began to feel a little queasy.  I searched the ground around the body hoping to find some clues.  I noticed the sparkle of metal pertruding from the ground.  I picked it up and saw it was a gold and diamond ID bracelet with the name Montresor inscribed on it.  I decided to do a little more research on this man.  I went to the station and asked the secretary to show me the file on any person missing for more than 20 years.  The list only had about five

people on it with a brief description.  There was a man by the name of

Fortunato on it who has been missing for about 50 years.  He was last

seen wearing a motley.  I then put two and two together and after some

investigation, I found out that the remains were indeed Fortunato.  Later

that afternoon I decided to visit Mrs. Fortunato.  She took the news

pretty well, she had suspected he was dead.

"The last time I saw him was fifty years ago during carnival season."

I went back to Montresor's house and told him that next to Fortunato's body was a gold bracelet with his name on it.  He still insisted he had had nothing to do with the murder and had no idea how his bracelet gotten near the body.  "It must have fallen off and sunk into the mortar."

I told  him that I could sense his nervousness and asked him if he was

okay, then I heard him mumble something.  I asked, then told him to say it louder. I could not quite hear him.

"I killed him, and I don't even regret it.  He was dirty man who worked at the local carnival.  He found out that I was cheating on my wife and told me that if I didn't give him $50,000 he would tell her.  He would have ruined my life so I ruined his instead.  He got his $50,000, I stuffed his carcass in to the wall with a diamond and gold bracelet on his wrist with my name on it.  He would always remember why and by whom he was killed then.  What a perfect plan, what a perfect, prefect plan.  My wife never found out.  To make it even better, on that very wall I HUNG a picture my myself.  I was hung in a picture, he was hung in a wall."

Montresor was convicted of 1st degree murder and sentenced to death.  His final words were,  " I'm an old man ready to die but are you a young woman ready to live with killing me?  I could kill well and with pride.  How about you?"

1386.      Winslow Homer 1359

Winslow Homer is said to be one of the greatest and most recognized artists of the 19th century.  Homer has certainly earned his rightful place in the history of American art as well as a place in the history of American Culture.  Winslow Homer was born in Boston to a well- established New England family.  Most of his childhood was spent in Cambridge Massachusetts.  He led a very active outdoor lifestyle that is reflected in most of his paintings.  At the age of 19 he began to pursue his artist career by becoming an apprentice in the Boston Lithographic firm of J.H. Bufford.  His only form of training was at local art classes where he learned the basic principles and styles of art.  He also studied under Fredrick Rondel a well-known painter in Boston.  Homer worked at Bufford's for 3 years and then left because "Harper's Weekly", the best magazine of its time, wanted homer to work for them.  Homer quickly became their leading illustrator and main artist.  During the Civil war, he drew a great number of scenes from the war for the front cover.  These drawings later inspired him to paint such works as Prisoner's from the Front, one of his most famous paintings.  This is a painting of men going to war during the civil war.  Many people were overwhelmed with his great ability to capture the civil war scenes with such great detail, and consider them some of the most powerful and authentic records of union troop experience.  Homer also submitted paintings to the National Academy of Design and was elected a full academician, which is an outstanding achievement given to artists for their great artwork.  This sparked his need to travel and explore.  So homer went to France to study art.  Here he visited many exhibits of the leading artist, such as controversial art by Edourd Manet and realistic art by Gustave Courbet.  Upon returning to the states, homer settled in New York, where he produced many of his great works.  He began to explore many subjects, such as rural life, recreational activities, and childhood themes using nationalistic techniques.  He produced genre paintings of his nationalistic concerns and post-war nostalgia.  One of his more famous paintings is Snap the Whip.  This is a painting of young boys playing in a field.  He worked with this style up until the 1870's, when he began experimenting with watercolors.  While working with watercolors, homer began his focus on painting images of former slaves and exploring the theme of man versus nature.  One of his key paintings of this time is Fog Warning.  It shows a man at sea fishing and looking to the sky for a storm approaching.  The waves are crashing and the man looks to be worried.  This painting was a transition of his early genre paintings to more serious themes, such as local folk fishing and the sea.  For this painting he hire a local fisherman to pose in a dory beached on a sand dune.  This enabled him to reproduce accurately the angle of the boat buoyed up by the swelling waves.  Homer originally called this painting Halibut Fishing, conceiving it as a pendant to the Herring Net; both works are naturalistic representations of the arduous work of the fisherman and the chilling majesty of the sea.  But before exhibiting it in 1885 Homer changed the title to attract attention to the impending danger of the oncoming fog.  In 1883, Winslow Homer moved to Prout's Neck, Maine, and proceeded to create a series of images of the sea unparalleled in American art. Long inspired by the subject, Homer had spent summers visiting New England fishing villages during the 1870s and, in 1881, he made a trip to a fishing community in Tynemouth, England, that fundamentally changed his work and life. His late paintings focused almost exclusively on mankind's age-old contest with nature. Here in The Herring Net, Homer depicted the heroic efforts of fishermen at their daily work, hauling in an abundant catch of herring. In a small dory, two figures loom large against the mist on the horizon, through which the sails of the mother schooners are dimly visible. While one fisherman hauls in the netted and glistening herring, the other, a boy, unloads the catch. With teamwork so necessary for survival, both strive to steady the precarious boat as it rides the incoming swells. Unlike most of his paintings which show moments of great dramatic force and emotional tension. Eight Bells depicts an everyday occurrence.  The sound of eight bells rung 6 times a day at 4, 8, and 12.  Signals that it is noon, and 2 sailors, presumably the ships officers although their oilskins hide any indications of their rank.  Emerge on the foredeck of the large fishing schooner to take the noon sighting.  The left-hand figure holds a sextant and adjusts it as the sun moves overhead; the other man reads his instrument to calculate the ship's longitude.  Their task, fixing the ships location, is made more difficult by the passing storm, for the heavy clouds prevent a clear sighting.  Homer presents his sailors as strong, dedicated men, and draws their sextants with accuracy and precision.  But unlike his temporary Thomas Eatkins, neither the men's personalities nor the intricate machinery in which they work fascinated Homer.  Rather, he was absorbed by the sea and the changing light, as the storm passed.  In 1890 Homer painted A Summer's Night also in Prout's neck Maine.  A summer's night is the most idiosyncratic of his paintings.  This style is very unlike Homer and he rarely paints in this manner.  A summer's night is one of Homer's most emotional works.  Alfred Trumbell explains that across the fore ground goes the platform of a seaside hotel, perched on a rocky buff above the surf.  On the platform two girls dance as partners, their figures lighted by the lamplight from the house.  Below this platform, figures make a dim group on the rocks, watching the breakers.  On the rollers an unseen moon makes a great, scintillating pathway to the horizon, and the figures of the dancers are modeled against it.  One of Homer's most important paintings is The Fox Hunt it is the largest of his paintings and it was done when Homer was 57 years old.  This painting is said to contemplate his own death.  Themes of loneliness, isolation, and mortality had occupied him from the beginning and by the time he reached artistic maturity in the 1880's his paintings invariably from narrative cycles, which repeat obsessively the progression from life to death.  In the depths of winter it has been observed that a flock of half starved crows will occasionally have the temerity to attack a fox, relying on the advantage of numbers, the weakened condition of the fox and the deep snow, which makes it peculiarly difficult for the fox to defend himself or to escape.  Homer has painted this extraordinary scene, the fox ordinarily the hunter, here is attacked and from an unexpected villain, black crows.  They are the source of mystery and death in this scene.  Red berries in the snow to the left foretell the drops of blood that will soon be shed.  The first two crows are just the beginning of the attack: their wings spread they will alight on the fox and go for its eyes.  Nineteenth-century painters dealt frequently with violence and death in the animal worl, and animals are seen attacking other animals in the works of Stubbs, Delacroix, and Courbet.  Homer's painting, however conveys a special power and urgency.  Even its title: The fox hunt is Ironic because fox hunts are usually civilized in art.  With dogs and men but this is just nature and it is the fox being hunted by crows.  This is very unusual.  Homer is the foxand he is being hunted.  And he is as lonely and angry as the fox in his painting.  Homer demonstrated many styles of art and captured the true meaning of everyday realism.  His brilliance is shown throughout his artwork and one can only capture the real meaning of his work from behind the paint.

1387.      Womens Images in Managment of Grief and A Pair of Tickets

Both Management of Grief and A Pair of Tickets were written by women  and about women.  Authors were able to portray an image of women which differs from the traditional,  stereotypical literary image  of feeble and delicate creatures who needed to be cared for.   Women in these  stories were faced with horrible tragedies, but the determining element in their experience was not so much what happened to them but how they took it.

After reading first few pages of Management of Grief one may see Shaila as   "traditional" Indian woman who due to her upbringing was not even comfortable enough with her own husband:  "I was too much the well brought up woman.  I was so well brought up I never felt comfortable calling my husband by his first name" (Mukherjee 537).  For a person who grew up in North American society this revelation may seem to come from an oppressed  female, but later on in the story  we learn that protagonist could stand up for herself and for other women, like in the airport incident.  There again we were reminded of the way she was brought up:  "Once upon a time we were well brought up women; we were dutiful wives who kept our heads veiled, our voices shy and sweet" (543).   Only this time the statement is ironic.  Shaila's actions show us that she is far from the voiceless,  week female she was brought up to be.

Shaila was not responsible for her own heredity.  She could not control much of her environment in which she was brought up, but she had the power and internal strength  to face the life with  her individual rejoinder.   She admits to being "trapped between worlds" (543), and we can feel the internal struggle between "traditional" and "rebellious" tendencies.  It seems that Shaila does not realize herself that  "rebellious" part already won over.  The last indication of victory was the poem of love she wrote to her husband in the hospital :  "Finally he'll know my feelings for him"(541).  The fact that she never told her husband about her feelings bothered  Shaila.  She brought it up right after she found out about the accident, which indicates that this was on her mind for some time.  She broke the tradition of not revealing  and admitting to  the feelings of love  thus indicating that she disagreed with that tradition.

A woman lost two sons and a husband in one day.  Her world was shattered,  all the dreams and hopes gone; but she still finds enough strength to comfort other people. It was pointed out many times in the story that everybody perceived Shaila as  a very strong person:  "All the people said, Mrs. Bhave is the strongest person of all" (539).  Men, women and youth saw her as a role model, they rely on her for emotional support.   Even when she  experienced "descending" of her husband she was told that she must alone finish what they've started together. (544).  Was that her realization that she is capable of surviving on her own and  doing alone things which before were done by both her and her husband?  Shaila came back to Canada, admitting that she was indeed capable of doing so, even though she did not  have a job or career (545).  She managed her finances with the help of a lawyer, became politically involved (547).  On the outside it seemed that she went through the stages of grieving successfully.  The feelings of pain and sorrow are concealed within,  she deals with them  in her own way, courageously  alone.

A Pair of Tickets introduced another example of female courage and strength.  Intelligent and educated woman who went through horrors of war period lost her family and was forced to give up the greatest possession of all - her twin daughters.  She moved to a different country,  acquired a new family but  never did she stop searching for her daughters.  As soon as correspondence between China and US was allowed again mother began her search (Tan 169).  Every year until her death she wrote to different people (170) trying to find her twins.  At the same time she was able to care for her new daughter and husband.

Because of mothers determination families were reunited, sisters found each other.

She, like Shaila, chose to deal with her grief alone and like her  she've never given up hope.  Even her own husband did not  know that she was searching for the lost daughters (169).  One may say that she kept silent because of fear that nobody from her own family would support her, but was it the case?  Or did she want to protect her loved once from her pain and grief?  It is the later that seems more likely to occur indicating the inner strength of  the mother  who could go through unfolding, many leveled process   of grief alone.

They were from different generations and different cultural backgrounds. Although  they both had their individual life stories,  there was a connecting link between them.  They were women,  strong and brave, who reached the depth of despair and lived through it.  They were mothers, who harbored in their hearts eternal feeling of grief and pain for their lost children, shielding it from the outside world, showing that being a woman isn't the easiest thing in the world.

1388.      Woodstock

Woodstock

The muddiest four days in history were celebrated in a drug-induced haze in Sullivan County, New York (Tiber 1). Music soared through the air and into the ears of the more than 450,000 hippies that were crowded into Max Yasgur's pasture. "What we had here was a once-in-a-lifetime occurrence," said Bethel town historian Bert Feldmen. "Dickens said it first: 'it was the best of times, it was the worst of times'. It's an amalgam that will never be reproduced again" (Tiber 1). It also closed the New York State Thruway and created one of the nation's worst traffic jams (Tiber 1). Woodstock, with its rocky beginnings, epitomized the culture of that era through music, drug use, and the thousands of hippies who attended, leaving behind a legacy for future generations. Woodstock was the hair brained idea of four men that met each other completely at random. It was the counterculture's biggest bash, which ultimately cost over $2.4 million, and was sponsored by John Roberts, Joel Rosenman, Artie Kornfeld, and Michael Lang (Young 18). John Roberts was an heir to a drugstore and toothpaste manufacturing fortune. He supplied the money, for he had a multi-million dollar trust fund, a University of Pennsylvania degree, and a Lieutenant's commission in the Army (Tiber 1). Joel Rosenman, the son of a prominent Long Island orthodontist, had just graduated from Yale Law School (Makower 28). In 1967, he was playing guitar for a lounge band in motels from Long Island to Law Vegas. He and Roberts met on a golf course in the fall of 1966 (Tiber 1). By the next winter, Roberts and Rosenman shared an apartment and were trying to figure out what to do with their lives. One idea was to create a screw ball situation comedy for television (Landy, Spirit 62). "It was an office comedy about two pals with more money than brains and a thirst for adventure," Rosenman said. To get plot ideas for their sitcom, Roberts and Rosenman put a classified as in the Wall Street Journal and Fanning 2

the New York Times in March of 1968 that read: "Young men with unlimited capital looking for interesting, legitimate investment opportunities and business propositions" (Tiber 1). Artie Kornfeld was the vice-president of Capitol Records. He smoked hash in the office and was the Company's connection with the rockers that were starting to sell millions or records (Makower 32). Michael Lang's friends described him as a "cosmic pixie" (Makower 33). He had a head full of curly black hair down to his shoulders. At 23, he owned what may have been the first head shop in the state of Florida. In 1968, Lang produced one of the biggest rock shows ever, the two-day Miami Pop Festival, which drew 40,000 people (Tiber 1). At 24, Lang was the manager of a rock group called Train. He took his proposal for a record deal to Kornfeld at Capitol, and history began. The four met to discuss their idea at a high-rise on 83rd Street (Young 37). Lang reminisces, "They were kind of preppy. Today, I guess they'd be yuppies" (Landy, Festival 29). The Woodstock Music and Art Fair was the name that they came up with. The four had decided to have a little party- inviting only rich stars that could afford the giant cover charge to gain entrance. By the end of their third meeting to discuss the event, the party had snowballed into a "bucolic concert for 50,000 people, the world's biggest rock-n-roll show" (Obst 42). The four partners formed a corporation in March- Woodstock Ventures, Inc (Tiber 3). The Woodstock Ventures team scurried around to find a site (Makower 42). The 300-acre Mills Industrial Park in Wallkill, New York, would have been perfect, but Roberts interjected, "The vibes aren't right here. This is an industrial park. We gotta have a site now" (Smith 28). Finally, Max Yasgur's pasture in Sullivan County, appeared. He was a prominent dairy farmer, and was pleased to Fanning 3

receive that $10,000 to rent out his fields for 4 days (Tiber 1). The location had been chosen. Now the fearless foursome was on to bigger and better things.

"In the cultural-political atmosphere of 1969, Kornfeld and Lang knew it was important to pitch Woodstock in a way that would appeal to their peer's sense of independence" (Tiber 3). By early April, the promoters were carefully cultivating news of Woodstock in publications such as the Village Voice and Rolling Stone. The group settled on the slogan "Three Days of Peace and Music" (Young 53). They figured that "peace" would link the anti-war sentiment to the concert (Young 53). The Woodstock dove is actually a catbird; originally, it perched on a flute (Tiber 4). "As soon as Ira Arnold (a copywriter on the Woodstock crew) called with the copy- approved 'Three Days of Peace and Music,' I just took a razor blade and cut that catbird out of the sketchpad I was using. First, it sat on a flute. I was listening to jazz at the time, and I guess that's why. But anyway, it sat on a flute for a day, and I finally ended up putting it on a guitar" (Landy, Festival 60).

Advertising was coming along well, and the boys looked to the future for the bands to sign. Woodstock Ventures was trying to book the biggest rock-n-roll bands in America, but the bands were reluctant to sign with an untested company that might be unable to deliver (Obst 103). Ventures solved the problem by handing out rather hefty paychecks. The Jefferson Airplane received $12,000; they usually received $5-6,000 for a gig. Creedence Clearwater Revival signed for $11,500, The Who for $12,500. Most bands were signed for $5,000; Ventures offered twice that amount (Young 102). After a much-anticipated wait, Friday, August 15, 1969 arrived. So many more people than expected came, and ticket sales ceased (Tiber 13). The traffic was so bad on all the roads Fanning 4

leading to Sullivan County, food, medicine and doctors, and the artists performing were flown in by helicopter to the concert-site. Woodstock organizers blamed the state police for the traffic jams. An expected turnout of 50,000-100,000 people turned into a ludicrous number of 200,000-400,000, bigger than the four original partners had ever expected (Landy, Spirit 45). On Friday, Joan Baez was the headliner, preceded by Tim Hardin, Arlo Gutherie, Sweetwater, the Incredible String Band, Ravi Shankar, Bert Sommer and Melanie, and Sly and the Family Stone. A no-name musician who was there for the show named Richie Havens was forced to go on first (Tiber 15). No other bands were there yet, and he had to play for two hours. Country Joe McDonald was another to play without prior notice. Bands still were not set up, so he played, with an acoustic guitar, songs like "Fish Cheer" and "I-Feel-Like-I'm-Fixin'-To-Die Rag" (Tiber 15). Finally, the other bands went on and were a success. The only band that producers were worried about was Sly and the Family Stone. They had a tendency to fire up small crowds and invite fans to rush the stage (Young 82). To remedy this problem, Artie Kornfeld and his wife got in the pit in front of the stage, between the fans and the performers. Needless to say, there were no riots. Saturday's bill included The Who, Jefferson Airplane, Janis Joplin, Creedence Clearwater Revival, the Grateful Dead, Canned Heat, Mountain, and Santana (Landy, Spirit 123). For crowd control, the producers figured that music should be played consistently, so they had to bed and plead with Saturday's acts to play sets twice as long as originally planned. Sunday's line-up included The Band, Joe Cocker, Crosby, Stills, & Nash, Ten Years After, Johnny Winter, and Iron Butterfly. Jimi Hendrix was the headliner (Tiber 26). Fanning 5

Although he did not play until 9 am, Monday morning, he delivered an outstanding performance, including the "Star-Spangled Banner", in honor of the War (Young 243). There were people everywhere. Tents were staked as far as the eye could see, the sweet smell of marijuana was in the air. Rain started to fall at around midnight, and people were swimming everywhere they could (Landy, Festival 14). Bert Feldman, the town historian, suddenly became Woodstock's censor. He stood between television cameras and the swimming holes, because people only wore one or two garments. He later said, "you never saw a fight in there, though. You could argue, of course, that it was because everyone was stoned" (Tiber 15). There was a tent dubbed the Freak-Out Tent (Tiber 18) which in reality was the nurses' station. A certain Nurse Sanderson presided over the tent, and her first patient kept screaming "SPID-ERS!!" She learned quickly that she had to deal with bad trips by physical stroking and soft words. The was getting paid only $50 a day, but she wanted to learn how to deal with new sicknesses associated with the drug culture (Young 203). People entered the Freak-Out Tent for three main reasons. The most famous was experiencing the imaginary symptoms of bad trips. The next was people with cut feet. The third was quite odd. Sanderson said, "They had burned their eyes staring at the sun. If they were tripping, they'd lie down on their backs and just stare..." (Young 203). After the final hippie drudged out of Max Yasgur's pasture, the problems for Woodstock Ventures began. Kornfeld's promotional expenses were more then $150,000, 70 % over budget. Lang's production expenses had soared to $2 million, more than 300 % over budget (Tiber 26). All in all, the total cost of Woodstock had been at least $2.4 million. A banker friend named Fanning 6

Charlie Price helped them out by loaning them the money with a fixed interest rate. The Roberts family paid off the debt themselves. Roberts' father and brother told the Wall Street banker that they never had run out on debts and they weren't going to start now (Young 234). Feelings of ill will lingered between the four, and it seemed that they went off two and two. Rosenman and Roberts stayed best friends, as did Kornfeld and Lang (Tiber 27). "The four men who had produced Woodstock were separated for more than 20 years by Woodstock's fallout" (Tiber 27). For the next decade, Woodstock was virtually a cliché for all that was goofy and bad about the '60's (Obst 232). Trying to imitate the original, there was a concert dubbed "Woodstock II, the Re-union." A quarter of a million revellers flocked to Saugerties, paying $150 for one ticket (Tiber 31). The original Woodstock ticket price was $18. There was also a Woodstock '99, yet another frugal attempt to imitate the original (Tiber 31). It only ended in tragedy as riots broke out and people were killed. This proves that when something is done right the first time, it should not be imitated. In all, Woodstock had 5,162 medical cases, 797 instances of drug abuse, eight miscarriages, two deaths by drug overdose, and one accidental death by a young man getting run over by a tractor (Tiber 30). After a rocky beginning, Woodstock turned out to be the biggest concert in history (Tiber 2). It was three days of music and peace, a time that teenage hippies and burnouts could spend sleeping in fields listening to psychedelic music. A good time was had by all, and although it has been tried, perfection cannot be imitated. WORKS CITED

Landon, Franklin. "The Big Woodstock Rock Trip." Time 29 Aug. 1969: 14B-22.

Landy, Elliot. Woodstock Vision- The Spirit of a Generation. Chicago: Square Books, 1994.

---. Woodstock 1969: The First Festival. Chicago: Square Books, 1994.

Makower, Jeol. Woodstock: The Oral History. New York: Dolphin/Double Day, 1989.

Obst, Lynda R., and Robert Kingsbury. The Sixties. New York: Norton, 1977.

Smith, Carole. "The Woodstock Music Festival." Goldmine 28 Aug. 1987: 28-78.

Tiber, Elliot. "How Woodstock Happened... Parts 1-5." < http:// www. woodstock69.com.htm> (16 Jan. 2000).

Wharton, Samuel. "Woodstock Music Festival." Life 29 Aug. 1969: 25-30.

"Woodstock, N. Y." Compton's Interactive Encyclopedia Deluxe. 1997 ed.

Young, Jean and Michael Long. Woodstock Festival Remembered. New York: Ballentine Books, 1979.

SENTENCE OUTLINE

I. Introduction

Thesis: Woodstock, with its rocky beginnings, epitomized the culture of that era through music, drug use, and the thousands of hippies who attended, leaving behind a legacy for future generations.

II. How Woodstock got Started; The Events Leading up to Woodstock0

A. Woodstock was the hair brained idea of four men that met each other completely at random. B. The four met to discuss their idea at a high-rise on 83rd Street.

C. "In the cultural-political atmosphere of 1969, Kornfeld and Land knew it was important to pitch Woodstock in a way that would appeal to their peer's sense of independence.

III. The Four Days of Woodstock

A. After a much-anticipated wait, Friday, August 15, 1969, arrived.

B. On Friday, Joan Baez was the headliner...and Sly and the Family Stone.

C. There were people everywhere.

D. There was a tent dubbed the Freak-Out Tent, which in reality was the nurses' station.

IV. The Aftermath

A. After the final hippie drudged out of Max Yasgur's pasture, the problems for Woodstock Ventures began.

B. For the next decade, Woodstock was virtually a cliché for all that was goofy and bad about the '60's.

V. Conclusion

Summary Sentence: A good time was had by all, and although it has been tried, perfection cannot be imitated.

1389.      Writings of Nathaniel Hawthorne

Michael Duncan

ENG. 111

T/TH  9:30 am

³... it is no delusion.  There is an Unpardonable Sin!² , a quote by Ethan Brand

that is at  the root of many stories by Nathaniel Hawthorne.  Nathaniel Hawthornes

gloomy, dark style of writing is an emphasis on his theme of evil at societies heart.

Writing about what he knew Hawthorne described  the puritan society in different

periods of time and defined different characters but all connected  through his style.

The stories that exemplify the diversity of Hawthornes writing are ³ Young Goodman

Brown² , ³ Ethan Brand² , and ³The Birthmark² .

Having read these stories it is possible to become engrossed in the darkness

that is portrayed and none is better than ³ Young Goodman Brown² .  Young Goodman

Brown, the character, is first introduced to us in the clearing of Salem village and

we learn that he has faith in the goodness of the village and Faith for his companion as

well.   The people that we meet in Salem village in the first few paragraphs are just

Goodman and Faith.  These two characters are very important to understand for their

surface characters or illusional characters.  It is soon learned that Goodman Brown is

not such a good man and later Faith shows us just as much false character.  Goodman

and Faith are not the only characters that are not all they seem to be.  We come to

meet more characters in the short story that are superficial as is the village itself.

Goodman Brown leaves the bright, warm, goodness of his village to make a journey in

the woods to meet a stranger.  A good place to meet a stranger would be these

surrounding woods of Salem for it is here that described by Nathaniel Hawthorne that

³He had taken a dreary road,darkened by all the gloomiest trees of the forest, which barely stood aside to let the narrow path creep through, and closed immediately

behind.² and  like the scheming mind of an evil person the dark woods leads one

down the wrong pathway.

The woods are not an allusion as was the village, the woods are exactly what

they seem to be therefore the characters met inside the woods will be as shady as

the woods themselves.  Leading Goodman Brown to his despair is the first character,

the stranger.  The stranger is much older than the Goodman but the two converse easily

and both understand each other even though they talk around Goodmans evil

purpose.  It is this easy conversation that Hawthorne writes to us about Goodmans evil.

Though Goodman Brown believes himself to be alone in his journey down

the trail the stranger tells him that it is a beaten path and has been taken even by his

father.  So does the world that has been built up around Goodman Brown begin to

crumble and with the first blow he is set up for more devastation into the world of the

devil.  ³ Wickedness or not, I have a very general acquaintance here in New England.²

The devilish stranger explains how even the noblest of people have an evil in their

character and those who hide are those who are trusted the most.  Many of these

characters that the stranger knows are companions of the Goodman and these are

Goody Cloyce ,the Deacon, the other patriots of Salem, and even his own wife Faith

who he sees worshiping in the woods behind a hazy fire.  By telling the story of a

devil worshiping town in Salem, which is already known for its witch scare, Hawthorne

tries to convey his beliefs that in all of humanity there can and is evil.  For those who

believe themselves to be good are not and those who do not are.

³ Ethan Brand² is a different sort of story that will take place in the side of a

mountain where a man and his son and one particular a llimekiln stoaker enter the

scene.  Visualized to us by Hawthorne Bartram and his son are sitting by the kiln,

Bartram the steady worker burns limestone and talks to his son about Ethan Brand.

Ethan Brand is a mystery and is representative of the people who are not understood

or who may be the outcasts of society.  Ethan Brand was a mystery to his townspeople

who  by leaving the daily routine of life and discontinuing the collective society was

branded an outcast and maybe even evil.  Hawthorne tries to tell the reader through

the words of the character Ethan Brand about the unpardonable sins in the world.

³ what need have I of the Devil?  I have left him behind me, on my track.  It is with such

halfway sinners as you that he busies himself.  Fear not because I open the door.  I

do but act by old custom, and am going to trim your fire, like a lime-burner, as I was

once.²  by this one statement Ethan Brand decides that he is not a pawn of the devil as

thought to be.  The characters that Nathaniel Hawthorne writes about in this story are

on the opposite side of the good and evil idealism.  These characters are not

worshiping the Devil as those in ³ Young Goodman Brown²  but are just as devilish in

their track of thought.  Both ,described by Hawthorne, are small towns and the thinking

is small as well.  This small thinking connects them and I believe that Hawthorne

meant the group opposed to the individual are the devils pawns.  Though the main

characters in the stories believe themselves to be evil somehow Hawthorne portrays

them to have the most humanity of any of the characters.  ³ There are many such lime-

kilns in that tract of country, for the purpose of burning white marble which composes a

large part of the substance of the hills.  Some of them, built years ago, and long

deserted, with weeds growing in the vacant round of the interior...² setting the scene for

the Devils advocates Hawthorne writes about the hills of the limekilns.  The vivid

details of the characters surroundings shapes the characters themselves and we

read about them both to help understand Hawthornes idea of evil in humanity.  Overall

in the description of both these the reader can visualize how a person can be evil.

Evil is at the root of the story in ³ The Birthmark² for it is here that Hawthorne writes

about the most sinful character.  In all of the seven deadly sins committed by man; the

deadliest of all is pride.  Priding ones self is terrible but carrying this vanity to another

can be deadly.  After reading ³ The Birthmark² the character Aylmer finds for himself

that pride costed him dearly, he lost his lovely wife.  Aylmer is representative of the sin

pride.  Hawthorne describes the character in such a way that Aylmer portrays himself

as Godlike.  The character Aylmer is evil because according to Hawthorne ³ He had

devoted himself, however, too unreservedly to scientific studies ever to be weaned

from them by any second passion.².  Is this the possible pride that leads a man to be

considered evil?  Yes, according to evidence in the story Hamthorne makes the

character Aylmer in human by taking away his passion for his wife and having it

replaced by passion for only his work.  Hawthorne describes Aylmers preoccupation

with perfecting his wifes beauty in the story when writing ³ At all the seasons which

should have been their happiest, he invariably and without intending it, nay, in spite of

a purpose to the contrary reverted to this one disastrous topic.² .  Through this text the

author creates a character that we may see into in order to reveal the one tracked

mind.  Pride is the ultimate goal for Aylmar; he intends to make a  prize of his wife by

trying to make her extraordinary person and alleviating any blemishes.  His wife

Georgianais the innocent victim in the story because she must follow her husbands

wishes.  Hawthorne once again writing in his time period made traditional characters

of society and these people were in an average class; henceforth keeping traditional

good and evil characters as in many fiction stories.  Hawthorne has created a couple

who are the examples of good and evil; Georgiana has the mark of innocence

upon her and Aylmer carries delusions of grandeur.  Georgiana is admired for her

beauty by the publics eye and Aylmer is envied by the same.  Hawthorne tells us

outright that the two are not happy but what must be understood is that because

Aylmer is unhappy with her birthmark , ³ My peerless bride, it is successful!  You are

perfect!, ...dearest Aylmer, I am dying.²  , pays the ultimate price for perfection.

Nathaniel Hawthorne is a world renowned writer for his many skills but

especially for his vivid descriptions of gloom and darkness.  These skills define his

writing and have an affect on the reader of astonishment.  The dark gloomy writing

that Hawthorne portrays in all of these stories give an insight to the evil of normal

people and how it has fatal potential.

1390.      Wrongfully Convicted

Wrongfully Convicted: Andy Dufresne and Rubin Carter

People in prison face many emotional challenges.  They are likely to become institutionalized, and unable to function in society outside of the prison.  Not all people in prison are even guilty of their crimes. They have been denied a fair trial, and are wrongfully convicted. This causes them much emotional distress. One way that they can get over this distress, as well as get through the time they have to serve in prison, is through a strong friendship which provides companionship and protection. Andy Dufresne from The Shawshank Redemption and Rubin Carter from The Hurricane both react to Institutionalism, wrongful conviction, and friendship very similarly.

Rubin Carter from the movie The Hurricane and Andy Dufresne from the movie The Shawshank Redemption treat the subject of Institutionalism in the same manner. Institutionalism is something that happens to people in prison. They grow so accustomed to prison life that they are unable to function in the outside world. It happens when a prisoner gives up hope of leaving the prison. Red from The Shawshank Redemption describes it best when he says, " [The Prison] walls are funny.  First, you hate 'em. Then you get used to 'em. 'Nuff time passes, you get so you depend on 'em," (Red (Narration), The Shawshank Redemption).  Andy Dufresne refuses to let the walls get to him.  He does not let himself get used to prison life and he does not give up hope. "[Andy has] a quiet way about him; A walk and a talk that just [isn't] normal around here. He stroll[s]; Like a man in a park without a care or a worry in the world. Like he [has] on an invisible coat that [will] shield him from this place," (Red (Narration), The Shawshank Redemption). To keep himself busy and his mind off of the effect of the walls, he spends his nineteen years in prison doing various projects: "Prison time is slow time, so you [do] what you can to keep going. Some fellas collect stamps. Others build matchstick houses. Andy built a library... Tommy [is his new project]," (Red (Narration), The Shawshank Redemption). He also spends his time carving chess pieces, and, most importantly, digging his way through the prison wall and, "toting his wall out into the exercise yard, a handful at a time," (Red (Narration), The Shawshank Redemption). This allows him to pass time and keep hope that he will one day leave. Rubin Carter from The Hurricane is quite alike in this sense.  He does not let the prison walls get to him either.  He believes that "[His] own freedom lies in not wanting or needing anything of which they could deprive [him]," (Rubin Carter (Narration), The Hurricane). By doing this, he makes them unable to punish him, because they can not take anything away from him.  He refuses to work in their shops, he does not eat their food, and he does not even leave his cell. "'When the prison is awake, I will sleep. When it sleeps I will wake. I will live neither in the cell nor in my own heart.  Only in my mind and my spirit,'" (Rubin Carter, The Hurricane). He does everything in his power not to conform to the prison life.  One thing he believes is very important is the ability to transcend.  He praises Lezra for transcending from the ghetto to get an education to go to college.  He states that, "'It is very important to transcend the places that hold us,'" (Rubin Carter, The Hurricane). By not conforming to the standards of the prison, he is transcending the prison walls in order to not become institutionalized.  This common attitude of refusing to become institutionalized is very noticeable between Andy Dufresne from the movie The Shawshank Redemption  and Rubin Carter from the movie The Hurricane.

Andy Dufresne and Rubin Carter are both wrongfully convicted. In The Shawshank Redemption, Andy is accused of killing his wife and her lover, for whom she has just left Andy on the very same night that she leaves him.  He goes to a few bars and drinks a lot, then goes to confront them. He loads his gun and gets out of his car, spilling bullets and dropping his bottle of bourbon. He then changes his mind and goes home, throwing his gun into a river on the way.  Based on the fingerprints on the bullets and the bottle, and the fact that the police found no gun in the river, he is convicted.  He is innocent of his crime and yet he is forced to serve two life sentences.  When the true killer is identified by Tommy, the warden has Tommy killed, because Andy is, "a convicted murderer who provides sound financial planning - a wonderful pet to have," (Andy, The Shawshank Redemption). Andy is forced to serve time for a crime he did not commit. He seems to accept the fact that he has been sent there wrongfully, and says, "'No, I didn't [pull the trigger]. Somebody else did. And I wound up in here. Bad Luck, I guess. It floats around, it's gotta land on somebody. It was my turn, that's all. I was in the path of the tornado. I just didn't expect the storm would last as long as this,'"(Andy, The Shawshank Redemption). Andy serves nineteen years for this crime, and in nineteen years his youth passed, and when he left he was getting to be an old man, "'they send you here for life. And that's exactly what they take from you. The part that counts, anyway,'"(Red, The Shawshank Redemption). The warden needs him around to launder his dirty money.  All the money from the kick backs and the shady deals made in the wardens inside out work program is handled by Andy in such a way that this money is not traceable to the warden. Andy's conviction is not only based on a crime he did not commit, but by convicting him and sending him to Shawshank, the system has turned him into a real criminal, "'On the outside, [he] was an honest man, straight as an arrow. [He] had to come to prison to become a crook,'"(Andy, The Shawshank Redemption).  Rubin Carter is also wrongfully convicted, except his conviction is due to racism and a corrupt police force.  He is arrested only because he is black. When the police officer who pulls him over tells him that they are looking for two Negroes in a white car, he replies, "'Any two will do?'"(Rubin Carter, The Hurricane). The witnesses to the crime all say that it was not Rubin, but the police convince them to lie, or the witnesses die suddenly, "'my Avery got a good look at those men and it wasn't Rubin Carter. He told the police, he told them and he told them. He even signed a statement for that detective, Delapesca ... He died just before the trial,'"(Louise Cockersham (widow of Avery), The Hurricane). He is not given a fair trial, and racism is present even in the courtroom because the jury is completely white. He expresses his feeling about this when he says, "'I serve my time in a house of justice and yet there is no justice for me.'"(Rubin Carter, The Hurricane). Because of the racist treatment he receives, he begins to think the same way.  He finds it difficult at first to trust Lisa, Sam and Terry, and takes their questions as accusations of some sort, and answers them harshly, by saying to them, "'You're damn right none of you can judge what I've been through because you've never been through it. What do you know about doing time? What do you know about what it is to be me? What do you know about being in this place? ... This is too much,'"(Rubin Carter, The Hurricane). He then sends them away. Because of the fact that the racist verdict handed down against him is due to white people, he thinks that, "'everything [he] lost that really mattered, [he] lost at the hands of white people.'"(Rubin Carter, The Hurricane). His conviction causes him to think in the same way that caused him to be put in jail in the first place, and he grows a lot of hate for white people before Sam, Terry, and Lisa came along to help him. His African friend in prison shares a similar attitude, except he tells Rubin about a hobo he once rode the rails with, "'by the name of Alabama. He was white folks, and he was a good man. He saved [his] life three times ... they ain't all bad," (Mobutu (Rubin's African friend), The Hurricane), and so he shows Rubin that all white people are not so bad. The effect of their wrongful conviction is similar between Andy Dufresne and Rubin Carter.

Andy Dufresne and Rubin Carter both rely on friendship to get through their time in prison.  When Andy Dufresne first comes to Shawshank, he is targeted by the sisters and has no one to protect him from them.

I wish I could tell you that Andy fought the good fight and the sisters let him be. I wish I could tell you that, but prison is no fairy tale world. He never said who did it. But we all knew. Things went on like that for a while. Prison life consists of routine. And then more routine. Every so often Andy would show up with fresh bruises. The sisters kept at him. Sometimes he was able to fight them off, and sometimes not. And that's how it went for Andy. That was his routine. I do believe those first two years were the worst for Andy. And I also believe that if things had gone on that way, this place would have got the best of him. (Red (Narration), The Shawshank Redemption)

They raped him whenever they could find him alone, and they beat him up.  This kept on until he helped Hadley keep an inheritance which he would have otherwise lost to taxes.  The next time the sisters tried to rape him, they beat him up really badly. This time, however, Hadley intervened on Andys behalf, "... what they did do is beat him within an inch of his life. Andy spent a month in the infirmary. Boggs spent a week in the hole... Two things never happened again after that day. The sisters never laid a finger on Andy again.  And Boggs never walked again,"(Red (Narration), The Shawshank Redemption). Hadley's friendship saved Andy's life.  Andy also wants to build a library for the prison because he wants to help inmates get their high school diplomas. He asks the warden if he could mail a letter a week for him to the state senate to request funds to build the library, "'You write your letters if it makes you happy. I'll even mail 'em for ya. How's that?'"( Warden Norton, The Shawshank Redemption). The warden agrees to mail Andy's letters, which helps him with his library project.  In exchange for this help, Andy helps the warden launder his dirty money. He tells Red, "'I don't run the scams, Red, I just process the profits. Fine line, maybe but I also built that library and used it to help a dozen guys get their high school diploma. Why do you think the warden lets me do all that?'"(Andy, The Shawshank Redemption) Andy and the warden both help each other out. This helps the time pass for Andy. The most important friendship to Andy is his friendship with Red, who was Andy's first friend in prison, "Andy kept pretty much to himself at first. I guess he had a lot on his mind, trying to adapt to life on the inside. Wasn't until a month went by that he finally opened his mouth to say more than two words to somebody. As it turns out, that somebody was me," (Red (Narration), The Shawshank Redemption). Andy and Red begin to confide in each other as the years go by, " 'Andy we gettin' to be kind of friends, aren't we?' 'yeah, I guess' 'Can I ask you something? Why'd you do it?'"(Red and Andy, The Shawshank Redemption). They help each other and stand by each other. Before Andy is ready to escape, he tells Red, indirectly where he is going, and tells him how to find him if he ever gets out.  He leaves him a letter under an oak tree in a hay field, "'Remember Red: hope is a good thing, And good things never die. I will be hoping that this letter finds you, and finds you well. Your friend, Andy,'" (Andy, The Shawshank Redemption). He tells Red to find him in Mexico so they can run Andy's hotel together. Red does find Andy, and the movie ends with an emotional shot of the happy reunion that brings them together for the first time outside prison walls. Rubin Carter also relies on friendship to endure his time in prison and, ultimately, to set him free.  He becomes friends with the prison guard early. When he refuses to wear prison clothes with a number on them, the guard tells him that he will get him, "'a pair of pyjamas from the prison hospital. As far as [the guard] is concerned, [Rubin would] be wearing prison issue clothing.'"(Mr. Williams (The guard), The Hurricane). The guard helps make Rubin's time in prison more bearable. He brings him canned soup instead of making him eat the prison food which Rubin refuses to eat.  He also helps Rubin out by telling Rubin how he can keep his manuscript safe while they are tossing his cell. Rubin does not want to lose the manuscript because he thinks that it is the only thing that will get him out of prison, "'what if that manuscript wasn't in this cell when we tossed it? What if it was stuffed in your pants or something, stuffed in your crotch and we couldn't see it? I could make sure you aren't strip-searched ... you have my word,'"(Mr. Williams, The Hurricane). The guard helps Rubin maintain his dignity while in prison. John Artis is also a good friend to Rubin.  He is in the car with Rubin when he is pulled over. He later expresses his feelings about John Artis when he says, "'He didn't deserve this. He didn't deserve any of it. All he had to do was lie and say I killed those people and they would have let him out and his nightmare would have been over. Most men couldn't have stood up to that kind of torture. But John Artis did. The man is my Hero,'"(Rubin Carter, The Shawshank Redemption). He has a chance to be free, and all it would take would be to turn Rubin in. He does not, and he is sentenced to three life sentences just like Rubin. He was only a fan of Rubin's catching a ride home from the Night Spot that night, and he ends up spending a big part of his life in prison.  He is more than a friend to Rubin; he is his hero.  Lezra, Lisa, Sam and Terry are very good friends to Rubin.  After Lezra reads Rubin's book, The Sixteenth Round, and goes to visit him, they start to become good friends. Lezra feels a connection with Rubin.  After his appeal is denied, Rubin tries to distance himself from them. But he can not do it, and Lezra, Lisa, Sam and Terry end up moving down to New Jersey to try and help out his appeal. They investigate all the facts in the case. They take time away from their work and their home and refuse to leave; even when Rubin's lawyers tell them that it is hopeless. They tell them,

'There have been a lot of people, great people, all well intentioned ... a lot of brave people who gave their time, and to some degree, risked their reputation before you. People come and go and frankly nobody lasts. Nobody stays the course. Nobody goes the distance because it's too tough, it's too slow and it's heartbreaking.  It's too heartbreaking.' (Leon Friedman (Rubin's Lawyer), The Hurricane).

Even after hearing this, they do not lose faith in him and they show him that not all white people are bad. They are to him what the hobo was to his friend in prison, and a whole lot more. He wants to transcend the law, go above it, and in a way, he does this through Lezra, Lisa, Sam and Terry. They transcend the law that put him in prison by setting him free. He tells Lezra that, "'Hate put [him] in prison. Love's gonna bust [him] out,'"(Rubin Carter, The Hurricane). and that he appreciates all that they have done for him, because there is not many people who are willing to sacrifice as much as they have for one mans sake. Until they came to him, he was very depressed, but they showed him happiness, "'When you came to me it was like the day had started off without the sun; it was dim and it was cool. Suddenly and without warning the sunshine breaks the clouds and lights up everything,'"(Rubin Carter, The Hurricane).  They give him renewed hope while he is in prison. Both Rubin Carter and Andy Dufresne rely on friendship to get them through their time in prison.

Andy Dufresne from The Shawshank Redemption and Rubin Carter from The Hurricane both have different experiences while in prison, but their reactions to institutionalism, wrongful conviction, and friendship are very similar. They are both wrongfully convicted, and they both refuse to conform to prison life, and they rely on the power of friendship to get through their time in prison. Andy Dufresne and Rubin Carter are both excellent examples of how the mind can overcome any situation, no matter how bad.

Bibliography

The Hurricane. Dir. Norman Jewison. Perf. Denzel Washington, Vicellous Reon

Shannon, Deborah Unger, Lev Schreiber and John Hannah. Universal/MCA, 2000.

The Shawshank Redemption. Dir. Frank Darabont. Perf. Morgan Freeman, Bob Gunton, William

Sadler. Warner Home Video, 1994.

1391.      You Will Always Remember Your First Time

Miller 1

You Will Always Remember Your First Time!

I wasn't real clear of what actually had just occurred, but I did know that I was in

terrible pain.  I laid beside the supercross track for at least 20 minutes answering the

questions of very eager Emergency Medical personnel.

"Leave me alone! I will be all right." I said to the medical guy that was tugging at

my chest protector.

If there is one thing that I can not stand is twenty medical people trying to take all

of your clothes off for a little cut or scrape.  As I was put on a backboard and taken to the

ambulance I couldn't help wondering what had went wrong.  All I remember seeing was

my body tumbling with my bike to an abrupt halt.

I laid in the ambulance for what seemed like days.  All I could hear were engines

revving at high Rpm's and the roar of the crowd when someone styled for the crowd.  It

was very disheartening to know that I was in the back of an Ambulance at my first

professional supercross.  The only thing I could do was play the past events over and over

in my head.

I couldn't believe it as I looked at a shiny gold and silver card. This card signified

all of the rights and privileges of a professional supercrosser.  Now I would have the right

to race with the worlds best.

"Dad look it finally came!" I  shouted.

My dad looked at me with silly grin and said  "Well you knew it was coming, you

won your 25th race last month."

As I stood there with a smile bigger than the sun on my face I said "I know but I

am still excited about it. Just think I will be racing side by side with  Damon Bradshaw and

Kevin Windham."

Miller 2

He just smiled and patted me on the back as I turned and walked to my room.  I

sat dreaming of the race I will enter next month.  I had no idea what was in store for me at

this spectacular event.

As D-day drew nearer my mind overflowed with anticipation.  I gathered my riding

gear and my lucky Bart Simpson doll and headed out the door. I won my first race the day

I sat my Bart Simpson on my handlebars between races. I have done it ever since to bring

me good luck. The ride to Charlotte Motor Speedway was what I thought a trip that

would never end.  As we entered the pit area I was given a special pass to wear around my

neck.  I couldn't stop looking at the card that said "Professional Supercross Rider".  The

pit was filled with racers walking around and talking to various people while there

mechanics worked hard in the hopes of bringing home a victory.

I walked about, talking to few people as I tried to get use to this new environment.

My stomach felt like a squeezed orange when I heard the announcer say " Is everybody

ready to see the bad boys of supercross!  Well ladies and gentlemen get ready to hear the

engines roar as 250 riders bring out there talent and go to work!"  When I heard this I

knew it was time to lay all the cards out on the table.

" O.K. ladies and gentlemen her comes the 1st 250 semi final heat.  Starting on the

right we have Kevin Windham, Jeremy Mcgrath, Doug Dubach, Jeff Emig, Mike

LaRocco, Ryan Hughes, Brian Swink, Mike Brown, Larry Ward, Greg Albertyn, Kyle

Lewis, James Dobb, Damon Huffman, Phil Lawrence, Jimmy Button, Ezra Lusk, Buddy

Antunez, Mike Craig, and from Charlotte North Carolina, Everyone give a big round of

applause to your two home riders The Beast from the East Damon Bradshaw and new

comer Shawn Miller."  The crowd came to there feet and roared like a pack of lions. I

knew that they were mostly cheering for Damon but I enjoyed being right next to him.

The thirty second card went up and my stomach fell to the ground.  I knew the gate would

Miller 3

be dropping soon.  I stared for what seemed like an eternity at the gate that was holding

all of us back. With all of the skill I had, I tore off the start line the best that I could.  As

fast as I was in Pro motocross these guys left me like I was a rookie. Come to think of it I

was a rookie.  The first race I worked my way through the pack and settled into a fifth

place spot.  As I came upon the last lap I was amazed at the capacity of the crowd

watching this Spectacular event. These were people who paid good money to see us race.

I felt proud just to be out there with these masters of Supercross.

"O.K., I made it, here comes the final finish line double." I said.  As I crossed this

medium size jump I laid the bike sideways in the air ,and for the first time in my life I had

dozens of cameras flashing at me like stars in the dark sky.

I rode slowly to the pit area where my father waited with a huge smile on his face.

" I can't believe you have done so well in your first supercross event!"

I smiled and said " Well I still have to race the main event to really make my

mark."

I got off of my mechanical wonder and sat down to eat a banana.  As I peeled back

the outer shell of this yellow fruit of wonder, I realized how excited I was and could not

bare to eat.  I was having a new emotion every five seconds.  It was like a dream that you

never want to wake from. Here I was, a Professional rider at a professional event.  This

was the dream that my friends and I buzzed about when we raced as amateurs.  I almost

felt guilty because I am getting to live our once shared dream.

I was quickly rattled out of my thoughts as I heard the announcer ring out, "We

need the 250 Class to stage for the main event in ten minutes".

I was so nervous that I felt like a long tailed cat in a room full of rocking chairs.  I

am not sure but at the time I think that I was more scared than anything.  My father

quickly handed me my riding gear and told me to put on my race face.  This is a term used

to get a rider into his racing attitude.  My arms were more shaking than a old time washing

Miller 4

machine.  As I approached the staging area, all of the thoughts of winning and losing were

forced out of my head.  I knew that it was time to make my mark in the world of

supercross.

"O.K. ladies and gentlemen, it is time for the main attraction of the night.  Here

comes the best of the best out again for the main event.  Winner takes all!", the announcer

shouted.

My stomach squeezed more than ever.  As much as I wanted this day to come I

was wanting it to be all over with.  I felt like a little boy in a room full of superheros.

At the beginning of the race I started talking my way through jumps.  "O.K. I am

going to do well. all I have to do is concentrate." when I said this, the gate dropped.  The

first time I came around my pit board told me to settle down that I was in fourth.  This is

when I had to really come down.  "I need to breath and calm down.  O.K., I am settled

into my groove." As I tried to gather my thoughts I was in the middle of the largest race

of my life.  "Here comes a double  followed by the triple. Wow, look at all of the camera's

taking pictures of me."  I was amazed by how the crowd roared as I profiled over the

triple jump. It was quite amazing. why wouldn't it be, it hurled me over 65 feet off the

ground. as I settled down I realized that the race would be over soon and I have done

quite well.  "Only two laps left and here comes the finish line double.  Ooooh nooo!!!!

ahhhh!!!!!!"  I found out that when I was landing off the finish line double the defending

supercross champ, Jeremy Mcgrath, landed on top of me.  This pain was weirder than all

others I have felt.  I really didn't feel the pain in the physical sense at first.  I felt as if my

back had just collapsed.  It wasn't till I tried to stand and return to my bike that I felt the

excruciating pain of four cracked vertebrae.

"Leave me alone! I will be all right." I said to the medical guy that was tugging at

my chest protector.

Miller 5

If there is one thing that I can't stand is twenty medical people trying to take all of

your clothes off for a little cut or scrape.  It was now that I ended my first professional

supercross................

1392.      Young Goodman Brown and Rappacinis Daughter

Young Goodman Brown And Rappacini's Daughter 2001words

In Puritan Massachusetts the key word was suspicion. In order to be accepted, by the community, you had to be a member of

the "elect," destined for a spot in the eternity of heaven. In order to be member of this elite group of "selected" individuals

you had to be free of sin and evil. It goes without saying, that you could never be caught conjuring the devil, as is illustrated

by the horrors of the infamous Salem witch trials. In Young Goodman Brown, and Rappacini's Daughter Nathaniel

Hawthorne portrays two different ways of soliciting or being solicited by the devil. The final scenes in both of these stories

although similar in nature, are actually conflicting in essence, and show the two adverse ways in which people and evil can

become one.

In Young Goodman Brown, the protagonist, Goodman Brown goes off on a typical search for the devil. The devil is

associated with darkness and terror, a creature only to be sought after while enveloped in the darkness of the night. As

Goodman Brown himself replies to Faith's longing for him to wait until morning to embark on his journey, "My journey needst

be done twixt now and sunrise" (611). Goodman Brown knows exactly what he is going to look for, he is searching for evil. He

goes to the forest to do his deed and "he had taken a dreary road darkened by all the gloomiest trees of the forest" to get

there(611). Goodman Brown is willingly seeking the devil, and Hawthorne is throwing in all the stereotypes. This entire

search for the devil is portrayed as being very ugly. What then is pretty? In Young Goodman Brown beauty equals inherent

goodness, or Faith. Young Goodman Brown separates from this righteousness, for evil. From the beginning, he was leaving,

at least for the time being, Faith behind. "And Faith, as the wife was aptly named, thrust her own pretty head into the

street, letting the wind play with the soft ribbons of her cap" (610). The beauty of faith and her pink ribbons are left

behind, his intentions are obvious.

In Rappacini's Daughter Giovanni does none of this. He never went out searching for the devil, all he wanted to do was

study in Padua. The devil was not obvious to Giovanni, it went after him, and he did not even know it. Giovanni's first

glimpse of the "devil's lair" is considerably different of that of Goodman Brown. Instead of a dreary, dark forest, Giovanni

saw Eden. "Water which continued to gush and sparkle into the sunbeams as cheerfully as ever. A little gurgling sound

ascended to the young man's window, and made him feel as if the fountain were an immortal spirit that sung its song

unceasingly and without heeding the vicissitudes around it." (628). Instead of his first human encounter being with a

devilish man with slithering snake on his staff, Giovanni met the beautiful Beatrice (614). Beatrice was as beautiful as the

devil was ugly. Giovanni glanced into the garden and "Soon there emerged from under a sculptured portal the figure of a

young girl, arrayed with as much richness of taste as the most splendid of flowers, beautiful as the day, and with a bloom so

deep and vivid that one shade more would have been too much. She looked redundant with life, health, and energy" (629).

In Rappacini's Daughter instead of beauty equaling faith, it equals the Devil, or the evil that Beatrice really represented.

This is not as clear cut as Young Goodman Brown. There in order to "be with the devil" you had to go searching for him/her.

In Rappacini's Daughter, however, the Devil came to Giovanni. Furthermore he came in the form of a beautiful woman...a

frightening concept.

Young Goodman Brown is told in the first person narrative. It is therefore from one persons point of view. It is a warning of

what could happen to you if you stray from probity, and your moral ideals. All the decisions were clearly made by Brown

himself, and his plight can be avoided. Rappacini's Daughter, however, is told in the a third person narrative. It is not

from one person's point of view, it is a universal problem which has consequences for the entire human race. The devil does

not always look as he is supposed to, and is not easily recognizable. He can enthrall you with splendor, rather than trap you

with terror . The devil can get you anyway he wants, he has agents to do his bidding. As Beatrice mournfully explains to

Giovanni "But my father,- he has united us in this fearful sympathy" (644). The story is called Rappacini's Daughter

event though Beatrice seems to be a functioning individual. Should not the story be called Beatrice? No. Giovanni was

tricked as he thought Beatrice was "a tender warmth of girlish womanhood. She was human" (638). All Beatrice really

represents is Rappacini's, or the devil's messenger sent to trap the good, unsuspecting Giovanni, an unavoidable fate.

Young Goodman Brown certainly knew the difference between faith and evil. He, however, wanted the best of both worlds

to remain intact. In fact he promises himself that "after this night I'll cling to her skirts and follow her to heaven" (611).

All he wants is this one night of evil, and then he will return to the faith, and cling onto his wife. Brown wants to keep

faith and evil as two separate distinct entities. Giovanni, however realizes that they are not two separate things, and that

you must choose one or the other, as he says about Beatrice "whatever mist of evil might see to have gathered over her, the

real Beatrice was a heavenly angel" (643). Giovanni knew that Beatrice could not be both good and bad so he was trying to

decipher what exactly she was. Similarly with Rappacini's garden there are aspects which point in each direction.

Originally Giovanni had thought of the plants as beautiful, until he realized that they were in actuality poison. They had

to be one or the other, there could not be independent elements of both within the garden. That is why Giovanni had to know

whether Beatrice's breath was poison or beauty. He had to know which path she had chosen. Brown, however, until the

very end wanted to keep good and evil as two perpetual different entities and options. As Brown was looking up in the forest

where he was deciding his fate he saw at first what he wanted. Brown looked up and saw that "The blue sky was still

visible, except directly overhead, where this black mass of cloud was sweeping swiftly northward" (615). To Brown this

was perfect he could still see his faith but the black clouds, evil, had temporarily moved in for a quick but exciting storm.

Only when the "dark cloud swept away, leaving the clear and silent sky above...and something fluttered lightly down

through the air...and beheld a pink ribbon" did he realize that he was mistaken (614). The clouds had left, but the ribbons

had fallen from the clouds. Evil had already started over taking faith, they were intertwined and one had to be the victor.

Goodman Brown wanted to connect with the devil from the beginning. He did not want to make a complete break from faith,

yet he wanted just to experience a little of Satan's wonderful pleasures. He was going after the devil who was painted so

viciously in his catechism. The devil which was worshipped at midnight, in the forest surrounded, by blazing pines. The

devil he was brought up despising. Brown came into the final confrontation with Faith from a forest "which was peopled by

frightful sounds, the creaking of trees and the howling of wild beasts", yet he still heard "church bells tolling in the

distance" (615). He wanted both but he could have only one, and on this night nothing was keeping him from the lore of the

devil. Goodman Brown stepped forth from his doubts, he "stepped out of the shadow of the trees and approached the

congregation with whom he felt a loathful brotherhood by the sympathy of all that was wicked in his heart" (617). Brown

wanted to be evil now, but to be good later. His encounter with Faith at the end illustrated this need precisely. "And there

they stood the only pair, as it seemed, who were yet hesitating on the verge of wickedness in this dark world" (618).

Goodman Brown did not know whether he should commit himself, as well as his Faith to a life of evil, or if they should

both flee from the altar to the arms of faith. Yet Brown continued in his desire for two separate distinct beings in Faith and

evil. For now he wanted the evil, therefore he beseeched Faith crying- "Faith! Faith!... , look up to heaven, and resist the

wicked one" (618). Brown thought he had done it. He thought that he had achieved one night of evil while sustaining his

life of peace. All too soon however, it became clear that his choice of evil was the only one he would have, as " He would

often awaken at midnight and shrink from the bosom of Faith...for his dying hour was gloom" (619). This last scene was the

portrayal Goodman Brown's choice of evil and the devil, over faith and his wife.

Giovanni had no thoughts the likes of Goodman Brown, so his confrontation with his lover represents something entirely

different. Giovanni knew that good and evil could not survive side by side. He had decided to try and save Beatrice, and

himself, from evil. Giovanni thought "might there not still be a hope of his returning within the limits of ordinary nature,

and leading Beatrice, the redeemed Beatrice, by the hand" (644)? He had no intention of killing Beatrice. He himself

offered to drink the potion with Beatrice as he says "Shall we not quaff it together, and thus be purified from evil" (645)?

Surely if he knew that the potion was poison he would not have offered to drink it. Giovanni did the opposite of what

Goodman Brown did in his final confrontation. Giovanni chose good over evil yet, "as poison had been life, the antidote was

death", and he too had to give up his love, his Faith, but through no flaw of his own.

Goodman Brown was not an evil person, just a misguided one. He felt that his life would not be complete unless he saw things

from both sides of the spectrum. Brown, however did not want to give up the "good" life for this one minute of evil. In

Puritan society that, one flirtation with the Devil can cost you everything. Young Goodman Brown abandoned Faith at the

altar and deserved his punishment. For what, however, did Giovanni deserve his cruel fate? After all he had been made

eternally evil by Beatrice, who was now dead, rather than good, which was Giovanni's goal for her. Besides Baglioni

himself states to Giovanni that "I tell thee, my poor Giovanni, that Rappacini has a scientific interest in thee. Though

hast fallen into fearful hands" (635). The devil was coming after Giovanni, it was not his fault. The last seen in Young

Goodman Brown shows the generic search for the devil, and Goodman Brown is supposed to be used as "what not to do"

example for the righteous Puritans. Yet the last seen in Rappacini's Daughter is completely different. It portrays a man

who had to endure great sorrow through no apparent flaw of his own. This, however, is not the case. Rather in this last

confrontation Hawthorne is pointing out a reason for the demise of Giovanni, and at the same time rebuking the always

nosy, and homiletic Puritans. Giovanni got in trouble for being too meddlesome. He had to know whether Beatrice was good

or evil, and that brought about his downfall.